milano_rovente_cdcr85Another in the LTD edition series from BEAT records, MILANO ROVENTE was released in cinemas in 1973, directed by eminent filmmaker Umberto Lenzi and starred Antonio Sabato, Philippe Leroy and Carla Romanelli. I love the sound that Maestro Rustichelli has conjured up on this score, it brings to mind an almost sleazy and very laid back image of a back street which is dimly lit, within the opening cue FROM SICILY TO MILAN the composer utilises piano and an almost wailing and mournful sounding saxophone which renders a smoky jazz infused motif that is underlined by subtle use of brass and lightly struck cymbals as an introduction to a more low key sounding theme performed on harpsichord and a music box effect that are supported by near romantic swelling strings, the overall effect is stunningly attractive and haunting. Track two DRAMATIC DISCOVER is a more down beat and less melodic affair, it opens with tense sounding brass that is enhanced by use of a quirky sounding organ rift, the cue continues with the use of dark and tense sounding strings that act as a background to that saxophone motif which is played as if it is faraway or in the distance, the composer adding little stabs of bongos here and there and that little tweek from the organ every so often. The score also includes a particularly nice sounding song, WHAT IS LOVE track number 7, which was written by Franco de Gemini, this is performed by Melody. I would mark this as one of my favourite Rustichelli scores which is quite something as I have many scores by the Maestro in my collection, and have had this one just two days, it just has that sound and presence about it that makes it instantly attractive to the listener, it has a unique and lingering aire to it, the theme being as distinctive as Rota,s GODFATHER, it is also quite hard hitting in places ie; track number 12, FLICS COMPROMISE menacing sounding piano, is combined with strings and brass to create a cue that more than suggests that something is not quite right. Under all of this and also in many of the tracks there is a distinct Sicilian instrumentation, which I think is the main component that makes all the other ingredients of the work gel together. Again this is a soundtrack that I highly recommend, any self respecting collector of Italian film music cannot be without it. The CD is packaged as always very well, in a Digi Pack with notes by Umberto Lenzi, Claudio Fuiano and Fabio Babini, which are all most interesting. Plus there is the bonus once again via multi media of an absorbing interview with Umberto Lenzi.


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