The remaining DiCola inclusions fall under the "Bonus Tracks" banner and were previously unavailable in a commercial nature prior to this 20th Anniversary re-release. DiCola continues his instrumental madness on "Autobot/Decepticon Battle" which pits keyboards against one another in a clash of electronic energy. Toss in a wee bit of Jan Hammer stylistics, some guitar, and you get the full on '80s keyboard/synth rush effect. With "Escape" DiCola goes for much more of an effervescent pop feel that quickly shifts into an almost Harold "Beverly Hills Cop" Faltermeyer burst of back and forth melody. The first DiCola offering is "Death of Optimus Prime," which mixes straight ahead piano-styled keyboards with washes of floating ambiance to create a somber tone that reverberates with an ever-so-slight sense of heavy handedness. Sandwiched in-between all of the vocal tracks from the various artists are a number of instrumental score elements crafted by Vince DiCola. Weird Al Yankovic bucks the metallic fortitude with his boppy synth driven "Dare To Be Stupid," which delves deep into the Devo school of self-mockery. Filled with menacing vocals and aggressive lyrics, it comes with menacing aplomb until the very Journey-esque chorus kicks in, momentarily shifting the focus from leather and studs to mock pop fashion statement. Spectre General join Stan Bush as the only other artists to kick out a second offering on the album with "Hunger," a track that is all grind guitar, pounding drums, and rumbling bass. As with N.R.G.'s inclusion, if you hold out for the guitar solo you will be awarded appropriately. It's yet another faux metal rush of ballistical interface that wrenches and reels thanks to skirling guitars and speed freak rhythms. Lion deliver the requisite theme song with, you guessed it, "The Transformers." It kind of has a Queensryche vibe, at least in terms of the screaming mimi vocalistics and the speed shift guitars. Spectre General keep things in the red with "Nothin's Gonna Stand In Our Way" with yet another guitar and keyboard driven fist waver of generic '80s arena proportions. The lyrics are uplifting ones about not letting anybody break your spirits. Searing guitars continue to be the modus operandi on Stan Bush's second offering, "Dare," which more or less follows the same sonic blueprint as "The Touch," melding Bush's emphatic vocals to whiz bang keyboards, high speed rhythms, and short, sharp guitar bursts for added emphasis. The crunching guitars are pretty hypnotic, but the lyrics will leave your head spinning with such topical slants as "instruments of destruction/tools of foul play…" Hold out for the supreme guitar solo, which kicks in at 1:40 and you're all good though. turns things a bit more toward the metal side of things, albeit cheesy '80s metal complete with turgid guitar and growling vocals that bring to mind a strange intersection of vintage Motley Crue and Ronnie James Dio. I found myself simultaneously cringing and air-guitaring whilst indulging in "The Touch," which actually has quite a solid fan base around the office. Elmo's Fire in many ways, which, depending on your level of nostalgic ingestion is either a very cool thing or a very lame thing. Regardless, Bush's number is a lot like a sub-standard re-hash of John Parr's classic theme to St. You may recall Dirk Diggler and Reed Rothchild attempting to break free from the shackles of porn and into the musical limelight by covering this gem in Boogie Nights. Take, for example, the lead-off track, "The Touch," by Stan Bush. We're talking slickly produced guitars drenched with snappy rhythms and keyboard confectionary that is so sickly sweet it'll make your gums bleed. Timelines aside, Transformers The Movie - The Original Soundtrack is a total throwback to the glory days of cheese puff arena rock blow out spasm overload.
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