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Track List
01) Main Title
02) Blame Shifting
03) Oye
04) These Boots Are Made for Walkin'
05) 10% Clint
06) Leroy's Morning
07) Why Can't We Be Friends?
08) Want Our Life Back
09) Frank's Dead
10) You're Nobody 'til Somebody Loves You
11) Jerry and Ted to Pawn Shop
12) The Mexican
13) Airport
14) Safety Dance
15) El Cable
16) Margolese Compound
17) Where's My Stuff
18) Thieves
19) A Good F'ing Reason
20) It's Cursed, That Gun
21) Oye, Oye
22) A Miracle
23) End Credits Medley - The Mexican
01) Main Title
02) Blame Shifting
03) Oye
04) These Boots Are Made for Walkin'
05) 10% Clint
06) Leroy's Morning
07) Why Can't We Be Friends?
08) Want Our Life Back
09) Frank's Dead
10) You're Nobody 'til Somebody Loves You
11) Jerry and Ted to Pawn Shop
12) The Mexican
13) Airport
14) Safety Dance
15) El Cable
16) Margolese Compound
17) Where's My Stuff
18) Thieves
19) A Good F'ing Reason
20) It's Cursed, That Gun
21) Oye, Oye
22) A Miracle
23) End Credits Medley - The Mexican
0:52
0:58
1:34
2:43
1:10
1:40
3:52
1:31
2:51
1:59
1:27
2:14
2:21
4:34
2:19
1:03
1:01
1:11
1:16
3:24
1:33
2:28
5:02
Data Complete
60%
Total Rating
60%Total Rating
(0 users)
Back Cover
CD Art
3D Case
3D Thumb
3D Flat
3D Face
3D Spine
First Released
2001
OST
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Classical
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Album
0 copies
Album Description
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Having pulled often-stellar duty in both genres for many a year, film-scoring vet Alan Silvestri should know if the show-biz adage that drama is easy, it's comedy that's hard is true. For the Brad Pitt/Julia Roberts comic-romantic adventure The Mexican (the title refers to an antique pistol that must be smuggled back across the border), Silvestri taps a little of his recent history--and some sage genre insight--to conjure up a breezy, playful score that evokes everything from Leone's Dollars trilogy and traditional Mexican folk music to pastoral jazz flourishes and club kitsch. But a decidedly Morricone-meets-Bacharach sensibility prevails throughout, with the composer often lovingly tweaking the familiar banjo, harmonica, and choral clichés of the spaghetti Western into music that is refreshing even as it is strangely familiar. A handful of pop songs adds another layer of loopiness to the proceedings--especially the remix of Men Without Hats' chestnut from the early 1980s, "The Safety Dance," and the sprightly "El Cable" by Mexican exotica master Esquivel.
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Having pulled often-stellar duty in both genres for many a year, film-scoring vet Alan Silvestri should know if the show-biz adage that drama is easy, it's comedy that's hard is true. For the Brad Pitt/Julia Roberts comic-romantic adventure The Mexican (the title refers to an antique pistol that must be smuggled back across the border), Silvestri taps a little of his recent history--and some sage genre insight--to conjure up a breezy, playful score that evokes everything from Leone's Dollars trilogy and traditional Mexican folk music to pastoral jazz flourishes and club kitsch. But a decidedly Morricone-meets-Bacharach sensibility prevails throughout, with the composer often lovingly tweaking the familiar banjo, harmonica, and choral clichés of the spaghetti Western into music that is refreshing even as it is strangely familiar. A handful of pop songs adds another layer of loopiness to the proceedings--especially the remix of Men Without Hats' chestnut from the early 1980s, "The Safety Dance," and the sprightly "El Cable" by Mexican exotica master Esquivel.
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