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VARIOUS ARTISTS - KILL BILL VOLUME 1
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ARTIST:
TITLE:
Kill Bill Volume 1
LABEL:
CATNO:
0093624857013
STYLE:
FORMAT:
Vinyl record
DESCRIPTION:
Vinyl LP of Tarantino Soundtrack
In its first teaser trailers, when it was still going to be released as a single film, Kill Bill was sold with the immortal teaser "In the year 2003 Uma Thurman is going to Kill Bill." Of course, Uma didn't come close to the messy business of killing Bill until early 2004, when the second part of Quentin Tarantino's grindhouse epic Kill Bill was released, but she sure started to kill in Kill Bill, Vol. 1, where the Bride, the character she created with Tarantino, began her arduous revenge upon the five former colleagues who killed her fiancée at her wedding rehearsal, then left her for dead at the altar. As Tarantino plot lines go, this is the simplest yet, but revenge movies shouldn't be encumbered by deep subtext. Instead, he divided the film into chapters, giving him an opportunity to play with both time and location, and then shoot each chapter as an homage to a different kind of exploitation film -- something that's reflected in the soundtrack. After Nancy Sinatra's torchy "Bang Bang (My Baby Shot Me Down)" and Charlie Feathers' tough, swaggering rockabilly chestnut "That Certain Female" set the story and the mood, the record is devoted primarily to instrumental pieces that range from surging epics to the calm kitsch of Zamfir's "The Lonely Shepherd" to the intense funk pastiche of Tomoyasu Hotei's "Battle Without Honor or Humanity" (the song that kicks off nearly every trailer and ad for Kill Bill). The reduced presence of dialogue from the film -- a hallmark of Tarantino soundtracks -- is a reflection of the film, which places emphasis on action and visuals. Hell, even the tracks on the soundtrack have minimal lyrics, consisting largely of instrumentals. This gives it more of a meandering feeling, and the soundtrack kind of peters out, ending in two quick excerpts of futuristic electro music by Quincy Jones and Neu!, then a gaggle of sound effects and Kung Fu hits. Nevertheless, its cavalcade of contradictory moods has its own coherence, and it's more musical than most pop music soundtracks. Plus, this has no familiar material, nor does it have anything that would be a single on digital radio, which is why it works as an album on its own -- it doesn't just reflect the movie; it follows its own logic, and displays fearless imagination. It makes you hungry for Vol. 2, both the movie and soundtrack.
In its first teaser trailers, when it was still going to be released as a single film, Kill Bill was sold with the immortal teaser "In the year 2003 Uma Thurman is going to Kill Bill." Of course, Uma didn't come close to the messy business of killing Bill until early 2004, when the second part of Quentin Tarantino's grindhouse epic Kill Bill was released, but she sure started to kill in Kill Bill, Vol. 1, where the Bride, the character she created with Tarantino, began her arduous revenge upon the five former colleagues who killed her fiancée at her wedding rehearsal, then left her for dead at the altar. As Tarantino plot lines go, this is the simplest yet, but revenge movies shouldn't be encumbered by deep subtext. Instead, he divided the film into chapters, giving him an opportunity to play with both time and location, and then shoot each chapter as an homage to a different kind of exploitation film -- something that's reflected in the soundtrack. After Nancy Sinatra's torchy "Bang Bang (My Baby Shot Me Down)" and Charlie Feathers' tough, swaggering rockabilly chestnut "That Certain Female" set the story and the mood, the record is devoted primarily to instrumental pieces that range from surging epics to the calm kitsch of Zamfir's "The Lonely Shepherd" to the intense funk pastiche of Tomoyasu Hotei's "Battle Without Honor or Humanity" (the song that kicks off nearly every trailer and ad for Kill Bill). The reduced presence of dialogue from the film -- a hallmark of Tarantino soundtracks -- is a reflection of the film, which places emphasis on action and visuals. Hell, even the tracks on the soundtrack have minimal lyrics, consisting largely of instrumentals. This gives it more of a meandering feeling, and the soundtrack kind of peters out, ending in two quick excerpts of futuristic electro music by Quincy Jones and Neu!, then a gaggle of sound effects and Kung Fu hits. Nevertheless, its cavalcade of contradictory moods has its own coherence, and it's more musical than most pop music soundtracks. Plus, this has no familiar material, nor does it have anything that would be a single on digital radio, which is why it works as an album on its own -- it doesn't just reflect the movie; it follows its own logic, and displays fearless imagination. It makes you hungry for Vol. 2, both the movie and soundtrack.
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Last FM Information on Various Artists
Please note the information is done on a artist keyword match and data is provided by LastFM.
Warning! Deleting this artist may remove other artists and scrobbles from your library - please handle this with caution!
Note: You can view albums tagged as 'Various Artists' in your library here.
The term Various Artists is used in the recording industry to designate releases featuring contributions from multiple performers. It commonly appears on compilation albums or collaborative recordings where no single artist attribution applies. On digital platforms such as Last.fm, tracks may be listed under this designation when individual artist information is missing or incomplete in metadata, resulting in automatic grouping under the generic label.
In some cases, singles credited to Various Artists are issued for charitable purposes, particularly when performers collaborate under a collective project name. Examples include Band Aid with the song "Do They Know It’s Christmas?" and USA for Africa with "We Are the World".
Various Artists is also used as a performance alias by German musician Torsten Pröfrock, founder of the DIN label. In addition to this name, he has recorded under several other aliases, including Dynamo, Erosion, Resilent, and Traktor. He has collaborated with Robert Henke and has been a member of Monolake since 2004.
The name was also used by a short-lived punk band formed in Bristol by brothers Jonjo and Robin Key, originally from Birmingham. Other members were involved simultaneously in Art Objects, which later evolved into The Blue Aeroplanes; the Key brothers also contributed as songwriters and participants in that project. After the group disbanded, the brothers formed Either / Or.
The designation Various Artists is also commonly applied to musical theater soundtracks, reflecting recordings that feature multiple cast members or ensemble performances within a single track. Read more on Last.fm. User-contributed text is available under the Creative Commons By-SA License; additional terms may apply.
