![]() But the album is nevertheless a product of a steadfast musical vision based on two core beliefs: Soundtracks are usually awful, and the source material for this particular film just wasn't that great. Rubin didn't produce all of the tracks Def Jam colleagues handled duties in Public Enemy's "Bring the Noise," and R&B turns by Oran "Juice" Jones and the Black Flames. There was not a fear of good ol' rock 'n' roll, and doing stuff both in the music and in the film that was all over the place." "His ideas and my ideas had a lot of convergence. ![]() "I like his music, and I thought it had the right kind of edge for it," Avnet told Hits magazine in 1988. Jon Avnet, the film's co-producer, immediately bought into Rubin's ideas. Instead of including rote classic recordings, Rubin inverted expectations: Newer bands ( Poison, the Bangles, Slayer) tackled older songs, while legacy acts ( Roy Orbison, Aerosmith) were put in unexpected musical positions. Acts like Elvis Costello and X from Ellis' novel were swapped out for more contemporary hair metal, R&B and hip-hop. Under Rubin's watchful eye, it came to deftly reflect a moment of generational change. He started by using a slew of artists from his Def Jam label, but the Less Than Zero soundtrack ended up as more than a promotional tie-in. ![]()
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