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3WA 2018 #42: Daft Punk – Tron: Legacy (Soundtrack)

Was it a great movie? Maybe not. Did it look amazing? Mostly yes.

Did it sound fantastic? Oh, indeed it did.

What is it?

Tron: Legacy (Soundtrack) is, as one can surmise from the name, the soundtrack to the sequel movie released in 2010 that nobody really expected to ever get made. But if it had to get made, it’s best that they did so while Daft Punk were at the height of their powers, the better to provide the absolutely ideal music.

How does it sound?

I haven’t a CLU.

Why this pick?

I probably shouldn’t admit this, but there’s only one other Daft Punk album I like as much as this one. (More on that, later.) It was always going to be that one or this one if I picked a Daft Punk record for this project at all. I went with the soundtrack because there’s just so much to choose from here. It’s basically the same ratio of hits to misses, but since there are more shorter pieces it works out to a greater number of actual tracks I like.

I’m weird. I know.

Which songs are the highlights?

As previously stated: When talking about soundtracks, what you get out of any given piece may rely entirely on how you felt about the part of the movie where that piece was used. We must also keep firmly in mind that a soundtrack is basically an exercise in weaving several distinct motifs together, in slightly different ways, over and over. With that said, I have a few highlights to point out and some general thoughts overall.

The most recognizable track here is, ha ha, “Recognizer.” It’s been used for Tron: Legacy‘s own trailers and a few others besides, not to mention popping up in a game trailer or two. Following close behind is probably “Derezzed,” from the party scene in the movie where Daft Punk themselves make a cameo appearance.

In terms of more standard-sounding soundtrack fare, “Adagio For TRON” and “Flynn Lives” and “Solar Sailer” count among my favorites.

Interestingly, while at no point do you find yourself thinking “Daft Punk didn’t make this song,” when you hit the end titles track you realize that they were holding back on their inherent… Daft-Punk-ness… the entire time.

Which songs don’t work so well?

Some of the pieces, such as “The Game Has Changed,” rely on a drum beat laced with a high-frequency buzzing effect that is far too annoying for my tastes. Similarly, “End of Line” devolves into electronic noise a few times. (I still, um, actually like that song. But fair warning is fair.)

“The Grid” is really just a speech with a bit of music behind it. (It’s a cool speech, mind you.)

Which album did you almost pick in favor of this one?

Discovery, absolutely. I mean, it has its own anime film. Correction: It has its own anime film produced under the supervision of Leiji Matsumoto! How cool is that?

(Too bad I no longer have a copy of the DVD. Lost it in the divorce, sadly.)

Any final thoughts?

If you pick up this record, also do yourself a favor and grab the Reconfigured remix set as well. Its remixes of “The Grid” and “The Son of Flynn” are superior to the regular versions, at least for casual fun value. Note that the remix of “Derezzed” on the actual official remix album isn’t that good, but there’s a standalone single for a very good “Derezzed” remix available.

And if we’re going to talk about the different versions of this release, well: If you want all the possible tracks you get to buy the Deluxe Edition (which I did) and the Reconfigured disc (yep) and the “Derezzed” single (uh huh) and the Amazon-exclusive bonus track, “Sea of Simulation” (check) and the iTunes-exclusive track (…no) and… you get the idea. The release for this record makes some AAA video game titles look tame by comparison with their Day One DLC shenanigans.

Daft Punk’s greatest strength, that ability to find and set a supremely groovy hook, is also their greatest weakness: Many of their hook-iest songs wear out their welcome far too quickly. “Around the world around the world, around the world around the world, around the world around the world…” And this is why I’m only ever going to be a middling fan of their work.

But I’m still a fan. And they made an anime film with Leiji Matsumoto, so they’re super cool in my book.

3WA 2018 #41: Living Colour – Biscuits

The first single by The Damned, “New Rose,” featured as the B-side a double-speed rendition of The Beatles’ “Help.” I think about that, sometimes, when I listen to this album.

What is it?

Biscuits is a 1991 previously-unreleased-tracks not-an-actual-album by Living Colour, the band best known for the hit song, “Cult of Personality.” More importantly, my CD copy is the Japanese import which features a bunch of concert recordings as well. So, basically it’s an EP with a concert album bolted on.

How does it sound?

I don’t need a mix, I need a sampler solution:

Why this pick?

To my discredit, I as yet own no other Living Colour records. I’ll remedy this some day, honest!

On the upside? Folks seem to think that Biscuits is a poor entry to the band’s work. I suggest otherwise, at least if you have the import version. This is a great mix of covers and live renditions, totally worth owning.

Which songs are the highlights?

The EP portion leads off with “Talkin’ Loud and Sayin’ Nothing” and “Burning of the Midnight Lamp,” both excellent cuts.

The revved-up rendition of “Should I Stay Or Should I Go” (which is why I think of The Damned doing “Help”) is worth the price of admission all on its own, though.

Getting into the concert recordings we get excellent renditions of “Final Solution,” “Type,” and “Solace Of You.”

Which songs don’t work so well?

The last song in the EP section, “Love Rears Its Ugly Head,” is a remix (“Soulpower US Mix”) that, like many remixes, wears out its welcome far too soon.

Concert material is often hit-or-miss by its very nature; “Desperate People” doesn’t quite work well here, for instance, nor does “Memories Can’t Wait.”

Which album did you almost pick in favor of this one?

Had it not been this, it’d have been something from another artist entirely. I love this record but it never led to me pursuing the rest of the band’s catalog.

I need to acquire Time’s Up and probably also Vivid at some point, not to mention giving their latest record a listen.

Any final thoughts?

I wish the band had hit bigger than just a big single or two, and that they’d been the vanguard of black artists entering the heavy metal scene instead of ending up a historical curiosity.

3WA 2018 #40: U2 – War

Please allow me to present to you an exercise in saying nice things about a record while saying unkind things about the band.

Remember the “parabolic enjoyment arc” thing last week? Here’s the other case of that problem I mentioned.

What is it?

War is the 1983 release from U2, who at the time had not yet become the biggest thing since The Beatles.

How does it sound?

Push the sampler and pull the mix:

Why this pick?

It’s simply the one I like best out of their catalog. And yes, I know that there are albums held in higher critical esteem than this. People want to insist that Joshua Tree or Achtung Baby are the peak of U2’s creative output, but the problem is that I don’t like very much of either of those records. In fact the later you go in their catalog the less interest I have and the less enjoyment I derive.

So we go back, closer to where things started. And War started the big-time fame thing for them, really. Deservedly so: This is a deftly made record for the most part, angry where it needs to be and gentle when it suits the mood. Since the point of this is to highlight albums which bring me joy, I can think of no better U2 choice than this one.

Which songs are the highlights?

The big politics-heavy hits play well even now. “Sunday Bloody Sunday” and “New Year’s Day” are only dimmed by virtue of having survived 35 years of near-continual airplay, so one can be a bit tired of them if one still listens to the radio. In between those is “Seconds,” which holds its own quite nicely in such company.

My actual favorite songs here, though, are the quieter, downtempo “Drowning Man” and especially the album’s closing piece, “40”.

Which songs don’t work so well?

“Like A Song” kind of unfortunately lives up to its title. Meanwhile, “The Refugee” tries to be pop and punk by turns, succeeding at neither.

“Surrender” isn’t bad, but it kind of wears out its welcome after a while. It’s the same length as “New Year’s Day” but unlike that song, you start paying attention to the time-remaining indicator while listening. Not a good sign, there.

Which album did you almost pick in favor of this one?

I briefly considered Rattle and Hum, mainly because it was my first real U2 experience. One of my friends during my senior year of high school was a U2 superfan and that was right around the time the band was hitting superstardom levels. Rattle and Hum came out that year and I thought it was a heck of a thing, blending the studio and concert material while also blending several type of visual showmanship.

It wasn’t until years later that I realized the whole album/video/event was also a chronicle of a band in the act of starting to believe their own press releases, as it were. The bigger U2 got, the less interesting they became for me. I kept getting the feeling that while they were operating with tongue firmly in cheek, the band also kind of believed that they were Just That Cool, and… man, if you think you’re cool, you’re probably not.

To calibrate your understanding, here, remember that my all-time favorite band is basically five (then four, then three) complete dorks who stumbled into prog-rock success.

Any final thoughts?

While I’m thinking about what’s cool and who’s not, I think I now know what I’ll pick for next week: A record by a band who really should’ve been more than a one-hit wonder, who were for a while really damned cool.

Also: I want to be crystal clear on the fact that U2’s War being entry number 40 for the year while containing a song titled “40” is a complete coincidence. I didn’t realize it until I’d written the first draft of this post.

Honest!

3WA 2018 #39: Muse – Black Holes and Revelations

Some bands improve with age. Some bands start off strong, then fizzle out. Some bands follow a parabolic trajectory arc of enjoyable quality.

Let’s talk about a couple of acts from that last category there, shall we?

What is it?

Black Holes and Revelations is the 2006 big hit record from Muse, three quarters of an hour of music spread over eleven songs.

How does it sound?

When will this sampler mix be over:

Why this pick?

I like individual songs from earlier and later Muse records quite well, and in fact certain of those songs I like better than nearly anything on Black Holes. But if I’m going to recommend an album to someone unfamiliar with the band’s works, it’s got to be this one. This is the crowd-pleaser. To be blunt: This one has “Starlight” and “Knights of Cydonia.”

Before this one, there’s a lot of diamonds-in-the-rough quality to the records. Great stuff is there to enjoy but you’ve got to want it enough to get through everything else.

After this one, I get a strong sense that the band has increasingly started to believe their press releases and disappear up their own backsides. There’s too much “too much,” basically.

(Yes, we’ll be exploring this theme again a bit next week.)

Which songs are the highlights?

“Starlight” got a lot of radio airplay for good reasons, and it holds up moderately well over a decade on. “Supermassive Black Hole,” “Assassin,” and “City of Delusion” are pretty darned good, too.

I can’t even explain why, but just know that “Map of the Problematique” is my all-time favorite Muse piece. Something about the sound and energy of it just gets me right where I live. I never tire of it and hope I never will.

The album closes with “Knights of Cydonia,” and it’s a ridiculous hoot of a piece. In a way it’s their riff on Queen’s “Bohemian Rhapsody” except done as a six-minute trashy 80s sci-fi conniption fit of sheer lunacy. I adore it to pieces.

Which songs don’t work so well?

The record starts out with “Take a Bow,” which is… iterative, for lack of a better term. There’s a germ of a good musical idea in there but it’s so grating (presumably on purpose) that it’s almost impossible to really enjoy (presumably on purpose).

Midway through we get “Soldier’s Poem.” I’m sure it’s supposed to be snarkily meaningful but for me it just falls flat. This is probably a problem with me trying to enjoy more of Muse’s songs: All the clever wordplay goes in one ear and out the other! Whoopsie.

Right before the end of the album is “Hoodoo,” another experimental mostly-quiet piece with some louder bits and, no, just no.

Which album did you almost pick in favor of this one?

It was almost The Resistance, the record immediately following Black Holes. They’re both solidly enjoyable entry points to the Muse catalog. (Purists will, of course, argue with me. Good thing I’m not a purist.)

Any final thoughts?

The remarkable thing about this album is that every song here swings for the fences in some fashion, even the quiet(ish) ones. Sometimes those swings catch nothing but air, striking out wildly. Sometimes the swings send the ball clean over the outfield fences and into the parking lot. (Sports metaphor! That’s relevant to my readership, right?) If nothing else, I have to admire Muse for going all-out. A band who did anything less couldn’t have recorded “Knights of Cydonia,” let’s be real.

That parabolic arc I mentioned at the start? Maybe it’s the weight of expectations, that everyone expects them to do more, bigger, pushier, edgier stuff every time. Two albums after Black Holes, we get The 2nd Law which is full of obnoxious dubstep-type ‘wub-wub-wub’ noises, which is great if you’re into that sort of thing, and Drones is just kind of grim and portentous, so at this point I can’t even work up any excitement about the new forthcoming record. Where’s the fun, guys?

Maybe they’ll prove me wrong, though. That’d be nice.

3WA 2018 #38: Queen of Hearts – Cocoon

I done goofed up.

I reviewed this album already. Somehow in the process of putting together the spreadsheet and assembling the preview sampler mix late last year I completely and totally forgot about the existing review post. But, I’m forcing myself to stick with the roster as written. So here we are.

The good news is that I still love this record. As a bonus, it continues our little trend of counterbalancing the earlier angst-and-woe selections with some nice upbeat danceable fun.

What is it?

Cocoon is the 2014 debut full-length album by the singer/songwriter who has dubbed herself Queen of Hearts. There was an EP called The Arrival a few years beforehand so it’s up to you if you want to consider that the debut rather than this. Given that these two releases are all we have to work with so far, it probably doesn’t matter too much yet.

How does it sound?

Mix the sampler to my heart:

Why this pick?

Usually with the dance-y electronica type stuff, it’s a dude or a couple of dudes and they hire a woman to do the singing. (See the Space Brothers album earlier in this year’s lineup.) This is a nice example of coming at it from the other direction: The singer/songwriter and her voice (literally and figuratively) are foremost.

Which songs are the highlights?

“Freestyle” and “Shoot the Bullet” survive from the earlier EP to anchor this album with some known quantities, and they’re definitely standouts here.

There’s so much more to enjoy, though! For straight-up head-bopping hip-wiggling good times there’s also “Neon” and “Like A Drug” and “It Isn’t Enough” and also “Overcome By The Rhythm.”

It’s not all high-tempo feel-good fun-times, though. One of my favorites on the record is serious & somber “Warrior,” while the album closes with the lovely “Tears In The Rain.”

Which songs don’t work so well?

“Heartbeat” doesn’t quite gel for me. Luckily it’s the shortest track out of the 14 on offer. “Angel,” likewise, is a bit of a miss.

“Suicide” isn’t scored low because it’s bad, I just have a heard time with that word as a key part of the chorus in any song, sorry. It’s not you, song, it’s me!

Which album did you almost pick in favor of this one?

Had I been paying attention I’d have ended up with something by some other artist entirely. That one-off by a band nobody’s heard of, The Men, maybe. (I saw them at the Roseland Theater way back when, with Cree Summer’s band Subject To Change as the opening act. Heck of a show!)

I was hoping for a new Queen of Hearts record to come out before the end of the year so I could cheat a little and write about that instead, but, such is life!

Any final thoughts?

Double-check your work, kids. Your WordPress site comes with a search feature. Use it!

3WA 2018 #37: Thomas Dolby – Aliens Ate My Buick

I owe you all an apology. I just looked at the roster of the last handful of posts and realized, wow this has gotten grim and depressing. I am so, so sorry about that.

Let’s lighten things up. A lot.

What is it?

Aliens Ate My Buick is Thomas Dolby’s third studio record, released in 1988 with a resounding, undeserved, commercial thud.

How does it sound?

Karmann Ghia plates say “Sampler Mix”:

Why this pick?

Unless you’re a tech nerd of a particular stripe, mostly what you know Thomas Dolby for is that “Blinded Me With Science” song. He had other hit songs on the radio! Just, unless you’re already a fan of his, you probably can’t bring any to mind.

“Airhead,” from this record, is basically the last one.

And that’s a shame, because Aliens Ate My Buick is a record made by a guy who seems to want to break out in a lot of interesting directions with pop music. After this one he basically made quieter stuff, easy-listening pop songs, pleasant enough but not as engaging.

Not everything on this album works but even the failures are at least interesting. I think it’s worth a listen, and it’s a whole lot of fun.

Which songs are the highlights?

The album kicks off with a Robin Leach (the “Lifestyles of the Rich and Famous” guy) voice-over at the start of “The Key To Her Ferrari,” which is a ridiculously fun romp that I try not to think about the lyrics too much of. After that comes “Airhead,” the best of the radio-oriented pop songs on offer here.

Late on the album is the deliciously groovy “The Ability To Swing” followed by the sprawling, moody eight-minutes-and-some-odd of “Budapest By Blimp.”

Which songs don’t work so well?

“Hot Sauce” was another of the singles from the record, and it’s not nearly as fun as “Airhead” nor does it age particularly well.

The album’s finale is “May The Cube Be With You,” which I can take or leave depending on mood. (Usually I leave it, though.)

Which album did you almost pick in favor of this one?

It was always going to be Aliens. I like Dolby’s first record, The Golden Age of Wireless, and that one has my all-time favorite of his songs (“One Of Our Submarines”) but it’s still a debut record and I still find Aliens much more interesting to examine.

Any final thoughts?

If you get into Dolby’s music and want something a bit out of the ordinary to add to your collection, grab the Gate To The Mind’s Eye soundtrack. The Mind’s Eye videos were VHS releases highlighting the cutting edge of computer-generated graphics. They look quaint as heck to us in the twenty-teens, but in the early 1990s they were super cool! (Really. Honest. Very very cool. Trust me.) I have two of the soundtracks, this one and its predecessor: Jan Hammer’s work for Beyond The Mind’s Eye. (I also recommend that one!)

I think we could use more upbeat pop music, don’t you? Let’s do that.

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