Much as with yesterday’s song of the day, there’s no great or secret reason why I selected Scream & Shout. It’s a fun song and great to dance to and what more can you really ask?
When I’m at work, I’m always tempted to answer the phone with, “It’s Lisa, bitch.”
I could offer up a lot of reasons why Sleigh Bells’ Crown On The Ground is today’s song of the week.
I could say that it’s because the Holiday Season is upon us and what better time to feature a song performed by Sleigh Bells.
I could also point out that this song is prominently featured in The Bling Ring.
But, ultimately, the main and most important reason is that I just happen to like the song.
Today is the date that will forever become a date of remembrance for me and my family.
My father, Fernando Sandoc, passed away after losing his battle with cancer. He’s been a huge influence in my taste in music. I remember listening to him when I was younger singing songs by Frank Sinatra, Dean Martin to The Beatles, Tom Jones, The Temptations right up to The Eagles and Elvis Presley. His was an eclectic taste in music, but one that I didn’t appreciate at a young age.
Yet, as I grew older I began to listening to the very same bands and singers and really become fans of them as well. It was one of many ways he and I bonded throughout the years. This was especially true as I grew into adulthood.
One song which always stood out for me was of the Sammy Davis, Jr. song “Ive Gotta Be Me”.
I remember him singing this song with as much enthusiasm and vigor as Sammy himself. It became a sort of anthem (in addition to Frank Sinatra’s “My Way” which was another favorite of his and mine) as if he tried to live his life just how the lyrics spelled them out. I can’t say whether he succeeded or not, but he definitely lived his life “his way” and remained to being true to himself.
He and those he called his closest friends were lived to be their very own Rat Pack.
So, I shall be forever grateful for having such a loving, understanding father and a great friend and mentor who will remain eternal as I take up the mantle he has finally set down to rest.
I’ve Gotta Be Me
Whether I’m right or whether I’m wrong
Whether I find a place in this world or never belong
I gotta be me, I’ve gotta be me
What else can I be but what I am
I want to live, not merely survive
And I won’t give up this dream
Of life that keeps me alive
I gotta be me, I gotta be me
The dream that I see makes me what I am
That far-away prize, a world of success
Is waiting for me if I heed the call
I won’t settle down, won’t settle for less
As long as there’s a chance that I can have it all
I’ll go it alone, that’s how it must be
I can’t be right for somebody else
If I’m not right for me
I gotta be free, I’ve gotta be free
Daring to try, to do it or die
I’ve gotta be me
I’ll go it alone, that’s how it must be
I can’t be right for somebody else
If I’m not right for me
I gotta be free, I just gotta be free
Daring to try, to do it or die
I gotta be me
In continuing the horror detox from this past month we bring to you one of the more fun film music from this past summer’s slew of blockbusters. The latest “Song of the Day” comes courtesy of Brian Tyler’s score for Shane Black’s Iron Man 3.
The first two Iron Man films had their score composed by Ramin Djawadi and John Debney, respectively. The first score was considered one of the finer efforts in the Marvel Cinematic Universe film scores. Djawadi brought a much needed fun tone to set-up the wise-ass persona of billionaire, playboy genius Tony Stark. It also had a very metal and hard rock component to it’s sound that put into the forefront that this was Iron Man.
The second film’s score by John Debney wasn’t as well-received by fans and critics alike. Which just goes to show just how much of a misfire the middle film in the trilogy was. It tried to build on what Djawadi did in the first score, but ended up becoming just a derivative version that brought nothing new to the Tony Stark series.
Now this third film brings a new film composer in Brian Tyler who has had some experience in scoring big-budget spectacles and he doesn’t disappoint with his new take on the Iron Man score. While this third score doesn’t bring back any recognizable leitmotifs from Djawadi’s score it does bring in a new sound that’s more reminiscent of 60’s action spy thrillers like the Connery and Moore Bond films. It actually evokes quite a heavy, fun 60’s psychedelic tone. This is best heard in the film’s main end titles credit sequence which brings an animated look back at the trilogy and it’s many characters.
“Can You Dig It” is just a very fun song and it brings much hope that Brian Tyler being assigned to do the film score for Thor: The Dark World will do for that series what he did to finish off the Iron Man trilogy.
Who said a song from a horror film had to be horrific. Some songs just attaches it’s hooks into you and won’t let go and one such song that one wouldn’t associate with the horror film genre just does that with the latest “Song of the Day”.
In 2006, a little horror-comedy film came out directed by James Gunn called Slither. There’s a repeating gag in the film that both highlights the film’s horror and comedy. It’s scored by a classic Air Supply ballad by the title of “Every Woman In the World”. It’s the love song of Grant Grant (played Merle Dixon himself, Michael Rooker) and his loyal and faithful wife, Starla (played with earnestness by Elizabeth Banks). It comes on whenever the two share a tender moment even when things get thick and slithery.
Every time this song plays on the radio now I can’t help but think back to Slither.
Every Woman In the World
Overnight scenes dinner and wine
Saturday girls
I was never in love, never had the time
In my hustle and hurried world
Laughing my self to sleep, waking up lonely
I need someone to hold me, oh
It’s such a crazy home town
It can drag you down
Till you run out of dreams
So you party all night to the music and lights
But you don’t know what happiness means
I was dancing in the dark with strangers
No love around me
When suddenly you found me, oh
(Chorus) Girl, you’re every woman in the world to me
You’re my fantasy, you’re my reality
Girl, you’re every woman in the world to me
You’re everything I need, you’re everything to me
Oh girl
Everything good, everything fine
That’s what you are
So put your hand in mine and together we’ll climb
As high as the highest star
I’m living the lifetime in every minute
That we’re together
And I’m staying right here forever, oh
(Chorus) Girl, you’re every woman in the world to me
You’re my fantasy, you’re my reality
Girl, you’re every woman in the world to me
You’re everything I need, you’re everything to me
Oh girl (5x)
The previous “Song of the Day” was Polymorphia and comes courtesy of one Krzystof Penderecki. Why stop a good thing and go with someone else for the latest one when Penderecki continues to bring in the horror.
“Kanon For Orchestra and Tape” was also used in William Friedkin’s The Exorcist and one could tell just from listening to it that it fit perfectly. Like Polymorphia, this particular piece uses the string section to help create that encroaching dread and horror while adding some nontraditional sounds to keep the listener off-balance.
Just listening to this piece one could be made to believe that there is a Hell and the Devil’s just waiting to get out and play.
A couple weeks ago site music writer necromoonyeti wrote up quite an article about what just makes a piece of music a “horror music”.
Using some of what necromoonyeti wrote about I decided to look at some horror and non-horror films with music that evokes that sense of terror and horror that sometimes come from music that we wouldn’t associate with such emotions. It’s a much more difficult task than one would think. Yet, while I didn’t find one of those non-traditional pieces of horror music I did come across one that I should’ve used in this segment a long time ago.
The latest “Song of the Day” is a piece of disturbing music titled “Polymorphia” by Polish composer Krzysztof Penderecki.
This musical composition has been used in two classic horror films (some would say some of the best in their genre) to help build the sense of horror and dread for the audience. The two films in question would be William Friedkin’s The Exorcist and Stanley Kubrick’s The Shining. I know that in the former it more than added to that film’s creeping dread from the moment the song came on. It made one feel like Hell itself was about to break through the screen. It’s that sense that one’s skin was sensing something evil was afoot.
I found a particular youtube video that used this song and the chosen imagery to great effect. I dare anyone to watch the video, listen to the music in a dark room and in the middle of the night while alone.
For the first horror “Song of the Day” I couldn’t decide on which theme from Clive Barker’s Hellraiser I should use.
Fans of the film should know well the original theme composed by Christopher Young for the film. It’s a more orchestral theme that gives the film a sort of grand guignol grandeur. It’s an epic piece that would get used time and time again for each successive sequel. There might be some minute changes to the theme with each new film, but the basic composition remains. It’s a theme that helps one visualize forbidden texts and grimoires laying in wait for the ones brave or foolish enough to turn the page.
Then there’s the unreleased and unused theme that Barker had originally wanted to use from the industrial band Coil. This theme for the film was more about discordant melodies that harkens back to the more disturbing musical composition used for The Exorcist. It’s a theme that brings up images of the sublime and exquisite pain that Pinhead promises to those solve the Lament Configuration.
Some fans prefer the original Christopher Young suite while others have grown to love and prefer the more disturbing piece from Coil. I, for one, think both could’ve been used in the film though if I had to pick one to use as the main theme then I would go with Christopher Young’s composition.
Christopher Young Hellraiser theme
Coil Hellraiser theme
The latest “Song of the Day” comes from the Finnish rock band Poets of the Fall.
“Dreaming Wide Awake” is such a cinematic-sounding song. From the vivid imagery brought up by the songs lyrics to the band’s frontman Marko Saaresto’s singing full of emotional power. I was first introduced to this song when I came across one of my favorite anime music videos almost three years ago now in Chiikaboom’s “Against All Odds”.
The song is about one’s inability to cope and move past the loss of a loved one. How one tragedy could compound another as one loses their grip on reality in an attempt to try and return their dead loved one to them. While this is an extreme version of such an experience I’m sure everyone has felt a similar feeling when one has gone through a very emotional break-up with someone they care about for a very long time.
For a song that sounds wistful and somewhat full of hope in reality this song is actually quite dark.
Dreaming Wide Awake
Too late, the melody is over
The joke seems to be on me cos I’m the one not laughing
Down here on the floor
Deflate, the mystery of living
In the most heartless fashion I could ever Imagine
No pretense of decor
Another place and time, without a great divide
And we could be flying deadly high
I’ll sell my soul to dream you wide awake
Another place and time, without a warning sign
And we could be dying angel style
I’ll sell my soul to dream you wide awake
I’ll dream you… wide awake
With me, disaster finds a playfield
Love seems to draw dark, twisted pleasure tearing at me
Cos I can’t let you go
Mercy, like water in a desert
Shine through my memory like jewelry in the sun
Where are you now
Another place and time, without a great divide
And we could be flying deadly high
I’ll sell my soul to dream you wide awake
Another place and time, without a warning sign
And we could be dying angel style
I’ll sell my soul to dream you wide awake
I’ll dream you… wide awake
It’s like I’m racing to the sun, blindly face the blazing gun
Cos I’m afraid I will be left here without you
Like I’m racing not to run, give more when I have none
Cos I’m afraid I will be left here without you… wide awake
Another place and time, without a great divide
And we could be flying deadly high
I’ll sell my soul to dream you wide awake
Another place and time, without a warning sign
And we could be dying angel style
I’ll sell my soul to dream you wide awake
I’ll dream you… wide awake.
Finishing off my Pacific Rim soundtrack trifecta is the Mako Mori theme by Ramin Djawadi.
The first two parts of this trio were the theme to Pacific Rim and the theme to Gipsy Danger. Both were composed by Ramin Djawadi (the film’s composer) and featured lead guitar work by Tom Morello of Rage Against the Machine. My third choice and latest “Song of the Day” was simply titled “Mako”. This part of the soundtrack occurs primarily during a Drift sequence in the film that becomes the unifying thread to the relationship between Rinko Kikuchi’s Mako Mori character and IDris Elba’s Stacker Pentecost role. Ramin Djawadi has singer and songwriter PRiscilla Ahn join him in this song as we see an important backstory play out within the Drift. It’s Mako’s past history with the kaiju and Stacker and why she’s so determined to become a jaeger pilot despite her adopted father’s reservations.
With this track we see that Djawadi can handle emotional musical pieces as well as the more hard rock and chest-thumping sections of the film’s score. It helps to have Priscilla Ahn’s melodic harmonizing backing up Djawadi’s composition which starts off gradually and dream-like before it transitions into a soaring string movement that Djawadi’s mentor, Hans Zimmer, wished he could pull off.
To say that the Pacific Rim soundtrack was just as awesome as the film it was composed for would be an understatement. These three choices were just my personal favorites. There were more throughout the 25-track soundtrack and each and everyone of them fits the film perfectly.
