The latest “song of the day” is chosen as I continue working on a particular film review about an alien invasion and war. I’ve chosen a particular favorite piece of film music from 14 years ago to be the latest song of the day.
“Klendathu Drop” is from the film soundtrack for the scifi/war/propaganda film Starship Troopers. This film wasn’t well-received when it first came out and it’s film score by Basil Poleduris was similarly dismissed. In the intervening years since the film’s release more and more people have begun to appreciate both film and soundtrack. Basil Poledouris’ soundtrack for this film has become a fan favorite of not just his soundtrack work, but of just fans of film soundtracks and scores.
Just listening to this particular track is quite invigorating and really does a good job into making one think about doing very heroic things. Poledouris’ really makes great use of both the brass and percussion section of his orchestra. The percussion giving the whole song a militaristic, martial tempo while the brass (once again an inordinate amount of French horns as Poledouris is fond of using) helps give it a swelling, patriotic melody. Halfway through the song we get the addition of strings to signify a calm to the storm that’s about to be unleashed (the song is used in the first planetside landing where the Mobile Infantry get its ass kicked every way til Sunday).
Even if you’re not a fan of the film this song at the very least makes for great listening.
Hearing “The Hand That Feeds” playing in the background of the trailer for Red Riding Hood inspired me to go to my CD collection and dig out Nine Inch Nails’ Without Teeth (released in 2005 but not purchased by tone-deaf little me until 2007). Originally, I was thinking of doing a post about “The Hand That Feeds” but as I listened, I rediscovered my favorite song from Without Teeth, “Every Day Is Exactly The Same.”
Every time I listen to this song, I feel as if I’m back in 2007 and I’m hit by deluge of bittersweet memories. I was still in college but I had reached the point where, for the first time, I realized that I would soon be graduating and I would actually have to start living the life that all of this education was supposedly preparing me to live. In the back of my mind, I was slowly starting to understand that everything I had always assumed would forever be in the future was now sneaking up on me. I can remember driving to and from school, listening to this song in my car and promising myself that I would never let every day be exactly the same. A part of me laughs when I think about how naive and innocent that sounds today. It’s hard to believe that it was actually little less than four years ago.
I guess I should also admit that listening to this song inspired me to break up with my then-boyfriend because, as I told him, “It’s just that every day with you is exactly the same.” Yes, for some reason, I thought that he would see my point if I phrased it that way.
Suspiria is one of my favorite films for many reasons: the pre-Black Swan combination of horror and ballet, Dario Argento’s pop art-influenced direction, the infamous close-up of that beating heart, the “s is for snakes” conversation, and Alida Valli’s ferocious performance as the instructor from Hell. (That said, I would have gladly taken lessons from her because I think she would have inspired me to be more disciplined about dancing.)
And, of course, I love the music. As many critics have pointed out, the film’s soundtrack (composed by Goblin) provides this film with a structure that it might otherwise lack. Plus, it’s one of the few film soundtracks that’s actually scary if you listen to it around 3 in the morning with all the lights turned out. I speak from personal experience.
So, in honor of one of my favorite films of all time, today’s song of the day is Goblin’s brilliant Suspiria.
(The Suspiria soundtrack is apparently out-of-print in the U.S. However, it’s included in Anchor Bay’s 3-disc, 25th anniversary DVD. The DVD also comes with a featurette about the making of the soundtrack. It’s actually pretty interesting. Goblin’s Claudio Simonetti proves to be a charming and interesting interview subject.)
My latest “Song of the Day” was chosen because this week also saw the release of one of the g ames which shall be ruling my life for the forseeable future: Dragon Age II. The song I chose is from the first game in the series, Dragon Age: Origins, and was sung in the game by one of the characters in the game once a certain relationship level has been reached between the main character and the bard who sings the song, Leliana.
The soundtrack to this game was composed by Israeli-born composer Inon Zur and his work on the score captures the fantasy-theme of the game. In the soundtrack the song is called “Lelianna’s Song” (a misprint by the soundtrack publisher) but in the game the song is properly titled, “In Uthenera” and is sung by the singer, Aubrey Ashburn. I chose this song because of all the tracks in the soundtrack this is the one that stuck with me the most.
The thing about role-playing game soundtracks, especially those set in a fantasy setting, is that the music goes a long way in creating the world of the game. The game could be great but if the music sucks it ruins much of the game’s enjoyment. Luckily, Inon Zur didn’t fail in his task thus he made Dragon Age: Origins such a joy to play despite its flaws.
“Lelianna’s Song” just sounds so ethereal. I can hear late-medieval and early-Rennaisance bard influences in the music not to mention Irish ballad in how the lyrics were sung. This song I could listen to over and over. Below, right before the lyrics is the video of the scene in the game where Leliana sings the song to the group at rest in their camp.
Lelianna’s Song
Elven:
Hahren na melana sahlin
Emma ir abelas
Souver’inan isala hamin
Vhenan him dor’felas
In Uthenera na revas
Vir sulahn’nehn
Vir dirthera
Vir samahl la numin
Vir lath sa’vunin
Translation:
Elder your time is come
Now I am filled with sorrow
Weary eyes need resting
Heart has become grey and slow
In waking sleep is freedom
We sing, rejoice
We tell the tales
We laugh and cry
We love one more day
The last couple days I have been watching a particular classic Disney animated film not to mention listening to its accompanying soundtrack almost non-stop since yesterday. The song I’ve picked for my latest “song of the day” is the track, “Beauty and The Beast”, and not the Celine Dion and Peabo Bryson version which ends the film.
Beauty and The Beast ranks as one of my favorite films ever. Not just a favorite animated film but a favorite of the medium of filmmaking in general. I saw it the weekend it was first released in the theaters in 1991. I was just out of high school, just turned 18 and eyes full of hope and promise. This film made a huge impact on me and it’s musical score even more so. The score and the songs were composed by musical virtuosos Alan Menken and Howard Ashman.
The score is what I would call classic orchestral. It fit the film and the story it was to accompany. The ballad which marks the turning point in the growing relationship between Belle and the Beast was one of my favorites in the film and truly captures the essence of the story. While I must say that I also loved the pop version of the song by Celine Dion (before she went all Vegas crazy in laters years) and R&B singer, Peabo Bryson, it would be the song as sung by Angela Lansbury (in the role of Mrs. Potts) which I consider the better version.
It is difficult not to listen to this version and not picture in one’s mind the sweeping motion of the scene as we see the ballroom in all it’s detailed grandeur. It was this song which marked the high point in my life when unbridled hope and optimism still ruled my life. I would say that even as an 18-year old I was still innocent when it came to certain things in life. “Beauty and The Beast” symbolized that part of my life and whenever I listen to it again almost 20 years now I reminisce about that innocent time in my life.
We all have a particular song, film or story which brings back fond memories of better days in our lives and this song from one of the best films ever made does it for me.
Beauty and The Beast
Tale as old as time
True as it can be
Barely even friends
Then somebody bends
Unexpectedly
Just a little change
Small to say the least
Both a little scared
Neither one prepared
Beauty and the Beast
Ever just the same
Ever a surprise
Ever as before
And ever just as sure
As the sun will rise
Tale as old as time
Tune as old as song
Bittersweet and strange
Finding you can change
Learning you were wrong
Certain as the sun
Rising in the east
Tale as old as time
Song as old as rhyme
Beauty and the Beast
Tale as old as time
Song as old as rhyme
Beauty and the Beast
The news about Clint Mansell being brought in to compose the score for the upcoming Mass Effect 3 rpg from BioWare has me listening through the score from the previous two games in the series. To continue the jonesing I’m getting from this news I’ve chosen track 25 from the Mass Effect 2 soundtrack to be the latest “Song of the Day”.
“Suicide Mission” comes into Mass Effect 2 around the beginning of the third and final act of the game when the player has gathered and assembled his team of rogues, assassins, berserkers and all sorts of undesirables to make that final jump through the Omega 4 Mass Relay. This track brings together the main theme from the very first game with the brass heavy and hopeful sound of track 5, “Normandy Reborn”, in the second game.
I sometimes just reload the save prior to the jump through the Omega 4 just so I can listen to this particular track of the soundtrack and see the visuals accompanying it. If I don’t feel like replaying that part of the game I’d just reload right before the end credits begins and just enjoy listening to it.
“Suicide Mission” just brings an epic sound to the game and anyone who has played it knows how it brings to rise goosebumps upon hearing it. For those who haven’t played the games this piece of music just brings to mind some of the best in epic, orchestral scores.
For today’s “Song of the Day,” I couldn’t decide between two tracks I had in mind—so I decided to feature them together. This time, it’s not just a “song of the day,” but “songs of the day.” Once you hear what I’ve chosen, you’ll understand why they belong side by side.
The latest selections come from film score composer Basil Poledouris, taken from what many consider his finest work and one of the greatest film scores ever written for the big screen: Conan the Barbarian (1982). The two tracks—Anvil of Crom and Riddle of Steel/Riders of Doom—especially in the Varese Sarabande release, form the powerful and unforgettable musical introduction to the Hyperborean world Conan inhabits.
Anvil of Crom opens the film with thunderous intensity. Timpani drums drive the rhythm while a massive ensemble of 24 French horns and bold brass deliver an overwhelming sense of might and grandeur. This introduction has become synonymous with Conan the Barbarian, earning fame well beyond the film itself—it’s often reused by other filmmakers in trailers for its commanding energy. Even though the piece runs under three minutes, Poledouris’s composition immediately establishes the epic tone audiences should expect from the journey ahead.
Following it is Riddle of Steel/Riders of Doom, which introduces the musical motifs for Conan and his nemesis, Thulsa Doom. The track begins peacefully, gradually building into Conan’s theme—the “riddle of steel” referenced in the title. This serenity is soon shattered as Riders of Doom emerges, dark and orchestral, marking Thulsa Doom’s presence. The second half bears a clear resemblance to Carl Orff’s Carmina Burana, and while some critics suggest Poledouris leaned too heavily on Orff’s influence, I disagree. He may have drawn inspiration, but his execution stands triumphantly on its own, resulting in one of the most iconic pieces of film music ever composed.
Heard back-to-back, it’s evident why these two tracks must come as a pair. Anvil of Crom and Riddle of Steel/Riders of Doom are inseparable—an epic one-two punch that gives real force to the film’s opening narration by Conan’s chronicler, who speaks of “the days of high adventure.” The music doesn’t just accompany the words—it drives them home with a surge of raw, mythic power that perfectly captures the spirit of ancient legends and the world’s forgotten ages.
Since I have been in a metal state of mind since finding out that The Big 4 of thrash metal would be appearing together on-stage this coming April 23 at Indio, CA I just had to pick a metal song for the latest “Song of the Day”. The song picked was an easy choice. It was Diamond Head’s classic metal track, “Am I Evil?”, from their 1980 debut album Lightning to the Nations.
Taking inspiration from the openings of both Black Sabbath’s “Symphony of the Universe” and Gustav Holst’s “Mars, the bringer of war”, the beginning of Diamond Head’s “Am I Evil?” has become one of the most recognizable and beloved of all metal songs. Right from the start the song just oozes an aura of heavy evil and the lyrics of a young boy who witnesses his mother’s witch-burning and his quest to avenge that death just adds to the doom and gloom of the song.
Diamond Head was part of the New Wave of British Heavy Metal (NWBHM for short) bands which bridged the Atlantic from the mid-to-late 70’s all the way into the early part of the 80’s. While they were not as successful as other groups who came out of the NWBHM scene like Judas Priest, Iron Maiden and Def Leppard they were a huge influence on another growing subgenre of metal that was about to give birth in the U.S.
I speak of the rise of thrash metal and how it’s four horsemen (Metallica, Anthrax, Slayer and Megadeth) would look to Diamond Head as one of the NWBHM bands which influenced their sound with all four looking at Diamond Head’s “Am I Evil?” as one of those songs which taught them what heavy metal really meant.
It’s no surprise that during the concert tour season of 2010 these four giants of thrash metal would tour together and do seven shows with the show in Sofia, Bulgaria ending with three of the four bands sharing the stage to cover this Diamond Head classic.
Whether played by Diamond Head, Metallica or the Big 4 just listening to “Am I Evil?” definitely makes one feel like their soul just got darker and their heart colder. Just the way heavy metal should affect anyone and be glad that it does.
Am I Evil?
My mother was a witch, she was burned alive Thankless little bitch, for the tears I cried Take her down now, don’t wanna see her face Blistered and burnt, can’t hide my disgrace
27 every one was nice, gotta see them, Make them pay the price See their bodies out on the ice, take my time
Am I evil, yes I am Am I evil, I am man
As I watched my Mother die, I lost my head Revenge now I sought, to break with my bread Takin’ no chances, you come with me I’ll split you to the bone Help set you free.
27 every one was nice, gotta see them, Make them pay the price See their bodies out on the ice, take my time
Am I evil, yes I am Am I evil, I am man
On with the action now, I’ll strip your pride I’ll spread your blood around, I’ll see you ride Your face is scarred with steel, wounds deep and neat Like a double dozen before you, smell so sweet.
27 every one was nice, gotta see them, Make them pay the price See their bodies out on the ice, take my time
Am I evil, yes I am Am I evil, I am man
I’ll make my residence, I’ll watch your fire You can come with me, sweet desire My face is long forgotten, my face not my own Sweet and timely whore, take me home
It took awhile but Metallica has finally made another appearance in the “song of the day” feature. This time around they return with one of their best songs. A song which has become iconic of early-Metallica amongst their most die-hard fans. The song is “For Whom the Bell Tolls”.
This track comes in third on the band’s second album and was inspired by Ernest Hemingway’s 1940 novel, For Whom the Bell Tolls. It is also the song which contains one of the best opening riffs in metal history. A riff not born from lead guitarist Kirk Hammett’s axe, but from it’s bassist Cliff Burton. This opening riff shows Cliff Burton at his best and the fact that people continue to mistake the riff as guitar instead of bass just shows how talented the man was.
This song is all about Burton’s work on the bass with Hetfield supplying the vocals and Hammett’s lead guitar work almost behaving like an accompaniment. It is no wonder that whenever talk comes around as to who is the best metal bassist (or just rock bassist) ever no discussion could ever be considered credible if Cliff Burton’s name was not included.
While Burton died just two years after the single’s release while th eband was on tour in Sweden his contribution as both writer and composer to this song will forever cement his legacy amongst metal and music fans for countless generations.
For Whom the Bell Tolls
Make his fight on the hills in the early day Constant chill deep inside Shouting gun, on they run through the endless grey On they fight, for they are right, yes, but who’s to say?
For a hill, men would kill, why? They do not know Stiffened wounds test their pride Men of five, still alive through the raging glow Gone insane from the pain that they surely know
For whom the bell tolls Time marches on For whom the bell tolls
Take a look to the sky just before you die It is the last time you will Blackened roar massive roar fills the crumbling sky Shattered goal fills his soul with a ruthless cry
Stranger now, are his eyes, to this mystery He hears the silence so loud Crack of dawn, all is gone except the will to be Now they see, what will be, blinded eyes to see
For whom the bell tolls Time marches on For whom the bell tolls
The latest entry to the “Song of the Day” is from the American rock band Old Gods of Asgard. Their song I have chosen is their song “The Poet and The Muse”.
This particular song by the band was created years after the group’s very talented, but self-destructive guitarist Loki Darkens. The song was written by the band’s leader, Odin Anderson with his brother Tor Anderson and drummer “Fat” Bob Balder. It appears in the their 5th full-length album, The Black Rider Cometh, which was released in 1976. It would become one of their more popular songs and was even an inspiration decades later in a video game released for the Xbox 360 by Scandinavian game developer, Remedy Entertainment.
“The Poet and The Muse” plays like a Norse saga spoken to the accompaniment of the group’s music. It tells the tale of the poet named Tom and his beloved who he has dubbed his Muse. The song’s lyrics starts off simple enough about a couple deeply in love but as the song progresses it begins to take on a darker tone. This very dark presence in the lyrics gives the song an almost spooky story told by the campfire vibe which probably why the song became such a hit for the band despite their typical rock sound not appearing in the track until the very end of the song.
Whether the tale of Tom and his Muse is true or not really shouldn’t matter for the song is very good and to beginners to the music scene very easy to learn.
The Poet and The Muse
There’s an old tale wrought with the mystery of Tom The poet and his muse And the magic lake which gave a life To the words the poet used
Now the muse she was his happiness And he rhymed about her grace And told her stories of treasures deep Beneath the blackened waves
‘Till in the stillness of one dawn Still in its mystic crown The muse she went down to the lake And in the waves she drowned
And now to see your love set free You will need the witch’s cabin key Find the lady of the light gone mad with the night That’s how you reshape destiny
The poet came down to the lake To call out to his dear ‘When there was no answer ‘He was overcome with fear
He searched in vain for his treasure lost And too soon the night would fall And only his own echo Would wail back at his call
And when he swore to bring back his love By the stories he’d create Nightmares shifted in their sleep In the darkness of the lake
And now to see your love set free You will need the witch’s cabin key Find the lady of the light still ravin in the night That’s how you reshape destiny
In the dead of night she came to him With darkness in her eyes Wearing a mourning gown Sweet words as her disguise
He took her in without a word For he saw his grave mistake And vowed them both to silence Deep beneath the lake
Now if its real or just a dream One mystery remains For it is said on moonless nights They may still haunt this place
And now to see your love set free You will need the witch’s cabin key Find the lady of the light gone mad with the night That’s how you reshape destiny
And now to see your love set free You will need the witch’s cabin key Find the lady of the light still ravin in the night That’s how you reshape destiny
Through the Shattered Lens 