It’s time to finish this stuff up and get on with it, as it were. The second disc of Serious Monkey Business has 19 tracks, and then there’s two bonus tracks as well. Without further ado-do, let’s rock and/or roll.
Roller Disco (Disco Train) by Zylance – One of the mine cart levels in DKC2 is themed like an amusement park, and this track provides the backing. It’s got a groovy beat that you can get right into. It tends to push the right buttons harmonically and expands upon the originals’ electronica nicely. I suppose I could quibble with choice of synthesizers a bit, as there’s parts where the lead/solo synth sounds very generic and baseline. If this synthesizer was updated to a different type of sound, it would have certainly helped. The song does end a bit abruptly, but that’s because the ending is Diddy’s level clear jingle when he gets the bonus barrel at the end. If you’re not familiar with how this level worked, that might not make much sense. I also really liked the game sounds interspersed to the beat at the end. It was humorous and helped keep it grounded in the game.
Verdict: OK. Could have been Excellent with a few tweaks. I still really like it, though.
This Chase is Haunted (Haunted Chase) by Prince of Darkness – PoD is one of my favorite musicians due to his rocking synth/prog-type work. I get kind of a Castlevania vibe from this take on the track, which helps a lot in the haunted / creepy factor. The urgency of the original is still there. Feels like great driving music. The multiple guitar layers work with the occasional synth for a thick, meaty sound that doesn’t get boring. The song doesn’t overextend itself either. There’s not a lot of noodling or wankery going on, and each segment of the song blends into the next nicely It crescendos into a big, beefy climax at the end with a solid, resounding finish. There’s a lot of great work here.
Verdict: Excellent. One of the best tracks on the album.
Paleolithic Park (Lost World Anthem) by bustatunez – bustatunez was going with the Jurassic Park theme as inspiration here. The bongo introduction is a nice touch, giving the song a sense of urgency, and the big horn sections give it a bombastic, over the top feel deserving of a hidden, secret area. The song starts to lose me about halfway through, but it manages to bring me back in with a nice sound that feels like good chase music. They took the original in a different direction, and it works out pretty well. busta wisely gives a bit of a break before the final segment of the song, and it ends on a quiet note. Though there’s some dynamics going on here, I can’t help but feel that it feels very enclosed in its sound. This is a trap of a lot of synth orchestra work, and it’s not really busta’s fault; it’s tough to replicate that big orchestra sound without an actual, you know, orchestra.
Verdict: OK. I like it, but it’s just missing something to push it to the next level. Probably something to do with mixing or EQ.
Rhumba Rumble (Steel Drum Rhumba) by Patrick Burns – This is the main menu background music, which itself was a rearrangement of Donkey Kong Country 1’s main theme. This doesn’t stray too far from the original in terms of instrumentation; there’s some backing guitars, a steel drum, some organs, et cetera. Patrick brings in some synths to mix things up now and then to keep the steel drum from having all of the fun, but it’s clear that this track was written to expand upon the original instead of going a completely different direction.
Verdict: Excellent. Well produced and interesting to listen to. Patrick’s better track is Rare Respite but this one is a good second.
Us Monkeys Together (In A Snow-Bound Land) by Flickerfall (diotrans, Palpable) – Electronica with Mandarin Lyrics. I’m not sure how much I can say about this song except I don’t like it. There’s some good synth work going on here, but the Mandarin singing totally takes me out of it. If you like that foreign language pop stuff, this might be up your alley. I guess I normally wouldn’t have a problem with it, except the singer’s voice is a bit off. It just doesn’t do it for me.
Verdict: Skip. There’s some to like here, but the singing just takes me out of it. If you like Asian pop, give it a try.
Club Klubba (Klubba’s Reveille) by Diggi Dis – This track takes a complete 180 from Klubba’s original track. It makes an otherwise minor, dour track and turns it into a beboppin’ club exercise. Aside from sounding like something I would have heard on OCR about six years ago, there’s some interesting things going on here. It’s a perfectly fine club/electronica track, but I guess I would have liked something big, booming, and bombastic, which is more fitting to Klubba’s character.
Verdict: OK. I guess. It’s too well done to knock it too much. I probably would have arranged it differently.
Swamp Gases (Bayou Boogie) by Another Soundscape – A quiet, ambient theme fit for the swamps. It’s well produced and it does some interesting thematic things with the swamp melody. It tries some staccato segments and it works out fairly well. This is a song that takes its time to get where it wants to go. It probably feels like it was stretched a bit too far near the end; it’s another case of “this song feels like it should have been done a minute earlier.” It’s a fairly minor quibble in an otherwise decent track.
Verdict: OK. Could use something in the middle to break it up a little more.
Backwards Room (Run, Ramb! Run!) by zykO – zykO’s third track in the album is this rather different take on Rambi’s escape from King Zinger. It starts out slow and quiet, building up some anticipation in the first 50 seconds until a backing synthesizer, rhythm guitar, and a drum kit come in. It’s still just part of the buildup until about a minute through, when tthe airy lyrics and synthesizer come in. The lyrics in this track are pretty well written; it feels like something I could imagine U2 and Tool doing together if they joined up. Run, run, run! The track finally bulds up to the urgency it needs around two minutes in. Then, around 3:25, the song goes into some kind of circly way, for lack of a term. The lyrics come back in at around four minutes, bringing a bit of a reprise of the two minute section. Ultimately, this is a good track that could have used some tightening up. Did it really need to be nearly six minutes long?
Verdict: OK. A little self-indulgent near the end and could have used a little bit of a trim.
Trapped in the Minds (Kannon’s Klaim) by Geoffrey Taucer, Jose the Bronx Rican, and Hale-Bopp – I liked this track when I heard it back in the January 09 DoD. The basic music is still there, but refined. The instruments got a bit of a touchup inbetween the two mixes, and this new track is, musically, superior. However, the rapping now feels a bit off. There’s some parts where it doesn’t match up well with the beat. The actual lyrical content of the rapping is really nice. Hale-Bopp’s chorus segments are pretty good, but are just mixed too low in the track. The unfortunate vocal problems in this track could have been solved with a little more work on the postproduction side of things. This is how you do a 5:30 long song, by the way – each segment is interesting and doesn’t feel tacked on, though the “we’re going apeshit’ at the end is probably just a hair too long.
Verdict: OK. With some more work, it would be an excellent.
Crystal Swamp (Snakey Chantey) by Tepid – Not really sure what to make of this one. It’s another case of taking a track, going electronica, and… well. It takes a non-ambient track and turns it ambient, which is kind of the antithesis of Snakey Chantey. It just doesn’t seem to fit very well. I mean, it’s not BAD ambience, I just couldn’t get into it. About halfway through it changes up and goes higher tempo, but the drums are too high and somehow manage to make me lose the melody. The section about three minutes in is interesting, but it’s still ambient.
Verdict: Meh. You might like it better than me; I have a feeling this is more of a personal taste track.
Dance of the Zinger (Flight of the Zinger) by Jake Kauffman – Now here’s a track. It’s still got that great beehive sound to it in the beginning. The piano and synthesizers work very well together. Right about when you feel it should come in at 1:05, the main melody drops like a bomb. It’s a heart-pounding, gut stomping track. Then you’ve got the big bass drum hits in the background adding even more. Virt manages to make the main melody a star throughout the track without becoming boring. Then, right when you expect a change, around 3:46 he takes that melody and just changes it up a bit as a counterpoint, leading up to a raucous finish. It also ends with the picking section, as it should. It winds down without being abrupt.
Verdict: Excellent. One of the best tracks to come out of this.
Dead Raggening (Bad Bird Rag) by Mazedude – This one takes quite a while to get started, and is still pretty slow all the way through. It went the opposite of the original, which was an uptempo chase track. The 2:40 whip/drum hits (it’s hard to tell exactly what it was) along with the synthesizer help things pick up a bit, but it’s a shame it takes that long for it to get there. In the end, the track just seems to go around and around.
Verdict: Meh. I like Mazedude, but this track wasn’t my cup of tea.
High Seas (Stronghold Showdown) by Nutritious – Another faux-orchestra track. This is the “fake” Donkey Kong rescue music, right before Kaptain K. Rool swoops in and takes Donkey Kong away. It tries to manipulate your emotions a bit, just like the original level, but it goes kind of backwards, as the introduction already has the “found” melody in there. It then goes in its own direction entirely. It’s tough to extrapolate these short tracks into a complete arrangement, but I don’t think this track needed to be 4:20 long. It seems to be a common trap a lot of these songs fall into. It also still has that kind of “fake” synth orchestra sound which gets a little dull due to lack of dynamics.
Exit Row (The Flying Krock) By Skrypnyk – More ambient electronica. The urgency is once again lost. I can hear some talking/lyrics in the background, but I can’t really make them out. It would be nice if these were a little more forward in the mix. The drum track is trying to be too interesting for its own good; it seems to be a looped beat of loosely structured hits. In the end, this feels like Dead Raggering – it just goes on and on in circles. It needs some different sections to break things up a bit.
Pickin’ Out The Fleas (Swanky’s Swing) by Sixto Sounds – Here we go, after the kind of slow and ambient tracks, we’re back into the groove with something upbeat and, dare I say, swanky. Sixto gets what’s going on in Swanky’s original track. It’s got a swing vibe, and he brings in his trademark guitar sound. He’s also not afraid to bring in the horns, which are a big part of that swing sound. The only nitpick I really have is that the guitar playing is a little loose in some sections and could use some tightening up. Sixto also manages to mix in some slow and uptempo sections to keep the song from being too repetitive despite the main rhythm being present almost all the time. Then the guitars just go up to 11 near the end, joined by big, boomy horns to wrap up the song. It also ends very well, with no fadeouts or abruptness. Great work.
Verdict: Excellent. Could use a little work but overall very little to quibble with.
Bramble Reprise (Stickerbrush Symphony) by Joshua Morse – Brambles is overdone, but Morse puts his take on it and keeps it from being repetitive. Most people think Brambles is an atmosphere track, but I’ve disagreed with that; it really needs the front-and-center sounds of expressive percussion to really work. Morse recognizes this and manages to use the airy intro to lead into the contrast of the main brambles theme. It manages to hit both buttons without sounding poor. It’s also nice to hear that the backing rhythm beat is not ignored and is mostly present throughout the track. The real meat comes in around at 1:40, with the guitars providing the foundation. The use of varied instruments is one of Morse’s calling cards, and he manages to bring in the pianos, violin hits, guitars, synthesizers, and bells for a lush sound. The track never feels slow or draggy. A real great take on brambles.
Verdict: Excellent. A great tribute to one of the standout tracks of the original.
Castle Crescendo (Krook’s March) by Sole Signal – I really like what Sole Signal did with this track. It creates a booming, methodical sound that, with a little work, could be very Trans-Siberian, except it dispenses with guitars completely. The synthesizers used along with the string section create a nice backing track, and it really goes places. The original had a bit of a march feel, and this keeps a bit of that influence. It also, wisely, uses slow sections to break up the marches. The only downside is a missing harp part from the original that I can’t seem to hear in the slow section; I think it’s just very low in the mix. The main melody comes in at 1:48, and it’s still pretty jazzy, but I would have went with a different choice of synthesizer. Later on, there’s some horns used in the slow sections; I wish these were used more throughout the song. It also ends a bit abruptly.
Verdict: OK. This is a great track that, ultimately, needs some work.
Monkeys Disarm Their Kremlings (Crocodile Cacophony) by Nekofrog and Brandon Strader – This track was great back in the September 09 DoD, and it’s still great here. It doesn’t sound like any changes were made to it. My thoughts now echo mine from back in September. It’s death metal complete with growly lyrics. The death metal singing is well done and the lyrics are clever and well written. The music is still just as good, though I feel there’s a little too much double kick in some parts. The recorder part is still a bit of a WTF at first, but it’s well played and sounds pretty good and keeps the pirate influence in the song.
Verdict: Excellent. It’s a final boss fight wrapped right up in song form. Bravo.
Re-Skewed (Donkey Kong Rescued) by David Wise, featuring Grant Kirkhope and Robin Beanland – The crown jewel of this album is David Wise, the composer of these tracks, submitting a track of his own. Guitars, synthesizers, percussion, horns, saxophone… this song’s got it all. It’s a modern re-imagining of the original track, and perfectly captures the feeling of kicking K. Rool’s ass and beating the game. The saxophone and guitar play off of each other and are well recorded. Really, I have no qualms with this song. Just go listen to it. It’s also got some gentle chorus in the background where others might have used synthesizers, which was a smart choice.
Verdict: Excellent. If you listen to just one track on this set, this one is it.
Bonus Bop (Token tango, Bonus Lose, Bonus Win) by Xenon Odyssey and The UArts “Z” Big Band – A bonus track for a bonus song. It’s a swing version of the bonus room song, and it’s definitely boppin’. The only problem is that some of the players have issues with keeping time, but that’s just the risk of doing things live. The live sound is pretty good, but could have used some engineering to separate some of the instruments better. Overall, though, it’s a good listen.
Verdict: OK. Needs a few more takes but is overall still pretty good.
Monkeys Disarm Their Kremlings, instrumental version – This is the same as the earlier lyrical version – just sans the lyrics (and the recorder, interestingly enough). It’s still good, but the song loses something for not having the story being told.
All that being said, what an album! There’s more good tracks than bad, and overall the whole thing is worth a listen. Congratulations are in order to OCRemix and all of the individual artists involved for producing this excellent piece of art.