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Welcome to DPD!


The DPD Project is a thematic mix-CD project created by music geeks and best friends Chris Diamond, Chris Prokop, and Michael Darpino.

Each CD in the project has a theme that ties the songs on it together. For every theme we each pick five songs that we feel best represent it. The collected fifteen songs are then mixed together in alternating order based on our last names. The songs that end up on DPD are meant to be the very best songs for their particular theme.

We write liner notes for each song to explain why we picked it for that theme. The project has grown into a sort of musical memoir over the years since music has been and still is such a huge part of our lives.

Most Recent Discs:

Title Catalog Songs Date

Song Usage in Movies and TV

DPD: 081

15

April 18th, 2009

Three of a Perfect Pair

DPD: 080

15

July 26th, 2008

Colors

DPD: 079

15

May 31st, 2008

Time Piece

DPD: 078

15

September 28th, 2007

Myths, Gods, and Legends

DPD: 077

15

July 16th, 2007

 

Random DPD Pick:


I Want Your Body
by: Nymphomania
from: in "True Romance"

Picked By: darpino
For: DPD: 081 - Song Usage in Movies and TV

This is the song that plays over the Gary Oldman(Drexyl)/Christian Slater(Clarence) scene in True Romance. While far from 'iconic' it is (I think) one of the most brilliant and inspired uses of music in a film. Somehow Tony Scott takes this throw-away, early 90's techno track and uses it in one scene three different ways and the finished product is freaky film-making genius.

Firstly, looking back today, using a techno track for a story that begins in Detroit in the early 90's doesn't seem that inspired; Detroit after-all was the Techno capital of the world back then. But that fact wasn't so readily apparent back then, in fact I would say that this scene in True Romance helped put Detroit as techno capital on the mainstream map. (Ironic since it is a European techno song, but who knew anything back in the early-techno wild west?)

To the song and the scene itself (and the genius of Tony Scott). First we hear the song as a tool of setting. Clarence walks up to the whore-house and we here the song thumping through the walls from inside. The lead-in imagery is of a snow-drenched drab industrial city. Now seemingly out of place we get the neon-sign over the door and the muted-thumping techno. It just gets louder as the door opens and Clarence is let in. Combine the now louder techno with some dancing hookers, piles of chinese food and video cassettes, a wall of fishtanks, and Gary Oldman in his underwear and the scene is set. This is Drexyl's castle (fucked up as it may be).

Next the music becomes a device of tension. Filmmakers often use a repeating annoying image or sound effect in the background of a scene to raise the tension of the dialogue. (The window-washers in the Matrix are a good example). Here Tony Scott uses this techno beat. The song never stops. It transitions from setting-tool to tension tool and the beat now slightly louder repeats all through out the Clarence and Drexyl's mano-et-mano confrontation. And it works to heighten the tension BRILLIANTLY (because sometimes techno can be kind of annoying).

Finally once the Drexyl and Clarence and Drexyl's bodyguard begin to fight the song's volume jumps up again and now it is in your face, a device of action and adrenaline. The fight is brutal and the techno is slamming to accentuate every hit. Finally when Clarence shoots Drexyl in the groin and then the face, the song is now blaring and the weird techno sound effects highlight the maniacal fervor with which Clarence blows Drexyl away.

"Open your eyes! Open your fucking eyes!"

This is a scary-genius match-up of music and image that I could not leave off this theme.

[Roll Again!]