Quentin Tarantino's Inglourious Basterds

( 3 )

Editorial Reviews

All Music Guide - Stephen Thomas Erlewine
More than most Quentin Tarantino soundtracks, Inglourious Basterds is about the movie, not the album, 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 ...
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Editorial Reviews

All Music Guide - Stephen Thomas Erlewine
More than most Quentin Tarantino soundtracks, Inglourious Basterds is about the movie, not the album, 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), but even if it is in the same spirit, it doesn't have the feel because these selections, as a whole, require familiarity with the film in order to sound cohesive (a problem also shared with the soundtrack to Kill Bill, Vol. 2). That said, 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 -- and once you've dialed into QT's wavelength, this soundtrack does provide plenty of pleasure.
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Product Details

  • Release Date: 8/18/2009
  • Label: Warner Bros / Wea
  • UPC: 093624974444
  • Catalog Number: 520377

Tracks

Disc 1
  1. 1 The Green Leaves of Summer - Nick Perito (1:55)
  2. 2 The Verdict (Dopo la Condanna) - Ennio Morricone (1:14)
  3. 3 White Lightning (Main Title) - Charles Bernstein (2:55)
  4. 4 Slaughter - Billy Preston (4:24)
  5. 5 The Surrender (La Resa) - Ennio Morricone (2:48)
  6. 6 One Silver Dollar (Un Dollaro Bucato) - The Film Studio Orchestra (2:05)
  7. 7 Davon Geht Die Welt Nicht Unter - Zarah Leander (2:06)
  8. 8 The Man With the Big Sombrero - Michael Andrew (1:50)
  9. 9 Ich Wollt', Ich Wär' Ein Huhn - Willy Fritsch (2:45)
  10. 10 Main Theme from Dark of the Sun - Jacques Loussier (3:11)
  11. 11 Cat People (Putting Out the Fire) - David Bowie (4:10)
  12. 12 Tiger Tank - Lalo Schifrin (1:17)
  13. 13 Un Amico - Ennio Morricone (2:35)
  14. 14 Rabbia E Tarantella - Ennio Morricone (3:53)
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Album Credits

Technical Credits
Dimitri Tiomkin Composer
David Bowie Composer
Billy Preston Composer
Jacques Loussier Composer
Giorgio Moroder Composer
Peter Kreuder Composer
Charles Bernstein Composer
Ennio Morricone Composer
Paul Francis Webster Composer
Gianni Ferrio Composer
Pat Kraus Mastering
Phil Boutelje Composer
Quentin Tarantino Executive Producer
Bruno Balz Composer
Michael Jary Composer
Foster Carling Composer
Hans Fritz Beckmann Composer
Susan Rose Producer
Donny Phillips Art Direction
Kathy Malloy Producer
Foster Carling Composer
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Customer Reviews

Average Rating 4.5
( 3 )
Rating Distribution

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Sort by: Showing all of 3 Customer Reviews
  • Anonymous

    Posted October 21, 2009

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    Posted February 22, 2011

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    Posted August 23, 2009

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