Ennio Morricone - The Demise of Barbara and The Return of Joe [Navajo Joe / Kill Bill Volume 2]

Originally a track used in Sergio Corbucci’s Navajo Joe, this piece of sublime music was co-opted by Tarantino for the climax of Kill Bill Vol.2 in which The Bride achieves what she was threatening to do since Vol.1.

Morricone strikes again.

I love how the silence is interrupted by the sound of the water pump intermittently dumping its contents and then beginning the whole process once again. Brilliant.

Obviously you can’t hear the water pump in the gif. But take my word for it, it’s good.

Meiko Kaji - Urami Bushi [Kill Bill Vol. 2]

You’re beautiful, you’re the flower, he praises you.
But if you bloom, he will get you scattered.
Stupid. So stupid.
I go so stupid singin’ my grudge blues.

You can accept your pitiful fate.
But when you cry, he’ll make you cry more.
Women, oh women,
It’s women’s tears that makes my grudge blues.

I hate you. Full of regret, never forgiven.
Try to erase my memory, but cannot forget you.
It never ends, never,
It never ends, ‘cause that’s my grudge blues.

They say it’s a dream, embers of one-sided attachment,
laughing at you.
So you decide to wake up, but fear to be fully awake.
Women, oh women,
Women’s soul beats on my grudge blues.

Crimson roses have its sharp thorns.
Don’t wanna hurt you, but have to stab you with my thorn.
Burning, it’s burning,
It keeps on burning within my grudge blues.

No flower would bloom on my dead body.
So I will live along hanging on my grudge.
Women, oh women,
My woman’s life belongs to my grudge blues.

Robert Rodriguez - Budd’s Lonely Trailer [Kill Bill: Volume 2]

The first time I heard this particular track, I thought it was by Ennio Morricone. Much to my surprise I discovered Robert Rodriguez had composed it & I must say he does an admirable job of creating something that approaches the quality of Mr. Morricone’s work. It’s certainly my favourite track from KB:V2 - which is a feat in itself considering the amazing music featured in both Kill Bill movies.

Rodriguez perfectly captures Budd’s isolation via the sparse use of instrumentation; a few notes on an electric guitar, a couple of seconds of flute, and the dramatic sounds of an organ, lend the music a haunting quality that is mirrored in Budd’s secluded existence.

It’s bloody awesome ain’t it?