Tonight marked the end of one of my favorite TV shows. It was the little spy-comedy show that could. The show powered through the last three seasons of less and less episodes with the threat of cancellation always above. The show I’m talking about is Chuck and to say that my tv world is a little less awesome now that the series finally ended tonight with it’s 2-hour series finale would be an understatement.
This series finale also brought back to my attention a song from my youth that has always been a guilty pleasure that’s become used as a joke or cynically deconstructed by hipsters in this day and age. This series brought back A-Ha’s “Take On Me” as covered by the show’s resident disturbingly hilarious musical duo, Jeffster. Instead of using it as a joke or something for people to laugh at the show used the song in a way that fit the bittersweet feeling fans over the show’s final moments.
I will forever remember this song as one of the many awesome songs which became part of Chuck.
Take On Me
We’re talking away I don’t know what I’m to say I’ll say it anyway Today’s another day to find you Shying away I’ll be coming for your love, OK?
Take on me, take me on I’ll be gone In a day or two
So needless to say I’m odds and ends But that’s me stumbling away Slowly learning that life is OK. Say after me It’s no better to be safe than sorry
Take on me, take me on I’ll be gone In a day or two
Oh the things that you say Is it life or Just a play my worries away You’re all the things I’ve got to remember You’re shying away I’ll be coming for you anyway
Take on me, take me on I’ll be gone In a day or two
Just a little under a year ago I had chosen a particular favorite song as the latest “Song of the Day”. This song was Clint Mansell’s “Together We Will Live Forever”which was part of his exceptional film score for Darren Aronofsky’s 2006 scifi love story, The Fountain. I’ve decided to finally bookend that choice by choosing what has to be the best song in that film’s soundtrack and one of the best piece of film score ever composed: Mansell’s “Death Is the Road to Awe”.
While I’ve given Mansell with the final credit for the creation of this epic song (not just in tone and execution but in length), he had help from frequent collaborator Kronos Quartet and Scottish post-rock band Mogwai. “Death Is the Road to Awe” takes the entirety of Mansell’s film scoring for The Fountain and distills them into a mixture of classical, post-rock and ambient dissonance which seems to all work so well together despite their very differing musical styles.
The Fountain was (still is) a film which brings out either love and admiration for it or utter hate for what some think was a pretentious, jumbled mess. Whether one loved or hated the film (rarely is there one who falls in the middle in their reaction to this film) the reaction most have had for the soundtrack has been mostly positive. I, for one, truly believe it to be one of the greatest film scores ever composed for any film. This song is the ultimate culmination of Mansell’s work for this film and just shows that classical, rock and electronic could co-exist side-by-side to create something truly unique and one-of-a-kind.
I never did get around to writing a review of Bad As Me. It’s a shame, because it’s pretty damn good. The old man’s always been in a league of his own, and Tom’s seventeenth studio album feels no less legitimate than anything else he’s created. If anything it’s above average in his discography quality-wise, and that says a lot for someone who released his first album nearly 40 years ago. An entirely accurate representation of his style, here’s 13 anthems to homeless bums, trailer trash, vagabonds, and the starry-eyed refugees of an unforgiving society. I’ve been listening to the closing track, New Year’s Eve, on repeat ever since my deluxe edition pre-order showed up in the mail, and now’s a good day to pass it along.
It’s typical Tom fassion to make the joyous out of the bleak and vice versa. New Year’s Eve might not be as gut-wrenching as Christmas Card from a Hooker in Minneapolis, but it carries on his tradition of looking at the holidays from the perspective of those who’ve got little left in life to celebrate.
The door was open; I was seething
Your mother burst in; it was freezing
She said it looks like it’s trying to rain
I was lost; I felt sea sick
You convinced me that he’d left
You said keep talking, but don’t use any names
I scolded your driver and your brother
We are old enough to know how long you’ve been hooked
And we’ve all been through the war
and each time you score
someone gets hauled and handcuffed and booked
It felt like four in the morning
What sounded like fire works
Turned out to be just what it was
The stars looked like diamonds
Then came the sirens
And everyone started to cuss
All the noise was disturbing
And I couldn’t find Irving
It was like two stations on at the same time
And then I hid your car keys
And I made black coffee
And I dumped out the rest of the rum
Nick and Socorro broke up
And Candice wouldn’t shut up
Fin, he recorded the whole thing
Ray, he said damn you
And someone broke my camera
And it was New Years
And we all started to sing
Should auld acquaintance be forgot and never brought to mind
Should auld acquaintance be forgot for the sake of auld lang syne
I was leaving in the morning with Charles for Las Vegas
And I didn’t plan to come back
I had only a few things
Two hundred dollars
And my records in a brown paper sack
I ran out on Sheila
Everything’s in storage
Calvin’s right, I should go back to driving trucks
Should auld acquaintance be forgot and never brought to mind
Should auld acquaintance be forgot for the sake of auld lang syne
The latest “Song of the Day” comes from those metal gods who make up the power metal band, Blind Guardian. It’s a song which begins their latest full-length album, At The Edge of Time, and also a reworking of the song the band created for the console rpg title, Sacred 2: Fallen Angel. The song I’ve chosen this time around is “Sacred Worlds”.
The song was originally titled “Sacred” and was introduced in the game the band made it for during a quaint sequence where virtual, fantasy versions of the band do headbanging show in your typical fantasy inn populated by orcs, goblins, trolls and other find gentle creatures. While the original song was great on its own when the band reworked it with a brand new orchestral intro and outro the song took on a more epic sound.
It’s a pretty long song at a running time of 9:17 and is one of the better songs in Blind Guardian’s latest album. It’s also one of thew songs in my Skyrim playlist which I listen to nonstop while playing in Bethesda Softworks’ latest epic rpg title.
Sacred Worlds
The realm’s bleeding It suffers Old and weak
No further arguing There is war at hand The system’s failing Engines running
Then after all I sense the end is dawning These lunatics deny the truth
I know I will not fail There’ll be
War it’s now or never We shall stand together One by one This world is sacred (I’m coming home) War it’s now or never We shall stand together One by one This world is sacred I’m coming home
Coming home
You chase in twilight And you know You will be on your own On your own
The misery shown I’ll be alone in this hour I’ll face the unknown Witness the end
I’m bleeding, I’m fading Here in my final hour When long-lost memories return And a voice keeps calling “All dead and gone It’s out of hand Life is in motion” I’m wishing, I’m fading “Time to wake up Face the truth”
I’m sinking I’m drowning There’s no doubt, no regret “Time to reveal now” This is no illusion It is real Carry on the flame It’s not over now Watch me, I will rise Time to reveal now
I know I will not fail Anymore
I’ll go on forever All that really matters Blessed realm This world is sacred (I’m coming home) War it’s now or never We shall stand together One by one This world is sacred (I’m coming home)
Yesterday’s gone There’s no today, no tomorrow I’m raised from the dead The ritual failed
There at the gates I’m left alone in this hour Driven insane I am left alone
And now I drown in deepest shadows While the golden hall is sealed I’m wishing I’m fading And I’m part of the machine
My eyes are the eyes of a dead man And I feel the unholy stream The source of my power T-energy I’m in control
I will live forever All that really matters Find the one This world is sacred (I’m coming home) War it’s now or never We shall stand together One by one This world is sacred I’m coming home
I spread my wings But keep on falling I should have known I can see it coming The war is over There’s whispering in the wind Just let me out of here There is no way There’s no end While all the suffering goes on All that I know Is that I’m not insane It’s not over
The latest “Song of the Day” comes from my latest obsession that should take up much free time I have when not blogging or working. It’s the main theme from the latest entry in the Elder Scrolls rpg franchise from Bethesda, Elder Scrolls V: Skyrim. The theme has been unofficially called “Song of the Dragonborn” and I’m more than fine with that unofficial title.
“Song of the Dragonborn” was written and composed by this franchise’s longtime music composer in Jeremy Soule. He has done the orchestral score in this series’ previous two titles and this latest one looks to continue the quality work he’s done in the past. The song is a combination of Wagnerian-style orchestral music with the martial chanting by the male chorus. The chorus itself is from the fictional language of the Nord (the Viking like race in the game) created just for this game.
All I can say is that this song has been on constant repeat since I started playing this game and it’s such a great backdrop to slaying people and things in the game with my Nord Warrior, Berek Thunderfist.
Song of the Dragonborn
(Chorus)
Dovahkiin, Dovahkiin, naal ok zin los vahriin,
Wah dein vokul mahfaeraak ahst vaal!
Ahrk fin norok paal graan fod nust hon zindro zaan,
Dovahkiin, fah hin kogaan mu draal!
Huzrah nu, kul do od, wah aan bok lingrah vod,
Ahrk fin tey, boziik fun, do fin gein!
Wo lost fron wah ney dov, ahrk fin reyliik do jul,
Voth aan suleyk wah ronit faal krein!
Ahrk fin zul, rok drey kod, nau tol morokei frod,
Rul lot Taazokaan motaad voth kein!
Sahrot Thu’um, med aan tuz, vey zeim hokoron pah,
Ol fin Dovahkiin komeyt ok rein!
(Chorus)
Dovahkiin, Dovahkiin, naal ok zin los vahriin,
Wah dein vokul mahfaeraak ahst vaal!
Ahrk fin norok paal graan fod nust hon zindro zaan,
Dovahkiin, fah hin kogaan mu draal!
Ahrk fin Kel lost prodah, do ved viing ko fin krah,
Tol fod zeymah win kein meyz fundein!
Alduin, feyn do jun, kruziik vokun staadnau,
Voth aan bahlok wah diivon fin lein!
Nuz aan sul, fent alok, fod fin vul dovah nok,
Fen kos nahlot mahfaeraak ahrk ruz!
Paaz Keizaal fen kos stin nol bein Alduin jot,
Dovahkiin kos fin saviik do muz!
(Chorus)
Dovahkiin, Dovahkiin, naal ok zin los vahriin,
Wah dein vokul mahfaeraak ahst vaal!
Ahrk fin norok paal graan fodnust vok zin dro zaan,
Dovahkiin, fah hin kogaan mu draal!
* * * * *
(Chorus)
Dragonborn, Dragonborn, by his honor is sworn,
To keep evil forever at bay!
And the fiercest foes rout when they hear triumph’s shout,
Dragonborn, for your blessing we pray!
Hearken now, sons of snow, to an age, long ago,
And the tale, boldly told, of the one!
Who was kin to both wyrm, and the races of man,
With a power to rival the sun!
And the voice, he did wield, on that glorious field,
When great Tamriel shuddered with war!
Mighty Thu’um, like a blade, cut through enemies all,
As the Dragonborn issued his roar!
(Chorus)
Dragonborn, Dragonborn, by his honor is sworn,
To keep evil forever at bay!
And the fiercest foes rout when they hear triumph’s shout,
Dragonborn, for your blessing we pray!
And the Scrolls have foretold, of black wings in the cold,
That when brothers wage war come unfurled!
Alduin, Bane of Kings, ancient shadow unbound,
With a hunger to swallow the world!
But a day, shall arise, when the dark dragon’s lies,
Will be silenced forever and then!
Fair Skyrim will be free from foul Alduin’s maw,
Dragonborn be the savior of men!
(Chorus)
Dragonborn, Dragonborn, by his honor is sworn,
To keep evil forever at bay!
And the fiercest foes rout when they hear triumph’s shout,
In honor of Lisa Day the latest “Song of the Day” definitely fits the Lisa-theme chosen for today.
“Lisa Says” was originally released in 1969 by the rock band Velvet Underground. The song got another release in 1972 as part of Lou Reed’s (who was part of Velvet Underground) solo debut album in 1972. The song definitely has a slow, bluesy sound which is barely above the level that would make it a ballad. Instead it ends up sounding like a Valentine card to all Lisa’s everywhere.
Without further ado…“Lisa Says”.
Lisa Says
Lisa says, on a night like this it’d be so nice, if you gave me a great big kiss And Lisa says, honey, for just one little smile I’ll sing and play for you for the longest while
Lisa says Lisa says Lisa says, oh, no Lisa says
Lisa says, honey, you must think – – I’m some kind of California fool the way you treat me just like some kind of tool Lisa says, hey baby, if you stick your tongue in my ear then the scene around here will become very clear
Lisa says, oh no Lisa says, hey, don’t you be a little baby Lisa says, oh, no Lisa says
Hey, if you’re looking for a good time Charlie well, that’s not really what I am You know, some good time Charlie always out, having his fun
But if you’re looking for some good, good lovin’ then sit yourself right over here You know that those good, those good times they just seem to pass me by, just like pie in the sky
And Lisa says, on a night like this it’d be so nice if you gave me a great big kiss And Lisa says, hey baby, for just one little smile I’ll sing and play for you for the longest while let me hear you now
Lisa says, oh, no, no Lisa says, hey, don’t you be a little baby Lisa says, oh, no Lisa says
Why am I so shy Why am I so shy, Gee, you know those good good times, they just seem to pass me by Why am I so shy
First time I saw you I was talking to myself I said, hey, you got such pretty, pretty eyes (that pretty eyes)
Now that you’re next to me I just get so upset And Lisa, will you tell me, why am I so shy
Why am I so shy Why am I so shy, well, you know that those good, good times, they just seem to pass me by Why am I so shy
And Lisa says, on a night like this it’d be so nice if you gave me a great big kiss And Lisa says, honey, for just one little smile I’ll sing and play for you for the longest while
Lisa says, oh, no, now Lisa says, hey don’t you be a little baby Lisa says, oh, no Lisa says
The latest “Song of the Day” is from one of the biggest bands of the 70’s and 80’s. When one spoke about epic arena-style rock concerts then one couldn’t say anything unless they mentioned Queen. If there was ever a song which fully sold me on Queen it was the song they produced for the 80’s fantasy action film Highlander.
“Princes of the Universe” remains one of the best fantasy anthems. Part of why it’s so great is part Freddie Mercury’s performance and part how it perfectly fits the sword-and-fantasy film it was made for. It’s really difficult to watch anything Highlander and not have this song to be in the forefront. In fact, I would say that the song has aged much better than the franchise that gave birth to it.
Princes of the Universe
Here we are, born to be kings We’re the princes of the universe Here we belong, fighting to survive In a world with the darkest powers, heh And here we are, we’re the princes of the universe Here we belong, fighting for survival We’ve come to be the rulers of you all
I am immortal, I have inside me blood of kings – yeah – yeah I have no rival, no man can be my equal Take me to the future of you all
Born to be kings, princes of the universe Fighting and free Got your world in my hand I’m here for your love and I’ll make my stand We were born to be princes of the universe
No man could understand My power is in my own hand Ooh, ooh, ooh, ooh, people talk about you People say you’ve had your day I’m a man that will go far Fly the moon and reach for the stars With my sword and head held high Got to pass the test first time – yeah I know that people talk about me – I hear it every day But I can prove them wrong ‘cos I’m right first time Yeah, yeah, alright, let’s go, let’s go, ha haa Yeah, watch this man fly, wooh Bring on the girls – c’mon – c’mon – c’mon Here we are – here we are Born to be kings, we’re the princes of the universe Here we belong Born to be kings, princes of the universe Fighting and free, got your world in my hand I’m here for your love and I’ll make my stand We were born to be princes of the universe of the universe of the universe Of the universe of the universe
Ensiferum’s self-titled debut in January 2001 was a prophetic landmark in metal, and I remember the feeling I got when I first heard it, probably about a year later. It wasn’t groundbreaking in its originality. No, I’d heard music like it before, here and there, scattered throughout my earliest mp3 collections. Blind Guardian and Rhapsody (of Fire), with their epic folk-infused triumphal marches and war cries, Thyrfing, with their stomp-along anthems to some Nordic specter, that peculiar absurdity Finntroll, so difficult to describe at the time… these bands had all been brought to my attention before Ensiferum.
I did not perceive at the time a common thread connecting them all. I was just frantically whipping my 28.8 kilobit per second modem headfirst into a musical fog, oblivious as it began to coalesce around me. Napster was dead, and with it passed my inclination to only pirate the most popular metal and grunge’s dying embers. Audiogalaxy was the new center of musical civilization, and with it came enlightenment. You didn’t just type in what you wanted and download it. You discussed it in chatrooms. You discussed it in forums. You carried the discussions over to more general-purpose forums. The internet became more united among music enthusiasts than it has ever been before or since.
Thus it was that 2001 served as a landmark year for me. I would look up Blind Guardian, and an hour later (well, this was 2001, so more like a day later) I would be enjoying Elvenking’s To Oak Woods Bestowed demo, Within Temptation’s Mother Earth, Therion’s Deggial… I didn’t know that these were all relatively new releases, I couldn’t categorize them into genres, and I had no real means of becoming informed about the bands save word of mouth (like anyone had heard of Wikipedia or Google back then). All I knew, or at least thought I knew, was that certain people had an incredible aptitude for finding and recommending music I would consistently love. I had not yet recognized the phenomenon at work here–the significance of the fact that all of this music was appearing at around the same time.
It must have been around the end of 2001 that I stumbled upon Ensiferum. By then I had heard dozens, maybe a hundred non-mainstream metal bands that I loved, and I was starting to pick up on their common themes, but I hadn’t fully put my finger on it. Then I saw this album cover, heard this song, and went “Ah ha! This is viking metal.” It might not be the precise term I would use today, and it might sound rather trivial, but at the time it was a sort of epiphany. This was the amalgamation of all of the metal Audiogalaxy had offered me under one roof. All of the amazing new things going on between about 1996 and 2001 suddenly took form as a conscious whole; Ensiferum was a glorious sign of things to come, heralding a new age of metal.
“From the three ascending moons,
moonshine was spilling onto the ground.
Gruesome trophies were all around,
in the halls of the Goblin King.
Now the victory is ours!
Let us dance the dance of immortals!”
Lisa Marie recently wrote up her very unique review of the James Bond film Live and Let Die and I’ve decided to use that review as the springboard for the latest “Song of the Day” entry. It’s easy enough to figure out that the latest choice is the similarly titled song from the film by Paul McCartney: “Live and Let Die”.
This song remains one of the most recognizable songs made specifically for a film. Most songs that become part of a film’s appeal tend to be pre-existing licensed songs and music. Live and Let Die would be the first James Bond film that would introduce Roger Moore as the British superspy and 007 agent. The song itself, written by Paul McCartney and his wife Linda, would become even more popular than the film through the years.
While the song has been covered by many bands and groups through the years it would be the cover by Guns N’ Roses in 1991 as part of their Use Your Illusion I album that many consider the best cover. I consider both favorite songs of mine, but I must pick McCartney’s original over the GnR cover by the smallest of margins.
Live and Let Die
When you were young and your heart was an open book You used to say live and let live you know you did you know you did you know you did But if this ever changin’ world in which we live in Makes you give in and cry Say live and let die Live and let die
What does it matter to ya When ya got a job to do Ya got to do it well You got to give the other fella hell
You used to say live and let live you know you did you know you did you know you did But if this ever changin’ world in which we live in Makes you give in and cry Say live and let die Live and let die
The latest “Song of the Day” is old-school for many. Seems anything that was released and played after the year 2000 people consider old-school now. For me this song is a more recent old-school. It’s only 13 years since it first played the radio waves. My choice is the ballad “Angel of Mine” by R&B singer Monica.
While this song was released in 1998 as one of the singles for Monica’s This Boy Is Mine album it definitely sounds like a much older R&B ballad from the late 80’s and early 90’s which I consider the true old-school. While it does have some of the more technical gloss which R&B albums began to show in the late 90’s and onward (which in my opinion hasn’t been to its benefit) the singing by Monica and the sweet-natured romantic lyrics brings to mind R&B acts like En Vogue from my high school days.
This song also happens to be the bridge for me and probably many others of my generation when young romance began to give way to mature romance as we all entered out late 20’s and with the big 3-0 just around the corner. The lyrics speaks of finding true love but it also didn’t have that juvenile, puppy love feel to it.
“Angel of Mine” marked one of the last few true R&B ballads which focused on love and romance instead of physical love (looking at you Chris Brown and Ne-Yo). They sure don’t make them like this anymore.
Angel of Mine
When I first saw you I already knew There was something inside of you Something I thought that I would never find Angel of mine
I looked at you, lookin’ at me Now I know why they say the best things are free I’m gonna love you boy you are so fine Angel of mine
How you changed my world, you’ll never know I’m different now, you helped me grow You came into my life sent from above When I lost all hope you showed me love I’m checkin’ for you boy you’re right on time Angel of mine
Nothing means more to me than what we share No one in this whole world can ever compare Last night the way you moved is still on my mind Angel of mine
What you mean to me, you’ll never know Deep inside I need to show You came into my life sent from above (Sent from above)
I’ll never knew I could feel each moment As if it were new Every breath that I take, the love that we make I only share it with you (You, you, you, you)
When I first saw you I already knew There was something inside of you Something I thought that I would never find Angel of mine
You came into my life sent from above (Came into my life) When I lost all hope you showed me love (Boy you showed me love) I’m shakin’ for you, boy you’re right on time (But boy your right on time) Angel of mine (Angel of mine, oh mine)
How you changed my world, you’ll never know I’m different now, you helped me grow
I look at you, lookin’ at me Now I know why they say the best things are free I’m checkin’ for you, boy you’re right on time Angel of mine
Through the Shattered Lens 