Various Artists – Pulp Fiction (OST) (1994)

FrontCover1Music from the Motion Picture Pulp Fiction is the soundtrack to Quentin Tarantino’s 1994 film Pulp Fiction. No traditional film score was commissioned for Pulp Fiction. The film contains a mix of American rock and roll, surf music, pop and soul. The soundtrack is equally untraditional, consisting of nine songs from the movie, four tracks of dialogue snippets followed by a song, and three tracks of dialogue alone. Seven songs featured in the movie were not included in the original 41-minute soundtrack.

The album reached No. 21 on the Billboard 200, while Urge Overkill’s cover of the Neil Diamond song “Girl, You’ll Be a Woman Soon” peaked at No. 59 on the Billboard Hot 100.

Tarantino used an eclectic assortment of songs by various artists. Notable songs include Dick Dale’s now-iconic rendition of “Misirlou”, which is played during the opening credits. Tarantino chose surf music for the basic score of the film because, “it just seems like rock ‘n’ roll Ennio Morricone music, rock ‘n’ roll spaghetti Western music.”


Many of the songs on the soundtrack were suggested to Tarantino by musician Boyd Rice through their mutual friend Allison Anders, including Dick Dale’s “Misirlou”. Other songs were suggested to Tarantino by his friends Chuck Kelley and Laura Lovelace, who were credited as music consultants. Lovelace also appeared in the film as Laura the waitress.

In addition to the surf-rock rendition of “Misirlou”, other notable songs include “Jungle Boogie” by Kool & the Gang, Dusty Springfield’s version of “Son of a Preacher Man”, “Flowers on the Wall” by the Statler Brothers and “Bustin’ Surfboards” by The Tornadoes, from 1962, which had been one of the first instrumental surf songs to hit the United States music charts after notables such as “Walk–Don’t Run” by the Ventures.

Excerpts of dialogue include Jules’ “Ezekiel 25:17” speech and the “Royale with Cheese” exchange between Jules and Vincent.


A two-disc collector’s edition of the album was issued in 2002 — the first disc contained the songs, including four additional tracks; and the second disc was a spoken-word interview with Tarantino.

Woody Thorne’s 1961 song “Teenagers in Love” and Link Wray’s 1965 single “Rumble” are two of the three songs missing from the collector’s edition soundtrack. The last song is unique to the movie: it is Ricky Nelson’s “Waitin’ In School” as performed by the actor Gary Shorelle, which plays as Vincent and Mia enter Jackrabbit Slim’s.


The soundtrack reached No. 21 on the Billboard 200, and at the time, went platinum (100,000 units) in Canada alone. By November 12, 1994, total sales of more than 1.6 million were reached and by 1996 over 2 million units had been sold. In 1995 the soundtrack reached No. 6 on the charts according to SoundScan.

The soundtrack helped launch the band Urge Overkill, which covered Neil Diamond’s “Girl, You’ll Be a Woman Soon” (produced by Kramer) in 1993, into a mainstream market. Sony “received a nice sum” for “Son of a Preacher Man” and Kool & The Gang enjoyed a resurgence when “Jungle Boogie” was released on the soundtrack.

The Orange County Register described why the soundtrack of Pulp Fiction stood out from all the others: “Unlike so many soundtracks, which just seem to be repositories for stray songs by hit acts regardless of whether they fit the film’s mood, Tarantino’s use of music in Reservoir Dogs and Pulp Fiction exploded with a brash, Technicolor, pop-culture intensity that mirrored the stories he was telling.” Karyn Rachtman was the music supervisor on both Reservoir Dogs and Pulp Fiction.


Analyzing the success of Tarantino’s marketing, Billboard chalked up MCA’s compilation to identifying the market niche: “Pulp Fiction…successfully spoke to those attuned to the hip, stylized nature of those particular films.” The eclectic “mix-and-match strategy” is true to the film. “In some cases, like Pulp Fiction and Reservoir Dogs, which were not geared toward any specific demographic, the soundtracks were still very focused albums,” said Kathy Nelson, senior VP/general manager at MCA Soundtracks. “In both cases, the body of work — both the music and the film — has a specific personality.”[12]

In 1997, Gary Thompson of The Philadelphia Inquirer said that Pulp Fiction “reinvigorated surf rock”. That statement would be defining for Del-Fi Records, owned by legendary producer Bob Keane; the Pulp Fiction soundtrack contained two songs that were originally released on Del-Fi: Bullwinkle Pt II by The Centurions, and Surf Rider by The Lively Ones. Del-Fi Records released a compilation CD in 1995 entitled Pulp Surfin’ featuring songs by those bands plus sixteen other surf tracks from the vaults. The cover artwork was yet another parody of the Pulp Fiction movie poster.


Inspired by the soundtrack, advertisers started to use surf music in their commercials “to help sell everything from burritos to toothpaste”, making surf music hugely popular again.

More than two years after the film was released, the influence and monetary success was still being felt in the industry. “Mundane commercials using Dick Dale ’60s surf licks, the kind made popular again by the Pulp Fiction soundtrack…following a trend — in this case, a two-year-old hit movie.” (by wikipedia)


The soundtrack to Quentin Tarantino’s darkly funny crime classic Pulp Fiction manages to re-create the film’s wildly careening sense of style, violence, and humor by concentrating on the surf music that comprises the bulk of the movie’s incidental music and adding a few sexy oldies integral to the film’s story (“Let’s Stay Together,” “Son of a Preacher Man,” “You Never Can Tell”). Of course, the inclusion of dialogue and Urge Overkill’s seductive cover of Neil Diamond’s “Girl, You’ll Be a Woman Soon” doesn’t hurt either. /by Stephen Thomas Erlewine)

Okay, boys and girls, this is trash, but what a wonderful trash !


01.1. Amanda Plummer + Tim Roth: Pumpkin And Honey Bunny (dialogue) (Tarantino)
01.2. Dick Dale & His Del-Tones: Misirlou (Wise/Leeds/Roubanis/Russell) 2.30
02. John Travolta + Samuel L. Jackson: No Artist Royale With Cheese (dialogue) (Tarantino) 1.45
03. Kool & The Gang: Jungle Boogie (Smith/Thomas/Boyce/Brown/Westfield/Robert Bell/Mickens/Ronald Bell) 3.07
04. Al Green: Let’s Stay Together (Mitchell/Green/Jackson Jr.) 3.17
05. The Tornadoes: Bustin’ Surfboards (G.Sanders/JSanders/Delaney/N.Sanders) 2.29
06. Ricky Nelson: Lonesome Town (Knight) 2.15
07. Dusty Springfield: Son Of A Preacher Man (Hurley/Wilkins) 2.28
08.1. Bruce Willis + Marie De Medeiros: Zed’s Dead, Baby (dialogue) (Tarantino)
08.2. The Centurians: Bullwinkle Part II  (Rose/Furrow) 2.31
09.1. Rabbit Slims: Twist Contest (dialogue) (Tarantino)
09.2. Chuck Berry: You Never Can Tell (Berry) 3.14
10. Urge Overkill: Girl, You’ll Be A Woman Soon (Diamond) 3.10
11. Maria McKee: If Love Is A Red Dress (Hang Me In Rags) (McKee) 4.57
12.1. Duane Whitaker + Peter Greene: Bring Out The Gimp (dialogue) (Tarantino)
12.2. The Revels: Comanche (Hafner) 2.12
13. The Statler Brothers: Flowers On The Wall (DeWitt) 2.25
14. John Travolta + Samuel L. Jackson: Personality Goes A Long Way (dialogue) (Tarantino) 1.03
15. The Lively Ones: Surf Rider (Wilson/Edwards/Bogle) 3.20
16. Samuel L. Jackson: Ezekiel 25 – 17 (dialogue) (Tarantino) 0.52




On the road again …

This time I will travel to Heitersheim: Heitersheim ?

Heitersheim is a town in the district Breisgau-Hochschwarzwald, Baden-Württemberg in southern Germany. The name of the school located in Heitersheim is Johanniterschule.

The city is located in Markgräflerland (near Freiburg) in South Baden. The city contains older central part Heiterscheim and newer Gallenweiler.


I will be back on next Tuesday … I wish all readers of the blog a very good time ! See you again !

Teddy Edwards – Sunset Eyes (1959)

FrontCover1.jpgTeddy Edwards was, with Dexter Gordon and Wardell Gray, the top young tenor of the late ’40s. Unlike the other two, he chose to remain in Los Angeles and has been underrated through the years but remained in prime form well into his 70s. Early on, he toured with Ernie Fields’ Orchestra, moving to L.A. in 1945 to work with Roy Milton as an altoist. Edwards switched to tenor when he joined Howard McGhee’s band and was featured in many jam sessions during the era, recording “The Duel” with Dexter Gordon in 1947. A natural-born leader, Edwards did work briefly with Max Roach & Clifford Brown (1954), Benny Carter (1955), and Benny Goodman (1964), and he recorded in the 1960s with Milt Jackson and Jimmy Smith. But it was his own records — for Onyx (1947-1948), Pacific Jazz, Contemporary (1960-1962), Prestige, Xanadu, Muse, SteepleChase, Timeless, and Antilles — that best displayed his playing and writing; “Sunset Eyes” is Edwards’ best-known original.

TeddyEdwards03Teddy Edwards, who took part in classic tenor battles with Dexter Gordon and Wardell Gray in Los Angeles during the mid- to late ’40s, remained a major tenorman for more than half a century. However, his decision to live in L.A. resulted in him being greatly underrated through the years. Fortunately, the superior hard bop tenor (who showed that there was more than just cool jazz being played on the West Coast in the 1950s) recorded on a fairly frequent basis throughout his career. This set features music from 1959-1960 with Edwards joined by either Amos Trice, Joe Castro or Ronnie Ball on piano, Leroy Vinnegar or Ben Tucker on bass, and Billy Higgins or Al Levitt on drums. Edwards, an underrated composer, performs six of his originals (including his most famous composition, “Sunset Eyes,” and two versions of “Takin’ Off”), Vinnegar’s “Vintage ’57,” and a pair of standards. Although there are short solos for Castro and Vinnegar, the focus throughout is on the leader’s distinctive and likable tenor. Since the great Teddy Edwards never recorded an uninspiring record, this date is easily recommended to fans of straight-ahead jazz. (by Scott Yanow)


Joe Castro (piano)
Teddy Edwards (saxophone)
Billy Higgins (drums)
Leroy Vinnegar (bass)
Ronnie Ball (piano on 01.)
Al Levitt (drums on 01.)
Amos Trice (piano on 03., 08. – 10.)
Ben Tucker (bass on 01.)

01. Tempo De Blues (Edwards) 4.46
02. Vintage ’57 (Vinnegar) 7.13
03. I Hear A Rhapsody (Fragos/Baker/Gasperre) 3.32
04. Up In Teddy’s New Flat (Edwards) 3.07
05. Sunset Eyes (Edwards) 5.27
06. Teddy’s Tune (Edwards) 6.11
07. Takin’ Off (Edwards) 6.33
08. The New Symphony Sid (King Pleasure) 2.16
09. My Kinda Blues (Edwards) 5.12
10. Takin’ Off (first version) (Edwards) 2.29




Theodore Marcus Edwards (April 26, 1924 – April 20, 2003)

Neil Linden & The Highlanders – The Pride Of Scotland (1970)

FrontCover1.JPGTaken from the original liner-notes:

“Neil Linden, Scotland´s all round entertainer is certainly an artist of great and varying taltent. He started his musical career whilst serving in the famous “Gordon Highlanders”. After attending the Royal Military School Of Music, he entertained troops in Germany and had his own programme on Radio B.F.N.  – Back in civvy street Neil toured the capitals of Europe including Moscow. After his return to the U.K. he appeared in B.B.C. T.V´s “Comedy Playhouse” and “White Heather Club”. Neil also represented Scotland in “World Show” and was voted Great Britain´s No. 1 virtuoso accordeonist and Jazz Clarinettist.

“The Highlanders” were formed in 1968 and all members are very close friends of the band leader. This album is a great collection of Scottish dances, many of which are Neil´s own compositions, performed in true Highland tradition.”

And so we hear some fine old tradtional scottisch tunes in a very “old fashinoned” style … enjoy and dance, if you want !


Neil Linden (accordeon, clainet)
The Highlanders conducted by Neil Linden


01. March Selection (Traditional) 3.59
– My Native Highland Home
– Bydand
– The Athol AndBreadalbine Gathering
02. The Aberdeen Waltz Medley (Traditional) 3.30
– The Northern Lights Of Old Aberdeen
– Aberdeen
03. The Hock Loch Pola (Linden) 1.36
04. Argyle´s Fancy (Traditional) 3.10
– Argyle Is My Name
– Doreen´s Delight
– Marget´s Fancy
05. Reel Selection (Traditional) 3.12
– Roxburgh Castle
– The Tweedsdale Reed
– Danny Nick Nack
– Hamilton Road
– The Marquis Of Tollibardine
– The Black Bear
06. Jig Selection
– Bonnie Dundee
– The Muckin’ O’ Geordie’s Byre
– The Cock O’ The North
– John’s Jig
– Major Moir Of Vale Voque
– Colhoun’s March
07. Whistling Rufus (Kerry/Mills) 2.28
08. Bluebell Polka (Traditional) 2.51
09. March, Strathspey (Linden/Neptun) 3.27
– Neil Linden Junior
– Mrs. Linden Strathspey
– Bonnie Scotland
10. Waltz Selection (Traditional) 2.49
– Rosebud By My Early Walk
– Lassie But Annie
– Loch Rannoch
11. Jig Selection (Linden/Lowes) 4.13
– Don And Betty Jig
– Heather Hills
– Debbie’s Jig N.




Wolfgang Dauner Group – Rischkas Soul (1972)

DaunerRischkasSoulFCWolfgang Dauner was brought up by his aunt, who was a piano teacher and gave him lessons from his fifth year. He first worked as a mechanic, but took up music professionally in 1957 when he was offered a tour with a commercial band. In 1958 he studied trumpet and piano briefly at Stuttgart College of Music, but as a jazz musician he was largely self-taught. Initially, Bill Evans was his main influence but Dauner’s restless energy and interest in experimentation and the theatrical side of performance soon led him to evolve his won musical climate and method of procedure. In 1963 he formed his own trio, with Eberhard Weber and Fred Braceful, and its unconventional performances caused a sensation at German festivals. He also worked with visiting American and European jazz stars, and had begun composing not only music, but also some bizarre, even outrageous events. In the second half of the 1960s e destroyed a violin and burned a piano on stage on one occasion, and on another he covered the heads of one of Germany’s most renowned choirs in nylon stockings so that they could only emit noises. During this period he devised and recorded Free Action, for a septet featuring Jean-Luc Ponty, Psalmus Spei, for choir and jazz group for the 1968 Berlin festival , and Dauner-eschingen, for jazz-soloists and choir for the 1970 Donaueschingen music festival. Since 1969 Dauner has led the Stuttgart radio jazz group, doing at least one broadcast a month with guest soloists such as Chick Corea, Ponty, Michal Urbaniak and Zbigniew Seifert. In 1970 he formed the group Et Cetera which combined electronics with rock rhythms.
For progressive rock enthusiasts we particularly recommend the albums RISCHKAS’S SOUL (recorded in 1969, published on Brain in 1972)

Fred Braceful (drums)
Wolfgang Dauner (keyboards, flute)
Siegfried Schwab (guitar)
Eberhard Weber (bass, cello)
Roland Wittich (drums)

01. Reading Machine (Dauner) 5.04
02. Kamasutram (Dauner/Manus) 3.50
03. Blues Far Out (Dauner/Manus) 3.40
04. Jive Samba (Adderly) 7.28
05. Flute-Woman (Dauner) 5.42
06. Just Bring It Out (Schwab) 4.18