Nevermind us, we’re just fiddling around, sleep deprived, thinking of things to do with all this internet real estate. Have a song while you wait for whatever it is we’re doing.
If, in fact, we’re doing anything at all.
Anything at all.
Anything at all. Aside from testing different post formats perhaps.
The design you see around you also isn’t necessarily permanent. Just seemed like a cleaner and more modular alternative to what we were using before. Everything you see is likely to change eventually, as always. “New layout. Must be a Thursday.” I never could get the hang of Thursdays.
Blink and you’ll miss it: there was a 15-second teaser for the new Daft Punk album during the last episode of Saturday Night Live. Oh. You blinked and missed it, didn’t you. Or SNL isn’t your thing. That’s okay; I’m sure The State will return any decade now.
Whether you caught it or not, here it is again looped for ten minutes in grand old YouTube tradition. If you’re crazy like I am you’ll no doubt leave it on in the background until the as-yet untitled fourth Daft Punk album drops in May.
Maybe I can hook this up to an old boombox and walk around with it on my shoulder. Y’know. Get that trend going again.
Editor’s note: this debut article of True Perception’s Same Story, Different Lyrics series was originally posted in the summer of 2011. It was lost along with everything else in The Great Fire of 2012, re-found, re-edited, and now returns for your re-enjoyment. Be sure to re-thank Mr. Perception so he’ll write more! – Del.
The songs in question this time are “Inside of You” by Hoobastank and “Paralyzer” by Finger Eleven. Now, I’ve had Inside of You kicking around for a few years now, but I just recently picked up Paralyzer on a mostly nostalgia-fueled iTunes spending spree. As with every time I buy new songs, I spent a lot of time looping the new tracks over and over while walking to work. After several times through, I resumed normal listening behaviour, and lo and behold, I came across Inside of You and realized that the subject matter of the two songs in question were very similar.
So, onto the meat of this thing! For those of you who know both of these songs, obviously the theme in question happens to be a guy hanging out at some local club lusting over an attractive girl that each one meets there. Now, Paralyzer mentions that the girl in question is not dancing, but looking around the club, trying to find something to grab her attention. Inside of You, on the other hand, does not mention what, if anything this girl was doing. In this point of view, it does not matter.
While Finger Eleven’s protagonist (for the lack of a better term) wants to see his girl dancing and having a good time, all that matters to Hoobastank’s singer is that he gets “inside” of her. This is not to say that Paralyzer’s motivations are completely altruistic. He does specifically mention his desire to take the encounter to a more private place, so they can get to know each other better.
One of the major differences between the two songs is in the tone, or the attitude of each guy. Inside of You portrays its character as ultra cocky, as is referenced in the following lines:
For now I’ll play the game,
and I’m waiting for your move,
but I’ve got to say
that I never lose.
What do I have to do,
to get inside of you,
’cause I love the way you move
when I’m inside of you
Also, there is a pair of lines in the song where he blatantly asks the girl how he should go about getting into her pants, even going so far as to say that he has no scruples about how he goes about accomplishing his set goal:
Just ask and I will do
Anything you want me to.
The is no limit to
how far I will go.
And, I’m sure I can’t pretend
to be a gentleman,
but before I begin,
I just gotta know.
One of the things I like most in Paralyzer is how the lead has a little more realism, in that he is quite unsure of himself about approaching this angel (or temptress) that has become the object of his adoration. In the opening verse of the song, he mentions being nervous about the situation, and later in the song revisits this sense of unease:
I hold on so nervously
to me and my drink.
I wish it was cooling me
I hold out for one more drink,
before I think,
I’m looking too desperately.
This is also further cemented by the use of the chorus, where he mentions not receiving any attention from his beauty, even though she is obviously searching for something of interest, as she has passed over him several times, and worries that she may possess some special talent for completely ignoring him:
If your body matches
what your eyes can do,
You’ll probably move right through,
me on my way to you.
Another (slightly) interesting thing of note is that, while Inside of You does not make any mention of the club that they happen to be in (again, having no bearing on his viewpoint), Paralyzer makes a couple of references to not caring for the club at all, even going so far as to state his being okay with it if the club should be closed and actually hoping that it will happen sooner, rather than later.
Before I wrap this up, I noticed a potential flip to how these two are compared. Rather than having Inside of You be the more direct approach, and Paralyzer more apprehensive, it could be seen as Inside being the more submissive. Follow along, while I play devil’s advocate with myself (shut up!)
During Inside, it almost seems like the singer is trying to portray a false sense of assuredness, to make himself more likeable to the object of his affection. In this way, he is being indirect. Also, his stated goal of getting “inside” of her can be taken in a more mental way, such that he wants to charm her through understand her feelings. Conversely, Paralyzer is far less ambiguous in stating his intent as seeking “a dark lit place, or your place, or my place.”
If our children and posterity yet to come look back upon the Wii U for any reason, chances are it could be for Nintendo Land. It is to the Wii U what Wii Sports was to the Wii: that little packed-in curiosity that kept the kids happy despite not getting any real games for Christmas along with it; or for the more casual consumer, it pretty much was the Wii.
So if indeed the same thing ends up happening with Nintendo Land, be ready for the musical selections above and below to play a significant role. November 2012 could be forever remembered as “that month when everyone on Earth had the same ringtone.”
Apologies in advance if either of these tunes get stuck in your heads. I’m a doctor blogger, not a escalator musician, so don’t shoot the messenger! Blame Nintendo!
Adolescent Delsaber should’ve seen this coming. Despite spending a ton of my yout’ watching Fresh Prince reruns nearly every weeknight and playing Sonic 3 – that’s 1/2 of the best Sonic game of all time, by the way – combinations like this one never occurred to me.
But now that it has, there’s something about the Fresh Prince theme’s beat that I figured would lend itself more to other Sonic levels. I just can’t quite place which ones. Marble Garden, maybe? Mushroom Hill?
Whatever. I should be happy that Sega Genesis mashups are happening at all. It almost validates the mid-90s version of me who was always arguing with the SNES kids.
In case you missed it: remixes of Yuzo Koshiro’s Go Straight from Sega’s classic Streets of Rage 2 are everywhere, and we collected several of the best renditions in The Best of VGM earlier this year. But this mashup with Michael Jackson’s Bad is on a whole other level.
Maybe you already knew this, but Michael Jackson was a huge Sega aficionado back in the day. Michael Jackson’s Moonwalker was a Sega Genesis exclusive, designed at least partially with the King of Pop’s input, and legend has it that a few of his uncredited compositions found their way into various Sonic games (Ice Cap Zone, perhaps?) He also made a cameo in Space Channel 5 on the Dreamcast, which was already completely insane without “Space Michael”.
If chiptune had been a thing back in the 80s, perhaps this mashup could’ve been the true version of Bad, knowing Jackson’s affection for video games. That would be an interesting alternate universe to live in.
The three best things I learned today are as follows.
1. There is a band out there called Shining Wizado whose sole purpose appears to be writing amusing songs about wrestling.
2. Shining Wizado did the hilarious track above in honour of Kane and Daniel Bryan, AKA Team Hell No, who are the best thing to happen to both the WWE’s tag team division and comedy wrestling in ages.
3. The Tumblr tag stream for “Leeloo Dallas Multipass” is kind of amazing, but that’s totally unrelated. Multipass.
Look, I understand that wrestling is pretty divisive by nature; you either like it or you don’t. That’s alright, there have been plenty of times when I’ve hated it too. It ain’t Shakespeare. That said, you need to hit play on that video right now. Don’t make me come over there.
This September, Sega finally released their HD remaster of the Dreamcast classic Jet Set Radio on Xbox Live, Playstation Network, and Steam, under the slightly pretentious “Sega Heritage” label. Most reviewers – even those with the same nostalgia-tinted glasses that I have – were less than enthusiastic about it, citing issues of age and the evolution of mechanics far beyond what JSR was flirting with in 1999.
Regardless of how you feel about how well Jet Set Radio has held up over the years, very few people would dream of disputing the timeless quality of its soundtrack, which is our focus here today.
The following three DJ sets, or “medleys” I suppose, were taken straight from the original Dreamcast disc. Unfortunately, the new HD remaster doesn’t appear to mix tracks together in the same way, or at all, which I consider to be the biggest strike against it.
This first collection begins with Deavid Soul’s “Up-Set Attack”, segues into Hideki Naganuma’s “That’s Enough”, and finishes with “Everybody Jump Around” by Richard Jacques.
Our next tracklist features Deavid Soul’s “Miller Ball Breakers”, “Funky Radio” by B.B. Rights, and Toronto’s “Electric Tooth Brush”.
Finally, here’s a big compilation of five real oddballs: Hideki Naganuma’s epic “Sweet Soul Brother” and “Rock It On”, Guitar Vader’s hilarious “Super Brothers”, a quick break with Castle Logical and “Mischievous Boy”, and then one more descent into Guitar Vader’s madness with “Magical Girl”.
Not enough for you? Check out BearGamesTV’s YouTube channel for the rest. Huge props to him for compiling all these; short of securing a Dreamcast copy and ripping these mixes yourself, this is probably the only means available to hear these songs as they were originally intended to be heard.
Editor’s Note: this article was originally published last year before the big server crash. Thanks to a few incantations and dark magics, I have successfully raised it from six feet under… unfortunately, a few of the remixes were C&D’d off YouTube in that time. -Del.
Slow news day here and I am taking a respite from my speed playthrough of Suikoden II for an upcoming blog entry. In any case, I thought I’d share some remixes of the classic Streets of Rage 2 song “Go Straight.” I must be getting older because I am starting to say, “I remember when video game composers actually cared about music!”
Here’s the original, from the genius composer Yuzo Koshiro.
Remix 3 – note that nice use of a Chicago House snare drum.
All of these versions are pretty sweet. Do you have a favorite, Sega kids?
Earlier today the news came down about Sony’s closure of Studio Liverpool, formerly Psygnosis, and the potential end of the storied WipEout franchise. I already spoke my piece on the subject, but obviously I’m not quite done with this yet. These things happen when significant personal influences vanish unexpectedly.
As I touched on in that previous article, one of WipEout‘s defining characteristics was its pioneering use of “real world” electronic music. Long before dubstep wub-wubbed its way into everything from SSX to trailers for Sega & Sonic All-Stars Goddamned Racing, WipEout was one of the first video game franchises to sign major recording artists, a big accomplishment in an age when game soundtracks were often mocked for their “beeps and bloops”.
So with the preamble out of the way, here’s my favourite track from each of the WipEout games, 1995 – 2012. With a possible extra at the end…
WipEout (1995): CoLD SToRAGE – Cold Comfort
WipEout 2097/XL (1996): Fluke – Atom Bomb
Wip3out (1999): Sasha – Xpander
WipEout Fusion (2002): Cut La Roc – Bassheads
WipEout Pure (2005): Photek – C Note
WipEout Pulse (2007): Noisia – Seven Stitches
WipEout HD/Fury (2008): The Crystal Method – Acetone
WipEout 2048 (2012): The Future Sound of London – We Have Explosive (2011 Rebuild)
Finally, here’s a quick pick from Colony Wars: Vengeance, stuck in my head for over a decade now. If I remember correctly, it was composed by Tim Wright, AKA CoLD SToRAGE, in a dramatic departure from his WipEout style.