Not only is our man Quentin Tarantino an undeniable Hollywood force, his attention to pop music as character is rooted in the traditions established by maverick members of the sex, drugs and rock 'n' roll movie making generation that changed everything. Dennis Hopper's Easy Rider is arguably the most obvious example of this genre, utilizing the late '60s sounds of Steppenwolf, The Jimi Hendrix Experience, and even the Electric Prunes to propel his disjointed travel narrative across the great American highways. Martin Scorsese's evocative use of choice Rolling Stones cuts in flicks ranging from Mean Streets to The Departed have countered the notion that simple gritty guitar and vocals rather than conventional swooning string sections and elaborate horns can convey the emotional weight of a given scene. Who could deny that Francis Ford Coppola's memorable use of the Door's “The End” during the insane Apocalypse Now sacrifice montage didn't provide a proper musical punch?
Tarantino's first film, Reservoir Dogs, pitted that nasty, brilliant “ear” scene to the Stealers Wheel upbeat, cowbell-knocking “Stuck in the Middle With You,” a new take on an tried technique that showed the young filmmaker had arrived. Of course, the Pulp Fiction soundtrack has probably gotten as much, if not more, play than the original movie; and put Al Green and Dusty Springfield back on the radio airwaves almost overnight. Fast-forward to Death Proof, and you'll find Tarantino unearthing some equally tasty grooves from the '60s and '70s, (bolstered by bits of film dialog) that sound even better now segued one to the next in mix CD form straight from the crates of a fantastic media geek.
Jack Nitzsche, the dude that worked with Phil Spector, the Beatles, the Rolling Stones and Neil Young, kicks off the disc with his instrumental engine-roaring masterwork “The Last Race,” setting the groundwork for more treats to come. Fronted by Gayle McCormick's outstanding vocals, Smith, whose cover of the Band's “The Weight” appears on the Easy Rider soundtrack (see the parallels I'm drawing here?), has their only top five hit, a cover of the Burt Bacharach's ditty “Baby It's You,” leaping from the speakers as song number two. Ennio Morricone, who did all the memorable scores for the Clint Eastwood “spaghetti westerns,” has his spooky “Paranoia Prima” make the cut as does Pino Donaggio's “Sally and Jack” from the '81 John Travolta vehicle Blow Out. T Rex, the group fronted by the enigmatic Marc Bolan, that never really got his proper musical due on this side of the Atlantic, has their “Jeepster” slow rocker represented in full force.
The always appreciated soul styles of Joe Tex (whose microphone kick maneuver was appropriated by James Brown), Eddie Floyd, The Coasters and even Pacific Gas & Electric's cover of the traditional murder ballad “Staggolee” fatten up this tuneful hog right quick. The oddities: “Hold Tight,” by Dave Dee, Dozy, Beaky, Mick & Tich, respectively, “Chick Habit,” by April March; the drum-heavy “Riot In Thunder Alley,” by Eddie Beram and “It's So Easy,” by Willie Deville stand out as songs you might have heard before (probably not), but definitely want to hear again just to figure out what bands pulled these off.
Tarantino breathes life back into both forgotten actors and timeless songs, positioning them front and center, back where they belong. Rather than set music to a scene, he sets a scene to the music. “Death Proof” is vital and sure to please eager fans with tuneful obscurities worth another go-around. |