Gustavo Santaolalla, 21 Grams - 38m 54s

Tracks & Durations

1. Can Dry Leaves Help Us?	3:55
2. Can Emptiness Be Filled?	1:07
3. Can I Be Forgiven?	1:39
4. Can Light Be Found In The Darkness?	2:28
5. Can Things Be Better?	1:21
6. Can We Mix The Unmixable? (Remix)	2:01
7. Cut Chemist Suite (Performed By Ozomatli)	4:35
8. Did This Really Happen?	1:04
9. Do We Lose 21 Grams?	2:29
10. ?	1:43
11. Is There A Way To Help Her?	0:47
12. Low Rider (Performed by WAR)	3:10
13. Shake Rattle And Roll	6:14
14. Should I Let Her Know?	1:30
15. Rtet)	2:24
16. You're Losing Me (Performed By Ann Sexton)	2:17

Note: The information about this album is acquired from the publicly available resources and we are not responsible for their accuracy.

Review

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

Other Versions

Albums are mined from the various public resources and can be actually the same but different in the tracks length only. We are keeping all versions now.

21 Grams

Tracks: 16, Disk length: 38m 23s (-1m 29s)

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