Snatch (2001 Film)
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CD Details
Edition: Music CDAudio: English (Original Language); Russian (Original Language)
Format: Soundtrack
CD Release Date: 2001-01-09
Music Label: Tvt
Soundtracks:
- Kuasehfgaiurgh (Dialogue From Film) - Brad Pitt
- Diamond - Klint
- Supermoves - Overseer
- Hernando's Hideaway - The Johnston Brothers
- Golden Brown - The Stranglers
- Dreadlock Holiday - 10cc
- Hava Nagila - John Murphy
- Avi Arrives (Dialogue From Film) - Dennis Farina
- Cross The Tracks (We Better Go Back) - Maceo & The Macks
- Disco Science - Mirwais
- Nemesis (Dialogue From Film) - Alan Ford
- Hot Pants (I'm Coming, Coming, I'm Coming) - Bobby Byrd
- Lucky Star - Madonna
- Ghost Town - The Specials
- Are You There - Klint
- Sensual Woman - The Herbaliser
- Angel - Massive Attack
- F**kin' In The Bushes - Oasis
- Don't You Just Know It - Huey 'Piano' Smith & The Clowns
- Avi's Declaration (Dialogue From Film) - Dennis Farina
Music reviews of Snatch (2001 Film)
Music Review: Musical Madness... but oh how wonderful it is!
Rating: 5 Stars
To start, You really should see the movie before listening to the soundtrack, for, while not required, it will help you understand why pieces like "F**king in the Bushes" are on the same album with "Hava Nagila".Now that the minor disclaimer is out of the way... this is one of the strangest and greatest collections of music of all time. Ritchie's selections range from classic Broadway ("Hernando's Hideaway") to reggae ("Dreadlock Holiday") to Irish folk ("Golden Brown") to hard rock ("F**king in the Bushes") to DJ techno remixes ("Angel", "Sensual Woman"). It's a collection to make the head spin, but not only does it all fit one one album, it does it wonderfully, combined with strings of dialogue from the movie ("Nemesis" and "Declaration" being my personal favorites). Without question the best piece on the album is "Golden Brown", a slightly off-kilter drinking song that is more than capable of standing on its own. Along with it is Oasis's hard-rocking "F**king in the Bushes", one of the few good performances by the pathetic "We hate the Beatles so much we want to be like them" band. "Cross The Tracks" seems to blend New Orleans style with modern music's beat, making it a definate keeper, while "Don't You Just Know It" is a 50's beach party, and, following the incredibly intense "F**king in the Bushes", seems to break the sound in just the same way "I Want You (She's So Heavy)" blasts into "Here Comes The Sun" (That's on The Beatles' Abbey Road, for all you nonbelievers). This could go on and on through almost every song, but there just isn't enough room. It's an album for all ages - I'm very much a classic rocker and found even the modern techno entertaining, although Ritchie does plug his wife ("Lucky Star"? Please, God, no!), marring the album, but, hey, that's what the 'skip' button is for.
Once again, this is a motley collection of music that somehow manages to fit together into a coherant and funny soundtrack to a coherant and funny movie. A must-have for fans of just about any music.
Description of Snatch (2001 Film)
Written and directed by Guy Ritchie, who wrote and directed, 'Lock, Stock & Two Smoking Barrels'. In the same vein as Trainspotting and Pulp Fiction, the soundtrack covers a spectrum of musical hipness that is essential to the tone ofthe film artists included are Massive Attack, Madonna, Mirwais, Oasis, The Stranglers and The Specials. Standard jewel case. 2000 release.Though a well-publicized marriage did much to raise his celebrity profile, Guy "Mr. Madonna" Ritchie's claim as one of the world's most promising young filmmakers was already secure. Extending the gambit he began on Lock, Stock and Two Smoking Barrels, the English director's handpicked collection of pop songs for his jewel heist romp Snatch is a dizzying delight that eschews era and genre concerns in favor of flavorful character and loopy fun. Though his musical sense is one of the elements that have inspired Tarantino comparisons, Ritchie is clearly a league of one here. With a little fresh input from musical ally Klint, this anthology score ranges from the electro club mixes of Overseer and Mirwais to the vintage R&B workouts of Maceo Parker, Huey "Piano" Smith, and Bobby Byrd, with some pop kitsch of the 1970s (Johnston Brothers' "Hernando's Hideaway") and '80s (the missus's "Lucky Star") to keep the proceedings ever fresh and askew. Ritchie's pop choices are no less inspired, from Oasis and Massive Attack to the Specials' classic, "Ghost Town," and The Stranglers' own underrated jewel, "Golden Brown." --Jerry McCulley
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