The tumbleweed-woven beginning of the tune brings Firefly, the best space western ever, to mind because after the whistling ceases this number takes a sharp left into the retro future, being all Futurama from here on out. It has more of a campy, go-go ’60s vibe than does the 30-second Futurama theme, so it also brings Austin Powers films to my mind. The flutes are what does it, playing those little trill-like parts reminiscent of Rahsaan Roland Kirk’s work in Quincy Jones’ “Soul Bossa Nova.” And the organ riff and double-time tempo in the last minute and a half. And the 1967 release date of the original, haha.
10 November 2016, No. 211, Pierre Henry and Michel Colombier, ‘Psyché Rock (Fatboy Slim Malpaso Mix)’
Malpaso is the name of Clint Eastwood’s production company, and I’m fairly confident No. 211, “Psyché Rock (Fatboy Slim Malpaso Mix)” by Pierre Henry and Michel Colombier, starts with Alessandro Alessandroni whistling an Ennio Morricone score from some spaghetti western or another, maybe one from the Dollars trilogy that made Eastwood famous.
The tumbleweed-woven beginning of the tune brings Firefly, the best space western ever, to mind because after the whistling ceases this number takes a sharp left into the retro future, being all Futurama from here on out. It has more of a campy, go-go ’60s vibe than does the 30-second Futurama theme, so it also brings Austin Powers films to my mind. The flutes are what does it, playing those little trill-like parts reminiscent of Rahsaan Roland Kirk’s work in Quincy Jones’ “Soul Bossa Nova.” And the organ riff and double-time tempo in the last minute and a half. And the 1967 release date of the original, haha.
The tumbleweed-woven beginning of the tune brings Firefly, the best space western ever, to mind because after the whistling ceases this number takes a sharp left into the retro future, being all Futurama from here on out. It has more of a campy, go-go ’60s vibe than does the 30-second Futurama theme, so it also brings Austin Powers films to my mind. The flutes are what does it, playing those little trill-like parts reminiscent of Rahsaan Roland Kirk’s work in Quincy Jones’ “Soul Bossa Nova.” And the organ riff and double-time tempo in the last minute and a half. And the 1967 release date of the original, haha.