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Tag Archives: Soundtrack

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Strawberry shortcake was created in 1977 by an illustrator for American Greetings, as in the greetings card people who also brought you Care Bears. During the following five years the Strawberry Shortcake marketing machine pumped out dozens of characters to populate a truly fruity world full of sweet adventures.

These include lovable dreamies like Plum Puddin’, T. N. Honey, Cherry Cuddler, Café Olé, Lucky Bug, Flitter-Bit, Philbert Wormly III, and the putrescent Peculiar Purple Pieman.

Most characters were packed to the brim with sugar, spice, and a pun that was quite nice. However there was one character whose story is truly tragic. Se llamo es Baby Needs-A-Name.

Let’s meet her, shall we?

Hey wait a minute, that’s not Baby Needs-A-Name! That’s just Hector being a crybaby. Stop scaring away my readers, you big crybaby!

Well who is this masked baby? Why, it’s the Phantom Pooper, making stink you wouldn’t believe. But you better believe it, brother, because it’s here to stay!

Whoa there, Don, this is a family establishment! Put some clothes on and help us find Baby Needs-A-Name!

Geeze Louise, Vaibhav, right out in the open? Finish up and help us find Baby Needs-A-Name!

You too Trish! And while I don’t agree with your religious beliefs I respect your right to worship how you see fit, ya big wethead!

You aren’t even a real baby, Reborn Rhonda! Just the extremely lifelike representation, or rather idealized fantastication, of some lonely woman! Get a life!

Baby Leroy, are you ok? Baby Leroy? BABY LEROY? Don’t worry, we’ll come back and check once we find Baby Needs-A-Name. I promise!

Gosh, Tigerbaby, you sure are cute! But I have to find Baby Needs-A-Name, stop distracting me with your vacant eyes!

Hey Baby, aka Birdman, aka Ronald “Slim” Williams, what in the heck are you doing here?! Nevermind, I’m sorry, stay as long as you’d like. Hey, you haven’t seen Baby Needs-A-Name have you? Sorry, right, I know…stupid question.

Jesus, Baby Jessica? Wasn’t that like 20 years ago or something. This is getting ridiculous. Where in the Sam Hill is Baby Needs-A-Name???

Oh, God, it’s…it’s ManBaby Steve from the Costco bulk candy department. I, oh God, yeah I threw up a little. Yep, definitely some corn on my uvula. I don’t want to look for Baby Needs-A-Name anymore. Thanks Steve. No, I most certainly don’t want to play. Yes, I know what you mean by “play.” Please go kill yourself.

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Click here to download the strangly hypnotic Strawberry Shortcake LP

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At the end of O Brother, Where Art Thou? the beloved protagonists are faced with quite a dilemma: let the lawman get to hangin’ or take a quick bum rush for a hopefully painless suicide-by-cop. You never expect what’s coming.

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You’re goddamn right, a flood right out of nowhere! Not the kind that ruins cities and drowns old women but the kind that rescues a lovable group of good-natured convicts from certain death! It’s also the kind of flood that was built right here in America by God-fearing Americans. Yep, that’s right…this flood was brought to you by the electric hands of the Tennessee Valley Authority.

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Let me step back here for a minute. You see, back during the 30′s when this movie takes place we in America had this thing called a Depression. That means nobody had  good-paying job with which to raise a family. Many men, like Ulysses, Delmar, and Pete, turned to crime just to make ends meet. And then there were those who joined government-sponsored work programs like the Civilian Conservation Corps, Works Progress Administration, and Tennessee Valley Authority–or TVA for short.

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The role of the TVA was to develop the rural areas of Tennessee, Kentucky, Alabama, North Carolina, West Virginia, Mississippi, and Georgia. This was a good thing for most of men from this area, as they were either flat broke or skimming by on profits from a measly moonshine operation. Of course, this is a blatantly stereotypical generalization of a proud and diverse people. However, it is also true.

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Moonshine still in Knox County, Tennessee. Photographed by TVA in 1936 as part of its Fort Loudoun Dam surveys. See, I told you so.

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In any case, almost all of the hydroelectric dams that are still operating in the area were built or planned during the period of the late 30′s by the TVA. This construction program, which was government-funded, was a big reason that thousands Appalachian people didn’t starve during those trying times. It also still powers the Daytona 500 into the living rooms and outhouses of millions of hillbillies.

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Today Americans are faced with a similar situation of those folks in the Great Depression. We have millions of able-bodied men and women who are receiving unemployment support from the federal and state governments. Without this help many would be forced out onto the streets, where they very well might end up like Ulysses, Delmar, and Pete–hunting for a hidden treasure that simply doesn’t exist.

But the big difference today is that these men and women on unemployment aren’t expected to offer anything in return. They don’t build dams, don’t blaze concrete trails through inhospitable lands, and last time I went camping I didn’t see anybody planting trees.

I’m all for helping people get on their feet during times of need. It’s an American responsibility to take care of other tax-paying, anthem singing ‘Mericans. But I also feel that the folks on unemployment should give something back to the community that’s paying their mortgage.

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So down what avenues of the public sector can we send these brave men and women. Let’s not set them to building environmentally harmful hydroelectric dams. It seems there are plenty of roads already built throughout this Great Nation, many of which I haven’t even driven on. And last time I went camping it seemed there were just about the amount of trees, give or take.

Here’s what I propose: enlist these fine people as a sort of police for modern social tact. We’ll call them the Silicone Valley Authority, simply because it works for the intents and purposes of this blog. Here’s a list of the SVA’s 10 most pressing duties.

Duty 1) Patrol vigilantly for people listening to standup comedy on their iPod. Arrest at sight.

Seriously, I hate the way you laugh.

Duty 2) Prevent everyone from posting cool videos on Facebook before I do.

At least give me a chance, jerk.

Duty 3) Discourage, violently, all German tourists from flaunting their good times on our weak American dollar.

Hey Hans, those glasses don’t look smart at all.

4) Commandeer and destroy any iPad that is operated by a user who is in motion under his or her own power.

If you don’t get off the sidewalk I will smack that thing right out of your hand.

5) Ban Twitter

I’m not going to lie, I still don’t get it.

6) Execute a successful viral marketing campaign to make old flip phones cool again.

My cell is so vintage.

7) End self-satisfying, rambling blog posts that have absolutely nothing to do with the post’s original subject matter.

Fine, be that way.

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Click here to download the 10-year anniversary clear vinyl-to-MP3

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I’d sworn off Ska for the rest of my life…until I listened to this record.

Flashback to 2002

The memory of when Ska went on my permanent shit list is still very vivid. During college a friend had invited me to a Reel Big Fish concert at Bogart’s. I told him I’d have to think about it because of one major factor: Bogart’s is easily one of the worst venues of past, present or future. Its bouncers are usually current or former members of a lame straight edge “gang” named, laughably, Courage Crew. The members are composed of nerdy dudes who found themselves bullied incessantly throughout high school and, as a result of their endless wedgies, joined a “gang” after graduating or dropping out to feel tough.

I use the term gang with quotations because the terms team, organization or club can’t be used to describe a bunch of dudes who roll 20 deep and pick fights with a single guy because he and one of their slut girlfriends used to neck behind Lee’s Famous Recipe Chicken in Covington. And they aren’t into cooking meth, trickin’ hoes, doing anything illegally profitable, so the unquotationed term gang really isn’t appropriate either. Until I find a good descriptor for their douchey little group the quotations will have to do.

ANYWAY, I didn’t want to see Reel Big Fish in the first place and especially didn’t want to get hassled by oily sXe dudes at the shit stain that is 2621 Short Vine. However, the the tickets were free, it was my friend’s birthday and he’s a pretty swell guy so I sucked it up and boarded the Oi Oi Express.

Big mistake. Throughout Junior High and High School I’d surfed the Ska tsunami that engulfed teenage America in the mid 90s. I was listening to it all: The Mighty Mighty Bosstones, Operation Ivy, The Voodoo Glow Skulls, The Aquabats, Hepcat, and whatever bands were on the endless Ska compilations I bought at Best Buy. However, I never attended a single Ska concert because my Mormon parents prohibited any social activities within Cincinnati city limits, or as the Mormon bishop called it, Strumpetville. If I’d seen the terrible spectacle of live Ska at an early age I would have ceased and desisted wasting my parent’s money on Ska box sets much, much earlier.

Ok, I’ve never admitted this, even to my therapist, so I’m going to come right out and say it. I had to endure 2 hours of unadulterated and unyielding skanking at that Reel Big Fish Concert. It was much like the following video, except it was scrawny white dudes instead of Hispanic folks. And it was really dark and damp. And I was crying.

Round and round they went. And round. And round. And after a while the spinning rude boys, paired with the nauseating trumpet which spewed from Bogart’s shitty PA, made a brother wanna hurl. So, in knee-jerk fashion, I ran outside to avoid soiling the dance floor. Once outside I unleashed my vomitous fury upon the adjacent storefront of the long-abandoned Jupiter And Beyond Arcade. It was at this moment I swore, much as I did with Goldschläger after a particularly debauched Halloween, that I would never ingest Ska again so long as I lived.

Fast forward to Present Day

Last week I was down at Mole’s Record Exchange in Clifton perusing their small but sweet collection of used vinyl. I happened upon The English Beat’s Special Beat Service and remembered I was quite fond of one of their songs, “Save It For Later”. Sure enough it was on this album, so I picked it up and brought it home for a listen.

What the rest of the disc contained was a delightfully British form of early Ska. They even use an accordion…and it makes so much sense it hurts. It also includes a song from the Ferris Bueller’s Day Off soundtrack. The part you’re most likely to recognize starts at 2:16.

Last week I would have said that under no circumstances would I be listening to Ska in 2011 (with the exception of Hepcat, because Hepcat owns). But this album is telling me that 2011 is brimming with of all sorts of pleasant surprises. So, stay tuned with an open mind for tons of great music to come at Rebuilt Tranny’s Rat Rod Record Exchange.

>>>Click here to download Special Beat Service at 320 kbps

Tracklist

A1 I Confess 4:33
A2 Jeanette 2:48
A3 Sorry 2:33
A4 Sole Salvation 3:07
A5 Spar Wid Me 4:32
A6 Rotating Head 3:26
B1 Save It For Later 3:36
B2 She’s Going 2:11
B3 Pato And Roger A Go Talk 3:20
B4 Sugar & Stress 2:57
B5 End Of The Party 3:33
B6 Ackee 1 2 3 3:13

If you’re a proud American that loves Civil War-based western movies, written and directed by Italians, that are filmed in Spain you MUST download this soundtrack.

I’ve been working my way through the Dirty Harry films lately and was reminded how much of a badass Clint Eastwood used to be. Long before he was directing films about girls that punched other girls Clint Eastwood was blasting motherfuckers on the silver screen. Not a couple of ne’er-do-wells, mind you, but a battalions-worth of sweaty outlaws.

Of course sheepskin vests are tough. You don’t know you’re talking about.

Clint took the Western crown from the bloated head of John Wayne and made it cool. Yes, he didn’t say much on screen but he didn’t need to. His sharp-tongued Harder/Spencer rifle did the talking for him from a 1000 yards away.

And over the chatter of Clint’s peacemaker boomed the sonorous roar of God with Hugo Montenegro conducting.

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Click here to download the soul of a gunslinger at 320 kbps.

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Tracklist

A1 The Good, The Bad And The Ugly 2:43
A2 March With Hope 2:25
A3 The Story Of A Soldier 2:59
A4 The Ecstacy Of Gold (From The Film “The Good, The Bad And The Ugly”) 2:33
A5 Theme From “A Fistful Of Dollars” 2:04
B1 For A Few Dollars More 2:39
Co-producer – Al Schmitt
B2 Aces High 3:10
B3 The Vice Of Killing 2:15
B4 Sixty Seconds To What? (From The Film “For A Few Dollars More”) 2:18
B5 Square Dance (From “A Fistful Of Dollars”) 2:06
B6 Titoli (From “A Fistful Of Dollars”)

*download near the bottom*

This is the third Tomita posting on this website, so I think it’s safe to say that I’m a big fan of his work. His primitive analog exudes a very primal aura. It’s as if he’s torturing circuits to get the sound he wants. Not run of the mill circuits, mind you, that harvest AC and DC in the fields for a living. No, he’s kidnapped gifted mezzo-soprano diodes from belly of a Sansui G-33000 Monster Receiver to whip and waterboard into fulfilling his deviant intent.

Alistair Tibbins: Tomita’s Circuit Slave Trader

But as much as I love Tomita’s music it could be said that his album artwork rivals the songs in artistic merit. Take a good long look at the album cover above. True beauty and honesty: man flesh peeling away to expose robot thoughts and emotion. I think this may be the first time that the anatomy of a Japanese was accurately diagrammed. Until 1979 the scientific community was under the assumption that Japanese people were composed of warm flesh from surface to core. Tomita must have felt it was his duty to bring the truth to light and shed the shame of centuries past. What a burden it must have been for Isao Tomita to expose his magnesium manbits, and in effect the wiry privates of all Japanese citizens, to the entire world and end cyborg discrimination.

Almost as much as a burden as trying to understand why someone would set Tomita’s “Star Wars Theme” to photographs of Tubby comic book covers.

So, take your mind off of the bulbous animations of Tubby with a collection of album covers help compose Greatest Hits (with a few others as well).

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Click here to download the Tomita’s Greatest Hits

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Here’s two other Tomita albums for download on Rebuilt Tranny Records:

Pictures At An Exhibition

The Tomita Planets

Bonus Vids:

Tracklist

A1 “Star Wars” Main Title 3:04
A2 Clair De Lune (Suite Bergamasque, No. 3) 5:48
A3 Close Encounters Of The Third Kind 2:21
A4 Golliwog’s Cakewalk (Children’s Corner, No. 6) 2:50
A5 The Planets: Mars, The Bringer Of War 7:44
B1 Space Fantasy 1:58
B2 Hora Staccato 3:29
B3 Symphony No. 5: 2nd Movement (Allegro Marcato) 5:14
B4 Firebird Suite: Infernal Dance Of King Kastchei 4:08
B5 Pictures At An Exhibition: Great Gate Of Kiev 6:14

There are so many reasons to love Goblin.

Primo, they composed the soundtrack to one of the best movies of all time: George Romero’s original Dawn Of The Dead. Goblin’s use of a full rock band mixed with primitive synth and sparing yet ghastly vocals are really the blood and guts of the Zombi, as it was called in Goblin’s home country of Italy. The track featured on this “Best Of” collection is a particularly jaunty number. I think it plays when the survivors first arrive at Monroeville Mall. I can envision Roger and Peter making zombie quiche with their rifle butts to the beat of this track while running past shops and boutiques, but I could be wrong. My disc is totally scratched or I’d fact check. If anyone can shed some light on this, please, let me know.

Secondo, Goblin’s made their claim to fame by composing the scores for horror films, almost exclusively. How nice it must have been for the guys of Goblin to wake up one day and say to themselves, “You know what? We’re sick of just playing normal prog rock all the time. We want to really spice things up. We want blood. Buckets of blood, God Dammit!” So they wrote songs about witches, serial killers, zombies, and the like. And were very successful, despite being an Italian prog rock band that writes scores for horror movies. I envy them immensely.

Terzo, their music hits all the right notes. They can be creepy when needed, as displayed in the song “Witch” from the film Suspiria:

But they can also flip the switch and crank out a catchy little tune, complete with awesome 8-bit accompaniment (which kicks in at about 45 seconds into the vid), like “Connexion” from the film Contamination:

Quarto, Goblin’s music has been remixed into some of the finest contemporary tracks. First, take a close listen to the already excellent theme from the movie Tenebre, as performed by Goblin.

Now, take a listen to the badass track “Phantom” by the electro duo Justice, which happens to also be one of my favorite groups.

Very similar but somehow Justice makes it their very own mind-blowing track. However, it maintains much of the original creep that makes Tenebre so delicious.

UPDATE: It seems that Gucci Mane has now sampled Justice sampling Goblin on his new track “Gucci Time”. Perhaps Tenebre will be sampled forever and ever in an infinite loop of horror madness.

Infine, Goblin are some of the snappiest dressers of all time. Just check out the turtleneck sweaters on these badboys.

“Hou want a scary track? I make it for you. Come back, one week.”

>>>Click here to download The Best Of Goblin

Tracklisting
Side 1

1. Profondo Rosso (From The Film Profondo Rosso)
2. Witch (From The Film Suspiria)
3. E Suono Rock (From The Film Wampir)
4. Suspiria (From The Film Suspiria)
5. Zombi (From The Film Zombi, or Dawn Of The Dead)
6. Connexion (From The Film Contamination)
Side 2
1. Roller (From The Film Roller)
2. Nocturne (From The Film Notturno)
3. Phenomena (From The Film Phenomena)
4. Withy (From The Film Contamination)
5. Tenebre (From The Film Tenebre)
6. School At Night (Lullaby Child Version) (From The Film Profondo Rosso)
7. Death Dies (Film Version) (From The Film Profondo Rosso)

*download album below*

Ok, so this is the most important piece music of the 20th century. Yes, you read that correctly. In 1982 L. Ron Hubbard introduced Space Jazz, the first ever soundtrack to a book (not just any book…Battlefield Earth!!!) and forever altered the creative path of human history. Many historians credit this album with slaying the incredible high-hat breathing Disco Dragon. Others blame it for laying the Yoshi egg that hatched Lady Gaga. However, there’s much more to this story than hilarious musings…

Exhibit A!

(from the album gatefold)

SPACE JAZZ is a completely new musical sound destined to be hailed as the music of the future. The many and varied forms of music are an integral part of the cultural heritage of Earth.

Now, the sound of the future has been established by L. RON HUBBARD, author of the blockbuster science fiction novel Battlefield Earth.

The concept of a soundtrack is something one normally associates with motion pictures. Now for the first time ever–a soundtrack for a book–Battlefield Earth–”Space Jazz.” Think of the “Star Wars” Sagas, and “Raiders of the Lost Ark,” mix in the triumph of “Rocky I,” “Rocky II” and Rocky III” and you have captured the exuberance, style and glory of “Battlefield Earth”–The Evening Sun, Baltimore MD.

Consider the magnitude of the challenge Hubbard set himself. Conventional musical instruments and even huge symphony orchestras have their limitations. He turned to the technology of the future–computers.

Recent breakthroughs in computer musical instruments offered the needed versatility to match his new musical concepts.

Today, a computer is able to reproduce any natural sound. It can record a single note of a musical instrument and from that reproduce the rest of the instrument.

But better yet, it can take any sound and turn this into a rhythm. A coyote can sing the blues. A horse can tap dance. Liquid can splash out a Strauss waltz. Laser beams can hum a lullaby. You name it and you can get it

Yes, L. Ron Hubbard took the most technologically advanced musical instrument of the time, the Fairlight Computer Musical Instrument, and used it to recreate the sonic feast of a horse tapdancing! Thank your stars L. Ron Hubbard was one of the first people to get his hands on the $25,000 Fairlight CMI and thus create this epic masterpiece. What follows is just a small sampling of L. Ron Hubbards musical pioneering.

Exhibit B!

Be sure to carefully absorb the rich tonal haunches in this track. The playful neighs of the heroic horse Windsplitter, created through the Fairlight CMI’s digital processor, stir feelings of hope within the listener that, yes, man, beast and machine can coexist peacefully in a world free of Psychlos.

Exhibit C!

 

L. Ron Hubbard used his Hubbard Electrometer to test if tomatoes felt emotional pain. Seriously, check out this UK Telegraph article.

Ok, so I took a long time to trying to figure out exactly what this album was all about. I looked for hidden answers about Scientology in the ridiculous anti-stereo narration. I then looked for some sort of psychic pattern in the horribly repetitive and shrill synthesized filler “music”. Finally, I sought solace in the suspiciously mundane track titles:

1. Golden Era of Sci Fi

2. Funeral For A Planet

3. March of The Psychlos

4. Teri, The Security Director

5. Jonnie

6. Windsplitter

7. The Mining Song

8. The Drone

9. Mankind Unites

10. Alien Visitors Attack

11. The Banker

12. Declaration of Peace

13. Earth, My Beautiful Home

But I didn’t experience even a single mysterious revelation from on high.

So I listened again. And again. And again. And upon my umpteenth listen, just as Space Jazz began evoke memories of my endless hours spent playing Oregon Trail 2, the answer blasted itself all over my face: L. Ron Hubbard was the greatest practical joker of all time.

His absurdly bogus biography, his hackneyed bibliography, his intensely whacko yet ridiculously profitable Scientology cult had all been part of the greatest monkeyshine ever unleashed on mankind. The man was a hybrid of Andy Kaufman’s unflinching, rabble-rousing comedy with  Joseph Smith’s pied-piper espièglerie–now that’s saying something.

The aural assault Space Jazz makes complete sense when you view L. Ron’s life in that light. You could even say this composition was the punchline to a lifetime of pocket-emptying tomfoolery.

So, Xenu bless you, L. Ron Hubbard…you hilarious fucking bastard.

Click to download SPACE JAZZ to the futuristic 320 kbps

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*download below*

This is the album that shepherded me into the rolling knolls of Vinyl Hunters Valley. This is because it causes the most mysterious synaptic firings within my squishy grey matter. Makes my temples swell with a pleasing uneasiness. Causes mysterious pockets within my loins to quake and flutter.

It’s my HEAD, Schwartz, it’s MY HEAD!

OK, so basically I have no idea what it does to me but I’m certain it transmits some sort of ultrasonic frequency that says, “GO ON EBAY AND BUY A TURNTABLE RIGHT NOW. NOT LATER, NOW. TURN OFF COPS, YOU’VE SEEN THIS EPISODE, GUY, BUY ONE NOW.” So I did and never looked back.

Despite the fact that I love, love, love this album I’ve been avoiding reviewing it here because it’s difficult to capture the essence with letters. Most stereoponies love to saddle the “Trip Hop” label onto this album but that does it no justice whatsoever. That term conjures the visions of hippies listening to hip hop, smoking a big J and spouting, “whoa man this rap groove is, like, so trippy. It’s totally gnarring my buzz, man.” While this album will most likely multiply and sassify marijuana-induced intoxication it’s so unfair to tie it to pot culture. Endtroducing would never, EVER get caught dead in patchwork corduroy pants.

Our youth are under attack.

Other bucking vinylbroncos like to describe  the album by mentioning Endtroducing’s ingredients: hip hop, jazz, psychedelia, movie dialogue, television show trialogue, percussion samples etc. However none of these phonocowboys can ever really capture this wild one.  True, you get a flavor of each along the winding train ride through British Columbia that is Endtroducing but it’s so much more than bits and pieces. It’s like describing your favorite pizza to a friend and saying, “Yeah man I had this awesome food today it was, like, a bit of tomato, flour, a touch of salt and some, like, I think cheese.” Those ingredients are all fine and good but separately they wouldn’t do an Adriatico’s Bearcat Pizza justice just like calling this album a fusion of genres is a crime. The sum is much greater than the parts.

I think, maybe, this album is like watching the most beautiful little bubble you ever saw. You can watch it dance on the wings of an invisible wind but as soon as you try to capture the damn thing in your hands it’s gone. You’ve taken your dirty little paws and ruined such a magical, delicate thing. You should be ashamed of yourself. We were all having such a wonderful time watching that little orb. Next time chill out, stop trying to bottle it up and just behold its angelic splendor while the gettin’s good.

“From listening to records I just knew what to do…mainly I taught myself. And you know I did pretty well…there were a few mistakes that I have just recently cleared up. I’d just like to continue to be able to express myself as best as I can. I feel like I have a lot of work to do still. I’m a student of the drums and I’m also a teacher of the drums too. And I would like to be able to continue to let what is inside of me, which comes from all of the music that I hear, I’d like for that to come out, and it’s like it’s not really me…the music’s coming through me.”

What’s truly incredible about Endtroducing is how it was composed. You have to remember that this was created in 1996 and if anyone even had a laptop it could maybe hold a gigabyte of files, if you were lucky and rich. In addition, music manipulation software like AudioMulch or Adobe Audition hadn’t been invented yet. So, Shadow had to use an Akai MPC-60 music sampler/beat machine to cut, splice, and melt his tracks together. If you then take into consideration exactly how much trial and error of listening to thousands of big vinyl discs it took to find the necessary sounds for the album it becomes evident that either a miracle was performed in the making of Endtroducing or Shadow’s some sort of DJ genius. I prefer to believe the latter, especially after taking watching the following video.

So if you haven’t heard this album, regardless of what music you’re into, you need to get in the boat and get your float on. If you’re a fan you can always use a higher quality rip. And, if you really want to get deep, pick up the vinyl and take a voyage into the continental divide…of your mind!!!!

Click here to download Endtroducing

Tracklist

A1 Best Foot Forward 0:49
A2 Building Steam With A Grain Of Salt 6:40
A3 The Number Song 4:40
B1.a Changeling 7:51
B1.b **Transmission 1
B2 Stem/Long Stem 9:21
C1.a **Transmission 2
C1.b Mutual Slump 4:02
C2 Organ Donor 1:57
C3 Why Hip Hop Sucks In ’96 0:43
C4 Midnight In A Perfect World 4:57
D1 Napalm Brain/Scatter Brain 9:23
D2.a What Does Your Soul Look Like (Part 1 – Blue Sky Revisit) 7:28
D2.b **Transmission 3

*Download Below: The original faulty ZIP has been replaced with a new one*

This album consists of songs that weren’t actually in the movie but rather “inspired” by it. I have a feeling that these tracks were considered for the original score but Kubrick didn’t have quite enough room. It’s a shame because the songs in Vol. 2 are quite good. So, you can consider this collection an excellent supplementary B-Side set to the original, if you so desire. I have to admit I prefer Vol. 2 to the original because the songs have a darker, deep space feel. More insane warp tunnel/Spacebaby, less space station/moon base.

Click here to download Vol. 2 to MP3

Tracks with descriptions from album cover:

 1. Richard Strauss – Also Sprach Zarathustra

This selection composted by Richard Strauss is heard at the opening of the motion picture “2001: A Space Odyssey” Karl Böhm conducts the Berlin Philharmonic Orchestra.

2. Leo Delibes – Coppélia

(This) was composed by Leo Delibes and conducted by Herbert von Karajan and the Berlin Philharmonic Orchestra. As in the film. Mr. von Karajan’s performance conveys the feeling of the graceful rocket ships speeding through space.

3. György Ligeti – Lontano

Ligeti’s contribution to the music in “2001:” was very important. This selection, which does not appear in the film, was conducted by Ernest Bour and the Südwestfunk Orchestra.

4. Anton Webern – Entflieht Auf Leichten Kähnen

Written by one of the innovators of modern music with words by Stefan George. It is performed by Clytus Gottwald and the Stuttgart Schola Cantorum, who performances also appeared in the motion picture.

5. Richard Strauss – Waltzes From Der Rosenkavalier

Karl Böhm conducts the Berlin Philharmonic. Again, spacious music for outer space.

6. Richard Strauss – Thus Sprach Zarathustra (Part 2)

Additional exciting music from Richard Strauss symphonic poem from the original recording by Karl Böhm and the Berlin Philharmonic.

7. György Ligeti – Volumina

Performed by organist Karl-Erik Welin. This impressive Ligeti music give the feeling of rushing through space.

8. Aram Khachaturian – Berceuse

From Khachaturian’s “Gayne Ballet Suite.” This was conducted by Gennadi Rozhdestvensky and the Leningrad Philharmonic Orchestra. Both the conductor and the composer were well represented in the motion picture.

9. György Ligeti – Requiem

This is another part of Ligeti’s Requiem,” a portion of which appeared in the original film. This, however, is performed by the Hessian Symphony Orchestra conducted by Michael Gielen.

10. Charles Gounod – Margarethe

Charles Gounod’s music by the Radio-Symphony orchestra of Berlin and conducted by Ferenc Fricsay, also gives impressions of graceful objects speeding through space to the accompaniment of graceful music.