Spaghetti and cowboys: part 6

Title: È tornato Sabata… hai chiuso un’altra volta (Return of Sabata)

Year: 1971

Composer: Marcello Giombini

For the last film in the Sabata trilogy, the actor playing the main character made his return along with the first film’s composer, Marcello Giombini. He didn’t reprise any of the thematic material of the first, rather than crafted a whole new score that was clearly more tongue-in-cheek and self-aware.

The more light-hearted tone is prevalent right from the opening theme song with hilarious scat ‘pom-pom’ censorship in its lyrics. Also the hand-claps and the macho delivery of the vocals combined to the powerful choral harmonies are a recipe for a fun cue. This theme song is the backbone once again for the rest of the score. It’s heard in the following Seq. 2 after a brief fast-paced action moment, played by a harpsichord and marimba in a comedic way. A jazzy flute, surf guitar and choir variate the melody in Seq.6 and 11 whereas Seq. 9 is just the rhythmic section playing the ‘pom-pom’ rhythm followed by a solo voice of Alessandro Alessandroni reciting the song lyrics. Finale is the reprise of the theme song strangely played twice in a row without noticeable variation, which is a slightly disappointing end to the score.

Giombini’s music explores many different genres throughout its duration and jumps between moods constantly. However the music never gets distracting since everything seems to be a part of a larger painting. The saloon piano returns of course in a cheery way in Seq. 3, 16, and in Seq. 13 it plays one of the film’s secondary themes. That love theme is heard fully in Seq.5 which is a violin-banjo duet in waltz tempo, a pretty little tune. The choral voices are utilized better here than in the preceding scores, for instance Seq. 4 has hissing and whispering voices shouting the name “Sabata”, and in Seq. 14 they offer a short snippet of church choir realness. The Gothic organ returns in Seq. 7 and it’s even more furious and judgmental than in the first film. In the following cue the organ is combined to tribal drum rhythms and shouting choral voices in an entertaining, over-the-top manner.

The suspenseful aspects of the story are introduced in Seq. 10 with echoing flute effects which resolve to bass clarinets and tremolo strings. In the middle of Seq. 11 a secondary, cool, jazzy electric guitar theme is heard for the first time and after a banjo interlude it returns in a full, menacing fashion combined to choral voices. The fullest statement of this idea is Seq. 12 which starts with marimbas, then introduces the melody with strings and keyboards and later turns into a psychedelic moment of terror for jazz flute, choir and the guitar. It’s probably my favourite cue in the whole score. Variations of the guitar theme are combined to tribal ‘pom-pom’ rhythms, comedic main theme statements and abstract bass clarinet tunes in Seq. 15. The score concludes to Seq. 17 which starts with a pastiche of Händel’s Hallelujah-choir before some suspense moments for percussion and Jew’s harp, and finally some jazzy reprises of the guitar theme.

The score for the last film may not be as polished as the one by Nicolai but I had the most fun with this one compared to all the others. It is cheesy for sure, but made me crack a smile several times during the album so it has to be doing something right. The constant surprises of different styles and inventive orchestrations combined to a killer secondary theme make this my favourite of the three Sabata scores.

Rating: ****

Tracklist:

1. È tornato Sabata... hai chiuso un'altra volta (Titoli - Seq. 1) (02:12) *****

2. È tornato Sabata... hai chiuso un'altra volta (Seq. 2) (02:10) ****

3. È tornato Sabata... hai chiuso un'altra volta (Seq. 3) (01:22) ****

4. È tornato Sabata... hai chiuso un'altra volta (Seq. 4) (01:25) *****

5. È tornato Sabata... hai chiuso un'altra volta (Seq. 5) (02:37) ****

6. È tornato Sabata... hai chiuso un'altra volta (Seq. 6) (01:25) ****

7. È tornato Sabata... hai chiuso un'altra volta (Seq. 7) (02:14) *****

8. È tornato Sabata... hai chiuso un'altra volta (Seq. 8) (01:12) *****

9. È tornato Sabata... hai chiuso un'altra volta (Seq. 9) (01:59) ****

10. È tornato Sabata... hai chiuso un'altra volta (Seq. 10) (01:29) ****

11. È tornato Sabata... hai chiuso un'altra volta (Seq. 11) (03:50) ****

12. È tornato Sabata... hai chiuso un'altra volta (Seq. 12) (02:44) *****

13. È tornato Sabata... hai chiuso un'altra volta (Seq. 13) (02:36) *****

14. È tornato Sabata... hai chiuso un'altra volta (Seq. 14) (00:54) ****

15. È tornato Sabata... hai chiuso un'altra volta (Seq. 15) (02:06) *****

16. È tornato Sabata... hai chiuso un'altra volta (Seq. 16) (02:26) ****

17. È tornato Sabata... hai chiuso un'altra volta (Seq. 17) (03:59) *****

18. È tornato Sabata... hai chiuso un'altra volta (Finale - Seq. 18) (04:23) ****

Spaghetti and cowboys: part 5

Title: Adiós, Sabata (Indio Black)

Year: 1970

Composer: Bruno Nicolai

The sequel to Sabata started out as a solo film for another character called Indio Black. However during production the success of Sabata made the producers change the film into a sequel. The composer for the film was also different, namely Bruno Nicolai who also had several Spaghetti Western films under his name. His scores for the genre tended to be a bit hit-or-miss for me, usually boasting awesome themes but unable to keep the interest up for the whole score. I can happily say that fortunately Adiós, Sabata belongs into the ‘hit’ category.

Even more so compared to the first film, this one is dominated by one single theme. However this time there are more distinctive moments of non-main-theme-based material. The main theme heard in the opening track is a sorrowful tune with some hints to victorious Morriconean Spaghetti Western chords. The melody is heard first by a classic solo whistling before it turns into a full gallop for the whole orchestra and choir. Within the first cue it never gets into full flight though but quiets down to solo recorder effects followed by a sudden joyous fiddle surge. Most of the theme’s latter reprises are written for solo woodwinds, especially bassoon or whistling and they’re surprisingly introverted rather than flashy. The happier B section of the melody is heard in track 3 but it cools down before getting really going. Main theme #5 is the fullest version thus far, including the choir’s spoken word of “Indio Black” and rises up to another glorious orchestral statement. Version #6 starts straight from the driving B section followed by a sublime action version of the theme. The ending two single versions are a look into the whole score, first one a full theme statement, the latter reprising the Mexican mariachi music and the electric guitar waltz heard in track 12.

Besides the main theme the album has plenty of action and suspense material. The big fight is the first one and it balances between massive orchestral heroics and suspense writing with martial undertones eventually leading into a dramatic military march. More furious action follows in Action sequence which once again bounces between lighter suspense and large-scale bursts of power. Even hints of the previous march are added for some extra colour among high horror music strings. A suspense motif of descending low piano rumbles is also introduced. Nicolai’s suspense scoring here is far more effective compared to its predecessor, for instance Suspense sequence is so descriptive with its palpable sense of tension before changing into a fine main theme reprise. Suspense sequence #3 in particular allows the music to take its time and venture through empty Western town streets. Eventually there is a swaying new electric guitar tune with colourful, birdlike flutes and even a full version of the main theme.

The album consists mostly of dramatic moments like this but there are some breathers sprinkled in between. Stompede begins with tuneful saloon piano and then moves into a short elegy for solo guitar and light strings which is actually the main theme in disguise. Similar instrumentation returns in Deguello but the melody is a new one. After the main theme, a lullaby for the solo bassoon leads the listener into an unexpected music box tinkling the main theme. The lullaby returns beautifully in Pastorale after a mix of the suspense motif and main theme. The most surprising combination has to be Theme –piano version which is a full version of the main theme for a saloon piano which blurs the line between source music and regular film scoring. This cue is easily one of the album’s finest. Another surprise appears in Mariachi, a jubilant Mexican source cue for the full orchestra followed by Mexican choir, a two-voice acapella source.

Nicolai’s score is clearly more constant with its quality but overall the highlights aren’t as special as in the first score. Also this time there is only one single theme and if you don’t enjoy it, you’re going to have a tedious time with this album. Luckily the best score of the trilogy is still left and you don’t have to choose between these two for the best Sabata score.

Rating: ****

Tracklist:

1. Indio Black (Main theme) (03:07) ****

2. Indio Black (The big fight) (03:43) ****

3. Indio Black (Main theme #2) (01:57) *****

4. Indio Black (Action sequence) (05:18) ****

5. Indio Black (Main theme #3) (01:27) ****

6. Indio Black (Suspence sequence) (01:38) ****

7. Indio Black (Main theme #4) (01:45) ****

8. Indio Black (Stompede) (01:43) *****

9. Indio Black (Main theme #5) (02:13) *****

10. Indio Black (Suspence sequence #2) (01:29) ***

11. Indio Black (Main theme #6) (02:16) *****

12. Indio Black (Suspence sequence #3) (05:06) *****

13. Indio Black (Main theme #7) (01:04) ****

14. Indio Black (Deguello) (03:35) *****

15. Indio Black (Pastorale) (02:04) *****

16. Indio Black (Suspence sequence #4) (04:41) ****

17. Indio Black (Action sequence #2) (02:12) ****

18. Indio Black (End theme) (01:36) ****

19. Indio Black (Theme - piano version) (02:31) *****

20. Indio Black (Mariachi) (01:22) ****

21. Indio Black (Mexican choir) (01:35) ***

22. Indio Black (Mariachi 2) (01:17) ***

23. Indio Black (Side A) (02:12) *****

24. Indio Black (Side B) (02:48) ****

Spaghetti and cowboys: part 4

Title: Ehi amico… c’è Sabata, hai chiuso! (Sabata)

Year: 1969

Composer: Marcello Giombini

Along with The man with no name, Django, Ringo etc there was another lone gunman appearing in Spaghetti Western films at the turn of 1960s-70s, Sabata. This antihero was portrayed by two different actors in the three films he appeared and originally had another name in the ‘sequel’ before it turned into a Sabata picture during production. Quartet records released all the scores together on a 3 CD box set.

The first score is by Marcello Giombini who was a prevalent composer of especially Spaghetti Western films but sometimes ventured to other genres as well. His work for Sabata is probably his most well-known work and no wonder: the main theme is very catchy and sticks with you after just a few listens. The opening Titoli opens with the swirling strings associated with the film’s antagonist before the main theme appears first played by an electric guitar and then a forceful brass section. The descending tune has some mariachi qualities to it and a riding gallop beat underneath. The first reprise arrives in Verso Los Saloe and eventually it variates into a major key version of the tune. Vocal includes spoken word by Alessandro Alessandroni and his choir members repeating the film’s title. Though cheesy, you can’t deny its entertainment value. The album ends with a few full reprises of the tune which unfortunately get too repetitive after hearing the melody already throughout the whole score. The last cue however is a surprising one, the theme sung fully in German meant for the international distribution of the film.

The antagonist of the story is called Stengel and his theme is heard in a brilliant way in track 3. Its foundation is built around swirling strings and victorious chord progressions. The melody itself probably the best one within the score and resembles those glorious solo trumpet moments from Morricone’s Western scores. For the sidekick Banjo, the main instrument is clear. The banjos are however more in the background in track 7 and the actual melody is played by woodwinds and strings with a slight nautical feel for some odd reason. Auira Banjo mixes his theme for a solo banjo with hints to the Stengel material but finally turns them into emotional orchestral glory. The theme had also a single version, track 18 which combines strangely material from tracks 7, 13 and 10.

For moments that don’t play around the main themes, Giombini provided an array of moods. L’attesa is a slow funeral elegy which isn’t terribly interesting unfortunately while Saloon is a source piano piece. Morte di Stengel opens with effective, quiet suspense material for inventive orchestrations eventually reprising the main theme in disguise. L’agguato is a tense orchestral stinger which doesn’t offer anything new but is a fine composition nonetheless. It however isn’t anything compared to the most over-the-top drama moment of the score, La vendetta for a thunderous, Gothic church organ playing in Baroque fashion backed by the orchestra.

The score concludes with three nicely assembled suites, first of which begins with tense Stengel material and changes into a more action orientated variation of his theme and then into a suspense variation. Later the melody is mixed together with several major key versions of the main theme that are the foundation for the rest of the suite. Suite 2 opens with all the three main identities before a short yet beautiful love theme for solo viola is heard, which then moves to new main theme variations for varying orchestration. The last suite is once again all about the main theme: first harpsichord playing it with a slightly comedic edge, then some alto flute, marimbas and eventually back to soothing harpsichord notes.

The main theme, no matter how catchy, is perhaps too plentiful and that is the biggest complaint I have with Sabata. Luckily the orchestration varies and almost none of the reprises sound the same. I would have loved to have more of the other themes which now get buried under the excessive main theme statements. Nevertheless it’s a fine Spaghetti Western score and will surely please the fans of the genre.

Rating: ****

Tracklist:

1. Ehi amico... c’e’ Sabata, hai chiuso! (Titoli) (01:52) *****

2. Ehi amico... c’e’ Sabata, hai chiuso! (L’attesa) (02:00) ***

3. Ehi amico... c’e’ Sabata, hai chiuso! (Nel covo di Sengel) (03:08) *****

4. Ehi amico... c’e’ Sabata, hai chiuso! (Verso Los Saloe) (01:37) ****

5. Ehi amico... c’e’ Sabata, hai chiuso! (Saloon) (01:42) ***

6. Ehi amico... c’e’ Sabata, hai chiuso! (Desolazione) (01:17) **

7. Ehi amico... c’e’ Sabata, hai chiuso! (Banjo) (01:09) *****

8. Ehi amico... c’e’ Sabata, hai chiuso! (Vocal) (02:43) ****

9. Ehi amico... c’e’ Sabata, hai chiuso! (Morte di Stengel) (02:42) ****

10. Ehi amico... c’e’ Sabata, hai chiuso! (Auira Banjo) (02:37) *****

11. Ehi amico... c’e’ Sabata, hai chiuso! (L’agguato) (01:05) ****

12. Ehi amico... c’e’ Sabata, hai chiuso! (Saloon 2) (01:55) ***

13. Ehi amico... c’e’ Sabata, hai chiuso! (La vendetta) (02:43) *****

14. Ehi amico... c’e’ Sabata, hai chiuso! (Suite 1) (07:26) ****

15. Ehi amico... c’e’ Sabata, hai chiuso! (Suite 2) (04:02) ****

16. Ehi amico... c’e’ Sabata, hai chiuso! (Suite 3) (04:53) ****

17. Ehi amico... c’e’ Sabata, hai chiuso! (Banjo - single version) (02:30) ****

18. Ehi amico... c’e’ Sabata, hai chiuso! (Alternate take 1) (01:50) ****

19. Ehi amico... c’e’ Sabata, hai chiuso! (Alternate take 2) (02:38) ***

20. Ehi amico... c’e’ Sabata, hai chiuso! (Alternate take 3) (01:51) ****

21. Ehi amico... c’e’ Sabata, hai chiuso! (Vocal - in tedesco) (02:36) ****