#FRANZ FERDINAND TAKE ME OUT INTRO EXTENDED MOVIE#
The film’s focus may be its male title character, but there are several strong actresses in key roles, so it’s a shame that a superhero movie that (finally) gives an underrepresented group its due also essentially relegates women to the background on its soundtrack. On the downside, women vocalists are few and far between here. Non-Kendrick-Lamar standout songs include the Khalid/Swae Lee obsession-based swooner “The Ways,” a chiming, mesmeric “Paramedic!” by SOB x RBE, the propulsive electronic-based “Opps” by Vince Staples and Yugen Blakrok and the irresistible roller “Redemption” by Zacari and Babes Wodumo. More: Justin Timberlake gets lost in 'The Woods'Īlthough his duet with Travis Scott, “Big Shot,” is comparatively lackluster (grating, even), Lamar’s power, ambivalence and angst set the tone for other artists on the soundtrack.
Kendrick Lamar appears on five of the 14 tracks of the rap-focused soundtrack, making the most of a solo turn on the taut cut “Black Panther” (“Are you an accident, are you just in the way?”), giving SZA time to shine in the weighty and infectious “All the Stars” and also making space for The Weeknd on the closer “Pray for Me,” where Lamar declares, “If I’ve gotta be sacrificed for the greater good, then that’s what it’s gotta be.” Meanwhile, Lamar stands out in the dynamic mix of the hypnotic “King’s Dead” that also features Jay Rock, Future and James Blake. Instead, “Black Panther The Album: Music From and Inspired By” is cohesive (despite the clunky official title) and compelling in its own right apart from the film. It’ll be our secret.This compilation is neither a hodgepodge of random performers from disparate genres nor a collection of rote and forgettable score music. And hey, you can go ahead and shake what the Lord gave ya.
There’s enough here for you to dig your teeth into. But guilty pleasure or not, they shouldn’t be written off. Hell, I’ll admit it, Franz Ferdinand are a guilty pleasure. Right Thoughts, Right Words, Right Action isn’t going to floor you. As long as they do what they do best they’ll be just fine. It’s sorta sad for me, as in my eyes the Franz Ferdinand that won me over with their angular riffs and snarky storytelling don’t need anyone’s approval. There’s moments that shine, and others that sorta sit and wait for your approval. We get a lot of the same throughout the rest of this album. “Bullet” churns and burns but sorta sits in one gear, but it’s got a great chorus. “Stand On The Horizon” is a nice little ballad that doubles as a dance floor disco burner.
“Right Action” would’ve been a great single choice. “Love Illumination” is the single and while it’s got some cool fuzzy guitar and even a horn section the track doesn’t really go anywhere. Kapranos and company have taken the great production values of Tonight: Franz Ferdinand and the grittier songs of their debut to make something that sounds crisp and tight, but not overproduced. “Evil Eye” has a great 80s dance beat to it, with a sound not unlike Madness doing a spy theme. It’s a less venomous version of “Take Me Out”, sped up and some farfisa organ thrown in for good measure. “Right Action” opens up with a familiar funky groove and a Kapranos sneer that tells you we’re back in sweaty pub territory. Well, after nearly breaking up, Franz Ferdinand have returned 4 years later with Right Thoughts, Right Words, Right Action, and while not breaking new ground have made the best with the fertile soil they’ve been working for nearly 10 years. Franz Ferdinand have been known to be a bit bitey, rather cheesy at times, and can make this middle-aged white guy want to strut his wares more often than not. I’m just a schlub from the Midwest that likes his beer strong, his pizza drowned in cheese, and his dance rock boogie-inducing. Most folks in-the-know would say both of the follow-ups were sorta failures(records sales say differently), at least artistically. Then 2009s Tonight: Franz Ferdinand was a mix of rock n’ roll noise, dance floor strut, and Moog freakouts.
You Could Have It So Much Better had these Scottish Orange Juice disciples putting their dance shoes away so they could show some rock machismo. So I wasn’t completely correct in that assumption. Alex Kapranos had this mix of snarky ambiguity and genuine sad sackery in his vocals and lyrics on that first album that I thought for sure they’d be spanking other revivalists of the same ilk in years to come. I imagined Ray Davies sounding like “Michael”, “Darts Of Pleasure”, “This Fire”, and the excellent “Come On Home” had he been born 20 years later. These cats were just the right modern take on a untouchable music noise that I was just beginning to love. I’d just begun listening to Gang of Four and had dabbled in The Jam as well. How many of you like me were enamored with Franz Ferdinand back in 2004? It’s hard to describe, but something about that debut album lit a post-punk fuse in me.