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Wes Anderson has a genius for finding unsuspected vitality in seemingly worn-out genres, both cinematic and musical. The director’s new movie, Rushmore, is a remarkably original version of the high school coming-of-age story, and its soundtrack somehow makes the British Invasion seem fresh, collecting a handful of semi-obscure mid- to late-’60s nuggets and one bona fide lost masterpiece: the Creation’s groovily lunging “Making Time,” which sounds like the Troggs if Jimmy Page had joined them instead of signing on with the Yardbirds. (The song featured a bowed guitar at least two years before Page started usingand taking credit for inventingthe same gimmick.) “Making Time” was never a hit in Britain or the U.S., and until now the song’s contribution to posterity lay chiefly in its having provided the inspiration for the riff to Jethro Tull’s “Locomotive Breath.” The disc also features the Live at Leeds version of the Who’s pre-Tommy “A Quick One While He’s Away,” which Anderson employs triumphantly during the slo-mo sequence when his protagonist, Max, is leaving antagonist Herman’s (Bill Murray) hotel room after infesting it with bees. Other contributors include such usual British Invasion suspects as the Kinks and Chad & Jeremy, but also Cat Stevens and the Faces, who are British but whose famous work came much later, and John Lennon, here represented (in the album’s only serious misstep) by “Oh Yoko,” which is inappropriate both chronologically and thematically. Interspersed among the pop songs are a number of short pieces of incidental music by Mark Mothersbaugh that complement the period tunes perfectly, inasmuch as they are mostly harpsichordish fripperies that could easily pass for intros to Kinks songs.James Lochart