Meant to be played extremely loud with lots of bass. Oh, but what a glorious almost 3-minutes it is. It's easily the best mod rock instrumental to emerge since Oasis' In The Bushes" (remember how that song was used to deft effect in Guy Ritchie's Snatch?) The only drawback to this jam is that it lasts a mere 2 minutes and 28 seconds. The linchpin of the album, however, comes in the form of the bristling instrumental "Battle Without Honor Or Humanity." Penned and performed by Tomoyasu Hotei, who is like a bugged-out Japanese guitar slinging version of Joe Satriani, the track is the amped-up mock symphonic piece you hear accompanying the trailers for the film. Once again Tarantino digs deep into the wells of pop culture to unearth Al Hirt's theme from "The Green Hornet." This literal blast from the past filled with down spiraling horns it's like a Latin salsa burst on crystal meth mixed with '60s hipster aplomb and provides the perfect lead in for the album's core entry. Isaac Hayes' slab of upbeat soul "Run Fay Run," from his classic blaxploitation flick Truck Turner kicks the groove back into gear with some slanky wah-wah and kinetically shuffling rhythms. The following track by The RZA is meant as a tribute to Liu's character Oren Ishi and is appropriately entitled "Ode To Oren Ishi." Filled with deceptively childish chimes, which create a decidedly similar aural nuance to Herrmann's piece, and haunting voices, it's a brash, intense spoken word/rap by the Wu-Tang Clan's leader. she's on fire and filled with expletives). Entitled "Queen Of The Crime Council," it's a bit lifted from the film and prominently features Lucy Liu getting ballistic (i.e. The album's first snippet of dialogue comprises the fifth track. This mood is immediately transposed by the next track, Bernard Herrmann's "Twisted Nerve," which begins as a jovial whistle tune and then culminates with clashing, unnerving symphonic cacophony. Luis Bacalov's piece is a mixture of maudlin love story and spaghetti western, mixing syrupily sweeping orchestration with haunting harmonica. "The Grand Duel (Parte Prima)" continues the shift back to more melancholic ambiance. Charlie Feathers serves up the countrified sock hop honky tonk twang of "That Certain Female," a song filled with warbling, crooning, and serious roadhouse bump, thus making it the perfect complimentary juxtaposition to the somber tone created by the previous song. Brilliant and poignant, both on its own and in the context of the film and a great selection with which to start an album off with. The album commences with the sultry and smoky Nancy Sinatra delivering a down tuned, mournfully seductive rendition of Sonny Bono's "Bang Bang (My Baby Shot Me Down)." It's a classic slice of darkly lit lounge pop, the kind of tune you'd expect to hear accompanying a twisted scene from a long lost David Lynch film. And as always, the soundtrack works like a charm in the film and stands pretty much on its own two feet when separated from its visual kin. As can be expected, the sonic range on the soundtrack to Tarantino's fourth film, Kill Bill, is equally eclectic, covering musical ground that ranges from torch song burn a la Nancy Sinatra to spaghetti western instrumentals, Japanese Nuevo punk, and OG funk.
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