This article is within the scope of WikiProject Albums, an attempt at building a useful resource on recordings from a variety of genres. If you would like to participate, visit the
project page, where you can join the project and/or contribute to the
discussion.AlbumsWikipedia:WikiProject AlbumsTemplate:WikiProject AlbumsAlbum articles
By all accounts, Pulp Fiction was one of the best films of 1994 (shut out by Forrest Gump no less) and the soundtrack reached No. 21 on the Billboard 200, and at the time, went platinum [100,000 units] in Canada alone.[1] By November, 12, 1994, total sales of more than 1.6 million were reached[2] and by 1996 over 2 million units had been sold.[3] The soundtrack also helped launch the band
Urge Overkill into a mainstream market, and in 1995 the soundtrack reached No. 6 on the charts according to SoundScan.[4] Sony "received a nice sum" for "
Son Of A Preacher Man"[5] and
Kool & The Gang enjoyed a resurgence when "
Jungle Boogie" was released on the soundtrack. [6]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."[7] 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," says 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."[8] In 1997, Gary Thompson of The Philadelphia Inquirer claimed that Pulp Fiction "reinvigorated
surf rock"[9] and his claims were echoed by many others. 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.[10] Amazingly, 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."[11] I could go on and on, but what would be the point? The soundtrack was and is notable, for many reasons. —
Viriditas |
Talk00:09, 17 May 2007 (UTC)reply
This article is within the scope of WikiProject Albums, an attempt at building a useful resource on recordings from a variety of genres. If you would like to participate, visit the
project page, where you can join the project and/or contribute to the
discussion.AlbumsWikipedia:WikiProject AlbumsTemplate:WikiProject AlbumsAlbum articles
By all accounts, Pulp Fiction was one of the best films of 1994 (shut out by Forrest Gump no less) and the soundtrack reached No. 21 on the Billboard 200, and at the time, went platinum [100,000 units] in Canada alone.[1] By November, 12, 1994, total sales of more than 1.6 million were reached[2] and by 1996 over 2 million units had been sold.[3] The soundtrack also helped launch the band
Urge Overkill into a mainstream market, and in 1995 the soundtrack reached No. 6 on the charts according to SoundScan.[4] Sony "received a nice sum" for "
Son Of A Preacher Man"[5] and
Kool & The Gang enjoyed a resurgence when "
Jungle Boogie" was released on the soundtrack. [6]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."[7] 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," says 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."[8] In 1997, Gary Thompson of The Philadelphia Inquirer claimed that Pulp Fiction "reinvigorated
surf rock"[9] and his claims were echoed by many others. 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.[10] Amazingly, 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."[11] I could go on and on, but what would be the point? The soundtrack was and is notable, for many reasons. —
Viriditas |
Talk00:09, 17 May 2007 (UTC)reply