The Rock Otaku’s Rockin’ Billboard Chart Watch: May 20, 2017

Hello degenerates, heathens, weirdos, and deviants.  I am the Rock Otaku, and I’m here to show you worlds such as hard rock, metal, punk, alternative rock, movies, TV, anime, video games, and anything that makes us scream, shout, and let it all out.

Welcome to my Rockin’ Billboard Chart Watch.  Here, I take a break from reviewing classic heavy metal albums, movies, TV, anime, games, and so on to review what is popular in the rock scene according to Billboard.  Back in the late 19^th century, the magazine started as a news source for the entertainment industry back in the day (thus, circuses, fairs, and burlesque shows were covered), then, when music became a big business, it started covering music.  Then they started having an album chart, then a singles chart, in the mid-20^th century, both of which are still going on to this very day, with changes to accommodate the changes in the landscape of music distribution.  But for the rock stuff, the first chart, which would be known today as the Mainstream Rock chart, debuted on March 21, 1981, with the Alternative Songs chart following suit in 1988, the Adult Alternative chart premiering some time in 2008, then the all-encompassing Hot Rock Songs chart came to fruition in 2009.  Here, I review them all, in order of either mainstream importance, date of creation, or which songs have the most material I can cover each week.

While I may not completely discuss all 4 of those, I will provide my thoughts on this week’s charts.  I’ll provide some of my smooth commentary on the new tracks that came out for each chart.  For the older ones, there are two methods I’m planning: the first is to edit this entry depending on views while also creating entries based on charts made earlier in the year based (again) on views.  So for today, I’ll provide my two cents for the songs that came out for Billboard’s May 20, 2017 versions of the Hot Rock Songs, Alternative Songs, and Mainstream Rock songs in that order.  As for Adult Alternative, that would be more of a special moment if there’s a song everybody reading these things wants me to praise or tear into.

Like with the last few, I’ll review the top 10 songs in order from highest charting to lowest with a short review that’ll provide my thoughts on it as of this week.  That and I’ll discuss songs that Billboard considers having merit, like best increases in position, sales, streaming, and airplay.  That and the new songs will be reviewed as well.  Unless I reviewed it in a previous entry, initially or updated due to it meeting my viewership goals.  Then I will have a new goal: it you want my current thoughts on it now, depending on your relative definition of now, then share this entry with others.  You’ll get my updated thoughts on each song. 

Oh, and Gorillaz managed to have a new album out, so expect some changes made to fit the arrival of it.  Okay?  Good.

Though I’m sure that I’ll need to get rid of the first few lines in future installments of this.  Anyway, let’s begin.

Now for the Hot Rock Songs, in order of highest position to lowest, with reviews for new tracks:

1.         Believer – Imagine Dragons

Here’s the original review here: http://rockotaku92.blogspot.com/2017/04/the-rock-otakus-rockin-billboard-chart.html

2.         Heavy – Linkin Park Featuring Kiiara

Here’s the original review here: http://rockotaku92.blogspot.com/2017/04/the-rock-otakus-rockin-billboard-chart.html

3.         Heathens – twenty one pilots

Here’s the original review here: http://rockotaku92.blogspot.com/2017/04/the-rock-otakus-rockin-billboard-chart.html

4.         Thunder – Imagine Dragons

Here’s the original review here: http://rockotaku92.blogspot.com/2017/05/the-rock-otakus-rockin-billboard-chart.html

5.         Human – Rag'n'Bone Man

Here’s the original review here: http://rockotaku92.blogspot.com/2017/04/the-rock-otakus-rockin-billboard-chart.html

6.         The Night We Met – Lord Huron

Here’s the original review here: http://rockotaku92.blogspot.com/2017/04/the-rock-otakus-rockin-billboard-chart.html

7.         Young And Menace – Fall Out Boy

Here’s the original review here: http://rockotaku92.blogspot.com/2017/05/the-rock-otakus-rockin-billboard-chart.html

8.         Hard Times – Paramore

Here’s the review here: http://rockotaku92.blogspot.com/2017/04/the-rock-otakus-rockin-billboard-chart_26.html

9.         Wish I Knew You – The Revivalists

Here’s the original review here: http://rockotaku92.blogspot.com/2017/04/the-rock-otakus-rockin-billboard-chart.html

10.       Sucker For Pain – Lil Wayne, Wiz Khalifa & Imagine Dragons With Logic & Ty Dolla $ign Feat. X Ambassadors

Here’s the original review here: http://rockotaku92.blogspot.com/2017/04/the-rock-otakus-rockin-billboard-chart.html

11.       Saturn Barz – Gorillaz Featuring Popcaan

Here’s the original review here: http://rockotaku92.blogspot.com/2017/04/the-rock-otakus-rockin-billboard-chart.html

12.       Feel It Still – Portugal. The Man

Here’s the original review here: http://rockotaku92.blogspot.com/2017/04/the-rock-otakus-rockin-billboard-chart.html

13.       Lust For Life – Lana Del Rey Featuring The Weeknd

Here’s the review here: http://rockotaku92.blogspot.com/2017/04/the-rock-otakus-rockin-billboard-chart_26.html

14.       Andromeda – Gorillaz Featuring D.R.A.M.

Here’s the review here: http://rockotaku92.blogspot.com/2017/04/the-rock-otakus-rockin-billboard-chart_21.html

15.       Ascension – Gorillaz Featuring Vince Staples

Here’s the original review here: http://rockotaku92.blogspot.com/2017/04/the-rock-otakus-rockin-billboard-chart.html

16.       Good News – Ocean Park Standoff

Here’s the review here: http://rockotaku92.blogspot.com/2017/04/the-rock-otakus-rockin-billboard-chart_21.html

17.       Let Me Out – Gorillaz Featuring Mavis Staples & Pusha T

Here’s the original review here: http://rockotaku92.blogspot.com/2017/04/the-rock-otakus-rockin-billboard-chart.html

18.       The Apprentice – Gorillaz Featuring Rag’n’Bone Man, Zebra Katz & RAY BLK

Here’s the original review here: http://rockotaku92.blogspot.com/2017/05/the-rock-otakus-rockin-billboard-chart.html

19.       In The Blood – John Mayer

Here’s the review here: http://rockotaku92.blogspot.com/2017/04/the-rock-otakus-rockin-billboard-chart_26.html

20.       Momentz – Gorillaz Featuring De La Soul

Gorillaz plus De La Soul?  Why does this somehow give me good vibes.  Regardless, this is one thumping song, with a vibe that feels like what would happen if Black Eyed Peas didn’t suck.  In this case, with a thumping bassline, beat, and some fun vocals from Damian and De La Soul, with some from the girl that I’m sure is voicing Noodle here, this song is a blast of fun and energy.  And the vibe of living for great moments is great for these trying times.

21.       Submission – Gorillaz Featuring Danny Brown & Kelela

For this track, though I’m sure that this is a great showcase of the band’s ability to make weird minimalist pop music and make it both interesting and memorable.  Here, the band works with Danny Brown and Kelala to create a bouncy, fun track with a steady beat, a strong bassline, and great soulful vocals from Kelala.  It also even has a good rap section from Danny Brown.  In short, this is a fun song.

22.       Strobelite – Gorillaz Featuring Peven Everett

Where the last song was soulful and driving, this is more like a down-&-dirty take on rhythmic 80s pop, from the synths to the beat.  And with Peven Everett’s vocals, this feels like something that could fit in a playlist with Human League, Information Society, Depeche Mode, and other synthpop classics.  Heck, this is arguably one of my favorite tracks from Humanz thanks to the beat and sound.  If the other songs were great, this is the one to really grab onto in my opinion, especially if you’re a fan of 80s synth-based pop.

23.       Human – Jesse Larson

So this is a cover of the Rag’n’Bone Man song of the same name.  While I’ve said that the original is one that’s a grower, this is definitely a pale remake of it.  What I mean is that the edge and ethos that the original had is missing in favor of traditional pop production and a focus on a nice voice.  While Jesse Larson has a nice voice, it’s still a little obviously by someone who’s being trained to be “good” rather than naturally good, or even naturally fit to even sing it.  The big issue here, though, is the fact that musically, this sounds like a clean, karaoke version of the original.  Even with the talkbox used here.  And the more rock-based sound, which could in some circumstances might be an improvement over the original.  But if I want a rockier tune called “Human,” I wouldn’t cover the original.  I’d write my own song or go all the way with the cover.

24.       Help – Papa Roach

Here’s the original review here: http://rockotaku92.blogspot.com/2017/04/the-rock-otakus-rockin-billboard-chart.html

25.       Testify – NEEDTOBREATHE

Here’s the review here: http://rockotaku92.blogspot.com/2017/04/the-rock-otakus-rockin-billboard-chart_26.html

26.       J-Boy – Phoenix

You’d think that this French indie rock band’s career was over after their first few flings with success, but it isn’t, as this synth-loaded rocker is a sign that they may have risen from the ashes of irrelevancy.  But with this song’s debut, this would definitely be a grower, as the 80s-inspired sound is nice and all, but it isn’t distinctive from all the other pop and rock artists running around today that are aping the 80s for musical influence (see Bruno Mars’ “24k Magic” for a more obvious example, even if it rocks as well as Walk the Moon’s “Shut Up and Dance”).  The beat is fine, the use of synths and guitars work well together, the bassline is fun and catchy, and the vocals are full of energy and passion.  Well, with the lyrics being about being in a serious deal of love with someone.  If I do have a gripe with this, the band needs to stay away from AutoTune. 

27.       Busted And Blue – Gorillaz

That opening is so great.  It’s lush, atmospheric, trippy, and an example of how I prefer synthesizers to be used unless you’re aping Michael Jackson.  Then you get the vocals by Damian Albarn, going for some dark, interesting, and introspective themes that match the interesting music.  And with this, we also get a lot weird moments due to the chill vibe and interesting lyrics.  If there’s a reason to check this out, it’s the chill vibe, but if there’s a drawback, it’s the chill vibe.  What I mean is that the song’s vibe is a “take it or leave it” kind due to the focus on electric effects to create the melodies (which are great by the way), as well as the slow-tempo and lack of drive.  But this works when you’re stressed, so stressed that death metal or black metal might be too much, or dubstep will send you into epileptic shock.  It’s cathartic and therapeutic, even if the song may be about abuse.  Have fun thinking about that.

28.       Charger – Gorillaz Featuring Grace Jones

So the opening guitar parts manages to be a massive contrast with the previous charting track, with its focus on aggression and drive while having a very electronic vibe.  The beat is driving but steady, the bassline is thick but accessible, the use of guitars and synths is furious but nice, and the vocals from Damian and guest Grace Jones are stellar, with some claims of awesomeness and bite.  Overall, this is a very fun, engaging, and interesting track from the band.  The fact that Gorillaz are the new John Mayer this week with them having an album out this week might not be a bad thing.

29.       Love Is Mystical – Cold War Kids

Here’s the original review here: http://rockotaku92.blogspot.com/2017/04/the-rock-otakus-rockin-billboard-chart.html

30.       Middle Fingers – MISSIO

Here’s the original review here: http://rockotaku92.blogspot.com/2017/04/the-rock-otakus-rockin-billboard-chart.html

31.       We Got The Power – Gorillaz Featuring Jehnny Beth

Here’s the original review here: http://rockotaku92.blogspot.com/2017/04/the-rock-otakus-rockin-billboard-chart.html

32.       High – Sir Sly

Here’s the review here: http://rockotaku92.blogspot.com/2017/04/the-rock-otakus-rockin-billboard-chart_26.html

33.       Love – Lana Del Rey

Here’s the original review here: http://rockotaku92.blogspot.com/2017/04/the-rock-otakus-rockin-billboard-chart.html

34.       Cold Cold Cold – Cage The Elephant

Here’s the original review here: http://rockotaku92.blogspot.com/2017/04/the-rock-otakus-rockin-billboard-chart.html

35.       Don't Take The Money – Bleachers

Here’s the original review here: http://rockotaku92.blogspot.com/2017/04/the-rock-otakus-rockin-billboard-chart.html

36.       She’s My Collar – Gorillaz Featuring Kali Uchis

Talk about coincidence.  The link on Youtube went from the last tune I reviewed, “Charger,” to this one thanks to Autoplay.  As for this tune itself, it’s slightly more of a fun little tune with some drive and a steady beat to it.  It’s an example of how Gorillaz manages to make electronica sound more interesting and engaging than most electro artists in the pop scene.  It’s as if the band’s creator, Damian Albarn, has a sense of things called interest, melody, and drive in his music versus others.  As for Kali Uchis, she provides a good vocal line here with some flash and style, but having the substance to make things interesting.  However, I think that this song may be a little weird with the lyrics, which I’m not sure of, involving some sort of weird relationship.  And that makes it more uncomfortable, even with Ms. Uchis’ contributions.  Banging tune, though.

37.       Doing It For The Money – Foster The People

Well, at least they’re honest about their claims to music.  Yeah, I’m probably one of the few music fans to be completely interested and underwhelmed with Foster The People.  To me, they’re a basic pop act that are more focused on writing nice sounding tunes with pretentious lyrics and a desire to have a nice vibe.  However, it comes off as completely artificial, like Hot Chelle Rae-level authentic.  And it doesn’t help that the lead singer Mark Foster used to write commercial jingles before getting big with one of the most overrated songs of all time: “Pumped Up Kicks.”  That song is a commercial jingle with crappy lyrics, and we need to realize that before we end up with either a racist as President or an ass-kisser giving our country to backwards-minded people in the view of race, sex, and gender relations due to their origin and the undeniably stupid actions of Bush.

Wait, you want me to talk about the song rather than contradictory politics?  Okay then, this song is…okay.  The melody is surprisingly decent despite its calculated blandness.  The beat is fine despite its clear influence from modern pop.  The instrumentation is clear despite its artificiality.  The vocals are okay despite the effects put on them.  In spite of this, the lyrics are, again, pretty pretentious, though they are pretty honest versus their “artsy” works.  It’s as if they admit that they are sell-outs and are in for…Wait a sec, they are saying “We’re NOT doing it for the money”?  Bullcrap!  This is calculated false-integrity and critic pandering crap like the rest of their crap!  Screw you, Mark Foster, you pretentious piece of crap!  I take it all back, this is crap.

38.       Monster – Starset

Here’s the original review here: http://rockotaku92.blogspot.com/2017/04/the-rock-otakus-rockin-billboard-chart.html

39.       Angela – The Lumineers

Here’s the review here: http://rockotaku92.blogspot.com/2017/04/the-rock-otakus-rockin-billboard-chart_26.html

40.       Want You Back – HAIM

When you name your song after a Cher Lloyd song, then I don’t have strong expectations.  But whereas that song was annoying, this is decently nice-sounding, honest, and sincere.  So this all-female act managed to make a sweet-sounding song without any obnoxious moments with this title, and I have to give them credit for that.  With its decent piano parts, guitar parts, bassline, drum beat, integration of synthesizers and electronics, and the surprisingly good vocals, this song is a strong funky pop tune that deserves its attention somewhat.  And the sentiment actually works here, being more in the sense that this tune is happier and joyous and I’d think with this title.  In short, this is a fine tune.

Jeez, there have been a lot of pop-sounding tunes on the ROCK charts, haven’t there.  I’m not sure if it’s because rock, like R&B and hip hop, is a crucial part to the pop formula, or if it’s because this chart is where all the decent-sounding pop goes due to the scene’s obsession with political correctness.  Or something else, there has to be a reason why pop lately has gotten so crappy.

41.       Blame – Bastille

Here’s the original review here: http://rockotaku92.blogspot.com/2017/04/the-rock-otakus-rockin-billboard-chart.html

42.       Carnival – Gorillaz Featuring Anthony Hamilton

Based on the opening, this track is on the weirder, darker side of the band’s style than it is the sweeter, peppier style.  Though I’m sure that we got into this act due to their darker aspects anyway.  For this tune, exactly, this song is a dark, trippy, and dizzying track reflecting being in a carnival (hence the title?), and the band alongside Anthony Hamilton manage to a good job reflecting that atmosphere.  If there’s a flaw with this track, I’m not sure if this going to appeal to a lot of people, and with its length, it isn’t something to enjoy than it is to think about.  Weird though, as if feels like it flies past me.

43.       Sweet Disaster – DREAMERS

Here’s the original review here: http://rockotaku92.blogspot.com/2017/04/the-rock-otakus-rockin-billboard-chart.html

44.       Reverend – Kings of Leon

Here’s the original review here: http://rockotaku92.blogspot.com/2017/04/the-rock-otakus-rockin-billboard-chart.html

45.       Let You Down – Seether

Here’s the original review here: http://rockotaku92.blogspot.com/2017/04/the-rock-otakus-rockin-billboard-chart.html

46.       Song #3 – Stone Sour*

Here’s the original review here: http://rockotaku92.blogspot.com/2017/05/the-rock-otakus-rockin-billboard-chart.html

47.       Sex Murder Party – Gorillaz Featuring Jamie Principle & Zebra Katz

That title is nuts, but it fits considering the weird musical performance on display here.  With its approach and vibe, the song manages to be both very trippy and very dark.  And with the band’s performance, Jamie Principle’s performance, and Zebra Katz’ performance, this song ends up being the kind of song to represent a weird party going out of control.  Its off-kilter vibe and beat is enough to make one’s skin crawl and be on edge throughout the runtime.  Plus, the use of synths manages to capture the proper atmosphere for a party going off the deep end into pure madness.  And while sex and murder might be features, it’s more of a result of what happens in the song rather than the focus of the song, as it’s a weird song in general.  Plus I have to give the band credit for the gothic melody throughout the song, making things darker and slightly scarier to its advantage.  Despite this, don’t expect me to go to this kind of party in the near-future.

48.       Song On Fire – Nickelback

So we go from weird and interesting to predictable and safe.  No seriously, Nickelback made ANOTHER pop radio-friendly (or is it adult contemporary that plays them now) that relys on soft verses and a basic hard rock chorus that was done better in the 80s with hair metal ballads and the 90s with ANY Nirvana song released for radio.  The guitars are bland, the bass is bland, the drums (even with the stadium-friendly production) are bland, the vocals are bland, the production is bland, the video is bland, the lyrics are bland, the lack of a guitar bridge (and a guitar solo especially) adds to the blandness, the sentiment is bland, their hair is bland, their fan base is bland, and their style is bland, compared to even CREED!  It’s as if the fact that they write based on what sells (which is something I bag Foster The People for doing as well) has not just been proven, but is still going on, even when their appeal has shrunk (no seriously, there are other better bands out there, people).  And I know this will be the reaction from hardcore Nickelback fans when I claim that they are blandness incarnate:

Not to make any judgements.  But I'm with Luke on this.

But I still have to point this out.  The fact that they are so blind to critical judgement and a walking argument for every mouth-breather for the reason rock should be dead, and that THEY ARE STILL AROUND MAKING MUSIC is a bad thing.  Yes, Five Finger Death Punch is around.  Yes, there’s also Foster The People.  Yes, bro-country is sort of a thing.  But the thing is that Nickelback are still around, making things blander.  Even then, the song is called “Song on Fire” and it’s about as fiery as vanilla ice cream.  Talk about a disappointment from an ex-casual Nickelback fan; the band needs to have their asses set on fire.  It’s for the greater good.

And yes, I am excited for the fact that Edgar Wright is directing a movie coming this summer.

49.       In Cold Blood – alt-J

Here’s the original review here: http://rockotaku92.blogspot.com/2017/04/the-rock-otakus-rockin-billboard-chart.html

50.       SHC – Foster The People*

Speaking of a new representative of blandness, Foster The People have a second track on this chart, and it’s arguably better musically.  Yes, I somehow think the opening guitar line, the bassline, and the song key make this better than “Doing it for the Money,” but I still have issues.  First, Mark Foster is way too Radio Disney idol-sounding to be taken seriously as a rock singer.  Second, the song is very predictable, with is basic verses, explosive-ish chorus, which is loaded with ironic cutesiness.  Third, the bridge is a reminder of how the band uses modern pop/EDM elements to still be a part of the in-crowd, when the point of rock is to be an ALTERNATIVE to that scene.  Fourth, the only decent thing about this is the surprisingly decent guitar line in the intro and the chorus.  Everything else is meh.  And I do feel that this band and Nickelback are in the same camp of being bland for the sake of….

Ugh.  I really have to do this.  Their reason for making music is practically this:

If you’re so obsessed with cash, why don’t you get a day job, guys?

And for this week thanks to the onslaught of Gorillaz this week, here are the dropouts from then:

American Dream – Bob Pressner

Here’s the review here: http://rockotaku92.blogspot.com/2017/04/the-rock-otakus-rockin-billboard-chart_26.html

The Violence – Rise Against

Here’s the original review here: http://rockotaku92.blogspot.com/2017/05/the-rock-otakus-rockin-billboard-chart.html

Still Feel Like Your Man – John Mayer

Here’s the original review here: http://rockotaku92.blogspot.com/2017/04/the-rock-otakus-rockin-billboard-chart.html

Nimble Bastard – Incubus

Here’s the original review here: http://rockotaku92.blogspot.com/2017/04/the-rock-otakus-rockin-billboard-chart.html

How Did You Love – Shinedown

Here’s the original review here: http://rockotaku92.blogspot.com/2017/04/the-rock-otakus-rockin-billboard-chart.html

Hot Thoughts – Spoon

Here’s the original review here: http://rockotaku92.blogspot.com/2017/05/the-rock-otakus-rockin-billboard-chart.html

Hard Love – NEEDTOBREATHE

Here’s the review here: http://rockotaku92.blogspot.com/2017/04/the-rock-otakus-rockin-billboard-chart_21.html

All The Pretty Girls – Kaleo 

For the first time in forever, I review a dropout.  Is it to understand why it fell off the chart?  It’s more to determine if it was a good thing that it fell off.  So with that in mind, how is the song in general?

So before we get to the track, any song with “Pretty Girls” in the title, thanks to Britney Spears and ESPECIALLY Iggy Azalea (can we stick with Iggy Pop, please?), is bound to get a reaction of “Are you kidding me?” from yours truly.  Maybe it’s because of that awful track that I feel this way.  But based on that standard, this is a masterpiece.  What I mean is that it’s a decent acoustic ballad from a band capable from rocking really hard and being the band that hopefully proves that Iceland is more than Bjork.  But if there’s a flaw with this track, it’s that it’s slightly more of a WGWAG (or white guy with acoustic guitar) song than their more plugged-in stuff.  But it’s still a blues track through and through, with the soulful feel that makes the genre so interesting and appealing.  And the lyrics are significantly alright here, showing the band’s obsession with women, especially the pretty kinds.  It’s a nice little song with some good guitar lines when it isn’t just acoustic strumming, and the vocals are great, with excellent production incorporating the other aspects of the band, from folk instruments to clarity, that work.  Overall, it’s not great, but it’s significantly better than that crappy song I’ve mentioned.  Too bad it’s no longer charting.

Feels Like Summer – Weezer

Here’s the original review here: http://rockotaku92.blogspot.com/2017/05/the-rock-otakus-rockin-billboard-chart.html

Black Rose – Volbeat

Here’s the original review here: http://rockotaku92.blogspot.com/2017/04/the-rock-otakus-rockin-billboard-chart.html

Lights Out – Royal Blood

Here’s the review here: http://rockotaku92.blogspot.com/2017/04/the-rock-otakus-rockin-billboard-chart_26.html

Unbreakable – Of Mice & Men

Here’s the original review here: http://rockotaku92.blogspot.com/2017/05/the-rock-otakus-rockin-billboard-chart.html

The Cure – Unspoken

Here’s the original review here: http://rockotaku92.blogspot.com/2017/05/the-rock-otakus-rockin-billboard-chart.html

A 1000 Times – Hamilton Leithauser + Rostam

Here’s the original review here: http://rockotaku92.blogspot.com/2017/05/the-rock-otakus-rockin-billboard-chart.html

Hate That You Know Me – Bleachers

Here’s the original review here: http://rockotaku92.blogspot.com/2017/05/the-rock-otakus-rockin-billboard-chart.html

Despite previous showcases of my taste in punk and metal, here’s the Alternative Songs:

1.         Wish I Knew You – The Revivalists

Here’s the original review here: http://rockotaku92.blogspot.com/2017/04/the-rock-otakus-rockin-billboard-chart.html

2.         Believer – Imagine Dragons

Here’s the original review here: http://rockotaku92.blogspot.com/2017/04/the-rock-otakus-rockin-billboard-chart.html

3.         Love Is Mystical – Cold War Kids

Here’s the original review here: http://rockotaku92.blogspot.com/2017/04/the-rock-otakus-rockin-billboard-chart.html

4.         Blame – Bastille

Here’s the original review here: http://rockotaku92.blogspot.com/2017/04/the-rock-otakus-rockin-billboard-chart.html

5.         Cold Cold Cold – Cage The Elephant

Here’s the original review here: http://rockotaku92.blogspot.com/2017/04/the-rock-otakus-rockin-billboard-chart.html

6.         Feel It Still – Portugal. The Man

Here’s the original review here: http://rockotaku92.blogspot.com/2017/04/the-rock-otakus-rockin-billboard-chart.html

7.         Sweet Disaster – DREAMERS

Here’s the original review here: http://rockotaku92.blogspot.com/2017/04/the-rock-otakus-rockin-billboard-chart.html

8.         Human – Rag'n'Bone Man

Here’s the original review here: http://rockotaku92.blogspot.com/2017/04/the-rock-otakus-rockin-billboard-chart.html

9.         High – Sir Sly

Here’s the review here: http://rockotaku92.blogspot.com/2017/04/the-rock-otakus-rockin-billboard-chart_26.html

10.       Green Light – Lorde

Here’s the original review here: http://rockotaku92.blogspot.com/2017/04/the-rock-otakus-rockin-billboard-chart.html

11.       Don't Take The Money – Bleachers

Here’s the original review here: http://rockotaku92.blogspot.com/2017/04/the-rock-otakus-rockin-billboard-chart.html

12.       Middle Fingers – MISSIO

Here’s the original review here: http://rockotaku92.blogspot.com/2017/04/the-rock-otakus-rockin-billboard-chart.html

13.       Take It All Back – Judah & The Lion

Here’s the review here: http://rockotaku92.blogspot.com/2017/04/the-rock-otakus-rockin-billboard-chart_21.html

14.       Reverend – Kings of Leon

Here’s the original review here: http://rockotaku92.blogspot.com/2017/04/the-rock-otakus-rockin-billboard-chart.html

15.       Feels Like Summer – Weezer

Here’s the original review here: http://rockotaku92.blogspot.com/2017/05/the-rock-otakus-rockin-billboard-chart.html

16.       In Cold Blood – alt-J

Here’s the original review here: http://rockotaku92.blogspot.com/2017/04/the-rock-otakus-rockin-billboard-chart.html

17.       One Of Us – New Politics

Here’s the original review here: http://rockotaku92.blogspot.com/2017/05/the-rock-otakus-rockin-billboard-chart.html

18.       Hard Times – Paramore

Here’s the review here: http://rockotaku92.blogspot.com/2017/04/the-rock-otakus-rockin-billboard-chart_26.html

19.       Something Just Like This – The Chainsmokers & Coldplay 

So I’m reviewing a song by The Chainsmokers finally.

When you get down to it, despite having a migrane-inducing crap tune about selfies to start their career, the electronic duo managed to turn that into a sustainable career for some reason, and this is why I associate with Gen-X rather than my own generation musically.  Not to say their big hits recently are garbage, because they can be considered garbage, with boring drops, clumsy lyrics, and pretentious ideology.  And this song could be a part of that trend with a bad example of “Word-Salad Lyrics” and pretentious ideology, all of which is done clumsily, and the integration of Coldplay (or specifically Chris Martin because the rest of the band sounds like they’ve been given the Jason Newsted treatment while the duo are the ones who do all the musical heavy-lifting.  And this is where I’m more mixed on them, because they do have a strong sense of melody.  They just go the safe, boring route because they want to pander to millennials because this is their ideology if “#Selfie” and “Closer” didn’t confirm it:

If you’re so obsessed with cash, why don’t you aim for a BS degree, or did you go with a BA degree because you didn’t like the sound of the technical term for most technology and engineering degrees (or even stuff for politics)?  Yeah, Student Loans might be a problem, but the risk-versus-reward possibility is strong in possibly getting a great career out of it if you put your all into your studies in college.  Complaining about society and partying isn’t how to do things, and being in a safe space may end up causing you to only be qualified for service and retail positions.  Especially if you aren’t successful.  Sorry about the tangent, but I feel that these guys suck.

20.       Too Much To Think – 311 

So the ska punk idols from the 90s managed to make a charting single recently.  And it’s a nice little melodic song to think about.  It has a decent production that gives clarity to each guitar part, bassline, drum beat, and vocal line.  The song’s theme of being put down by thoughts rather than substances is an interesting lyrical concept, with a strong sense of relability to the audience.  And the band manages to sell it with a steady rhythm, some excellent guitar work, strong verses, a memorable chorus, a strong bridge, catchy bass, and several great aspects including a melodic guitar solo at the end.  If you like 311, then you’ll love track.  If you feel that your thoughts get in the way of living your life, then I really recommend this track.  If you don’t like ska, then I’ll really have to question your sense of fun and humor.  Regardless, I like this one.

21.       Down – Marian Hill 

Here’s the review here: http://rockotaku92.blogspot.com/2017/04/the-rock-otakus-rockin-billboard-chart_21.html

22.       Hot Thoughts – Spoon

Here’s the original review here: http://rockotaku92.blogspot.com/2017/05/the-rock-otakus-rockin-billboard-chart.html

23.       Suit And Jacket – Judah & The Lion  

A Judah & The Lion song that isn’t as bad as “Take It All Back”?  It’s as if this band isn’t a one-dimensional ironic hipster-folk act.  I mean this still has the gloss the other tune had and the prominence of folk instruments, which isn’t what angers me about this band, but it isn’t as bad.  I mean, the production is still a little poppy and mainstream-baiting, but the song’s thematic content is a lot more real and relatable than the other.  What I mean is that this song is more about trying not to be confined to a certain standard of living and maintain a sense of freedom from the duldrums of modern career work.  While I can complain about that concept, and how it reinforces the issues even I have with hipsters, I do feel that this song is a decent tune for those who prefer the artsy side of life.  Me, I’ll stick with denim and leather.

24.       Good Morning – Grouplove (Need 40 views to review)

25.       Doing It For The Money – Foster The People

See Above

26.       High Enough – k.flay (Need 50 views to review)

27.       The Violence – Rise Against

Here’s the original review here: http://rockotaku92.blogspot.com/2017/05/the-rock-otakus-rockin-billboard-chart.html

28.       J-Boy – Phoenix

See Above

29.       Kill For Candy – Dreamcar (Need 60 views to review)

30.       Lights Out – Royal Blood

Here’s the review here: http://rockotaku92.blogspot.com/2017/04/the-rock-otakus-rockin-billboard-chart_26.html

31.       She Said – Sundara Karma

Here’s the original review here: http://rockotaku92.blogspot.com/2017/04/the-rock-otakus-rockin-billboard-chart.html

32.       Rhythm & Blues – The Head And The Heart (Need 70 views to review)

33.       Goodbye Angels – Red Hot Chili Peppers

Here’s the review here: http://rockotaku92.blogspot.com/2017/04/the-rock-otakus-rockin-billboard-chart_26.html

34.       Howl – Biffy Clyro

Here’s the review here: http://rockotaku92.blogspot.com/2017/04/the-rock-otakus-rockin-billboard-chart_26.html

35.       Set On Fire – Magic Giant

Here’s the review here: http://rockotaku92.blogspot.com/2017/04/the-rock-otakus-rockin-billboard-chart_26.html

36.       Nimble Bastard – Incubus

Here’s the original review here: http://rockotaku92.blogspot.com/2017/04/the-rock-otakus-rockin-billboard-chart.html

37.       A Change Of Heart – The 1975

So I’ve decided to have a change of heart when getting to this track.  I am not going to let my pre-conceptions color this track.  Instead, I will focus on the positives.  Here, the beat is fun, with a strong sense of its use of synthesizers.  Also, the bassline and drum beat are sweet and add to the vibe of the song.  The vocals are great, with a sweet, innocent vibe to this that sound very earnest.  Plus the video, where two carnival clowns are interacting at a carnival and having a grand-old time, speaking of old, the fashions, with the woman being a flapper and the classy-looking man, add to the retro-vibe of the song, with 80s synthpop-inspired melodies mixed with the 20s style filmmaking in the video.  Plus the carnival aesthetic in the video is also very well done.  In short, this is a very fun song with a fun video.  Definitely recommended.

38.       Help – Papa Roach

Here’s the original review here: http://rockotaku92.blogspot.com/2017/04/the-rock-otakus-rockin-billboard-chart.html

39.       Lost On You – LP (Need 80 views to review)

40.       All The Pretty Girls – Kaleo

See Above

And here are the dropouts from last week:

Heavydirtysoul – twenty one pilots

Here’s the original review here: http://rockotaku92.blogspot.com/2017/04/the-rock-otakus-rockin-billboard-chart.html

Fire Escape – Andrew McMahon In The Wilderness

Here’s the original review here: http://rockotaku92.blogspot.com/2017/04/the-rock-otakus-rockin-billboard-chart.html

Shine – Mondo Cozmo

Here’s the review here: http://rockotaku92.blogspot.com/2017/04/the-rock-otakus-rockin-billboard-chart_26.html

And finally, my favorite one to look at due to a combination of my musical interests, nostalgia, and biases: the Mainstream Rock Chart:

1.         Help – Papa Roach

Here’s the original review here: http://rockotaku92.blogspot.com/2017/04/the-rock-otakus-rockin-billboard-chart.html

2.         Let You Down – Seether

Here’s the original review here: http://rockotaku92.blogspot.com/2017/04/the-rock-otakus-rockin-billboard-chart.html

3.         Monster – Starset

Here’s the original review here: http://rockotaku92.blogspot.com/2017/04/the-rock-otakus-rockin-billboard-chart.html

4.         Nimble Bastard – Incubus

Here’s the original review here: http://rockotaku92.blogspot.com/2017/04/the-rock-otakus-rockin-billboard-chart.html

5.         Show Yourself – Mastodon

Here’s the original review here: http://rockotaku92.blogspot.com/2017/04/the-rock-otakus-rockin-billboard-chart.html

6.         Black Rose – Volbeat

Here’s the original review here: http://rockotaku92.blogspot.com/2017/04/the-rock-otakus-rockin-billboard-chart.html

7.         Back From The Dead – Skillet

Here’s the original review here: http://rockotaku92.blogspot.com/2017/04/the-rock-otakus-rockin-billboard-chart.html

8.         Now That We’re Dead – Metallica

Here’s the review here: http://rockotaku92.blogspot.com/2017/04/the-rock-otakus-rockin-billboard-chart_26.html

9.         God Damn – Avenged Sevenfold

Here’s the review here: http://rockotaku92.blogspot.com/2017/04/the-rock-otakus-rockin-billboard-chart_26.html

10.       Take Me – Korn

Here’s the original review here: http://rockotaku92.blogspot.com/2017/04/the-rock-otakus-rockin-billboard-chart.html

11.       Lights Out – Royal Blood

Here’s the review here: http://rockotaku92.blogspot.com/2017/04/the-rock-otakus-rockin-billboard-chart_26.html

12.       Madness – All That Remains

Here’s the review here: http://rockotaku92.blogspot.com/2017/04/the-rock-otakus-rockin-billboard-chart_26.html

13.       Breathe – Through Fire

Here’s the original review here: http://rockotaku92.blogspot.com/2017/05/the-rock-otakus-rockin-billboard-chart.html

14.       Song #3 – Stone Sour

Here’s the original review here: http://rockotaku92.blogspot.com/2017/05/the-rock-otakus-rockin-billboard-chart.html

15.       Aftermath – As Lion 

So when getting the YouTube link, I noticed that in the search engine, one of the options was “aftermath as lions amv.”  If that wasn’t an indication that this was a nu metal revival track, then it’s a sign that this came from a band that Hot Topic likes to promote.  Not to say that rock amvs have to be radio rock or mallcore, but it’s telling that when that’s one of the search things on YouTube.  However, that isn’t the song’s biggest problem.  It’s just that it’s part of this school of Korn, Papa Roach, Limp Bizkit, Linkin Park, Puddle Of Mudd, Staind worship, and having that mentality is going to continue rock’s continued irrelevancy versus much worse genres and movements in hip hop and country.  Seriously, when the masses don’t give us credit because of this yet they’re willing to give Sam Hunt a career, it’s either how badly Fred Durst messed up our credibility as a movement or how politically correct and regressive the mainstream has gotten.  Anger is not a desired emotion, but it’s important to make a statement, and sadness is important to bring attention to the broken, and capturing these emotions are where alternative metal and current hard rock succeeds at when making it accessible, even post-grunge and nu metal do this well sometimes.  

And this song is decent, taking what didn’t work about both nu metal and metalcore while taking what worked about both of them to make a decent, and enjoyable alt. metal track about dealing with the aftermath of a nasty event; everything else that works comes definitely from stadium rock definitely.  The production is decent and powerful, with the drums having a more metallic feel than they do an electronic feel with the focus on the bass pedal.  The guitars and bass are heavy, melodic, and driving the main musical concepts of waiting for the aftermath of the hell the band is going through.  The vocals are pretty good here, aiming for melodic rather than pointless screaming, all from every member.  Even the electronic is used well here to create atmosphere, one that is larger and more desperate like the desire to make it.  And the guitar bridge where there’s a melodic line is also done well here.  In short, this is a heavy rock song with a dark but uplifting message and a call to fight while also being a good sense of twisted fun.  At least it’s better than anything Nickelback does.

16.       Middle Fingers – MISSIO

Here’s the original review here: http://rockotaku92.blogspot.com/2017/04/the-rock-otakus-rockin-billboard-chart.html

17.       The Violence – Rise Against

Here’s the original review here: http://rockotaku92.blogspot.com/2017/05/the-rock-otakus-rockin-billboard-chart.html

18.       Howl – Biffy Clyro

Here’s the review here: http://rockotaku92.blogspot.com/2017/04/the-rock-otakus-rockin-billboard-chart_26.html

19.       Anti-Everything – DED 

The video was directed by Fred Durst, so I’m not sharing that.  Instead, you’ll get the lyric video.

So this tune is another tune in the whole nu metal revival track.  Except, unlike As Lions, this band is really focused on being a mix of rap and hardcore.  The problem?  This song, while a fun tune to listen to when you’re just feeling like society is a hypocritical, contradictory, and frustrating cesspool, is an immature, obnoxious song suffering from testosterone poisoning.  From the over-produced sound aiming for ferocity, to the down-tuned and simple guitar lines going into basic chord structures for the chorus, the thick-as-molasses bassline, drums that alternate between sampled, electronic, and poundingly metal, and edge lord vocals that alternate between rapping, melodic singing, and screaming, this song is a wannabe edge lord anthem.  And it’s, depending on your mood, hilarious to listen to due to how freaking stupid this is.  It’s about as anti-establishment as a corporate symbol for anti-establishment; a sign that rebelling against the system is ultimately a part of the system.  A reminder that the whole crappy Architect scene in The Matrix Reloaded is relevant in concept, and crappy in excecution, thanks to stupid songs like this.  No seriously, this is dumb.  So dumb that it might be the funniest song on this chart.  I’m serious, this song is so amusing to me that I think I know the target demographic for this song:

Meta Knight: “Don’t call me cute and adorable!  I AM A WAR!”

20.       New Land – Avatar 

Insert obvious joke here:

And if I’m familiar, I’ve already discussed this song at least once.  And it’s a fun little hard rocker from these terrifying Swedish death metal clowns.  As for the song, the song itself is more about making the ultimate trip to a new section of the world and possibly escape the problems associated with the old world.  And like anything Avatar does, this song is weird, intense, aggressive, catchy, interesting, and, well, bizarre.  The production is loud and intense, the guitars are well mixed and played, showing the skills of the guitarist in both heavy riffs and soft arpeggios, the bass is thick and, well, there, the drums are intense, and the vocals are a great mix of clean melodic singing and aggressive high-pitched death growls.  Plus you have a catchy, fun, and aggressive beat as well.  In short, this is a fun song to listen to when you’re making your trip to a new home, and I do feel that this can be part of an overarching story about an owl looking for purpose.

And no, I do not plan on referencing the James Cameron movie of the same name.  Not even with what’s going on in Disney’s Animal Kingdom.

21.       LOUD (F**k It) – Motionless In White (Need 40 views to review)

22.       Bullfight – A Day To Remember (Need 50 views to review)

23.       Come Together – Godsmack (Need 60 views to review)

24.       Feed The Machine – Nickelback

Here’s the review here: http://rockotaku92.blogspot.com/2017/04/the-rock-otakus-rockin-billboard-chart_21.html

25.       Dark Black Makeup – Radkey (Need 70 views to review)

26.       Little One – Highly Suspect

Let’s get down to it.  This band is very interesting as it is, and their new track is one that I’m sure is going to be big.  Especially with the more chill vibe on display here, as the song is more about the singer’s personal troubles and issues, so he’s having some problems on some day.  Adding to that, the low-key instrumentation during the verses, especially with the guitars taking a breather while the bass and drums maintain a steady vibe, makes way for an explosive chorus.  Plus you also have a strong guitar solo that’s based around the twisted and tragic melodies of the song as well as a thing called feel (you don’t have to play really fast to make an effective guitar solo in my eyes, even if I am capable of playing really, really fast as well.  Plus the music video of a man losing his sanity and his emotions, with the climax is surprisingly effective and hits me a little in the feels.

27.       Believer – Imagine Dragons

Here’s the original review here: http://rockotaku92.blogspot.com/2017/04/the-rock-otakus-rockin-billboard-chart.html

28.       I Want It All – Hell Or Highwater (Need 80 views to review)

29.       Catch Me When I Fall – Stitched Up Heart

Here’s the review here: http://rockotaku92.blogspot.com/2017/04/the-rock-otakus-rockin-billboard-chart_26.html

30.       Cheaper To Drink Alone – Black Stone Cherry

Here’s the review here: http://rockotaku92.blogspot.com/2017/04/the-rock-otakus-rockin-billboard-chart_21.html

31.       Heavydirtysoul – twenty one pilots

Here’s the original review here: http://rockotaku92.blogspot.com/2017/04/the-rock-otakus-rockin-billboard-chart.html

32.       Alone – I Prevail

Holy crap, the “Stuck in Your Head” guys are back.  Not to say that this is a great thing, but that it’s fun to get another emo metal song from these guys after that wild track.  But at this point, I’m sure that I Prevail are part of the whole “nu metal revival” movement that’s been going on, both to their benefit and to my dismay.  While I have some experience with the original band in nu metal, that is a genre that is only listenable to me depending on the mood.  I’m one of those that’s embarrassed that it happened, as it caused rock to be associated with muscle-headed, thuggish Neanderthals as well as the kind of people who usually shop at Hot Topic, hence the mallcore derision.  And this song is a part of that, with its incorporation of electronica and down-tuned guitars mixed with vocals trying to be both emotional and manly, with both sides getting in the way.  And while I Prevail are capable of stronger material, this is not one of those strong tracks, with its bland guitars, over-produced drums, meh basslines, and emo vocals and lyrics.  In short, don’t expect this song to be a winner.

33.       Sick Of Me – Beartooth

So while I may have an issue with nu metal and metalcore these days, despite having liked them, even I can admit when a band manages to nail what made them appealing to me and others.  In this case, Beartooth manage to pull it off with a furious, powerful, angry song about self-regret (something we deal with a lot as a species) that’s matching in aggression.  And it somehow works because, ultimately, our worst enemy is ourselves.  To match this concept (which may have been done, but “My Own Worst Enemy” was nowhere this angry), the guitars are heavy but melodic, the bass is thick and thumping, the drums hit like a rock and you end up liking it.  Plus the melodic vocals full of bite and grit somehow gives the singer a showcase of his talents as a singer in agro-metal.  Plus that groove is awesome.  Despite the lack of a facemelting solo, the breakdown is also great.  Overall, this is a pretty awesome, inspiring track about the battle with ourselves that we fight every day.

34.       Run Rabbit Run – Black Map

Here’s the review here: http://rockotaku92.blogspot.com/2017/04/the-rock-otakus-rockin-billboard-chart_21.html

35.       Hurricane – Thrice

Here’s the review here: http://rockotaku92.blogspot.com/2017/04/the-rock-otakus-rockin-billboard-chart_26.html

36.       Pure Evil – Like A Storm

Here’s the original review here: http://rockotaku92.blogspot.com/2017/04/the-rock-otakus-rockin-billboard-chart.html

37.       Worth The Pain – Letters From The Fire (need 90 views to review)

38.       My Champion – Alter Bridge (Need 100 views to review)

39.       Stones – Manafest

Here’s the original review here: http://rockotaku92.blogspot.com/2017/04/the-rock-otakus-rockin-billboard-chart.html

40.       Can You Hear Me – Shallow Side

Wait, didn’t these guys do a song called Rebel, and it was a slightly-more generic, predictable affair based on radio rock clichés?  If so, I’m surprised that they’re back and ready for more.  For this song, the opening moments are slightly better, with a lot more bite, grit, and edge in the intro based on the guitars, bass, and drums.  And for the vocals, the song is full of vigor and bite, even if it’s a little generic in southern-fried hard rock of the post-grunge/active rock radio variety.  However, thankfully the lyrical content is a call to everyone that screams “I’m still here and living it up, regardless of what you think.”  It may be generic, but the more awareness to rock made, the more likely there’ll be a chance that the music industry may improve a bit.  In spite of that, the song is definitely a B grade tune from a B- grade band capable of C grade tracks.  What I mean is that most music journalists won’t pay attention to them unless they’re amazing, and they’re fine as a rock band, even with their age and origin (being from the South may be a hindrance in their mainstream attention).  While they try to be more, Shallow Side are good but on the shallow side of music.

And yes, that pun was intended.

And here are the dropouts from last week:

If Only For Now – Pop Evil

Here’s the original review here: http://rockotaku92.blogspot.com/2017/04/the-rock-otakus-rockin-billboard-chart.html

How Did You Love – Shinedown

Here’s the original review here: http://rockotaku92.blogspot.com/2017/04/the-rock-otakus-rockin-billboard-chart.html

Never Again – Breaking Benjamin

Here’s the original review here: http://rockotaku92.blogspot.com/2017/04/the-rock-otakus-rockin-billboard-chart.html

Oh My God – The Pretty Reckless 

Here’s the review here: http://rockotaku92.blogspot.com/2017/04/the-rock-otakus-rockin-billboard-chart_21.html

Lure And Persuade – Citizen Zero (Need 110 views to review)

So those were my thoughts on the charts and the new arrivals.  If you feel that I skipped out on certain songs, then feel free in the comments what songs you want me to elaborate on.  I have plans depending on how this is received for what I will review next week as well as what is new next week for the chart(s) I ultimately look at.  If you have different opinions on the songs I reviewed, feel free to tell me in the comments as well.

Also, make sure to like my Facebook page here: https://www.facebook.com/RockOtaku92/.  Be sure to follow me on Twitter here: https://twitter.com/RockOtaku92, my Instagram page is here: https://www.instagram.com/rockotaku92/, and my Tumblr is at this link: https://rockotaku92.tumblr.com/.  That and be sure to follow my blog.  The way to do so is to the right of this page.

Finally, expect updates to the reviews (specifically songs I’ve missed) when this entry gets a certain amount of views each time.

Until Next Time, This is The Rock Otaku.  Live Loud and Play Hard.

All used references are done under the rules of fair use and are owned by their original creators.

RockOtaku Reviews: Guardians of the Galaxy Vol. 2 (2017)

Hello degenerates, heathens, weirdos, deviants, rebels, and defected Imperial officers.  I am the Rock Otaku, and I’m here to show you worlds such as hard rock, metal, punk, alternative rock, movies, TV, anime, video games, and anything that makes us scream, shout, and save the galaxy again.

Today, I review a movie that I’ve recently seen that both fits my interests alongside my standards of high-octane, high-caliber blockbusters: Guardians of the Galaxy Vol. 2.

Before I get to the movie itself, let’s talk Marvel.  Back in 2008, Marvel set up a studio that would make their own movies, all of them set in a single cinematic universe all based on their massive library of characters.  During this time, they managed to get the rights to a large chunk of their properties back from other studios while also setting up for this style of filmmaking that would take thematically from comic books in a structure never before attempted seriously.  Their first movie, Iron Man, starring Robert Downey Jr. as the titular superhero, was a critical and commercial success, and while The Incredible Hulk wasn’t as big, it had enough elements from the other film woven into its world, confirming Marvel’s and producer Kevin Feige’s big plan.  After Iron Man 2 (which was arguably the weakest of Phase 1), Thor (which is considered to be good overall), and Captain America: The First Avenger (which kicks ass), we got the big masterstroke of this mega-franchise: The Avengers, a sci-fi action ensemble movie that is both a sequel to and a crossover of the other movies while also being its own series. 

After that, and three follow-ups involving Iron Man, Thor, and Captain America in that specific order, Marvel decided to gamble on their more cosmic characters and make a movie, written and directed by cult-favorite filmmaker James Gunn, around them.  The resulting movie, Guardians of the Galaxy, was a fast, fun, energetic, and funny entry in the Marvel Cinematic Universe where the stakes may have involved the entire MCU, but we were focusing on characters that could not give less of a crap unless the threat was personal or likely to haunt them if they let it happen.  Or if money was involved.  Yeah, the heroes are among the most morally bankrupt of the Marvel protagonists, but their charm, sense of humor, and tragic backstories all made them interesting, fun to hang around, and, ultimately, engaging.  And as a result, we were anticipating the inevitable sequel while also realizing that this kind of filmmaking could break barriers within the MCU, which ultimately happened as Ant-Man and Doctor Strange came out after it and proved just how far Marvel was willing to go, with particle physics for the former and actual sorcery and interdimensional science for the latter.  And now we have the sequel to Guardians of the Galaxy, which is subtitled Vol. 2 in reference to Star Lord’s mix tapes.

So how was it?  It was a lot of fun.

First, the story.  From the get-go, the movie deals with the titular team on the run from a group called the Sovereign after Rocket (voiced by Bradley Cooper) does something to tick them off.  However, things are complicated when Peter Quill/Star Lord’s (Chris Pratt) father, Ego (Kurt Russell) reveals himself to him and Ayesha (Elizabeth Debicki) hires the Ravagers, led by Peter’s adoptive father Yondu (Michael Rooker), to hunt them down, leading to a mutiny led by Taserface (Chris Sullivan) after Yondu’s stumbles.  Also, there’s something about Gamora (Zoe Saldana) and Nebula (Karen Gillan) still having their sibling rivalry and how it affects them in this movie.  But if I went further, I’d go into some massive spoilers that I’ll leave for later.

So how was the story?  Not giving anything else away, this was a great story that managed to provide some great character motivations, stellar action, well-placed humor, and moments where the movie really tugged on my heartstrings.  A big part of that is that this is less of a repeat of the first movie and more of a continuation of the first movie.  What do I mean?  None of the characters are in the same position they were in the first film, their changes in character reflect that and the cast manage to show their growth from then and add to that.  That and it explains on plot details that came up in the character arcs of the first film but not important to the conflict with Ronan, and somehow gives them the necessary answers that we didn’t know we needed, such as Peter’s heritage, the relationship between Gamora and Nebula as well as how much of a crappy father Thanos is, Yondu dealing with the ramifications of kidnapping and adopting Peter in the first place, the bond between Rocket and Groot (Vin Diesel), even when the latter is now a baby, and Drax (Dave Bautista) understanding the concept of friendship, family, and close bonds after losing his family to Ronan before the first film (though he claims his revenge will be complete when he kills Thanos, which may happen in a massive crossover coming out in a year or two).  Plus we now have new and background characters, such as Mantis (Pom Klementieff) and Kraglin (Sean Gunn) who have very interesting characters and arcs from this film while having some emotional moments and push in the story.  And the film really does aim for a focus on family as the big overarching theme, from the relationships Peter has with Ego, Yondu, and his own team, Gamora and Nebula, Rocket and Groot, and Yondu’s set of Ravagers plus the Ravager community as a whole (which I’ll explain in the spoilers).

And it ultimately works because this movie is very character-driven and the arcs are interesting for each one.  We learn more about Peter in this movie the most, and definitely the main character here from a structural and emotional standpoint, and his arc is built off of the first film and deals with his heritage and his place in the galaxy, with his resolution being based on his choices and bonds he never realized.  Drax, while more of the comic relief here and rightfully so, is engaging since he’s still dealing with the fact that he has a new group of people he calls a family as well as his newly-found bond with the innocent Mantis, who’s definitely one of the more interesting characters here.  Gamora’s arc is more about her relationship with both Peter and Nebula, with the latter having an interesting resolution that I’ll discuss later.  Rocket and Groot are here as father and son, rather than two bounty hunters with the big one protecting the smaller one, and the former’s is about being less of a jackass and more of a team member, and it ties with Yondu.  For Groot, or Baby Groot here, he’s a baby, so his arc is more about relearning what the original Groot learned while being distinctive himself.  Now for Yondu, who’s arc is more about redemption and sacrifice, as his part of the narrative deals with aspects of his personality that got him in trouble and what ultimately made him effectively Peter’s adoptive dad, and why he thinks Peter’s biological father, Ego, is “a jackass” in his terms, and the resolution may have you teary-eyed if you get where it’s going.  For Nebula, this is the movie where she goes from a total badass into the broken bird that makes us realize that Thanos may be, if not will be, the Avengers’ (and the Guardians’) greatest foe, one that’d make Loki, Ronan, and Ultron soil themselves in fear, as her arc reflects the pain she went through being the WEAKER sister to Gamora, who’s badassery is ultimately a factor in this plot.  Plus Mantis has a fun arc about learning more about the universe outside of Ego’s perspective through Drax and the others.  And Kraglin, while not having the best arc, is a more interesting and engaging character here than in the first.

For the villain here, I can mention that the Sovereigns and the Ravagers (that turn on Yondu and his supporters, including Kraglin) definitely fit this role at first, but then we arguably get a character that becomes such a despicable bastard that he ends up being arguably one of Marvel’s best, if not darkest, villains to date.  Explaining who this is would spoil the movie, and it’s arguably one of the better twists I’ve seen, even if its build-up makes it more obvious when you think about it.  Plus it gives a reason why Thanos is not to be taken lightly.

Plus the acting is well-rounded across the board, with fantastic performances from each actor, even with the voice portrayals for certain characters.  That and you have actors known for their limited range being casted and used effectively.  Plus there are several cameos that will have you floored in that they casted this/that actor or actress here, including arguably one of the best Stan Lee cameos ever, especially if you’re familiar with Marvel Comics and fan theores.

Now for the action and visuals.  The former is awesome, with some well-crafted action sequences, all in space, on various planets, and within spaceships and even planets that are well placed, full of energy, loaded with great moments of intensity, awesomeness, tension, and even humor, and some of them are very creative for this world, the MCU, and even the superhero genre as a whole.  If you thought the initial fight with the interdimensional monster that was shown in the trailers and marketing was great, especially with how it was shot and set up, alongside the space battle with the Sovereign chasing the Guardians, alongside a few other shots, then you are in for a treat, as some of the sequences are staged really well with great music choices (with two of them using Peter’s music to score them, and leading to some funny juxtaposition between the happy, poppy songs and the carnage occurring).  And they are done extremely well.  And the visuals are extremely great, with a lot of color and various uses of it, fantastic CGI, which, while looking obvious, fits the world to a tee, making it more like a comic book come to life.  And that’s the beauty with Marvel’s use of CGI; their visual style requires it to bring their comic’s visuals to the big screen accurately or aesthetically pleasing to all audiences, and the resulting digital effects match the insanity and/or rules of the environments and stories, leading to their charm.

But this movie’s charm and appeal not just comes from the action, colors, and CGI to create talking raccoons, tree creatures, and alien ducks (oh come on, we saw the stinger with Howard in the first film), but from its soundtrack.  And like with the first film, each song chosen fits the mood, spirit, theme, and even humor of the scenes they’re used, with both “Brandy (You’re A Fine Girl)” by Looking Glass and “The Chain” by Fleetwood Mac being two of the more important ones story-wise.  But to explain the former would go into more spoilers.  Plus the use of “Southern Nights” by Glen Campbell, “Come A Little Closer” by Jay & The Americans, and even “My Sweet Lord” by George Harrison, which has not aged that well, are done extremely well, with the first two being used in very funny ways and the latter setting up the atmosphere for a certain character’s home world.  That and the score, while serviceable, is well done with some drive and energy for most of the action.  Like with the first movie, the pop tunes they used are used properly, and it allows for some great moments.  And I do wonder what the inevitable third movie alongside Avengers: Infinity War will do for their soundtracks (since the Guardians are going to be in the latter, and Peter has to have his tunes), though it’ll be interesting if they have Quill, through Tony Stark, Stephen Strange, or even Steve Rogers, discover new styles from the 80s onward like new wave, hip hop, grunge, death metal, dubstep, and so on, and what his reaction would be to Nickelback (if Gunn or the Russos felt like placing a take-that towards 00s post-grunge).  Either way, this soundtrack rocks, and they even use Cat Stevens well.

If there’s a flaw here, this movie is fantastic, but it isn’t as, well, fresh as the first.  What I mean is that whereas most superhero movies beforehand were entirely Earth-set or had their major moments on Earth (even the Thor movies did this, and so does Doctor Strange, though that was to set up magic in the MCU on Earth), the first Guardians barely involved Earth in its plot.  The only time we were on our planet was at the depressing opening of that film; everything about it was set in the cosmos, a.la. Star Wars.  When you get down to it, the movie felt like a mix of Star Wars and an excessive action movie of the 80s than it did a traditional comic book movie, even if it was still one, and that was even reflected in the characters.  The morally-good characters were antagonists until the true villain made his motives clear and forced them together with our rogue, law-breaking, hard-partying, crass, and morally-bankrupt main characters (they all had criminal records or were in prison in the first film before they united to defeat a Kree zealot with an Infinity Stone) in the climax.  And this was in direct contrast with recent comic book movies where even the good guys did questionable things yet were somehow seen as heroes, even Superman for God’s sake.  That and the clear focus on fun despite the stakes and epic storytelling, with a great integration of humor and 60s/70s pop, rock, and soul music being a factor.  And it does all of this, despite having a stronger focus on why these characters are such screw-ups and, as Peter Serafinowicz’s Garthan Sall would say, a bunch of a-holes.  So as a result, what blew us away and was part of an engaging story the first time is a lot more commonplace, with Suicide Squad, Ant-Man, and Doctor Strange, with Thor Ragnarok in the future from what it looks like, taking from it to varying degrees of success as a result of how great the first film was (in the humor, soundtrack use, and even weirder story decisions).  As a result, while this is a well-put together movie, it isn’t as fresh, and the humor may get in the way of more serious moments, even when the film stops trying to be funny.

But why do I forgive this?  This movie, somehow, manages to be really funny and really touching.  The former is mostly due to Drax, but there are several moments involving Baby Groot and Mantis, who are the two cutest characters in this film, where one will burst into laughter, and even the cast have some great zingers.  But Drax is the main comic relief here, despite his tragic backstory, and manages to have the movies biggest laughs, even when he is the one laughing and explaining the joke, and he somehow has a bond with Mantis that’s both cute and hilarious.  But for the latter, the theme of family plays to a head in several moments, specifically with the relationship between Gamora and Nebula, but especially with Peter’s heritage and upbringing leading to some revelations that may leave you teary-eyed, which the movie had me at during the movie; this film not just have me laugh, but cry.  And I thought Groot’s sacrifice and regeneration from the first film as sad but uplifting, this does that again but with another major character, and that involves spoilers.

To sum up, this is a rocking and rolling good time in the theaters.  With an engaging story, interesting characters, the same charm that made the first film so fun, and some of Marvel’s best visuals to date, this movie is definitely a must see.  No seriously, the visual design and cinematography here is gorgeous, and it’s in the same summer that we’re getting ANOTHER Transformers movie which looks mediocre in comparison.  But regardless, you will be laughing, on the edge of your seat, and possibly on the verge of crying watching this.  This hits every emotional core I can think of when it comes to blockbuster action cinema, and it excels because of that.  Despite this, I can agree that this isn’t as fresh as the first, but regardless, this is still an A movie for me, following up on what is definitely an A+ movie, even if I feel that, with some time, this might go up to A+ as well.

Final Rating (Spoilers below included): 9/10 (A righteous, fun joyride though the cosmos with some emotional weight)

Now for the spoilers. 

In the comics, Ego, Peter’s father, is called Ego the Living Planet.  And the film decides to make him the father of Star Lord rather than J’son of Spartax, and while this move may anger some comic purists, the first film can be trashed for the same reasons due to some aspects (like Drax’s skin and Gamora’s clothes, plus Ayesha’s clothes here) not being like the source material.  But for me, this works in regards to the story, as it allows for the theme of family and fatherhood to play a major part in Peter’s character arc.  Specifically, the character of Ego is also made a Celestial in the MCU, which makes him practically an immortal god and capable of creating a physical avatar, he’s a planet here as well, with the appearance of Kurt Russell (with every aspect of human male anatomy, including the part you’re thinking of) to travel the universe, due to his interest in life and taking part in it.  That includes traveling to earth and falling in love with Peter’s mother and fathering Peter, gaining some affection for Earth’s pop music circa the late 70s to the early 80s.  Ultimately, this makes Peter half-Celestial (what Nova Corps called the part of him that was “ancient” in the first film), and thus immortal, plus giving him the ability to create energy balls and anything his mind is set to, including recreations of Pac-Man, Skeletor, and Heather Locklear as statues of awesomeness.  But he is one of many children Ego fathered.

That brings us to Yondu, who was kicked out of the main Ravager corps for abducting and trafficking children while being sold into slavery by his parents as well, and he still deals with the ramifications of that, even when confronting his former boss and father figure Stakar Ogord (Sylvester Stallone, who is good here).  And among the kids he kidnapped was Peter himself, as part of a deal with Ego that is later confirmed to be the reason for Yondu’s actions, and, fearing what Ego would do to him, Yondu decided to raise him as a son, with the threat of eating him being ultimately a dark joke by the disgraced Ravager, instead of giving him to the “jackass” that is his real father.  And this is ultimately why Taserface stages a mutiny against him, after he captured Rocket and Baby Groot for the Sovereigns (with Nebula joining with the Ravagers and getting her own ship to hunt down Gamora and later Thanos as part of her revenge).  But this leads to Yondu and Rocket bonding, with the former later explaining just how alike the two are, and a great scene where Yondu, with his original fin, kills all the mutinous crewmembers with Rocket and Baby Groot to Peter’s music (for extra hilarity), while Kraglin shows his devotion to the blue-skinned badass.

And Nebula explains that, due to Gamora being a natural ace, she was continuously mutilated into a cyborg by their adoptive father, felt the pain of being physically violated and mutilated over and over again until she joined Ronan’s side in defiance to Thanos.  A big part of her pain was just how alone she felt when she would continuously lose to her sister (who was just as scared and determined to survive the Mad Titan’s cruelty), and desiring some sort of bond with her, which would lead to hatred and anger towards her, blaming her for her pain and suffering.  It isn’t until the two sister talk it out, and discover the remains of various creatures within Ego that are revealed to be Star Lord’s half siblings after they were unable to help dear father with his plan of turning the universe into extensions of himself.

That is why Yondu calls Ego, his employer for a time and the reason he was disgraced from the core Ravagers, a jackass.  Ego IS the villain of the film, having such a disinterest in mortality, a part of life that is essential to it despite him not seeing it as such, that he put parts of him across multiple worlds, including Earth, to terraform them all into extensions of himself and essentially control the universe, even if it means the extinction of several life forms (imagine how that’ll play into Avengers: Infinity War when Tony meets Quill and considering the formers arc into a paranoid, broken man who will do ANYTHING to protect the people close to him after dealing with the ramifications of creating a murderous A.I. and possibly Stephen Strange meeting with Stark to mention Quill’s heritage and how Ego nearly turned Earth into an extension of him).  That and he fathered SEVERAL children to serve as a second being to live by his side when the universe is nothing but him and his child, killing any of them that doesn’t have the potential to access his power and perform his murderous actions until Peter showed that he can.  Too bad he revealed that, to complete his goals and not get bogged down by genuine love, he put the brain tumor in Peter’s mother, effectively killing her, causing Peter to not hesitate and attack him, which leads to Ego destroying his Sony Walkman, leading Peter to be 100% against him, even when the two use their Celestial powers to fight within Ego’s core, where Baby Groot is in charge of a planet-killing bomb created by Rocket (using batteries he stole from the Sovereign, explaining their role as co-antagonists to Ego in the film, which even Yondu did, confirming their similarities) while Mantis tries to keep Ego asleep, which has been her role from the very beginning.

Plus the Sovereign travel into Ego’s core to kill the Guardians thank’s to Rocket, with their ships being piloted in a control base away from the fight (effectively making them similar in personality to gamers in an arcade, which is both interesting plot-wise and very, very funny considering how they react every time a ship is destroyed).  And they are a complete nuisance throughout the climax, while Ego uses his powers to nearly kill the characters (he’s the planet, so he alters his true physical form to trap or harm the characters, even Baby Groot) until Peter uses his Celestial powers to fight Ego’s human avatar, anime-style with a moment where he creates a giant Pac-Man to attack Ego.  Then Yondu, who’s with the main characters in the core fighting Ego, stays behind to rescue Peter after Groot sets the bomb off, with Rocket carrying the baby tree creature to safety, killing Ego, then sacrifices himself to save Peter, using his thrusters to get him out and giving his adopted son the last space suit, dying from asphyxiation in the cold reaches of space.

And this is where the film got me.  With his last words, “He may have been your father, but he wasn’t your daddy,” referencing Ego, Yondu dies right in front of Quill.  And during his funeral, which is a makeshift Ravager funeral done by our heroes honoring him, Quill makes a speech, showing that he realized that Yondu was the closest thing to a father to him, with him getting his Zune, while the fin goes to Kraglin.  And, with Cat Steven’s “Father and Son” playing in the background, the deceased Ravager, thanks to a transmission from Rocket explaining his sacrifice, gets a true Ravager funeral, which was beautiful and got me welling up, even after Stakar explained that his action, under Ego, would not get him one when he dies.  And even Stakar was there saluting his comrade, and being influenced to get his team back together, which includes Martinex T’Naga (Michael Rosenbaum), Charlie-27 (Ving Rhames), Aleta Ogord (Michelle Yeoh), Krugarr, and Mainframe (Miley Cyrus, which is a little weird, even if you don’t initially hear it) in a post-credits scene.  Talk about an emotional way to end the film, and it does remind me of The Empire Strikes Back, where the main characters are looking into space at the climax after going through some intense moments.

And the end credits scenes, which also include Kraglin trying to master the fan, Groot growing into his teenage phase, including a messy room and giving Quill grief, playing video games, Ayesha planning on using her latest creation on the Guardians, Adam Warlock, and finally Stan Lee’s cameo being expanded upon from the movie (which was him as an astronaut explaining his adventures in the framing of his earlier cameos from the other films to Watchers), and the Watchers him leaving as he tries to tell him about other stories, including the FedEx employee story he has (which is a funny tie in to Civil War, and may be the way that the Avengers meet the Guardians in Infinity War.  Plus you have the credits, which are done in an 80s-style retro cut-out style, all including a few more tunes as well as the original disco track made for the film (with contributions by David Hasselhoff, whom Peter told his classmates was his father before he was kidnapped)  And yes, that was awesome.  And let us remember this: WE ARE GROOT!

Oh, and Jeff Goldblum makes a cameo in the credits as Grandmaster, who will appear in Thor Ragnarok.

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Until next time, this is the Rock Otaku.  Live Loud and Play Hard.

All used references are done under the rules of fair use and are owned by their original creators. 

Countdowns with The Rock Otaku 07: Top 11 Awesome Mix Vol. 1 Tracks

Hello degenerates, heathens, weirdos, and deviants.  I am the Rock Otaku, and I’m here to show you worlds such as hard rock, metal, punk, alternative rock, movies, TV, anime, video games, and anything that makes us scream, shout, and let it all out.

As some of you may have noticed, I tend to have that opening slogan in my blogs when I do something big or based on a series, but I seem to only discuss the first two (and three after that when the opportunity arises) in my blog overall.  As for the others, they end up serving as times to make references or jokes in my main series.  And this is the main reason why I am now going to try to fit in more anime reviews, news, and countdowns into my blog.

You know what, I’ll use the extra week I’ve added to my time to make my LET THEM EAT METAL series bi-weekly to create a series of countdowns.  And they don’t have to be just about anime.  I can use this to mention movies, TV shows, episodes of shows, news, games, and even other musical artists I want to talk about but aren’t able to usually thanks to my current load.  But I’ve set my mind to Guardians of the Galaxy this week.

And no, this shouldn’t take too long.  All I am doing is counting down my favorite songs from the first film based on the song alone as well as how it’s used in the main story.  And for this list, it had to have appeared in the theatrical cut of the film, so “Spirit in the Sky,” which was only in the trailers, is merely an honorable mention.  And I’m going top 11 from least-effectively used to best used for this countdown.  And before we go into this, let me state this: I do not hate pop music.  In fact, certain eras and variations of it, based on sound and even country, are appealing to me and are the basis for somñe of my favorite songs of all time.  And I think that this soundtrack did a great job of channeling the best of 60s and 70s pop, soul, rock, and funk into a wild, rebellious, and crazy track list for what is arguably one of Marvel’s best films.  So in honor of the sequel coming out today, with some word on if I liked it at the end if this is released after I see it, I will be discussing these tracks, sans “Spirit in the Sky” because it HAD to be in the movie for it to count.  Anyway, let’s rock:

11.       "Escape (The Piña Colada Song)" by Rupert Holmes

For this, let me get this out of the way.  This is a good tune to relax, kick back, and think of getting away from a crappy relationship, only to learn that your soul mate had a fun side you didn’t think of.  For anything else, this song is kind of a joke, being about an a-hole that’s practically cheating on his own wife if favor of the flavor of the month, with interests similar to his.  And it turns out, cue the punchline, that this great gal for him is his own wife.  As for the instrumentation, it’s very mellow outside of some alright guitar licks that I’m sure constitute mini solos before a very chill one towards the end.  The rest of the instrumentation is basis yacht rock, so there’s nothing too special about it.

So how is this used in the movie?  During the end of the escape scene.  And after Star Lord takes back his cassette player and tape from the guards.  Simply because of the title.  While I can praise this song’s use for not doing so when a girl Star Lord likes reveals she likes Piña Colodas, I’m with Drax on this one.

10.       "Go All The Way" by The Raspberries

If this was a quality contest, this song would be higher since it rocks.  It’s a raucous track with pummeling guitar chords, rock star strutting, a catchy beat, and an ear-wormy chorus that, as Eddie Trunk revealed somewhere, is the kind of song that gets people into hard rock and heavy metal despite being power pop.  The tone is great, the singing is great, and while there isn’t any flashy guitar lines, the guitar playing is top notch, and it’s a blessing that this made it into Rocksmith last Tuesday.

As for the song’s usage in the movie, this is more of a breather track to let our protagonist, Peter Quill aka. Star Lord, chill on the Milano with another random girl before being chewed out by Yondu.  After a very intense action scene where Quill reveals his skills as an action hero against forces employed by Ronan The Accusor.  And until you learn this, this makes this song’s use surprisingly more entertaining as it’s practically a reminder of this movie’s tone, being a mix of sci-fi action and an embrace of the sillier aspects of genre films.  If the last two tracks did not perfectly convey what this movie’s about and it’s themes, then this tune confirms the movie’s reason to exist: to be a big, dumb, loud story with a lot of heart, confidence, and tongue-in-cheek swagger.  And if this movie’s your introduction to this song, then more power to you.

9.         "I Want You Back" by The Jackson 5

Before Michael Jackson was the King of Pop, he was arguably the Child Prince of Motown.  And with this catchy, upbeat track, it’s not hard to explain why.  It’s catchy and upbeat, and that’s probably the song’s strength, despite it being like the Motown equivalent of a banging hair metal song about wanting a girl back.  And, well, since this is technically bubblegum, it works here.  But this is the best kind of bubblegum pop, the one’s where you feel like the musicians behind the track, including the teens and tweens, put a lot of effort into every single aspect, and it can still last.  Also, that bassline.

I'm with Groot on this one.

For the movie, it’s only…

…at the end of the movie.  Like, at the direct end of the movie.  I’m not joking here, this song is used as the ultimate symbolic statement of “We are getting a sequel to this” using pop music.  And that’s just my opinion.  But if that were the case, this would have been at the bottom of the list if this movie bombed.  Instead, this fact docks points for this song due to it being effectively sequel-bait, but that doesn’t explain why it’s ultimately as high as it is.  The reason?  Baby Groot dancing to this after seeing “THE GUARDIANS OF THE GALAXY WILL RETURN!” in a pot with Drax in the distance sharpening his knife.  And it also makes sense considering the character’s age as well as the possible fact that a character in the later stories will have grown up with Star Lord’s taste in music, making it less alien to this section of the Marvel Cinematic Universe.  Good on you, Michael, hopefully Peter’s return to earth gets songs from Thriller in future installments.

8.         "I’m Not In Love" by 10CC

Thinking about this, it’s a depressing song.  It’s a declaration about how the singer is not in love and that it’ll hurt him if he were.  And with the melancholic tone, it becomes more obvious that this track is from the point of view of him being hurt by the last time he cared about someone.  Or even losing them.

And it’s appropriate that this song is what we hear when we see Peter’s flashback to his childhood.  Which, because of the framing, makes this the first song we hear in the movie, and its accompanying scene the first thing we see.  And it’s rather depressing, capturing the sense of shock, sadness, and brokenness that Peter’s dealing with, since his mother is…

…dying from cancer around what is probably his birthday.  In a way, this arguably makes this one of the saddest scenes in the MCU to date, in stiff competition with most likely a later moment in the film I may reference as well as the entirety of Captain America: Civil War.  And during this time, he gets a present from his mother (which I’ll reveal later like the film), but due to fear and something else, Quill doesn’t hold her mother’s hand when she dies, instead running off in tears before being abducted by the Ravagers (to be taken, in the words of Yondu, to a jackass).  And this is before the Marvel logo comes up.  As a way to start the movie with Peter’s origin and character motivations (or most of his baggage), this song is arguably the best way to do so, in both tone and theme.  But due to the outright amount of manly tears likely shed at the beginning, I don’t think I can put this higher since it doesn’t fit with the rest of the film.

7.         "Fooled Around And Feel In Love" by Elvin Bishop

This might be one of my favorite tunes from the soundtrack in concept alone as well as execution.  This bluesy pop rock tune is from the point of view of someone who would rather just go wild, live life to the fullest, and has no time to relax and settle down.  However, something happened during his free-spirited days that caused him to suddenly fall in love with one person.  And the music is appropriately sleazy as it is romantic, capturing the raw lust for life before he fell in love and the lovey-dovey feelings that came after.  Along with that, there is a great guitar solo that showcases the concept of melodic blues to the fullest.  Plus you also have many other great moments here, such as the instrumentation, the production, and the singer’s delivery.  If there is a song that I would use when I meet a really attractive girl, it’s this one.

Speaking of getting hooked up with attractive girls, this is played when Peter and Gamora hang out while the other members are gambling and getting wasted before meeting with The Collector.  And in this scene, Peter explains the purpose and reason for him having the mixtape, which is the last thing that connects him to Terra (or Earth, as we know it) as it’s a collection of songs he and his mother enjoyed.  And while they’re talking about this, Peter decided to let Gamora, who was interested in knowing why he would go back after it in the Kyln before leaving it, take a listen, and it’s this track playing on it, with it playing in the background for us as well.  She, of course, complements him for it, then they dance, but, this being an action comedy in space, she tries to kill him when she gets caught in his “pelvic sorcery.”  And if you’re wondering, based on the trailers to the new one, this is the song that will, to me, be the tune that marks the moment where Star Lord and Gamora start to have feelings for each other, especially the former for the latter.  I wonder what would happen if someone in-universe figured that out?

6.         "Moonage Daydream" by David Bowie

This is a song by David Bowie, and I’m sure that if I discussed this song in depth I’d get something off.  But all I can say is that this is a great song and among is best.  And the mix of the spacey tone and the rock swagger that we associate with Bowie makes this even better and more memorable.  Also, it’s better to experience it yourself than for me to explain it.  Plus it’s been added to Rocksmith last Tuesday.

So how is it used in the movie?  As a way to set the stage for what kind of locale Knowhere is in the movie.  First off, the location is one where The Collector is, and it’s arguably the closest equivalent in the movie to Mos Eisley in the Star Wars series.  And as a result, having a classic rock song that sets a sleazy, mysterious, and bizarre tone is necessary if you’re going a route like this; and the flamboyant moments of the song really work to set up this bizarre section of the Marvel Cinematic Universe as a living, breathing aspect of it.  As for the song chosen, it’s almost perfect in setting the tone, and while it’s not directly tied to the story and the moments, it’s more about atmosphere and feelings.  And this gets that perfectly.  So yeah, this is good, but not enough to reach the top 5.

5.         "Cherry Bomb" by The Runaways

So let’s talk about this tune piece by piece.  The guitars by Joan Jett and Lita Ford are punchy, aggressive, and loaded with both bite and melody, and the solo by the latter is a starting sign of her talents.  Sandy Fox also manages to provide a strong drum beat that allows for the fury and catchiness to coexist.  The bassist here is fine (and to be honest, it’s difficult to keep up with the band’s bassists), though her lines are likely easily done by Joan or Lita.  And now for Cherrie Curie, who’s arguably the unsung hero of this track, showcasing a rock-star performance and charisma right out of the gate, and while her youthful side shows up in the chorus, she has enough confidence and presence to prove just how crucial she was to this band (I associate Joan Jett singing with her own material or covers of The Arrows).  And that chorus, dear god that chorus is awesome; catchy as hell while also being furious.  Easily the most anarchic song on the soundtrack, even if the band is as authentic as BABYMETAL, and proof that both The Runaways and BABYMETAL shouldn’t be discounted for being the result of producers and managers looking for the next big thing.

So predictably this song is done for a suit-up montage.  How?  After Quill’s speech about taking the opportunity to save the galaxy that they have, even if they die, the song kicks in to showcase preparations for Star Lord’s plan to take on Ronan the Accuser and his forces.  All complete with getting their Ravager attire, mentioning each aspect of Ronan’s ship as well as how to destroy it, picking out their weapons, and finally ending with the titular team walking down a hallway before many Ravager ships fly from the main ship in Xandar’s atmosphere to take down Ronan.  It’s simple, straightforward, meant to pump you up, give both the characters a fighting and confident spirit like the girls in the song about themselves, and matches with the visuals on display.  A great track for a great scene.  But not the best use of music in the movie.

4.         "Come And Get Your Love" by Redbone

So this song is a lot of fun to listen to.  With its funky beat and happy tone, this Redbone classic is a great example of the better funk that came out in the 70s.  The chorus is great, the guitar use is great, with the use of fuzz and syncopation, the bass is ridiculously catchy, and the drums are used effectively here.  Plus those vocals are awesome.  If there was a tune where it would be a great idea to dance to, this would be it.  That and learn the guitar parts in Rocksmith to get a cute girl dancing.

The ultimate showcase of not giving a crap about your safety, and justifiably so.

Let’s face it, this had to be up high thanks to that opening credits scene.  It communicates so much of what’s going on and about to unfold in such a way that you can forgive just how silly it is in concept.  Overall, it’s just Peter Quill/Star Lord exploring the ruins of an ancient civilization, one that guards an Infinity Stone, and being his goofy self.  What I mean is that he’s dancing around and having a big goofy grin on his face, even when grabbing weird alien rats that look dangerous and singing into their faces like a microphone during parts of the song.  And it’s such a catchy little tune that contrasts with the imagery outside of Peter’s antics.  It’s so out there, weird, goofy, off-kilter, and, well, different that you realize that this movie is not trying to be a typical superhero movie.  It’s also not a typical ensemble movie.  It’s not a typical space opera.  And it’s not a typical action comedy.  It’s all of those, and it embraces that idea wholeheartedly.  And it’s a testament to James Gunn’s talents that he can make this work.  Now for DC to try this without making another Suicide Squad-level failure.

3.         "O-o-h Child" by The Five Stairsteps

So for this track, we have a fun little track that deals with trying to chin up and remain optimistic in the face of adversity.  With the song being from the perspective of someone telling this “child” that thing will get better, this manages to be a great song for moments where things went absolutely wrong and that you need a little breather.  It’s also very funky, the instrumentation is great, the beat is steady, and the vocals are really well done here.  If there’s a song I need if I just went through a bad day at work, school, or even crashing a ship with my favorite fellow crewmember sacrificing him/herself to save us all.  That and telling off a homicidal maniac while challenging him to a dance-off.

No declaration of battle has ever been this cool.

To explain why this song works where it does requires explaining Ronan the Accuser as a villain.  He’s kind of a goober when you get down to it.  Not in that sense you’re thinking, but in the whole kind of goober that seems to dominate DC fanboys for some reason.  He’s a devoted, angry, antisocial, and contradictory piece of crap that will defend the “honor” of something that he feels is right but may not be, slaughtering everything in his path to do so.  And unlike DCEU defenders on the internet who only exist on the internet (not flesh and blood ones or casual moviegoers), he has the power to do so.  And that’s where we get to his flaw, and the reason why he’s not as threatening overall: his ultimate immaturity.  Yes, I think Ronan is an overgrown teenager who grew up with an antisocial, holier-than-thou mentality that reeks of obnoxious if he was frail, but with his size and muscle, he can back it up.  But ultimately he’s practically a boy rather than a man, as Thanos would taunt him when they talk (and even then, Thanos is still a monster).  It all comes ahead when his ship is destroyed, his plans nearly halted (to wipe out Xandar in the name of Kree “pride”), and now Peter is singing and grooving to this upbeat, optimistic song while singing it as well.  In short, Star Lord is calling Ronan a brat!  While distracting him from losing the Power Stone!  And it’s really, really funny to see who is ultimately a symptom of Marvel’s “villain problem” being reduced to a complete joke while also trying to retain his character traits as this over-the-top evil monster.  Bravo Quill.  Bravo.

2.         "Hooked On A Feeling" by Blue Suede

For those who probably know, the Blue Suede classic is a cover of a 60s love song that is more of a romance tale than a sexy jam.  For the Blue Suede version, this song is definitely cheesy, but it’s cheesy in that sleazy way that we associate everything from adult videos, girly magazines, sleaze metal, and even ecchi anime and manga.  What I mean is that do you really think a family friendly song would start with “Ooga chaka, ooga ooga”?  Repeated for the first verse before returning after the guitar solo?  But here’s the thing, and why we remember this version: that chant is memorable.  So memorable and earwormy that it’s hard to not get it out of your head.  And in my experience, the only competition for that is a Japanese tune, and even then this one is so distinctive and iconic that it’s hard to replace it unless you cover it.  As for the song beyond that, it’s a standard yacht-friendly sexy pop rock tune with the guitar parts, horn sections, basslines, and drum beats that you associate with that style, alongside the husky vocals.  And the best part, it’s now in Rocksmith (alongside a few other tracks on this countdown), so while learning it on a real guitar, you’d also have the possibility of trying to match your version of the chant with the song’s.  And you also don’t expect it to appear in action movies, yet it’s now associated with one of the weirder ones in the genre.

You’re Welcome. 

If I didn’t put this song in the top three, I’m sure this would be most people’s reaction to this:

As for this song’s usage, it’s when they are now within the Kyln prison (Star Lord, Gamora, Rocket, and Groot).  You learn more about some of them, you see a guard trying to get an understanding of Peter’s musical tastes while tasing him.  And you also get them practically being forced into prison life, tortured, and undergoing the initial steps to prison hell while this bouncy pop rock cover of a nice little pop song, one that’s arguably more iconic than the original, is playing in the background.  And then there’s the use of this song in the teaser trailer, first remixing the famous “Ooga Chaka, Ooga Ooga” chant at the beginning into a war cry alongside pounding drums as the characters are kicking ass, then playing it straight alongside a shot of all 5 members lined up and annoyed with it playing still, even when the title shows up, screaming just how weird and unexpected this is, even from Marvel.  Plus the scene where it’s ultimately in is very, very funny as well.  Despite that, and the great subversion of the song’s meaning versus the scene it’s in, it’s not enough to have this at number 1.  What I’m looking for is how it ties with the overall story.

1.         "Ain’t No Mountain High Enough" by Marvin Gaye & Tammi Terrell

Motown glory.  That’s all I have to say on this one.  Anything else, including the great instrumentation, from its lushness to its beat, the fantastic vocal interplay between Marvin Gaye and Tammi Terrell, and the amazing lyrics, which is arguably one of the greatest showcases of love, is already noticeable and discussed.  This is a fantastic song, and I should stick with that.  Even better, you can learn the guitar and bass parts in Rocksmith now.

Based on the rule of elimination, this song ultimately made number 1 for reasons I’ve been specifying.  First, the song has something to do with the story, such as having the same themes.  Second, its usage has to make sense in regards to the story, like how it relates to a character when it plays.  Third, it adds to the atmosphere, such as having the melodies and lyrics mesh with the shots going on.  In this case, the song’s theme of how distance won’t stop the love two people feel fits with, and is a part of the ending of Peter’s character arc in the first movie.  What I mean is that, before this song plays, he survived the power of the Infinity Stone through not just his bond with his teammates, but seeing an image of his mother holding her hand out during her final moments, and him finally overcoming what was eating at him because of that by giving his hand to her (which is actually Gamora asking for HIS hand at the time to share the power).  This plays after that, and after he learn’s he’s half-ancient cosmic power from Nova Corps after saving Xandar from Ronan, with him playing it as the first track on Vol. 2 of his and his mother’s Awesome Mix tapes.  Said tape was the present he received before she died (cue the tears).  Finally, it also matches with the tone, with Peter remembering the good times with his mother and putting his familial bonds and trust in his new family, the other Guardians, as well as shots of Yondu, the Nova Corps, and Rhoman Dey in heartwarming scenarios like showing love to others who ultimately survived the ordeal that went down.  For Peter, and for everyone else in that moment, there ain’t no mountain high enough, ain’t no valley low enough, and ain’t no river wide enough to keep them from getting to those that they care for, love, and support, but now and in their memories.  It just fits here, and that’s all I can really say.

So that was my countdown for Guardians of the Galaxy’s first Awesome Mix.  If you have any suggestions, feel free to leave them in the comments below.  If you feel like I missed out on discussing Volume 2, feel free to leave your opinions in the comments below.

Oh, and I did see the sequel, so my thoughts will be here: I thought it was great, not as fresh or exciting as the first, but a lot deeper and more emotional than the first, with some fantastic action and very funny comedy.  It’s definitely a great continuation of the story as well as a great continuation and conclusion of a few character arcs from the first.

More thoughts and a numerical score?  It’ll be here: http://rockotaku92.blogspot.com/2017/05/rockotaku-reviews-guardians-of-galaxy.html.

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Until next time, this is The Rock Otaku.  Live Loud and Play Hard.

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