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Inglourious Basterds (Vinyl) Soundtrack

5 out of 5 stars 1 customer review

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Product Details

  • LP Record (Sept. 3 2009)
  • Number of Discs: 1
  • Format: Soundtrack
  • Label: Warner Bros
  • ASIN: B002H3ET46
  • In-Print Editions: Audio CD
  • Average Customer Review: 5.0 out of 5 stars 1 customer review
  • Amazon Bestsellers Rank: #1,086 in Music (See Top 100 in Music)
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Product Description

2009 soundtrack to WW2 movie.

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Top Customer Reviews

Format: Audio CD Verified Purchase
Not only was the movie great, the soundtrack rocked too. After listening to it, I have a new appreciation for the music chosen for this epic film.
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Most Helpful Customer Reviews on (beta) HASH(0xb52b5198) out of 5 stars 31 reviews
64 of 72 people found the following review helpful
HASH(0xb50aad14) out of 5 stars Music To A Basterd's Ears! Aug. 18 2009
By Ethan I. Caudill - Published on
Format: Audio CD
We all get excited anytime a new film by Quentin Tarantino comes out, and with every new film, he keeps topping himself with a more epic soundtrack. Well he's did it again! and with a very unique selection of music. If you're lucky enough to have the complete soundtrack to Inglourious Basterds (like me) than you will especially love this killer soundtrack. There is a few problems I have with the soundtrack they're selling here (not the music used in the movie) but I will share that with you on the last part of my review.
(the list below is also of songs not on the offical soundtrack, but within the movie and in order of how they are played in the film)

The Green Leaves Of Summer by Nick Perito: Opening Credits.

The Verdict (La Condanna) by Ennio Morricone: Hans Landa Arrives.

L'incontro Con La Figlia by Ennio Morricone: The assassination of Shosanna's family and her subsequent escape.

White Lightning (Main Title) by Charles Bernstein: Pvt. Butz's introduction and Basterds aftermath/Lt. Aldo carving a swastika into Butz/introduction to Shosanna and the theater in 1944.

Il Mercenario (ripresa) by Ennio Morricone: Nazi Scalping/Werner is taken to Lt. Aldo.

Slaughter by Billy Preston: Presentation of Hugo Stiglitz, Hugo's flashback.

Algiers November 1, 1954 (from Battle of Algiers) by Ennio Morricone & Gillo Pontecorvo: The Basterds springing Stiglitz from jail.

The Surrender (La Resa) by Ennio Morricone: Donny kills Werner.

One Silver Dollar (Un Dollaro Bucato) by The Film Studio Orchestra: Bistro music when Shosanna and Fredrick talk.

Hound Chase (from 'White Lightning') by Charles Bernstein: Maj. Hellstrom informs Shosanna she must come with him.

Al Di Là Della Legge by Riz Ortolani: Piano music at Maxim's when Shosanna has lunch with Goebbels, Francesca, Zoller and Maj. Hellstrom.

Bath Attack (from 'The Entity') by Charles Bernstein: Shosanna sees Hans Landa again for the first time.

Claire's First Appearance by Jacques Loussier: Shosanna decides to burn the theatre down the night of the Nation's Pride premiere.

The Fight by Jacques Loussier: Stiglitz sharpens his knife in front of Lt. Hicox.

Davon Geht Die Welt Nicht Unter by Zarah Leander: First song playing in La Louisiane (when the first card game is going on).

The Man with the Big Sombrero by Samantha Shelton And Michael Andrew: The second song playing in La Louisiane (when Bridget is attempting to inform the Basterds of the recent changes in Operation Kino).

Ich Wollt Ich Wär Ein Huhn by Lilian Harvey & Willy Fritsch: The third song playing in La Louisiane (when Sgt. Wilhelm interrupts the conversation to talk to Bridget).

Main Theme from Dark of the Sun by Jacques Loussier: When Lt. Aldo and Bridget start coming up with Plan B for Operation Kino.

Cat People (Putting Out Fire) by David Bowie: Shosanna's preparation montage for her revenge.

Mystic And Severe by Ennio Morricone: Col. Landa studies the lobby and finds Bridget and the Basterds.

The Devil's Rumble by Davie Allan & The Arrows: Donny and Omar study the opera boxes and take their seats among the Nazi officers.

What'd I Say by Rare Earth: Donnyz and Omar study the area outside Hitler's opera box.

Zulus by Elmer Bernstein: Marcel bars the doors and takes his place behind the screen with the nitrate film prints.

Tiger Tank by Lalo Schifrin: Fredrick leaves the opera box to see Shosanna; Shosanna switches reels.

Un Amico by Ennio Morricone: Shosanna is killed by Fredrick.

Eastern Condors by Sherman Chow Gam-Cheung: Omar kills one of Hitler's guards.

Rabbia e Tarantella by Ennio Morricone: Lt. Aldo carves his masterpiece; the ending credits.

The problem I have with the soundtrack is...... THERE IS NO DIALOGUE TRACKS! every one of Quentin's soundtracks there is dialogue tracks and it sucks these does not have any... Thats what is fun about his soundtracks, but oh well... Nice front and back cover and etc.
9 of 10 people found the following review helpful
HASH(0xb50aad68) out of 5 stars Tarantino's Collection of Film Score is no Less Effective or Addictive Sept. 11 2009
By Private Quentin Tarantino Fan - Published on
Format: Audio CD
Inglourious Basterds has a few misses, but Inglourious Basterds is Tarantino's most rewarding and beautiful compilation to date. While the Kill Bill soundtracks (most likely Vol 1) had some gorgeous moments of orchestrated music, it did have some pop songs in the mix. Inglourious Basterds has a few instances of pop music (and all of them are extremely old, yet strangely charming in some way). Only David Bowie's Cat People resembles somewhat modern popular music, and there is a lone funk track. The rest of it is gorgeous music, with quite a bit of it provided by the great Ennio Morricone. Here's a rundown of the songs.

1. The Green Leaves of Summer-The track in the opening credits. This is an extremely melancholy song, but absolutely sweeping, theatric, and utterly gorgeous. It's a great soundtrack to the diary of Anne Frank.
2. The Verdict-Kind of similar to the opening theme, though it's less sweeping and theatric. It uses a heavy dose of a homage to a nutcracker song it seems (the similarites are there), and alternatives with lot's of gorgeous spanish guitar
3. White Lightning-Kind of low key funky, with country and mystic sort of hazes mixed in. Almost if James Bond was a jungle explorer, this might be his theme.
4. Slaughter-A somewhat odd mix of hard rock and funk, but still worth jamming to. Perfectly captures the whole aura of Hugo, a somewhat notorious aura that gives off a "don't _____ with me" attitude.
5. The Surrender-The most bombast piece of music on the whole disc. This one shows no subtely after building up the around the time "The Bear Jew" (one of my favorite Tarantino characters). It's saxophones blast in your face more noisly than any Ornette Coleman (no, it's nowhere as great as Coleman, no ______ way). I got a bit much out of it, but it's still fun.
6. One Silver Dollar-Argubably more gorgeous than Green Leaves of Summer, though not as sweeping and theatric. It's one of the strongest on the soundtrack. It uses a heavy use of horns in the song.
7. Davon geht die welt nicht unter-Actually kind of meh. No real melodies of any kind actually. Thankfully, it's not very long
8. The Man With the Big Sombrero-Extremely catchy, kind of beautiful, and pretty classy.
9. Ich Wollt, ich war ein Huhn-Longer, the singing is more silly, but very infectious. There's some jamming in it as well. You know, I like this kind of music, though I never would.
10. Dark of the SUn Theme-Extremely murky song, kind of dark, but very infectious and tuneful. Very good song.
11. Cat People-Anthemic, this song starts out subtle, than bursts out into the bombast and experimental, the theme for the night assasination of Hitler.
12. Tiger Tank-Extremely tense, utterly brilliant, and infectious and pounding song. Who knew a military march could be so inclined to make you wave your arms around like a maniac conducter?
13. Un Amico-Trademark theatrical Tarantino, without any hint of negative traits. Really dramatic with heavy use of sweeping strings.
14. Rabbia e Tarantella-A Piano drive march song, somewhat kind of like Dark of the Sun, though, more dramatic, less subdued, but no less greater. It ends very odd, kind of like what would happen if the landspace the music paints suddenly hit a blizzard. Still great all around

IF there is a problem, the soundtrack is not exactly complete. The loss of Mystic and Severe (a great track) kind of stinks, and some random tracks I sadly forgot about is not here (the same happened to kill Bill Vol 1, especially From Man to Man). In fact, a grand total of 13 songs in the movie are not on here (although one of the songs was reused from Kill Bill, which was the White Lightning Bit. I'm not quiet sure if that's a good thing, Tarantino). Still though, while not exactly perfect (will a few clunkers, bound to happen in his soundtracks, actually), the mix is eccentric, refreshing, and hardly any filler
8 of 9 people found the following review helpful
HASH(0xb50ac1bc) out of 5 stars Where's the rest of the music? Sept. 8 2009
By Amazon Customer - Published on
Format: Audio CD Verified Purchase
I love the film and the music. Tarantino is my favorite director, and he always makes great (and unexpected) choices for music in his films. However, there are a number of musical pieces in the film that aren't on the soundtrack, which really irritates me. The soundtrack album is very short, and it couldn't have cost much to get the rights for most of the obscure musical pieces they used in the film, so why not put ALL of the music on the CD? It's inexcusable.

Having said that, I love what IS on the CD. I have two particular favorites:

Cat People - I'm a huge Bowie fan, so I was happy to hear this song in the film. Before seeing this film, I had always preferred Bowie's remake (on his Let's Dance album), but I like this version a lot now.

Un Amico - The music that plays in the final scene between Shosanna and Fredrick. It's a heartbreakingly beautiful piece of music. Unfortunately, the version on the CD is full of pops and crackles, as if they took it from a record, and not the original master tape. I find it hard to believe that they couldn't track down the masters for an Ennio Morricone score. What really drives me nuts is that they DID clean up the sound of this music in the film. You don't hear the pops and crackles when they use this music in the film. Why didn't they do that for the CD? Of course, that hasn't stopped me from listening to this track a couple dozen times.

This is the first Tarantino soundtrack that doesn't have dialogue tracks, but it makes sense. I'm assuming that they left the dialogue out because so much of the film is in French and German. If they put dialogue on the CD, it would only be English dialogue, and Tarantino might think it would be taken as a slight against the many fine actors who don't speak English dialogue in the film.

Overall, it's an excellent CD, but it should have had more music on it.
HASH(0xb50ac1a4) out of 5 stars Classic cuts and cues April 4 2010
By Jon Broxton - Published on
Format: Audio CD
Writer-director Quentin Tarantino's sixth film, Inglourious Basterds is a World War II movie with attitude. Set in mainland Europe at the height of the conflict, it stars Brad Pitt as Aldo Raine, the leader of a crack platoon of Jewish-American soldiers who have dubbed themselves `the Basterds', and who actively seek out and savagely kill as many German servicemen as possible, with the intent of creating fear and discord amongst the troops. His opposing number is Hans Landa (Christoph Waltz), a cruel and ruthless SS officer also known as `The Jew Hunter', whose actions in murdering the family of a young Franco-Jewish family comes back to haunt him when the only survivor, a young girl named Shosanna (Mélanie Laurent), embarks on a plot to assassinate Hitler at the premiere of a Nazi propaganda film.

Unusually for Tarantino, he actively sought out composer Ennio Morricone to score his film, but was unable to secure his services due to a scheduling conflict with his score for the Giuseppe Tornatore film Baarìa; instead, he did what he always does: score the film with a lavish temp-track from cult European and blaxploitation movies from the 60s and 70s. It's difficult to judge the soundtrack in a conventional way, as this is not a conventional soundtrack, but anyone who enjoys the work of the composers featured here, or of Tarantino's mix-and-match soundtracks, are still likely to find plenty to enjoy. Ennio Morricone's four cuts, which come from the films The Big Gundown, Revolver and Allonsanfàn, give you an idea of the kind of score Morricone would have written had he been hired to write the entire thing; a lot of it is the nervous, spaghetti-western inspired music with the twangy guitars, stark woodwind writing, and the unconventional choral and vocal performances that characterized his output throughout much of the 1960s.

The "Surrender" cue has a quite epic and expansive scope, and "Un Amico" has a romantic Euro-pop sweep, while "Rabbia e Tarantella" slowly builds from a staccato piano motif into a glorious, expansive orchestral march of great flair, energy and memorability. Curiously, "The Verdict" from The Big Gundown features an undisguised excerpt from Beethoven's Bagatelle in A Minor ("Für Elise") that is quite eerie in this context. Charles Bernstein's "White Lightning", a cool western groove with more twangy guitars and hollow-sounding vocal scats, also featured on the Kill Bill soundtrack and is clearly a Tarantino favorite. Gianni Ferrio's "One Silver Dollar" is also in the Morricone western mode, albeit with a prominent harmonica solo that gives it an unexpectedly appropriate French lilt.

Jacques Loussier's main theme from Dark of the Sun employs unusual meters and rhythmic devices to create an unsettling mood, while Lalo Schifrin's "Tiger Tank" from Kelly's Heroes has a dominant sense of brutal, brass-led bluster. There are also several songs, from Billy Preston's funkadelic vocals on "Slaughter", to David Bowie's psychedelic "Cat People", and even a couple of German-language salon songs recorded in the period and performed by Zarah Leander, Lilian Harvey and Willy Fritsch. It's all very unconventional, anachronistic and self-referential, but it's the way Tarantino thinks, both as a director and as a creator of the musical tone of this films; as a conventional soundtrack, and despite the presence of excellent music from the likes of Morricone and Schifrin, it's likely too bizarre for score fans to appreciate, but as a glimpse into the mind of Tarantino it' quite fascinating.
1 of 1 people found the following review helpful
HASH(0xb50ac66c) out of 5 stars morricone Jan. 23 2012
By Alessandro M. R. Mor - Published on
Format: Audio CD Verified Purchase
Inglourious Basterds has a few misses, but Inglourious Basterds is Tarantino's most rewarding and beautiful compilation to date.morricone as his best!

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