Friday, May 4, 2018

Ep. 107: AKA Donuts

It's the Unreasonable Attribute Zone where Josh and Emily acquire some implausible characteristics from the tunes they listen to. Interestingly, all of the Act 1 attributes come from one source, WICKED SEPHIROTH, who is cashing in his Boss Parade certification for another great patron-takeover.  Witness the accumulation of accoutrements as Josh and Emily discuss topics like Turtle Power in music, gibberish vs. lyrics, anime adaptations of historic events, and the live-taping of LMH. Plus, as has become somewhat of a tradition, Josh and Emily imagine a new game mechanic, this time capitalizing on downloadable content. Wicked Sephiroth has got a lot more than just Final Fantasy on his mind, so join us for another musical adventure on this week's episode!

Click above to listen or subscribe.  Click below for a direct download.

Suggest a Track   Email Us

This episode was made possible by:
Game Track Title Composer(s)
StarTropics Dungeon Yoshio Hirai
Locoroco Red's Theme (Panguraratta) Nobukyuki Shimizu, Kemmei Adachi, Tsutomu Kouno (lyrics)
Battleblock Theatre Emphasis on Scat [Secret Stage] Will Stamper, Dan Paladin
Rock ‘n’ Roll Racing Paranoid Black Sabbath (Geezer Butler, Tony Iommi, Ozzy Osbourne, Bill Ward), Tim Follin (arr.)
Super Spike V’ball Daytona Match Kazunaka Yamane
Xenogears Stars of Tears Yasunori Mitsuda

...and listeners like YOU.

EXTRA CREDIT: Rhythm & Pixels' VGM Radio 24/7 YouTube Station!


  1. https://www.youtube.com/watch?v=1dorXOFJRug
    This is Knuckleduster

  2. Ok, this episode is going to be one of my all-time favorite episodes EVER. Each song I heard I was going, “Oh great, this is going to get stuck in my head all day”, and then the next song supplanted it. I am SO happy Wicked Sephiroth selected Emphasis on Scat, because I’ve loved it ever since I first heard it on Pixeltunes Radio. Speaking on the preference of singing in game music, I generally don’t like it in the same way I like instrumental game music, but then again, I love Crazy Taxi.

  3. But that Xenogears track, it shook me to my core. I recognized the singer immediately. Joanne Hogg is an Irish singer who’s sung in an Irish folk/prog band called Iona since the late 80’s. I’m pretty sure all the music was done by her band. But I had no idea she had anything to do with game soundtracks. Iona is so obscure to American music, I’ve only met one person who knew who they were, and we traveled in similar circles. So to have this roundabout connection to music I love, through a different, completely unrelated form of music I love, is mind blowing. WS, thank you so much for your boss rush. You totally shocked me. Iona’s music is all so good. I’d like to share the following track(Hogg starts at about 50 seconds, and it picks up at about 1:20):


  4. ......So let it be known that I’m highly skeptical that Yasunori Mitsuda composed that track. It’s possible, I guess.....but every part of that song sounds like It’s Iona composed and performed.

    1. Yeah, I made a minor error in that.

      Mitsuda did compose the music in that track, although the song's lyrics were done by Masato Kato with vocals by Hogg.

      My apologies for not catching this extra information sooner.


  5. Good sleuthing, EB! I couldn’t find that info.

  6. You sneaky little Sephiroth! Takin' over two episodes in a row! Wicked indeed! If your track selections weren't so good, I might actually have something to complain about.

  7. Again, WS, this episode was SO GOOD. I’m one of those who also had “Emphasis on Scat” on their playlist, and also from Pixeltunes Radio. In response to Emily’s question of whether we enjoy lyrics in games more when we can’t understand them, I would say it helps. Also, I’m generally a lot more tolerant of lyrics in games when they’re silly or light-hearted. When games get serious with their lyrics, I scrutinize them a lot closer, and this am more likely to find them lacking in some way.

    Regarding voice acting in a foreign language, I have typically preferred the original Japanese voice acting, but the reasons vary depending on the instance. I think it’s generally a lot more difficult to make English dubs sound natural because even though the lips rarely match on either version, the cadence is usually built around Japanese flow. Also, although there are definite exceptions, the Japanese dub is often just so hard to match in terms of quality.

    For example, the English dub of Tekkon Kinkreet is really good, but the Japanese original is Oscar-worthy, especially White’s performance. Notable exceptions for me are the Streamline dubs of Akira and Castle of Cagliostro(the newer Netflix version is good as well), the original English dub of My Neighbor Totoro, and some of the Disney versions of the Ghibli films. As you can see, I’m out of touch when it comes to recent anime, so your mileage may vary.