Directed by no less than four film makers, Richard E. Cunha, Gustav Gavrin, Ray Nazzaro and Albert Zugsmith, the movie is an entertaining production and does I have to say sustain an air of drama and tension, but also has an equal amount of lighter moments along the way. Released in the UK as WHEN STRANGERS MEET which was the title of the original novel by Robert Bloomfield on which the films screenplay was based, the movie had the title DOG EAT DOG in the USA and MORTE VESTITA DI DOLLAR in Italy. The score composed and conducted by Carlo Savina is a work that includes several musical styles all of which are rich in melody and filled with drama and vitality. The score is a vibrant and energetic one, the composer combining the big band jazz sound with that of a more luxurious and stylish aura that is linked with many movies that were produced during the 1960, s. For much of its duration the soundtrack leans towards a more traditional jazz style, which is in keeping with the films storyline and the period in which it is set. He composer utilizing to great effect piano, woodwind and at times lush string interludes that are quite grandiose and opulent sounding.
The Maestro also employs a style and sound that is very much akin to the composing style of fellow Italian composers such as Piero Umiliani, Armando Trovaioli and Gianni Ferrio to identify a few. Savina makes effective use of organ solos and introduces and integrates these performances at key points within the work, the sound and style lending much support and atmosphere to the score as well as enhancement to the scenarios unfolding on screen. The use of organ was commonplace in so many Italian soundtracks, the instrumentation adding touches of drama, melancholy and fleeting hints of the sinister, when employed. The opening cue sets the scene perfectly for what we are about to hear, it is a fast-paced swing composition for percussion and brass and although short lived makes an impact immediately. Track two, is a more elaborated version of the opening cue and contains nice muted trumpet performances as well brushed drums and classy sounding piano. Track number three, is more dramatic in its sound and style, the composer employing strings that are supported by both percussive elements and brass, that when combined create a tense and urgent sound. Other cues as CONCERTO ROMANTICO, are quite powerful and emotive, the composer employing solo piano underlined by the string section, which add a certain classical sounding persona to the score. Whereas tracks such as RITMI DI LATTA are pure jazz/swing with vibes and saxophone combining with guitar, piano, percussion, bongos, and bass to purvey a groovy sounding piece, that has an infectious pace and appeal. When listening to this and other scores by the Maestro, it becomes very clear why he was in such demand and how versatile and talented he was.
TRACK LISTING. 1. Swing Frenetico 2. Stasi
3. Concerto Romantico
4. Ritmi Di Latta
5. Atmosfera Torbida
6. Suona Un Organo
7. Morte Di Un Ladro
8. Il Dramma
9. Caccia Spietata
12. Incerto Candore
13. Agguato ed Assassinio
14. Atmosfera Sospesa
15. In Giallo
16. Ritratto Di Signora
tracks 1-17 The Original LP Program
tracks 18-36 are previously unreleased bonus tracks, available for the first time ever!
Composer Carlo Savina is probably more familiar to collectors of film music as a conductor rather than a composer. The Maestro was musical director on a handful of scores for Miklos Rozsa and also worked with Nino Rota, it was Savina that conducted Rozsa’s rousing music for EL CID and also held the baton for Rota on THE GODFATHER soundtrack. Savina is however a prolific and talented composer in his own right, the Maestro has worked on numerous Italian movies and television productions and has created haunting and memorable soundtracks for, romances, thrillers, epics and westerns he was also particularly active within the genre of comedy films. His music for this particular genre or collective of films worked well because rather than take the head on approach and score a slapstick comedy with riotous sounding madcap themes he would often take a more subdued approach and score away from the actual punch lines or raucous behaviour on screen. Thus creating another level to the scenarios being acted out on screen. LA MOTORIZZATE (THE MOTORIZED WOMAN) was released in 1963 and starred among others the King of Italian comedy movies Toto. The movie was a collection of four stories which were in effect films within a film, all pretty oddball stories but never the less amusing in their own way. The composer has fashioned a pleasing and for the most part a low key score for the movie, there are no large or epic pieces here, it is a jazz influenced work which leans towards the lounge or easy listening areas of music, but nevertheless it is a memorable work with its fair share of more upbeat moments and even hints of romantic interludes at certain points within its duration.
The composer utilising muted trumpet punctuations and solos, Smokey and sensual sounding woodwind that are given support from the string section which are underlined with soft percussion, both of these elements are given further support and are embellished by delicately placed vibes and rhythmic bass lines that not only support but move the music along on an easy airy wave of coolness. Savina creates a sophisticated sounding score which is not in any way complex or hard to digest. LA MOTORIZZATE is a worthwhile purchase and also a score that I am certain will become a favourite for Italian film music collectors, another interesting release from Kronos, worth a listen.
Born in Turin Italy on August 29th 1919, Carlo Savina was one of the busiest and best known composers of film and television music in his country of birth, as a composer he worked on numerous movies and was able to easily adapt his style and creative thoughts to cater for any genre of film, scoring romantic comedies, adventure tales, westerns and historical dramas as well as thrillers and Roman epics, bringing to each assignment a certain lushness and melodic perfection that was his own individual musical fingerprint. Savina was also well known as a conductor and arranger and during his career collaborated with many composers of film music, Philippe Sarde (TESS THE TENANT and THE BEAR), Nino Rota (THE GODFATHER,AMACORD,FELLINI ROMA,THE TAMING OF THE SHREW and numerous others), Manuel De Sica (THE GARDEN OF FINZI CONTINI) and most notably Miklos Rozsa. Savina conducted a number of Rozsa’s epic soundtracks for Hollywood Biblically slanted blockbusters that were filmed at Cinecitta and was even credited as the composer of the EL CID score on prints that were released in Italy, this was due to contractual and legal situations at the time in the country. Savina’s contribution to the world of cinema is immense and it is at times hard to come to terms with the composers output and the consistent quality of his soundtracks. Savina came from a musical family background, his Father played first clarinet in the orchestra of EIAR which was the Italian public radio broadcaster at the time. The young Savina was always surrounded by music and at an early age began to take lessons on the violin. He went on to study music at the Music Conservatory Giuseppe Verdi in Turin from where he graduated with diplomas in Violin, Composition, Piano and conducting. In 1945 Savina began to write music for radio and would score plays and other programmes, he then formed his own orchestra and became well known and much in demand. In 1950 the composer began to write music for the cinema and during the next thirty years became one of the most prolific composer conductors involved in movie music. I suppose one could say that Carlo Savina was to Nino Rota what Bruno Nicolai was to Ennio Morricone, often arranging and conducting Rota’s scores and at times writing additional cues for him when he had moved onto another assignment and the films producers felt the need for an extra section of film to be scored. Savina also worked with Ennio Morricone, Armando Trovaioli, Stanley Myers, Stephen Sondheim and Mario Nascimbene as arranger or musical director but he was a gifted composer in his own right and during his career worked on over 200 film scores. In 1981 Savina wrote a haunting score for the first 3-D spaghetti western COMIN AT YA which which was a vehicle for the second rate actor filmmaker Tony Anthony with Savina’s beautifully written score outshining the images and storyline it was intended to enhance, in 1985 he won the David Di Donatello best music award for his score to PIZZA CONNECTION. He passed away on June 23rd 2002.
LA ARAUCANA was released in on the 25th February 1972 in Italy, it is a historical drama/war movie that is set in Chile during the summer of 1540. Also known as CONQUEST OF CHILE the film follows the progress of Pedro de Valdivia who leaves Cuzco with a handful of heroic men to fight against the Araucana guerillas. The movie which was a co production between, Italy, Spain, Chile and Peru was directed by Julio Coll who also collaborated on the screenplay of the film which was based upon the famous epic poem ALONSO DE ERCILLA. Set in a time when Spain dominates half the known world and has sent its conquistadors to spread its influences throughout the Americas, amongst these are men of good heart and soul that are idealists and a missionary but also among them are mercenaries and soldiers of fortune who are adventurers and care little how they carry out their duties and care even less for the lives of themselves and others. After an ill fated expedition into the South of the country which results in the loss of many of his soldiers Don Pedro De Valdivia returns to Cuzco which is the Capital of the vice-royalty of Peru with a number of badly wounded men from his company. Valdivia himself has been wounded and after recovering from an operation to save his leg decides to return to the South with just a handful of soldiers and a woman Inez de Suarez who’s husband was killed in the previous expedition. The film is entertaining enough with Carlo Savina’s epic sounding score aiding the action greatly, the composer contributing one of his most lush and romantic sounding themes to the proceedings with definite nods of acknowledgement to composer Miklos Rozsa throughout via the fanfares that Savina utilises within his score. The film itself is I suppose the story about the birth of a nation as in CHILE, it is romantic, passionate and filled with action and excitement, which is underlined and punctuated perfectly by the music of Savina.
Released in 1995, the first DRG compilation was something of a groundbreaking release as it contained a number of cues from Italian western soundtracks that had at that time not been released; of course now the titles included have all seen compact disc releases as soundtracks in their own right. This compilation or series of compilations as there are more than just the one, are still important and entertaining releases and can also be a rich source of reference material for collectors etc, that is why I decided to review them, they do occasionally come up on a number of internet shopping sites but can reach quite lofty heights in the price tag department. DRG released four compilations in the series, volume one (1995) was a two disc set showcasing music from the Cinevox records catalogue, volume two (1995) another double CD release highlighted General Music’s western scores, Volume three (1996) a single disc release also included the catalogue of General Music and the fourth instalment (1997) which was back to a double disc set was made up of cues from the vaults of the BEAT record company. So we were treated to the Good, The Bad and some of the Ugly music that was inspired by the quirky and contagious Spaghetti western genre and brought recognition to composers such as Morricone, De Masi, Cipriani, Baclov, Nicolai, Savina, De Sica, Piccioni, De Angelis, Lavagnino, Tempara, Gigante, Umiliani, Martelli, Di Stefano Trovaioli, Frizzi, Ferrio, Ortolani, Rustichelli, Poitevin, Pregadio,Bixio, Donaggio, Simonetti, Alessandroni, De Gemini Edda Dell Orso and many many more including the vocalists and soloists that frequented Italian western soundtracks.
The first volume opens with the imposing and infectious music of Gianfranco Di Stefano from the soundtrack of the 1970 movie SHANGO (the invincible gun) solo guitar introduces the track JEFF BLOOM with the light touch of harpsichord acting as a subdued background, the composer underlining the proceedings with strings and also introducing solo trumpet punctuated by bass guitar. The second track representing Di Stefano’s score is a Mexican flavoured theme FIESTA FIEASTA, again relies upon solo guitar and has a background supplied by upbeat tambourine that shakes and creates a contagious support for the guitar and is joined by strumming guitar giving it more depth and a greater atmospheric effect. The third and final selection from SHANGO is PISTOLA CHE SCOTTANO where again trumpet and guitar are the mainstay of the piece with brass acting as the musical commas with strings enhancing the proceedings. At the time of the release of this compilation the soundtrack to SHANGO was not available and this was the first time Di Stefano’s music had been released on compact disc, since then of course we have been treated to the full score release on the Cinevox label.A critic once remarked that it was better to buy compilations of Italian westerns soundtracks because invariably the full soundtrack was not that good and it was normally the theme song or main title music that was the most attractive thing about the score. I have to disagree, and with the DRG compilations we as collectors were not only served up the title song and instrumental central theme in some case but also were given a rare chance to hear other sections of each score, of course THE SPAGHETTI WESTERN ENCYCLOPEDIA on King Records Japan had been previously released and this is I think the music bible as far as collectors of Italian western music is concerned, but what the difference was between the King records series and the DRG compilations was that DRG included a handful of cues from each soundtrack that they included in some cases two cues in others there were more and yes the King records series did have a few sections that included more than one track from certain scores but not to the same degree as DRG.
I am not saying that either series of compilations is better than the other because although the music included on both is from the same genre and does in fact include some of the same tracks each series is very different. Track number 4 on volume one is the work of stalwart Italian Maestro Francesco De Masi, taken from the 1968 production QUANTO COSTA MORIRE again at the time of the compilations release the soundtrack had only been released on a Long Playing record, and this was the first time collectors got to hear this music on compact disc, three tracks represent the score with a rousing song starting off proceedings plus an instrumental version of the song then a particularly plaintive and romantically laced cue C’E SEMPRE UNA VITA, which has a lovely classical guitar solo underlined and supported by subdued strings, which has more or less the same sound as THE TWO ELISA’S from Bruno Nicolai’s LANDRAIDERS score and also I did detect a certain phrase that can also be compared with Nicolai’s IL TRONO DI FUOCO but as the De Masi score was written first I think that maybe Nicolai received inspiration from this rather than the other way around. The style employed by De Masi when scoring westerns was a fusion of styles, by this I mean the composer used a romantic and dramatic theme that was normally purveyed by strings or brass in a very similar fashion to that of composers such as Dimitri Tiomkin in Hollywood westerns, but De Masi also managed to create a western sound that was akin to the Italian western genre but this too was tinged with an atmosphere of originality which was all his own. For the next section we jump forward a decade to 1978, the composer is Pino Donaggio and the movie is AMORE PIOMBO E FURORE, (CHINA 9, LIBERTY 37) two cues represent Donaggio’s score and the harmonica plays a major role in both of these tracks. TEMA DI CLAYTON is the central theme from the score with a wailing but at the same time tuneful harmonica solo opening the composition, this is soon accompanied by solo guitar and the harmonica solo mellows to produce a melodic and quite romantic sounding piece. The next cue from the score is basically a more romantic and developed version of the central theme with strings and soft guitar being given support by harmonica which introduces the cue and reappears at the tracks conclusion. Donaggio had at the time been known mainly for his music to the horror movie DON’T LOOK NOW and the atmospheric score for CARRIE he also scored Joe Dante’s PIRAHNA in the same year as AMORE PIOMBO E FURORE and there are hints of the low key theme he penned depicting the river for PIRAHNA within this western soundtrack. Tracks 9 and 10 are taken from the 1971 production ED ORA RACCOMANDA L’ANIMA A DIO (AND NOW RECOMMEND YOUR SOUL TO GOD). The music is by Franco Bixio who worked on numerous westerns which can be categorised within the comedy western genre, this is a sub genre of the spaghetti western that either worked wonderfully as in the TRINITY series or failed miserably in lesser known low budget examples but saying this Bixio who at times teamed up with Vince Tempera produced a number of very good scores, this being one such example, the title song JUST A COWARD is represented here in both vocal and instrumental versions, with Mary Usuah providing the distinct vocals underlined by a jaunty almost jolly sounding guitar and the instrumental version being much the same but slightly darker in places.
The next section is taken from the 1966 movie WANTED JOHNNY TEXAS, the score being the work of three composers Marcello Gigante, Alessandro Nadin and Aristide Bascerano the lions share of the work probably being done by Gigante, three cues represent this infectious score, MAIN TITLE, M 22, and FINALE.
All three tracks are basically varying arrangements of the central theme with the second track being a more Mexican flavoured version, this too has since the release of this compilation seen a full soundtrack release and it is a lesser known film and score that should be investigated and certainly added to your collection if you have not already acquired it. It has many of the now accepted musical trademarks of the Italian western score, such as solo trumpet, racing snare drums, female voice tolling bells etc and I would say is one of the most interesting and appealing sections within the compilation.
QUEI DISPERATI CHE PUZZANO DI SUDORE E DI MORTE (LOS DESPERADOS) is up next with music coming from the great Gianni Ferrio who worked extensively within the genre of the spaghetti western, what I think was most appealing about Maestro Ferrio’s music for the western was that like De Masi he fused the established style of the Hollywood western with the new and fresh sound that was becoming associated with the Italian western the end result n most cases was a stunning and highly original end product, that was laced with contagious and rhythmic themes and highly dramatic and romantic sounding phrases. Ferrio would also at times included a kind of jazz vibe within his western scores that gave them a more contemporary and bluesy feel which although I know sounds implausible actually worked making the music more attractive. For LOS DESPERADOS the composer created a favourably dramatic and at times lush sounding score which also included an energetic comic sounding march of sorts. Track number 18 is the opening theme or BLACK JACK from KID IL MONELLO DEL WEST, which was composed by Enrico Simonetti in 1974, originally released just as a 45 rpm single on vinyl, it was not until a few years ago we got to savour the entire score on a Digit Movies compact disc, I have to say however that this is one of those scores that you would be better of just having this one track and maybe the flip side cue from the 45 rpm which was the opening theme sung by children’s choir. For track number 19 and 20 we are back with composer Franco Bixio who on this occasion collaborates with Roberto Pregadio on the music for the 1970 release DESERTO DI FUOCO. The main titles theme is a haunting piece written for strings and a slightly upbeat background over which we hear the exquisite voice of Edda Dell Orso that is a first performed in unison with strings to create a unique and haunting sound the strings then take the theme on board and give it a fuller working before returning to the wonderful aural performance of Dell Orso. This is an excellent example of the genres music, with Pregadio’s influences being heard throughout and I am guessing that this score was more Pregadio than Bixio, as we can hear in the second selection from the score OMBRE SULA SABBIA which again is upbeat and contagious with horns performing the vocal parts of the composition in this arrangement, the FINALE from the score is also included which is a slightly extended version of the main titles theme with strings on this occasion carrying the haunting theme. The next two sections are also courtesy of composer Franco Bixio, tracks 22 through to 24 being taken from the 1974 movie CARAMBOLA with composers Fabio Frizzi and Vince Tempera adding their considerable skills to that of Bixio’s. Then tracks 25 to 26 are taken from the 1975 sequel to CARAMBOLA, CARAMBOLA FILOTTO TUTTI IN BUCA which was created by the collaborative talents of Messrs Bixio, Frizzi and Tempera. Both sections are very good indeed with the original score opening with TEMA PRINCIPALE that has a trumpet solo performance played over a fairly slow background of strumming guitar in a similar fashion to THE MAN WITH NO NAME from Morricones A FISTFUL OF DOLLARS, also included is a comedy slanted almost mariachi sounding track entitled MEXICAN CANTINA that is pleasant enough listening.
The FINALE is also included as is a guitar version of the opening theme. The music for the sequel is much lighter and also more in a comedic vein with a bluesy almost country sounding opening theme performed on banjo with an upbeat percussive background aided by bass and strumming guitars that create a sort of bustling atmosphere which is busy but very easily forgotten. Which can also be said for track number 26 FUNNY TOWN the title I suppose giving it away, fiddle, guitar and banjo combining with clumsy sounding brass to purvey an air of comedy which really does not hold a lot of interest and is thankfully short lived. Gianni Ferrio returns for the next selection of themes, from the 1973 movie AMICO STAMMI LONTANO ALMENO UN PALMO (the ballad of Ben and Charlie). Originally released on a Cinevox long playing record the score saw an expanded edition release on Digit movies a few years back, this in my opinion is one of the composers best western scores with a great title song LET IT RAIN LET IT POUR the melody of which can be heard throughout Ferrio’s score in various arrangements, this is a dramatic and also a bluesy sounding soundtrack that is appealing and memorable. We are treated to six cues from the score within this compilation. The final track on disc number one is from Sergio Leone’s DUCK YOU SUCKER, GIU’ LA TESTA, A FISTFUL OF DYNAMITE etc, released in 1971 this was to be Leone’s final western as a director with a theme laden score by his long time friend and collaborator Ennio Morricone. The main title theme is included here which is a tour de force of everything that is good about Morricone, exquisite theme wonderful performances by Alessandroni, il Cantori Moderni and the first lady of Italian film music Edda Dell Orso.
Disc two opens with UNO STRANIERO A PASO BRAVO (1967) by the great Angelo Francesco Lavagnino, who contributed so much to Italian cinema as a whole, his western scores were often overlooked by collectors many thinking they were no true spaghetti western scores but they are some of the most original and memorable works within the genre, again I have to say that this composer created a western sound that was all of his own, with a fusion of both Hollywood based styles and upbeat more contemporary sounds which were being employed within the Italian western. UNO STRANIERO A PASO BRAVO is one such example it contains a good solid western or cowboy theme but to this the composer adds solo trumpet, organ and electric guitar and a soaring title song performed in Italian by an energetic sounding Vittoria Brezzi, great stuff. Lavagnino is represented on a further two occasions on disc number two, tracks 13 to 16 are taken from REQUIEM PER UNO GRINGO (1967) tracks 19 to 22 are taken from his score for JOHNNY WEST IL MANCINO (1966). Both scores are vibrant, original and filled with outstanding themes and although the latter example does have within it some clumsy sounding comic orientated music it still remains entertaining. It is no wonder that Lavagnino was Leone’s initial choice to score A FISTFUL OF DOLLARS. The remainder of the second disc reads like a who’s who in Italian western scoring, with titles such as PRAY TO GOD AND DIG YOUR GRAVE, OCCHIO ALLA PENNA, VADO VEDO E SPARO, LA NOTTE DEI SERPENTE, ROY COLT AND WINCHESTER JACK, REVENGE AT EL PASO, BOOT HILL etc etc, with composers such as Gigante, Ortolani, Rustichelli, Umiliani, Morricone, Bixio, Martelli, Plenzio and Pregadio being represented. Volume one of this DRG compilation is certainly an entertaining 2 hours plus of music taken from the Cinevox vaults, which contains something for everyone.
Volume two is a selection of music that has been gathered from the archives of EMI General Music which was another label that was particularly active in the release of soundtracks from the late 1960,s through to the early 1980,s. The first disc opens with Bruno Nicolai,s stirring score for 100,OOO DOLLARI PER RINGO which was released in 1965, the score is represented here by a suite of the soundtracks principal themes including the title song RINGO DOVE VAI performed by Bobby Solo with the English language version also being included within the suite. Nicolai’s score is a highly dramatic one with choir, strings and driving percussion and although it was a true Italian western the music still contained influences from the old west as in the Hollywood western score. The composer employing quite grand and forceful sounding brass based themes underlined by at times chaotic percussion to relay adventure, excitement and action, in fact at times the music sounded more like it was from an American made B western movie rather than a spaghetti but nonetheless an impressive work. Section two tracks 2 through to 4 are taken from the comedy western I DUE GRINGOS DEL TEXAS, now you remember I said that this sub genre of the spaghetti western either worked or fell flat on its face, well this I suppose can be said for the music for these productions, on this occasion the music is by Carlo Savina, and in my humble opinion it is probably not one of the composers best efforts for the genre. Three tracks are included two of which are thankfully very brief. Again another candidate for having just a few tracks from a score rather than the entire soundtrack on CD, surprisingly the entire score was issued a couple of years back now, but its not one that collectors were exactly clambering for. Moving swiftly on to 1967 and tracks 5 to 8 DJANGO L’ULTIMO KILLER is the work of Roberto Pregadio and Walter Rizzati and this is completely the opposite from the previous section, it contains a slowly building but strong and memorable theme with solo trumpet, strumming guitars and strings being at the forefront of proceedings with the remainder of the music being in the same style. Tracks 9 through to 11 are taken from SIPUO FARE…AMIGO (The Big and The Bad) music is by Luis Bacalov and this is the first of many sections where Bacalov is represented, track number 9 is the title song from the movie CAN BE DONE which is performed by Rocky Roberts with a little help from a children’s choir.
Bacalov of course is better known for his score to DJANGO the vocal theme of which is also included on this compilation (disc two track number 30) performed by Roberto Fia.
Other Bacalov scores represented include the excellent L’ORO DEI BRAVADOS (Gold for the Bravados), IL GRAND DUELLO (1969), QUIEN SABE (A Bullet for the General)-(1966), LO CHIAMAVANO KING (1971), SUGAR COLT (1966), A MAN CALLED NOON (1973) etc etc, in fact disc two could easily be re-titled THE BEST OF LUIS BACALOV WESTERN THEMES, with a handful of sections such as UN BUCO FRONTE (1968), TEXAS ADDIO (1966), PROFFESSIONAL KILLERS, (1967), A GUN IN THE HAND OF THE DEVIL (1972), SEVEN GUNS FOR KILLING (1967) and THEY CALL ME NOBODY (1973) having music by Roberto Pregadio, Anton Garcia Abril, Carlo Pes, Piero Piccioni, Francesco De Masi and Ennio Morricone respectively. This I think is the only negative about this particular volume within the compilation, too much Bacalov cant be a bad thing I hear you say, well at times the originality of his music does wear a little thin and if one listens to his western scores in particular the composer does shall we say re-cycle certain cues within various projects and cues from DJANGO turn up in QUIEN SABE etc. But then we have the highly original and stirring themes from IL GRANDE DUELLO, L’ORO DEI BRAVADOS and A MAN CALLED NOON to compensate for this.
Volume three in this series also includes tracks from the archive of EMI GENERAL MUSIC. A number of films that are represented on volume two also make an appearance here as well, but the music selected is different and at times the running order includes a suite from a score for example track number 10 is a five minute suite from SUGAR COLT, where as on volume two just the main title made an appearance, Bacalov is also represented by more tracks from GOLD OF THE BRAVADOS and a seven minute suite from A MAN CALLED NOON, I think that by the time DRG had reached volume three in the series they might have been lacking in ideas but they have included a number of Morricone tracks ie; GUNFIGHT AT RED SANDS, A PISTOL FOR RINGO, SEVEN GUNS FOR THE McGREGORS, THE RETURN OF RINGO, DEATH RIDES A HORSE,TEPEPA, A PROFESSIONAL GUN, FACE TO FACE, COMPANEROS(which is an alternative version of the main title) ,LIFE IS TOUGH, E THAT’S PROVIDENCE and an alternative version of THEY CALL ME NOBODY main title, admittedly all great cues but like volume two had a little too much Bacalov maybe volume three has a few Morricone too many. Might have served the continuity and listening experience better if DRG had mixed it up a little and taken some Bacalov off two and put it on three and then the Morricone from three and put on two, if you see what I mean? Really volume three is a little ordinary as most of the tracks on this compact disc have already been within other compilations etc. Also included is a suite from SEVEN GUNS FOR A KILLING with a vocal by Raoul( different cues from the score were on volume two), a great solo trumpet track from THE TWO RINGOS FROM TEXAS ( music from this was also on volume two), but we do have a couple of Nicolai pieces to prop up the proceedings, namely DEPARTURE which is taken from THEY CALL ME SHANGHAI JOE and FINALE from THE DAYS OF VIOLENCE.
Plus a short cue from I DON’T FORGET I KILL by Piero Piccioni, which is a pleasant surprise and also a welcome one? The sound quality on the compact disc is very good apart from a couple of tracks one of which sadly is probably one of the best on compact disc A PROFESSIONAL GUN suffers from very bad distortion during the solo trumpet interlude and it is not entirely crystal clear from that moment onwards, so production issues on this track that I think could have been remedied, it is strange because the version of the score released on GDM had very good sound quality and I have not heard any really bad production on any of the other releases compilations or full soundtrack issues. Also SHANGHAI JOE is distorted not as bad as A PROFESSIONAL GUN but never the less the distortion is there and is somewhat grating and does spoil the overall effect of Nicolai’s music.
Volume four is a two disc set and brings to us the music from the archives of BEAT records, like Cinevox and also General music and CAM. The BEAT record company was and still is one of the busiest recording labels in Italy and it was along with the aforementioned labels one of the first soundtrack specialist labels to go into business. Volume four opens with a selection of cues from the 1963 production THE SIGN OF THE COYOTE music is by Francesco De Masi but because this movie was released before the spaghetti western had established itself the music is very different from later De Masi scores after the advent of A FISTFUL OF DOLLARS and after Morricone and Leone had changed the western forever. De Masi’s score for COYOTE is rather typical of what was being written for American productions at the time, there is not even a hint of the spaghetti western score musical trademarks, and this can also be said for the next section which is again De Masi scoring the 1964 release A MAN IN THE VALLEY OF THE DAMNED.
In fact we do not hear any hints of what was to come from De Masi until Track number five of this compilation which is from the 1965 movie RANCH OF THE RUTHLESS, the style of De Masi I would not say changed it merely altered and developed into the sound that we now associate with the composer, tracks seven and eight are taken from A COFFIN FOR THE SHERIFF (1965), which includes a great song with vocals by Peter Tevis.
De Masi more than most composers I think seemed to like to have a title song and a vocalist he worked with many times was Raoul, who’s distinct and powerful vocals graced many a De Masi soundtrack. AND THEN A TIME FOR KILLING or TEQUILA JOE was released in 1968 and we are treated to two cues from the soundtrack here one being a glorious Raoul vocal performance. De Masi is well represented within this compilation and no I am not complaining as his music is always exquisite and entertaining and never repetitive. Disc one for example also includes FOR A FEW BULLETS MORE, KILL THEM ALL AND COME BACK ALONE, RINGO THE LONE RIDER and SARTANA DOES NOT FORGIVE. All of which are excellent and significant and important contributions to the genre of the spaghetti western, Disc two also has its fair share of De Masi musical gems, I,M SARTANA -TRADE YOUR PISTOL FOR A COFFIN and CHALLENGE FOR THE McKENNAS, The compilation also has within its running time THE FIVE MAN ARMY, GRAND SILENCE by Ennio Morricone. HAVE A GOOD FUNERAL SARTANA WILL PAY, THE MAN CALLED APOCALYPSE JOE, BULLET FOR A STRANGER and LO CHIAMAVANO TRESETTE,GIOCAVA SEMPRE COL MORTO by Bruno Nicolai. BUKAROO by Lallo Gori, NO ROOM TO DIE by Vasco Vassil Koyucharov, THE SPECIALIST by Lavagnino, AND GOD SAID TO CAIN by Savina, PRAY TO KILL AND RETURN ALIVE by Mario Migliardi, THE THREE MUSKETEERS OF THE WEST by Rustichelli, MY NAME IS TRUTH by De Sica and THE DAY OF FIRE and WACH OUT GRINGO, SABATA WILL RETURN by Piccioni and all these great scores and this wonderful music from one label BEAT. The series of compact discs from DRG are accompanied by eye catching art work and informative notes volumes 1 and 2 have notes by Didier c Duetsch and volumes 3 and 4 contain essays and info penned by John Bender. Maybe not the definitive collection or indeed as iconic as the SPAGHETTI WESTERN ENCYCLOPEDIA released on King records but still invaluable and a great source of information for anyone wishing to discover the music of the Spaghetti western.
Released in 1966,RINGO AND HIS GOLDEN PISTOL or JOHNNY ORO to give it the original Italian title, was directed by Sergio Corbucci. The main protagonist and also the character in the title was played by actor Mark Damon, the movie was re-tilted simply to cash in on the success of the RINGO movies which had been directed by Duccio Tessari and starred iconic Italian western actor Giuliano Gemma. The plot focuses upon a bounty hunter Johnny Oro who kills for money and treats his way of life as a business so much so that he refuses to take his golden gun out of its holster unless he is assured he will make money for doing so. He decides to let a man (Juanito Perez) live because he sees no reason to end his life if there is no price on his head; this proves to be something that the bounty hunter will later on regret. After killing the mans brothers who do have a bounty on them Perez swears vengeance and forms an alliance with a local tribe of Indians who aid him in a battle against the town and also the sheriff who are protecting the bounty hunter. The musical score is the work of Italian Maestro Carlo Savina, who of course will be a familiar name to collectors acquainted not only with the Italian western but with Italian film music overall, Savina composed numerous film scores for a plethora of genres and also acted as conductor on a handful of scores for Miklos Rozsa and Nino Rota. In fact Savina was credited as the composer of the score for EL CID on Italian prints of the movie back in the early 1960,s. Of course we know this is no so as Rozsa is the true composer of the work. Savina was quite active in the Italian or Spaghetti western genre and penned some of the most memorable scores for some of the lesser known movies. His COMIN AT YA soundtrack for example still remains one of the genres most haunting and popular non Morricone score. JOHNNY OROIS A TYPICAL Italian western score, but when I say typical I do not say this because it is mediocre or indeed predictable, it is typical simply because it contains many of the standard sounds that are nowadays so readily associated with the spaghetti score. Solo trumpet, whistling, solo harmonica electric and classical guitar and echoing percussive passages. In many ways the style that Savina employed was not that dissimilar from Francesco De Masi when he worked on westerns, the sound achieved being a fusion of the Hollywood western soundtrack with brass flourishes and also thrilling and melodic strings that were integrated with the more inventive and original sounds of the spaghetti western. JOHNNY ORO contains numerous themes and relies mainly upon the distinctive whistling of Alessandro Alessandroni to accompany the central character there are also strong trumpet cues within the score that simply oozes class and charisma. This release also includes Italian and English versions of the title song performed by Il Cantori Moderni. This is certainly one of the best Italian western scores written, and listening to it now nearly 50 years after its composition it still grabs ones attention and remains original and fresh. Released on the GDM/Hillside series it is one that you should own. nice clear sound and attractive art work with a number of colour stills and various reproductions of the poster for the movie inside the liner.