Made in 3D, Tron: Legacy is the sequel to Tron which was released 28 years earlier and produced by Disney. While The Grid matches the film's very first sequence with the cavernous voice of Jeff Bridges (who appeared in the first film), the other pieces on the record are purely instrumental. Performed by the legendary London Symphony Orchestra, but also with synthesizers, the score of the helmeted French duo Daft Punk is a kind of electro opera that blends darkness and sheer scope. Dancefloor fans will still find something to their taste thanks to Derezzed and End of Line, two tracks that play in the scene set in Castor's nightclub. To mark ten years since the release of this sci-fi film set in the world of video games, Daft Punk have unveiled a collector's version of their soundtrack which comes embellished with nine unreleased tracks, including Castor and Reflections. Finally, it's worth recalling that the famous duo make a brief appearance in the film as nightclub DJs. ©Nicolas Magenham/Qobuz

While Daft Punk’s moody, electro-symphonic score to Tron: Legacy captured its ambition perfectly -- and, arguably, may have been the best thing about the movie -- it didn’t quite satisfy fans looking for dancefloor movers. Tron: Legacy Reconfigured rectifies that by letting the French duo’s peers loose on the film’s music. With a varied group of artists ranging from established names (Moby, the Crystal Method, Paul Oakenfold) to up-and-comers (Com Truise, Pretty Lights), the collection offers eclectic tangents on the retro-futuristic musical world Daft Punk created. While the acts involved don’t offer many surprises, they do what they do well, with the Teddybears giving “Adagio for Tron” a playful pulse and the Crystal Method injecting “The Grid” with adrenalized beats. Oakenfold’s reworking of “C.L.U.” is just as easily identifiable as his work as it is Daft Punk's in its massive atmospheres and rhythms; likewise, Boys Noize and Photek turn in versions of “End of Line” that are distinctive and cohesive at the same time. Even though the energy in remixes like Japanese Popstars' percussive take on “Arena” and AVICII's fizzy remix of “Derezzed” is welcome, some of Tron: Legacy Reconfigured's best moments aren’t danceable. Moby brings a patient grace to “The Son of Flynn,” and M83 and Big Black Delta's collaboration on “Fall” uncovers the track’s dreamy romance. Reconfigured may not be as striking as the original Tron: Legacy score, but it is an enjoyable, more accessible extension of it.© Heather Phares /TiVo

"The Game Has Changed" is the name of one of the tracks on Daft Punk's score to Tron: Legacy, and it also fits Thomas Bangalter and Guy-Manuel de Homem-Christo's music for the film. When it was announced that the duo would score the sequel to one of sci-fi's most visionary movies, it seemed like the perfect fit: Their sleek, neon-tipped, playful aesthetic springs from their love of late-'70s and early-'80s pop culture artifacts like Tron. However, Tron: Legacy takes a much darker, more serious approach than the original film and Daft Punk follows suit, delivering soaring and ominous pieces that sound more like modern classical music than any laser tag-meets-roller disco fantasies fans may have had. Tron: Legacy's legitimacy as a score may surprise listeners unaware of Bangalter's fine work on 2003's Irreversible; while that score actually hews closer to Daft Punk's sound, it showed his potential for crafting music beyond the duo's usual scope. Working with the London Orchestra, Bangalter and de Homem-Christo fuse electronic and orchestral motifs seamlessly and strikingly. "The Game Has Changed" may be the most dramatic example: It starts with a wistful wisp of melody that sounds like a ghost in the machine, then swells of strings and brass and buzzsaw electronics submerge but never quite overtake it. Elsewhere, "Recognizer"'s pulsing horns and synths and "The Son of Flynn"'s arpeggios and strings are so tightly knit that they finish each others' phrases. Daft Punk get in a few clever nods to Wendy Carlos' Tron score, from "The Grid"'s blobby analog synth tones to "Adagio for Tron"'s mournful sense of lost wonder. However, for most of Tron: Legacy, they're concerned with pushing boundaries. It's not until the score's second half that the duo's more typical sound emerges on "Derezzed"'s filter-disco and on "End of the Line," where witty 8-bit sounds evoke '80s video games. These tracks come as welcome relief from the tension Daft Punk ratchets up on almost every other piece, particularly "Rectifier" and "C.L.U." Encompassing the past, present, and future of sci-fi scores, Tron: Legacy feels like it grew and mutated from its origins the same way the film's world did. Without a doubt, it's a game-changer for Daft Punk.© Heather Phares /TiVo

Made in 3D, Tron: Legacy is the sequel to Tron which was released 28 years earlier and produced by Disney. While The Grid matches the film's very first sequence with the cavernous voice of Jeff Bridges (who appeared in the first film), the other pieces on the record are purely instrumental. Performed by the legendary London Symphony Orchestra, but also with synthesizers, the score of the helmeted French duo Daft Punk is a kind of electro opera that blends darkness and sheer scope. Dancefloor fans will still find something to their taste thanks to Derezzed and End of Line, two tracks that play in the scene set in Castor's nightclub. To mark ten years since the release of this sci-fi film set in the world of video games, Daft Punk have unveiled a collector's version of their soundtrack which comes embellished with nine unreleased tracks, including Castor and Reflections. Finally, it's worth recalling that the famous duo make a brief appearance in the film as nightclub DJs. ©Nicolas Magenham/Qobuz

The first thing most everybody who hears Dion’s Kickin’ Child is going to say, is that producer Tom Wilson made Dion sound like Bob Dylan. It's fair but inaccurate. If anything, Dion got Wilson -- in late 1964 -- to propose the electric sound to Dylan (who'd worshipped Dion from the '50s) in the first place. Dion convinced the producer to take some of the songwriter's session tapes and give them an electric treatment. He did so with live musicians, then played the results for Bob. In January 1965, Dylan cut the electric side of Bringing It All Back Home. Oddly enough, the title track opener that sounds the most like his Bob-ness wasn't produced by Wilson but by Bob Mersey (who’d helmed the sessions that gave Dion the hit "Ruby Baby"). Backed by the Wanderers (and Al Kooper's organ), Dion cut this set in three sessions between the spring and fall of 1965. What’s here is complete and properly sequenced for the first time. Why? Columbia refused to release the album at the time, prompting Dion to leave the label. They issued some singles, and other tracks appeared on various compilations, but this is complete.This is Dion-the-Bronx-street-song-poet transformed by intuitive musicality and discipline into a refined singer/songwriter. He wrote or co-wrote all but four of these 15 tunes. He seamlessly blends folk and jangly rock guitars (Tom Paxton's "Wondering Where I’m Bound" and "Tomorrow Won’t Bring the Rain"); the blues (the title track); swaggering rock & roll (Dylan's "Baby, I’m in the Mood for You"), and Mort Shuman's "All I Want to Do Is Live My Life"), and pre-psychedelia ("Now," one of a pair co-written with the Wanderers' drummer Carlo Mastrangelo), and recasts it all in his own image. Check "Knowing I Won’t Go Back There" and "You Move Me Babe," where the seasoned doo wop crooner meets folk-rock head on, only to enfold both styles into himself holistically. Dylan's "It’s All Over Now, Baby Blue" and "Farewell" will never sound the same given the rippling, soulful beauty in his delivery. Wilson and Dion were made for each other. It’s too bad Columbia didn’t see it that way at the time -- history might have been different. This record would still be gathering dust if it weren't for stubborn rock & roll archivists Miriam Linna and Billy Miller, who doggedly pursued Sony to find the album in the label's vaults so they could release it on their Norton label. Sadly, Miller didn’t live to see it, but his final will and testament is presented here as he intended, with completely remastered sound. Kickin’ Child not only ranks with Dion’s best (standing between career highlights "Runaround Sue" and "Abraham Martin and John"), but it's absolutely one of the greatest folk-rock records ever.© Thom Jurek /TiVo