As much as I enjoy compiling my periodic lists, it hit me that I didn’t actually have a page listing them. So, apart from the List of my Top 365 movies, with its incarnations at the top, here are the smaller lists I’ve posted thus far, including my Top Twelves, my Top 50 Movie Scores countdown, blogiversary lists, and special features like Cartoon Comparisons and Version Variations. I guarantee I’ll be adding to it with more lists to come, and at least now I have a central place to index them. I’m such a list nerd!
After a whole month of NaPoWriMo poems, I don’t want anyone to think I just sit around watching movies and thinking up words that rhyme with orange. Like everyone else, I have a wild side too, even if claiming I have a wild side probably means it’s rather tame, but the best way to manifest it for me is to listen to the head-banging goodness of rock and/or good pop music. These are songs that I can’t help but let loose and bash my cranium against the atmosphere. (Warning: Bashing one’s head against the atmosphere is a known cause of headaches, seeing spots, and other forms of dain bramage. Bash responsibly.)
I feel I should preface this list with a caveat, namely that my taste in what constitutes “head-banging” may be unconventional next to the definition of the hardcore metal-heads out there. For me, it’s a fine line between “head-banging” and just noise, so the majority of metal does not appeal to me, and the same goes for a lot of hard rock with those endless guitar solos. I think my list is actually pretty varied, but be aware that it’s unlikely to match the majority of similar lists. Because the head-banging quality is rather subjective, I’ll also be including my mom’s list at the end, which errs more on the side of classic rock. That will provide a different generation’s contrasting opinion and show where I got my head-banging genes; there’s an asterisk by my picks that would be runners-up for her list. I don’t know if anyone will agree with my picks here, but at least now I’ll have all of them compiled in one place anytime I feel like giving myself whiplash!
“Don’t Leave Me This Way” – Thelma Houston (1977) *
Written by Kenneth Gamble, Leon Huff, and Cary Gilbert, this catchy tune transitioned from soul to disco when Thelma Houston made it into a hit two years after its original recording by Harold Melvin and the Blue Notes. The Communards later 80s-fied it in the next decade, but, as good as all three incarnations are, Thelma Houston’s is the best, in my opinion. It killed me when her version was included in the soundtrack of The Martian but was cut off right before it really took off.
“Delilah” – Florence and the Machine (2015)
After discovering Florence and the Machine last year, I’ve become quite a fan of their unique sound and Florence Welch’s voice, and I think “Delilah” is the high point of their discography thus far. The way it builds and lets loose after those stark piano notes is genius, making this a good example for my idea of an unconventional head-banger.
“Bohemian Rhapsody” – Queen (1975) *
Well, I don’t think I’ll get much dissent on this one. Thanks to that classic scene from the beginning of Wayne’s World, Queen’s “Bohemian Rhapsody” is almost synonymous with head-banging (and singing along to weird lyrics). This one speaks for itself.
“One More Night” – Cascada (2004), Nightcore version
For those who don’t know what Nightcore is, it’s basically a lazy YouTube version of a remix which just speeds a song up and slaps a random anime picture on it; a side effect is that it sounds like Alvin and the Chipmunks, but the faster tempo often enhances the instrumental beats, especially in the Eurodance music of Cascada. Pretty much all of their songs sound even better sped up, but for some reason “One More Night” most gets my head jamming.
“Good Time” – Owl City and Carly Rae Jepsen (2012)
This little collaboration was one of the most feel-good summer hits in recent years, and it’s a shame that a now-defunct copyright lawsuit kept it off the airwaves for a time. I remember mowing the lawn to this wholesome headbanger back in 2012 and loving every minute of it.
“Flyers” – BRADIO (2015)
Have you ever seen an anime series called Death Parade? No? Neither have I, but boy, do I know its opening theme song. Beginning with possibly the greatest opening note of any song, this is upbeat funk at its finest, and I don’t even mind that it’s in Japanese. I especially love the guitar solo.
“Livin’ on a Prayer” – Bon Jovi (1986) *
Possibly Bon Jovi’s biggest hit, “Livin’ on a Prayer” doesn’t know when to culminate. The chorus just keeps building, and it’s head-banging glory.
“Timber” – Pitbull, featuring Ke$ha (2013)
As much as I usually detest rap, Pitbull actually has some decent songs to his name, though they’re usually good in spite of his rapping, as is the case with this country-ish dance hit. Leave out the rap entirely, and it’s infinitely better with just Ke$ha’s vocals and that harmonica. This is one I always crank up by the end.
“Shut Up and Dance” – Walk the Moon (2015)
Yes, perhaps my subconscious youthful bias for recent music is showing, but “Shut Up and Dance” has a strangely ‘80s vibe to it too. Its dance-floor exhilaration instantly made Walk the Moon one of my favorite modern bands. This song might also have fit on a list of songs I can’t stay still to, but that’s another list and shall be told another time.
“Free Bird” – Lynyrd Skynyrd (1974)
One of the quintessential staples of looooong rock ‘n roll, “Free Bird” isn’t just here to prove I do have a taste for classic rock. It’s simply an undeniably awesome rocker, and I’ll always associate it with that also awesome scene from Elizabethtown with the sprinklers and the flaming bird. There’s also a wistfulness to the tune, especially considering how several of the band members died.
“No Way Out” – Vicetone, featuring Kat Nestel (2015)
Oh, this song…this song is like a shot of adrenaline for me, making me wonder why I’d never heard it until recently. When the chorus builds to its climax with those heavy piano notes, I’m lucky if my head doesn’t go flying.
“Wake Me Up” – Avicii (2013) *
Like “Timber,” I’ve seen “Wake Me Up” described as folktronica so maybe I should explore that hybrid subgenre more. Sung by Aloe Blacc, this self-confidence anthem may have grown a little less “head-bangy” for me with repeated listens, but it had to be #1. I remember when I used to work late, this song would come on the radio while I was driving home, and I’d let out all the frustrations of the day by giving myself a concussion to this tune. Great stuff!
Mom’s List
She didn’t have the heart to rank them, so here are my mom’s personal favorite head-bangers in alphabetical order, all of which are runners-up of mine as well:
“Abacab” (Live version) – Genesis
“Don’t Fight It” – Kenny Loggins and Steve Perry
“Free Bird” – Lynryd Skynyrd
“Get It On (Bang a Gong)” – The Power Station
“Long Time” and the whole of the Boston album – Boston
TIE: “Panama” and “Jump” – Van Halen
TIE: “Rockin’ the Paradise” and “Come Sail Away” – Styx
“Roll with the Changes” – REO Speedwagon
“Rosalita” – Bruce Springsteen
“Roundabout” – Yes
“Thunderstruck” – AC/DC
“Who’s Behind the Door?” – Zebra
And here are my many runners-up, not including my mom’s list above, which also rank among my favorite head-bangers but just couldn’t quite crack the top 12:
“Angel” – angela, opening song to the anime series Coppelion
“Anytime” (Live version) – Journey *
“Carry On, My Wayward Son” – Kansas
“Cherry Pie” – Warrant
“Come with Me Now” – Kongos
“Done” – The Band Perry *
“Don’t Look Back” and “Let Me Take You Home Tonight” – Boston
“Drumming Song” – Florence and the Machine
“Every Teardrop Is a Waterfall” – Coldplay
“Get ‘em Up” and “Burn It to the Ground” – Nickelback
“Hell to Your Doorstep” – The Count of Monte Cristo musical
“Hot n Cold” – Katy Perry
“I Bet My Life” – Imagine Dragons
“It’s My Life” – Bon Jovi
“I Love Rock ‘n’ Roll” – Joan Jett & the Blackhearts version *
“Little Talks” – Of Monsters and Men (just one little part)
“Pour Some Sugar on Me” – Def Leppard
“Pyromania” and “Runaway” – Cascada (Nightcore versions)
“You’re Not Ferb” – from Phineas and Ferb, episode “Invasion of the Ferb Snatchers”
And I have to end this post with the song that inspired it, Kansas’s “Carry On, My Wayward Son,” which is among my favorite rock songs ever (I remember exactly where I was the first time I heard it), but was sadly beaten off the list by stronger head-banging competition.
Thanks to anyone who banged their heads along with me for this list! (Sorry for any neck injuries.)
For centuries, great entertainers
Wowed the crowds and made them cheer,
With song and dance, speech, and romance,
Their famous names known far and near.
Yet soon they died, their plays and songs
Preserved in libraries and hearts;
We saved the page, but those on stage
Were soon forgotten from the arts.
Not till the novelty of film
Could actors prove their artistry
And ply their skill to awe and thrill
With hope of immortality.
_______________
MPAA rating for both: G
It’s hard enough trying to keep up with all the new releases that pass through the cinemas week after week, but what about the plethora of old classics stretching back to the 1920s? What about the hundreds of musicals that MGM churned out back in the days when contracted actors were assigned roles rather than offered them? Where does one start? Well, That’s Entertainment! is an excellent reference point, a star-studded documentary that also serves as a highlight reel of old musicals, famous and obscure.
Older musicals often seem to have just a thin plot meant solely to string together spectacular song-and-dance numbers, and That’s Entertainment! gets rid of the connective tissue to provide a musical tour of MGM’s forgotten pageantry. The early days of 1929’s The Broadway Melody may not be all that impressive, but within a few years, MGM had the musical extravaganzas down to a science. I’m well familiar with favorites like Singin’ in the Rain and The Wizard of Oz or famous scenes from On the Town (the three sailors singing “New York! New York!”) and Royal Wedding (Fred Astaire dancing on the ceiling), but there are boatloads more that I’d never even heard of, such as the series of suspiciously similar small-town romances starring Mickey Rooney and Judy Garland. Most of the clips are worth watching just as highlights, but a few have made me curious to check out the films themselves, such as the navy grandeur of Hit the Deck (1955) or the High School Musicalforerunner Good News (1947).
Sprinkled throughout the singing and dancing are introductions filmed by a variety of stars in 1974 as they wander the decaying MGM backlot where these musicals were filmed decades earlier. (The sets were torn down shortly after filming.) The star power is incredible, including Frank Sinatra, Gene Kelly, Elizabeth Taylor, Jimmy Stewart, Fred Astaire, Mickey Rooney, and the late Debbie Reynolds. Each screen legend introduces the work of one of their friends and costars, passing the baton as the film progresses. Old film buffs are sure to recognize the less widely known stars from the old film clips more than casual viewers like myself, but seeing some of these stars in action helped me appreciate the talents of performers whose reputations have waned over the decades. I wasn’t familiar with the incredible tap dancing of Ann Miller, the water-fountain displays of Esther Williams, or the impressive voice of Kathryn Grayson, but I’m glad I am now.
The film also features a few familiar faces in unexpected musical roles. Mainstream musicals may be anomalies these days, but back in the day, they were everywhere, and stars didn’t always have a choice of whether to sing or not. I never thought to see Jimmy Stewart trying to carry a tune, much less Clark Gable dancing to “Puttin’ on the Ritz” in 1939’s Idiot’s Delight. Let’s just say, there’s a reason they eventually left the dancing to Gene Kelly and Fred Astaire.
Speaking of Kelly and Astaire, they actually teamed up to host That’s Entertainment, Part II, proving that there was far too much material in MGM’s vault to fill only one documentary. (There’s also a Part III from 1994, but I didn’t get to see that one.) While it features the same retrospective montage of film clips, Part II feels even less like a documentary, thanks to the more sensational production values and the entertaining interludes of Kelly and Astaire as the sole hosts. In the first That’s Entertainment, Astaire admitted that his favorite dance partner was actually Gene Kelly, whom he had danced with only once in 1946’s Ziegfeld Follies. In Part II, the two reunite to dance together again, which was actually Astaire’s last dance on film, and they reportedly did so just to prove that they hadn’t lost their mojo, even in their sixties and seventies.
As with the first film, the musical moments are plentiful and dazzling, again with a few stunning dance numbers that are undoubtedly the centerpieces of their films. I won’t soon forget the operatic rebellion of New Moon, the athleticism of Kiss Me, Kate, or the amazing extended shot of a young Bobby Van literally hopping across town in Small Town Girl. Plus, the almost disturbing sight of Fred Astaire, Nanette Fabray, and Jack Buchanan singing on their knees dressed as babies in The Band Wagon. Plus, I did get to recognize a few familiar scenes, including one for Cabin in the Sky, an all-black older musical I happened to randomly watch last year. In addition, there are more than just musical scenes. Part II also has tributes to screen greats like Spencer Tracy and Katherine Hepburn and comedians like the Marx Brothers, including the famous packed stateroom scene from A Night at the Opera.
That’s Entertainment! and its sequel reveal just how much fabulous musical cinema is on the verge of being forgotten, and I’m quite glad that MGM kindly boiled down its heyday into these affectionately repackaged collections. I only knew of these films from my mom, who talks about how they opened her eyes to the Golden Age of Hollywood musicals, and in some ways, it did the same for me. The tunes are both new and familiar (I had no idea that the music to “Make ‘Em Laugh” predated Singin’ in the Rain and was used in The Pirate), the choreography and star power are staggering, and the whole package is, well, entertaining. I doubt I’ll ever get around to seeing all the films featured, but at least I know I’ve seen all the best parts.
Best line: (Liza Minnelli) “Thank God for film. It can capture a performance and hold it right there forever. And if anyone says to you, ‘Who was he?’ or ‘Who was she?’ or ‘What made them so good?’ I think a piece of film answers that question better than any words I know of.”
Since documentaries are ineligible for my List, it’s the return of the five-star system.
Rank for both: Five Stars out of Five
Okay, just one more list to close out 2016; then it’s on to the new year. I don’t frequent the cinema nearly as much as many bloggers out there, so I rarely feel confident enough to make an end-of-year best-of list when there’s so much I have yet to see. But while a movie could run up to two hours or longer, songs are much faster and easier to digest, and we hear them on the radio or online throughout the year often without even trying.
So here are the musical highlights of the year for me. When I first thought to compile this list, I expected it to look quite different until I found out that many of the best songs I heard this year were actually released in 2015. So I didn’t’ feel I should include favorites like Adele’s “Hello,” DNCE’s “Cake by the Ocean,” Lukas Graham’s “7 Years,” or Mark Posner’s “I Took a Pill in Ibiza,” even though some of them were nominated for Grammies this year. I don’t know all the nomination rules there, but I drew solely from songs released as singles in 2016. My musical tastes may not be everyone’s, since they so clearly diverge from most of the recently announced Grammy nominees. I’m not a fan of rap, hip hop, or much mainstream pop so you won’t find any Twenty One Pilots, Beyoncé, or Drake here.
Several of these were also included in films of the past year so at least there’s the movie connection I always try to work into these lists. I’m sure I’ll hear more winners from last year in the months ahead, but right now, here are my favorite songs of 2016.
“How Far I’ll Go” – Moana
I still have yet to see Disney’s Moana, but as with Frozen’s “Let It Go,” I got to hear its music even before I watch the film itself. This Golden Globe-nominated tune sung by Auli’i Cravalho as Moana and by Alessia Cara during the end credits is a beautiful ballad of longing for the unknown.
“Handclap” – Fitz and the Tantrums
I first heard this song when Fitz and the Tantrums appeared on a float in the Macy’s Thanksgiving Day Parade, and while it gets off to a so-so start, it’s pretty darn catchy by the end, even if it’s not quite as good as “The Walker” from their previous album.
“Make You Mine” – High Valley
While I used to be a more devoted listener, I only listen to country music occasionally these days, and luckily I had the radio on a country channel at the right time to hear the feel-good romance of “Make You Mine.” This may be a cheat since High Valley first released the song in Canada in 2014, but it had its first American release this year.
“Gunned Down” – Nicco & Solid&Sound
I discovered this obscure electronic tune more or less by accident, as part of a compilation music video, and it stuck in my mind as worthy of much more attention. The more I hear it, the more I like it.
“Birds” – Coldplay
Again, “Birds” may be from Coldplay’s 2015 album A Head Full of Dreams, but it just barely made the cut by being released on January 2, 2016. It’s less widely played than the singles on the album, but its subdued high-speed energy is infectious, despite the sudden ending.
“Happy Birthday” – Kygo, featuring John Legend
This might be considered a cooler alternative to the more traditional birthday song. I love the prominent piano riff, and with John Legend’s vocals, it’s an underrated gem of a song.
“Good Grief” – Bastille
Bastille improved on their earlier hit “Pompeii” with this outstanding single with a much more serious undertone than its catchy tune and risqué video would suggest. And for movie buffs, see if you can identify the movie line embedded in the bridge.
“Can’t Stop the Feeling!” – Justin Timberlake (from Trolls)
For pop music stations and sales, this was the #1 song of the year. Also nominated for a Grammy and Golden Globe, this upbeat dance hit from DreamWorks’s Trolls sounds a lot like a Michael Jackson song and may be Timberlake’s best work.
“Something Wild” – Lindsey Stirling, featuring Andrew McMahon in the Wilderness (from Pete’s Dragon)
The musical high point for me last year was attending a Lindsey Stirling concert in the summer. Not only did she play all my favorite songs of hers, but included a few from her new album Brave Enough, particularly this Celtic-sounding addition to the soundtrack of Pete’s Dragon.
This also made #3 for my list of 2016 movie scenes. Sing Street was made special by its nostalgic soundtrack of original tunes that actually sounded like they could have been unreleased hits from the 1980s, and “Drive It Like You Stole It” is the best and most toe-tapping of the bunch.
“Too Much Is Never Enough” – Florence and the Machine
If this song had been in a movie, it would have the Best Song Oscar written all over it. Instead, it was written for the game Final Fantasy XV, as was the song “I Will Be,” and while I’m not a gamer, this song is exceptional. 2016 was the year that introduced me to Florence and the Machine, now one of my favorite bands by their sound alone, and after the fantastic album released in 2015, even the smaller singles from 2016 carry on the uniquely majestic style.
“Wherever I Go” – OneRepublic
While it hasn’t gotten nearly the airplay of their other hits, “Wherever I Go” is OneRepublic at their catchiest. I may have been a little obsessed with this song after first hearing it on the radio, but I’d say its frenetic, funky rhythm warrants it. I doubt it will win any awards, but I love it nonetheless. This is one song during which I just can’t stay still.
And here are other great songs of 2016, loosely ranked from best to least, ending with four radio hits that aren’t really my cup of tea but there’s something I like about them anyway.
“Riddle of the Model” – Sing Street
“It Don’t Hurt Like It Used To” – Billy Currington
“Work This Body” – Walk the Moon
“The Arena” and the rest of the Brave Enough album – Lindsey Stirling
“She Sets the City on Fire” – Gavin DeGraw
“Up&Up” and “Hymn for the Weekend” – Coldplay
“Scars” – Tove Lo (from The Divergent Series: Allegiant)
“It’s Nothing” and “Sparkle” – Radwimps (from Your Name.)
“Water under the Bridge” – Adele
“Try Everything” – Sia and Stargate, sung by Shakira (from Zootopia)
“Quicksand” – Feenixpawl with APEK
“In the Blink of an Eye” – Paul McCartney (from Ethel and Ernest)
“My Wonder” – Dan Winter and Ryan T., featuring Damae
“Scars to Your Beautiful” – Alessia Cara
“In the Name of Love” (Syzz remix) – Martin Garrix and Bebe Rexha
“Cold Water” – Major Lazer
“Rockabye” – Clean Bandit, featuring Sean Paul and Anne-Marie
“What About the Love” – Sam Feldt
“Send My Love” – Adele
“Closer” – The Chainsmokers, featuring Halsey
“Treat You Better” – Shawn Mendes
“My House” – Flo Rida
“Starving” – Hailee Steinfeld and Grey, featuring Zedd
What songs did I miss this year? I’m sure there are quite a few so feel free to tell me your favorites!
My VC also suggested I end this music post with a mournful mention of the musical greats lost in 2016 as well. Rest in peace, David Bowie, Maurice White, Keith Emerson, Merle Haggard, Prince, Christina Grimmie, Leonard Cohen, George Michael, and Debbie Reynolds, alongside many others. Let’s remember them at their best, like George Michael in one of my VC’s favorite songs of his.
(Best sung to “The Riddle of the Model,” see the video at the bottom, and yes, I know the original lyrics are better)
No life is ever perfect.
It doesn’t play along.
How will we ever surf it,
Except to sing a song,
A song with inspiration
In everything we love and hate.
It’s pleasure and frustration
But in a musical debate.
It’s called creativity.
It’s all the work of the human heart.
Few if any can see it from the start.
Positivity
Won’t let it fall apart.
Can you see
The origin of genius?
__________________
MPAA rating: PG-13
Would it be wrong to say that the 1980s had the best music? Sure, there are plenty of modern favorites I have, but it’s amazing how many great songs originated in that decade that has become a bastion of nostalgia of late. It is that music scene of Duran Duran and U2 that is the backdrop for Sing Street, the humble origin story of an Irish high school band clearly inspired by everything ‘80s music did well.
Though young Conor (Ferdia Walsh-Peelo) is forced to move to a different Dublin school, where he must put up with bullies and a cold-hearted principal, he goes out on a limb to invite the lovely aspiring model Raphina (Lucy Boynton) to a music video shoot. All he needs then is a band, which he cobbles together from schoolmates and talented acquaintances with surprising ease. Despite some growing pains, it’s clear they’re more talented than your typical garage band, and the music becomes a sort of escape from the oppressive futility of his dysfunctional home life and unpromising future.
In several respects, Sing Street brought to mind Cameron Crowe’s 1970s-set Almost Famous, another film with a great soundtrack of classic tunes. Raphina may not be as enigmatic as Penny Lane, but Conor is just as taken with her as William was in the earlier film, though in this case Conor gets an actual romance. In addition, Conor’s brother bears traces of Philip Seymour Hoffman’s character in Almost Famous, with his musical snobbery and creative encouragement. (For the record, I do enjoy Phil Collins music, no matter what Conor’s brother says.) In particular, both films seem to capture a love for the music of the times and a sympathy for the imperfect fellows who develop and appreciate it, sharing that same love and sympathy with the audience.
True, there are things I wish were different, such as the ambiguously optimistic ending scene and the typical caricature of the vilified priest as the bad guy. Nevertheless, there’s a lot that Sing Street does right, especially the music, from background songs courtesy of Genesis, Spandau Ballet, and many more to original hits that sound like they could have been plucked from some unproduced 1985 album. The band’s efforts at producing music videos are as low-budget but quirky as any number of ‘80s videos, while a dream sequence concert of the original song “Drive Like You Stole It” is the marvelous high point of the film and perhaps the musical high point of the whole year. Honestly, I hope it wins Best Song at the Oscars, however unlikely that seems.
Besides the music, the characters feel real, likable, and worthy of support, with Conor especially growing in confidence and even rightly treating the school bully first with indifference and then with compassion. Above all, there’s a certain artistic thrill and satisfaction to watching these young people experiment and create something that’s actually, surprisingly good. With the talent on display, the hopes for their future are implicitly high, and I can easily imagine Sing Street, both the band and the movie, being the object of fond nostalgia in years to come.
Best line: (Raphina) “Your problem is that you’re not happy being sad, but that’s what love is, Cosmo— happy sad.”
Who else loves fast songs? I don’t mean fast music necessarily since there are quite a few guitar solos that are anything but slow; I’m talking about lyrics that roll off a singer’s tongue faster than the Flash after an espresso. I always marvel at the practice it must have taken to learn such lyrics by heart, and I often take it as a challenge to see how well I can memorize those musical tongue twisters.
So here are my picks for the top twelve songs sung fast, based on both the relative speed at which they exit the singer’s mouth and how well I enjoy the song. (Billy Joel’s “We Didn’t Start the Fire,” for example, may be fun to learn and one of my favorites, but it’s not really that fast. “Sam” by the Meat Puppets, on the other hand, might be the fastest song I’ve heard, but its catchiness suffers.) Let’s see how fast I can list these speed demons off.
“Got the Time” – Joe Jackson
Fans may prefer the Anthrax cover version, which is even more sped up, but Joe Jackson’s original is fast enough for me.
“Sold” – John Michael Montgomery
Drawing inspiration from the auctioneer’s chatter that goes “a mile a minute,” this country single is just pure fun to sing along to and isn’t too hard to keep up with.
“I Really Don’t Hate Christmas” – Phineas and Ferb
Disney Channel’s Phineas and Ferb had a song in every episode, and quite a few had a breakneck pace. These were the ones I most enjoyed memorizing, like “I’m Me,” “Mom, Look,” and “The History of the Tri-State Area.” The swiftest tongue-twister, though, came from the Christmas special where the evil scientist Dr. Doofenshmirtz complains about not despising Christmas. I know this song is hard to sing, and I’m impressed the voice actor kept up even with that annoying accent.
“One Week” – Barenaked Ladies
Any number of rap songs could be faster than the ones on my list, but as a non-rap fan, this awesome, rambling song is as close as I get, thanks to the catchy tune surrounding the verbal gymnastics. By the way, I always try to incorporate a movie tie into these lists, and “One Week” has lyrics mentioning Harrison Ford in Frantic and Kurosawa’s samurai films.
“Cloudburst” – Barry Manilow’s version
This speedy jazz favorite was also performed by Miles Davis and the Pointer Sisters, but I prefer Barry Manilow’s version, especially for how he ends the breathless tune with “I don’t believe I really sang this song!”
“Nations of the World” – Animaniacs / “The New Periodic Table Song” – AsapSCIENCE
Remember what I said about fast songs being almost like a dare to learn them? Well, some took that idea and wrote educational songs that were made fun for kids with their zippy lyrics and familiar tunes. Animaniacs was a favorite show of mine as a kid and helped me learn the state capitals, U.S. Presidents, and nations of the world, while AsapSCIENCE is a science-focused YouTube Channel with an especially fast-paced way to learn the Periodic Table of Elements.
“Getting Married Today” from Company – Stephen Sondheim
I cannot imagine the stress on the poor actresses who have had to perform this rapid-fire song from the musical Company live on stage over and over. I’ve barely been able to learn the lyrics myself, but it’s a true challenge that’s strangely satisfying when it all blurts out correctly. Sondheim, you rascal!
“Goin’ Down” – The Monkees
This upbeat, mumbly rocker showing off Micky Dolenz’s talented tongue is probably the hastiest single from the Monkees, a dreamboat group for my mom back in the day.
“Life Is a Rock” – Reunion
Just as “We Didn’t Start the Fire” was like a musical overview of the ‘50s through the ‘80s, Reunion’s “Life Is a Rock” is a blistering recap of pop music history, even incorporating other famous songs like Three Dog Night’s “Celebrate” and Sly and the Family Stone’s “I Want to Take You Higher.” For the record, this is my VC’s favorite fast song.
“Get Out of Denver” – Bob Seger
One of my favorite classic rock songs, this pell-mell earworm is among Bob Seger’s very best.
“The End of the World As We Know It” – R.E.M.
I couldn’t possibly leave this song out. R.E.M.’s oddly feel-good anthem is a go-to soundtrack for alien invasions, Mayan apocalypses, and presidential elections.
“Hardware Store” – “Weird Al” Yankovic
You want a fast song? Well, this is it. In addition to his hilarious parodies, “Weird Al” writes some of his own songs too, including this ridiculously fast-paced paean to the local hardware store. I’m proud to say I know it by heart, except for the absurdly long list of hardware items that seems impossible to sing in one go. Supposedly this is the only song “Weird Al” refuses to sing live, and I see why.
Here are some runners-up as well. What other fast songs do you like?
“Subterranean Homesick Blues” – Bob Dylan
“Johnny B. Goode” – Chuck Berry
“Johnny McEldoo” – The Clancy Brothers and Tommy Makem
“A Story Told” – The Count of Monte Cristo musical
“Turn to Stone” – ELO (one fast part toward the end)
“Ain’t Going Down” – Garth Brooks
“I’ve Been Everywhere” – Hank Snow
“Just Leave Everything to Me” – Hello, Dolly!(another movie reference) “Thank God I’m a Country Boy” – John Denver
“The Auctioneer Song” – Leroy Van Dyke
“Once Was a Time I Thought” – The Mamas and the Papas
“Airegin” – Manhattan Transfer
“Supercalifragilisticexpialidocious” – Mary Poppins(and another) “Sam” – Meat Puppets
“Again” – Yui
Here’s a final shout-out to the original super-fast patter song from Gilbert and Sullivan’s The Pirates of Penzance, the hard-to-sing “Major-General’s Song.” (It’s performed by the late, great George Rose, and yes, that’s also Kevin Kline and Linda Ronstadt in the 1983 film adaptation.)
This post is part of the Music of Star Trek Blogathon hosted by Film Music Central so check out the amazing music posts that others have already contributed. When I first heard about the blogathon, I wasn’t sure that there was much I could add to the discussion, since most people seemed to be focusing on the original Star Trek series, The Next Generation, and their movies. However, I decided to shine a spotlight on the musical moments in my favorite series in the franchise: Voyager.
For those who don’t know, Voyager is Star Trek‘s incarnation of the Odyssey. Two crews are hurled into the unexplored Delta Quadrant, 70,000 light-years from home: the Federation starship Voyager led by Captain Kathryn Janeway (Kate Mulgrew) and a Maquis ship of rebel freedom fighters, led by Chakotay (Robert Beltran). After their initial encounters with the native aliens leave them stranded, the two crews band together to make the long journey home. Like Next Gen, the somewhat stiff early episodes yield to better and better seasons, and it’s truly gratifying to see all the characters grow into a family. Many episodes rival the very best that Star Trek has to offer, but we’re not here to discuss every little thing I love about this series; let’s talk about the music.
One of the most obvious musical achievements is the opening theme song. While Next Gen recycled Jerry Goldsmith’s incredible score from Star Trek: The Motion Picture for its opening theme, Goldsmith provided an original theme for Voyager, which won an Emmy for Outstanding Individual Achievement in Main Title Theme Music. The soft trumpet and drums immediately set a mood of spacey grandeur, and the brass and strings mingle together as the essence of audible majesty, complemented by lofty shots of the title ship swooping through stellar phenomena. Between the music and the visuals, I firmly consider it the best opening of all the Trek series.
So, that’s the theme. What about the music in the series itself? All of it is excellent, but the most memorable new theme was introduced in the season 3 finale Scorpion, which was a turning point in the series and could be considered Voyager‘s “Best of Both Worlds.” The Voyager crew find themselves in the middle of the Borg’s losing war against an unbeatable super-race known as Species 8472. The music by Jay Chattaway is loaded with bombast, reminding the ear of the high stakes, and the seven forceful notes mix with the background music for a terrific small-screen action piece. You can hear it for yourselves here.
In addition to the instrumental scores, music played a special role in several episodes, particularly for the holographic Doctor (Robert Picardo), who developed a passion for opera. In addition, both Jeri Ryan as Seven of Nine and Tim Russ as Tuvok showed their singing chops on occasion, and Garrett Wang as Ensign Harry Kim periodically played the clarinet. Here are some of the most notable musical highlights:
In the season 2 episode “The Thaw,” Harry Kim and Tom Paris debate where Harry should practice his clarinet without disturbing his neighbor.
In the season 2 episode “Innocence,” Tuvok is stranded on a moon with three alien children and soothes them to sleep with a Vulcan “lullaby” of sorts called Falor’s Journey.
In the season 3 episode “Remember,” Janeway is telepathically taught to play an ethereal-sounding new instrument.
In the season 4 two-parter “The Killing Game,” a hunter race called the Hirogen brainwash the Voyager crew and make them take part in historical holographic violence. One holodeck is set in Nazi-occupied France, and Seven of Nine is a crooning serenader in a French bar.
In the season 5 premiere “Night,” Voyager travels through a vast area of starless space, and in his boredom, Harry performs his own concerto called “Echoes of the Void” while on the bridge.
In the season 5 episode “Counterpoint,” a paranoid, anti-telepath race repeatedly boards and searches Voyager, and its charismatic inspector flirts with Captain Janeway while blaring Mahler’s First Symphony during every inspection.
In the season 5 episode “Bride of Chaotica!,” the show indulges in the classic cheesiness of the old Flash-Gordon-style science fiction and the exaggerated score reflects the over-the-top histrionics.
In the season 5 episode “Someone to Watch over Me,” the Doctor tries to teach Seven of Nine social skills and seems to realize his attraction to her while they sing “You Are My Sunshine” together. During the poignant final scene, the Doctor also sings “Someone to Watch over Me,” alone.
In the season 6 premiere “Equinox Part II,” a reprogrammed evil Doctor performs surgery on Seven of Nine, sadistically making her sing “My Darling Clementine” with him.
In the season 6 episode “Barge of the Dead” (probably the worst episode of the series), we get to hear a traditional Klingon drinking song.
In the season 6 episode “Riddles,” Tuvok becomes mentally damaged, and Neelix plays him a Vulcan funeral dirge, as well as jazz, which Tuvok surprisingly enjoys.
In the season 6 episodes “Fair Haven” and “Spirit Folk,” the crew enjoy a holodeck program of a quaint Irish village, with accompanying Celtic background music.
In the season 6 episode “Virtuoso,” the Doctor becomes a celebrity when he introduces music to a race that has never heard it before. Lots of opera in this one.
In the season 7 episode “Homestead,” Neelix dances to some classic rock ‘n’ roll, and eventually Tuvok indulges him with a parting dance step.
The series finale “Endgame” also won Jay Chattaway an Emmy for Outstanding Music Composition For A Series. Here‘s a taste of the underscore from both the pilot and the final episode.
There you have it. Star Trek: Voyager excelled at utilizing music both in the score and the storylines, continuing the musical legacy of The Original Series and Next Gen. I leave you now with the funniest musical moment from the series in which the Doctor’s operatic daydreams take a comical turn in Season 6’s “Tinker, Tenor, Doctor, Spy.”
I recently had the great pleasure of attending a Lindsey Stirling concert promoting her new album Brave Enough, and it was awesome! For those who don’t know, Lindsey Stirling is a world-famous violinist who often combines her wicked fiddling with hip hop/dubstep influences and choreography. She was a quarter finalist on “America’s Got Talent,” and though the judges said her performances weren’t “enough to fill a theater in Vegas,” she has gone on to huge success. For the record, the arts center where she performed was sold out. Take that, judges!
In addition to movies, I love music fusion, especially combining classical with electronic pop, and Lindsey Stirling does it beautifully. Aside from the fact that she’s lovely and probably my first celebrity crush, I admire her as a person far more than most of the stars out there. That’s why I had to see her live in what was honestly my first concert. With the availability of music nowadays, there aren’t many music acts I’d pay to see, but Lindsey Stirling was worth it and put on a fantastic show. Not to oversell it, but it’s probably one of the new high points in my life.
Still giddy from the show, I wanted to offer my Top Twelve of her songs. She’s collaborated with quite a few other artists (“Radioactive” with Pentatonix, for example), but I’m excluding collaborations and cover medleys, though they are awesome too (especially those for “Lord of the Rings” and “Phantom of the Opera,” the latter of which ended the concert as a great encore). Her dancing and violin playing are impressive enough, clearly the result of relentless practice, but the fact that she can also create original music both beautiful and dance-worthy just confirms how amazing she is. Can you tell I like her?
“Song of the Caged Bird” from Lindsey Stirling (self-titled album)
Like the video, this track has a growing magic and beauty.
“Take Flight” from Shatter Me
An enchanting song for one of her most visually arresting videos.
“Anti Gravity” from Lindsey Stirling
A great title for such a swirling beat that ranges across the musical spectrum.
“Spontaneous Me” from Lindsey Stirling
They’re all beautiful, but I’m more partial to the upbeat tracks like this one and most of what follows.
“Electric Daisy Violin” from Lindsey Stirling
Lively and vibrant – classic Lindsey.
“Minimal Beat” from Lindsey Stirling
This one may start out sounding like any number of her songs, but it becomes more dynamic as it continues.
“Transcendence” from Lindsey Stirling
Lindsey played this at the concert right after discussing her battle with anorexia, and her encouraging honesty lent its high-speed strains even more power than the symbolic video.
“Shadows” from Lindsey Stirling
Probably the purest example of her talent and one of her catchiest tunes.
“Something Wild” from Brave Enough and Pete’s Dragon (2016)
You know I never compile a list without some kind of movie reference, and during the concert, Lindsey mentioned how Disney reached out to her for a song for the remake of Pete’s Dragon. Not only does it feature Andrew McMahon for vocals, but it also boasts inspiring lyrics and a gorgeous Celtic-inspired melody that instantly became a new favorite of mine. I wish the Academy would give this a nod for Best Song.
“Stars Align” from Lindsey Stirling
Going into the concert, I already knew what my top 3 were, and I was thrilled that she played them all. “Stars Align” may not be one of her most popular tracks, but its dubstep mixture is toe-tapping and almost otherworldly. One of the few to feature Lindsey’s vocals too.
“Roundtable Rival” from Shatter Me
Many of her videos place the power of her violin against, say, video game thugs or giant monsters, and this Old West string battle against a guitar-wielding outlaw is nothing short of spectacular. This was easily the most energizing song of the night and got the crowd pumped. I remember three guys in the front rows jumping around going nuts (fun to watch, not so much to sit behind), but who could blame them with such an awesome song?
“Moon Trance” from Lindsey Stirling
I have loved this song and video since the first time I saw it, and it was the second song she played! Not-so-great acting in the music video aside, it’s a jamming homage (not a rip-off) to Michael Jackson’s “Thriller” with vigorous choreography and a spirited, memorable tune to boot. Violin vs. zombies? Violin wins every time.
It was really hard narrowing down her songs to these twelve, so here are several others undoubtedly worth a listen. As a well-deserved YouTube phenomenon, Lindsey Stirling already has a devoted fan base (me included), and I only hope that her popularity continues to grow. Thank you for a fantastic experience, Lindsey, and God bless!
“The Arena”
“Ascendance”
“Celtic Carol” (This may be a Christmas medley, but it feels like its own song.)
“Crystallize” (my VC’s favorite)
“Elements”
“Master of Tides”
“Mirror Haus”
“Night Vision”
“Prism”
“River Flows in You”
“Shatter Me”
“V-Pop”
“We Are Giants”
“Zi-Zi’s Journey”
To celebrate my blog reaching 400 followers (which may not seem like a lot compared to other blogs but it’s a big deal to me), I decided to finally compile the list I’ve mentioned on and off since my third review ever: the End Credits Song Hall of Fame. That’s right, this is where great songs at a film’s conclusion will be honored, respected, liked, and maybe even listened to. Most movie credits roll with just the score playing as you wait to see if there’s an after-credits scene, but many others feature amazing songs that offer a perfect musical coda to everything that came before. This is their hall of fame.
Now, let me just say up front that this list is by no means comprehensive. It will undoubtedly grow as I watch and remember more worthy songs, and anyone is welcome to comment with suggestions to add. As I said before, these are actual songs with words rather than the film score. (For my top movie scores, check here.) I ranked my favorites as a Top Twelve list, but since this is a hall of fame instead of a countdown, I’ll count up from #1, with the rest of the list being in alphabetical order by film. I’ll also include my VC’s twelve favorites since they’re a bit different from mine. Enjoy the hall of fame!
Wreck-It Ralph is the only film to have three songs worthy of the hall of fame, two being the theme songs for the in-movie games Fix-It Felix, Jr., and Sugar Rush, and the best being Owl City’s utterly catchy “When Can We Do this Again.” I have played this song to death; not only is it an energetic conclusion to a fun and colorful movie, but it’s a fantastic song for walking or mowing the lawn.
Okay, so I’m fudging the top twelve with a tie, but I couldn’t choose between these two incredible songs. Sung by Enya, “May It Be” earned an Oscar nomination, while Annie Lennox’s “Into the West” actually won. Though “Gollum’s Song” at the end of Two Towers isn’t on the same level as these, both offer peaceful and beautiful conclusions to my favorite films.
Speaking of beautiful songs, Alanis Morissette’s haunting performance of “Wunderkind” put a special stamp of loveliness at the end of the first Narnia movie. While my VC doesn’t like to rank her picks, she’ll go so far as to say this is probably her #1.
Celine Dion’s Oscar-winning super-hit will forever be linked with James Cameron’s Titanic. This bittersweet elegy to lost love was the perfect gut punch for me after that final scene.
Now for something completely different. This Michael Jackson-style pop song sung by sound-alike Tevin Campbell was cut short in the actual movie, but the full version was heard in the credits. If it hadn’t been part of a lesser Disney movie, I seriously think this would have been a radio hit.
“I See Fire” and “The Last Goodbye” from The Hobbittrilogy
Middle-Earth strikes again. Peter Jackson definitely knows how to end his films well (when they do finally end), and all three Hobbit films end with some brilliant Celtic-sounding music. Ed Sheeran’s “I See Fire” concludes The Desolation of Smaug with subtle intensity. And Billy Boyd’s singing of “The Last Goodbye” ended The Battle of the Five Armies and the whole Middle-Earth saga on an ideal note of farewell. My VC and I agree this last one was wrongly shunned for an Oscar nom.
The music is often cited as the best part of the classic anime series Cowboy Bebop, and its film spinoff ended with an equally awesome blend of jazzy coolness.
Carly Simon’s African-influenced Oscar-winner begins and ends Working Girl with uplifting hope and a soothing choir. There is a poignancy to the video too, seeing the Twin Towers as a part of the New York skyline.
I love movies that end by showing the actor’s name with their character. It’s just a visual courtesy to those who can’t remember every character’s name, but it’s even better when everyone is singing at the same time. As Jake, Elwood, and the band rock out in jail, all the various players and cameos sing right along.
The same goes for The Martian’s credits, even if everyone’s not singing here. I love how they slip in one more ‘70s song that complements the theme of globally working together. Now whenever I hear this song, I think of this movie.
And back to everyone singing together. Bill Murray ends his Christmas special and the film with one big feel-good sing-along, with a little breaking the fourth wall thrown in for good measure. I also associate this song with the beginning of Stuart Little 2, but it’s a great conclusion to this modern Christmas Carol.
“Breath of Life” from Snow White and the Huntsman
I honestly didn’t notice this song when I first watched the movie, but after recently discovering Florence and the Machine and falling in love with several of their songs, I reevaluated this ending track for Snow White and the Huntsman. It has a building intensity reminiscent of the epic trailer music done by Two Steps from Hell. Definitely epic.
VC’s Top Twelve in no particular order:
The Chronicles of Narnia: The Lion, the Witch, and the Wardrobe – “Wunderkind” Titanic – “My Heart Will Go On” Scrooged – “Put a Little Love in Your Heart” A View to a Kill – “A View to a Kill” The Breakfast Club – “Don’t You (Forget About Me)” Ferris Bueller’s Day Off – “Oh Yeah” Footloose – “Footloose” The Lord of the Rings: The Return of the King – “Into the West” The Hobbit: The Battle of the Five Armies – “The Last Goodbye” School of Rock – “It’s a Long Way to the Top” Same Time, Next Year – “The Last Time I Felt Like This” To Sir, with Love – “To Sir, with Love”
And the rest…
(500) Days of Summer– “She’s Got You High” 9 to 5 – “9 to 5” A Beautiful Mind– “All Love Can Be” Anastasia– “At the Beginning” An Extremely Goofy Movie– “Right Back Where We Started From” Armageddon– “I Don’t Want to Miss a Thing” Around the World in 80 Days (2004) – “Everybody All over the World” A View to a Kill – “A View to a Kill” Babe– “If I Had Words” Batman and Robin – “Kiss from a Rose”
Twilight: Breaking Dawn Part 2 – “A Thousand Years Part 2” Unbroken – “Miracles” WALL-E – “Down to Earth” Won’t Back Down– “I Won’t Back Down” Zootopia– “Try Everything”
If your freedoms were taken, your rights undermined,
To worship, to write, or to speak your own mind?
Would you flee?
Would you fight?
Would you stay out of sight?
Would you trigger a war?
Would you pray less or more?
Would you just play along,
With no thought to the wrong,
And in fear knowing well
That one word could bring hell?
Would you plot and resist?
Would you cease and desist?
Would your final resort
Be but silent support?
Would you bear the blood spilt
And accept your own guilt?
Would you think yourself smarter
As traitor or martyr?
Now ask what must happen, what action or vision,
To weigh on your conscience and change your decision?
___________________
MPAA rating: R (for scenes of war and torture, could be PG-13)
This is my contribution to the Remembering James Horner Blogathon over at Film Music Central, where the music of the late great film composer is being celebrated. I’d wanted to see For Greater Glory for years now, and this gave me the perfect opportunity, while illustrating how Horner was equally at home scoring small-budget historical dramas as well as multi-million-dollar blockbusters.
I’ve been waiting for that moment when Christian filmmaking manages to keep up with Hollywood, because despite the inspirational appeal of movies like Fireproof and Miracles from Heaven, Christian films always tend to lack the polish of their secular counterparts. Thankfully, For Greater Glory has that polish, boasting cinematography, editing, and a name-recognized cast worthy of Hollywood while telling a story at once faithful, gritty, and timely.
Most people have probably never heard of the Cristero War, a Mexican revolt from 1926 to 1929 caused by the viciously anti-Catholic policies of President Plutarco Elías Calles (played by Rubén Blades). Because of the history of devout Catholicism that seems synonymous with Latin America, it came as a surprise to me that anti-religious positions were written into the Mexican constitution, and when Calles began enforcing them by deporting foreign priests and killing priests and parishioners alike, the people rose up against him with the battle cry of “Viva Christo Rey!” It’s a struggle largely forgotten but comprehensively recounted through the experiences of various freedom fighters: famed general Enrique Gorostieta (Andy Garcia), lone wolf Victoriano Ramirez (Oscar Isaac), priest-turned-general Father Vega (Santiago Cabrera), peace-seeking lawyer Anacleto Flores (Eduardo Verástegui), and pious youngster José Sánchez del Río (Mauricio Kuri).
The entire cast deliver excellent performances, from Garcia’s conflicted attitude toward defending a religion he doesn’t share to a brief but impactful role for Peter O’Toole. Garcia as General Gorostieta is the most intriguing, an atheist like Calles who nonetheless staunchly believes in religious freedom; his calls of “Viva Christo Rey” encourage the troops as they become perhaps more heartfelt, reminding me that impartial atheists can do wonders with spiritual material. (For example, Amazing Grace was directed by Michael Apted.) The sporadic action is also tense and visceral (though more worth a PG-13 than an R), with ambushes, battles, and an especially cool one-against-fourteen shoot-out with Oscar Isaac. As for Horner’s score, it’s not among his most memorable soundtracks but one which masterfully complements every scene, rousing during the war scenes and suitably intense in the most emotional moments.
Despite the epic scope that the film mostly achieves, it’s rather slow-paced overall, and one might have trouble telling the various characters apart at first. What makes For Greater Glory worthwhile, though, is its commitment to telling a story that has been swept under the rug of history, an injustice explained by the fact that history is told by the winning side. As the film progresses, it becomes clear that this is more tragedy than triumph, and sacrifices toward the end bring to mind death scenes in The Passion of the Christ and Butch Cassidy and the Sundance Kid. Even if none of the characters are deeply explored, the historical notes before the end credits give them the depth of reality as we learn that many have since been beatified or canonized as saints.
With ever-growing distress over religious freedom in America and throughout the world, it’s important to see where religious intolerance can lead. Again, it’s hard to imagine that, in the country of Our Lady of Guadalupe, Christians were hanged from telephone poles less than a century ago, like crosses along the ancient Appian Way. Some have considered the film to be one-sided in its blessing of the rebels who committed some glossed-over atrocities of their own, but the heroics and devotion on display are still worthy of admiration, remembrance, and prayers that such abuses may never happen again.
Best line: (Calles, speaking of Gorostieta) “Filio Diaz used to say, ‘A dog with a bone in his mouth doesn’t bark and doesn’t bite.’ In politics, everything has a price. Go find his.”
