Category: Music

To start off with, a track specifically for and , as promised: Malvina Reynolds – “Little Boxes”. Currently being used as the theme to Showtime’s Weeds, and sung to unsuspecting children in times past, giving them a healthy disdain for suburbia.

The coolest bit of music in the score of the recent film version of Constantine: Brian Tyler and Klaus Bedelt – “Constantine End Titles.” Phrases from this music are used throughout the score, so the end titles are essentially a distillation of the entire thing, and I find it nifty.

Blast from the past time: Jesus & Mary Chain – “Head On.” Hadn’t heard this one in a while, and I’d forgotten how good it was.

Goofy blast from the past, especially for my UK readers: an early-seventies novelty record, utilizing a “trippy” version of the famous Doctor Who theme, with Rex-Harrison-esque spoken word by the star of the show: Jon Pertwee – “I Am The Doctor.” Love those lyrics!

While we’re on the subject of music tie-ins to odd TV shows, here’s the full vocal version of the music that served as the theme to David Lynch’s Twin Peaks: Julee Cruise – “Falling.” I’ve always liked this single version, rather than the instrumental that started the show.

I’m sure some of you know this, whether through familiarity with the (fairly obscure) artist, or via the Volkswagen commercial from a few years back that used it: Nick Drake – “Pink Moon.”

Really obscure track here. As far as I know it was only used on the soundtrack to Silence of the Lambs (it was the music that played during the “I’d fuck me” mirror scene, that he did the bizarre little tucked-under dance to): Q Lazarus – “Goodbye Horses.”

One of my favorite tracks from Rob Zombie–you’ve gotta love any song that uses a sample of a porn orgasm as a rhythm instrument. Rob Zombie – “More Human Than Human.”

Lastly, because it was requested when I had posted the original Seals & Crofts version a few weeks back: Type O Negative – “Summer Breeze.” If the original brings to mind jasmine-scented evenings in July, this one is more the searing heat off the River Styx, blowing through the streets of Pandemonium.

Friday Music

To start off with, a track specifically for Laura and Yosa, as promised: Malvina Reynolds – “Little Boxes”. Currently being used as the theme to Showtime’s Weeds, and sung to unsuspecting children in times past, giving them a healthy disdain for suburbia.

The coolest bit of music in the score of the recent film version of Constantine: Brian Tyler and Klaus Bedelt – “Constantine End Titles.” Phrases from this music are used throughout the score, so the end titles are essentially a distillation of the entire thing, and I find it nifty.

Blast from the past time: Jesus & Mary Chain – “Head On.” Hadn’t heard this one in a while, and I’d forgotten how good it was.

Goofy blast from the past, especially for my UK readers: an early-seventies novelty record, utilizing a “trippy” version of the famous Doctor Who theme, with Rex-Harrison-esque spoken word by the star of the show: Jon Pertwee – “I Am The Doctor.” Love those lyrics!

While we’re on the subject of music tie-ins to odd TV shows, here’s the full vocal version of the music that served as the theme to David Lynch’s Twin Peaks: Julee Cruise – “Falling.” I’ve always liked this single version, rather than the instrumental that started the show.

I’m sure some of you know this, whether through familiarity with the (fairly obscure) artist, or via the Volkswagen commercial from a few years back that used it: Nick Drake – “Pink Moon.”

Really obscure track here. As far as I know it was only used on the soundtrack to Silence of the Lambs (it was the music that played during the “I’d fuck me” mirror scene, that he did the bizarre little tucked-under dance to): Q Lazarus – “Goodbye Horses.”

One of my favorite tracks from Rob Zombie–you’ve gotta love any song that uses a sample of a porn orgasm as a rhythm instrument. Rob Zombie – “More Human Than Human.”

Lastly, because it was requested when I had posted the original Seals & Crofts version a few weeks back: Type O Negative – “Summer Breeze.” If the original brings to mind jasmine-scented evenings in July, this one is more the searing heat off the River Styx, blowing through the streets of Pandemonium.

Got a bunch of goodies for you this week:

First off, a bit of Funk for : Bobby Womack – “Across 110th Streeet”, which is a reference to the traditional “border” of Harlem, running along the northern edge of Central Park. A great song, used to good effect in Quentin Tarantino’s homage to blaxploitation films, Jackie Brown.

While we’re on the subject of Soul, give this track a listen. It’s my second-favorite track from Ray Charles (after “What’d I Say”), and the backing vocals by Margie Hendricks are a big part of it…her smoking-hot “BABY!!!” gets me every time. Ray Charles – “Night Time Is The Right Time.”

Now, a pair of tracks from my favorite animated-animals-in-a-post-apocalyptic-supernatural-rock-musical, Rock and Rule, which is now available on DVD. First up we have the villain’s signature tune: Lou Reed – “My Name is Mok.” Second, we have my favorite song from the film: Debbie Harry – “Angel’s Song.” (Debbie Harry actually used the same music with different lyrics for a song called “Maybe Just For Sure” on her 1989 solo album, but I like this version better.

I found this the other day, and I’m completely obsessed with it. It’s a cover, but in the best way…it uses the same key and the same lyrics, but the music and the feel is so different, it deserves to stand as its own song: Snake River Conspiracy – “Lovesong.” I might even like this more than the original version by the Cure. (Blasphemy, I know.)

Speaking of covers, here’s a brilliant one from the great soundtrack to the not-quite-as-great film, Tank Girl: Paul Westerberg and Joan Jett – “Let’s Do It.” Gotta love Cole Porter…

I’ve enjoyed several releases by Bond, even though I recognize that their primary purpose is to be a string quartet of eye candy, to sex-up classical. It’s infectous stuff, though: Bond – “Explosive.”

Another track by Middle-Eastern diva Natacha Atlas, this time singing a French cabaret tune, and completely changing the feel of it via middle-eastern instrumentation. Love it. Natacha Atlas – “Mon Amie La Rose.”

I discovered this track this week, from a Denver-area band that I can only describe as sounding like they came off the soundtrack of Twin Peaks, but with Julee Cruise as a man. This song is absolutely beautiful…especially when his vocals come in. Devotchka – “How It Ends.”

Lastly, I leave you with my favorite track from everybody’s favorite proto-Goths: The Damned – “Street of Dreams.”

Now, off to prepare for tomorrow’s opening day of KCRF 2005.