Here Are The 74 Songs Eligible For Best Original Song!


Today, the Academy announced the 74 songs that have been ruled eligible for a Best Original Song nomination!  And you know what that means — it’s time for my to post the list!  (Our longtime readers should know, by now, how much I love lists!)

The big news is that the 2nd song from the end credits of Love & Mercy — the one that everyone was expecting to be a front runner — has been ruled ineligible.  Here’s what is eligible!  Be sure to listen to all of these songs before the Oscar nominations are announced in January…

“Happy” from “Altered Minds”
“Home” from “Alvin and the Chipmunks: The Road Chip”
“None Of Them Are You” from “Anomalisa”
“Stem To The Rose” from “Becoming Bulletproof”
“The Mystery Of Your Gift” from “Boychoir”
“I Run” from “Chi-Raq”
“Pray 4 My City” from “Chi-Raq”
“Sit Down For This” from “Chi-Raq”
“Strong” from “Cinderella”
“So Long” from “Concussion”
“Fighting Stronger” from “Creed”
“Grip” from “Creed”
“Waiting For My Moment” from “Creed”
“Don’t Look Down” from “Danny Collins”
“Hey Baby Doll” from “Danny Collins”
“Dreamsong” from “The Diary of a Teenage Girl”
“It’s My Turn Now” from “Dope”
“Ya Rahem, Maula Maula” from “Dukhtar”
“Earned It” from “Fifty Shades of Grey”
“Love Me Like You Do” from “Fifty Shades of Grey”
“Salted Wound” from “Fifty Shades of Grey”
“Hands Of Love” from “Freeheld”
“See You Again” from “Furious Seven”
“Brother” from “Godspeed: The Story of Page Jones”
“As Real As You And Me” from “Home”
“Dancing In The Dark” from “Home”
“Feel The Light” from “Home”
“Red Balloon” from “Home”
“Two Of A Crime” from “Hot Pursuit”
“Til It Happens To You” from “The Hunting Ground”
“I’ll See You In My Dreams” from “I’ll See You in My Dreams”
“The Movie About Us” from “Ingrid Bergman – In Her Own Words”
“Bhoomiyilenghanumundo” from “Jalam”
“Koodu Vaykkan” from “Jalam”
“Pakalppaathi Chaari” from “Jalam”
“Yaathra Manoradhamerum” from “Jalam”
“Lost In Love” from “Jenny’s Wedding”
“True Love Avenue” from “Jenny’s Wedding”
“Hypnosis” from “Kahlil Gibran’s The Prophet”
“Juntos (Together)” from “McFarland, USA”
“The Light That Never Fails” from “Meru”
“The Crazy Ones” from “Miss You Already”
“There’s A Place” from “Miss You Already”
“Johanna” from “Mortdecai”
“Little Soldier” from “Pan”
“Something’s Not Right” from “Pan”
“Paranoid Girl” from “Paranoid Girls”
“Better When I’m Dancin’” from “The Peanuts Movie”
“Pink & Blue” from “Pink & Blue: Colors of Hereditary Cancer”
“Flashlight” from “Pitch Perfect 2”
“Birds Of A Feather” from “Poached”
“Still Breathing” from “Point Break”
“Manta Ray” from “Racing Extinction”
“Cold One” from “Ricki and the Flash”
“Torch” from “Rock the Kasbah”
“Someone Like You” from “The Rumperbutts”
“Aankhon Me Samaye Dil” from “Salt Bridge”
“Bachpana Thaa” from “Salt Bridge”
“Kanpne Lage Tum” from “Salt Bridge”
“Kyaa Bataaun Tujhe” from “Salt Bridge”
“Le Jaaye Jo Door Tumse” from “Salt Bridge”
“Na Jaane Kitni Door” from “Salt Bridge”
“Sookha Hi Rang Daalo” from “Salt Bridge”
“Feels Like Summer” from “Shaun the Sheep Movie”
“Phenomenal” from “Southpaw”
“Writing’s On The Wall” from “Spectre”
“Squeeze Me” from “The SpongeBob Movie: Sponge out of Water”
“Teamwork” from “The SpongeBob Movie: Sponge out of Water”
“Who Can You Trust” from “Spy”
“Came To Win” from “Sweet Micky for President”
“Mean Ol’ Moon” from “Ted 2
“Love Was My Alibi” from “The Water Diviner”
“Fine On The Outside” from “When Marnie Was There”
“Simple Song #3” from “Youth”

Song of the Day: Big Empty (by Stone Temple Pilots)


720x405-Scott2

Tonight the music world found out that Stone Temple Pilots and Velvet Revolver frontman Scott Weiland passed away at the age of 48 while on tour in Minnesota.

The years after graduating from high school was a chaotic time for me. not knowing what role I had for myself moving forward and afraid of the world beyond the regimented, secured, but understood confines of high school. While I enjoyed the freedom of being a young adult after graduating in the summer of 1991 the reality of it all was that I wasn’t that far removed from still being a teenager a couple years later.

I call these my adrift years.

From this time in my life I was drawn to the music that every young adult trying to leave his teen years behind. Whether it was hip-hop, metal and, the genre of the era, grunge, I was listening to it. While I wasn’t as huge a fan of grunge as the rest of my contemporaries of the time I did gravitate to a couple of the titans of the genre: Soundgarden and Stone Temple Pilots.

It was with Stone Temple Pilots that I was introduced to one of my favorite frontman of my Adrift Years: Scott Weiland.

Weiland encompassed not just the brooding, alienation that made grunge such a popular genre of music during the 1990’s but also had a touch of the wild and dangerous aspect of what made rock frontmen so-called Rock Gods. He was the Axel Rose of grunge. An enormously talented vocalist, but one who was also scandal-bound with his off-stage drug use and self-destructive behavior.

Scott Weiland helped make those years adrift during the early 1990’s with his singing. It’s a shame and a loss to the music world that like other rock legends before him his early years battling his inner demons would take him away too soon.

Nothing epitomizes who Scott Weiland was to me better than the song “Big Empty” which was the first single off of their second album Purple.

Big Empty

drivin’ faster in my car
falling farther from just what we are
smoke a cigarette and lie some more
these conversations kill
falling faster in my car

time to take her home
her dizzy head is conscience laden
time to take a ride
it leaves today no conversation
time to take her home
her dizzy head is conscience laden
time to wait too long
to wait too long
these conversations kill

to much walkin’, shoes worn thin
too much trippin’ and my soul’s worn thin
time to catch a ride
it leaves today, her name is what it means
to much walkin’, shoe’s worn thin

Song of the Day: The Leaving/The Search from Conan the Barbarian (by Basil Poledouris)


Conan the Barbarian OST

Composer Basil Poledouris crafted one of cinema’s most powerful and enduring scores for John Milius’s Conan the Barbarian. His sweeping orchestral sound defines the film’s mythic tone, giving the story its emotional depth and sense of destiny.

From the first track, “Anvil of Crom”, Poledouris sets the stage with thunderous brass and relentless percussion — a musical invocation of strength and survival that announces the film’s world of gods, warriors, and fate.

Today’s selection, “The Leaving/The Search”, accompanies Conan’s departure into exile and his first steps toward vengeance. The piece moves with controlled majesty — its somber strings and noble themes capturing both the loneliness and courage inherent in his quest. It’s music that transforms the hero’s physical journey into a spiritual pilgrimage.

Other unforgettable themes include “Orphans of Doom/The Awakening” and “Atlantean Sword”, each echoing the film’s blend of melancholy and grandeur. Yet it’s “The Leaving/The Search” that best represents the score’s heart — a reflection of loss and perseverance wrapped in orchestral beauty.

Poledouris doesn’t just score a fantasy adventure — he gives it a sense of history and feeling that makes it linger long after the credits roll. His work turns Conan the Barbarian into more than a sword-and-sand saga; it’s a story that feels legendary in its own rough-edged, heartfelt way.

Song of the Day: Song of Fanservice (from Binbougami ga!)


Latest “Song of the Day” comes from episode 11 of the ecchi anime series Binbougami ga! and comes at the very end. It’s simply called the “Song of Fanservice”. It’s a very brief song but one that goes straight to the point. It has been picked up by fans of the fanservice as the anthem that best describes why ecchi anime series are so beloved by many anime fans worldwide.

So, with this brief detour from all things horror, I present to you “Song of Fanservice” from Binbougami ga! and let your fanservice flag fly.

Horror Song of the Day: Thriller (by Michael Jackson)


Thriller

What better way to end another month of horror here at Through the Shattered Lens than with a showing a the greatest music video ever made (not even a contest or a question). No matter what one’s personal opinion of Michael Jackson as a person there’s no denying the genius talent the man had and this video just speaks to the horror fan even if one was not into his music.

It has a werewolf (though here it’s a werecat), 50’s horror trope of the girl in distress, zombies, John Landis directing, Vincent Price with one of the best spoken word performance in a music video…and did I say zombies courtesy of make-up FX guru Rick Baker.

A music video that was more a short film plus horror musical, Thriller would become a cultural phenomenon that spread across the globe. It didn’t matter whether one lived in the US or the furthest corner of Mongolia. Everyone saw and enjoyed this music video. Even it’s detractors could only nitpick flaws from the final product.

Oh yeah, it has ZOMBIES!

Hope everyone had a great, happy and safe Halloween!

Thriller

It’s close to midnight, and something evil’s lurkin’ in the dark
Under the moonlight, you see a sight that almost stops your heart
You try to scream, but terror takes the sound before you make it
You start to freeze, as horror looks you right between the eyes
You’re paralyzed

‘Cause it’s a thriller, thriller night
And no one’s gonna save you from the beast about to strike
You know it’s thriller, thriller night
You’re fighting for your life inside a, killer, thriller tonight, yeah

You hear the door slam, and realize there’s nowhere left to run
You feel the cold hand, and wonder if you’ll ever see the sun
You close your eyes, and hope that this is just imagination
Girl, but all the while, you hear a creature creepin’ up behind
You’re outta time

‘Cause it’s a thriller, thriller night
There ain’t no second chance against the thing with the forty eyes, girl
(Thriller, thriller night)
You’re fighting for your life inside a killer, thriller tonight

Night creatures call and the dead start to walk in their masquerade
There’s no escaping the jaws of the alien this time
(They’re open wide)
This is the end of your life

They’re out to get you, there’s demons closing in on every side (boom!)
They will possess you, unless you change that number on your dial
Now is the time, for you and I to cuddle close together, yeah
All through the night, I’ll save you from the terror on the screen
I’ll make you see

That it’s a thriller, thriller night
‘Cause I can thrill you more than any ghoul would ever dare try
(Thriller, thriller night)
So let me hold you tight and share a killer, diller, chiller thriller here tonight

‘Cause it’s a thriller, thriller night
Girl, I can thrill you more than any ghoul would ever dare try
(Thriller, thriller night)
So let me hold you tight and share a (Killer, thriller)

I’m gonna thrill you tonight

(Vincent Price voiceover)

“Darkness falls across the land
The midnight hour is close at hand
Creatures crawl in search of blood
To terrorize your neighborhood
And whosoever shall be found
Without the soul for getting down
Must stand and face the hounds of hell
And rot inside a corpse’s shell”

I’m gonna thrill you tonight
(Thriller, thriller)
I’m gonna thrill you tonight
(Middle of the night, thriller)
I’m gonna thrill you tonight
Ooh, babe, I’m gonna thrill you tonight
Middle of the night, babe

(Vincent Price voiceover)

“The foulest stench is in the air
The funk of forty-thousand years
And grizzly ghouls from every tomb
Are closing in to seal your doom
And though you fight to stay alive
Your body starts to shiver
For no mere mortal can resist
The evil of the thriller”

Horror Song of the Day: Bad Moon Rising (by Creedence Clearwater Revival)


BadMoonRising

The song itself doesn’t sound very much like horror. It’s got the down home country rock, but listening to the lyrics it’s very much belongs with any song full of doom, gloom and horror. It may be down home country with toe-tapping melody, but make no mistake the latest “Song of the Day” is quite horrific when one listens to it carefully.

I’m talking about Creedence Clearwater Revival’s 1969 hit “Bad Moon Rising”.

One of the singles to come out of their classic Green River album, “Bad Moon Rising” is all about the titular bad moon on the rise. A sign of a bad omen or, if one was to take things to the extreme, of an impeding doom. The lyrics to the song speaks of natural disasters, catastrophic events and just about anything bad that would kill you the moment you step out onto the streets.

It’s a song of existential horror as it points out that no matter what we do there’s no preventing the infinite ways that Death can just come in and take one’s life. It’s quite the nihilistic tune and one that fits in well with Through the Shattered Lens horror-themed month.

Bad Moon Rising

I see a bad moon rising.
I see trouble on the way.
I see earthquakes and lightning.
I see bad times today.

Don’t go around tonight,
Well, it’s bound to take your life,
There’s a bad moon on the rise.

I hear hurricanes a-blowin’.
I know the end is comin’ soon.
I feel rivers overflowin’.
I hear the voice of rage and ruin.

Don’t go around tonight,
Well, it’s bound to take your life,
There’s a bad moon on the rise.
Alright!

Hope you got your things together.
Hope you are quite prepared to die.
Looks like we’re in for nasty weather.
One eye is taken for an eye.

Well, don’t go round tonight,
Well, it’s bound to take your life,
There’s a bad moon on the rise.

Don’t come around tonight,
Well, it’s bound to take your life,
There’s a bad moon on the rise.

Horror Song of the Day: Penny Dreadful Theme (by Abel Korzeniowski)


penny-dreadful-logo-penny-dreadful-new-posters-and-a-new-character-trailer

It’s that time of the year. It’s October here in Through the Shattered Lens and that means one thing: horror-theme month.

October has become a sort of favorite month for us over here at Through the Shattered Lens. While other genres and topics will be posted and and get their time in the sun, this month always brings the site back to the shadows and things that made us fear the dark. Horror has been a common thing which drew Lisa and I to continue the site from it’s fledgling early months to going on almost 6 years.

I’d like to start my contribution to all-things horror by introducing those who haven’t experienced one of the best shows on TV which also has one of the most unique horror theme’s on either big or small screen.

The theme for Showtime’s Penny Dreadful was composed by Abel Korzeniowski. It’s a theme that gives an audience of hint at the show’s Victorian Age gothic setting with just the right amount of dark romance and psychological themes the show has become famous for.

So, here’s the latest “Song of the Day” set for the witching hour.

Song of the Day: Ashokan Farewell (by Jay Unger & Molly Mason)


Ashokan Farewell

It was in the Fall of 1990 when I first heard of the latest Song of the Day. It was during Ken Burns’ excellent The Civil War documentary series on PBS where I heard Ashokan Farewell.” This haunting “Scottish Lament” by Jay Unger and Molly Mason made Burns’ documentary on the U.S. Civil War feel more alive instead of just another academic exercise on learning one of the pivotal events in U.S. history.

The song became an instant classic the moment it started playing during the series. Ken Burns’ loved the song so much that he used it several times (25 times officially) during the 11-hour running times of the series. Each time it played the song evoked strong emotions from all who heard it, but none moreso than when it was the accompanying music for a reading of a Union Major Sullivan Ballou to his wife prior to the start of the First Battle of Bull Run. Even the most critical viewer of Ken Burns’ documentary sees this sequence and the accompanying Ashokan Farewell” a major reason why this series became an instant classic and continues to be the standard bearer of how a documentary should be done and done well.

Song of the Day: Turn the Page (Metallica)


MetallicaTurnthePage

Through good times and bad I have always been a huge fan and follower of Metallica. Even as they foolishly went off track following the path Bob Rock set for them throughout most of the 1990’s through the disastrous St. Anger debacle as they tried to return to their earlier sound, I have always followed this band which made up the original Big 4 of thrash metal (Metallica, Anthrax, Slayer and Megadeth).

It was on their 1998 cover album, Garage Inc., that the band released one of their most popular songs. It wasn’t an original, but a cover of the classic Bob Seger hard rock song about the hard road and life of a musician. Seger’s “Turn the Page” is just one of those hard rock tunes that latches onto the listener and forces them to listen and understand. Most such songs tend to be quite pretentious with nothing much to say once the listener really pays attention. The same cannot be said about Seger’s song.

Metallica decided to cover this song for their Garage Inc. album which was all about them covering their own favorite hard rock and metal songs of the past. While Metallica kept the original’s tempo, they added their own heavier and harder edge to song that straddles the line between hard rock and heavy metal. Even James Hetfield’s alcohol and cigarette ravaged vocals lent a sense of the hard road and life the track sings about.

The biggest change from the Seger song to Metallica’s cover has to be the accompanying music video which still remains one of the most controversial in MTV’s music video history (well, when they still played music videos). Seger’s song was released in 1973 when the concept of music video was nonexistent. With Metallica’s cover it was almost a guarantee that it would get a music video and what a video it was and still is.

The video was directed by Jonas Akerlund who had made a name for himself directing some of the most creative and innovative music videos of the day. His take on the song switches from a musician’s hard road and life on the road to that of a single mother trying to make ends meet as an erotic dancer by day and a prostitute by night to provide for her young daughter. The video was banned from receiving any sort of airplay on MTV as it dealt and showed the disturbing side of such a life. The fact that the tamer version of the video (below) still couldn’t make it on the airwaves just showed how much more haunting and controversial the uncensored version turned out to be.

Turn the Page

On a long and lonesome highway,
East of Omaha
You can listen to the engines
Moanin’ out it’s one note song
You can think about the woman,
Or the girl you knew the night before
But your thoughts will soon be wanderin’,
The way they always do
When you’re ridin’ 16 hours,
And there’s nothin’ much to do
And you don’t feel much like ridin’,
You just wish the trip was through

(Chorus)

Here I am, on the road again,
There I am, up on the stage
There I go, playin’ star again,
There I go, turn the page

So you walk into this restaurant,
All strung out from the road
And you feel the eyes upon you,
As you’re shakin’ off the cold
You pretend it doesn’t bother you,
But you just want to explode
Yeah, most times you can’t hear ’em talk,
Other times you can

All the same old cliches,
Is it woman, is it man
And you always seem outnumbered,
You don’t dare make a stand
Make your stand

(Chorus)
Ah But here I am, on the road again,
There I am, up on the stage
Here I go, ah playin’ star again,
There I go, turn the page
Woah

Out there in the spotlight,
You’re a million miles away
Every ounce of energy,
You try and give away
As the sweat pours out your body,
Like the music that you play

Later in the evenin’,
As you lie awake in bed
With the echoes of the amplifiers,
Ringin’ in your head
You smoke the day’s last cigarette,
Rememberin’ what she said

What she said

Yeah, and here I am,
On the road again,
There I am, up on that stage
Here I go, playin’ star again,
There I go, turn the page
And there I go, turn that page

There I go, yeah, Here I go, yeah, yeah
There I go, yeah, Here I go, yeah
Here I go, There I go
And I’m gone

Song of the Day: X Gon’ Give It to Ya (by DMX)


DMX

So, after weeks of waiting we finally got the trailer for the Deadpool live-action film set to release on February 2016. I’m sure that people will be flocking to Youtube to look up two songs that were featured during the trailer. The latest “Song of the Day” comes courtesy of the second song in the trailer and a classic hip-hop track of the early 2000’s.

DMX was what one would call a giant of hip-hop when he first entered the scene in 1998 and dominated the hip-hop landscape in the next five year with five albums that debuted No. 1 in the charts. His presence and charisma was such that even Hollywood even came calling and DMX starred in several action flicks. It’s from his 2003 film Cradle 2 the Grave that our featured song comes from.

“X Gon’ Give It to Ya” was part of the soundtrack to Cradle 2 the Grave. Whether one actually thought the film was any good would be up for debate. Now the song itself was a hit and continued to cement DMX as the hardest and most recognizable voice in hip-hop at the time. Other rappers made more money. Others were more socially aware. Yet, when it came to just an all-out lyrical assault on listeners DMX still reigned supreme.

X’ Gon Give It to Ya

Arf arf, yeah, uh, yeah (Grr)
Yeah, uh (Grr)
Yeah, don’t get it twisted
This rap shit is mine, motherfucker
It’s not a fuckin’ game
Fuck what you heard, it’s what you hearin’ (What you hearin’)
It’s what you hearin’ (Listen)
It’s what you hearin’ (Listen)
It’s what you hearin’ (Listen)

X gon’ give it to ya (What?)
Fuck waitin’ for you to get it on your own
X gon’ deliver to ya
Knock knock, open up the door it’s real
With the non-stop pop-pop of stainless steel
Go hard gettin’ busy wit it
But I got such a good heart
That I’ll make a motherfucker wonder if he did it
Damn right, and I’ll do it again (Yeah)
‘Cause I am right, so I gots to win
Break bread with the enemy (What?)
No matter how many cats I break bread with
I’ll break who you sendin’ me (Yeah!)
You motherfuckers never wanted nothin’ but your life saved
Bitch, and that’s for the light day
I’m gettin down, down, make a nigga say “freeze!”
But won’t be the one endin’ up on his knees, bitch please!
If the only thing you cats did was came out to play
Stay out my way motherfucker

First we gonna rock, then we gonna roll
Then we let it pop, don’t let it go (What?)
X gon’ give it to ya, he gon’ give it to ya
X gon’ give it to ya, he gon’ give it to ya
First we gonna rock, then we gonna roll
Then we let it pop, don’t let it go
X gon’ give it to ya, he gon’ give it to ya
X gon’ give it to ya, he gon’ give it to ya

Ain’t never gave nothin’ to me
But every time I turn around
Cats got they hands out wantin’ somethin’ from me
I ain’t got it so you can’t get it (Yeah!)
Let’s leave it at that ’cause I ain’t wit it (Yeah!)
Hit it wit full strength, I’m a jail nigga
So I face the world like it’s Earl in the bullpen
You against me, me against you
Whatever, whenever, nigga, the fuck you gon’ do?
I’m a wolf in sheep’s clothin’ (What?)
Only nigga that you know that can chill
Come back and get the streets open
I’ve been doing this for nineteen years (What?)
Niggas wanna fight me? Fight these tears (What?)
I put in work and it’s all for the kids
But these cats done forgot what work is (Uh-huh!)
They don’t know who we be (Lookin’!)
But they don’t know who they see, nigga!

First we gonna rock, then we gonna roll
Then we let it pop, don’t let it go (What?)
X gon’ give it to ya, he gon’ give it to ya
X gon’ give it to ya, he gon’ give it to ya (C’mon)
First we gonna rock, then we gonna roll
Then we let it pop, don’t let it go (C’mon)
X gon’ give it to ya, he gon’ give it to ya
X gon’ give it to ya, he gon’ give it to ya

Ayo where my niggas at?
I know I got them down in the game
Give ’em love and they give it back
Talk too much for too long (What?)
Don’t give up, you’re too strong (What?)
Dog to the wow wow hunnies (Yeah!)
Shoutout to niggas that done it (C’mon!)
And it ain’t even about the dough
It’s about gettin’ down for what you stand for, yo

First we gonna rock, then we gonna roll
Then we let it pop, don’t let it go (C’mon)
X gon’ give it to ya, he gon’ give it to ya
X gon’ give it to ya, he gon’ give it to ya (C’mon)
First we gonna rock, then we gonna roll
Then we let it pop, don’t let it go (C’mon)
X gon’ give it to ya, he gon’ give it to ya
X gon’ give it to ya, he gon’ give it to ya (C’mon)
First we gonna rock, then we gonna roll
Then we let it pop, don’t let it go (C’mon)
X gon’ give it to ya, he gon’ give it to ya
X gon’ give it to ya, he gon’ give it to ya (C’mon)

C’mon
Uh, uh
C’mon