Artist	Song
Thunderclap Newman	Something In The Air (Hollywood Dream, 1970)
Moby	Run On (Play, 1999)
Kings Of Convenience	Toxic Girl (Quiet Is The New Loud, 2001)
Branford Marsalis	Pulcinella Suite, 2nd movement: Serenata (Igor StravinskyRomances For Saxophone, 1986)
The Association	Along Comes Mary (And Then...Along Comes The Association, 1966)
Stiff Little Fingers	Barbed Wire Love (Inflammable Material, 1976)
Harry Nilsson	The Puppy Song (Harry, 1969)
Dolly Parton	Just When I Needed You Most [featuring Alison Krauss and John Sebastian] (Treasures, 1996)
Arthur Russell	A Little Lost (Another Thought, 1994)
Emerson, Lake & Palmer	Lucky Man (Emerson, Lake & Palmer, 1970)
Momus	Hotel Marquis de Sade (Slender Sherbert, 1995)
Blur	Out Of Time (Think Tank, 2003)
Belle and Sebastian	Expectations (Tigermilk, 1996)
Songs: Ohia	The Body Burned Away (Ghost Tropic, 2000)
Dave Brubeck Quartet	Take Five (Take Five, 1961)
The Incredible String Band	Swift As The Wind (The Hangman's Beautiful Daughter, 1968)
Wilco	A Magazine Called Sunset (Yankee Hotel Foxtrot [special edition], 2003)
BoDeans	Closer To Free (Go Slow Down, 1993)
The Easybeats	Friday On My Mind (Easy, 1965)
Rufus Wainwright	California (Poses, 2001)

Comment:

A second imaginary soundtrack from another of my favourite directors - and, as I discovered, another one who's hard to pin down. I really like what Wes Anderson chose for his Bottle Rocket, Rushmore and The Royal Tenenbaums soundtracks, so I thought I'd have a go at trying to "recreate" the style of them. Generally, the key word for his soundtracks is light - lots of acoustically-driven stuff, not usually very epic, just tracks which can float along in the background behind the visuals. As such, most of it is just...nice! However, as with Tarantino, he tends to pull out some unpredictable choices, and also seems to have a bit of a penchant for the occasional instrumental. For that aspect, I chose the Marsalis and Brubeck tracks - I wasn't, and am still not, completely sure about the Marsalis choice...also, generally, Anderson seems to concentrate on the 70s, whereas there are a few more recent choices here; whether this would be approved I'm not sure! But again, the mix isn't so much an attempt to do exactly what Anderson does; rather, it hopefully just echoes the atmosphere of his movies - light, sometimes fun, often quirky.
The picture is from Rushmore, my favourite of his movies, and the title is courtesy of the character Eli Cash (in The Royal Tenenbaums) and his ridiculous prose. Wiiild....caaaattt......

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