And then on this, it was something I had written into the script about the idea that Baby makes these mashups of dialogue from the movie. So he told me, "If you could put it onto vinyl, I could do something with it." We actually pressed it onto vinyl and then sent that to Kid Koala and he sent us back this remix of "The Gonk." He also did stuff for me on Scott Pilgrim he was one of the musicians on the score for that. I said, no I think it was just a CD track. So I got in touch with him through Ninja Tune, and spoke to him on the phone, and the only thing he requested was if there was vinyl of it. I hadn't met him at this point, but I wanted to use Herbert Chapell's "The Gonk" from Dawn of the Dead in the movie. I've been working with him in various ways since Shaun of the Dead. Kid Koala is somebody who I have been a fan of for years. And then there's the Detroit Emeralds' "Baby Let Me Take You (In My Arms)," which was used for De La Soul's "Say No Go." But then I wanted to flip it the other way, so when "Know How" kicks in, I wanted people to think it was Shaft. Then "The Edge" by David McCallum, which was sampled by Dr. The idea of wrong-footing the audience a little bit: They hear the intro to "Harlem Shuffle" and half the audience are expecting "Jump Around" by House of Pain to start up.
#Baby driver soundtrack with scenes movie
It comes late in the film, and by that point in the movie there had been quite a few songs that had been sampled for famous hip-hop songs. It's funny, because people are sort of amazed that we used that song instead of "Bust a Move," but I didn't really know that one.
And then Young MC starts rapping, and I was like, "What is this?" Meanwhile, people are on the dance floor going nuts. So I went into this nightclub for the first time and I heard what I thought was Isaac Hayes's "Theme From Shaft" playing. I was in art college, and it was one of the first times I'd ever been to a nightclub. And I think when you listen to Sheer Heart Attack, you get songs that are all of them pulling together and then you get songs where the different members are showing what they can do on their own. They were an odd band in terms of the push and pull of what its members wanted to do, especially in the context of what Freddie Mercury wanted to do and what Brian May wanted to do.
But on Sheer Heart Attack, you can hear some of the separate personalities of the band members emerge. Queen I and II, which I like, are more of a nascent version of them especially the second one, which feels very concept-y. It was after those first two albums and before A Night at the Opera, and it was the first time they were firing on all cylinders and gave us a hint of the band they were going to become.
#Baby driver soundtrack with scenes full
I'm a big Queen fan, full stop, but I think Sheer Heart Attack is my favorite album of theirs. And each song plays as important a role in driving the narrative as the actors involved (Jon Hamm, Jamie Foxx, Lily James, and a top-notch Kevin Spacey), in many ways speaking on behalf of the quiet, reserved boy nicknamed "Baby"-this conflicted angel of a human being who transforms into an absolute demon behind the wheel once those headphones are on.Įsquire spoke with Wright about the significance of a few standout tracks off the 30-song collection for the movie he's always wanted to make, and how they factored into his own personal history as a ravenous music appreciator. The World is breathtaking in its scope and knowledge base, on par with such equally indelible double-LP soundtracks as American Graffiti, Casino, and Marie Antoinette, bursting at the seams with key songs from a diverse array of acts including The Modern Lovers, The Beach Boys, The Damned, The Commodores, Sam & Dave, Carla Thomas, T.Rex, Beck, Focus, Barry White, Run The Jewels and then some. The song list compiled by the acclaimed director of such cult faves as Shaun of the Dead, Hot Fuzz, and Scott Pilgrim Vs. And perhaps no other film of its kind moves quite like Edgar Wright's Baby Driver, the tale of a young man (Ansel Elgort) employed as the getaway driver for a dangerous crime syndicate who drowns out the tinnitus he suffers from by soundtracking his adventures with the many iPods he's acquired from his days as a juvenile car thief.
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