Hi and a very warm welcome to the 100th edition of Soundtrack Supplement.
Four Flies records in Italy has reissued Piero Umiliani’s soundtrack to the 1969 giallo thriller Orgasmo -AKA-Paranoia the first of three erotically charged films directed by Umberto Lenzi and starring cult siren Carroll Baker. Back in 2020, the label unveiled the first-ever release of this iconic soundtrack, whose master tapes were thought to have been lost forever. After further detective work in the composer’s archives, the team at Four Flies team managed to salvage and restore the original tapes, bringing Umiliani’s score back to life for all to enjoy. Due to popular demand, this reissue, unlike the 2020 release, bears the film’s original Italian title.
Recorded shortly after Sweden: Heaven and Hell in the latter part of 1968, Orgasmo is one of Umiliani’s finest works. The score perfectly captures the stylish and sleazy vibe and ambience of Lenzi’s film, its acid-drenched visuals, and its themes of perverted psychological mind games, purveyed perfectly courtesy of the devious characters played by Lou Castel and French beauty Colette Descombes. Umiliani was arguably at the top of his game at this time, incorporating elements like the vocals performed by Alessandro Alessandroni and his wife Giulia De Mutis, alongside the stylish and distinct Hammond organ performances that frequent the work played by Antonello Vannucchi. These and other musical phrases and styles became the composer’s trademark in later scores, such as the pulsating and beautifully written soundtrack for Mario Bava’s Five Dolls for an August Moon (1970). But the score for Orgasmo also boasts other styles and sounds, the composer employing Brazilian influences and lively bossa-nova and samba-jazz rhythms, which add much to the overall impact of the score.
The composer also utilises the sublime Lydia MacDonald who lends her voice to the song Fate Had Planned It So, which plays in the opening titles sequence and thus sets the scene for the film’s enigmatic journey both on screen and musically. This LP release is a must have and comes in a lavish 650-gram single tip-on jacket adorned with new artwork. You won’t have to wait long as it will be available as from June 21, 2024.
One you might have missed is Squadra Antifurto but don’t despairbecause Four Flies records have put together a tantalising package of soundtracks that include this title and four more. The label has selected a quintet of action-packed soundtracks and are marketing them as a CRIME BUNDLE. The tiles are as follows.
Guido & Maurizio De Angelis | SQUADRA ANTIFURTO
Lallo Gori | ITALIA ULTIMO ATTO
Albert Verrecchia | IL TEMPO DEGLI ASSASSINI
Riz Ortolani | SI PUÒ ESSERE PIÙ BASTARDI DELL’ISPETTORE CLIFF?
Guido & Maurizio De Angelis | IL GRANDE RACKET.
If you are an aficionado of crime thrillers, or just a fan of Italian film music then you will not want to miss this.
Staying with Four Flies, the label has released for the first time on 7’’single the two tracks from the soundtrack composed by Riz Ortolani for Confessione di un commissario di polizia al procuratore della Repubblica (aka, Confessions of a Police Captain), the renowned 1971 crime drama helmed by filmmaker Damiano Damiani, which starred Franco Nero.
On Side A, is the cue Serena e Lomunno which can be described as a jazzy number performed by a quartet of players who are sadly uncredited. The performance includes bass, electric guitar, drums, and piano.
On Side B, the quartet reduces to a trio the piano not included, to give life to Il ricordo di Serena. In both cases, the pieces’ structure is entirely supported by the perfect interplay of bass and drums, with particularly striking and sharp timbres, complemented by electric guitar and piano with their refined phrasings.
There was much excitement amongst Morricone fans last month when Zamusica announced the world premiere CD edition of Thrilling featuring Ennio Morricone’s original (and almost unheard) complete soundtrack music for the 1965 Thrilling film in three episodes directed by Ettore Scola, Carlo Lizzani and Gianluigi Polidoro. The score is a great mix of heavy and light, with one of his grooviest mid-60s moments, combining Morricone’s floating style featuring bold and jazzy inflections in the instrumentation, a fantastic utilization of flute and saxophone, layered over intricate musical arrangements. Led by Bruno Nicolai and combined with loads of odd sounds, it’s more experimental than Morricone’s other soundtracks of the same era, and it incorporates distinct darker elements that are unmistakably the signature of a masterful composer.
Wait a minute can I stop you right there Zamusica because that’s not quite true is it? Its not the original, but the label still persisted in peddling false info saying that it is, the original is the score we hear on the film, or at least not saying it was a re-recording. Or in this case a mediocre attempt to impersonate Ennio Morricone, not the original so not worth reviewing or is it…..
Well I suppose we could mention just a bit about it, but let’s not forget in many collectors opinions they were duped by incorrect advertising on this one, even if they won’t say it. No matter how you look at it the label were trying to pass it as the original. On hearing it, I must say its nothing out of the ordinary or remotely outstanding, I have seen the movie so vaguely remember the score drifting in and out of the proceedings, there is as far as I can make out one original cue which is the song, but that has been available on you tube and digital platforms for a while now, and is on a couple of compilations by the featured vocalist Rita Monico.
The sound on the score or the overall style at least reminds me of other Morricone scores most notably Barbablu, and even has shades of other works by Morricone such as Il Malamondo, and echoes of La Sciantosa, but there are those awful synth strings in this cover that just cheapen and bring the whole thing down. On listening to other recordings by this ensemble I was bitterly disappointed, they are really no better than the old covers from the early days when Morricone was gaining popularity, and everyone was out to cash in on his success. Remember the cover versions at that time were often given striking cover art from the movies which drew collectors in, and the Thrilling release has basically used the same trap. A case of it looks good outside but inside it falls short on performance, and also being remotely like the original. And this I tell you was said to be “BETTER THAN THE ORIGINAL” or at least that’s what the label Zamusica boasted when I enquired about it being the original. (talk about blowing your own trumpet)
Better than an original Morricone? How so? If you have purchased this and feel you were duped, send it back complain like hell, but if you like it good for you. But please Zamusica be clear in future that the releases you are issuing are not originals if they are not, for example saying it was conducted by Bruno Nicolai was so wrong, unless he did it via a séance. (think about that one). Nice to hear the music, but think about this, will you being a discerning Morricone collector really file this alongside legitimate works by Il Maestro?
The Morricone fan page Chi Mai I felt did not help collectors on this either, as they applauded its release, did they say it was a re-recording or a reproduction as it states in the liner notes, ummm Nope, well not at the time of its announcement. But they do admit it now because the sites founder wrote the liner notes. But it’s a little late when you have already bought and paid for the CD to read about it when you get the disc in your hand. The advertising on this was not clear, whether that was intentional or a mistake we wont ever know, but my thoughts are clear on it. Its not the original, so in my mind its not worth even thinking about.
Quartet Records, GDM, and Sony EMI Italia, presents a remastered, expanded edition of Academy Award-winning composer Luis Bacalov’s score for ROMA BENE, directed by Carlo Lizzani in 1971 and starring Nino Manfredi, Virna Lisi, Philippe Leroy, Irene Papas, Senta Berger and Michèle Mercier.
The film which is a satirical comedy featuring a luxurious cast that gives life to a array of quirky characters, aimed at portraying the vacuous worldliness, moral misery and societal vices of the time. It depicts a wealthy, consumerist middle class that sacrifices human relationships to profit and personal fulfilment and is condemned to a final, mocking backlash. For the movie, Luis Bacalov composed a score based on a progressive rock sound that had been bringing him much success in his collaborations with the group Osanna. The songs Rhythm, with lyrics by Audrey Nohra Tainton, Don’t Put Me Down lyrics by Mack David and Down Memory Lane with lyrics by Susy Carrington are performed by Richard Cocciante with the group Godfather. This long-deleted soundtrack album was released on LP in 1971 by Delta Records in Italy and issued on CD in 2004 by the Japanese Avanz label. For this new release, the original stereo album is completed with the original film versions recorded by Bacalov and mixed in mono. So, another re-issue, but one I don’t really object to as it is a rare one. But here we go they seem to come in twos and three’s don’t they.
Another revised edition of an Italian soundtrack or in this case soundtracks release, why do I not really believe this. Just call me sceptical or even a doubting Thomas, but these things just don’t cut it for me these days it’s a case of twenty-five times bitten twenty-six times shy. Quartet Records, in collaboration with GDM and Universal Music Publishing Italia, have issued a, remastered edition of two iconic western scores by Ennio Morricone, directed by filmmaker Duccio Tessari in 1965 and starring Giuliano Gemma.
This two-CD deluxe edition brings together all the previously released material from both of the Ringo movies with programs that were originally put together for RCA and GDM Music.
Disc one contains the stereo program of both Ringo movies, with the cues selected by Morricone for the original RCA release. Quartet have also included the very rare 1965 album originally entitled ”La Storia, I Dialoghi, Le Canzoni di Il Ritorno Di Ringo.” Which included dialogue that also featured Morricone’s music interspersed with newly recorded narration and even included sound effects to retell the whole story in about half an hour. This album also notably includes some short cues that can only be heard in that program.
Disc two includes the first version released by GDM on CD in 2004 with cues once again selected by the composer, which was entirely in mono. It is interesting because some takes are different from the previous stereo version, as well as the fact that the program was expanded. The thing is it’s always nice to see a Morricone release, but do we really need another re-issue? Collectors already have three maybe four versions in their libraries, so my point is what is the point?
An earthquake hits a small town. There are no casualties, but the whole community is forced to flee their homes. As the adults struggle to find balance in precarious times, Viola, a ten-year-old girl, imagines the earthquake as a “friend” who forces her to stay outside with the others, discovering the world of adulthood, friendship, and a so-far unexplored nature.
That is the outline of the story for the movie Super Luna, which has be scored which much emotion and sensitivity by composer Teho Teardo. It’s a subtle but highly affecting work, the composer utilising piano, female voice and underlying strings to create an almost otherworldly sound that is pleasing and supportive. It is a beautiful score and contains themes or parts of themes that combine to fashion a score that is quite mesmerizing and poignant. There are a handful of slightly more hard-edged cues, but even these remain thematic. Released on Plaza Mayor, and available now on digital platforms. worth a listen.
Lowlifes is a 2024 Horror movie directed by Tesh Guttikonda and Mitch Oliver. The survival instincts of a road-tripping family are put to the test when they have no other choice but to stay the night at a remote homestead. Pretty standard fare for a horror movie nowadays and one would also say cliched.
The score which is realised electronically is very atmospheric, the composer Jordan Andrew, creating a tense and uneasy mood via sounds musical, and otherwise, the soundtrack also includes a nice song. Feeding off Your Love is a nineties sounding vocal performed by Jordan Andrew and Sorah, which is easy going, but one that you can hear being played on the radio because it is catchy, rhythmically attractive, and easy.
The score is a tense and urgent affair, the composer never allowing the tension to ease, and keeping up the pressure with inventive sounds and sharp stabbing jolts throughout. It’s probably the greatest score but I found it interesting. On digital platforms now.
Coming soon is a score for a new documentary, SOUS NOS YEUX: which is set during World War II. And focuses upon Normand people who filmed their daily lives against a backdrop of mobilization, war, occupation, and liberation. These images are a moving testimony of the life of a country during these events.
The music is the work of talented composer who is a composer I followed for a while now, he has work mainly on documentaries, providing each one with a score that is supportive and enriching. His music for Sous Nos Yeux is in my opinion his best work to date, but I think I say this with each new score from this composer, because his music just becomes more emotive and thematic with each assignment. I really love this, the melodies are subtle and effective, the score having to it an emotive heart, an intimate quality and an understated but powerful persona that is hauntingly beautiful and highly emotional.
The composer said. “It was important to me that the music of “SOUS NOS YEUX” remained respectful of these sometimes-intimate stories. I had to find an emotion that was accurate and never caricatured, bringing out all the context and the upheavals hidden behind these often falsely innocuous images”. Out soon on download and digital platforms on Plaza Mayor you must add this to your collection. Recommended.
Digital Eclipse announced that its remake of Wizardry ;Proving Grounds of the Md Overlord, will fully release on May 23, 2024. The full release of the game — which has been in Early Access on Steam and GOG.com since September 2023 — will be available on PC, PlayStation 4, PlayStation 5, Xbox One, Xbox Series X|S, and Nintendo Switch. Originally developed by Sir-Tech, Wizardry: Proving Grounds of the Mad Overlord is the first game in the first-person dungeon-crawling series and was initially released for Apple II in 1981. The remake is said to be built directly upon the game’s original code, with its original interface viewable to players.
The game sees players using their own party of adventurers to journey through a labyrinth in search of an amulet stolen with the evil wizard Werdna.
Accompanying all of the adventures is the music of Winifred Phillips, who has written a robust vibrant and anthem like score for the game. She has included a literal plethora of medieval instrumentation from around the world, including gitterns, domras, talharpas, and nyckelharpas, viola da gamba, dulcimers and psaltery, recorders, pipes and bone flutes, organs and an assortment of lutes, frame drums, and all manner of medieval percussion. The score for Wizardry conjures up the feeling and the atmosphere of the life and times of a medieval adventurer in a sword-and-sorcery epic. In order to pay tribute to the lore of the Wizardry fantasy world,
The composer also wrote a rousing choral battle anthem (Wrath of the Wizard) that features the ancient language of the Wizardry spell book. On listening to the music, one would never guess it was for a video game, instead the epic sounding flourishes and proud and driving themes are more associated with the genre of the Epic or the adventurous and mysterious fantasy movies or even the likes of Marvel.
The score is literally overflowing with rich and vibrant thematic material, which the composer combines with more intimate folk sounding pieces, and hints of romanticism and comedic airs. It’s a score that I am confident film music or in this case game music fans will love. And the bonus is you do not have be a gamer to enjoy the score as it works just as well on its own as stand-alone music. Available now on digital platforms MMI recommends this score without reservation.
Waxwork Records has announced THE FALL OF THE HOUSE OF USHER. From The Netflix Original Series by The Newton Brothers. The Fall Of The House Of Usher is an American Gothic Horror Drama miniseries created by Mike Flanagan (The Haunting of Hill House, Hush) and starring an ensemble cast led by Carla Gugino (Gerald’s Game, Sin City), Kate Siegel, Bruce Greenwood, Henry Thomas, and Rahul Kohli. Loosely based on various works by the 19th century author Edgar Allan Poe into a single narrative taking place from 1953 to 2023. It recounts the rise to power of Roderick Usher and his sister Madeline Usher, and the events leading to the deaths of all six of Roderick’s children.
The impressive score by Flanagan’s long-time collaborators, The Newton Brothers, features sweeping, darkly rich and affecting orchestral cues meticulously crafted to accompany the gothic inspired storytelling. While melancholic, and brooding, the music is also beautiful and even joyful at times.
Grandiose orchestral swells are met with bombastic percussion which then pull the listener into haunting and fright inducing territory. Waxwork Records is thrilled to release the series score as a deluxe double LP set featuring 150 gram Seafoam Green colored vinyl, design and layout by Matt Needle, heavyweight inserts, production stills, and heavyweight gatefold jackets with matte satin coating. The soundtrack will be released on June 21st, but you can pre order it now The Fall of the House of Usher – Waxwork Records The score is also available now on digital platforms.
Musician Paul Bachmann happily runs an instruments store in the Bavarian town Dürnstein. Since his wife died, he practically gave up his concert career to be the perfect parent for his equally loving and beloved eight year-old son Rico. Their domestic bliss is brutally threatened after Luisa Benelli turns up, who hides she’s Rico’s biological mother, who gave him up for adoption. She builds up a bond with Rico and falls in love with Paul, until the truth catches up.
That’s the plot for If the Father and the Son or When the Father and the Son, which has a delightful score composed and conducted by Marcel Barsotti, the movie was originally released in 2004, and at last the beautiful soundtrack is now available on digital platforms, it’s one of those score that you put on and then realise you have sat all the way through it and thoroughly enjoyed its melodies and rich thematic content, it is so good I guarantee you will straight away go back to the beginning and start all over again.
Every cue is charming, every track is a delight and the entire work is haunting, this is a score that will be returned to many times. Mainly performed by piano that is underlined and supported by the string section, the music just flows wonderfully and is full of emotion and oozes warmth. Recommended.
In the film Everybody Loves Touda, the central character Touda dreams of being a Sheikha, a traditional Moroccan performer empowered by the lyrics of the fierce female poets who came before her. But her songs of resistance, love and emancipation fall on deaf ears with the crowd of rowdy men who frequent the sleazy bars her small town has to offer. She leaves for the hopefully bright lights of Casablanca, where she is hopeful that she will be recognized as a true artist and secure a better future for her son.
Everybody Loves Touda director Nabil Ayouch (Casablanca Beats, 2021) portrays the journey of a strong-willed and resourceful woman, akin to some of his best-loved films such as Much Loved(2015) and Razzia (2017). The film is co-written by filmmaker and actor Maryam Touzani, who is also married to Nabil Ayouch. Her previous movie Le bleu du caftan, which was co-written and produced by Ayouch, premiered in the Un Certain Regard section in Cannes, where it won the Prix de la Critique Internationale, and made the shortlist for Best International Feature at the Oscars.
Music is courtesy of Danish composer Flemming Nordkrog and marks the first collaboration between director and the composer. Nordkrog’s score was inspired by the rhythmic breathing of traditional Moroccan singers, which is why he chose to centre his compositions around the bass clarinet. This instrument has a unique sound that is characteristically rich, mellow and often ominous sound serves its purpose well, as Flemming uses his score to underline the emotional moments of the story. Because the main character, Touda, is a Sheikha, traditional Moroccan music is utilised dietetically in the film, with subtle hints of these songs are noticeable in Nordkrog’s score, yet he never lets his intimate and emotive music demand centre stage. There is currently no news on a soundtrack release, but it is one to watch out for.
Movie Score Media are a label that never seems to slow, the label has released the score from the Norwegian TV series Fenris which consist of six episodes, the score is the work of Maestro Uno Helmersson. The composer has penned a subtle but an effective soundtrack to accompany this drama/horror.
Which is available now on digital platforms. The plot unfolds around the disappearance of a boy from a small town in Norway. Rumours soon begin to circulate, and it is said that wolves are responsible, but when a biologist discovers a bloody jacket belonging to the boy in his father’s house he also disappears, sparking a wave of frantic investigations. The score is suitably tense having to it airs of apprehension and layers of subtle but effective drama. Which underlines and supports the narrative. Worth checking out.
Digit movies in Italy have re-issued the triple score compilation by Franco Micalizzi which includes his romantically laced scores for The Tree with Pink Leaves, The Last Snows of Spring and The White Horses of August, all three scores are well worth adding to your collection, again a re-issue but this time I feel it is warranted.
The soundtracks will also be released onto a double LP collection, both are now available for pre-order.
The label has also announced that they will release Guido and Maurizio De Angelis score for the Franco Nero crime thriller Il Cittadino Si Rebella (Street Law) 1974. And a collection of film music by Maestro Stelvio Cipriani. The three CD set is entitled Stelvio Cipriani Soundtrack Rarities Vol 1, and includes the soundtracks from Don Bosco, (1988), Baciami Strega,(1985) and Se Non Avessi L’Amore, (1990).
Finally the Movie Music International CD or release of the month is Chris Benstead’s atmospheric score for Guy Ritchie’s The Ministry of Ungentlemanly Warfare, which is released digitally on Filmtrax.
The superb score is a homage to the music of the spaghetti western, with references to the work of Luis Bacalov, and Ennio Morricone heard throughout. But the composer also places his own musical fingerprint on the score. This a release you should own.
MOVIE MUSIC INTERNATIONAL. (MMI) . 