Daft Punk ‎– Random Access Memories

Columbia ‎– 88883716862
CD, Album

Tracklist Hide Credits

1 Give Life Back To Music
Bass – Nathan EastDrums – John "JR" Robinson*Guitar – Nile Rodgers, Paul Jackson Jr.Keyboards – Chris Caswell (2), Chilly Gonzales*Pedal Steel Guitar [Pedal Steel] – Greg LeiszPercussion – Quinn (3)Synthesizer [Modular Synthesizer] – Daft PunkVocals – Daft PunkWritten-By – G.M. de Homem-Christo*, N. Rodgers*, P. Jackson Jr.*, T. Bangalter*
2 The Game Of Love
Bass – Nathan EastDrums – John "JR" Robinson*Guitar – Paul Jackson Jr.Keyboards – Chris Caswell (2)Pedal Steel Guitar [Pedal Steel] – Greg LeiszSynthesizer – Daft PunkVocals – Daft PunkWritten-By – G.M. de Homem-Christo*, T. Bangalter*
3 Giorgio By Moroder
Bass – James Genus, Nathan EastDrums – John "JR" Robinson*, Omar HakimGuitar – Paul Jackson Jr.Keyboards – Chris Caswell (2), Daft PunkPedal Steel Guitar [Pedal Steel] – Greg LeiszPercussion – Quinn (3)Recorded By [Giorgio's Voice Recorded By] – Guillaume Le BrazSynthesizer [Modular Synthesizer] – Daft PunkVoice – Giorgio MoroderWritten-By – G. Moroder*, G.M. de Homem-Christo*, T. Bangalter*
4 Within
Bass – Nathan EastDrums – John "JR" Robinson*Keyboards – Chris Caswell (2), Daft PunkPercussion – Quinn (3)Piano [Solo Piano] – Chilly Gonzales*Vocals – Daft PunkWritten-By – G.M. de Homem-Christo*, J. "Chilly Gonzales" Beck*, T. Bangalter*
5 Instant Crush
Bass – Nathan EastCo-producer – Julian CasablancasDrums – John "JR" Robinson*Lead Guitar – Julian CasablancasPercussion – Quinn (3)Synthesizer, Keyboards, Guitar – Daft PunkVocals – Julian CasablancasWritten-By – G.M. de Homem-Christo*, J. Casablancas*, T. Bangalter*
6 Lose Yourself To Dance
Bass – Nathan EastDrums – John "JR" Robinson*Guitar – Nile RodgersVocals – Daft Punk, Pharrell WilliamsWritten-By – G.M. de Homem-Christo*, N. Rodgers*, Ph. Williams*, T. Bangalter*
7 Touch
Bass – James GenusChoir – Alissa M. Crenshaw, Alycia Grant, Chelsea T. DiBlasi*, Elaina S. Crenshaw, Emma S. Gunn*, Jeffrey Gunn*, Jessica Rotter, Joshua Britt, Alexandra Gunn*, Mariah A. Britt*, Shirley Koesnadi, Victor PineschiConductor [Choir] – Angie JareeDrums – Omar Hakim, Quinn (3)Guitar – Paul Jackson Jr.Keyboards – Chris Caswell (2)Lap Steel Guitar [Lap Steel] – Greg LeiszOndes Martenot – Thomas BlochSynthesizer [Modular Synthesizer] – Daft PunkVocals – Daft Punk, Paul Williams (2)Written-By – C. Caswell*, G.M. de Homem-Christo*, P. Williams*, T. Bangalter*
8 Get Lucky
Bass – Nathan EastDrums – Omar HakimGuitar – Nile Rodgers, Paul Jackson Jr.Keyboards – Chris Caswell (2)Synthesizer – Daft PunkVocals – Daft Punk, Pharrell WilliamsWritten-By – G.M. de Homem-Christo*, N. Rodgers*, Ph. Williams*, T. Bangalter*
9 Beyond
Bass – James GenusDrums – Omar HakimGuitar – Paul Jackson Jr.Keyboards – Chris Caswell (2)Pedal Steel Guitar [Pedal Steel], Lap Steel Guitar [Lap Steel] – Greg LeiszSynthesizer – Daft PunkVocals – Daft PunkWritten-By – C. Caswell*, G.M. de Homem-Christo*, P. Williams*, T. Bangalter*
10 Motherboard
Bass – James GenusGlass Harmonica [Cristal Baschet] – Thomas BlochGuitar – Paul Jackson Jr.Keyboards – Chris Caswell (2)Pedal Steel Guitar [Pedal Steel] – Greg LeiszPercussion – Omar Hakim, Quinn (3)Synthesizer [Modular Synthesizer] – Daft PunkWritten-By – G.M. de Homem-Christo*, T. Bangalter*
11 Fragments Of Time
Bass – James Genus, Nathan EastCo-producer – Todd EdwardsDrums – Omar HakimGuitar – Paul Jackson Jr.Keyboards – Chris Caswell (2), Daft PunkPedal Steel Guitar [Pedal Steel] – Greg LeiszPercussion – Quinn (3)Synthesizer [Lead Synthesizer] – Daft PunkVocals – Todd EdwardsWritten-By – G.M. de Homem-Christo*, T. Bangalter*, T. Imperatrice*
12 Doin' It Right
Synthesizer [Modular Synthesizer] – Daft PunkVocals – Daft Punk, Panda BearWritten-By – G.M. de Homem-Christo*, N. Lennox*, T. Bangalter*
13 Contact
Bass – James GenusCo-producer – DJ FalconDrums – Omar HakimSynthesizer [Modular Synthesizer] – DJ Falcon, Daft PunkWritten-By – D. Braithwaite*, G. Porter*, G.M. de Homem-Christo*, S. Queme*, T. Bangalter*, T. Mitchell*

Companies, etc.



©2013 & ℗2013 Daft Life Limited under exclusive license to Columbia Records, a Division of Sony Music Entertainment
Distributed by Sony Music Entertainment.
Dystrybucja w Polsce: Sony Music Entertainment Poland Sp. z o.o., ul. Chóralna 14, 02-879 Warszawa.
Made in the EU.

The booklet includes the lyrics to all songs.

Released with a sticker on the front, in three different ways:

Variation 1 (sticker on plastic wrap):
Feat. Get Lucky & Lose Yourself To Dance
Daft Punk

Variation 2 (sticker on jewel case):
Feat. Get Lucky & Lose Yourself To Dance
Daft Punk

Variation 3 (sticker on jewel case):
Feat. Get Lucky & Lose Yourself To Dance
Daft Punk

Recorded at Gang Recording Studio, Paris; Henson Recording Studios, Hollywood; Conway Recording Studios, Hollywood; Electric Lady Studios, New York & Capitol Studios, Hollywood

Mixed at Conway Studios, Hollywood

Mastered by Bob Ludwig at Gateway Mastering Studios, Portland, ME & Chab at Translab, Paris


Track 1: Imagem Music for the world excluding France, Daft Music / Because Music for France, XLC Music (BMI), Miss Mittie Music (BMI)

Track 2: Imagem Music for the world excluding France, Daft Music / Because Music for France

Track 3: Imagem Music for the world excluding France, Daft Music / Because Music for France, Giorgio Moroder Publishing (ASCAP)

Track 4: Imagem Music for the world excluding France, Daft Music / Because Music for France, EMI Music Publishing

Track 5: Imagem Music for the world excluding France, Daft Music / Because Music for France, Julian Casablancas Publishing (ASCAP) for North America & Warner/Chappell Music Publishing Limited for rest of the world
Julian Casablancas appears courtesy of Rough Trade / RCA Records

Track 6: Imagem Music for the world excluding France, Daft Music / Because Music for France, XLC Music (BMI), EMI April Music, Inc. obo itself and More Water From Nazareth (ASCAP)

Track 7: Imagem Music for the world excluding France, Daft Music / Because Music for France, Sunset Squid Music, Kazz Song, Inc

Track 8: Imagem Music for the world excluding France, Daft Music / Because Music for France, XLC Music (BMI), EMI April Music, Inc. obo itself and More Water From Nazareth (ASCAP)

Track 9: Imagem Music for the world excluding France, Daft Music / Because Music for France, Sunset Squid Music, Kazz Song, Inc.

Track 10: Imagem Music for the world excluding France, Daft Music / Because Music for France

Track 11: Imagem Music for the world excluding France, Daft Music / Because Music for France, Todd Imperatrice (ASCAP)

Track 12: Imagem Music for the world excluding France, Daft Music / Because Music for France, Panda Lennox (ASCAP) published by Chrysalis
Panda Bear appears courtesy of Domino Records

Track 13: Imagem Music for the world excluding France, Daft Music / Because Music for France, Stephane Queme, Perfect Pitch Music Publishing (ASCAP)
Contains a sample from The Sherbs recording "We Ride Tonight" produced under license from Liberation Music Pty Ltd and used by courtesy of Atlantic Recording Corp. under license from Rhino Entertainment Company, a Warner Music Group Company.
Contains audio from the Apollo 17 mission used by courtesy of NASA and Capt. Eugene Cernan.

Barcode and Other Identifiers

  • Barcode (String): 888837168625
  • Barcode (Text): 8 8883-71686-2 5
  • Matrix / Runout (Variants 1, 2, 5 and 6): Sony DADC A0102120012-0101 04
  • Matrix / Runout (Variant 3): Sony DADC A0102120012-0101 03
  • Matrix / Runout (Variant 4): Sony DADC A0102120012-0101 13
  • Mastering SID Code (Variants 1-3. 5 and 6): IFPI LY34
  • Mastering SID Code (Variant 4): IFPI L553
  • Mould SID Code (Variant 1): IFPI AEW22
  • Mould SID Code (Variant 2): IFPI AEW31
  • Mould SID Code (Variant 3): IFPI AEW43
  • Mould SID Code (Variant 4): IFPI 94Y7
  • Mould SID Code (Variant 5): IFPI AEW39
  • Mould SID Code (Variant 6): IFPI AEW41
  • Rights Society: BIEM/GEMA
  • Label Code: LC 00162

Other Versions (5 of 24) View All

Cat# Artist Title (Format) Label Cat# Country Year
AB-064 15 Daft Punk Random Access Memories(CD, Album, Unofficial) Art Optimum AB-064 15 Russia 2013 Sell This Version
88843011981, 34-101989 Daft Punk Random Access Memories(2xLP, Album, 180 + 10" + M/Stick, WAV, 24- + M/Sti) Columbia, Columbia 88843011981, 34-101989 US 2014 Sell This Version
8803581120493 Daft Punk Random Access Memories(CD, Album, Ltd, 3D ) Columbia 8803581120493 South Korea 2013 Sell This Version
none Daft Punk Random Access Memories(13xFile, FLAC, Album, 88K) Columbia none US 2013
none Daft Punk Random Access Memories(CDr, Album, Promo) Columbia none US 2013 Sell This Version


Reviews Show All 35 Reviews

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February 27, 2015
edited about 1 year ago

Truly awful and poor, totally disapointing. It was very frustating, I used to love Daft Punk.


December 14, 2014
It's strange that after the popularity this album gathered there are so few actual reviews of it. With some distance already, well, you must know that Daft Punk never invented anything: they are just making things fashionable. They were not the first with the sample-heavy kind of house, but they have among the best tracks of its kind, and they were not the first sounding 70s in "Discovery", but very few dared to enter the Supertramp keyboards like they did in "Digital Love". So it was and wasn't surprising how this album embraced the 70s progressive and aor-like music, music from people that wanted to mix everything and wanted to make it epic, and above it all, the shadow of Alan Parsons Project (say "I Robot", say "Pyramid", say "Eye") in most of the tracks.

It is uneven? Well, maybe. To me it is very bold to put a ballad just in the second track, a downtempo kind of sequel to "Something About us", but I accept it. The Moroder rant in "Giorgio By Moroder" is a bit annoying, and the excesses in "Motherboard" and "Beyond" are, yes, a bit excessive. But, but, "Lose yourself to dance" is wonderful with that canon of vocoders that I wish it never ended, "Touch" is wonderfully epic and broadway as it should be, and "Fragments of time", sang by Todd Edwards, is to me the best song of the album, a deceptively simple variation of "What a fool believes" that also recalls Donald Fagen and...

You got it. Nostalgia all around. It is very strange that the people that were behind the most beloved indie-electronica acts in festivals went directly into the music they barely could listen when they were children. Again, in my opinion this was great, despite the over exposition, despite the over popularity of Pharrell after this one (which actually is not much of a problem), and thanks to it Nile Rodgers was globally recognize as the important piece in dance history he is. And maybe I am old, but I like this.


December 5, 2014
This is one of the most overrated albums in the whole history of recorded music, I think... It's not that great or original as many people pretend.


January 30, 2014
I can certainly understand how long-time Daft Punk fans can find this new album totally different from their previous efforts, but I personally have found RAM to be somewhat very enjoyable.

Anybody that knows me knows that I am a total "metalhead" but have always (secretly) enjoyed House music ('The Prodigy' especially) and I am somewhat familiar with Daft Punk's earliest efforts. I grew up in the late 70s, all of the 80s, and survived Grunge in the 90s...so this type of music is deep in my DNA. I remember the Disco days very well.

I have only bought a handful of "pop" albums, and this is my latest one. I had never heard of Pharrel previous to this album, but I think that he has a great voice. He reminds me somewhat of Justin Timberlake. In fact, my favorite song on this album is "Lost Yourself To Dance". I specifically bought this album just for that one song, but then I listened to the rest of it and can safely say that I enjoyed the whole thing.

Just one final note--you have to allow artists to grow and try different things. We shouldn't expect them to re-release the same music over and over again as they start to have the same problem that bands such as AC/DC and Obituary have--all of their albums start to sound the same and people lose interest.

I don't have any regrets in purchasing this album, it's something that I will play a lot, in my car, on my home stereo, and on my portable music player.


January 27, 2014

I hate to sound like a party-pooper, but I'll never understand the appeal of Get Lucky, let alone the entirety of the songs on this album. I'm probably the minority here, but every single song is not even remotely catchy to my ears. Everything just feels so run-of-the-mill and bland; I respect the French Duo of rewinding the clocks and relying on vintage sound to bring back to life, but it all comes off very sub-standard and mediocre. When I listen to the album, it makes me realize that sometimes certain clocks shouldn't be rewound, as they say, don't fix something that isn't broken. This is especially the case of Daft Punk.

Nothing feels original about this album, it tries to emulate itself off of something that isn't really them in essence. It just seems like Daft Punk decided to squeeze every ounce of late 70's rock Nostalgia into this album w/o really focusing on the originality or substantial, compositional methods unlike Homework, and Discovery.

I would very much have another Daft Punk album that retains what the French duo are really about: thumping the dance-floor and rolling 4/4 rhythms. House is their comfort zone, as with sampling. When you combine their natural pallet and ear for sampling combined with their songwriting chieftain it all just plays out smoothly and naturally. With RAM, Daft Punk are just reaching out of their comfort zone to grab something that isn't truly theirs at heart. It just feels so unnatural and tries to hard.

It's not a bad album, on a technical level. But it really offers nothing in return to seasoned House listeners and older gen' fans of Daft Punk. When I think of RAM, I think of just bland and 'been there, done that 30 years ago'.

I have hope, though, that someday they'll return back to their roots and blow this album out of the water.


August 22, 2013



August 12, 2013
I’m one of those people who insists that if you enjoy any music, then by all means buy it, play it, and dance to it with reckless abandon, allowing it to plaster a mile wide smile across your face.

And with that in mind, let me say that I’ve lived through disco, danced to K.C. & The Sunshine Band, warmed my feet at the electronic fire of Devo, shivered with delight at the Tubes, and was a subscribing member of the Max Headroom fan club. But that was then, this is now, proving that “What goes around, comes around.” To my way of thinking, there's no way to justify or understand the Robots and Sony Records spending an unsightly $1,500,000.00 [that’s 1.5 million dollars U.S.], or even consider the number of people who would be needed to purchase this release just to recoup those costs. Random Access Denied is about the hype, the hype of only allowing reviewers to hear it once [and on provided equipment], hype from the five years and three cities it took to bring this product [and make no mistake, this is product] to the public, to the bizarre on again off again protective release date, and as always, it got leaked ... though with all the care taken not to leak this album, one can only assume it was released for a purpose, with that purpose being that the leakage was not complete, and only hearing the album as a purchased product could you treat your ears to the slick weirdness and other-worldly orgasmic qualities making this the “Must Have” album of the year.

Now ... there are those who’ve said exactly this: "Within seconds, the record stands out as a more homogenized and sleek listening experience than its predecessor, 2005′s scattershot Human After All. Yet it’s also marked by a playful whimsy that falls short of measuring up to the variety that pulsed through 2001′s Discovery, or the groundbreaking dance exploration found within their fabled 1997 debut, Homework. Instead, Daft Punk cuts ties with itself on RAM by exploring the past through some of the best and boldest collaborative efforts in recent memory." And that’s a pretty bold statement, with many reviewers and fans feeling the same way. But Daft Punk have given us nothing new, it would be unfair to say they own or invented this sound, one where the vocoder is not an effect, but an instrument, onto which short mantra like lyrics have been laid, making me feel like I’m watching a lost episode of the Muppets ... and at best going on much too long. Yes, the music does stretch out to encompass other directions, genres, and fashions, but it always loops back to being Daft Punk, nothing more, nothing less ... creating summertime euphoric moments of dance laced grooves that will make you giggle, make you cry, and swirl you around, leaving you to wonder if the ecstasy has kicked in yet.

Now if you’ll excuse me, I’ve gotta go watch The Breakfast Club and Pretty In Pink again, just so that I can remember how silly I looked dancing to such artificial bliss.


July 8, 2013

I'm disappointed with Random Access Memories. Not because it lacks anything music-wise; the composition, production, and arrangement on display within the album is masterful. I'm disappointed because Daft Punk promised me a party, but forgot to send me an invitation. The album looks inwards, celebrating the past and itself, leaving me gawking from the outside and longing for a way in. I probably wouldn't be disappointed if it weren't for Homework and Discovery, two albums that brought me along for an incredibly funky ride. RAM is musically sound, but it lacks direction and soul.

The first track that stood out to me is "Giorgio By Moroder". It's a beautifully crafted track that incorporates Giorgio's monologue over a playful, musical documentary of a song that changes with the story, swelling into a disco-house-orchestral explosion at its climax, then devolving into a modern dance bass line. Yet my experience was slightly diminished after reading the following: "The recording engineer later revealed that each microphone was used to represent the different decades contained in Moroder's life monologue and stated that, while most listeners would not be able to distinguish between each microphone, Daft Punk would know the difference." Usually I enjoy little easter eggs like this, but this one just seems kind of random and narcissistic. Like they're making the songs for only themselves. I still really love the track but this will always bother me.

"Touch" is the focal point of the album. It features Paul Williams lamenting the fact that music sucks nowadays over a behemoth of different sounds, including a meandering trumpet-tuba-clarinet passage, a full-on women's choir, an orchestra for rent, and a pianist who alternates between western saloon and concert hall virtuoso. It's an amazing piece of work to be sure, and it is an extremely effective demonstration of the possible integration between digital (synth, vocoders) and analog (strings, winds, voices). Yet I can't help but feel like the robots are celebrating themselves a) for being able to pull together all these instruments and ideas both skill and money-wise and b) for being different from the garbage on the radio by fusing elements of jazz, funk, and classical music into their electronic music. Yes, I get it, that's why I love you Daft Punk! You don't need to tell me music today sucks, just keep showing me that you're different without being self conscious. Take a page from Giorgio or Daft Punk circa 2001 and bring us the future of electronic funk.

I guess that's not the point of this album. Much like this review, RAM is a critique of the modern state of music combined with a longing/reverence for the past. Yet it just doesn't move me. In the song "Within," the robots fail to connect on a deeper level: "There are so many things that I don't understand/ There's a world within me that I cannot explain" - come on man. "Digital Love," "Something About Us," "Face to Face," and "Too Long," weren't exactly shakespearean epics, but these lyrics are just bland and uninspired. "Game of Love" isn't much better -"There is a game of love/ This is a game of love/ And it was you...the one that would be breaking my heart/ When you decided to walk away." Sometimes a singer's voice can convey the emotion much better than the words she sings; unfortunately for us, we get a vocoded robot trying to stir emotions with these pithy lines.

"Instant Crush" and "Doin' it Right" could be my favorite tracks on the album along with "Giorgio By Moroder". Julian Casablancas of the Strokes does a great job of communicating even through his vocoder, and Panda Bear adds a much needed element of human to the end of the album. Pharrell Williams tries to sing with the soul and emotion of 70's and 80's soul over groovy if not repetitive Nile Rogers licks, but it's missing energy and feeling and comes off thin and strained. Good music is supposed to move you, physically and/or emotionally, and RAM fails this test on many occasions. It's not something I would groove to at parties, and it's not something I would connect with alone.

Another small gripe is the lack of flow. Almost every song on the album is a self-containing story. The transition from one sweeping epic to the next is minimal. Each song is a complete thought within itself. This makes for a grating, tiring experience. Like reading these sentences. It's hard to understand how the thoughts are connected. Not every song on the album has to be a masterpiece, damnit! There can be no mountains without valleys, and I'm not sure which tracks are which in Random Access Memories.

To sum it up: "Daft Punk felt that while current technology allows for an unlimited capacity to store recorded material, the content produced by contemporary artists has diminished in quality. Their goal was therefore to maximize the potential of infinite storage by recording a sprawling amount of elements. The duo pointed to the process as being further inspiration for the album's title, as they sought to make connections out of the random series of ideas." You don't make a well-crafted story out of a series of random ideas and elements. You can polish every little gem as much as you want, but you can't just glue them all together and call it a chandelier. Daft Punk has arranged each jewel in a big, beautiful case for people to admire, but they will go untouched and, ultimately, forgotten.



June 21, 2013
edited over 3 years ago

So I have sat back and let the shitstorm play out here on Discogs. With an unbiased, objective mindset I finally tackled this album (on Spotify, no less). Frankly, I am absolutely amazed at how much criticism exists, given how much of a forward leap this is from the questionable sound found on HUMAN AFTER ALL. This is a pop album, hence the liberal use of guitars, pianos, strings, and vocals. If you evaluate it in that context, I can't image how you could possibly be disappointed. This is extremely impressive, as its the first time - scratch that, second time after Tron - that Daft Punk has created music not based on the standard 4/4 house template. It's a maturation in their sound that we should not only appreciate, but welcome.


June 17, 2013
Daft Punk's fourth artist album is finally here (the TRON soundtrack does not count) and it is certainly true to what they had mentioned in initial media briefings - a collection of retro themed disco tracks.
While not one's standard fix of electro, Daft Punk have managed to release a good album, with some nice tracks such as "Get Lucky", "Giorgio By Moroder", "Doin' It Right" and "Contact" (nice way to finish off the album).
Overall, its not my favorite album of theirs but its a welcome change from 'Human After All'. Anyone expecting fast tracks or robotic electro will probably be disappointed with this album.