Film Song Soundtracks That Feel Like Carefully Curated Mixtapes

The first soundtrack opens with Iggy Pop’s “Lust for Life” and sinks into the slower pace of his “Nightclubbing” a few tracks later. By the time Underworld’s “Born Slippy (Nuxx)” arrives near the end, the mix has found another way to move. It’s worth hearing those changes of speed across the whole record.

Bobby Womack’s “Across 110th Street” sets a serious mood right at the start. Bloodstone’s “Natural High” and the Delfonics’ “Didn’t I Blow Your Mind This Time” let the record settle into softer corners of classic soul. The short dialogue tracks feel like interruptions in a good late-night radio show.

The opening burst of dialogue and Dick Dale’s “Misirlou” teach you to expect sudden changes. Kool & the Gang’s “Jungle Boogie” and Ricky Nelson’s “Lonesome Town” take the record in very different directions. The Lively Ones’ “Surf Rider” brings the surf guitars back near the end of the original 16-track album.

The 13th Floor Elevators’ “You’re Gonna Miss Me” is a brash first word for a record that can turn as inward as Elvis Costello’s “Shipbuilding.” The Beta Band’s “Dry the Rain” has room to stretch out, and Stevie Wonder ends the set on a hopeful note. The running order makes the change in mood feel earned.

The 41-song set sounds like a night spent with the car radio on. Wolfman Jack’s appearances tie the old rock ’n’ roll and vocal-group records together, and the voices on the Platters’ “The Great Pretender” offer a different kind of pleasure from Bill Haley & His Comets’ “Rock Around the Clock.” Give one side of the double album time to play through.

The Bee Gees set the pace with “Stayin’ Alive,” then leave room for Yvonne Elliman and Tavares early on. The sequence broadens into instrumental disco before the Trammps stretch “Disco Inferno” out as the closer. The original double album has the pace of a night out.

The original ten-song set opens with Marvin Gaye’s “I Heard It Through the Grapevine,” then goes right into the Temptations’ “My Girl.” On the other side, the Temptations’ “Ain’t Too Proud to Beg” makes way for Aretha Franklin’s “(You Make Me Feel Like) A Natural Woman.” Those turns from suspicion to affection, and insistence to tenderness, keep a short album lively.

The first album comes out loud with Rick Derringer’s “Rock and Roll, Hoochie Koo” and Foghat’s “Slow Ride.” The longer, slower “Tuesday’s Gone” by Lynyrd Skynyrd gives the back half room to catch its breath. It’s a good sequence for anyone who likes ’70s hard rock and the songs that can cool it down.

After a brief in-character introduction, the first volume gets moving with the Emotions’ “Best of My Love.” The Chakachas’ “Jungle Fever” and Melanie’s “Brand New Key” are its next two moves, from a heavier groove to an almost giddy singalong. It’s a good run of tracks to play when a single-genre party mix feels too predictable.

The Creation’s “Making Time” gives the mix a sharp burst of guitar, and Chad & Jeremy’s “A Summer Song” is a softer stop a few songs later. Short Mark Mothersbaugh cues leave breathing room among the British pop and rock selections. It plays like a collection assembled by someone who likes both the scruffy singles and the sad ones.

Simon & Garfunkel’s “America” opens the 17-track album in a reflective mood, and the Who’s “Sparks” gives it a jolt immediately afterward. Stillwater’s “Fever Dog” lets the film’s fictional band hold its own among the real records. Cat Stevens’ short “The Wind” supplies a quieter stop late in the mix.

The voices of James Carter and the prisoners on “Po Lazarus” open the record, followed by Harry McClintock’s “Big Rock Candy Mountain.” T Bone Burnett puts old recordings and newer performances of traditional material in the same company. By the closing “Angel Band” from the Stanley Brothers, the set has moved through work song, humor, and gospel.

Can’s “Spoon” gives this mix a dry pulse, then Stereolab’s “Blue Milk” takes its time with the groove. The Velvet Underground’s “I’m Sticking With You” lands as a disarmingly plain little song right after it. Later, Nancy Sinatra and Lee Hazlewood’s “Some Velvet Morning” fits the peculiar mood as well as any of the electronic tracks.

Kevin Shields’ “City Girl” brings the early part of the album into a haze that My Bloody Valentine’s “Sometimes” deepens later. Air’s “Alone in Kyoto” is a quiet clearing between denser sounds. The Jesus and Mary Chain’s “Just Like Honey” gives the main sequence a familiar place to land.

Coldplay’s “Don’t Panic” opens a quiet mix that finds room for both the Shins’ “New Slang” and Simon & Garfunkel’s “The Only Living Boy in New York.” Later, Iron & Wine’s “Such Great Heights” brings the volume down another step. The songs make a convincing evening’s listening across a few generations of soft voices and guitars.

Helmet and House of Pain start the record with the weight of “Just Another Victim.” Teenage Fanclub and De La Soul immediately change the feel with “Fallin’,” then the set keeps finding different ways for rock bands and rappers to share a track. Start from the beginning to hear how much room that one idea allows.

Alice in Chains opens with “Would?” and Pearl Jam follows with “Breath.” Later, Mother Love Bone’s “Chloe Dancer/Crown of Thorns” takes the record somewhere more expansive, and the Smashing Pumpkins’ “Drown” closes it with a long stretch of guitar. The changes of scale are a good reason to play the original album straight through.

Blue Swede’s “Hooked on a Feeling” sets a playful tone, but there’s a slower stretch with Elvin Bishop’s “Fooled Around and Fell in Love.” Redbone’s “Come and Get Your Love” gets the mix moving again. Marvin Gaye and Tammi Terrell close the 12-song set with “Ain’t No Mountain High Enough.”

The Jon Spencer Blues Explosion’s “Bellbottoms” takes its time building to a racket, then Bob & Earl’s “Harlem Shuffle” changes the pace completely. The 30-track album has room for funk, punk, and the guitar rush of Queen’s “Brighton Rock.” Near the end, Kid Koala turns dialogue from the movie into the beat of “Was He Slow?”