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- The Reservoir Dogs opening sequence with "Little Green Bag" by George Baker Selection playing as the characters walk by looking (super fucking) cool.
- Also: "Stuck In The Middle With You". Gives a whole new meaning to the term Ear Worm, doesn't it?
- Joe Tex's "I Gotcha", during the scene where they're beating up Nash.
- Pulp Fiction has one of the most powerful kick-ins of all film - Misirlou!
- Son of a Preacher Man by Dusty Springfield. The music fits perfectly with the scene.
- Surf Rider finished the film awesomely.
- Al Green's "Let's Stay Together", during that great scene in the beginning between Butch and Marcellus.
- "Girl you'll be a woman soon".
- Jackie Brown kicks off with Across 110th Street, a song inspirational even to the whitest of honkies.
- Strawberry Letter #23 by The Brothers Johnson, during the scene where Ordell bumps off Beaumont.
- Street Life by Randy Crawford, when Jackie arrives at the mall before the climax.
- That song that plays when Ordell is waiting at Sheronda's place at the end.
- Bill Withers' "Who Is He, And What Is He To You?".
- Bang Bang (My Baby Shot Me Down) by Nancy Sinatra, over the opening credits. The minimalism of the song only increases the anticipation for the bloodshed ahead. Plus, the guitar is awesome.
- Battle Without Honor Or Humanity by Tomoyasu Hotei is famed for its use in fight scenes in Kill Bill. As said in xkcd, it makes anything and everything better.
- Not on the soundtrack, but still awesome, Death Rides a Horse (originally written for the movie of the same name), which plays when the Bride calls out O-Ren Ishii.
- Also the re-use of Ennio Morricone's "L'Arena" (originally written for The Mercenary) for the Bride's escape.
- Another Morricone piece, "The Demise of Barbara and the Return of Joe" (taken from Navajo Joe) is beautifully used for Bill's final moments. As he makes his exit, the music swells, the drums roll and the One-Woman Wail picks up to give him the sendoff he deserves.
- The Lonely Shepherd, which plays when Beatrix gets her Hattori Hanzo sword, then again in the ending credits of Vol 1.
- Morricone's A Silhouette Of Doom, used masterfully for the confrontation between Beatrix and Elle Driver.
- Santa Esmeralda's Please Don't Let Me Be Misunderstood, particularly the use of the instrumental break in the song as a lead-in to the Bride's battle with O-Ren Ishii.
- Again, not on the soundtrack, but "Nobody But Me" by The Human Beinz, during the Crazy 88 fight.
- The songs by Meiko Kaji that were featured at the ends of both movies: Shura no Hana aka Flower of Carnage (which begins to play as Beatrix defeats and kills O-Ren) and Urami Bushi aha Grudge Song.
- Down in Mexico by The Coasters. The scene would be a lot sexier if she wasn't dancing for an aged Kurt Russell, but still...
- Hold Tight by Dave Dee, Dozy, Beaky, Mick, and Tich.
- It's So Easy by Willy DeVille.
- That theme that plays when Kim, Zoe, and Abby are chasing Stuntman Mike is all kinds of awesome!
- "Jack and Jill" is a really touching song, just a lonely melancholic piano playing in a moment of passiveness. You won't really thing it would be THAT kind of Mood Whiplash after watching the rest of the movie, but...
- April March's "Chick Habit" over the end credits.
- The theme to The Battle of Algiers which Quentin Tarantino used in Inglourious Basterds.
- David Bowie's "Cat People" as used in Inglourious Basterds. Should be completely out of place, but fits perfectly and creates amazing atmosphere.
- If you ever have the chance to have theme music announcing your arrival anywhere, you want it to be "The Verdict". You know it's true. Tarantino and Ennio Morricone cannot be denied.
- Hugo Stiglitz *DUH NEHHHHH*
- "One Silver Dollar"; there's just something so damn sexy about Mélanie Laurent sitting in that cafe, reading a book and smoking a cigarette, while that song plays.
- The Main title theme from White Lightning, a Burt Reynolds film from the 70s.
- The Payback/Untouchable, a mix-up of Tupac and James Brown. Plays during the first shoot-out at Candieland.
- THE Django theme. From Django. And damn if it doesn't hold up after forty-six years.
- Un Monumento by Ennio Morricone, an epic in the vein of "The Ecstasy of Gold" and just as powerful.
- Freedom by Anthony Hamilton & Elayna Boynton. Sets the tone for Django and his mission of vengeance.
- John Legend's "Who Did That To You?" during Django's escape from the Aussie's near the end, starting up the instant QT blows up.
- "Dies Irae" (Day of Wrath) from Giuseppe Verdi's Requiem Mass, as arranged by Masamichi Amano for Battle Royale, used in the ur-KKK scene.
- Django has been freed, and is finally making an honest living, to the tune of Jim Croce's "I Got a Name."
- Django's vengeance upon the Brittle Brothers early on in the movie is underscored with Luis Bacalov's "La Corsa."
- Trinity (Titoli) which plays right before, during, and after Django blows Candyland to smithereens.
- "Too Old To Die Young" by Brother Dege, which plays when Django takes vengeance for D'Artagnan upon Candie's trackers.
- Jerry Goldsmith's cue from the 1983 film Under Fire was used in this scene: "Nicaragua".
The Hateful 8
- The simple fact that Q was able to convince Ennio Morricone to compose his first original Western score in decades should be awesome enough. If not, the fact that it won him a Golden Globe and his first Oscar definitely is.