![]() ![]() The opener is Nancy Sinatra's enrapturing Hazlewood-produced gruesome breakup threnody, "Bang Bang (My Baby Shot Me Down)". Whereas the Jackie Brown soundtrack occasionally felt hampered by songs that drew most of their interest from their relationship to the movie, these songs not only are able to exist independently from their cinematic representations, but, at their best, exceed even the sheer jaw-dropping coolness of the scenes they scored. If the Pulp Fiction soundtrack birthed a million surf-rock fanatics, this album is going to reinvigorate every genre simultaneously. At my screening, people were passing out in the aisles during the opening credits alone, clutching each other, finding the speed of sound insufficient, and hence feebly grasping at the sound emanating from the speakers, slamming their empty hands into their ears, trying to get even more music into their heads. They even put on a quick excerpt of Neu! And all the rest consists of the best spaghetti western rip-offs of all time. Perverse torch songs, menacing revved-up rockabilly, ancient slasher scores, Wu-Tang allegiances, blaxploitation funk, swing, 70s disco, Japanese punk-pop, spy anthems. ![]() This is like a guidebook to the different genres needed to be cool. Thank god, then, that the album, like the movie, was compiled by people who obviously have encyclopedic minds able to forge visual/musical puns and scorching contrasts between maddeningly obscure pop treasures. The best I can come up with is putting Genesis' "I Know What I Like (In Your Wardrobe)" over the climactic sword fight. Simply for comparison, think about how you'd soundtrack Kill Bill. The ramifications of this album on the young proto-hipster set will be incalculable.
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