Tag Archives: MACRO- GIUDA UCCIDE IL VENERIDI.Nico Fidenco

MACRO- GIUDA UCCIDE IL VENERIDI

 

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Released in 1973, MACRO- GIUDA UCCIDE IL VENERIDI (aka- JUDAH KILLS FRIDAY) was directed by Stelvio Massi, The, films screenplay was penned by Mario Giazzo and Sophia Kammara, the latter also taking a leading role in the movie. The film is a mix of drama. Romance, crime and sexploitation. On researching the movie, I found hardly any information on it, and it looks as if it was a film that maybe was not that popular when it was released, however the plus side is that the musical score is by one of Italy’s most well-known composers from the 1960’s through to the 1980’s. Nico Fidenco began his career as a singer, but he had always been fascinated with the cinema and made a decision that he would try and break into writing music for films. But. Why did he change direction as he was becoming well known as a singer and was having hits?
“When I was singing I did a few cover versions of movie songs: EXODUS, MOON RIVER, SUZIE WONG and WHAT A SKY, for example.

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These recordings were very popular in Italy and my interest in movies grew more out of this, so I decided to try and write some material myself. Cinema has always attracted me, even as a child, and to be a part of the cinema world was like a dream come true”. Fidenco, has worked on a variation of genres throughout his career, what was the first score for a movie that he was involved on? “It will probably not be a surprise when I tell you it was a Western, a Spanish-Italian co-production entitled IN THE SHADOW OF THE COLT. It was a very low budget film, nothing like the films of Leone, but nevertheless it was popular in Italy and Spain of course. Well I don’t think it got released anywhere else, so I’m glad it was popular in these two countries, the theme was recorded on a 45-rpm record when the movie was in the cinema and to my surprise, sold over ten thousand copies in Italy, which at that time was the early 1960’s was very good indeed”.

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Cover for the CAM Single.

The score for MACRO- GIUDA UCCIDE IL VENERIDI, is at times evocative of the style of Ennio Morricone the composer utilising a light and rhythmic Bossa nova sound that is interspersed with harpsichord flourishes giving the score a rich sound that also is reminiscent of the works of Cipriani and Trovajoli. A sound that Fidenco often re-created via his use of many of the musicians and vocal artists that performed on many of the Italian soundtracks at that time, At, times he would use the choir of Allessandro Alessandroni’ IL CANTORI MODERNI on his soundtracks. What was it like working with Alessandroni?

 

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I never actually worked with him in the sense of writing anything together, but yes, I did have him, and his excellent choir perform on some of my scores. If I remember correctly JOHN IL BASTARDO, DYNAMITE JIM and two of the EMMANUELLE soundtracks were performed by them, and RINGO IL TEXICAN I think.  It was all such a long time ago, but Alessandroni was a wonderful person. He was a talented performer, with his guitar and whistle, and a gifted and very underrated composer. Nora Orlandi would also conduct her choir on some of my scores – things like EL CHE GUEVARA. I think she also is very good. Alessandroni was a very good friend of Giacamo Dell Orso who conducted most of my soundtracks. His wife Edda has an exquisite voice and is responsible for a lot of work on Morricone soundtracks, as I’m sure you know. Giacamo would take my musical sketches and turn them into something special. He is a skilled orchestrator and an excellent conductor.

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This the first time that the complete soundtrack for MACRO- GIUDA UCCIDE IL VENERIDI, has been released on any recording, apart from two tracks that were issued on a CAM single record (AMP 122) at the time of the films release. Which is now something of a rarity. In my opinion the music of Nico Fidenco is just as important as that of Morricone, Nicolai, De Masi and Cipriani. He was responsible for creating the sound of an era, his scores being haunting and dramatic each and every one of them having a life away from the films for which they were intended to support, enhance and punctuate. Did Fidenco himself think that his music had stood the test of time and endured over the years. His western scores. “I do consider the music I provided for these movies to be good, and yes it still has a certain something to it now, but that is my opinion. I know that many Italian Westerns that I thought were great during the 1970’s etc. are for me very hard to sit through now. Times change and so do tastes and styles. It’s all down to the individual, I think”.

John Mansell ©2018.
Move music international.

Pre-order now at Kronos records, Release date August 25th 2018.

http://kronosrecords.com/KG29.html

1. Titoli
2 . Tema
3 . Titoli Prolungamento
4 . Gioventu
5 . Un Viavai
6 . Allegro
7 . Suspense – Rise And Shine
8 . Rise And Shine
9. Suspense II
10. Macabro
11. Suspense III
12. Estasi
13. Allegro
14. Suspense IV
15. Andante
16. Rise And Shine
17. Allegro
18. Allegro
19. Passione
20. Giuda Uccide Il Venerdi (instr)
21. Suspense IV (alt)
22. Coda
23. Coda
24. Suspense II (alt)
25. Strimpello
26. Passeggiata
27. Rise And Shine (short)
28. Suspense – Rise And Shine Prolungamento
29. Suspense II (alt 2)
30. Mistero
31. Giuda Uccide Il Venerdi
32. Passeggiata (alt)
33. Rise And Shine