- #Wolf of wall street soundtrack movie#
- #Wolf of wall street soundtrack full#
- #Wolf of wall street soundtrack series#
at the time, and the soundtrack was issued through MCA/Varèse Sarabande, both Universal divisions. So, why “Time Bomb Town”? Well, it sure wasn’t a promotional push by the label, as Buckingham was signed to Reprise/Warner Bros.
#Wolf of wall street soundtrack full#
On the soundtrack, though, Lindsey Buckingham’s strange, flamenco-styled “Time Bomb Town” sticks out like a van full of well-armed Libyans, wedged between Huey Lewis’s iconic “Power of Love” and Alan Silvestri’s orchestral theme. We cut to an alarm clock (another one) and pan down to Marty McFly sleeping in his suspenders, Doc calls, and he leaves for the mall. This one’s a tricky inclusion, if only because it’s in the actual film for, at most, eight seconds. Lindsey Buckingham – “Time Bomb Town” From Back to the Future (1985) In fact, the fiery pyromaniacal imagery of the lyrics perfectly describes a bunch of Nazis being cooked alive. Inglourious Basterds is already a mash-up of influences, from war films to spaghetti Westerns to dark comedy, so when we reach the movie’s climax, “Cat People (Putting Out Fire)” doesn’t feel out of place at all. As a prelude to the bloodbath, “Cat People (Putting Out Fire)” plays as she gets ready for the night, slowly putting on lipstick and savoring the Klingon-cold revenge that’s about to come.ĭoes it work? Like many of Tarantino’s ideas, it sounds like a complete mess on paper, but works like gangbusters in execution. Aiding the massacre is heroine Shoshanna Dreyfus, a projectionist whose family was killed by the SS when she was a little girl.
#Wolf of wall street soundtrack movie#
Then again, this is a Quentin Tarantino World War II film, one that’s completely bonkers and, by the end, has rewritten history so that a group of Nazi scalpers have butchered Adolf Hitler (and many other awful, awful people) in a locked movie theater.
David Bowie – “Cat People” From Inglourious Basterds (2009)ĭavid Bowie’s theme for the remake of Cat People was strange even for the remake of Cat People, not to mention a World War II film. Taken out of context, the tune can be quite funny-see its genius use in Boogie Nightsfor proof-but here, it reaches Cybertronian levels of badassery. While originally written for the Stallone vehicle Cobra, “The Touch” was born to help robots kick the shit out of each other. Optimus dies a slow and painful death (he gets resurrected later on in the show, thank God), and Megatron, while severely beaten, gets reborn a few minutes later in the movie as Galvatron. Lightsabers are drawn! And Bush wails through it all, casting self-help pearls of wisdom like, “When all Hell’s breakin’ loose, you’ll be riding the eye of the stooorm!” Despite Bush’s positivity, the battle’s outcome is pretty grim. “Megatron must be stopped…” proclaims Optimus, gazing out on the ruins of Autobot City and sending tingles down fanboys’ spines, “…no matter the cost.” Bush’s synths kick in and Optimus transforms into truck mode, mowing down a gauntlet of Decepticons to get to his arch-rival. And no fight in the film is as epic or brutal as the death-match between respective Autobot and Decepticon leaders Optimus Prime and Megatron, set almost entirely to Stan Bush’s stadium-sized slice of cheese rock, “The Touch”. They just fit, especially when the giant alien robots are clobbering-and, for the first time, actually killing!-each other. But the film’s songs were actually more in line with the Transformers aesthetic: loud, dumb, and cartoonishly violent.
#Wolf of wall street soundtrack series#
The Transformers: The Movie‘s soundtrack of no-name hair metal only seems strange because of what came before it-the TV series was filled with the kind of orchestral caper music that scored everything from Thundercats to Hanna-Barbera cartoons. Stan Bush – “The Touch” From Transformers: The Movie (1986) So, you can’t exactly fault filmmakers and/or soundtrack producers for attempting to take risks in that area, even if they’ve left us confused in the aisles post-credits.Ģ0. It’s that “strange” match where sound and vision come together in perfect chaotic harmony. Somehow, a good number of the song choices ahead actually work. It’s that “strange” habit where sweet = creepy, creepy = hilarious, and so on. If they attempted to be dumb, they wound up being cool. If the filmmakers were trying to be cool, they came off dumb. The end result of nearly all of these songs-whether positive or negative-feel merely accidental. But if we’re going by its standard definition, the adjective simply means: “unusual or surprising in a way that is unsettling or hard to understand.” So, keep that in mind when you’re clicking ahead through the “strange” soundtrack choices that have popped up in film over the last few decades.Īlthough, looking at this list, misguided may have been a more appropriate descriptor. The word “strange” has so many connotations, especially with regards to film.
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