Songs in the Key of X (CD)

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Cover der CD

Album-Daten

  • Titel: Songs in the Key of X (Music from and inspired by "The X-Files")
  • Produzenten: Chris Carter & David Was
  • Laufzeit: 71:58 (mit Hiddentracks)
  • Veröffentlichungsdatum: 22. März 1996 (USA), 26. März 1996 (Deutschland)

Synopsis

Dies ist das erste offizielle CD-Release zu Akte X. Enthalten sind Songs, die entweder tatsächlich in einer Episode genutzt wurden oder einfach nur gut zum Stil der Serie passen. Viele der Interpreten sind bekennende X-Philes und fragten an, ob sie einen Song zu dem Album beisteuern dürften. Der Parental Advisory-Sticker auf der Front der CD deutet außerdem bereits an, dass die aufgenommenen Songs auch wirklich "in the key of X" sind, d.h. nicht immer ganz jugendfrei.

Trackliste

  • 01. X-Files Theme (Main Title) - Mark Snow
  • 02. Unmarked Helicopters - Soul Coughing
  • 03. On The Outside - Sheryl Crow
  • 04. Down In The Park - Foo Fighters
  • 05. Star Me Kitten - R.E.M. & William S. Burroughs
  • 06. Red Right Hand - Nick Cave and The Bad Seeds
  • 07. Thanks Bro - Filter
  • 08. Man Of Steel - Frank Black
  • 09. Unexplained - Meat Puppets
  • 10. Deep - Danzig
  • 11. Frenzy - Screamin' Jay Hawkins
  • 12. My Dark Life - Elvis Costello & Brian Eno
  • 13. Hands Of Death (Burn Baby Burn) - Rob Zombie/Alice Cooper
  • 14. If You Never Say Goodbye - P.M. Dawn
  • 15. X-Files Theme (P.M. Dawn Remix) - P.M. Dawn

Hidden Tracks

Dieses Album enthält zwei Hidden Tracks. Es gibt Gerüchte, dass sich auch eine dritte Version des Akte X Themes auf der CD befindet, die bisher aber anscheinend nur wenige Auserwählte finden konnten.

Songs

  • Titel: Time Jesum Transeuntum Et Non Rivertentum (ungefähr: Fürchtet die Ankunft von Jesus, denn er wird nicht zurückkehren)
  • Interpret: Nick Cave and the Dirty Three
  • Anmerkung: Einen Hinweis auf dieses EasterEgg ist im Booklet zu finden: Nick Cave und die Dirty Three erinnern dich daran, dass die 0 auch eine Nummer ist.


Anleitung

Die CD von Anfang an abspielen, dann den Skip-Button drücken und über 0:00 hinaus zurücklaufen lassen. Time Jesum Transeuntum Et Non Rivertentum beginnt bei -09:00 und The X-Files Remix bei -02:45.

Notizen

David Was

What is the sound of the "X-Files"; that parallel/paranoiduniverse that comes hurtling out of the TV box like a weekly deliver from Poltergeist Express? Is it lugubrious and spooky, all theremines and echo chambers? Or is it a pack of bad-mood demons howling off-key hymns to the Unnamable?

The good news is that we didn't have to prowl the gutters of Tin Pan Alley picking up the discarded songs that are the usual burger-and-fries of the soundtrack game. Contrary to custom, the music assembled here was made for the occasion by the artists who came humbly as devotees of the show. The only requirement was that Chris Carter went synaesthetic when he heard their music: Did he see the sounds? What smoky, arc-light visions did they conjure?

But music doesn't depend on pictures as pictures do on music. Our hope is that these songs will invade your senses and spirit in the same way that "The X-Files" has managed to harness the zeitgeist, of this anxious, beriddled age. - David Was, February, 1996

Chris Carter

Here I go searching for context and corollary, reason and rationale - writer's crampons. Why an "X-Files" record, album, er CD? Why indeed. Have we succumbed to the swinnish flu of grubbing moneymakers who see dollar signs like a fever dream, an endless sea of swag stamped with the eponymous "X"; the spiders to the flies of the New World Wide Web Order, for whom mammon is its own impenetrable logic, a one-word syllogism?

But maybe I'm overstating this. Okay, I'm nervous. I've never produced a record or CD before. Like most of us, I've been quite happy in the role of consumer and can honestly say that music, rock 'n' roll specifically, provided more than just the underscore for the Big Bang of my moral universe during the 1970's. Two semi-related incidents, in fact, taught me life lessons no parent or catechism could ever hope to. The first was a test of my young nerve. Goaded by larcenous classmates, I attempted and succeeded in ripping off from the local K-Mart both a Steppenwolf and Led Zeppelin album. Only to leave the store and find that my bicycle had been stolen during the robbery. The other occasion (the details rather too embarrassing, actually) involved my father's Whipped Cream and Other Delights album by Herb Alpert and the Tijuana Brass.

But back to the music, as they say. Rewind to 1994 when during the first part of the second season of "The X-Files" a song called "Red Right Hand" was used a source cue in the second half of a two-part episode entitled Ascension. Got that? This being the first time - if you don't count Bobby Darin's classic cover of "Beyond The Sea" - we had used anything but Mark Snow's ethereal cues to score the show. I'd heard this song on an L.A. late-night alternative station, driving home from an "X-Files" dubbing session. I loved it instantly, and for the next month or two subjected anyone who came into my office to it, at Mach Q levels. Its very ghoulish bass-line and mephitic lyrical imagery had a haunting effect on me and I found myself cueing it up every time I sat down to write. It seemed destined to find its way into the show, eventually becoming the driving radio thrum for escaped alien abductee Duane Barry.

Fast forward a few months. Looking for new music, new inspiration for myself and what William Gibson calls the show's "florid ideation", I was struck with the idea for this album, record, or CD. With the help of many people, a sort of apostolic concept took shape: music inspired by the show as inspiration for the show. A musical twist on the first Law of Thermodynamics. As of this writing I am subjecting the office to it at Mach Q levels. Smiling like a big-game poacher, wondering if I can do it again without getting caught.