Category Archives: Song of the Day

Song of the Day: Black (by Kari Kimmel)

Posted on by Arleigh

Time for a quick “Song of the Day”. This time the song chosen is courtesy of Kari Kimmel and her country-inspired song “Black”.

The song could be recently heard as part of the San Diego Comic-Con exclusive Season 3 trailer for AMC’s The Walking Dead. It begins playing a little past the halfway mark in the trailer as David Morrissey’s character of the governor introduces both Michonne and Andrea to the safe haven that is Woodbury. As fans of the comic book will attest to this town of Woodbury becomes a major player in the original comic book source and should remain as important in the upcoming season.

I’ve never heard of Kari Kimmel until I heard this song played as part of the trailer, but that’s the great thing about music. One never knows when one will discover something great to listen to and the country-blues sound of Kimmel’s song is right up my alley when it comes to what I enjoy listening to.

Black

when everything has turned to black
you don’t know where to go
you need something to justify your soul

silences are broken
confidence is gone
when everything you’re holdin onto falls

(yeah)

every body’s selling truths
on every corner now
they wait until fear has knocked you down

all the rules are changin now
you’re livin in sin
everything around you’s cavin in

and all you hold onto’s slipping
like water through your hands…

BREAK

CHORUS
And you sing- lalala, lalala, lalala

far off in the distance
somewhere you can’t see
allegences have formed your destiny

opposition all around
feedin off your soul
trying hard to swallow up your hope

and demons all around you waiting
for you to sell your soul

CHORUS
they’re singin- lalala, lalala, lalala

Song of the Day: An End, Once and For All from Mass Effect 3 (by Clint Mansell & Sam Hulick)

Posted on by Arleigh

Earlier this year we saw the release of the final entry in BioWare’s epic space opera video game series with Mass Effect 3. The initial response to this game was a near-unanimous critical praise and acclaim. Yet, as people finished the game a very vocal group of gamers and fans of the series were more than just a tad disappointed with how their favorite series came to an end. The venom and hate that poured from an ending that didn’t seem to cater to how these gamers thought the series would end became so loud that BioWare did something unexpected. The company, especially it’s founders and head honchos, decided to amend the ending to the game with a downloadable content that just came out in the last week or so. It was content that expanded on the ending to the game. It wasn’t enough to placate and satisfy those who felt betrayed by BioWare, but for some who did complain the ending was a good enough expansion to the game’s original ending that, while not all was forgiven, BioWare helped themselves in repairing the rift which grew between company and fan-base.

Let’s just say that I wasn’t one of those who complained about the ending. I thought it was sublime and the ending I chose fit in well with how I saw the game ultimately should’ve ended with how I had chosen my character to act, talk and behave throughout the three games in the series.

It’s from the recent Mass Effect 3 Extended Cut DLC that I pick the latest “Song of the Day”. It’s the song the piece of orchestral score which plays through all the three original endings but extended beyond the original version of the score that ended abruptly. “An End, Once and For All” extends in this new version for a much more dramatic and satisfying end to a series that I consider one of the best gaming experiences I’ve ever had in over three decades.

I give much thanks to the game’s two orchestral composer in Clint Mansell whose contribution could be heard in the beginning of this chosen score. Sam Hulick adds his own voice to the score as the music moves toward an epic crescendo which finishes the song.

SPOILER

SPOILER

SPOILER

If you want to witness why I thought the Synthesis Choice was the ending that made sense then watch the video below.

Song of the Day: Smoke Without Fire

Posted on by Lisa Marie Bowman

How much do I love the 2009 film An Education?

I love it so much that I once unfollowed someone on twitter when he said that he hated it.  And even though I eventually refollowed the guy, it was on the condition that he rewatch An Education and fall in love with the film.  Unfortunately, shortly after he promised to do just that, he announced that he felt that Rooney Mara was a better Girl with the Dragon Tattoo than Noomi Rapace and I had to unfollow him and his xenophobic film criticism.  So, I’m not sure if he’s rewatched An Education but I doubt it.

As you may have guessed, I love An Education.  It’s one of my favorite films of the past few years.  The rest of you can have your Rooney Mara and your Avatar.  I’m more than happy to watch and rewatch An Education, thank you very much.

Today’s song of the day plays over the end credits of An Education and, with its retro feel and smoky lyrics, it provides a perfect ending to a great film.  Performed by Duffy and written by Duffy and Bernard Butler, Smoke Without Fire is the song of the day for June 29th, 2012.

Song of the Day: How You Like Me Now? (Performed by The Heavy)

Posted on by Lisa Marie Bowman

Today has not been a good day to be an asthmatic.  Along with a high temperature in the triple digits, the air is full of all sorts of evil things that all seem to serve little purpose beyond inspiring me to reach for my inhaler. 

On a miserable day like this, it only seems appropriate to make one of my favorite songs of all time the song of the day.

Ever since I first heard it used in a commercial featuring a Sock Monkey taking a road trip to Las Vegas with his friends, the robot and the weird red thing, I have been in love with the song How You Like Me Now?  As performed by the British band The Heavy, How You Like Me Now is one of those songs that always makes me smile.  The easiest way to get me excited about seeing a film is to include this song in the film’s ad campaign.  Perhaps that explains why it’s shown up in trailers for everything from Faster to the Change-Up to the upcoming Ted.

For me, David O. Russell made perfect use of this song in his Oscar-nominated film The Fighter.  Who can forget the sight of Christian Bale and Mark Wahlberg strutting through the streets of Lowell while this song played on the soundtrack?  It was an iconic scene, featuring an iconic song and I loved it.

Song of the Day: Escape from New York – Main Theme (by John Carpenter)

Posted on by Arleigh

Just got back from watching what one would call a revisionist historical film (though I would also call it a speculative fiction) called Abraham Lincoln: Vampire Hunter. Such fiction have always caught my interest. Maybe it’s the use of historical fact as the backdrop for fantastical fiction (horror, sci-fi, fantasy, etc…) that makes them fun to read and/or watch. Most tend to be average to awful, but once in awhile something great happens to come along. My latest “Song of the Day” comes from one of the great speculative fiction there is and also one of my favorite films ever: John Carpenter’s Escape from New York.

The “Main Theme” to this cult-classic is considered one of the most iconic piece of film score for a sci-fi/action film there is. The moment the synthesizer-based notes begin to play into the thumping bass line intro people know exactly what film it belongs to. It’s a testament to the creative genius that is John Carpenter that we have such a great piece of music. He didn’t just write and direct the film. He also composed the film’s score (with help from Alan Howarth) which contains the trademark synthesizer-heavy music Carpenter has made his trademark style for most of the films he’s worked on.

Song of the Day: Wicked Game (by Chris Isaak)

Posted on by Arleigh

With the return of True Blood with a new season on HBO over the weekend meant the return of Jace Barrett’s theme song for the show. “Bad Things” is the theme song that almost everyone knows now whether they like the show or not. It’s a sexually suggestive and charged country song that also doesn’t rely on vulgar lyrics. The fact that it’s a country song is quite a surprise. But that’s not the song I picked for latest “Song of the Day”. Nope, the song I’ve chosen is what I’d call the precursor to the True Blood theme song: Chris Isaak’s “Wicked Game”.

This song was originally released in 1989 as part of Isaak’s Heart Shaped World album, but didn’t reach pop hit status until it was chosen to become part of David Lynch’s Wild at Heart film in 1990. Constant request and radio airplay put the song into top ten hit status in early 1991 and it’s become one of those so-called “sexiest songs list” people tend to create. It’s a label that’s well-earned especially with the accompanying Herb Ritt’s directed black-and-white video starring Chris Isaak and supermodel Helena Christensen rolling around topless on the sand and surf of the beach setting.

I’ve always thought of this song as one of those everyone man should have in their playlist at their place. It’s a song that’s definitely earned the title of “song to close the deal”.

Wicked Game

The world was on fire and no one could save me but you.
It’s strange what desire will make foolish people do.
I never dreamed that I’d meet somebody like you.
And I never dreamed that I’d lose somebody like you.

No, I don’t want to fall in love (This world is only gonna break your heart)
No, I don’t want to fall in love (This world is only gonna break your heart)
With you (This world is only gonna break your heart)

What a wicked game to play, to make me feel this way.
What a wicked thing to do, to let me dream of you.
What a wicked thing to say, you never felt this way.
What a wicked thing to do, to make me dream of you and,

I want to fall in love (This world is only gonna break your heart)
No, I want to fall in love (This world is only gonna break your heart)
With you.

The world was on fire and no one could save me but you.
It’s strange what desire will make foolish people do.
I never dreamed that I’d love somebody like you.
And I never dreamed that I’d lose somebody like you,

No, I want to fall in love (This world is only gonna break your heart)
No, I want to fall in love (This world is only gonna break your heart)
With you (This world is only gonna break your heart)
No, I… (This world is only gonna break your heart)
(This world is only gonna break your heart)

Nobody loves no one.

Song of the Day: Faster (by Within Temptation)

Posted on by Arleigh

To help usher in the weekend I picked a new “Song of the Day” and this one comes from one metal band I’ve come to really enjoy listening to. The song I picked this time around is “Faster” by the Dutch symphonic/gothic metal band Within Temptation.

First off, this is the second time I’ve picked one of their songs for “Song of the Day.” A previous pick was “A Demon’s Fate” which also came from the same album as today’s pick and also one that was used on one of my favorite AMV in “Devil’s Game.” Just like that previous “Song of the Day” this latest pick of “Faster” was also used in a recent AMV that I had posted a couple months ago called “Fairytale of Lies”. Both songs make great use of the fast guitar tempo reminiscent of thrash meta that also makes use of some elements found in symphony orchestras to give the song that epic sound commonly found in power metal, but with a much more hard rock tempo.

“Faster” just takes off and soars from Sharon del Adel’s mezzo-soprano vocals that’s become the staple sound for most symphonic gothic metal bands. Sharon just belts out the lyrics like they’re coming out of the depths of Hell or coming down from the heights of Heaven. She’s not just a pretty face and with both “Faster” and “A Demon’s Fate” she’s proven to be one of the best female metal vocalists out there.

Faster

I can’t see, ’cause it’s burning deep inside
Like gasoline, a fire running wild
No more fear ’cause I’m getting closer now
So unreal, but I like it anyhow

I go faster and faster and faster and faster and faster and faster and faster

I can’t live in a fairy tale of lies
And I can’t hide from the feeling ’cause it’s right
And I go faster and faster and faster and faster for life
I can’t live in a fairy tale of lies

I can feel that you mesmerize my heart
I feel so free, I’m alive, I’m breaking out
I won’t give in ’cause I’m proud of all my scars
And I can see I’ve been wasting too much time

I go faster and faster and faster and faster and faster and faster and faster

And I can’t life in a fairy tale of lies
And I can’t hide from the feeling ’cause it’s right
And I go faster and faster and faster and faster for life
I can’t live in a fairy tale of lies

And I can’t live in a fairy tale of lies
And I can’t hide from the feeling ’cause it’s right
And I go faster and faster and faster and faster for life
And I can’t live in a fairy tale of lies

A fairy tale of lies

Song of the Day: The Outlaw Torn (by Metallica and S.F. Symphony)

Posted on by Arleigh

The latest entry in my “Song of the Day” feature is from one of my favorite bands ever, Metallica, and from one of their live albums: “The Outlaw Torn” feat. the S.F. Symphony Orchestra.

This song was part of their 6th album, Load, and was picked by classical composer Michael Kamen to become part of the set list for the band’s live collaboration with the S.F. Symphony Orchestra. One of these days I’ll review that live album with all its great entries and some so-so ones, but for now it’s all about “The Outlaw Torn” and how the band’s attempt at trying a hard rock sound instead of their original thrash metal beginnings ended up becoming pretty great once paired with a full symphony orchestra adding their own voices to the song.

Unlike some of the other songs picked for the S&M album (as this one was called Symphony & Metallica), this particular track benefited from the added melodies and arrangements that only ranks upon ranks of strings, brass and percussion sections an orchestra could bring to the table. The orchestra didn’t just mimic the very sound and notes the band was playing but added different layers of sounds and with this song one could hear those additions.

This version of “The Outlaw Torn” gets continuous play on my computer and iPhone that I know by memory just when certain sections of the orchestra comes in and just what sort instruments would be coming in. It’s that good.

The Outlaw Torn

And now I wait my whole lifetime
For you
And now I wait my whole lifetime
For you

I ride the dirt I ride the tide
For you
I search the outside search inside
For you

To take back what you left me
I know I’ll always burn to be
The one who seeks so I may find
And now I wait my whole lifetime

My whole lifetime
My whole lifetime
My whole lifetime
And I’m torn

So long I wait my whole lifetime
For you
So long I wait my whole lifetime
For you

The more I search the more my need
For you
The more I bless the more I bleed
For you

You make me smash the clock and feel
I’d rather die behind the wheel
Time was never on my side
So long I wait my whole lifetime

My whole lifetime
My whole lifetime
My whole lifetime
And I’m torn

HEAR ME
And if I close my mind in fear
Please pry it open

SEE ME
And if my face becomes sincere
Beware

HOLD ME
And when I start to come undone
Stitch me together

SEE ME
And when you see me strut
Remind me of what left this outlaw torn

HEAR ME
And if I close my mind in fear
Please pry it open

SEE ME
And if my face becomes sincere
Beware

HOLD ME
And when I start to come undone
Stitch me together

SEE ME
And when you see me strut
Remind me of what left this outlaw torn

Song of the Day: The Avengers (by Alan Silvestri)

Posted on by Arleigh

To say that Marvel Studios’ The Avengers has become a hit sensation since it’s release this weekend would be an understatement of cosmic proportions. I think almost everyone has seen it or, if that’s not the case, then there was a lot of people who saw it multiple times (guilty of seeing it twice over a 24-hour period). People were amazed by the action, spectacle, comedy and everything in-between. One thing that really stuck to me was the theme for the team itself. It’s that theme which I’ve chosen as the latest “Song of the Day”.

“The Avengers” theme was composed by noted and veteran film score composer Alan Silvestri (he was also instrumental in composing the very good film score for 2011’s Captain America). While I thought that Silvestri’s score for the whole film was quite good it was the theme for the group that stood out best. It had hints of the old-school heroic them from Captain America but within an overarching sound that didn’t denote a singular hero but a team coming together as a group of heroes.

One thing that rarely gets used in such heroic themes (at least haven’t been utilized of late) would be the French Horn section. In this theme they’re used to great effect and, to be honest, it’s the best use of French Horns in a film score since Basil Poledouris used it to great effect in his classic soundtrack to Conan the Barbarian. In fact, I’d say that this theme wad primarily all about the French Horns being backed up by the other sections of the orchestra. If one doesn’t know what a French Horn sounds like will hear it at it’s most epic around the 1:10 mark of the video. Now those are epic notes.

Now I go back to listening to this track while I continue to gather my thoughts for a review of this film.

Song of the Day: House of the Rising Sun (by The Animals)

Posted on by Arleigh

The night is growing late and to close it out I’ve chosen a new “Song of the Day” and it’s an all-time blues-rock classic from the 60’s.

Even if one wasn’t a fan of rock from the 1960’s they still would recognize the biggest hit ever released by the British blues-rock band The Animals with their 1964 hit, “House of the Rising Sun”. The weren’t the first band or musicians to have sung the song. No one truly knows the origin of the song, but music luminaries such as Bob Dylan, Woody Guthrie, Lead Belly, Joan Baez and Nina Simone were just a few to have covered it. It would be The Animals version which would live on as the one best remembered.

The song doesn’t just have the soulful cadence of classic blues, but has lyrics that show’s the band’s folk rock influences. It became part of the British Invasion of the United States during the 60’s when rock bands from them to The Beatles, The Rolling Stones right up to The Yardbirds would dominate American airwaves. The Animals would cement their place amongst these giants with this single. One thing which really powered this song through the juggernaut that was The Beatles would be the powerful vocals by frontman Eric Burdon matched with the keyboard playing of Alan Price.

“House of the Rising Sun” by The Animals continues to entertain fans old and new and still one of the best songs to come out during the 1960’s.

House of the Rising Sun

There is a house in New Orleans
They call the Rising Sun
And it’s been the ruin of many a poor boy
And God I know I’m one

My mother was a tailor
She sewed my new bluejeans
My father was a gamblin’ man
Down in New Orleans

Now the only thing a gambler needs
Is a suitcase and trunk
And the only time he’s satisfied
Is when he’s on a drunk

[Organ Solo]

Oh mother tell your children
Not to do what I have done
Spend your lives in sin and misery
In the House of the Rising Sun

Well, I got one foot on the platform
The other foot on the train
I’m goin’ back to New Orleans
To wear that ball and chain

Well, there is a house in New Orleans
They call the Rising Sun
And it’s been the ruin of many a poor boy
And God I know I’m one