What’s more Christmas than some good old cheer song about fighting love from the creators of South Park.
Let’s Fighting Love
I have a wonderful penis
There is hairs on my balls
Is that the sound of a baby monkey?
No! Ninjas are here!
Hey hey let’s go! Getting in a fight!
The important thing is to protect my balls!
I am badass, so let’s fighting
Let’s fighting love!
Let’s fighting love!
This song is a little stupid
It doesn’t make any sense
English is all fucked up
But that’s ok, we do it all the time!
Hey hey let’s go! Getting in a fight!
The important thing is to protect my balls!
I am badass, so let’s fighting
Let’s fighting love!
Let’s fighting love!
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.”
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.
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
Tonight’s episode of True Blood shares not just the title with Imagine Dragons’ popular track of the same name, but also used it to score their end credits for the season finale.
So, it’s no surprise that it’s the choice for the latest “Song of the Day”. This is not the first time the site has chosen something that uses this song. A recent “AMV of the Day” used this song to great effect. The video was “Radioakshun” and it matched the song’s lyrics which speaks of an apocalypse that has come and gone leaving a wasteland for people to sift through. This time around the song goes well with the time skip second-half of tonight’s True Blood season finale. No, there wasn’t an apocalypse that destroyed Bon Temps and killed everyone, but it showed that a sort of vampire apocalypse was on its way to Bon Temps and hints at what could be an epic seventh season for the show which started and ended a strong sixth season.
I’m going to take a flying leap and say that Imagine Dragons will be gaining quite a bit of new fans after tonight.
Radioactive
I’m waking up to ash and dust I wipe my brow and I sweat my rust I’m breathing in the chemicals I’m breaking in, shaping up, checking out on the prison bus This is it, the apocalypse Whoa
I’m waking up, I feel it in my bones Enough to make my system blow Welcome to the new age, to the new age Welcome to the new age, to the new age Whoa, whoa, I’m radioactive, radioactive Whoa, whoa, I’m radioactive, radioactive
I raise my flags, don my clothes It’s a revolution, I suppose We’ll paint it red to fit right in Whoa I’m breaking in, shaping up, checking out on the prison bus This is it, the apocalypse Whoa
I’m waking up, I feel it in my bones Enough to make my system blow Welcome to the new age, to the new age Welcome to the new age, to the new age Whoa, whoa, I’m radioactive, radioactive Whoa, whoa, I’m radioactive, radioactive
All systems go, sun hasn’t died Deep in my bones, straight from inside
I’m waking up, I feel it in my bones Enough to make my system blow Welcome to the new age, to the new age Welcome to the new age, to the new age Whoa, whoa, I’m radioactive, radioactive Whoa, whoa, I’m radioactive, radioactive
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.
Through the Shattered Lens 