Category: Music

Friday Music

Here we are again. Is it just me, or did this week just fly by?

First up, we have a track from the soundtrack of a David Lynch film. Now, I was a big fan of Lynch. Notice that I said “was.” Now, I’m not so sure. I’ll still give his films a shot, but I have to admit that I prefer his “weird and quirky but cool” material (Twin Peaks, Wild At Heart, Blue Velvet) to his “Dude, seriously: what the fuck is wrong with you” material (Lost Highway, Mulholland Drive). That said, this is a track from the soundtrack to Mulholland Drive…from the ending sequence that I’m still trying to figure out. The song is absolutely gorgeous though: an echoey, acapella version of Roy Orbison’s “Crying”, in Spanish. Rebekah Del Rio – “Llorando”.

Continuing our soundtrack (and Latino) theme for a bit, we have my favorite track from the soundtrack to the Robert Rodriguez/Quentin Tarantino film From Dusk Til Dawn, featuring regular Rodriguez soundtrack and acting contributor Tito Larriva: Tito & Tarantula – “After Dark”. If you’ve seen the film, you’ll remember this as the smoking-hot music that plays during Santanico Pandemonium(Salma Hayek)’s dance number.

I hadn’t been consciously thinking of a theme for this week’s entry, but as I was assembling the links for posting, I realized that I have quite a few tracks this week that are soundtrack material. None, perhaps, more wonderfully cheese-tastic than this one. Jazz composer Lalo Schifrin, best known today for his theme from Mission: Impossible, did a lot of theme work in the late 60s/early 70s. One of my favorite Schifrin compositions is the compelling, yet brilliantly tacky, score to the 1973 big-budget kung-fu epic, Enter the Dragon. Here it is, in all it’s glory, complete with wakka-chicka guitar, Faux-oriental musical phrases, and howling kung-fu interjections: Lalo Schifrin – “Enter the Dragon (Main Theme)”.

One last link to the quasi-theme of soundtrack material: In 1997, new Bond movie composer David Arnold released an album of electronica re-interpretations of classic Bond music, called “Shaken & Stirred”. One of the best tracks from that album was by the Propellerheads (whose “Velvet Pants” I provided a link to a few Fridays back). The Propellerheads, with Arnold, did a version of my favorite Bond theme of all time, and one of only two instrumental Bond themes (the other being Doctor No, which used the “James Bond Theme” as its title music). The Propellerheads (with David Arnold) – “On Her Majesty’s Secret Service”. It begins as a fairly standard performance of the John Barry-composed theme, but at about a minute in, the high-hat starts, and before long, the dance bass kicks in, then the beat, and the song explodes into a full-on blazing club track, while still maintaining the Bond feel. I can think of several of you who are just going to eat this up.

We’ll segue out of the soundtrack stuff by sticking for the moment with electronica, and my favorite piece by the The Prodigy (known in the US, for some reason I have yet to fathom, simply as “Prodigy”), from their 1997 album “Fat of the Land”: The Prodigy – “Breathe”. Any composition that uses sword swings and clashes as part of the rhythm section is OK by me….and I just love the sub-sonic thrum of the bassline on this one as well. Edit: It’s an angelfire page, so just copy-and-paste, rather than clicking the link.

Now, for a complete change of pace (literally): When I first heard this song (earlier this week), I thought I was hearing a new track from Fiona Apple. It turns out that what I was hearing was a song from the forthcoming album from 22-year-old Kate Earl. She definitely has a bit of Fiona about her, and perhaps a bit of Nora Jones as well. The song is quite nice: Kate Earl – “Silence”.

This one is not at all obscure…it’s a classic, but I’m putting it up here because it’s just so freakin’ good: Ray Charles – “What’d I Say.” If you’ve never actually given this one a close listen before, I urge you to do so. This is one tight song. The drummer’s work alone, keeping up with Charles’ intricate organ-playing, is brilliant – the high-hat and rim-shots giving you the feeling that you’re literally being carried through the piece at a breakneck pace. What’s even more amazing about this song is that it began as an improvised bit of stage filler (see the film Ray for a nice re-enactment of this moment in music history).

Another mash-up for you this week, this time mixing the guitar riff from Veruca Salt’s “Seether” with the vocals of Alison Moyet from Yaz’ “Don’t Go”. Naturally, the mash-up is called Veruca Salt vs Yaz – “Don’t Seether”. Another combination that works much better than I expected it to.

Lastly, because I’m a geek, I leave you with this track from UK electronic group Orbital, who took the theme from Doctor Who and turned it into a dance track….did a damn fine job of it, too. They start on a straightforward interpretation of the theme (which is cool enough, in itself), but then at 1:48 or so, they veer off into big beats and effects. Orbital – “Doctor?”

Another big week. You’re all gonna get spoiled.

I swear ta god….I have had the worst luck in the past couple of weeks. This is the second time that I’ve had to completely re-type my Friday Music entry because of my browser locking up. Sheesh.

I am glad to see, though, that this weekly experiment is doing what I had intended. Not only am I introducing you folks to some music that I think is nifty, but occasionally, it works the other way as well. For example: Last week, requested that I post some Reggae. I told her that I didn’t have any, mostly because I never really got into it, thanks to one too many run-ins with Frat assholes who had co-opted the whole “we be jammin'” vibe. Well, because of her comment, I took a listen to some recent reggae, and found this brilliant track from Capleton’s latest album. He does a mix of roots reggae, dancehall and ragga, and it comes off as very bright and poppy. If this song ever managed to get radio play here in the US, I could easily see it becoming one of this summer’s inescapable anthems. (Oh, and from the “my god, they’re everywhere” file, the vocal hook for this track is by Stephen Marley….one of Bob’s sons.) Capleton (feat. Stephen Marley) – “Sunshine Girl”

A few weeks back, I posted a track by The Scissor Sisters–one of their uptempo numbers, channelling the spirit of 70s Elton John. Here’s one of their slower tracks, which hearkens back to Ziggy-Stardust-era Bowie: Scissor Sisters – “Return to Oz”. I said it before, and I’m saying it now: if you haven’t picked up this CD, do so. The tracks I’ve posted are just a sample of how good this album is.

In keeping with ‘s request for things chill and trip-hoppy, here’s Zero 7 – “I Have Seen”. Usually, this style of music features female vocalists, but Zero 7 (a collaboration between UK producers Henry Binns and Sam Hardaker, which features a mix of electronics and soulful orchestral arrangements) switches from track to track between a male vocalist (Mozez), a female vocalist (Sia Furler) and pure instrumentals. This track features Mozez, and when the bassline changes subtlely when his lyrics kick in, I get chills (which, I suppose, is appropriate for the genre). The only way to describe this is “lush.”

Here’s one of ‘s faves: Brit crooner Robbie Williams, inspired by the success of his cover of “Have You Seen Ms. Jones” from the Bridget Jones soundtrack, released a CD of Rat-Pack-era vocal standards, called Swing When You’re Winning. This track, which features Nicole Kidman warming up for her turn in Moulin Rouge was the single from the album, and was a minor radio hit pretty much everywhere except in the US (where the album was never released). They do a cover of an old Frank Sinatra/Nancy Sinatra duet: Robbie Williams (feat. Nicole Kidman) – “Somethin’ Stupid”

Something a little more odd, now: this track features jazzy, almost stream-of-consciousness narration layered over a processed beat (complete with vinyl crackle), and tells the tale of an average LA resident. Soul Coughing – “Screenwriter’s Blues.” “It is Five A.M., and you are listening….to Los Angeles.”

For the Duran Duran fans out there, here’s something that you probably don’t have. Duran Duran – “Virus”, which is a bonus track from the newest album, Astronaut, only available when you get the album via Apple’s iTunes Music Store. I love this track…even more than a couple of the regular tracks on the album. I’m a bit surprised that they made this one the bonus.

I had thought about posting a Spanish-language song, in honor of Cinquo de Mayo, but instead, I’ve chosen an English-language song with a Spanish name. Morphine – “Buena”. This is from their album Cure for Pain. I’ve always been amazed by what these guys can do with a band that was entirely comprised of drums, a two-string bass and a baritone sax. This is my favorite Morphine track, with “Thursday” off the same album coming in a close second.

For our last track this week, we have one of those things where a bizarre combination ends up making a really amazing song. Take the eldest son of cheesey TV sitcom dad Alan Thicke, and have him lay down some downright Timberlakean vocals over the 1970s disco instrumental version of Beethoven’s Fifth Symphony, “A Fifth of Beethoven.” The result? Absolutely brilliant. Thicke – “When I Get You Alone.” I like this track probably way more than it deserves, but damn if it doesn’t make me want to dance my ass off.

There ya go, kids. Enjoy.

Friday Music!!

I swear ta god….I have had the worst luck in the past couple of weeks. This is the second time that I’ve had to completely re-type my Friday Music entry because of my browser locking up. Sheesh.

I am glad to see, though, that this weekly experiment is doing what I had intended. Not only am I introducing you folks to some music that I think is nifty, but occasionally, it works the other way as well. For example: Last week, Val requested that I post some Reggae. I told her that I didn’t have any, mostly because I never really got into it, thanks to one too many run-ins with Frat assholes who had co-opted the whole “we be jammin'” vibe. Well, because of her comment, I took a listen to some recent reggae, and found this brilliant track from Capleton’s latest album. He does a mix of roots reggae, dancehall and ragga, and it comes off as very bright and poppy. If this song ever managed to get radio play here in the US, I could easily see it becoming one of this summer’s inescapable anthems. (Oh, and from the “my god, they’re everywhere” file, the vocal hook for this track is by Stephen Marley….one of Bob’s sons.) Capleton (feat. Stephen Marley) – “Sunshine Girl”

A few weeks back, I posted a track by The Scissor Sisters–one of their uptempo numbers, channelling the spirit of 70s Elton John. Here’s one of their slower tracks, which hearkens back to Ziggy-Stardust-era Bowie: Scissor Sisters – “Return to Oz”. I said it before, and I’m saying it now: if you haven’t picked up this CD, do so. The tracks I’ve posted are just a sample of how good this album is.

In keeping with Yosa’s request for things chill and trip-hoppy, here’s Zero 7 – “I Have Seen”. Usually, this style of music features female vocalists, but Zero 7 (a collaboration between UK producers Henry Binns and Sam Hardaker, which features a mix of electronics and soulful orchestral arrangements) switches from track to track between a male vocalist (Mozez), a female vocalist (Sia Furler) and pure instrumentals. This track features Mozez, and when the bassline changes subtlely when his lyrics kick in, I get chills (which, I suppose, is appropriate for the genre). The only way to describe this is “lush.”

Here’s one of Laura’s faves: Brit crooner Robbie Williams, inspired by the success of his cover of “Have You Seen Ms. Jones” from the Bridget Jones soundtrack, released a CD of Rat-Pack-era vocal standards, called Swing When You’re Winning. This track, which features Nicole Kidman warming up for her turn in Moulin Rouge was the single from the album, and was a minor radio hit pretty much everywhere except in the US (where the album was never released). They do a cover of an old Frank Sinatra/Nancy Sinatra duet: Robbie Williams (feat. Nicole Kidman) – “Somethin’ Stupid”

Something a little more odd, now: this track features jazzy, almost stream-of-consciousness narration layered over a processed beat (complete with vinyl crackle), and tells the tale of an average LA resident. Soul Coughing – “Screenwriter’s Blues.” “It is Five A.M., and you are listening….to Los Angeles.”

For the Duran Duran fans out there, here’s something that you probably don’t have. Duran Duran – “Virus”, which is a bonus track from the newest album, Astronaut, only available when you get the album via Apple’s iTunes Music Store. I love this track…even more than a couple of the regular tracks on the album. I’m a bit surprised that they made this one the bonus.

I had thought about posting a Spanish-language song, in honor of Cinquo de Mayo, but instead, I’ve chosen an English-language song with a Spanish name. Morphine – “Buena”. This is from their album Cure for Pain. I’ve always been amazed by what these guys can do with a band that was entirely comprised of drums, a two-string bass and a baritone sax. This is my favorite Morphine track, with “Thursday” off the same album coming in a close second.

For our last track this week, we have one of those things where a bizarre combination ends up making a really amazing song. Take the eldest son of cheesey TV sitcom dad Alan Thicke, and have him lay down some downright Timberlakean vocals over the 1970s disco instrumental version of Beethoven’s Fifth Symphony, “A Fifth of Beethoven.” The result? Absolutely brilliant. Thicke – “Alone.” I like this track probably way more than it deserves, but damn if it doesn’t make me want to dance my ass off.

There ya go, kids. Enjoy.