I’ve decided to go in a different direction with this song,¬†and I think writing an original track worked out for the best, but I thought my letter to Tangerine Dream asking for sampling permissions might be an interesting read and a kind of pre-emptive song blog! ūüôā You know I love my song blogs. It was surreal to write this , track down contact info, and eventually send this baby. One songwriter lives in Germany, one is deceased, and the other never replied for unknown reasons. Read it all up!
Hello Tangerine Dream team!
My name is Rhune Kincaid, and I’m a musical comedian working in Los Angeles. I’ve written a rap song (using Tangerine Dream samples) about how Risky Business is one of the most awesome and underrated movies of the 1980’s and all-time. That sentiment is not a joke, but I hope some of my rhymes and wordplay within the lyrics might make you crack a smile.
I didn’t see Risky Business until the 2000’s (I was in college), but I thought it was clever, multi-leveled, and genuinely funny and meaningful. No small part of that feeling came from the music provided by Tangerine Dream. The first track, “The Dream is Always the Same,” hit me like a ton of bricks, and I thought that “Love on a Real Train (Risky Business)” was a masterpiece. It was my first inspiration in this endeavor.
I watched the movie one more time with a notepad, writing down themes and rhymes and narrowing down why I felt the movie was so meaningful to me the first time I saw it and why it remains powerful 30+ years later. Furthermore, I wanted to feel all of the music in context and draw inspiration from the most exemplary piece. It was, unsurprisingly, the hypnotic arpeggios and monumental chord progressions of “Love on a Real Train (Risky Business).”
I combined beatbox with looping samples from the track to compose my rap track. To be specific, I’ve used three sections of the 3:58 long track from the original CD release. The samples are:
00:00-00:34 of the original track (1x)
02:03-02:12 of the original track (16x)
02:12-2:38 of the original track (2x)
My track is 3:36 long in total, and I couldn’t be more proud of how it turned out.
It is my sincere hope that you, the composers, and the publishers will bless my use of the samples. It is my understanding that I’ll need to arrange permission from the three composers, namely the estate of Edgar Froese, Christopher Franke, and¬†Johannes¬†Schmoelling, as well as the publishers, Universal Geffen Music and Warner Olive Music, LLC (which I believe are now both a part of Universal Music Group). If any of that is incorrect, or if there is a better route to contacting the appropriate parties, please let me know. I’m doing the best I can from working from the ASCAP database!
If you can assist me in any way with contacting the composers and securing their permission to publish my song, I would be most grateful. I am preparing an album of 21 songs that I have worked on over the last 7… ok, 8 years, and this track is one of the strongest (and most fun to play). I’m sure it will be a difficult task to contact all parties, but I know it will be worth it!
Please let me know what it would take to secure your permission to publish the track. I am happy to provide a demo and lyric sheet if it will help any of the decision makers to make their decisions.¬†I think you will find it to be a lovingly crafted homage.
Also, while I’ve got your ear, the score for¬†Grand Theft Auto V¬†is another masterpiece that I feel intensely compelled to compliment! ūüôā
Hey gang! Here’s a weird story about two songs that I bet you never knew I worked on!
About six years ago, I was commissioned to work on two songs for an English-language version of an animated film from Denmark. It was called Terkel I Knibe (Terkel in Trouble). The task was pretty unique. The movie had two songs that had been produced in Danish that needed to be re-sung, re-produced, and translated with as much humor as possible into English. ¬†I got to see the whole movie, but more than half of the dialogue was still in Danish. A stream¬†of bizarre, outrageous, half-understood, and obscene animated images paraded before my eyes so I could get a feel for the tone. And then I did the job!¬†I made Americanized versions of “Mr. Cool” and “F*** Off and Die.”
SIX YEARS LATER
The movie is finally coming to America! It’s been renamed The Trouble with Terkel¬†and has already scored a spot¬†in the Tribeca Film Festival in New York. ¬†It’s also making a west coast debut at the Laemmle Noho 7 on February 3rd at 10pm. . I’ll be there, and it would be cool if you were too! Be warned though; just because this is an animated movie about kids does not mean it is for kids. It is a hard R with some rau-au-au-unchy stuff. Raunchy stuff. The aforementioned “trouble,” that the protagonist, “Terkel,” is “in” is both disturbing and profound. But I’ll be singing in it for a couple of minutes, so it’s all ok!
tl;dr I made two songs for this movie that’s playing at the Laemmle NoHo 7 on 02/03/17!
“With Your Girlfriend” is a song I don’t play much, because I feel, in general, people hate it.
It is probably the most disliked song I’ve ever written.¬†I’ve gotten a lot of dirty looks from audiences. Maybe they don’t get the grandiose, lecherous, sarcastic, over-complicated, duplicitous and poorly executed sci-fi storyline. It’s too bad, because I really like the “Ow/Uh” part.
I can’t really do much about the way people hate this song.¬†What I can do, is try to explain the story in clear prose, so you can at least see what I was failing to get at. Here goes:
This song is set in a post-apocalyptic future. In this future, nuclear/chemical warfare has sterilized everyone except our protagonist and the listener’s girlfriend (how charmingly meta and interactive, right?). This gives the protagonist a survivalist’s reason to procreate “with your girlfriend,” who he thinks is a “fox” and a “9 out of 10.” ¬†This inspires him to sing, philander beyond the original parameters (“with your mom”) and enjoy fruit brought to him by his illegitimate, mutant octuplets (See? It’s not that complicated). He also hints that the reason he and the girlfriend are still fertile is because they were already fornicating before the apocalypse and were secreted in a protective vault at the time of the sterilization event. Scandalous.¬†Only when mass sterilization kicks in, does he bring the relationship to light, but still promises not to enjoy the sex (a blatant lie.)
Still not playing it live ever again.
Easter Egg: The little melody that bridges the chorus back to the verse, “No one else can do it anymore,” is a bit of a rip from the theme song for the post-apocalyptic anime series “Wolf’s Rain.” I love it, and no one will ever sue me, because I’m not playing this song anymore.
It’s Rock O’Clock. Time for a song blog. Why this song, you ask? Because I think it’s the only song on my two albums that has never been performed live. I’ve played the acoustic intro, but the rest of it is beyond my live acoustic set up with all the drums, vocal layers and surf guitar. That’s kind of sad though, because it really captures a lot of my feelings, especially the “Fuck you, I’m going to make whatever sounds I want, even if they’re annoying” one.
I usually try to avoid curse words in recorded versions, because I hate making ‘clean edits,’ but since this yummy number had no potential as a single, I didn’t bother. This song isn’t all that funny, except for the fact that it’s loud and annoying for the sake of being loud and annoying, which I also think, really sums up my stage personality. That’s the opposite of my off-stage personality, which makes this song a real peek into the depths of my complexity. I’m so deep. I’m such a deep, intriguing person that he song right after this one is “Handjobs and Driving.”
This song was inspired by wanting to rock whilst other people, roommates, neighbors, cellmates and the like were trying to sleep and not owning a proper studio. Also, it’s a response to their complaints. All in all, a pretty self-explanatory song with silly voices.