Posts Tagged ‘Stevie Wonder’

A collection of good films with good soundtracks is the desert island entertainment solution for me, combining my two foremost entertainment passions. Assuming my desert island has a power source of course.  There are many, many good examples of songs being used in films. Some directors seem to excel at it.  Quentin Tarantino (no surprise he is represented here twice)  is one, Martin Scorcese is another.

Akira Kurosawa said “Cinematic sound is never merely accompaniment, never merely what the sound machine caught while you took the scene. Real sound does not merely add to the images, it multiplies it.”  All of these  songs do that. But in my opinion what sets them apart is that they have come to be synonymous with the films they are in.  No easy task.

Next week: Top Five Bands You Really Should Listen to if the Last Record You Bought Was Led Zeppelin II

1. Stuck in the Middle With You-Stealers Wheel-Reservoir Dogs

“Reservoir Dogs” was Tarantino’s directorial debut.  Made for a mere $1.5 million, likely less than the budget for the opening credits in “Avatar”, the film was a commercial and critical success, despite an abundance of graphic violence.  Woven through it is some very good music, often introduced by the radio voice of “K-Billy’s Super Sounds of the Seventies” in the background.

This clip is not for the faint of heart nor for those who have a fondness for this boppy little number from the Scottish folk group founded by Gerry Rafferty. If the former, I will warn you it is not easy to watch.  Michael Madsen reportedly had difficulty finishing the scene.  If the latter, you will never again hear the song without thinking about the scene. Guaranteed.

2. Misirlou-Dick Dale and His Del Tones-Pulp Fiction

I can’t think of a song which does a better job of opening a movie.  Period. Like a good opening track on the first side of an album, this song let’s you know where you are going.  And in this case, you realise, following the “honey bunny” and “this is a robbery” scene, that you are in for one wild, frantic ride.

Derived from a Turkish folk song, Misirlou was first released by Dick Dale in 1962.  It quickly became a staple of Calfornia surf rock bands including the Beach Boys and the Ventures.  Although Dick Dale had without doubt already achieved legendary status before “Pulp Fiction” was released in 1994, the use of this song while the opening credits ran  brought him  a new generation of recognition.

3. Oh, Pretty Woman-Roy Orbison-Pretty Woman

This song was suggested by someone far wiser than me. It is included to show that I am open minded and serious about my work here as I have no real fondness (nor dislike either for that matter) for the two principal actors in “Pretty Woman”.  It is tough however to ignore a film that takes its title from a (very very good) song.  This is the late great Roy Orbison at his best.  It was a worldwide success for him in the early 1960’s and he was awarded, posthumously, a Grammy for his performance of it in the 1991 TV special, “Roy Orbison and Friends,  A Black and White Night”.

4. Can’t You Hear Me Knocking-The Rolling Stones-Casino

Scorcese has a thing for music in general and the Rolling Stones in particular.  He co-edited “Woodstock”, directed “The Last Waltz” and also directed “Shine a Light”, a Rolling Stone’s concert film recorded over two nights at the Beacon Theatre in New York in 2008.  He has used Rolling Stones’ songs extensively in his films.

The opening riff to “Can’t You Hear Me Knocking” is Keith Richards guitar at its distorted, slippery, sleazy, missing a string, open G tuned best. To my ears, it is what rock and roll is supposed to sound like.  The song itself takes a wonderful (apparently unscripted) detour with extended solos by Bobby Keys on sax and Mick Taylor on guitar.   Scorcese uses all of this to maximum effect, the “cocaine eyes” reference more or less summing up the Sharon Stone character, the portrayal of which earned her an Academy Award for best supporting actress.

5. I Believe (When I Fall in Love it Will Be Forever)-Stevie Wonder-High Fidelity

Given that the film provided my blog with its name, it had to be included.  What makes the song work so well in my opinion is that we hear all of it, and not just a snippet (like the way Scorcese used “Can’t You Hear Me Knocking”), while Rob is making a mix tape for Laura.  And somehow, Stevie Wonder’s talent pulls off a schmaltzy song without sounding schmaltzy.  Genius all round.