Bill vol. 2
Soundtrack from the Quentin Tarantino
our score: 3.0 out of 5.0
Little Less Tokyo, A Little More Mexico
As with other
soundtracks for Quentin Tarantino
films, Kill Bill Vol. 2 does a fine job combining his
film medium and its accompanying music straight from the get-go.
His films, (Kill Bill Vol. 2 surely included) continually
tend to use music as effectively as a sub-set of film dialogue
and sound effects and thus his soundtracks tend to be enhanced
by the inclusion of dialogue from their respective films. Not
only does this inclusion of dialogue churn up nostalgia for the
film in itself, but it also puts the listener in the mindset of
the film, giving the songs further meaning.
track of Kill Bill Vol. 2 is no different. Uman Thurman's
hardened revenge is spelled out immediately for the listener,
making the transition into Shivaree's moody "Goodnight Moon"
(from their excellent 1999 album I Oughtta Give You A Shot
In the Head for Making Me Live in This Dump) all the more
pleasing. Its swampy sound helps set up room for thematic changes
from the soundtrack for Vol. 1, for Kill Bill Vol.
2 trades in much of its Japanese influence for a more dusty,
southern US / Mexicano feel.
major hand to this thematic change is the inclusion of several
older soundtrack pieces from composer Ennio Morricone, superbly
finding new life in this soundtrack. (Tarantino has said in the
past that he'd love to have some Ennio Morricone for Kill
Bill. Obviously the events of Vol. 1 just didn't
take place in the right area).
soundtrack to Tarantino's latest does seem to lack the
punch of previous effots - Kill Bill Vol. 1 included.
Nowhere here will one find anything nearly as jaw-droppingly cool
as Nancy Sinatra's cover of "Bang Bang (My Baby Shot Me Down)"
or the Japanese pop-punk of the 220.127.116.11's. Even more unfortunate
is the inclusion of a trip-hop reworking of The Zombies' classic
"She's Not There" by Malcolm McLaren, this time entitled
"About Her." But then again, knowing Tarantino's penchant
for giving extraordinary life to an otherwise unremarkable song,
"About Her" may well turn in to the albums' highlight
upon nostalgiac future listens (post viewing Vol. 2).
But this isn't
to say Kill Bill Vol. 2 will lack any of the aural punch
of past Tarantino work. One listen to Vol. 1's soundtrack,
post-viewing the first film, makes it painfully obvious just how
easy it is to leave out some of the most relevant music from the
film on its accompanying soundtrack. ("Nobody But Me"
by Human Beinz as used in the Crazy 88 massacre scene, anybody?)
This is likely to be the case with Vol. 2 as well.
The fact remains,
however, that the soundtrack Kill Bill Vol. 2, no matter
how well music is used in the film, seems to be missing
that special something that made the first an instant classic.
Then again, Tarantino's changed our perceptions of songs in the
past. Who's to say Meiko Kaji's "Urami Bushi," with
it's blend of Japanese and Mariachi influence won't be
the next "Stuck in the Middle With You." Although I'm
putting my money on Johnny Cash's "A Satisfied Mind"
to take home that crown.
liked Kill Bill vol. 2...
A Few Words from the Bride (Uma Thurman)
2. Goodnight Moon (Shivaree)
3. Il Tramanto (Ennio Morricone)
4. Can't Hardly Stand It (Charlie Feathers)
5. Tu Mirá (Lole y Manuel)
6. Motorcycle Circus (Luis Bacalov)
7. The Chase (Alan Reeves, Phil Steele and Philip
8. The Legend of Pai Mei (David Carradine and
9. L'Arena (Ennio Morricone)
10. A Satisfied Mind (Johnny Cash)
11. A Silhouette of Doom (Ennio Morricone)
12. About Her (Malcolm McLaren)
13. Truly and Utterly Bill (David Carradine
and Uma Thurman)
14. Malaguena Salerosa (Chingon)
15. Urami Bushi (Meiko Kaji)