Various Artists - Jackie Brown Original Motion Soundtrack (Limited Edition Blue Vinyl)

Jackie Brown: Music from the Miramax Motion Picture is the soundtrack to Quentin Tarantino's motion picture Jackie Brown. It was originally released on December 9, 1997. The film's score was composed by James Newton Howard. The soundtrack uses a variety of music genres, including soul. The soundtrack also includes dialogue from the motion picture and a lack of typical film score, similar to the other soundtracks of Tarantino films. ON LIMITED EDITION - BLUE VINYL

Quentin Tarantino established himself as one of the few filmmakers to effectively use pop music with his first film Reservoir Dogs, a movie where the music was integral to the success of the film yet also worked well as a collection of songs. Jackie Brown, Tarantino's long-awaited third feature, finds him exploring new territory, creating an homage to blaxploitation flicks as well as a surprisingly subtle character study and love story, and its soundtrack appropriately finds him in new territory as well. The soundtrack still features snippets of dialogue, which simply aren't as effective separated from the film as those from Pulp Fiction, but the unified collection of '70s soul and funk is refreshing. He has wisely selected a batch of songs that haven't been worn out by oldies radio, building the bulk of the album with cult favorites like Bobby Womack's "Across 110th Street," Bill Withers' "Who Is He (And What Is He to You?)," Randy Crawford's "Street Life," Minnie Riperton's "Inside My Love," the Vampire Sound Inc.'s "The Lions and the Cucumber" and Pam Grier's "Long Time Woman." Only "Didn't I Blow Your Mind This Time," "Strawberry Letter 23" and "Natural High," as well as the Grass Roots' "Midnight Confessions," are familiar oldies items, but they play an integral part in the film itself and help make the soundtrack a thoroughly enjoyable, compulsively listenable experience.

Tarantino has said that in developing the script for Jackie Brown, he decided on the majority of the songs during the writing stage. He added:

"More or less the way my method works is you have got to find the opening credit sequence first. That starts it off from me. I find the personality of the piece through the music that is going to be in it [...] It is the rhythm of the film. Once I know I want to do something, then it is a simple matter of me diving into my record collection and finding the songs that give me the rhythm of my movie."