21 Grams (Score) [Soundtrack]

Gustavo Santaolalla | Format: Audio CD

Product Details

• Audio CD (December 9, 2003)
• Original Release Date: December 26, 2003
• Number of Discs: 1
• Format: Soundtrack
• Label: Varese Sarabande
• ASIN: B0000UJM36
• Average Customer Review: 4.3 out of 5 stars  See all reviews (9 customer reviews)
• Amazon Best Sellers Rank: #125,309 in Music (See Top 100 in Music)

Track Listings

1. Do We Lose 21 Grams?

2. Can Things Be Better?

3. Did This Really Happen?

4. Cut Chemist Suite

5. Should I Let Her Know?

6. Can Emptiness Be Filled?

7. Shake Rattle and Roll

8. Can I Be Forgiven?

9. Low Rider

10. Is There a Way to Help Her?

11. Does He Who Looks for the Truth, Deserve the Punishment for ...

12. You're Losing Me

13. Can Dry Leaves Help Us?

14. Can We Mix the Unmixable? [Remix]

15. Can Light Be Found in the Darkness?

16. When Our Wings Are Cut, Can We Still Fly?

Editorial Reviews

Amazon.com

It's said all humans mysteriously lose 21 grams upon their death, a notion that inspires much hard-boiled philosophizing in Mexican director Alejandro Gonzalez Inarritu's structurally ambitious follow-up to Amores Perros. As in that film, several characters’ lives become intertwined via a tragic accident, but here told via a chronologically disjointed structure that's a masterfully wrought puzzle of editing and plot construction. Given that unusual structure, the musical soundtrack by Gustavo Santolalla by necessity carries much of the film's mood and emotional undercurrents in its spare, brooding cues and occasional songs. The composer's primary instruments here are a heavy-vibrato electric guitar (its tone reminiscent of the great Ry Cooder) and an equally altered accordion, set against a ambient wash of electronics and percussion that's so murky as to often seem impenetrable. The Kronos Quartet admirably matches the mood with their closing rendition of the haunting "When Our Wings Are Cut, Can We Still Fly." The hip-hop swing of Ozomati's "Cut Chemist Suite" and R&B of Ann Sexton help anchor it in a more familiar frame of reference, while Benicio del Toro's spooky, spoken-word take on "Shake, Rattle and Roll" (a performance recorded in Memphis' legendary Sun Studios, no less) effectively channels Tom Waits by way of David Lynch. Another fine example of the evocative, genre-free possibilities of modern film music. --Jerry McCulley

Customer Reviews

Most Helpful Customer Reviews

20 of 20 people found the following review helpful:

5.0 out of 5 stars An excellent, atmospheric piece of work, March 23, 2004

By 

E. J. Sawdey "sawdeye" (Galesburg, IL United States) - See all my reviews
(REAL NAME)   

This review is from: 21 Grams (Score) (Audio CD)

Gustavo Santaolalla is a genius. Admittedly, few have truly heard of him outside of his scores for the likes of "Amos Perros" and "21 Grams", but, as the liner notes say, the man can do so much with so very little.

For those who saw the film (a personal pick for best film of 2003), one knows its gritty and highly emotive nature - powerhouse performances and sublime editing all add up to a gut-wrenching masterpiece of modern drama. Yet, unlike most films where the score simply stands idly by giving way to the scene, this is one of those rare scores where the score truly ENCHANCES the scenes, as well as makes a great standalone work. This is best exemplified by "Do We Lose 21 Grams?", the disc's opening number, and a gorgeous work. It's a simply guitar line that evokes so much with so little. Santaolalla goes on to dive into trip-hop "Can We Mix the Unmixable? (Remix)", solemn contemplation music ("Did This Really Happen?"), dark acoustics ("Should I Let Her Know?"), and even brings in the Kronos Quartet (though they are sadly underused) for the closing work "When Our Wings Are Cut, Can We Still Fly?".

Of course, of great note is also the inclusion of other songs, this time going out to the party hip-hop of Ozomatli's "Cut Chemist Suite", the classic "Low Rider" by War, Ann Sexton's nostalgic "You're Losing Me", and then what may be the highlight of the soundtrack - Benicio Del Toro's cover of the Elvis classic "Shake, Rattle & Roll". This isn't a conventional cover by any means - it's a six-minute epic of dark, brooding, atmosphere as Toro gives a dark monologue of the song's verses in what may be one of the creepiest covers you have ever heard (right next to The Dismemberment Plan's cover of Jennifer Paige's "Crush").

While the Dave Matthews song that rolls during the credits is not included, this album remains a classic example of how atmosphere is used to evoke powerful moods. Though dark, this is one of the most consistant soundtracks for any film of 2003, and Santaolalla's best work yet.

12 of 12 people found the following review helpful:

5.0 out of 5 stars Great for nighttime, September 17, 2004

By 

Manny Hernandez "@askmanny" (Bay Area, CA) - See all my reviews
(HALL OF FAME REVIEWER)   

Amazon Verified Purchase

This review is from: 21 Grams (Score) (Audio CD)

Being one the most popular producers in Rock En Espanol, I've kept an eye on Gustavo Santaolalla's solo productions. They are appealing to me partly because of how different they are from the material he produces for others. Among the bands that have worked with him are Cafe Tacuba, Molotov and other acts that are do not precisely play "quiet" music. Yet, Santaolalla's music is not jumpy or upbeat, but rather calm, almost on an ambient note, incorporating instruments native to South America.

In the score to "21 Grams", thanks to the extensive use of the bandoneon, there's a strong Argentinian flavor in the midst of the darkness that the music carries. The songs almost all have a voice of their own, which allows them to answer in musical terms the questions that the songtitles pose: "Do We Lose 21 Grams?", "Can I Be Forgiven?", "Can Light Be Found In The Darkness?". Complementing Santaolalla's tracks are a solid Ozomatli song, inviting eclectic tunes by War and Ann Sexton, a Ronroco-like song by Kronos Quartet and the most interesting rendition of "Shake Rattle and Roll" you will ever hear, sung (or rather recited in a dark tone) by Benicio Del Toro himself.

Though I didn't find the album to be his best work to date (I still feel his first one, "Ronroco" and the OST to "Amores Perros", which he majestically produced, are his best and second best albums), still I recommend it as an incredible work, one that I particularly enjoy listening at night, while writing or reading.

4 of 4 people found the following review helpful:

5.0 out of 5 stars 21 Grams, 16 Tracks, July 4, 2006

By 

G.Reed (Somewhere in Utah...) - See all my reviews

This review is from: 21 Grams (Score) (Audio CD)

This movie is not exactly average. And the same applies to this magnificent soundtrack.

Some of the tracks featured are very flawed. Tracks 4, 7, 9, and 12 aren't really necessary. 4,9, and 12 are songs by other artists that I guess must be in the movie, and 7 is a totally bizarre track of Benicio Del Torro just saying, "Wash your face and hands. Get in the kitchen. I'm hungry," and so forth. I don't know what exactly went on during the production of that, but it kind of sounds like a drunken rant.

The other tracks however, are wonderful. The same theme is played in several, but the music is so atmospheric and charismatic that it doesn't get mundane. The tracks are filled with beautiful, and moody melodies that echo greatly the themes and meaning of the film itself.

A great aspect of the soundtrack is that the tracks are extremely short. The longest (Del Torro's insane hypnotic track) clocks in at six minutes. Most are about 2 minutes. This makes them accessible, short and sweet.

I especially love the second to last track "Can Light Be Found in the Darkness."

Rent the film, buy the soundtrack.