Dio_perdone_io_no_CDDM051Originally released in 1967 on a CAM single and then later during the 1970’s on Phoenix records, this Carlo Rustichelli soundtrack is an Italian western score with a difference, when I say this I do not mean it in a derogatory way at all, as it is an interesting and vibrant score, GOD FORGIVES I DON’T, contains none of the what I like to refer to as stock musical trademarks that we normally associate with the genre of the spaghetti western, there are no shrieks, whistles or trumpet solos, in fact this is a very classical sounding score that comes complete with a DIES RAE in the style of Wagner. Rustichelli does however utilise electric guitar in a few of the cues but on the whole keeps strictly to a more conventional approach in his scoring of this movie. This was the first move to pair actors Bud Spencer and Terence Hill and its director Giuseppe Colizzi went on to work with the successful acting duo in two other westerns REVENGE IN EL PASO and BOOTS HILL which were both scored by Maestro Rustichelli and are also both available on Digitmovies. This particular recording contains not only the 16 cues that were originally issued on the Phoenix LP but also a further 8 tracks that have been made available for the first time by CAM records in Rome, Digitmovies have made a fine job of restoring all the tracks to their former glory, and have also produced a colourful and eye arresting cover and liner booklet for the compact disc. The scores backbone is the DIES RAE which opens the soundtrack, Rustichelli builds upon this central thematic material to produce a somewhat serious and powerful work, which also contains a few lighter moments as in CATS THEME, which is heard in a handful of the soundtracks cues. There are also a number of cues which the composer wrote for performance by a small jazz band as in track 5 ROSE and track number 9 THE FUNERAL which is almost like the type of music that is played at a Funeral in New Orleans. Overall this may not be the best Italian western score written, but it is certainly powerful, diverse and interesting enough to have a place in any collection of film music.


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