| | Jackie Brown Soundtrack CD (6 Customer Reviews)
On the soundtrack for Quentin Tarantino's long awaited follow-up to PULP FICTION, the director again turns to 1970s R&B classics, seasoning the mix with a touch of modern pop. As usual, Tarantino proves himself to be quite the soul connoisseur. This disc zeroes in on great old-school cuts like "Natural High" by the criminally underrated Bloodstone and "Inside My Love" by the late Minnie Riperton. Topping things off is a change-of-pace from, of all people, ex-Cars guitarist Elliot Easton and his group Tiki Gods.
Bobby Womack,Guess Who,Little Feat,Delfonics,Supremes & More
Director: Arthur Marks.
Photographers: Darren Michaels; George Lange; Firooz Zahedi; Butch BelAir.
Unknown Contributor Roles: Elliot Easton; Vampire's Sound Incorporation; Foxy Brown ; Johnny Cash; Minnie Riperton; Pam Grier; Randy Crawford; The Delfonics; The Brothers Johnson; The Grass Roots; Bill Withers; Bloodstone; Bobby Womack.Rolling Stone (1/22/98, p.58) - 3.5 Stars (out of 5) - "...another cinematic aural-history lesson....mixes vintage tunes--many of them soul classics--with bits of dialogue and assorted aural exotica....a seriously soulful sojourn full of great music..."
Entertainment Weekly (10/12/01, p.44) - Ranked #89 in EW's "100 Best Movie Soundtracks"
Entertainment Weekly (1/9/97, pp.66-67) - "...JACKIE BROWN adds up to a frisky comilation that pumps new life into oldies and introduces you to ones you may have missed. Tarantino still 'tracks it like he talks it..." - Rating: A
NME (Magazine) (4/4/98, p.41) - 7 (out of 10) - "The gimp is back. He's played with his vinyl, squirmed with expectant pleasure and now he's dreaming of funking you silly....an enticing snippet of celluloid highs, while still standing proud as a compilation..." Jackie Brown Soundtrack Music | List Price | $7.98 (You save $1.79) | | Category | Rock/Pop Albums, R&B CDs, Soundtrack, Soul/R&B | | Label | Maverick | | Orig Year | 1997 | | All Time Sales Rank |  2376  | | CD Universe Part number | 1101995 | | Catalog number | 46841 | | Discs | 1 | | Release Date | Dec 09, 1997 | | Studio/Live | Studio | | Mono/Stereo | Stereo | | Producer | Arthur Marks; Elliot Easton; Mike Vernon; Rick Rubin | | Recording Time | 51 minutes | | Additional Info | Original Soundtrack |
Jackie Brown Soundtrack Songs | 1. | Across 110th Street |
| 2. | Beaumont's Lament - (dialogue) |
| 3. | Strawberry Letter 23 |
| 4. | Melanie, Simone and Sheronda - (dialogue) |
| 5. | Who Is He (And What Is He to You)? |
| 6. | Tennessee Stud |
| 7. | Natural High |
| 8. | Long Time Woman |
| 9. | Detroit 9000 - (dialogue) |
| 10. | (Holy Matrimony) Letter to the Firm |
| 11. | Street Life |
| 12. | Didn't I (Blow Your Mind This Time) |
| 13. | Midnight Confessions |
| 14. | Inside My Love |
| 15. | Just Ask Melanie - (dialogue) |
| 16. | Lions and the Cucumber, The |
| 17. | Monte Carlo Nights |
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Bob Dylan's career has always been about defying expectations. Accordingly he followed 1997's much-heralded TIME OUT OF MIND with a marked about-face. Where its predecessor was a bleak emotional landscape full of languid atmospheres, existential sentiments, and graveyard vocal delivery, LOVE AND THEFT finds Dylan much more energized and hopeful. Instead of swamp-like textures, we get sharp, cracking bar-band blues, and lissome ballads with a '20s/'30s feel. The old codger has never sounded more spry; after observing that "summer days and summer nights are gone," he follows up with "I know a place where there's still something going on." Elsewhere he's variously hunting bear, standing on a table to make a toast, burning down a house, and starting a new empire.
The musical context for all this uproar is informed more heavily by Dylan's earliest Americana roots than anything other than his albums of traditional folk songs. Delta and Chicago blues are templates for many songs, while a few others even more anachronistically suggest a future for Dylan as ghost writer for Leon Redbone. The lyrics themselves are littered with quotes from/references to old blues tunes, but Dylan's classic non-linear structure and wild imagination allow him to transcend his influences even as he assimilates them.
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