Posts tagged "Quentin Tarantino"

Quentin Tarantino Renders Ennio Morricone Inglourious

The soundtrack-gathering prowess of Quentin Tarantino has been discussed in this space before, and the release of the song list for his forthcoming World War II flick–the spell-check-defying Inglourious Basterds, which premieres at Cannes on Wednesday–is notable for its heavy reliance on the work of famed composer Ennio Morricone, not to mention the excavation of the Giorgio Moroder/David Bowie track from the 1982 film Cat People. Full list of tracks–and the movies the songs were culled from–after the jump.

1. “The Green Leaves of Summer,” Dimitri Tiomkin (The Alamo)
2. “After The Verdict,” Ennio Morricone (The Big Gundown)
3. “L’Incontro Con La Figlia,” Ennio Morricone (The Return of Ringo)
4. “White Lightning,” Charles Bernstein (White Lightning)
5. “Il Mercenario (Ripresa),” Ennio Morricone (Il Mercenario)
6. “Slaughter,” Billy Preston (Slaughter)
7. “Algeris 1 Novembre 1984,” Ennio Morricone / Gillo Pontecorvo (The Battle of Algiers)
8. “The Surrender (La resa),” Ennio Morricone (The Big Gundown)
9. “One Silver Dollar,” Gianni Ferrio (One Silver Dollar)
10. “Bath Attack,” Charles Bernstein (The Entity)
11. “Davon Geht Die Welt Nicht Unter,” Zarah Leander
12. “The Man With The Big Sombrero,” Sam Shelton and the Michael Andrew Orchestra (Hi Diddle Diddle)
13. “Ich Wollt Ich Waer Bin Buhn,” Lillian Harvey, Willy Fritsch, and Paul Kemp
14. “Cat People (Putting Out Fire),” David Bowie & Giorgio Moroder (Cat People)
15. “Mystic and Severe,” Ennio Morricone (Death Rides A Horse)
16. “The Devil’s Rumble,” The Arrows (Devil’s Angels)
17. “What I’d Say Zulus,” Elmer Bernstein (Zulu Dawn)
18. “Un Amico,” Ennio Morricone (Revolver)
19. “Tiger Tank,” Lalo Schifrin (Kelly’s Heroes)
20. “Bastero Gondors Rabhia e Tarantella,” Ennio Morricone (Allonsanfan)

[The Playlist]

Quentin Tarantino Mash-Up Almost Makes Me Like Remix Culture


Lately I’ve been getting kind of aggravated by remixes. (I know, I know.) The way some artists are shameless about hitching their wagons to bigger stars over and over again; the way they clog up search results on the Hype Machine; the fact that most of them, well, aren’t very good. But the Eclectic Method‘s mash-up of music, dialogue, sound effects, and scenes from Quentin Tarantino’s body of work is so creatively put together and fun to listen to (well, unless you’re in an office where rapidfire profanity is not really appreciated), I’m willing to turn my frown upside down for its seven-minute length. But no longer than that. [Vimeo via the listenerd]

“American Idol” Should Have Gone On The QT A Bit More

Last night, American Idol brought Quentin Tarantino in for Songs From The Movies night, and he was probably one of the best mentors the show’s ever seen, honestly. (He was completely geeking out the whole time, and it was kind of great how he treated his mentorship like directing a movie, and talked about the whole package of each performance—hey, he tried to rein in Danny Gokey’s preacher hand movements, albeit to no avail.) But the night overall was something of a dud, thanks in large part to the unfortunate song choices—seriously, two Bryan Adams tracks?—that made me think that my idea to restrict the night’s repertoire to songs that had appeared on Tarantino soundtracks should have been employed. Although I guess doing so would have resulted in Kara calling every song “obscure,” since she gave that tag to the song that won the freaking Best Song Oscar two years ago. (This freakin’ show.) On to the rankings!

7. Lil Rounds. You know, part of me feels for Lil, in that the judges’ constant attempts to turn her into Mary K. Blige must be real annoying to whoever she might be as an “artist.” But honestly, her performance of “The Rose” just wasn’t very good—she seemed unable to stay on one note for longer than a milisecond, and when she got loud, she screeched. (Raise your hands if Lil’s ascent has made you question whether or not Syesha Mercado was underrated.) The question now is: Will her clock-running-out backtalking of the judges result in her fanbase stepping up to the phones?

6. Danny Gokey. More like Danny Hokey, amirite? I’m sure this was chosen to conjure up images of The Dead Wife, although the idea that he was singing both sides of the Diana Ross-Lionel Richie duet “Endless Love” to himself is more than plausible.

5. Matt Giraud. Who knew that Quentin Tarantino was such a Bryan Adams fan? That was pretty much the only revelatory part about Matt’s performance of Adams’ song from Don Juan, which had an odd weariness to it. Only a few more weeks, guys!

4. Allison Iraheta. Any time someone sings “I Don’t Want To Miss A Thing” on this show, I am taunted with memories of the spectacularly awful Antonella Barba. Unfortunately, the track lends itself to those comparisons; it’s monotonic on the verses, and has way, way too much yarling potential—and Allison, sweet Allison, fell into both those traps during her underwhelming performance. How many songs did the contestants have to pick from this week, eight?

3. Adam Lambert. “Adam Lambert sings ‘Born To Be Wild’”—you can probably ballpark it from the description, no? The musical-theater nerds of the world are so excited to be having their moment right now.

2. Anoop Desai. Let it be said that I think Adams’ Robin Hood song is one of the most annoying pieces of Walgreens Rock I’ve ever heard—it’s schlocky, it’s plodding. But on a night where the song choices ranged from “eye-rolling” to “oh boy, not more Bryan Adams,” Anoop’s velvety voice shone (OK, it faltered at a couple of points, but it was mostly pretty good). Ne-Yo, call him soon!

1. Kris Allen. I might be overrating him because of my annoyance at Kara, who called “Falling Slowly” obscure, and Randy, who continued to seem completely unable to appreciate any song that can’t be melismatically slaughtered by Mariah Carey. But “Falling Slowly” is also a tough song to translate to the Idol stage, given that it’s so delicate, the exact opposite of Glambert’s over-the-topness. Despite a few rough spots, I thought he showed a lot of soul.

WHO SHOULD GO HOME: Lil. I mean, right?

WHO WILL GO HOME: My faith that America will get this right is not very high. Kris is in last on DialIdol, and the Hokebot is in first! And Lil in second? Ugh.

WHO I WOULD HAVE VOTED FOR: Kris and Anoop.

REVEALING DIOGUARDISM OF THE NIGHT: I still can’t get over her tagging of “Falling Slowly” as obscure. Was there a Platinum Weird rehearsal that she just couldn’t miss in February 2008?

American Idol [Official site]

Randy Cain, R.I.P.

Tonight is Quentin Tarantino Night on American Idol, and we’d be remiss if we didn’t mention the passing of Delfonics founder Randy Cain (left), considering the Delfonics figured so heavily into the most charming scenes of QT’s Jackie Brown. The Delfonics were one of the first Philadelphia soul bands, and the perfect harmonies and dramatic arrangements—courtesy of super-genius instrumentalist Thom Bell—were indicative of the Philadelphia sound to come, if a little lower budget.



The Delfonics’ first five records or so (all Bell-produced) are pretty impeccable, and yielded Top Ten hits like “La-La Means I Love You” and “Didn’t I (Blow Your Mind This Time)”, as well as many other R&B hits. Like a lot of classic soul acts, their legacy lived on through sampling of their work, in addition to the support of Mr. Tarantino.

“La-La Means I Love You”: The importance of this song can’t be understated. It was an early codification and legitimization of the Philly sound, and it would establish Thom Bell as a super-producer and architect of a city’s sound.

“Ready Or Not Here I Come(Cant Hide From Love)”: You might remember this one from Missy Elllot’s “Sock It 2 Me” and The Fugees’ “Ready Or Not.”

“I’m Sorry”: This has a solid, emphatic beat.

Cain left the Delfonics in 1971, moving on to help form Blue Magic (though he didn’t play on their fabulous song “Sideshow”) He returned to the Delfonics in 1999.

He was 63.

Randy Cain, 63, one of Delfonics founders [Philly.com]

“American Idol” Gets Whacked By Quentin Tarantino

This week, American Idol goes to the movies, with director Quentin Tarantino sitting in as mentor as the contestants take on the frustratingly vague theme of “songs from film.” (Tarantino has actually served as a guest judge on the show in the past, and he’s not exactly a pushover, which should be awesome when he deals with Lil Rounds’ outsized ego.) The bloodthirsty Tarantino has always had a deft touch when it comes to putting together soundtracks for his own flicks, and part of me kind of hopes that the seven remaining Idol contestants will be restricted to songs that he paired with his body of work over the years. After the jump, it’s time to play Fantasy Idol one more time—and hey, the results sound kind of like the hallways of my college dorm!

Kris Allen: “Lonesome Town” (from Pulp Fiction)

Eight million tweens’ hearts, broken by Zac Efron’s merciless mocking of their spending power on Saturday Night Live, would become whole once again.

Anoop Desai: “Don’t Let Me Be Misunderstood” (from Kill Bill, Vol. 1)

NB: Don’t emulate Leroy Gómez’s dancing.

Matt Giraud: “Didn’t I (Blow Your Mind)” (from Jackie Brown)

It would probably result in a few unfortunate comparisons to New Kids On The Block, but then again, his hats kind of made those a long time coming.

Danny Gokey: “Stuck In The Middle With You” (from Reservoir Dogs)

He may as well go all-in with the cheesiness.

Allison Iraheta: “If Love Is a Red Dress (Hang Me in Rags)” (from Pulp Fiction)

Simon and Kara would likely take this Maria McKee song to task, since they probably are unfamiliar with it, but I think Allison’s rich voice could handle this track well. (As long as she doesn’t freaking smile again.)

Adam Lambert: “Jeepster” (from Death Proof)

Not sure where he’d be able to go after this, but it’s a no-brainer of sorts.

Lil Rounds: “Son Of A Preacher Man” (from Pulp Fiction)

It’s not the most inspired pairing, but what about Lil has been?

And in memoriam of Megan Joy Corkrey…

“Woo Hoo” (from Kill Bill: Vol. 1)

American Idol [Official site]
Earlier:
“Vanishing Point” Revs Up The Soul Mobile