HIGH FIDELITY MOMENT – ISABEL PAPPANI – UNDERCOVER TRACKS
January 27th, 2012 | By
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In 2004 Isabel Pappani established undercover tracks, an exclusive boutique music licensing agency specializing in placing Australian music into U.S. film and television productions. Based in Los Angeles, Pappani and her team have secured syncs for many artists in high-profile TV shows, films, trailers, commercials and video games. Isabel began her career in the early 90’s at PolyGram Film & TV Music, followed by a stint at Island Def Jam soundtracks and then became VP of Creative for Festival Mushroom Records before stepping out on her own. She is passionate about helping independent music and has worked with hundreds of Australian artists, from Powderfinger, Eskimo Joe, Gyroscope and 28 Days to Hungry Kids of Hungary, Ball Park Music, and the Resin Dogs. As one of the music industry’s feistiest, Isabel Pappani of Undercover Tracks takes on our High Fidelity challenge and as the movie soundtrack fuelled her initial passion in doing exactly what she does, it seemed only logical that Iz reveal her Top Five Favourite Soundtracks.
FIVE: SLIVER (1993)
Not an award-winning film by any means, but the soundtrack was a fantastic introduction to the 90s era of club/electronic music (Enigma, Massive Attack, Lords Of Acid), and it launched UB40’s version of “Can’t Help Falling In Love” to #1 on the charts. In fact, the juxtaposition of darker, more intense tracks and sexy beats from artists like Neneh Cherry and Aftershock made the voyeur/serial killer plotline almost bearable to watch.
FOUR: PRETTY IN PINK (1986)
John Hughes WAS the sound of the 1980s. OMD’s “If You Leave”, Echo and the Bunnymen “Bring on the Dancing Horses”, Psychedelic Fur’s “Pretty In Pink”, INXS, New Order, The Smiths… These were some of the very best songs from a very special movie that helped us appreciate how hard it was to grow up, make and keep friends and discover romance – and cemented Molly Ringwald on the map. This was one of the most influential set of youth-centered films that were the hallmark of the decade.
THREE: NEW MOON (2009)
Keeping more current, the second album in the Twilight movie series is my favourite. Anya Marina’s “Satellite Heart” is haunting and fits the vampire/werewolf/youth angst story set in a gloomy climate perfectly. This soundtrack was many people’s first introduction to now-Grammy nominated Bon Iver, but didn’t neglect to score exclusive tracks by already acclaimed favourites such as Black Rebel Motorcycle Club and Thom Yorke.
TWO: RISKY BUSINESS (1983)
When Tom Cruise and Rebecca De Mornay get busy on the train, the scene starts up with Phil Collins’ “In The Air Tonight” and transitions to Tangerine Dream’s rhythmic “Love on a Real Train”- the background blurring during the encounter while Tom Cruise’s innocence is lost in a big way…. One of the sexiest scenes + music of all time. Don’t believe me? Watch it.
ONE: THE LOST BOYS (1987)
What makes this particular compilation so amazing is that there really weren’t any powerhouse artists on it (save INXS/Jimmy Barnes), yet when it comes up in conversation, everyone LOVES it. In fact, almost every artist on the soundtrack was never heard from again. The saxophone-heavy cover of The Call’s “I Still Believe” is suddenly quite enchanting when you throw in brooding, motorcycle-riding vampires lead by a young Keifer Sutherland. A dreamy Jason Patric and crush-worthy Jami Gertz (as Star) having a romantic interlude in the vampire cave to Gerard McMann’s “Cry Little Sister” is a moment in film music we won’t ever forget.
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