Spaghetti and cowboys: part 8

Title: Sono Sartana, il vostro becchino (I’m Sartana, your angel of death)

Year: 1969

Composer: Vasco Vassil Kojucharov & Elsio Mancuso

I’m concentrating my reviews mostly on Italian film composers but for Vasco Kojucharov I’m making an exception. He was born in Bulgaria but made his film composer career mostly in Italy scoring a number of Spaghetti Western films. A few of his scores were credited as collaborate projects with another composer Elsio Mancuso under the alias Vasco & Mancuso. This Western score lists both composers in many sources but the album only credits Kojucharov as the sole composer. Who knows whether or not it is a joint project or a solo one but Kojucharov’s distinctive style is still heard throughout this plentiful 50-minute album.

The score consists of three elements and their variations. By far the best one is the title theme which is heard right from the get-go. It’s an electric-guitar waltz with a driving percussion backing resembling galloping horses. It’s certainly catchy and heroic and the arrangement for the entire orchestra is exquisite. The A section has some jazzy chords which is another big plus and makes the tune more colourful. Seq. 5 includes a quiet variation for solo harmonica performed by Franco de Gemini. A laid-back campfire version of Seq. 15 for the harmonica and xylophone is another nice addition which resolves eventually to the full comedic version of the secondary theme. The following cue moves the melody to solo organ and harpsichord after some comedic interruptions by the low woodwinds. The most massive arrangement which ends into a victorious crescendo is disappointingly not the last cue, but track 22, which is followed by a few other slow cues mostly filled with suspense music and a few main theme statements.

The suspense music is another prominent element heard first in Seq. 2 & 3. These moments are scored for tremolo strings and chromatic chord changes often written for harpsichord, electric guitar or xylophones resolving to an unexpected minor chord. If the suspense moments don’t utilize this chromatic motif, they consist of solo percussion that sometimes sounds like a practice take of a drummer rehearsing between the cues. In the film they probably work but on the album they lose their magic and become boring. The best suspense moment is Seq. 17 in which elements of the main theme are fused with the jazzy solo percussion and organ chords creating otherworldly soundscapes.

The last element is the comedic theme for the sidekick performed by a banjo. This melody is first heard in Seq. 4 after a unique harpsichord moment. It’s surprisingly similar to Santa Claus is coming to town, whether or not intentional, I don’t know. This is another tune similar to the suspense motif which becomes a little tiring after a while. It’s unfortunate that the main theme gets several great variations but this secondary theme basically sounds the same every time it appears.

Besides these elements I have very little to say about the album. The mood may change a lot within a single cue from a main theme statement to suspense and an appearance of the secondary banjo theme. Some source music like moments appear in between like Seq. 12, which is a cheerful solo harpsichord piece suitable for a saloon setting, or Seq. 20 which is a classically inspired piece of solo organ music probably for a funeral scene.

Sono Sartana… is a hard album to thoroughly enjoy. Especially the suspenseful moments would benefit from some trimming and become tiresome after a while. The main theme however is stellar and the reason for repeated listens. Hopefully this score and its potential success would make room for more obscure titles from Kojucharov’s catalogue to get released. The talent is there but the execution could have been more interesting.

Rating: ***1/2

Tracklist:

1. Sono Sartana, il vostro becchino (Seq. 1) (02:25) *****

2. Sono Sartana, il vostro becchino (Seq. 2) (02:52) ***

3. Sono Sartana, il vostro becchino (Seq. 3) (01:15) ***

4. Sono Sartana, il vostro becchino (Seq. 4) (01:37) ****

5. Sono Sartana, il vostro becchino (Seq. 5) (01:17) *****

6. Sono Sartana, il vostro becchino (Seq. 6) (01:14) ***

7. Sono Sartana, il vostro becchino (Seq. 7) (01:40) ****

8. Sono Sartana, il vostro becchino (Seq. 8) (03:01) **

9. Sono Sartana, il vostro becchino (Seq. 9) (02:40) ***

10. Sono Sartana, il vostro becchino (Seq. 10) (02:28) ***

11. Sono Sartana, il vostro becchino (Seq. 11) (01:00) ****

12. Sono Sartana, il vostro becchino (Seq. 12) (02:05) ***

13. Sono Sartana, il vostro becchino (Seq. 13) (02:12) ****

14. Sono Sartana, il vostro becchino (Seq. 14) (01:30) ***

15. Sono Sartana, il vostro becchino (Seq. 15) (02:21) *****

16. Sono Sartana, il vostro becchino (Seq. 16) (01:58) ****

17. Sono Sartana, il vostro becchino (Seq. 17) (03:17) ****

18. Sono Sartana, il vostro becchino (Seq. 18) (02:00) ****

19. Sono Sartana, il vostro becchino (Seq. 19) (01:29) ***

20. Sono Sartana, il vostro becchino (Seq. 20) (01:16) ****

21. Sono Sartana, il vostro becchino (Seq. 21) (02:09) ****

22. Sono Sartana, il vostro becchino (Seq. 22) (01:00) *****

23. Sono Sartana, il vostro becchino (Seq. 23) (03:25) ****

24. Sono Sartana, il vostro becchino (Seq. 24) (03:40) ****

Exotic flavours: part 7

Title: L’inchiesta (The final inquiry)

Year: 2006

Composer: Andrea Morricone

After a long break I finally found some time to write a new review. I’m planning to do some more in near future, mostly concentrating on some new releases from last year. Let’s hope I’ll find time to do so.

It’s Eastertime and I decided to review a two-episode TV-miniseries which tells the story of Jesus from the Romans’ point of view. The score was made by Ennio Morricone’s son Andrea, most well-known for his love theme from Cinema Paradiso for which his father did the rest of the score.  He is however a gifted composer in his own right and if L’inchiesta is any indication, clearly needs some high profile assignments.

The album starts with an extended slow-moving piece of murky action with ethnic percussion and low flutes punctuated by militaristic trumpet fanfares. A large choir enters soon after singing in Latin and the song keeps building towards a victorious closure. A powerful and highly enjoyable start to the album which makes you hope the rest of the score is nearly as good as the opening.

Fortunately the beginning of the album doesn’t disappoint. After some dark string lines, Taurus introduces a driving, triple meter base on top of which a slower, victorious horn line is heard. The choir returns halfway and continues underneath the driving rhythm and horns until the finish. Thrilling stuff! Gerusalemme has another modern film score staple: the wailing female voice provided this time by Yasemin Sannino. Fortunately it isn’t overused here. What follows is another build-up based on a unique melody that is both ‘Middle-Eastern’ and ‘Jewish’ with its progressions and has an underlying militaristic beat. The military fanfares from Battaglia make a short cameo as well.

An attractive little melody starts Cristanità with addictive woodwind writing before the march for the Christians is heard. This tune might be the most ‘classical’ moment of the score drawing inspirations from Bach’s oratorios. The melody gets a few reprises later in Veglia and in the finale. The score isn’t that keen on establishing a single unifying theme but a strong contender melody-wise is L’incontro which is by far the prettiest the score ever gets. Especially the middle part when the pianos create a crescendo to the rising string line gives me goosebumps every time I hear them.

The five first cues present the building blocks for the rest of the album. Melodies inspired both by the sacred and profane, classical and folk progressions. Latin choir mixed with ethnic instruments. However with an opening this strong, some of the darker pieces heard in the middle aren’t as interesting or rewarding in comparison. Bruxos has beautiful choral writing and Taurus-inspired rhythms though. Compared to his father’s suspense writing, he keeps things still moving and melodious throughout. For instance Lapidazione has once again some amazing, dramatic choral work though the music is dark and foreboding. Strangolamento is probably the most brutal moment of the score, not surprised by the title, and even that cruelty ends with a melodic string reprise of the theme from Taurus.

The wailing vocals return along with the judgmental choir and the triple meter percussion in Crocifissione which ends with a slow elegy for the voice and a plucked, ethnic string instrument. I’m glad that they used restraint for the pivotal scene of crucifixion but I feel that the trope might be a cliché by now which lessens its impact. Luckily what follows is the score’s greatest cue Amore which is the extended love theme heard in track 5. The impressionistic opening for choir and wind instruments makes way to the melody that is as good as the love theme from Cinema Paradiso. After the reprise arrives a new surprise, namely a passionate cello solo that ends the cue peacefully. Another lovely extended moment is Maria which begins with romantic strings and then moves to beautiful, pristine flute and an ethnic, acapella vocal performance of the love theme and finally an orchestral reprise of the cello cadenza. The score ends with a nostalgic reprise of Taurus melody in Verità and a restrained hymn to Christianity called Esodo.

L’inchiesta misses the full 5 stars by only a small margin. The score is melodic throughout, it sounds mostly fresh and mixes various musical styles together successfully. The biggest hindrance for me is that the opening is so strong that the rest can’t offer similar oomph and sheer power presented previously. Still whether or not you’re a believer, most listeners will no doubt be moved by its beautiful melodies and the ingenious orchestrations.

Rating: ****1/2

Tracklist:

1. Battaglia (06:17) *****

2. Taurus (04:22) *****

3. Gerusalemme (05:13) *****

4. Cristanità (02:45) *****

5. L'incontro (02:04) *****

6. Bruxos (02:26) *****

7. Il palazzo (02:44) ***

8. Lapidazione (03:44) *****

9. Rissa-Presagio (04:09) ****

10. Vita (02:17) ****

11. Strangolamento (01:38) ****

12. Il corpo (02:27) ****

13. Crocifissione (04:49) ****

14. Amore (03:49) *****

15. Veglia (03:00) *****

16. Attesa (03:35) ****

17. Inquietudine (02:09) ***

18. Maria (04:05) *****

19. Svolta (02:07) ***

20. Verità (04:07) ****

21. Esodo (03:33) *****

Giallo fever: part 12

Title: Indagine su un delitto perfetto (The perfect crime)

Year: 1978

Composer: Carlo Savina

Indagine su un delitto perfetto wasn’t a classical Italian giallo film with a masked killer going around killing young women, but more of a corporate thriller story where people are killed while pursuing a chairmanship. Carlo Savina’s score harks back to classic giallo progressions and moods, though explores new ideas which represent the buzzling underworld of the city of London.

Right from the start the listener is thrown into a world of mystery and murder. The track develops from the schizophrenic piano phrases to a mellow main theme tune which features the classic voice of Edda dell’Orso and some groovy bongo drums. Sadly the solo voice isn’t utilized again until the finale cue. The score is basically monothematic and it’s actually surprising how many of the cues incorporate the melody in some shape or form. This already elevates the whole score and especially the moody suspense cues to a tightly cohesive experience.

The main go-to instrument for the theme is the bass flute which has qualities fit for a 007 score. The first full reprise is heard in Seq. 3 which resolves into a dreamy and jazzy chorale for the flute and keyboards. Those same moods return briefly in Seq. 4 before it once again turns back to the chase style arrangement of the main title. However from that onwards it is mostly developed within the suspense department, such as in the impressionistic opening of Seq. 5 which later explores the keyboard suspense motif heard briefly in Seq. 2. Sparse piano chords dominate the following cue before the man theme rises again from the darkness offering a soothing, jazzy moment. The score starts to break down even more in Seq. 7 which includes floating, strangely evocative chords along with another beaten down main theme version for bass flute.

Seq. 8 is perhaps the album’s only cheerful moment written for a bar piano that has a romantic prelude. The schizophrenic phrases of the main title return in Seq. 9 which then features a reprise of the chase arrangement which cools down significantly to bare rumbles in the dark alleyways. The longest stretch of suspense, Seq. 10, is unfortunately the most boring one. The absence of the main theme is clearly noticeable this time and the leftovers are just an uninteresting bunch of moods that are not even that frightening. Compare them to Seq. 11 which is excellent especially when listened through headphones. Though the cue is quiet and sparse, what makes it so effective is the clever orchestration of woodwinds playing at their lowest range and some distant bar piano disturbed by high tinkling effects. Seq. 12 on the other hand has my favourite versions of the main theme presented in an otherworldly, dream-like way that is soothingly disturbing. The following solo piano version of Seq. 13 can almost be considered beautiful before it moves again to more macabre variations perfect for morbid discoveries.

I love how Savina crafted a score this suspenseful that features no strings and on the whole only a bare minimum of instruments needed. Though some of the moodier tracks can’t reach the desired effect on album, there are many exceptional moments that benefit from the chosen theme-and-variations type approach.

Rating: ****

Tracklist:

1. Indagine su un delitto perfetto - Seq. 1 (01:51) *****

2. Indagine su un delitto perfetto - Seq. 2 (01:39) ***

3. Indagine su un delitto perfetto - Seq. 3 (02:04) *****

4. Indagine su un delitto perfetto - Seq. 4 (01:49) ****

5. Indagine su un delitto perfetto - Seq. 5 (02:03) ****

6. Indagine su un delitto perfetto - Seq. 6 (02:19) ****

7. Indagine su un delitto perfetto - Seq. 7 (01:06) *****

8. Indagine su un delitto perfetto - Seq. 8 (01:38) ****

9. Indagine su un delitto perfetto - Seq. 9 (02:48) ****

10. Indagine su un delitto perfetto - Seq. 10 (04:25) **

11. Indagine su un delitto perfetto - Seq. 11 (03:25) *****

12. Indagine su un delitto perfetto - Seq. 12 (02:59) *****

13. Indagine su un delitto perfetto - Seq. 13 (02:33) *****

14. Indagine su un delitto perfetto - Seq. 14 (02:19) *****

15. Indagine su un delitto perfetto - Seq. 15 (01:15) ****

CrimeWaves: part 9

Title: Qualcuno ha visto uccidere… (Witness to murder)

Year: 1973

Composer: Stelvio Cipriani

For a movie about a guy killing his wife’s lover by planning a plane crash and dealing with the revenge caused by it, the score seems rather tame. Cipriani wrote two main themes that are perhaps too light for the subject matter and don’t really stand out from the crowd of other exceptional main themes created by the composer.

The album opens with a somewhat groovy arrangement of the main theme. It’s rather similar to other melodies for his works in the giallo genre, but instead of the regular female voice of Nora Orlandi, the melody is carried by a solo saxophone and electric guitar. The underlying latin rhythms give the cue some 70s cop show type edge which I like. The bouncy bassline is heard later in the score as an action motif that dominates the score’s two best cues, Seq. 13 and 15. The first is the fullest arrangement of the main theme simultaneously working as an exhausting chase cue. It goes through many instrumental solos like a marimba, a theatre organ and wild percussion section showing the orchestral brilliance Cipriani was capable of. The latter highlights an awesome saxophone solo played with passionate clarity. The same brilliant sax carries over to Seq. 16 but after so many repetitions of the same motif it starts to get a bit redundant. Unfortunately these cues are really the first ones after the opening that burst with any energy or excitement. Any previous versions of the main theme, like Seq. 3, 4 & 10, act as alright background music but offer no extra punch.

The love theme, Seq. 2, is a sweet lullaby that almost puts you to sleep which isn’t a compliment in a film where brutal acts of crime appear. It’s a simple tune thus offering almost no room to grow to anything more substantial. Though Seq. 8 tries to connect it with the suspense stylings, the result leaves the listener cold because the orchestration is just too plain, especially when compared to the complex orchestrations of the chase cues. The tremolo strings playing the main theme’s chords are a sweet touch at the beginning of Seq. 17 and the resulting love theme statement might be the album’s sweetest. Fortunately the ‘final confrontation’ i.e. the last suspense track, Seq. 18, combines snippets of the love theme and the suspense material far better than the previous attempts.

As the story unfolds, a few other styles emerge as well, like the bar source music of Seq. 5 and 14 both of which are built around simplistic, repeating riffs. The first attempts of so-called suspense of Seq. 7 are just a collection of electric guitar droning dissonantly over looping bass figures culminating into some annoying distorted guitar notes. In Seq. 9 it’s hard to even hear anything because the orchestration is so sparse. Even the short love theme reprise at the end can’t salvage this bore of a cue. Seq. 11 at least tries to offer something new by combining a glockenspiel to the distorted guitars, which are still annoying as hell. Luckily the previously mentioned action motif brings some new life to the score with some crazy keyboard effects in Seq. 12 creating an actually enjoyable cue.

I really didn’t care that much of this album. The score feels a bit like it was written on autopilot; put together with bits and pieces from better scores and failing to find cohesion in the process. Though there are a few instances where the music soars with pace and excitement and the musicians seem to have fun, most of the score is just too dull to leave a lasting impact.

Rating: **1/2

Tracklist:

1. Qualcuno ha visto uccidere (Seq. 1 - Titoli) (02:35) ****

2. Qualcuno ha visto uccidere (Seq. 2) (02:04) ***

3. Qualcuno ha visto uccidere (Seq. 3) (02:01) ****

4. Qualcuno ha visto uccidere (Seq. 4) (02:09) ***

5. Qualcuno ha visto uccidere (Seq. 5) (01:24) **

6. Qualcuno ha visto uccidere (Seq. 6) (00:59) **

7. Qualcuno ha visto uccidere (Seq. 7) (03:57) *

8. Qualcuno ha visto uccidere (Seq. 8) (01:54) **

9. Qualcuno ha visto uccidere (Seq. 9) (03:29) *

10. Qualcuno ha visto uccidere (Seq. 10) (01:41) ***

11. Qualcuno ha visto uccidere (Seq. 11) (01:08) **

12. Qualcuno ha visto uccidere (Seq. 12) (02:27) ****

13. Qualcuno ha visto uccidere (Seq. 13) (04:31) *****

14. Qualcuno ha visto uccidere (Seq. 14) (01:01) **

15. Qualcuno ha visto uccidere (Seq. 15) (01:43) *****

16. Qualcuno ha visto uccidere (Seq. 16) (03:08) ****

17. Qualcuno ha visto uccidere (Seq. 17) (02:01) ****

18. Qualcuno ha visto uccidere (Seq. 18) (00:55) ***

19. Qualcuno ha visto uccidere (Seq. 19) (03:48) ***

20. Qualcuno ha visto uccidere (Seq. 20 - Finale) (01:27) ***

WTF (Weird tho' fabulous): part 8

Title: Edipeon – il sapore della pelle

Year: 1970

Composer: Stelvio Cipriani

I was saddened by the passing of one of the greats of Italian film music, Maestro Stelvio Cipriani. He was an incredibly prolific composer who wrote dozens of film scores a year during his prime with stupendous quality. Luckily the labels still release unreleased music by him and I doubt this will cease anytime soon. I decided to revisit one release from 2015 by Digitmovies. The obscure film is about a teenager dealing with Oedipus complex and other unhealthy desires finally winding up to murder and suicide. Cipriani’s score rises above all this with classically beautiful, restrained music that includes some of his most beautiful passages.

The opening Seq. 1 is a true beauty a melody, beginning with delicate harp playing that makes way to the recorder and later to the voice of Edda dell’Orso. The chord progressions are clearly Baroque in nature and after a modulation the piece turns into an actual medieval dance piece with the high soprano voice singing in the distance. Unfortunately Cipriani rarely returns to this idea later in the score. In Seq.2 it’s heard as a more menacing organ chorale which turns into a near horror territory before introducing the film’s real main theme that gets more coverage later in the score. The Baroque recorder is combined to unsettling flute and electric guitar effects along with vocal ‘whoo-hoos’ in the bizarre yet engaging Seq. 5. Finale is a short reprise of the opening theme and a fine end to the album.

A variation of the main theme, probably most familiar Cipriani melody heard on this album compared to his other works, is heard in Seq. 3 as a laid-back bossa cue with Edda’s scat vocals. This cue was previously released as public domain library music and I’ve surprisingly heard this cue playing in some YouTube videos quite recently. The main theme is hinted again in Seq. 11 disguised as a beat cue but the real first full performance is in the following Seq. 12. Here it’s sung by Edda with scat vocal stylings familiar to works of Ennio Morricone. Many full versions of the theme follow in cues Seq.15, 17, 18, 22, 23 and 24. The problem is that the theme gets rather repetitive eventually and slightly loses its magic in the process. Notable versions however include Seq. 17 with a classical-guitar waltz version with the vocals and Baroque flute, and Seq. 18 with a suspenseful climax to tremolo strings.

Another melodic winner is the score’s third thematic idea first heard in Seq. 4, clearly borrowing a note or two from Chaplin’s Smile. Nevertheless it is a spectacular theme that resonates childlike innocence that is highlighted by its usually small-scale orchestrations. Seq. 8 is a simple flute, guitar and percussion trio whereas Seq. 9 begins with an emotional string quartet that then gets going after a percussion set joins the fun. The plainest but probably prettiest version is the passionate solo piano performance, Seq. 10 probably played by the composer himself which gets me almost teary-eyed. The final version of Seq. 25 is an emotional send-off with a mournful organ prelude that leads to a bare harp and solo violin duet.

As for usual there are also moments that aren’t linked to the main thematic material. These include two beatnik party cues Seq. 7 & 16 with groovy keyboard solos and Seq. 13: a fast, walking bass heavy chase scene with out-of-tune guitar twanging and more of those groovy keyboards. A melancholic organ waltz Seq. 20 underscores the film’s more tragicomic aspects with slight touches to Italian folk music. A previously unheard melody, a romantic bolero for oboe and strings is heard in Seq. 21 which turns about to be one of the score’s most unique little moments.

The score has elements like the small-scale Baroque orchestration and progressions that are rather unique to this very score. Still the main theme is rooted in the same pool where Cipriani usually drew his thematic ideas which gives that familiar comfort. The latter half of the album drags a little after so many similar versions of the same theme with only slight variations. Overall it’s however a fine, beautiful composition that every fan of the composer should check out.

Rating: ****1/2

Tracklist:

1. Edipeon - seq.1 Titoli (02:43) *****

2. Edipeon - seq.2 (01:31) ****

3. Edipeon - seq.3 (03:12) ****

4. Edipeon - seq.4 (01:28) *****

5. Edipeon - seq.5 (01:39) *****

6. Edipeon - seq.6 (01:29) ****

7. Edipeon - seq.7 (02:37) ***

8. Edipeon - seq.8 (01:48) *****

9. Edipeon - seq.9 (01:15) *****

10. Edipeon - seq.10 (01:24) *****

11. Edipeon - seq.11 (01:48) ****

12. Edipeon - seq.12 (02:05) *****

13. Edipeon - seq.13 (02:12) *****

14. Edipeon - seq.14 (02:29) ****

15. Edipeon - seq.15 (02:17) *****

16. Edipeon - seq.16 (01:31) *****

17. Edipeon - seq.17 (02:30) *****

18. Edipeon - seq.18 (01:49) *****

19. Edipeon - seq.19 (02:23) ****

20. Edipeon - seq.20 (01:49) ****

21. Edipeon - seq.21 (02:37) *****

22. Edipeon - seq.22 (01:24) ****

23. Edipeon - seq.23 (01:04) ****

24. Edipeon - seq.24 (01:42) ****

25. Edipeon - seq.25 (01:58) *****

26. Edipeon - seq.26 Finale (01:32) *****

Spaghetti and cowboys: part 7

Title: Navajo Joe

Year: 1966

Composer: Ennio Morricone

Inspired by the extreme heat we’ve been having currently in Finland, which has turned the area surrounding my apartment into a near wasteland, I decided to revisit some Western scores. Among them was also Navajo Joe, which is one of the most brutal musical creations for the entire genre.

The album opens with haunting screams of I cantori moderni choir highlighting the voice of one Gianna Spagnulo who creates simultaneously Native American yet jazzy qualities with her performance. The main theme begins with a simple guitar riff which is afterwards heard constantly during the score’s suspense tracks. After a while an array of percussion instruments bang away and the choir starts shouting the name of the titular hero. It’s bizarre to say the least but immensely satisfying. The road to Esperanza starts with a more plain arrangement for the choir and solo percussion with an abstract, short interlude but eventually turns into a hopeful rendition including the unmistakable voice of Edda dell’Orso. Sweet lullaby-like renditions of A dollar a head and Joe’s departure offer some relaxing atmospheres; a musical oasis in the middle of the overall madness. Both orchestral and choral forces are once again released in Ride into town, probably the greatest main theme statement apart from the titles. Joe and his woman offer peaceful orchestral bliss with slight touches from the choir while From Esperanza is another massive orchestral tour-de-force with stunning vocal performances.

Besides the main theme, the album is built around moments of suspense and some source music style pieces. A silhouette of doom starts with the main theme riff on piano which makes way to staccato beats and brutal string and woodwind harmonies clashing with the wailing voice. This music returns later in devastatingly savage fashion in Torture which is the most difficult track to enjoy. Train massacre and Fear and silence offer two different suspense devices, the first concentrating on main theme variations while the other resembles a sneaking-around cue heard in nearly every Morricone Western. You know, the one with solo percussion over only a minimal support from other instruments. While effective in the film, not that much on its own.

The lighter side of the score is heard in The Peyote saloon, a happy duet for piano and strummed banjo. An Indian story is a beautiful, sparse piece which highlights a solitary female voice and an ethnic bass flute. The two harmonica cues are also beautiful in their understated play around the main theme. The following The Navajo escapes is a mournful, dark piece for solo strings which Morricone does so well. While the score is mostly monothematic there is another theme introduced rather late in The demise of father Rattigan with a glorious arrangement for strings, woodwinds and guitar arpeggios. Another version of this tune actually ends the film with a victorious hymn to the fallen called After the end concluding into the majestic vocal performance by Spagnulo. The bonus tracks include Raw hides and dead hides, a piece with sad solo harmonica alternating between raving vocals and percussion, and reprises of the suspense devices. The final two cues contain marvellous main theme and vocal performances and last sendoff provided by the ‘demise’ theme.

Navajo Joe might have the best usage of choir within the whole discography of the composer. Besides that, it is an entertaining album that stands firmly amid the other more well-known scores of the genre. Though some may find it repetitive, its boisterous attitude manages to win over any listener if he can just get over the shocking opening bars.

Rating: *****

Tracklist:

1. Navajo Joe (Main title) (02:50) *****

2. A silhouette of doom (02:54) ****

3. Duncan's plan (00:31) ***

4. The Peyote saloon (02:32) ***

5. Wiping out the town (00:41) ****

6. The road to Esperanza (Main title - Navajo Joe) (01:54) *****

7. The engineer's harmonica (00:09) **

8. Duncan's wild bunch (Goodbye to Brother Jeffrey) (00:27) *****

9. Train massacre (00:42) *****

10. Fear and silence (01:49) **

11. A dollar a head (02:20) *****

12. Joe's departure (End title - Navajo Joe) (02:14) *****

13. An Indian story (Healing the wound) (02:01) *****

14. Ride into town (01:49) *****

15. But Joe say no (01:20) ****

16. To intermission (00:38) *****

17. Torture (The bandit gets the train) (02:01) *****

18. Navajo harmonica, pt. 1 (00:40) *****

19. Navajo harmonica, pt. 2 (00:48) *****

20. The Navajo escapes (01:38) *****

21. A bad childhood (00:26) *****

22. Joe and his woman (01:07) *****

23. The horses set free (00:48) ****

24. The demise of father Rattigan (The demise of Barbara) (02:56) *****

25. From Esperanza (To Esperanza) (01:47) *****

26. Over the mountain (01:13) *****

27. The search for Joe (01:05) ****

28. The confrontation / The return of Joe (01:53) *****

29. After the end (02:16) *****

Bonus tracks:

30. Main title (Film version) (03:01) *****

31. Raw hides and dead hides (01:20) *****

32. Fear and silence (01:49) ***

33. The Navajo's a prisoner (01:40) ****

34. Navajo Joe medley (02:06) *****

35. Sadness (00:33) *****

WTF (part 7) and Giallo fever (part 11)

Title: L’ingenua (The naive)

Year: 1975

Composer: Carlo Savina

Sexy comedies with some softcore nudity were their own genre in Italy in the 70s, including L’ingenua from 1975. There is a plot about conmen trying to sell a villa but the real reason for the film were the views, both the beautiful scenery but mostly the nudity of one Ilona Staller, aka Cicciolina, a famous Italian sex-object. Strangely a film like this also got an original score which was made by none-other than Carlo Savina, already a prolific film composer at the time. And the result is actually a pleasant surprise, not just some background porn music.

Because the score is so short, around just 25 minutes, Savina made a clever choice to build it around one unifying theme heard in Seq. 1. It opens however with a sighing female voice, which is a corny touch and sadly disappears for the rest of the score. The theme is then heard in waltz meter on the Mediterranean accordion and whistling which gives it the comedic edge before modulating into a wondrous little crescendo. Lovely stuff indeed. It is followed by straight-up comedy honky-tonk which after a pause turns into a fine version of the main theme never straying far from the comedy. A more laid-back poolside source version is heard in Seq. 3 but Seq. 4 returns to the comedy with music suitable for a funny chase sequence and later more anonymous background music. Seq. 6 and 11 include folk-music like accordion waltz which isn’t terribly original but does it job. Bluesy radio source with walking bass is featured in Seq. 7 preceding a cheeky main theme statement of Seq. 8 which has slight hints of doubt with the underlying orchestrations.

A beautiful saxophone solo opens Seq. 10 before the comedy motif of Seq. 2 returns somewhat ruining the otherwise fine atmosphere. The most ‘suspenseful’ moment of the score is heard in Seq. 12’s beginning but then it dissolves into a mixture of both the main theme and an actually interesting variation of the comedy motif with odd tinkling sound-effects and organ bleeps. The last cue returns to the lovely wonder of the opening with sweet orchestrations and floating accordion solo.

The score for the film is a very light one and doesn’t feature any real drama. If you’re looking for an easy-listening to play in the background, this certainly does the job but never reaches the heights Savina is capable off. But on the whole we have to be glad that this project even exists and we are able to hear it after over 4 decades.

Rating: ***

Title: L’osceno desiderio (Obscene desire)

Year: 1978

Composer: Carlo Savina

As an odd choice, the second feature on this album is actually from a giallo/horror film about an American tourist who gets impregnated while on a holiday. Inspired clearly by The omen and Rosemary’s baby, the child is actually the antichrist. Savina’s score is actually similar to one featured in those films, since it includes both beautiful passages that lull you into a fall sense of security and then releases frightening scenarios in the tension-filled cues.

The film’s sad main theme opens Seq. 1 with a plain piano solo which later expands to woodwinds and solo viola. Savina’s scores generally are more built around motifs than long-lined themes. However this time the melody is really developed and tear-jerkingly beautiful, and perhaps one of the composer’s very finest. The orchestration for this score is quite sparse which makes all the instruments pop out thus making the listener feel each performer’s unique way of playing. The first few reprises are full of hope and filled with the bliss of a tragic romance. Both Seq. 3 and 4 include passages in major key and variate the melody into clever chord progressions that change the overall mood momentarily into a light autumn breeze. The last shades of almost childlike innocence are heard in Seq. 6 which once again continues to the tragic pattern that is incredibly beautiful with its sadness. From thereon the theme continues to get shades of darkness with every reprise. Seq. 8 combines it with clashing pianos, keyboards and even snippets of the devil’s viola, and the style gets even more broken and crooked in the following cue. After many horrific cues there is a surprising sequence, Seq. 17, which is a romantic new theme that has dramatic piano flourishes and even major key sections. That new melody is also heard in the finale cue which isn’t the romantic conclusion I was hoping for because there are still shades of darkness left, perhaps signaling that the evil wasn’t defeated.

The horror begins already in Seq. 2 with devilish viola solo, another classic way to resemble the devil through Western classical music. The base is reprised without the viola in Seq 7. The mood of these cues is later developed into an actual horror motif which is the score’s secondary theme. Seq. 10 has interesting keyboard effects that are actually quite fun in a twisted way. The first version of that secondary theme is also heard during its final moments. Seq. 11 has music that sounds like someone creeping around empty rooms at night. Seq. 12 begins with terrifying variations of the main theme which make way to another sparse creeping around cue that is actually quite frightening to listen to by yourself. Seq. 13 is the first cue built entirely around the secondary theme. It isn’t as effective as the previous horror music but functional for sure and it even includes some humming choral voices that create a ghostly atmosphere. There are also otherworldly electronic enhancements in the following cue which are actually quite unsettling. The closest the music comes to releasing the tension is at the end of Seq. 18 where the music speeds up and swells into its climax.

L’osceno desiderio has beautiful, exquisitely orchestrated music during its first half which then turns into sour, slow-burning tension during the second half that barely lets the listener have a moment to breathe. Unfortunately the beginning is so strong that the suspense music, which is built around repeating loops and short phrases, just falls flat at certain points. At times though it manages to get under my skin and makes me check over the shoulder for intruders. Nevertheless it’s clearly the better score of the album and just barely misses a perfect rating.

Rating: ****1/2

Tracklist:

1. L'ingenua (Seq. 1) (02:10) *****

2. L'ingenua (Seq. 2) (02:24) ****

3. L'ingenua (Seq. 3) (01:37) ****

4. L'ingenua (Seq. 4) (02:06) ***

5. L'ingenua (Seq. 5) (01:22) ***

6. L'ingenua (Seq. 6) (01:39) ***

7. L'ingenua (Seq. 7) (01:17) ***

8. L'ingenua (Seq. 8) (01:48) ****

9. L'ingenua (Seq. 9) (01:58) ***

10. L'ingenua (Seq. 10) (02:04) ***

11. L'ingenua (Seq. 11) (01:48) ***

12. L'ingenua (Seq. 12) (02:32) ****

13. L'ingenua (Seq. 13) (01:11) *****

14. L'osceno desiderio (Seq. 1) (01:52) *****

15. L'osceno desiderio (Seq. 2) (01:26) *****

16. L'osceno desiderio (Seq. 3) (02:24) *****

17. L'osceno desiderio (Seq. 4) (02:56) *****

18. L'osceno desiderio (Seq. 5) (01:19) *****

19. L'osceno desiderio (Seq. 6) (02:06) *****

20. L'osceno desiderio (Seq. 7) (01:26) ***

21. L'osceno desiderio (Seq. 8) (02:31) *****

22. L'osceno desiderio (Seq. 9) (01:49) *****

23. L'osceno desiderio (Seq. 10) (02:28) ****

24. L'osceno desiderio (Seq. 11) (01:37) ****

25. L'osceno desiderio (Seq. 12) (03:00) *****

26. L'osceno desiderio (Seq. 13) (02:00) *****

27. L'osceno desiderio (Seq. 14) (03:24) ***

28. L'osceno desiderio (Seq. 15) (02:26) ****

29. L'osceno desiderio (Seq. 16) (02:01) ***

30. L'osceno desiderio (Seq. 17) (03:42) *****

31. L'osceno desiderio (Seq. 18) (01:53) ****

32. L'osceno desiderio (Seq. 19) (02:30) *****