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Daft Punk - Tron: Legacy

4/11/2012

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Told you we'd get back around to this one!! It's nominated for Best Score Soundtrack for Visual Media. Again I say - watch the movie if you haven't. Musically, it's an awesome experience.

So this time, since it's only Daft Punk as the composers, I got the chance to look a little more into them and how this whole thing came to be. This was one of those acts I'd heard of my whole life by never truly listened to. A close friend of mine threw a copy of Discovery my way one night, and I think I listened to it about 3 times in a row, never skipping a track.

Yup, easily hooked, what can I say.

So how this soundtrack... this really awesome, slightly addicting soundtrack... came to be. The director of the film, Joseph Kosinski, along with Jason Bentley (music supervisor) approached and asked the guys to compose the score. Makes total sense, given the nature of the movie. Thomas Bangalter (one of the guys in Daft Punk - first time I've heard either of their names too) actually missed out on composing the soundtrack for Enter the Void since he was preoccupied with this. Another insane movie, in sort of a different way. Well, I guess I say that only having seen the first 10 minutes. But yeah, anywhos, he wound up just filling in as the sound effects director on that one instead.

The details of the soundtrack are pretty awesome. There's an 85-piece orchestra used, and it was recorded in London with conductor Gavin Greenaway. The whole thing as intended to be a mix of orchestral and electronic music, and that mark was certainly hit. The score that Daft Punk wrote wound up being arranged and orchestrated by Joseph Trapanese, who collaborated with them on the score for two years. God I want to work like that - complete devotion to the music of a movie, from pre-production all the way through final completion.

Gavin's comments on the work - I have to share: “It seems complicated at the end of the day, but it’s actually quite simple. I was locked in a room with robots for almost two years and it was simply a lot of hard work. We were just together working throughout the whole process and there was never a point where the orchestra was not in their minds and the electronics were not in my mind. It was a continual translation between the two worlds and hopefully we put something together that will be something different because of that."

I guess we should get into it, huh?


The "Overture" is basically a tone, which you don't even realize it happening until about 30 seconds in. Then slowly, we hear the film theme of the majesty that is Tron. Really, watch the movie - the whelm of the notes coming into the beginning have this awesome sense of epic-ness, like you know you're about to see something incredible. 85-piece orchestra here.

If you read my other review a few days ago of the remix album for this soundtrack, you may remember me saying that "The Grid" is a song I never get sick of, in any way shape or form. Jeff Bridges, steal my heart every time you crazy old fool. His voice was just so right for the kick-off here, driving us back into the old story and linking it to what's to come.

"The Son of Flynn" is, aside from that theme that kind of makes my heart race every time I hear it, where I believe the composers start to shine at their best. The electronic elements are starting to take center stage and be the voice over the instruments.

The same beat as the last song is given in "Recognizer," but in a completely different tone. It's a prime example of how the two portions of the soundtrack, instruments and electronics, worked together complement each other and can change the entire piece in their own separate way. There's a sense of danger here as we enter deeper into the story. And though I couldn't begin to tell you where this was placed in the movie itself exactly, the horns are a reminder that it doesn't matter. The music is it.

"Armory" frightens a little with these incredibly intense tones at the start. About 2 minutes in though, there's this slight background sound of the electronic rips we heard earlier. There's something hidden underneath in such a brilliant way.

I think right about now is when we start to see the root of the film's happenings with "Arena." Everything is sincerely kicked up a notch. Drums are brought in with this incredible intensity and overtaking power, giving a sound yet unheard throughout the rest of the score. It's almost like, oh, you thought you knew where this was going, but just wait... we've always got more.

"Rinzler" takes it further. There's an underlying tone and then these drums just... hit. And it's tough. It's incredibly tough. There's almost a comfort when the electronic elements come back in. It's not so much a battle - it's just one over another becomes easier to hear. Then it gets into this extreme build of strings and the drums are fighting back and... holy cow, I really just need to see this movie again.

In my head, "The Game Has Changed" is approximately where the second of the three acts sort of starts. It has tones just like "The Grid" and "Son of Flynn," and we're reminded of where we started, but also of where we've come from and through. Everything's picking up speed and intensity, but with a muffled, almost under-water feel to the ears. Yeah, everything's different now. The horns that provided a lot of the opening theme that was so great are trying to push through.

"Outlands" is something completely different. The strings have almost full control, while everything else is in the background. There's even a sort of positive hope to it, even when the undertones try to have a stronger influence and take over. Is this making sense to anyone else?

One of my favorite remixes was for the next track, "Adagio for TRON." It's just gorgeous. It's dark, in a way, but there's something about it. It slows down so much of the entire soundtrack and gives this extreme moment of zen and sadness.

"Nocturne" takes a continual downward turn in tones. There's a looming tenseness to it, and these moments where the volume steps up so much you think your heart or your ears are going to break - whichever come first.

The pace is picked back up for "End of Line," which garnered a Grammy nod in remix form. Time to step up and do something. Time to make a difference. The hero fights in this one. How much more do you want me to throw out there? The sense of determination is mighty here, almost like a call to arms. 


And here we are, to the video released from the soundtrack... "Derezzed." 

That was a fun re-visit to the movie. ^_^ Time to share something a little embarrassing... I thought Tron was made specifically by Daft Punk for a while. The immediate association in my head between the two just made for too much sense. Lucky for me, they made a video like this to provide extra wonderful confusion!

"Fall" is one of those, if you were watching it set to something on screen, you'd know that shit's going down. It's an absolute mood-setter for something that's about to come, no matter what it will or will not be.


Another one that was remixed on the other album was "Solar Sailer." I'm listening to this album through headphones at a Starbucks, and this is immersive. Despite the speakers in this room being pretty loud, this track has a way of drowning everything else out. I'm not sure if its the tones in the background or the ominous and repetitious melody going on. But it's nice to ignore everything else for a minute.

In a very Star Wars esq move, we get "Rectifier." Maybe my movie-buff friends will hate me for saying that, but all I can think of is the empire march or whatever it was. Impending doom. Dun dun dun....

"Disc Wars" continues that theme, as though we're marching off to, well, war. The beat is steady and building as we continue into the track further. Those drums come back and are getting closer and closer. It's one of the more terrifying tracks in the score, and a lot to take in, but there's still that electronic Daft Punk theme that helps handling it so much. There may be hope yet.

Unfortunately, we're not left with much hope for long, as "C.L.U." comes in to remind us. Even with this interesting electronic drumming, I don't think this track is meant to be on our side. The climax of the film has got to be happening right about now, but I was too engrossed a year ago to notice. 

"Arrival" starts off with those horns and the theme we loved so much at the beginning. They're slower, and more careful, but they're there, and it sparks some hope. It's an all-encompassing feeling of arrival, this time in triumph. There's even something extra, because of the journey taken and the destination being different than we could have ever hoped. Because, after all, who's to say that the end point can't be different for the better?

Then, of course, we get the final in-film song, "Flynn Lives." Everything comes together and out of the grid, and we're on to life in a much different manner than expected. There's almost a sigh of relief in there, but with a bit of anticipation on what's next.

"TRON Legacy (End Titles)" is so completely Daft Punk - it's awesome. It's a great track of electronic modes and movie influences. It's a great summation of the music throughout the film and an homage to the guys that did it... by the guys that did it.

The "Finale," something I wasn't expecting, almost feels like it leaves room for more. Is there supposed to be another one? Will Daft Punk star in it as I almost felt like they should have here? Will it be as awesome? Oh the questions... And oh the feeling of hating this as the final thing going through my headphones after this amazing score has been completed.


Added To My Playlist:

  • "Overture" - Spotify, YouTube
  • "The Gird" - Spotify, YouTube
  • "The Game Has Changed" - Spotify, YouTube
  • "Outlands" - Spotify, YouTube
  • "Adagio for TRON" - Spotify, YouTube
  • "End of Line" - Spotify, YouTube
  • "Derezzed" - Spotify, YouTube
  • "Solar Sailer" - Spotify, YouTube
  • "Arrival" - Spotify, YouTube
  • "TRON: Legacy (End Titles)" - Spotify, YouTube
FULL SPOTIFY ALBUM LISTEN LINK

What bugs me out a bit is that the soundtrack is only 58 minutes long - that means there may actually be silent moments in this movie. Weird. Okay, I'm going to go ahead and ignore that and pretend like I was surrounded by majestic music throughout each moment.

This is really an incredible score when it comes down to it. They hit it right in just about every way, let alone the innovation of the music itself. The songs were written completely with the movie in mind, not picked later to fit scenes. The score and film worked hand-in-hand in a way unlike what you hear in anything other than the epics these days. It will be hard to beat this one for the grammy in question.
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Original Broadway Cast Recording - Once: A New Musical

3/13/2012

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NEW MUSIC TUESDAY!!!

When I realized this was a new release, I had to immediately add it to the list. This is a show I've been excited about simply based on one song, "Falling Slowly." I then saw a commercial that stopped me in my tracks, and am so incredibly excited to see it in a few weeks.

Going into this soundtrack should be interesting. Yes, the broadway show is similar to the movie of the same name (which, of course, I haven't seen). Here's the description from the website:

"Once is the celebrated new musical based on the Academy Award-wining film. It tells that story of an Irish musician and a Czech immigrant drawn together by their shared love of music. Over the course of one fateful week, their unexpected friendship and collaboration evolves into a powerful but complicated romance, heightened by the raw emotion of the songs they create together. Brought to the stage by an award-winning team of visionary artists and featuring an ensemble of gifted actor/musicians, Once is a musical celebration of life and love: thrilling in its originality, daring in its honesty... and unforgettable in every way."

Follow along with me on Spotify, as we take a musical journey through this show, and only begin to imagine how it might play out on that stage.


Things kick off in an exciting way with "The North Strand." There's this incredible use of strings in what I'm guessing takes on the role of Overture for a minute, as it alludes to a few songs to come - god I love themes!! There's obviously Irish influence throughout the track (and show to come). Really though, that chorus of strings is fantastic. Simply wonderful!!

"Leave" brings is down to a more solemn level, and then this... voice... comes in. My heart has just been completely calmed by this. "Leave. Leave. Free yourself at the same time. ... I don't understand - you've already gone." Oh holy crap, this album is going to make me cry exactly a month before I actually see the show. I want to shove this at someone in particular right this second. That seems harsh, but if you were me you'd understand. This tortured voice is so incredibly pure and wonderful. Ahhh, I love when emotion translates through speakers. While the ad libbing later isn't exactly wonderful at the end, it's passionate, and that's all that counts right now.

Okay... watch this for me first.
This is obviously the song people knew well in advance of this show ever existing. "Falling Slowly." My first hearing of it was Damien Rice. This takes on an entire new meaning though. The introduction of the girl's voice indicates the beginning of something new to the story in general. This is probably one of the saddest things ever to hit most ears. The music is so incredibly simple, but lovely, and meaningful. I'm going to go ahead and give in to the lyrics for a few minutes... "Falling slowly, eyes that know me and I can't go back. ... You have suffered enough at war with yourself. It's time you won. Take this sinking boat and point it home - we've still got time. Raise your hopeful voice: you have a choice. ... Falling slowly, sing your melody. I'll sing along."

<<intentional quiet space>>

"The Moon" starts like some hipster guitar number from down in Brooklyn, which means I'll either love it or completely despise it because I can't make up my damn mind about that scene. When the harmonies come in though, the words take on more meaning and wholeness. It's an incredibly dark sounding song in certain spots, and then very uplifting in others, like it can't make the decision. Then, just as suddenly as is had built, the song is gone.

Ooohhh a little flavor added in with "Ej Pada Pada Rosicka." Yes, I just used flavor to describe a very Jewish sounding song. It's fun though! I can only imagine it being the dance number for really no reason other than the rhythms. The tamborines involved bring an additional level of fun to the song. This is a nice break from the very depth that has been entangling us for the past few songs, and let's face it - the relief is sort of nice.

"If You Want Me" takes back the simplicity of before, with a deep voice of the old country. The flavor of this is fascinating, as the strings used provide this incredible gypsy tone to the whole thing, and the voice over it uses dynamics of such strain and softness. It's just completely enveloping.

A small little diddy, just used to tell a story, is "Broken Hearted Hoover Fixer Sucker Guy." There's a lot of Irish music that tells about heartbreak, while maintaining a fun melodic tone, and this fits right along with it.

"Say It To Me Now" brings back that beautiful voice. I may have a new Broadway crush (sorry Adam Pascal). And oh man... when he switched into an angry belt, I'm just done. The heartbreak amongst the simple guitar accompaniment is too much to bear on the fragile heart of a girl. And the message? It's so simple - if you have something to say, say it now. We should all be so smart as to listen.

A gentleman that I can only, based on sound, assume is the comic relief, sings "Abandoned In Bandon." Another quick little song about a man and his lost love... I think. It's a little tough to understand from time to time. All I know is this sounds like entertainment for sure.

"Gold" is the gentlemen's chance to harmonize perfectly. The guitar simply acts as a way to move it along, thought I could envision this without the strings at all. They enhance the song, for sure. Yet, the lyrics remain a song for everyone to take in at their hearts. There's lines about what is gold and what is of value. I think it's more enchanting than anything else. When the instrumental section hits, I'm convinced that those strongs are actually completely necessary to tie the intensity of the song at the points it is needed. They're like... gold.

It's no lullaby, but this sounds like a song you'd sing to someone while they sleep beside you: "Sleeping." It's stil very light, like a lot of the song have been. But god, that raw emotion is completely there. This entire score takes on very simple phrases and reminds us of their power. Case in point: "How am I supposed to live without you? The wrong words said in anger, and you were gone." No frilly language necessary, not big problems to report, just a simple fight and a bitter pain.

"When Your Mind's Made Up" sounds so familiar for some reason, but just in the tone. It's just got a familiar feeling. It's interesting how the music moves a little faster than the words, because they're trying to make their point without rushing. There's a bite to these words though - like there's some anger here that we haven't really heard quite yet. We've possibly reached the boiling point of the show - it certainly sounds that way.
Piano - that's a slight change from the overwhelming about of beautiful string thus far. "The Hill" is a quite response from her, with those high notes floating on air throughout. The lyrics are just barely discernable, but there's a ton of heartache throughout the song. It's probably the moment meant to drive you to tears and you watch some sad moment occur. There is a beauty to the whole thing, as haunting as the sound may be. That can't be denied, though it sounds as if someone was.

"It Cannot Be About That" is an intense quick interlude with the strings. It's the moment, in my mind, where Mimi's gone missing, if you understand that reference. There's a theme of "Falling Slowly" played in a frantic manner, as if something clearly gone wrong. The chorus is wonderful, but frightening in the best way theatre can be.

The new version of "Gold (A Cappella)" took me by surprise, despite seeing it on the playlist. It's like someone else knew what I was thinking about the instrument usage. Well, I mean, obviously they planned it that way. It's just nice to be re-affirmed that my instincts are okay.

"Falling Slowly (Reprise)" is the closing song, appropriately. You can barely hear it at first - I had to crank the volume up. The instruments give a definite close-out feel. Then the words come in just as gently as before, with that slight hesitation to totally feel, which is what defines this song so perfectly. Time to just enjoy the ending as the entire cast comes in to understanding.


Added to My Playlist:
  • "The North Strand"
  • "Leave"
  • "Falling Slowly"
  • "Say It To Me Now"
  • "Gold"
  • "When Your Mind's Made Up"
  • "It Cannot Be About That"
  • "Falling Slowly (Reprise)"

I remember hearing Rent for the first time when I was younger, and every time after, and thinking that love was something that was so often prompted by tragedy and sadness. In time, my view's evolved in to a tad more optimistic, yet terribly pessimistic in some weird way, that love is actually something of such extreme depth that we'll never fully understand it - and we never should. It should be something organic and beautiful, and grow from unknown places. There's no way to put into words why we love the way we do, and that's never needed.

I believe that Once has, already in just hearing the music, captured this. There's no explanation needed for loving someone, you just need to let go and give in to wherever it's melodies are drifting you off to.
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Various Artists - Nightmare Revisited

12/25/2011

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en. wikipedia.org
Confession time readers - I have a small obsession with The Nightmare Before Christmas. And by small, I mean that I own quite a bit of merchandise, from figurines to posters to bags to blankets, to board games... and a snuggie. My most recent addition this really awesome zip-up hoodie with white drawings of Jack and Sally and "Meant to be" printed on the back. And I maybe wear it just a little too often. I promise though, a majority of these items were gifts, because my friends tend to make my obsession just a little more wonderful. 

I've also been to the awesome Tim Burton museum exhibit, and drooled a little over the hundred and some-odd Jack clay heads on display. I don't necessarily want to work in film for the rest of my life, but Tim Burton's on my list of people I'd love to work with at some point down the road. He's brilliant and creepy and amazing.

Naturally then, I know every word to every moment in the movie, and even imitate the delightful little creatures' voices as they sing. It's loads of fun for me. =) From October to December gives me the perfect excuse to watch it multiple times (only like... 4 or so these past few months?) and to listen to this soundtrack. Tonight though, we're going to take a look at a new spin on the classic numbers, Nightmare Revisited. Yes, this movie is a cult classic at this point, and there's an entire culture behind it.

On this album, 20 devoted fans/artists gave their own spin to the songs from the movie, including Mr. Danny Elfman (composer) himself, who provides opening and closing tracks to add to his already wonderful work. This was released in 2008, 15 years after the 1993 film release. Every single number is covered, so let's get into it. I'm going to provide as many videos as possible in this special edition, so I hope you're ready for a ride!!

Let's hit the track-by-track!

Devotchka kicks things off with their take on the "Overture," as any good show should. We get our carnival band warming up and getting to work, with a taste of what's to come. Lots of accordion in this one. 

Danny Elfman's first contribution comes in next, with the "Opening," complete with crazy creepy voice over. It almost reminds me of a demo version of what was to come in the movie. It provides a great mood setting track and we're excited to see what's about to go down when "two holidays met by mistake."

And here we go. Marilyn Manson with "This Is Halloween," which had actually been released two years prior to this release because sometimes his freakishness pays off. I love his take on this - it's perfect and could have just as easily been in the film itself, but is different enough to earn a spot on this album.  Quick note here - two years prior, some tracks had been released as a bonus disc for the reissue of the movie soundtrack. Panic! At The Disco covered this on that one, and it's also amazinggggg. Now, for a rarity, I'm going to give y'all a treat - I've found synced videos for both!! Compare and let me know what you think!

Thank you Marilyn AND Panic!, because "life's no fun without a good scare!" He may not have matched up timing exactly with the mouths, but the beat hit perfectly with the cut.

"Jack's Lament" is one of my favorite songs in the entire film. It's torturous and beautiful all at once. Yes, I realize I'm a little twisted - thanks! ^_^ While The All-American Rejects take a nice shot at it, they just can't capture the actual LAMENT part of the lament. The voice is too high-pitched. It's just not fitting. To show you what I mean, here's a pretty well-synced video I found to the movie with this version. Let me know your thoughts:
Well timed. Un-fitting voice.

"Doctor Finkelstein/In The Forest" is next, taken on by amiina, a group I've never heard of. Regardless, it's very well done. Again, completely fitting of what we've come to see this film as, but with enough modern difference that you know there's a newness to the album. It's a totally trippy instrumental track.

"What's This?" (where Jack discovers ChristmasTown) is taken on by FlyLeaf. On the 1996 release of the soundtrack with those bonus tracks was Fall Out Boy's version of this same song. Now, personally, I find each to have awesome qualities. FlyLeaf puts this haunting quality to it with her dragging female voice that seems insanely appropriate for the dark nature of this film (I would love to cover this version). However, Fall Out Boy provides this incredible version as well, a little more up-beat and providing the irony the song kind of desires. I think the female voice on the first video seems a little off, but the transition from the opening into FlyLeaf is AMAZING on yet again, another video comparison for y'all!!
See what I mean? Also, anyone notice YouTube's timer circle on the slider is a snowflake today? Aww.

Next up we've got The Polyphonic Spree (WHAT?) covering the town meeting song. Phew, okay, this is exhausting because it's so amazing and creepy. It drags a little much for me, considering the pace that's set in the movie. But seriously, it's completely different and completely appropriate all at once. I'm blown away by what they've managed to do with this number. I found a live video of it that I need to share with you guys and gals:
They make it so much more poetic and beautiful, yet so much scarier. I... how did they do this??

Okay... getting myself back together here. Next up is "Jack and Sally Montage" by the Vitamin String Quartet, known for their incredible covers and tributes to different bands (check out their Coldplay tribute - one of the best CDs I've EVER been given). This song's no exception. There are literally no words, but they speak to the emotions of two characters so many believe in love because of so well with just one group of instruments. I keep an instrumental playlist just for this reason, and you'd better believe this is going on it. I think it's hard to put a new spin on instrumental music without botching it up, but this is tastefully done. Bravo.

Sparklehorse takes on "Jack's Obsession" next, and I'm truly not a fan. Sally's whiney in nature, yes, but not necessarily in vocals. No need to make her so with this voice or an acoustic backing. No one wanted to envision Sally singing this apparently, because I can't find a video for this one. Good.

KoRn made their hiatus return with "Kidnap the Sandy Claws" on this album and I think it's fantastic. I like it so much more than the film version actually. Lock, Shock, and Barrel annoy the hell out of me. Jonathan Davis should have been casted instead. He brings a much more adult and appropriate sound to the track. YES it's entirely more evil sounding. And YES it works so much more. Here's a sweet synched video of it:
Ok, I've been waiting for "Making Christmas" the whole album, and Rise Against takes it on. I typically really like this band outside of covers (and yes, I LOVE "Swing Life Away"), and they continue to make this enjoyable. Instead of darkness, like the other bands have seemed to give us, they take it to a hard rock arena and beat it around a bit. It works though! How I have yet to hear this on a rock station this season, I have no idea. It's still completely appropriate even outside of the film. I personally think this, though, would have been an AWESOME midpoint song for the movie:
See???

The Yoshida Brothers take on "Nabbed" and take us to... Asia? Seriously, this oriental feel is completely different than the entire movie and album. It's actually more fascinating than anything else. The voices aren't voices at all - they're flutes and pianos and whatever else works to tell the moment. This may be the most beautiful thing on the album altogether. It's got everything you could want in a piece of music - you NEED to check this out ASAP.

Rodrigo Y Gabriela is next with "Oogie Boogie's Song." This time, we get a Spanish beat which seems entirely out of place. In the first minute, I really don't recognize this as well as I should. I mean, don't get me wrong, this is a really gorgeous treatment and awesome track in it's own right. Album-wise though, this doesn't work, sorry.

Amy Lee (from Evanescence) takes on "Sally's Song," and yet again, I've heard this on the other album, instead done by Fiona Apple. Fiona is just sad in her version. Amy is haunting and loving, the way Sally should be. I need to give it to Amy this time. The song is equally sad, but there's more emotion to it in a different, non-depressing-as-all-hell fashion. I'm going to give you Fiona's version first, then Sally's. Let me know what you think:
One more thing on this song: Here's a video from a live performance, with a little commentary from Mr. Elphman at the beginning. She still kills it!
Okay, moving on now, promise!

Am I reading this right? There truly is something for everyone on here - RJD2 covers "Christmas Eve Montage" on this album. It's kickin', and I like it enough to sit through the whole thing. It's out of place, but a great cross-genre moment in music I think. Proof that this film reaches all!!

Plain White T's, famous for their adorable love songs ("1,2,3,4" is a personal light favorite), takes a twisty turn to cover "Poor Jack." Again, like the AAR, I love this band most of the time, but this voice is not in the right place here. It's trying too hard I think. I'd give you a video, but none properly synched to this song came up, so just take a listen and decide.

And I'm thrown for a loop yet again - Datarock is doing "To The Rescue," another, um, would you call this instrumental. Non-vocal, there we go. It's actually a pretty sweet rendition of the song; they have a style I would have never before considered for this kind of soundtrack. I wouldn't mind being at a show or club and hearing this, that's for sure. Again though, obsessed, right here.

Shiny Toy Guns gives us the "Finale/Reprise" and takes everything back to that super creepy place. I swear they mixed all the songs from the album into this. That or I'm just missing Jonathan Davis too much and hearing him in the "La"s. It's a very interesting and there's actually a more mellow turn of the music with a very nicely done closing. I'm impressed!! It also sings my favorite part of the movie with a voice I like better than Sally's herself (at about 1:30 in until the end) - sorry for the poor quality:

Danny Elfman gives us "Closing" with our lovely narration voice. Yay Danny. I'm glad you love us so much to keep doing work on this. In fact... you wrote an... epilogue? You're incredible sir. Yah know what, you're on my music dream work list.

The "End Title" is done by The Autumn Leaf. It actually dreadfully slow and creepy, perfect for the movie, but not as wonderful for me to close the album out with. I don't hate it, but it's a lullaby, not a closing theme.

Oh but wait! Tiger Army gives us a bonus track - a sweet little bluesy/rock number version of "Oogie Boogie's Song"! It's swing! It's fantastic! And I really was terribly scared of Oogie when I was little, lol. I wish I liked the song itself better, but I love their interpretation. I wish I could hear them do the rest of the album actually, in this style. Nice close out.

 
   
Stuff I Wouldn't Mind Hearing Again
  • "This Is Halloween" - Spotify, YouTube
  • "Doctor Finkelstein/In The Forest" - Spotify, YouTube
  • "What's This" - Spotify, YouTube
  • "Town Meeting Song" - Spotify, YouTube
  • "Jack and Sally Montage" - Spotify, YouTube
  • "Kidnap the Sandy Clause" - Spotify, YouTube
  • "Making Christmas" - Spotify, YouTube
  • "Nabbed" - Spotify, YouTube
  • "Sally's Song" - Spotify, YouTube
  • "Finale/Reprise" - Spotify, YouTube
10/21

I really liked hearing different version of these songs and different styles taking on the film. Like I said, cult classic, and someone everywhere loves it, no matter their style. This album speaks to that nicely, giving something for absolutely everyone.

There's probably enough videos on YouTube that you could watch the whole movie to this soundtrack. If you do, well, I'm probably there with popcorn. This was a great experience, and I want more. Please artists of the world - do more of these songs!!



Share your final Christmas thoughts below!!! Merry Christmas and Goodnight!
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