Tarantino magic will as­sist

Kapi-Mana News - - REVIEW -

S/T Django Un­chained - Var­i­ous artists (Uni­ver­sal) The sound­track al­bum has be­come some­thing of a lost cause in the dig­i­tal age, but Django Un­chained shows that a com­pi­la­tion of the Quentin Tarantino va­ri­ety can still be an event – even when one’s fin­ger is never far from the ‘‘skip’’ but­ton. Most sound­track al­bums are no­to­ri­ously un­even when it comes to stylis­tic co­he­sion and qual­ity, and why would you buy one th­ese days? Just Google the two or three tracks that are any good and you’ll find a way to down­load them, be it legally or by other means. There was a mini-re­nais­sance in the mid1990s, when sound­tracks to Nat­u­ral Born Killers, Reser­voir Dogs, Pulp Fic­tion and Romeo + Juliet pumped from the bed­rooms ev­ery­where. Aided by di­a­logue snip­pets and good taste, they were also able to cap­ture the feel of the movies. Django Un­chained does too, but as a col­lec­tion of songs it’s quite scat­ter­shot; it’s a cu­ri­ous mix of old school Spaghetti West­ern scores, ob­scure oddities and con­tem­po­rary cuts writ­ten and recorded for the film. John Le­gend’s Who Did that to You? and An­thony Hamil­ton & Elayna Boyn­ton’s Free­dom pro­vide the soul­ful mus­cle ex­pected of Tarantino’s mu­si­cal tastes, and Rick Ross’ thump­ing 100 Black Coffins is one of the best hip hop tracks I’ve heard since early Wu Tang. But be­yond th­ese and the gor­geous En­nio Mor­ri­cone con­tri­bu­tions, the song list goes south. The coun­try tracks by Jim Croce and Brother Dege are ei­ther too syrupy or too stale, and Luis Bacalov & Edda Dell’ Orso’s Lo Chia­ma­vano King (His Name Is King) sounds like it was writ­ten in five min­utes. But Tarantino devo­tees will still en­joy it as a com­pan­ion piece to the pic­ture, par­tic­u­larly as many of the di­a­logue tracks are ones that didn’t make the movie.

Matthew Dal­las

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