Drive (Original Motion Picture Soundtrack)

It’s no secret that The Social Network was my favorite film of 2010. With one of the hottest casts (Jesse Eisenberg, Andrew Garfield, Armie Hammer, Justin Timberlake and Rooney Mara), helmed by one of the most celebrated and critically acclaimed directors (David Fincher), an Academy Award winning script by my favorite screenwriter (Aaron Sorkin) and an Academy Award winning Best Original Score by Trent Reznor and Atticus Ross, it’s easy to understand why The Social Network is one of my favorite films of the past decade. I mention this because I would like to discus Reznor’s and Ross’ score.

Earlier this year, my friend Adam and I were discussing the Cannes Film Festival when he brought up the film Drive, starring Ryan Gosling, Carey Mulligan, Bryan Cranston, Albert Brooks and Christina Hendricks. Besides The Rum Diary, Drive was the only other highly anticipated film I absolutely wanted to see this year. Before Adam could say anything I warned him to not reveal any details because I wanted to be completely surprised. What Adam said next lingered in my mind for the next couple of months.

“The soundtrack will blow your mind away,” Adam said. “My friend who went to the Cannes screening can’t stop talking about it. He says it’s as good as if not better than The Social Network.”

My only response, “Blasphemy!”

Prior to last year I couldn’t comprehend why anyone would own a film score unless it was by Enrico Morricone or John Williams. Then after I saw The Social Network it made complete sense. Not only did I finally see a movie whose soundtrack completely mesmerized me from beginning to end, but a score I found myself mimicking on a regular basis. So much so that for one month straight I always had The Social Network score in my truck and it took the #1 slot in my six CD changer. Certain friends mocked me for having a car filled with “nothing but soundtracks” (along with Scott Pilgrim and The Runaways), but most understood why- the music really moved me.

That’s exactly how I feel with Cliff Martinez’s score and the rest of the Drive soundtrack. From the moment I walked into the theater and saw Drive I knew I was in for a treat. Drive doesn’t disappoint on any level. Everything about Drive is fantastic, especially the soundtrack. The vibe and mood it creates is arguably the best reason to go see the film besides the terrific acting. DRIVE IS THE BEST SOUNDTRACK OF THE YEAR!

Drive captivates the eeriness and gloominess of Los Angeles perfectly with an 80’s synth friendly score. Once the film begins you feel transported back in time to the 1980s and it almost feels surreal until you realize it’s actually modern day. Martinez manipulates the music so effectively that you don’t even realize how emotional you are getting while watching the film. Even now as I listen to the music a surge of emotions overtake me and that’s when you know a soundtrack/score is successful. Former Red Hot Chili Peppers drummer Cliff Martinez has been capturing audiences ears for over two decades as a film composer starting with Steven Soderbergh’s critically acclaimed Sex, Lies, and Videotape and include Wonderland, Traffic and Contagion.

Usually when any member of RHCP, whether past or present, is involved with a project I’m always happy. It’s such a minor thing, but very true. Whether it’s Chickenfoot (Chad Smith) or members of the band acting (Flea and Anthony Kiedis), I definitely get my entertainment’s worth. Martinez miraculously captures what most modern day soundtracks fail to do- take you on an emotional rollercoaster ride.

At times the music feels reminiscent of Scarface and even Grand Theft Auto with all the synth sounds, but that’s okay. The first track “Nightcall” by Kavinsky & Lovefoxx is ridiculously good. No matter how many times I hear it I will always associate it with the film Drive. Every single second sounds so remarkable I don’t want it to end and for four minutes and twenty seconds it doesn’t disappoint. Even the other night I was watching The Lincoln Lawyer with one of my lady friends and heard the song (Cliff Martinez also did that soundtrack as well) during a club scene. Immediately I blurted out, “No way! They have my favorite song from Drive in here. Awesome!” while my lady friend just gave me a look.

What can I say? I’m a music nerd and I’m damn well proud of it. Drive is a slick, sexy soundtrack that gets better with each listen. Thus far I can easily say I have listened to the soundtrack about a dozen times already. No matter how high your expectations are with the soundtrack, somehow it manages to meet and exceed your wildest dreams.

The vintage keyboard sound captivates and catapults the listener from one track to the next. The surreal and sublime “Under Your Spell” by Desire continues the heavenly flow only to be surpassed by “A Real Hero” by College featuring Electric Youth. The more I listen to the first three tracks, the more compelled I feel to read early Brett Easton Ellis books like Less Than Zero and The Informers.

The incredible “Oh My Love” by Riz Ortolani featuring Katyna Ranieri consumes and overtakes my soul with this compelling orchestrated modern-day masterpiece. This is followed up by the wordless “Tick of the Clock” by The Chromatics, which continues stimulating your pulsating heart as tension continues escalating throughout the song.

The remaining tracks on Drive were all composed by Cliff Martinez and some of the notable ones to check out are “He Had a Good Time,” “Kick Your Teeth,” “Where’s the Deluxe Version,” and “See You in Four.” My three favorite tracks by Martinez are “Kick Your Teeth,” “After the Chase,” and “Bride of the Deluxe.”

If there is one soundtrack you’re thinking about buying, whether on iTunes or on CD, Drive is a must buy! Both the film and soundtrack are simply stunning masterpieces that need to be embraced.  And yes, a copy of Drive has earned it’s well deserved spot in the #1 slot in my six CD changer because nothing compares to it.



--Brownstone

Infant Sorrow - Get Him To The Greek Soundtrack

Britain has given us some great rock icons like John Lennon, Paul McCartney, Mick Jagger, David Bowie, Elvis Costello, and of course, Aldous Snow. Arguably one of the greatest musicians and singers of the past decade, Aldous Snow is the epitome of what a rockstar should be. Although a fictional character consummately played by comedian Russell Brand in the movies Forgetting Sarah Marshall and Get Him To The Greek, Brand breaths fresh air into fictional musicians and soundtracks everywhere.

Instead of a traditional soundtrack, Infant Sorrow: Get Him to The Greek is promoted as an Infant Sorrow Greatest Hits album. Over the past couple of years, there have been some amazing soundtracks filled with original songs by actors portraying “rockstars,” like John C. Reilly as Dewey Cox on the Walk Hard: The Dewey Cox Story soundtrack. Nowadays, soundtracks tend to be overlooked, especially if there is original music actually sung by actors. Don’t underestimate these thespians because you will be pleasantly surprised.

On the Forgetting Sarah Marshall soundtrack, Russell Brand performed two of Aldous Snow’s signature songs, “Inside of You” and “We’ve Got To Do Something,” the latter being an Infant Sorrow song. Snow appears to have been part of the Britpop movement, which occurred during the mid to late 90s music scene. Britpop is alternative rock music that was inspired by 60s and 70s British pop music.

One can argue that some of these songs won’t make any sense if you haven’t seen the movie, but they are quite enjoyable nonetheless. If you like bands like Flight of the Conchords, Tenacious D and/or the fictional band, Spinal Tap, then you’ll love Aldous Snow and Infant Sorrow.

As Spinal Tap did over 25 years ago, Aldous Snow makes fun of the current music scene and kicks of the album with “Just Say Yes.”  Alternative music never seemed so blunt and funny about using drugs until now.

For those who haven’t seen the movie, “Furry Walls” will probably make no sense out of context, but rest assured it’s just as catchy and enjoyable as all the others. Even Hanson covered the song because they loved it so much.

“Going Up” is one of the most accessible songs on the entire album and could actually be released as a single. The song talks about overcoming obstacles and mocking those who didn’t support you. There is a great message in this catchy, comic song.

“The Clap” is arguably the best song on the album by Aldous Snow and has a Rolling Stones kind of feel. It has great beats, ludicrous lyrics, and a catchy chorus that will leave you in stitches as you sing along.

On the majority of the songs, Aldous Snow seems like Liam Gallagher of Oasis and other current British superstars, but on “I am Jesus” he sounds like Brandon Flowers from The Killers. His wide range of singing abilities is shocking, yet amusing with these parodies about current popular music.

“African Child” is a great parody of all the trendy musicians caring about foreign politics and issues. It’s a hilarious jab that will leave you shaking your head in disgust, but in a good way. All the songs are profound parodies and most could actually be released as real singles, especially Jackie Q’s songs.

Jackie Q, played brilliantly by Rose Byrne, sings two amazing songs “Supertight” and “Ring ‘Round” that emulate today’s pop music scene. They are two perfect pop songs that you will immediately fall in love with. You could actually believe they are “real” pop songs, not parodies, but once you actually listen to the lyrics…Oh Boy! It kind of makes you wonder if all pop songs are this dirty albeit not as blatantly and overtly obvious.

Overall, these 15 songs will keep you entertained and laughing long after you have stopped listening. Too bad Aldous Snow and Jackie Q. don’t really tour because I would definitely pay to see them perform live!

Get Him To The Greek came out on DVD and Blu-ray September 28, 2010. -- Mr Brownstone


Buy here: Get Him To The Greek [Explicit]