Okay, I cringed but I kept on reading, and then I thought I should write something, lest your post be greeted with that horrible wall of silence we've all experienced from time to time on this blog. Though I'm not a great fan of country rock, I'm open minded and in possession of a turntable so I encourage you to bring some Gene Clark and Steven Stills to the next cd/music club, Stuart.

I asked for submissions for music from films and then quietly buggered off for the rest of the week, which I will blame as always on my hectic travel sched. Since I'm back in the office for the rest of the month, I have no such excuse for the next week or so.

There are probably some good all time greats like Mrs. Robinson or Night Fever that I could mention but these seem a little obvious so I'll go with some more recent choices:

-Jaan Pehechaan Ho - Mohammed Rafi (‘Ghost World’) - great way to start off a film and set the tone
-Trees Lounge – Hayden (‘Trees Lounge’) - while it appeared only at the end, it seemed to sum up the general feeling of the film and the slack desperation of Steve Buscemi's character
-Fight the Power – Public Enemy (‘Do the Right Thing’) - again, an opening credits sequence, set to a young woman dancing, signaled the forthcoming bombastic and righteous storyline to follow
-Miss Misery - Elliot Smith ('Good Will Hunting') - there were a few more of his tracks sprinkled throughout the film but this was the one that was nominated for an award and was consistent with the turmoil and tension between Matt Damon and Minnie Driver's characters (how do we keep working this woman into the blog....)

Gotta say I love the Lulu pick, would agree that most of the Tarantino soundtracks are solid and that there's a big difference between a song that is tacked onto the soundtrack (ie. U2's "Hold Me Thrill Me Kiss Me Kill Me" from Batman Forever, which is a decent enough song, but had nothing to do with the movie--not that its inclusion would have improved the film as a whole) and one that enhances the scene in which it plays (ie. the original music by György Ligeti and Jocelyn Pook in the underappreciated 'Eyes Wide Shut', without which, the nerve-wracking creepiness in almost every scene wouldn't have been half as palpable).