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Rating: The Tarantino-Rodriguez duo has always had peculiar tastes regarding music selection for their films. And there you might find a piece by Franco Micalizzi in an American highway scene, even though it was originally composed as background music for an urban chase in provincial Italy of the '70s. Quentin might pull from his crazy hat an unknown piece to most, which perhaps was the leitmotif of some wild adolescent vision of his, who knows, buried for years, from an ultra-niche '60s band, and like an alchemical sorcerer, he brings it back from the abyss into a different context; and so these bizarre and unusual musical choices become immediately identified with the cult film of the moment by our duo.
"Dark Night" by the Bluesters kicks off this warm night: a clear example of proper Texan Rock Blues and frontier sound. It strongly recalls the sweaty and dusty atmospheres of Omar & the Howlers. Another round, another spin: "Mexican Blackbird", a very hard Country piece that truly immerses the listener into the atmosphere of those parts, on the frontier between Texas and Mexico; obviously, this journey is cheerfully led by the hobos most famous in Rock history, the ZZ Top! "Texas Funeral" by Jon Wayne is another countrified journey that heads south. It feels like being on a highway inside a Pickup on an extremely hot afternoon with the sun relentlessly offering no respite. The relaxed Country atmospheres of "Foolish Heart" by the Mavericks greatly resemble the carefree and unassuming ballads of Irish Country. Between this song and the next, there's the legendary and delirious dialogue-drawing of the film that Tarantino imagines in his mind, where Lewis would ask him to do something... The film dialogues used as interludes are always enjoyable. The first Vaughan brother, Jimmie, arrives with his Stratocaster to clear everything away with a slow and sparse Blues named "Dangue Woman Blues", much in the style of Albert King. Here comes "Torquay" by the Leftovers, an exhilarating and highly engaging Calexico, a sip of tequila and off to ride the surfboard over a thousand waves facing a thousand sharks. The hobos make a strong comeback with the rocky "She's Just Killing Me". And here comes one of the standout songs of the film, the atmosphere inside the Titty Twister heats up, Tito & Tarantula of the legendary Tito Larriva start with the frenzied "Angry Cockroaches - Cucarachas Enojadas", breaking things energetically and without much fuss! The other Vaughan brother couldn't be missing, of course, and so there's room for Mary Had a Little Lamb played by Stevie; meanwhile, Tito taps at the ears of the listener. Yes, Tito returns, and he returns with his gang of outlaws and their seductive After Dark, as in a starry and wild night in the desert, while Santanico has already melted everyone with her sensual performance, especially Tarantino. How can one not remember the scene where she sticks her foot in his mouth and makes him drink beer pouring it and letting it drip down her leg, how can one not remember it... Stevie returns with "Willy The Wimp", groove at its finest.
The journey comes to an end with two suites by Revell, which, in my opinion, don't quite fit with everything else. A strange choice? But no, we are indeed talking about the acclaimed Tarantino-Rodriguez team, so everything is strange and everything is normal. The journey has ended, you should take it too, but beware of vampires... Brrrr...
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