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Quentin Tarantino's Inglorious Basterds (CD, Aug-2009, Warner Bros. Records Record Label) 
Quentin Tarantino's Inglorious Basterds (CD, Aug-2009, Warner Bros. Records Record Label)

 
Quentin Tarantino's Inglorious Basterds (CD, Aug-2009, Warner Bros. Records Record Label)

Release Date: Aug 2009
Format: CD
Record Label: Warner Bros. Records (Record Label)
Genre: Soundtracks
UPC: 093624974444
Product ID: EPID77404043
Description: More than most Quentin Tarantino soundtracks, INGLOURIOUS BASTERDS is about the movie, standing as a companion to the film instead of as its own entity. Ever the iconoclast, Tarantino hardly feels beholden to his film's WWII setting, thr...
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Track Listing
1. Green Leaves of Summer, The - Nick Perito
2. Verdict [Dopo la Condanna], The - Ennio Morricone
3. White Lightning (Main Title) [From White Lightning]
4. Slaughter - Billy Preston
5. Surrender [La Resa], The - Ennio Morricone
6. One Silver Dollar [Un Dollaro Bucato]
7. Davon Geht Die Welt Nicht Unter [From Die Grosse Liebe] - Zarah Leander
8. Man With the Big Sombrero, The - Michael Andrew
9. Ich Wolt Ich Waer Ein Huhn
10. Main Theme From Dark of the Sun - Jacques Loussier
11. Cat People (Putting Out the Fire) - David Bowie
12. Tiger Tank - Lalo Schifrin
13. Un Amico - Ennio Morricone
14. Rabbia e Tarantella - Ennio Morricone

Details
Playing Time:37 min.
Distributor:n/a
Recording Type:Studio
Recording Mode:Stereo
SPAR Code:n/a

Album Notes
More than most Quentin Tarantino soundtracks, INGLOURIOUS BASTERDS is about the movie, standing as a companion to the film instead of as its own entity. Ever the iconoclast, Tarantino hardly feels beholden to his film's WWII setting, threading in Billy Preston's blaxploitation funk "Slaughter" and David Bowie's new wave "Cat People" between Jacques Loussier, Lalo Schifrin, and a heavy dose of Ennio Morricone, who contributes four of the album's 14 tracks. Of course, Schifrin and Morricone aren't exactly period-correct to WWII either, but one of the major thrusts of Tarantino's film is that it's a movie about World War II movies, so blurring the lines is logical and consistent with his body of work. This also applies to the soundtrack, which has the same kind of genre-bending eclecticism as any of his other films (all it lacks is excerpts of the film's dialogue). Every cut here is interesting, sometimes wonderful-- the Morricone is vivid, as are the obscure soundtrack selections from Charles Bernstein and the Film Studio Orchestra.

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