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FEMMINE INSAZIABILI.

INSAZIABILI

Originally released on a long playing record back in 1970 which was on the famed Italian soundtrack label ARIETE (ARLP 2006), FEMMINE INSAZIABILI or INSATIABLE WOMEN or just THE INSATIABLES is probably one of Bruno Nicolai’s finest soundtracks. It was also probably this particular soundtrack that made me realise that Nicolai was a talent all on his own and also brought it home that he possessed a unique and vibrant musical style away from the shadow of composers such as Morricone, Rustichelli and Rota all of which Nicolai collaborated with as conductor or arranger. This score in particular contains numerous styles and is a theme laden work. The composer utilising the unmistakable aural talents of Edda Dell Orso who’s marvellous vocalising is used throughout the score giving it an even more attractive and haunting quality. Yes it is true to say that one can make comparisons between the work of Nicolai and also the work of Morricone and it has to be said that both composers were particularly busy and creative at this time in their respective careers, but FEMMINE INSAZIABLI has to it an aura and a musical presence that to be truthful is far superior to much of what Morricone penned at this time, Nicolai’s themes seem to be more developed and a lot more melodic, the composer arranging and orchestrating the core themes from the score differently throughout to create a veritable smorgasbord of rich and attractive compositions that combine to create a soundtrack which when listened to away from the images still remains entertaining. The movie was released in 1969 and was directed by Alberto De Martino, it starred John Ireland, Frank Wolf, Dorothy Malone and Robert Hoffman. A journalist meets up with an old lady friend in the United States when he is visiting there, but shortly after meeting her she is murdered, the journalist decides to find her murderer and in doing so discovers that many of her so called friends did not like her at all and further discovers that in the years she has been in America she has become corrupt. Nicolai’s score opens with the driving and vivacious sounding title song I WANT IT ALL, performed by Lara Saint Paul with backing vocals by Edda and driving melodic strings that are melodic but upbeat. “THE GOOD THINGS THE BAD THINGS THE THRILLS THE SORROWS AND THE JOYS, I WANT IT ALL, ALL LIFE CAN GIVE ME, WITH EVERY PART OF ME I WANT TO LIVE”. are the opening lines, Sounds good to me, performed wonderfully with beautifully orchestrated backing by Nicolai, this opening melody carries on through the remainder of the score and pop’s up here and there in various musical guises and permutations. The remainder of Nicolai’s score is fairly upbeat and has to it a busy almost big band sound in places, with brass and percussion creating luxurious sounding themes and motifs. Then there is the softer and far more easy listening side to the work, with strings and light percussion combining with organ and Edda exquisite voice the composer adding to this interesting and original sounds and trills etc that accompany and embellish the central thematic material. This for me personally is brought to a fuller fruition in track number four which is just one of the instrumental variations of the I WANT IT ALL theme. The soundtrack is released on EASY TEMPO records which was a label that was very active a few years back releasing various scores and also putting out a series of compilation discs that were entitled simply EASY TEMPO 1 to 10. The score for FEMMINE INSAZIABILI is simply glorious, it is an essential purchase and a MUST HAVE Bruno Nicolai soundtrack, your collection will be lacking and incomplete without this gem of a soundtrack, seek it out and add it straight away. It was also released on a double LP record by the same label. To say certain cues are stand out or highlights of the work would be impossible as every cue is magnificent, my own favourites being the title song, INTIMITA , NOSTALGIA DI UN INCONTRO,AUTOSTRADA PER LOS ANGELES and AUTOSTOP. Buy it and check these and the other fantastic 18 tracks out.

VARESE SARABANDE NEWS.

VARÈSE SARABANDE RECORDS LAUNCHES NEW MARKETING INITIATIVES ACROSS ITS SOCIAL MEDIA CHANNELS

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(December 2, 2014– Los Angeles, CA) – Varèse Sarabande Records is proud to announce new digital media initiatives, including weekly Spotify playlists and original content on YouTube.

Beginning on Halloween Friday, Varèse Sarabande Records began a Spotify playlist initiative that will continue with the label posting a new themed playlist every week. The label will curate its playlists mining its own storied catalog as well as pulling from the world’s greatest film music scores and songs. Varèse launced its initiative with a playlist that featured tracks from THE OMEN, PSYCHO, A NIGHTMARE ON ELM STREET and TRUE BLOOD.

Varèse has also repositioned its YouTube channel to showcase original content the label is producing. This content incudes short-form music videos that feature select tracks from its upcoming soundtrack releases, behind the scenes making-of videos that highlight the music creation process from its soundtracks, and lyric videos from the singles released on its song soundtracks. The most recent videos posted include a lyric video for the song “Who You Talkin’ To Man” by Ciscandra Nostalghia from the soundtrack to JOHN WICK, and exclusive music and behind the scene interview pieces from the WHIPLASH soundtrack, composers Marco Beltrami (THE HOMESMAN), and Steven Price (FURY). Since Varèse’s reposition of its YouTube channel, the label has experienced 420% growth in channel views and 220% growth in subscribers.

For over 35 years, Varèse Sarabande has been the leading film music label and most prolific producer, marketer and distributor of film music in the world, releasing the highest quality soundtracks from the world’s greatest composers. From current box office hits and top television series to the classics of Hollywood’s Golden Age, Varèse Sarabande’s catalog includes albums from practically every composer in every era, covering all of film history; from Bernard Herrmann, Alex North and Jerry Goldsmith to Alexandre Desplat, Michael Giacchino and Brian Tyler.

The Varèse CD Club releases deluxe and expanded editions of special soundtracks for the film music aficionado. The Varèse Vintage imprint specializes in releasing new and re-issued albums by classic pop, jazz and country artists. Varèse Sarabande Records is distributed by Universal Music Group, while the Varèse CD Club accepts direct orders at http://www.varesesarabande.com.

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JESSABELLE.

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After a traumatic and horrific automobile accident, the films central character returns to her childhood home in Louisiana to try and recuperate however whilst there she comes across some VHS tapes that have been made by her dead Mother and soon comes face to face with a tormented and virulent spirit that is seeking vengeance, it has been seeking out Jessabelle and now that it has found her the entity has decided that Jessabelle will not leave again. Directed by Kevin Greutert who worked on all of the SAW franchise and actually directed two of the instalments delivers a slow smouldering movie which is effectively scary and jumpy, and is a classy deep south thriller which has affiliations with other movies such as ANGEL HEART. The musical score for JESSABELLE is suitably harrowing and tantalisingly effective in the fear and foreboding departments. It is the work of young composer Anton Sanko who worked on RABBIT HOLE and more recently has scored THE POSSESSION and OUIJA and although his name is not as prominent as other composers of film music Sanko has worked on approximately 50 assignments for the cinema and also TV. JESSABELLE is not a score that I would recommend you listen to in the dark or via headphones, the musical ideas, orchestrations and effects within the work are shall we say disturbing and unsettling to say the least, but they are also truly original, highly effective and affecting. I am a fan of the horror genre (at least some of it) and personally I am of the opinion that the Horror score at times is overlooked or even ignored, but when you stop and think about it, it is the music in a horror picture that creates 90 percent of the atmosphere and is responsible for setting the mood and alerting the watching audience to some unspeakable horror that is about to happen on screen. Sanko has created a tension filled work that touches on many senses, purveying horror, apprehension, sadness and also full on terror, his score contains more twists, turns and spine tingling moments than a fairground ghost train ride. It is a feverish and malevolent sounding work, that oozes a malicious and wicked persona. This is not a soundtrack that one could sit and listen to for pleasure I don’t think, I mean you would not put this on as background music at a dinner party, but it is enjoyable simply because it is so imaginative, inventive and surprising. The voice of featured vocalist Sussan Deyham brings much to the work and is superbly disconcerting when utilised as it at times seems to creep up on the listener from out of the darkness of the score to create a dissonant and intimidating aura, at times becoming guttural and manic. This is an accomplished work and one that for me ranks alongside THE CONJURING, EVIL DEAD and ANNABELLE. Worth a listen.

EXODUS-GODS AND KINGS.

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For his latest movie director Ridley Scott has turned to Spanish born composer Alberto Iglesias to write the score. EXODUS, GODS AND KINGS is the British filmmakers take on the story of Moses and the Ten commandments from the old testament, so epic material abound that is sure to thrill and enthral audiences. Iglesias has created a score that not only matches and supports the magnitude of the story unfolding on screen but it also has the ability to be intimate highly emotive and haunting. The composer bringing us a theme laden work that at times is grandiose and awe-inspiring and on other occasions becomes intricate, delicate and romantic. Iglesias utilises solo voice and also choir within the score which are able to purvey an atmosphere in the first instance of solitude and desperation and when he employs choir it conjures up a mood of greatness, fearfulness and foreboding. There is within the work a number of passages that are performed by ethnic sounding instrumentation, the composer at times combining certain ethnic instruments with a lamenting and heartfelt solo voice which more or less cries out in hopelessness or evokes a feeling of sadness that manages to invade ones inner soul and get right to your core. The work although epic and grand with sweeping themes and at times celestial sounding choral work has to it another side, the composer fuses a more contemporary sound to the established epic sound that he has fashioned with brass, strings, woodwind, percussion and choir, adding a darker and threatening sound that is underlined by minimalist use of synthetic sounds, I feel that Iglesias manages to get the balance correct and has written a soundtrack that will be appreciated by many aficionados of the art of film music. In short it is a score that posses the lushness and lavish opulence that is reminiscent of the vintage Hollywood movies such as QUO VADIS and BEN HUR but also has to it a freshness and vibrancy that maybe a composer such as the late Jerry Goldsmith would have experimented with, Iglesias has experimented with fusing these two styles and it has certainly been a success for him. EXODUS GODS AND KINGS will I think be one of the film score highlights of this year, it is a totally consuming and entertaining work, it is sorrowful, dramatic, adventurous and memorable,and contains shades of Rozsa, nuances that are akin to the style of Morricone and power and richness that could be Newman or Williams. Available as from December 2nd on Sony music. Recommended.

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