Inside the OnceUponATimeInHollywood Soundtrack: Tarantino's longtime music supervisor breaks down the deeper cuts in director’s late-Sixties L.A. opus
features plenty of classic-rock types , but we asked Ramos to dig into some of the deeper-cut moments in the film.The pumped-up white-soul hit opens the movie and, says Ramos, is there for a reason: “It definitely pertains to the movie and the characters. I’m really glad Quentin chose to use it where he did. Musically it’s a kicking song. It’s a great way to start the movie.
The usage of the song had a happy ending all its own. “A lot of times Quentin will revive somebody’s career who hasn’t been doing much recently,” says Ramos. “He’s done that with songwriters and recording artists too. One of the writers of ‘Treat Her Right’ [the late bassist Gene Kurtz] was only recently given his rightful credit on the song. So it was emotional when his representative got word that we wanted to use it and said, ‘This is going to mean so much to his family.
“Hungry” is featured in a scene in which Tate meets Manson for the first time. “It’s a cool, creepy song,” she says, “and it matches the moment perfectly.” The Raiders were chosen for a specific historical reason: “Terry Melcher, who was Doris Day’s son, was their producer, and he lived in the Cielo Drive house [where the murders took place] and had a connection to the Manson family.
Ramos says at least part of her budget went to buying better copies of that vinyl in Tarantino’s stash. “A lot of times, some of the records Quentin had weren’t so pristine,” she laughs. “So when you’re getting ready to put them in the film, there’s quite a hefty bill for vinyl to get slightly better copies.”The Native American folk singer’s cover of the Joni Mitchell song is wedded to a carefree scene with Tate. “It’s a cool moment for Sharon Tate,” she says.
Ramos says that obtaining approval for song usage in a Tarantino movie isn’t a given; the James Brown estate, she recalls, was initially less than thrilled when the director wanted to use “The Payback” during one of the most violent scenes in. She said no such issue with Vanilla Fudge. “They didn’t need as much convincing,” she says. “We also needed their permission for us to edit the music; this is the Quentin edit with a very special crescendo to it.
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