Quentin Tarantino wraps up his dizzy double-dose of martial arts film tribute cum informed paean to junk cinema with the throw-it-all-against-wall abandon that's become his cliched trademark, if not necessarily his true strength as a filmmaker. That sensibility has long informed his quirky, world-pop savvy soundtracks as well, though this chapter's collection gratifyingly sacrifices a dollop of eclecticism in favor of a little more focused nuance. Revolving loosely around a decidedly international, free-floating axis of Latin rhythm (Chingon's "Malaguena Salerosa, " the flamenco-demento of Lole Y Manuel's "Tu Mira") and Western twang, Tarantino's choices include Morricone both familiar (The Good, the Bad and Ugly's evocative "Il Tramonto") and less so (Il mercenario's "l'arena," "A Silhoutte of Doom"), fellow Roman film scorer Luis Bacalov's slinky, guitar-driven "The Summertime Killer" and a couple disparate slices of Americana by country legend Johnny Cash and rockabilly loose cannon Charlie Feathers. The director's pop fare covers less adventuresome territory, though Malcolm McLaren's trip-hop take on the Zombie's British Invasion chestnut "She's Not There" somehow seems all-of-a-piece with the retro groove of Shivaree's "Goodnight Moon" and melodramatic kitsch of Japanese actress Meiko Kaji's "Urami Bushi." It's all interspersed with excerpts of Tarantino-penned dialog from the film, snippets that only inspire an even greater admiration for his adventurous taste as musical compiler/supervisor. -- Jerry McCulley

音乐从来都是昆汀·塔伦蒂诺电影中不可或缺的一部分，有时候可能被赋予了更重于演员角色的意义，而被用于《杀死比尔》功夫片断的乐章《Kill Bill Vol.1》显然也不例外。昆汀当然是这张唱片的执行制作人，而他明亮又阴郁的特质，只会让这张唱片更加迷人。这里收录的对话片段极少，而动听的曲子却不少，比如Santa Esmeralda的天才作品“Don't Let Me Be Misunderstood”。而Charlie Feathers的“That Certain Female”伴着酷酷的摇滚味吉他；Luis Bacalov的“西部意粉味”，还有来自Wu Tang Clan的RZA作品“Ode to Oren”。这些都不是常规虚弱的作品，打破电影中连续性规则之后，音乐显然为听众制造了无限种可能