EMANUELLE AROUND THE WORLD.

  Released on BEAT records. notes are a mixture of original and also edited notes.

BEAT records art work for soundtrack release.

Beat Records proudly presents the fourth volume of music from the BLACK EMANUELLE series, EMANUELLE AROUND THE WORLD (aka Black Emanuelle au tour du monde, Confessions of Emanuelle, Emanuelle – Alle Luste dieser Welt, The Degradation of Emanuelle) was directed in 1977 by well known filmmaker Joe D’Amato and starred the dazzling Laura Gemser in the title role. The movie is enriched by the performances of Ivan Rassimov, Karin Schubert, Don Powell and George Eastman who’s combined efforts add much to the realism and entertainment value of the picture. Because of censorship laws, two versions of the film were shot, the softer and slightly less erotic version being released in Italy, the harder more pornographic version being produced for the remainder of Europe and other foreign countries. The latter contained a number of extra scenes, which were interpreted by Marina Frajese and Rick Martino. The movie was also banned in a handful of countries and at times when screened was heavily edited in others. The famous reporter Emanuelle (Gemser) is always looking for new scoops, so she agrees to meet Cora (Schubert) a colleague that is preparing an article concerning violence against women at a hotel. But Emanuelle falls prey to a rape attempt whilst at the hotel, but thankfully is rescued by Malcolm Robertson (Rassimov) who is the president of an aid-committee that assists third world countries. Emanuelle and Robertson become friends and decide they want to spend time together, but realise that they cannot because of their respective careers. Soon after her friendship with Robertson, Emanuelle flies to India in order to meet a Guru (Eastman) that claims to have found the secret of infinitive sexual pleasure. After a sexual relationship, Emanuelle realises that the Guru is a fake and abandons him. Still in India, Emanuelle makes the acquaintance of Mary. After a lesbian encounter with her she is told a harrowing story about violence inflicted upon women. Along with Cora she decides to go to Rome where a violent gang is kidnapping foreign girls in order to sell them in oriental countries. Emanuelle masquerades as a tourist with two friends of Mary and is lured into a trap and kidnapped by the gang. The women are saved by a friend of Emanuelle and thanks to him the gang is convicted. In the meantime Cora is first menaced and than brutally beaten and raped by people that tell to her to stop her investigations. Emanuelle who at times still meets with Robertson goes to Hong Kong with Cara in order to search for Ilse Braun who is one of the gang leaders. After some time Emanuelle and Cora succeed in uncovering the truth about the women-trade and with the help of a young Emir are successful in having the Prime Minister arrested who it transpires is the head of the entire operation.

Nico Fidenco.

Back in New York, Emanuelle acknowledges that even there, illegal trade in women is being carried out with important people involved . Eventually Emanuelle exposes all of these people and ensures that they are arrested and put behind bars. Finally she sails off on a boat with Robertson. Emanuelle’s erotic adventures have on many occasions been highlighted and ingratiated by the wonderful haunting themes and infectious up beat compositions of Maestro Nico Fidenco. This the fourth chapter in the series was filmed in many locations throughout the world, these included the eternal city of Rome, the bustling and exotic province of Hong Kong, the mysterious country of India and the larger than life metropolis of New York. The composer drew much of his inspiration for the score to EMANUELLE AROUND THE WORLD, from these glamorous and colourful locations and of course the sensual and beautiful form of the movies central character.

In 1977 Beat records released selections from the soundtrack for the first time. These were on a 45rpm single record (Beat BTF103), and also on 33rpm long playing album with 10 tracks (BEAT LPF 039). In 1993 there was a Japanese release of the soundtrack which was on compact disc for the first time (Wave WWCP 7225). Various selections of Fidenco’s music made appearances on a handful of compilations, which were released on both compact disc and vinyl (Dagored RED 101-1/101-2) There was in addition to these releases a CD bonus disc which was issued as part of a 3 DVD box by Severin entitled “Black Emanuelle’s Box Vol.1”.

Emanuelle Around the World (Photo credit: Wikipedia)

For this brand new de-luxe edition of the soundtrack, BEAT were able to utilise the original stereo masters, these yielded a great deal of unreleased music, in total 23 new tracks which make the length of this new compact disc a staggering 76 minutes and 53 seconds, a running time that will be much appreciated by fans of the composer. The score is orchestrated and directed by Giacomo Dell’Orso, the husband of Edda, who has collaborated with Fidenco on numerous occasions, and is also a long time friend of the composer.
Fidenco’s exotic and pulsating music envelops the listener creating an atmosphere that is totally sensual, the composer produced music that fuses lounge styles and psychedelic influences that are intertwined with romantically laced interludes. Many of the cues are variations on the scores principal theme “A picture of love”, which is the sweet and touching love theme vocalized by Edda Dell Orso. The creativity and originality achieved by Maestro Fidenco never seems to evaporate, each time he manages to re-invent himself, thus remaining fresh and vibrant providing perfect enhancements and musical support for each motion picture within the series. His music is a flawless accompaniment to each and every scene, but at the same time has the ability to entertain and delight away from the images it was originally fashioned for. This compact disc will be listened to again and again and will bring great satisfaction each time. It is an important release and stands as a monument to the work of Maestro Fidenco and a lasting memento of inventive and entertaining cinema that was produced in Italy, and appreciated around the entire world.

LAST HOUSE ON THE LEFT.

 

An ethereal mix of symphonic and synthetic music and musical sounds. This is a heart stopping and shocking work that sends shudders and messages of fear and panic to the listener, yet it is a double edged work and contains some beautifully touching and haunting themes at the same time. The composer John Murphy, fuses both styles with ease and in doing so creates a powerhouse of a score that employs so many musical elements that at times it is hard to take in what is playing and what instruments are conventional or synthesized. The Opening titles, are stunning, setting the stage perfectly, guitar plays a simple and repeated motif that is enhanced by the use of synthesized choir, strings and various eerie effects acting as a background and creating an atmospheric opening to the proceedings. THE CROSSING comes next, this is almost fully synthetic instrumentation from what I can make out, and is a tense and chilling composition, with a distinct atmosphere of dread infused. Track 3, THE POOL is the shortest cue on the compact disc, but is a breath of fresh air, sumptuous sounding strings play out a brief romantic theme, this is one of a handful of cues that are a respite within a sea of tension and madness. In fact tracks 3 through to 5 are very similar in this department, like the lull before the storm they act as a buffer between the listener and the shocking and almost manic sounds that are to follow, this is demonstrated in track, 4 THE HOUSE and track 5, THE BOATHOUSE, the latter being a particularly attractive piece, which begins with touching use of piano, this opening segues into something a little more substantial with the composer adding layered underlying strings to create an atmosphere of ease, this soon alters becoming an upbeat composition performed on a fuzzy sounding electric guitar backed by drums, then it returns to its beginnings and ends with low key piano. Much of the score, given the movies story line is of the dark and ominous variety, but saying this there is a sound to this work that is somewhat different to other horror soundtracks, it maintains an ambiance of dread and is at times shocking, but all the time there is something underneath all of the havoc and chaos that lifts it making it an interesting and rewarding listen. Check it out.

la la land records..

THE SECRET OF MOONACRE.

This is a movie that was released some time ago, and unfortunately did not do that well at the box office, composer Christian Henson has woven a rich and luscious sounding work that is full of all the magic, mystery and wonderment that one would expect given the films genre and subject matter. The opening titles is a piece that is in many ways typical for a fantasy film score, but saying this there is a freshness and atmosphere here that entices the listener in beyond the actual music and sets ones mind wondering what this gorgeous music is accompanying. Henson also employs very effective use of low and sombre sounding strings that are dark and ominous,these however fade and alter in mood to less threatening tones and are enhanced by the use of woods piano and a sprinkling of brass with a celestial sounding choir providing support. This section of the opening eventually reaches a crescendo of sorts and melts into a solo female voice that is punctuated with solo violin and piano being delicately played which creates an atmosphere of solitude and loneliness. Track 2 THE JOURNEY TO MOONACRE is a short but inventive and joyous sounding cue the composer introducing an almost tango orientated composition which is not only effective but very entertaining, it did evoke memories for me of the scoring styles of Trevor Jones, Richard Rodney Bennett and Christopher Gunning. Track 3 ROBIN ATTACKS/ARRIVAL AT MOONACRE is another short but rewarding listen, Henson this time employing the brass section of the orchestra to good effective in a brief but rather frenzied opening, this curtails and segues into a more down beat section performed on strings where we hearing a fleeting reference to the scores central theme. Track 4 INTO THE BOOK is I have to admit my favourite cue on the CD, it starts with low key piano and builds into a working of the central or MOONACRE theme which itself leads to a grandiose sounding piece full of magical and impish mischief that builds into an almost martial sounding composition, but this soon tails off into a more dark and threatening sound complete with strings and a soothing but at the same time unnerving sounding voice.

Track 5, MARMADUKE SCARLET is an original, cheeky and inventive piece where the composer employs the sound of smashing glass to add to the compositions content and originality, creating a comical and attention grabbing work, in fact within the score the composer has utilized a number of homemade instruments i.e.; pots , pans, glasses, jugs and bowls all either filled with water or empty these add a great deal of depth to the score, and make it slightly quirky and certainly more interesting to listen to and also ever more original in its overall presentation and sound. This is in many ways a conventional score, but also it also contains properties and components that pop up or segue into the proceedings that keep it vibrant and out of the ordinary. Jumping to track 14, THE TWO MOON PRINCESSES, this a sheer delight the composer arranging the scores central theme for solo voice and cello that are delicately supported by piano and flute with the addition of choir and strings towards the cues end, it is tracks like this that make this soundtrack well worth listening to. This is a score that I would recommend you purchase as soon as possible, not because its going to be deleted soon, but simply the longer you wait to buy it the longer you will have to wait to experience Christian Henson’s marvelous, meticulous and mesmerizing soundtrack, Wonderment, magic, sparkle and a sense of unworldly-ness prevail here.

SHERLOCK HOLMES.(2009).

Sherlock Holmes (2009 film) (Photo credit: Wikipedia)

The last Sherlock Holmes adventure that I went to see at the cinema was the fairly lack lustre and whimsical YOUNG SHERLOCK HOLMES, which contained a large expansive and luxuriously vibrant and dramatic score by then relative new comer Bruce Broughton. The score in my opinion being far superior to the actual film that is was intended to enhance. Broughton pulled out all of the stops and created a powerhouse of a soundtrack that has delighted collectors of film music for many a year.

 

The latest Sherlock Holmes outing is directed by Guy Ritchie and stars Robert Downey and Jude Law in the roles of Holmes and Watson respectively. The score is by Hollywood’s busiest composer Hans Zimmer, and has been a hotly anticipated work in the soundtrack collecting fraternity. Zimmer in the past has been heavily criticised for the way in which he approaches the scoring of movies, and also for his practise of supervising rather than actually composing music for a film and setting up of Zimmer clones in the form of Mancina, Powell, Baldet and the like but after this being said the composer has been involved with numerous blockbusters over the past ten years or so, and has also put his musical stamp upon a number of less high profile projects in that time such as THE HOLIDAY,GREEN CARD and RADIO FLYER. With the likes of GLADIATOR, THE PIRATES OF THE CARRIBEAN TRILOGY, MISSION IMPOSSIBLE 2, BACKDRAFT, BATMAN BEGINS etc etc all benefiting from Zimmer’s at times Wagner-esque musical support and embellishment. SHERLOCK HOLMES too has a strong and effervescent musical accompaniment. The composer making excellent use of cimbalom and combining this with melodic underlying layered and also frenzied strings, Gypsy or Yiddish type violin which is played or plucked frantically, a bar or saloon piano and the odd excursion on accordion in certain cues to create a jaunty almost oddball sounding central theme. This at times is elevated into a highly dramatic and grandiose one, best demonstrated in the opening track and also tracks number 6 and 7.

   Hans Zimmer 

The score is certainly energetic and full of pulsating and powerful motifs and musical passages, but original, well I have to reserve opinion on that. Is it me or do I detect here within the score more than a gentle nod in the direction of Maestro Ennio Morricone?   Now be careful Hans we all know what happened on Gladiator, Mr Holst’s relatives were not that pleased were they!  OK, the composer has supplied the work with a core theme that is original enough but it is some of the other cues that I seem to be familiar with, when I say familiar, I don’t mean that they are exact replicas of what are heard within in other scores, but the idea is there and Zimmer to me has blatantly used the framework of Morricone’s ideas and decreased the tempo at points or added a note here and there and obviously has orchestrated them differently but the themes or fragments of them are still present. Track 4 for example could easily be CHEYENNE from ONCE UPON A TIME IN THE WEST, its just minus the whistling by Alessandroni. Zimmer even introducing a banjo which is played in unison with the cimbalom. Also there are certain noticeable similarities between the now iconic chimes from FOR A FEW DOLLARS MORE and the opening on track number 10 chimes being replaced by sliding strings. Then mid way through track 12 there is a definite albeit brief reference to THE HARMONICA MAN opening strains. It is a good thing that composers are influenced by masters such as Morricone, but this is I think taking things a bit too far, Zimmer does attempt to disguise the familiar notation, but any worthy Morricone fan will spot it a mile off. Maybe it is intentional. But somehow I don’t think so. I found myself listening for similarities to Morricone throughout, which I must admit kind of blurred my listening experience.

 

PATRIOT GAMES.

When PATRIOT GAMES was released composer James Horner was in effect already an A list composer and had scored a number of big box office blockbusters. 1992 was also one of Horner’s most fruitful years he also scored SNEAKERS,THUNDERHEART and provided a dark and tense soundtrack for UNLAWFUL ENTRY. PATRIOT GAMES, can I suppose be referred to as a typical Horner score from this period, as many collectors were beginning to loose a little of the attraction that they had felt for the composers work, simply because it seemed to be no longer as original and fresh as it had been previously, in the days when he worked on KRULL, WILLOW, WOLFEN and WRATH OF KHAN etc, but as we all know in film music it is not just about creating a great theme or a hit song or an outstanding cue, it is all about supporting the scenarios that are being unfolded up on the screen. In PATRIOT GAMES I think Horner accomplished this and some. There are of course many of the stock musical trademarks that we readily associate with the composer present, and at times it is possible to catch snatches of his past works for the cinema ie; ALIENS and GORKY PARK, RED HEAT etc, but it does not mean that this is not a good score, it services the film well and along the way the composer does come up with a handful of haunting and infectious pieces that play on the listeners mind. This is quite a sparse or sparingly used score Horner utilizes various Irish or Gaelic sounding instrumentation throughout the score which include penny whistle, fiddle and also a particularly haunting female vocal courtesy of Maggie Boyle, who’s distinct voice adds the required atmosphere and mood to the proceedings, Track 1,MAIN TITLE, sets the scene perfectly, Gaelic vocals are ushered in via the use of Irish drum or Bodhran that is underlined by synth, as the vocal progresses the strategically placed drum beats are joined augmented and supported by a second vocalist and the composer also introduces pan pipes, harmonica and subtle use of harp to create an attractive but at the same time anxious ambiance, penny whistle is also introduced and takes on the main role within the composition performing a bittersweet theme that is punctuated and also underlined with brooding strings and synths that although are low key still create a dark and apprehensive mood. Horner successfully combines the synthetic and electronic elements of the orchestra with the more conventional instrumentation and is able to fuse them together to produce taut and at times harrowing moments within the work. He also utilizes synthetic elements without symphonic support and this type of scoring is prominent within track number 6, STRANGE CARGO, where there is no real musical content or melody just a threatening and somewhat edgy sound that drones without changing direction or pace.
Track number 8, THE HIT, is for me one of the score outstanding tracks, it is a musical lesson on how to build tension, but keep it interesting and also vaguely melodic, oscillating pan pipes lay down a tense backing that is punctuated by lone beats from percussion and dark synthesizer chords, with penny whistle interspersed with anvil strikes keeping the Irish connection alive, this is a highly effective cue within the movie and Horner builds the anxiety wonderfully by adding more musical components and sounds to the proceedings, giving it more weight and a fraught sense of impending doom. This is a great release from LA LA LAND RECORDS, the double compact disc contains, nearly 90 mins of music, which include 19 previously unreleased cues, a handful of source cues, and also CLANNAD,S classic performance of HARRYS GAME. So all in all it’s a release worth checking out. Limited to 3000 copies the release is presented and packaged to the now normal high standards of LA LA LAND, and contains numerous stills from the movie and interesting liner notes. Recommended.