'You're Gonna Miss Me' by The Thirteenth Floor Elevators Title screen. Opening scenes. Rob (John Cusack) listens to his headphones and narrates about misery in music.

His girlfriend Laura unplugs the headphones. 0:00 'You're Gonna Miss Me' by The Thirteenth Floor Elevators Rob puts the music back on loud and shouts at Laura through the window. 0:02 'I Want Candy' by Bow Wow Wow Rob remembers back to high school and Alison his girlfriend kissing another guy. 0:03 'Crocodile Rock' by Elton John Rob remembers Penny Hardwick.

0:04 'Crimson and Clover' by Joan Jett & The Blackhearts Young Rob tries to grope Penny on her breast but she stops him. 0:05 'Seymour Stein' by Belle & Sebastian Plays in Rob's record store as he asks Dick what it is.

Complete List of Songs. Crocodile Rock. Seymour Stein. Belle and Sebastian. Belle and Sebastian. Walking On Sunshine. Katrina and the Waves. Baby Got Going. Bruce Springsteen. Baby, I Love Your Way. Peter Frampton. I'm Gonna Love You Just A Little More. If you, as a music lover, haven't seen the movie yet, you'll know what to do. And for those who have seen the movie, prepare for nostalgic feelings. Today's Known from: a top 10 list (because 5 was too short) of music in High Fidelity. The 13th Floor Elevators - You're Gonna Miss Me Let's start with the.

Barry (Jack Black) arrives and turns it off. 0:07 'Walking On Sunshine' by Katrina and The Waves Barry puts this song instead and dances to it. Rob shouts at him to turn it off then does it himself. 0:08 'Baby Got Going' by Liz Phair Rob remembers a previous girlfriend, Charlie Nicholson (Catherine Zeta-Jones). 0:10 'Little Did I Know' by Brother JT 3 Rob starts working in the record store and smashes some wire off the desk. 0:12 'I'm Wrong About Everything' by John Wesley Harding Rob talks about Charlie being out of his league.

Favourite book. He gets a phone call from Laura. 0:12 'I Can't Stand The Rain' by Ann Peebles A customer asks Barry about 'I Just Called To Say I Love You' and gets insulted out the store. 0:14 'The River' by Bruce Springsteen Rob puts the record on in the apartment and listens to an answer phone message and thinks back to another girlfriend, Sarah. 0:17 'Baby, I Love Your Way' by Peter Frampton Rob goes to the Marie de Salle gig at a bar and this is the song she's performing. He meets up with Dick and Barry.

0:22 'Jesus Doesn't Want Me For A Sunbeam' by The Vaselines Barry invites Marie de Salle to their record store, Rob asks him why he did that. 0:24 'Baby, I Love Your Way' by Peter Frampton Rob puts on the Marie de Salle CD back at the apartment.

0:24 'Cold Blooded Old Times' by Smog Plays at the record store. Rob runs through his top 5 side 1 track 1's. Barry refuses to sell a record to a customer. 0:27 'On Hold' by Edith Frost Plays in the record store as Rob calls Liz. Dick tells Rob that Marie de Salle is in the store. 0:29 'Hyena 1' by Goldie Rob walks back to his apartment thinking about Ian.

He realises who it is. 0:30 'I'm Gonna Love You Just A Little More, Babe' by Barry White Rob imagines Ian having sex with Laura as he lies in bed. 0:32 'Always See Your Face' by Love Plays in the record store as a customer asks if they have soul. He gets a call and takes down an address.

Liz enters and shouts at him. 0:33 'Soaring and Boring' by Plush Rob drinks in a bar and watches a guy performing on a piano. 0:34 'Leave Home' by The Chemical Brothers Rob remembers meeting Laura for the first time as he DJ's at a club. 0:34 'Who Loves The Sun' by The Velvet Underground Rob looks through a box and gets out an old phone book to call his old girlfriend, Alison. 0:39 'Robbin's Nest' by Illinois Jacquet Rob has dinner with Penny and she gets very angry and leaves.

0:42 'Rock Steady' by Aretha Franklin At the record store Barry talks to a customer about Echo and the Bunnymen and Jesus and the Mary Chain. Dick talks to a girl about Green Day.

0:46 'Suspect Device' by Stiff Little Fingers Dick puts the song on to show the girl what he's talking about. 0:47 'Dry The Rain' by The Beta Band Rob puts on the song and watches the customers enjoying it. 2 shoplifters run out of the store with Rob and Barry chasing them. 0:47 'We Are The Champions' by Queen Rob leaves Laura boxing in the air. He wakes up in bed with Marie de Salle.

0:54 'I'm Glad You're Mine' by Al Green Rob meets Marie, Dick and Barry at a bar. 0:55 'Your Friend and Mine' by Love 2nd song in the bar, talking about a TV show. 0:55 'Shipbuilding' by Elvis Costello and The Attractions 3rd song in the bar, they talk about past partners.

0:56 'Tonight I'll Be Staying Here With You' by Bob Dylan Back at Marie's apartment they kiss. 0:56 'Get It Together' by Grand Funk Railroad Rob asks Barry about not seeing Evil Dead 2 yet. 0:58 'Fallen For You' by Sheila Nicholls Rob and Laura sit down in the bar.

He asks her if she's slept with Ian yet. Sweet Nuthin' by The Velvet Underground Rob jogs through the rain. Laura calls him when he gets home and talks to him.

He hangs up on her. 1:01 'This India' by Harbhajhn Singh and Navinder Pal Singh Rob has dinner with Liz who gives him some advice. 1:04 'Tread Water' by De La Soul Plays at the record store as Rob talks to Charlie on the phone.

She invites him over for dinner. 1:05 'The Moonbeam Song' by Harry Nilsson Rob realises Ian/Ray is in the record store. Rob shouts at him to leave. 1:06 'Juice (Know the Ledge)' Eric B. Bmw Navigation Firmware Update V32 Games Of Thrones there. And Rakim Rob tries to fight Ian/Ray as Barry and Dick hold him back. 1:08 'What's On Your Mind' by Eric B.

And Rakim Rob arrives at Charlie's house for dinner with her friends. 1:09 'Good and Strong' by Sy Smith 2nd song at dinner. Rob explains why Charlie is awful.

1:10 'Mendocino' by Sir Douglas Quintet Some guy asks Barry what he can play after seeing the sign on the door. The guys find out that Dick has a hot date. 1:11 'Most of the Time' by Bob Dylan Rob leaves the wake and walks in the rain. He sees Laura in the car and dives over the fence. 1:24 'I Get The Sweetest Feeling' by Jackie Wilson Rob and Laura get back together. She moves back in, dinner, six, etc.

1:29 'Lo Boob Oscillator' by Stereolab A customer, Caroline, asks Rob if it's Sterolab playing. He gets interrupted by a phone call from Laura. 1:31 'The Anti-Circle' by The Roots Rob bursts into the record store asking the guys about the poster saying he will DJ. 1:32 'Everybody's Gonna Be Happy' by The Kinks Rob tries to convince Barry not to play with his band. 1:32 'Homespin Rerun' (Cornelius Remix) by High Llamas Rob does his phone interview with Caroline. 1:34 'Hit the Street' by Rupert Gregson-Williams Laura meets Rob for a lunchtime drink.

1:35 'Let's Get It On' by Marvin Gaye Barry sings the song on stage with his band. 1:40 'I Believe (When I Fall In Love It Will Be Forever)' by Stevie Wonder Closing scenes. Rob starts making a tape that Laura will love. Continues into end credits. 1:42 'My Little Red Book' by Love 2nd song in end credits.

1:44 Is the song you're looking for not listed here? Try asking in the comments below.

Sometimes a song used within a film fits so perfectly that it would be criminal to imagine the scene it’s used in without it, whilst at the same time, a song can instantly remind a person of that very scene. The memorable songs played in films, whether serving as simple backing music or more directly infused within a scene can also have a direct and fundamental influence on a person’s overall musical taste.

A talented director and their carefully selected sound department’s record choices can serve as a great inspiration, educating audiences in certain genres of music that may have previously been unknown to them, in turn, opening up doors to a wider selection of music a person may consider themselves to be a fan of. Regardless of genre or decade, whether it’s a selection of new music, remastered workings, original songs, or the use of older songs that serve to teach younger audiences of the wonders of era-defining tracks, the close link between cinema and music has always been present, as the chosen music on a soundtrack serves to mould and influence the style and mood of a film, whilst also expertly crafting a remarkable soundtrack that can quite often be as cherished as its partnering film itself. This list does not take into consideration, instrumental scores (sorry John Williams, Hans Zimmer, James Horner and Ennio Morricone), nor does it make allowance for the inclusion of musicals or animated ode-heavy productions (this time sorry to all Disney productions, Blues Brothers, Grease, Les Miserables, The Sound of Music, Singin’ in the Rain and Mary Poppins), and finally, this list doesn’t account for music films that are solely platforms to showcase one artists songs (looking at you, Michael Jackson, Prince and The Beatles). Essentially, here are the best mix tapes compiled for a movie soundtrack. Lost Highway (1997) David Lynch’s peculiar “Lost Highway”, much like a number of his perplexing films, has built an impressive cult following over the past 20 years since its release, thanks to it blending of neo-noir, psychological thriller and horror aspects, as well as its dark, industrial rock soundtrack, produced by the Nine Inch Nails frontman Trent Reznor who has since become a pioneering genius in the construction of a number of remarkable film scores. Away from the films haunting score, which was produced by Reznor, along with long term Lynch collaborator Angelo Badalamenti, and Barry Adamson, “Lost Highway” compiled a collection of evocative tracks that perfectly embodied the haunting composition of the gothic film.

The album itself proved to be a surprising critical success, going on to sell over half a million copies worldwide. As the penetrative film’s opening sequence begins with David Bowie’s weirdly poignant synth track “I’m Deranged”, it later reuses a different edit of the track during the end credits, whilst the rest of the soundtrack is made up of a number of industrial rock and metal tracks from Marilyn Manson, Rammstein, Smashing Pumpkins, along with Reznor’s Nine Inch Nails, that to this day personify 90’s rock music reminiscence, making the right aged audience want to dig out their baggy hoodies and chain/ wallet combination.

Best Song – Nine Inch Nails – “The Perfect Drug” (1997) 19. Pretty in Pink (1986) Now a frequent TV show director, this was Howard Deutch’s first attempt at filmmaking, “Pretty in Pink” is a romanticised tale of an outcast teenage girl and her rise to high school fame thanks to the attention of a rich jock boy, whilst simultaneously her faithful best friends affections go unnoticed. A formula that has been used on a number of occasions since, in turn, along with writer John Hughes’ other penned films, “The Breakfast Club”, “Ferris Bueller’s Day Off” and “Sixteen Candles” it has since been considered a cornerstone of the teen comedy genre.

What all the writer’s successful teen comedies during the 1980’s have in common is the fundamental requirement for an upbeat, relatable soundtrack, that is full of loveable new wave pop songs that will pull at the heart strings of their target audience. This was never achieved quite as impressively as it was in “Pretty in Pink”, using a number of psychedelic synth harmonies that were both blissful and catchy, each song served as a perfect commentary to Molly Ringwald’s lead, Andie’s confusing high school life. Each track, an embodiment of awkward teenage life and their attitudes, whether that be portraying sadness, antipathy, melancholia, or trying to be cool and fit in, each track fit the bill, including numbers from Orchestral Manoeuvres in the Dark, The Smiths, New Order, Echo & The Bunnymen, INXS, and the titular “Pretty in Pink” by The Psychedelic Furs. Best Song – Echo & The Bunnymen – “Bring on the Dancing Horses” (1985) 18. The Big Lebowski (1998) “The Big Lebowski” in true Coen Brothers fashion has a stylised opening sequence accompanied by Bob Dylan’s harmonious “The Man In Me”, which is then later reused as backdrop in a psychedelic hallucination scene, following the lead character being knocked unconscious during an immoral crime resulting in a stolen rug. It is melodic symphonies such as this Bob Dylan track that sets the entire tone of the film, taking the lead character Jeff Lebowski, otherwise known as The Dude’s laidback mentality of life and channelling it further through the means of musical selection.

In a film that makes being a layabout slacker with a penchant for bowling and White Russians a highly desirable career path, it revels in its relaxed feel good mannerisms. “The Big Lebowski” has a number of sun soaked guitar hits that depict the cool and calm nature of California living, and more importantly, the attitude of The Dude himself, including, Eagles “Peaceful Easy Feeling”, Creedence Clearwater Revival’s “Lookin’ Out My Back Door”, Elvis Costello’s “My Mood Swings” and Gipsy King’s Spanish infused mix of Eagles classic track “Hotel California”. Its most notable song selection however is the inclusion of country legend Kenny Rogers’ catchy “Just Dropped In (To See What Condition My Condition Was In)”, an effortlessly cool track that is said to be about the dangers of LSD consumption, here functioning as a perfect fitting theme tune for a bizarre and delirious dream sequence, involving a number of suggestive bowling innuendos and hilarious dance moves, that in turn serves as a charming front for a sexual encounter between Jeff Bridges’ lead and Julianne Moore’s unrelated Maude Lebowski.

Best Song – Kenny Rogers – “Just Dropped In (To See What Condition My Condition Was In)” (1967) 17. American Pie (1999) The divisive “American Pie” franchise has consistently proved itself to be a fundamental pioneer in alternative music, giving a much deserved stage to a number of adored rock bands from across the globe to provide their work to the energetic teen comedy films, most notably that of the pop punk sub-genre. As many pop punk bands such as Blink 182, Sum 41, Sugar Ray, Goldfinger, American Hi-Fi, Lit and The Offspring along with many others have contributed to the franchise’s soundtracks over the years.

Whilst the calibre of films within the “American Pie” franchise have no doubt declined as the years have passed, the original entry, a staple of modern pop culture, served as a hilarious gross out comedy with a number of remarkable scenes that won’t be forgotten in a hurry. As well as serving as an educational and terrifying introduction into puberty for many of teens in the early 2000’s, the film at times provided a lot of heart, most notably through the main character Jim’s dad, played by Eugene Levy and his compassionate desire to connect with his son and guide him through the difficult time in his life. The film’s influential soundtrack was perfect for its era, seamlessly summing up the alternative music scene between the late 90’s to early 2000’s, essentially through Blink 182’s highly underrated album track “Mutt” and the inclusion of Canadian rock band The Barenaked Ladies exceptionally unique flagship track “One Week” which was also used in another teen comedy “10 Things I Hate About You” in the same year. Best Song – Barenaked Ladies – “One Week” (1998) 16. The Royal Tenenbaums (2001) Along with his Music Supervisor Randall Poster, Wes Anderson’s propensity for song miscellany has been applauded over the years, most markedly, in the animated “Fantastic Mr.

Fox”, as well as “The Life Aquatic with Steve Zissou”, “Rushmore”, and debatably their finest hour in ditty selections, “The Royal Tenenbaums”. Anderson’s artistic style rarely fluctuates, opting for a unique and unusual flair of flamboyance and elegance, whilst permeating a soft glowing feeling of warmth and comfort, which is never more apparent than in his visual camera pallet, and jubilant soundtracks. Its best song choices are the inclusion of Nico’s cosy sounding “These Days” which plays over the slow motion introduction of Gwyneth Paltrow’s fascinating Margot Tenenbaum, a character adored in the real life world of fashion, as well the profoundly heart breaking track “Needle in the Hay” by Elliot Smith, which floods a harrowing scene with depth in which Richie Tenenbaum locks himself in the bathroom and attempts to commit suicide, a truly powerful collaboration between song and cinema. The film also includes the songs, “Me and Julio Down by the Schoolyard” by Paul Simon, “Stephanie Says” by The Velvet Underground, The Ramones “Judy is a Punk”, “Police & Thieves” by The Clash, Bob Dylan’s “Wigwam” and John Lennon’s emotional “Look at Me”. Further listening will find lesser known golden tracks from Emitt Rhodes and Nick Drake. Best Song – Paul Simon – “Me and Julio Down by the Schoolyard” (1972) 15. Drive (2011) Nicolas Winding Refn’s 80’s motivated ultra-violent slow burner “Drive” has a highly distinctive style, combining era inspired music and slick, stunning visuals, it was a surprise indie hit in mainstream cinema, no doubt thanks to its compelling lead man Ryan Gosling as well as its bestselling soundtrack which has been critically applauded.

It opens with Kavinsky’s catchy synth pop track “Nightcall” featuring vocalist Lovefoxxx, beautifully accompanied by its remarkable bright blue visual tones and hot pink lettered titles. It’s character and tone are exquisitely defined by its gorgeously executed cinematography and its compelling music from this opening scene as the driver navigates the city streets, until the end credits roll, the selected records tell as much of the story as the film’s narrative and often subdued lead man, forming a story told in an almost opera format that builds to its final climatic crescendo.

The neo-noir inspired film’s wrap around song is College & Electric Youth’s adored melody “Real Hero”, which stands as a stunning standalone track, whilst pumping emotional life into a number scenes, telling the tale of a flawed anti-hero with compassion and human investment, that despite all odds, looks beyond other’s faults to help them. As well as a gripping score from Cliff Martinez, its other great music selections includes, Desire’s enchanting “Under Your Spell”, The Chromatics “Tick of the Clock” and the absorbing “Oh My Love”, an opera composition by Riz Ortolani and Katyana Ranieri previously used on 1971’s Italian film “Goodbye Uncle Tom”. Best Song – College & Electric Youth – “A Real Hero” (2011). I would have included American Graffiti (which I see in the honorable mentions list), mostly because the movie was as much about the songs as it was about the story and images. The musical choices were not especially innovative or edgy, but this was a story about the last night of the last summer these kids would spend together and the music is what they would have been listening to on their car radios. The DJ, Wolfman Jack, was as much a character as any of the kids. I’m also a big fan of the Inglorious Basterds soundtrack, but I know it bothered some people because Tarantino incorporated contemporary music into a film about WWII.

Still, I thought that the pairing of Shoshonna’s burning of the theater and David Bowie’s Cat People was truly brilliant.

Music Department. Music playback operator. Music supervisor. Music coordinator.

Music supervisor. Music engineer. Orchestral contractor.

Supervising music editor. Music editor (as Shari Schwartz). Score engineer.

Song writertrack. Music editor. Supervising production music engineer / supervising production music mixer. Score engineer. Music supervisor. Music engineer / production music mixer.

Music supervisor. Score engineer.

Conductor / music arranger. Music business and legal affairs. Production accountant. Production assistant. Production assistant. Production assistant.

Production secretary. Assistant: Mr. Assistant: Mr. Script clearance administrator.

Set production assistant: Chicago. Laboratory contact.

Payroll accountant. Production assistant (as Joanna Mickey). Executive: Working Title Films. Craft service. Craft service assistant.

Production assistant. Post-production accountant. Dialect coach. Production assistant (as Eric Heisner). Production coordinator. Title producer. Script supervisor.

Coordinator: Working Title. Production consultant. Coordinator: New Crime Productions. Production assistant. Stand-in: John Cusack. Title designer.

Assistant production coordinator. Production assistant. Production assistant. Production assistant.

Assistant to mr. Devincentis and mr. Pink (as Melissa Sadoff). Production assistant.

Unit publicist. Production assistant. Second assistant accountant. Laboratory contact. Assistant: Mr. Assistant script clearance administrator (as Connie Wang).

Title typography. First assistant accountant. Production assistant: additional (uncredited). Film extra (uncredited). Production assistant (uncredited).

Production assistant (uncredited). Other Companies • (production housing) • (camera cranes) • (camera dollies) • (sound transfer) • (lighting and grip) • (production offices) • (production services) • (cast trailers) • (score recorded at) • (sound re-recording) • (music recorded at) • (payroll services) • (title sequence) • (catering) • (catering) • (soundtrack published by) • (editing equipment) • (adr voice casting) • (film opticals) • (title sequence: digital effects) • (payroll) • (post-production) • (negative cutting) • (telecine transfers). Storyline Plot Summary Thirty-something Rob Gordon, a former club DJ, owns a not so lucrative used record store in Chicago. He not so much employs Barry and Dick, but rather keeps them around as they showed up at the store one day and never left. All three are vinyl and music snobs, but in different ways. Rob has a penchant for compiling top five lists.

The latest of these lists is his top five break-ups, it spurred by the fact that his latest girlfriend, Laura, a lawyer, has just broken up with him. He believed that Laura would be the one who would last, partly as an expectation of where he would be at this stage in his life. Rob admits that there have been a few incidents in their relationship which in and of themselves could be grounds for her to want to break up. To his satisfaction, Laura is not on this top five list. Rob feels a need not only to review the five relationships, which go back as far as middle school when he was twelve, and try to come to terms with why the woman, or girl as the case may be, left him, but also, in the words of Charlie Nicholson, number four on the list, 'what it all means' for why he has ended up where he is, which is nowhere, personally or professionally, close to what he envisioned. He also has to come to terms with what it means that Laura has moved on to Ian Raymond, a man for who neither had any respect when they were together. • • Plot Keywords • • • • • • Taglines Let's get it on.

Maybe tonight. Genres • • • • Parents Guide Certification • • • • (DVD rating) • • • • • (bw) • • • • • • • • • • • • • • (canton of Geneva) • (canton of Vaud) • •. Did You Know?

Trivia John Cusack and the screenwriters wrote the script with Jack Black in mind for the role of Barry. He nearly turned the role down, but reconsidered. Goofs 'Janie Jones' by The Clash is listed as a 'side one, track one.' While it is indeed the first track on The Clash's British debut album, and the book was set in England, the film was moved to the USA, where the album started with 'Clash City Rockers.' But as record geeks, they would have been familiar with the British album as well, and could well have regarded it as the true debut album. Movie Connections Featured in (2002). Soundtracks You're Gonna Miss Me Crazy Credits Catherine Zeta Jones is only credited in the final cast list and not in main credits Quotes [ first lines]: What came first, the music or the misery?

People worry about kids playing with guns, or watching violent videos, that some sort of culture of violence will take them over. Nobody worries about kids listening to thousands, literally thousands of songs about heartbreak, rejection, pain, misery and loss. Did I listen to pop music because I was miserable? Or was I miserable because I listened to pop music?