I love soundtracks, good soundtracks. For starters, the sound quality produced for the movie media has to be good, and usually is. Separation, definition, dynamism, vibrancy - it’s all there. Quentin Tarantino soundtracks so far have been superb, full of contradictions, full of adventure, and with a consistent musical theme. This is no exception.

Really great soundtracks usually tempt me to go see the film, but my problem is that as soon as I sit down and the lights go out, I fall asleep, and usually on a stranger’s shoulder. So now I never go. Instead I rely on film reviews, film-going friends, and the soundtrack to provide my ‘view’ of the film. That’s why I like Tarantino’s soundtracks. They give me an insight into what the film is about. KILL BILL Vol. 1 provides the low-down to a film that seems to be receiving a mixed response from critics. The soundtrack tells me something else. I get a sense of tragedy, awakening, revenge, feminism, fun, and maybe even a little fighting…

The album opens with a lovely, glacial, sparse cover of Bang Bang (My Baby Shot Me Down) by Nancy Sinatra, that appears to indicate that someone has indeed been shot. Then a song that sounds like an Elvis impersonation called That Certain Female, sung by Charlie Feathers. Okay Quent, I’m with you; this must be about a female whose been shot, and who is just a bit special in some way(s). The Grand Duel (Parte Prima) by Luis Bacalov follows and appears to be the first example of narrative contradiction. This beautifully gentle, flowing piece of orchestral magic, complete with angelic choruses, has got to mean that there’s a lot of blood and guts being spilled on the screen. Am I right Quent? Thought so… Then another wonderful orchestral piece by Bernard Herrmann called Twisted Nerve that seems to indicate that whoever has caused this turmoil is now walking casually away perhaps for some shopping tehrapy, as though nothing has happened. Then in typical Tarantino soundtrack fashion, you get some dialogue with very naughty words (spoken by a female and a male) that reminds me of that opening scene in Pulp Fiction when the two lovers hold up the diner… remember? And underneath it runs more music before another dynamic instrumental by Isaac Hayes called Run Fay Run makes its entrance. Does this mean that the heroin has just realised what’s she’s done and is now fleeing in a mad panic followed by all manner of rather angry, limbless people? A further instrumental piece called Green Hornet by Al Hirt confirms my suspicion.

Tarantino also likes to include personal favourites (oh, we have such similar tastes Quent) Don’t Let Me Be Misunderstood by Santa Esmeralda rides into town at a frenetic pace and is one of my favourite pieces of music of all time. It boasts a strong Tex-Mex vibe, fantastic guitar passages, a humdinger of a melody, and a wonderful vocal on what seems to be the full version at a running time of 11:25. Fantastic, and perhaps a sign that there’s some luvvy, duvvy going on… and the heroin can climax as well as she fights? Then a strong hint that the Japanese may haunt this film with the beautiful ballad, The Flower Of Carnage (more contradiction?) sung by Meiko Kaji. Hell, this soundtrack has just about everything thrown in… Another beautiful moment arrives with the heavenly pan pipe-dominated tune by Zamfir entitled The Lonely Shepherd. The track eventually opens out with hints of rock and stronger hints of Tex-Mex. Undoubtedly an album highlight and sonically stunning.

And there you have it: another superb and typical Tarantino soundtrack for movie lovers who, like me, fall asleep in films but stay awake while listening to the music. Also included is an enhanced section with videos of The Kill Bill trailer trilogy. One of the finest soundtracks of the year, with quite stunning sound quality. Buy this and be amazed, be very amazed…

5/5