morricone

isn't this a bit like saying "I know all the good and distinctive stuff he did, but what about all the somewhat dull non-spaghetti western music he did?"

Gareth said to leave the spaghetti western type stuff but you really have to get yr hands on the 2 CD/LP 'the good the bad and the ugly' (1966) issued on the dagored label. I d/l from slsk and the whole thing, from the orchestral outtakes to the classic theme we all know and love does needs to be heard as as a record but and as a way of registering the images with the sound of the movie itself.

(I've also got hold of 'i cannibali' and I'll report on that later)

But the one that burns is 'gil occhi freddi della paura' from 1972 (on dagored, I scored it 2nd hand this afternoon), where he gets Gruppo di Impoovvisazione Nuova Consonanza to play on it, and its probably one of the most 'accessible' avant garde ever full stop. He somehow gets some of those shapes you hear in european improv and makes a fucking soundtrack out of it!!! I still need to give this a few listens but its fucking great stuff so far.

bah fuck this, what I kind of mean is that the soundtrack kind of overwhelms the images for me so I can't quite concentrate on what's happening when i watch the movie.

So get the soundtrack, get accustomed to the sound, register its impact, and maybe you can sit down and look at both sound AND image.

do you like che c'entriamo noi con la rivoluzione? (and make sure you get the version that is 4:56 before the other 2, as they all have the same name)

No, i'll won't mention the 'Thing' (Carpenter) OST though its the most effective soundtrack ever...

heard 'i cannibali' and its another wonderful 20 mins. Hear the scott walker but not much sesame street, the arrangements are quite something.

ok its great that I'm beginning to get more recommendations here. So Kinski, what is so much better abt 'veruschuka' than the stuff he is primarily known for (morricone has been a hard subject for ilm, check a few of his other threads, usually just see comps and not specifics)?

eleki- yeah, I see what you're saying abt 'effective' soundtracks in movies but they can def work as records, the great is that someone like morricone seemed to squeeze quite a bit in a min or two, he does use that as a strength and that's what makes him to be so good (at least from what I'm hearing so far).

And of the Spag stuff, "The Adventurer"....

*like all the noisy bits in the "Hatchet for the Honeymoon" soundtrack by Sante Maria Romitelli seemed to be a tape of the same noisy part mixed over the different orchestral cues that you hear on the CD.

kaija saariaho wd struggle to compose something this good!!!

[/crank]

hello
Iam an iranian in Iran some of the people love your film music but thay can not take your music in iranian shopping Iam so like your music of cinema paradiso but Idont provide it in iran may you send this music in my email.

with best rigard

hamid

― hamid ahsani, Tuesday, February 11, 2003 8:54 PM (5 years ago) Bookmark Suggest Ban Permalink

this dude is basically the gnarliest

http://www.monstersandcritics.com/news/middleeast/news/article_1389539.php/Report_Morricone_to_make_soundtrack_for_Iranian_Khomeini_film

search the score to "two mules for sister sara" (not a bad film, directed by don siegel starring clint eastwood and shirley maclaine). morricone's interpretation of the "title music" is to interpolate odd electronic farts meant to suggest the braying of a donkey alongside a very church-sounding chorus. as usual, much of the rest of the soundtrack is morricone mixing around (in enjoyable if not revelatory ways) the stuff from the main title, and of course the usual pretty mood-setting music. but the best tracks are really impressive and fun, if you're into the more mannered "navajo joe" type morricone western stuff.

seriously how often do film composers have the cojones to be so audaciously inventive?

Orca The Killer Whale!!!

The Mike Patton-curated comp Crime And Dissonance gathers two discs of Morricone at his most out there. I wish there was 20 volumes of it.

Rhino comp is out of print and Rhino is gutting staff #FML

I seriously think The Good, The Bad and The Ugly may be the best movie theme ever.

Although embarrassingly I've never seen the actual film.

movie is great -- perfect combo of music/imagery/mood

his Grande Silenzio is worth checking (and widely available on Soulseek) been listening to it all day after seeing the movie recently. snow western!
http://g.virbcdn.com/i/resize_575x575/PageImage-350945-1544049-il_grande_silenzio_1.jpg

There's a new compilation of vocal tracks out on Ace - too much late era ponderous "pretty girl sings cod-classical" stuff for my taste, but it does include this Amii Stewart track, which is great Yacht Soul imo:

https://www.youtube.com/watch?v=n5rPfk3zg7w

Learned recently that there's a Morricone autobiography! I struggle to think of what that might read like, considering he always seems disinterested in his music outside of the musique concrete stuff.

Speaking of, since he loves that stuff so much why doesn't he spend more of his twilight years doing abrasive music - I'm sure dozens of avante garde directors would kill for a soundtrack from him - instead of all these terrible boring collaborations with opera and easy listening divas?

Score for "Hateful Eight" was great, though.

It flat out blows me away just how many hours of music Morricone has done. The guy is over 500 soundtracks not even including music done outside his film work. That is just an astounding amount of music.

So much of his non-soundtrack work is so surprising, too: his secret identity as star songwriter and aranger in the 60's Italian Pop scene; the musique concrete stuff he did with Gruppo; a joint album with Chico Buarque!

Just listened to "Controfase", a weird experimental Morricone album issued as a library recording. I don't know much about that kind of music but it hit the spot.

the musique concrete stuff he did with Gruppo

I would describe that as (electroacoustic) improv rather than musique concrete, I'm not sure he ever produced musique concrete tbh.

agreed

the Improvisationen record is just breathtaking, so much detail packed into such quiet passages

RIP the mighty Alessandro Alessandroni.

Very sad. The Cantori Moderni had a lot of jams.

RIP ;_;

lol missed all this

https://variety.com/2018/film/news/playboy-germany-backtrack-ennio-morricone-quentin-tarantino-1203027132/

Enniotm

One peak-era soundtrack that could use some more attention is 1972's Le Due Stagioni Della Vita, mainly for the 18-minute-long title suite of variations on this ultra-hypnotic, cyclical waltzy theme--the kind of chord progression and melody that gives the illusion of falling and falling (like Aguas de Março), seeming to never end, propelled forward on inexhaustible inertia while Edda Dell'Orso and some choirs fly in and out of the ever-changing sonic millieu... It's a trip
https://www.youtube.com/watch?v=T4lUF12pIk0

Yes I love that album

Today I learned he and Leone were childhood classmates!

Ennio Morricone and Sergio Leone pose together in the primary school year book, 1937 pic.twitter.com/8ArJOrpzns

— Diane Doniol-Valcroze (@ddoniolvalcroze) July 6, 2020

Yeah, it's a weird one that, I can't remember if they were actually friends though.

tribute airing/streaming in 30 minutes

https://www.wfmu.org/playlists/PE

Nice tribute.

http://www.legaseriea.it/en/press/news/info/lega-serie-a-pays-tribute-to-ennio-morricone

Nice gesture but why go with a ballad when Morricone wrote so many tracks ideal for getting people pumped? Play "Navajo Joe" imo.

Now that would be something. Doesn't take much to pump up Italian football fans though - if there were any fans there, which there aren't.

Play "Navajo Joe" imo.

AHHHHH-AH-AHHH-AH-AHHHHH-AH-AHHH-AH-AHHHHHHHH...
EEEEEE-EH-EEEE-EH-EEEEEE-EH-EEEE-EH-EEEEEEEEE...
*insanely heavy twang plod*

i have to amend my POXX btw

La Tenda Rossa/The Red Tent is an inconceivable omission (the side B suite my dear lord)

I guess bump off White Dog

John Zorn's tribute to The Maestro, a public post: https://www.facebook.com/TzadikLabel/posts/3433097923389983

Come for the king, don't miss. And ask shorter questions:

I interpreted that exchange as Fagen taking the piss out of himself. He even included it in his book.

https://www.whosampled.com/news/2020/07/06/prolific-and-much-sampled-italian-composer-ennio-morricone-has-died-aged-91-ten-iconic-samples/#:~:text=Morricone's%20impact%20on%20popular%20culture,Lotus%2C%20Eminem%20and%20The%20Orb.

Huh:

In 2007, Italian author/scholar Leonardo Colombati invited Morricone to write the original foreword for Colombati's book Bruce Springsteen – Come un killer sotto il sole: Il grande romanzo americano (1972-2007) (republished internationally a decade later as Bruce Springsteen – Like a Killer in the Sun: Selected Lyrics, 1972-2017.)

Morricone jumped at the chance, writing:

In his songs, Springsteen creates a strong sense of pietas — of the pain and humanity inherent in the characters he recounts. He does this not only through his music, where he uses different timbres and sounds to endow characters with a unique personality, but also through his lyrics, which are where his real power lies…

Although they are very different, a certain part of my work and his shares a common basis in the simple chords we use to create structured and original melodies. The composer of instrumental music must redeem this simplicity with elaborate orchestration; the author-singer/storyteller can do so by using both voice and words, as long as the voice communicates an emotion and the words are true. I like Springsteen precisely because he places this need for Truth in the forefront. This is how he manages to elude passing fads and why his music runs no risk of being lost over the course of time.

http://backstreets.com/Assets/Images/2020/newsEMorricone1996CROP.jpg

Also, Springsteen used to begin "Badlands" by having Roy play "Jill's Theme" from "Once Upon a Time in the West."

https://www.youtube.com/watch?v=vF50vNJ1k3Y

Ah well, I'll try not to hold that against Ennio.

RIP Ennio Morricone.

Modern Cinema wouldn't be the same without you.

And - in what is perhaps my favourite bit of trivia - indie-dancefloor-powerhouse BLUE MONDAY wouldn't be the same, either... (@peterhook) pic.twitter.com/SJ2pIDRWq6

— Shipy McShipface (@OllieShip) July 6, 2020

Back in the 70s, in Creem, I think, Dave Marsh mentioned Broooce's cinematic, operatic, maybe (did he also say?)spaghetti western tendencies, and that seemed right, although arrgh, "Jungleland" etc--but usually pretty good (though I stopped listening in the 80s).

https://www.criterion.com/current/posts/7014-ennio-morricone-s-radical-romanticism

I like it

Italy has put Ennio Morricone on a new limited edition €5 coin!! #maestro pic.twitter.com/WIvQcaViIn

— C. Lavender (@clavendr) July 19, 2021

https://www.youtube.com/watch?v=p6jF0aK5b90

https://www.youtube.com/watch?v=TZXwJcc1u-I

https://www.youtube.com/watch?v=HNKPUuxaLRE

Stop posting sacco & vanzetti itt ffs

Can we use this s&d/rip thread as a raririties thread? Here he is in raymond scott mode

https://www.youtube.com/watch?v=25bUUQXXHis

The visuals are also intense.

Interesting. Reminds me of the "American Magus" piece by John Zorn from "Songs from the Hermetic Theater". Not surprised that Zorn would've been familiar with this.

xp That's awesome, probably the synthiest thing I've heard from him.

https://www.youtube.com/watch?v=0381tAAxWfA

Dipping into the bottomless well this morning I discovered L'Immoralità (1978), which was reissued on CAM earlier this year. Variations on a beautiful melancholy chord sequence that reminds me of Paddy McAloon's I Trawl the Megahertz

L’Ummanoide is the synthiest thing I know by him

Obviously I have not heard everything, and probably couldn't if I tried, and certainly could not have remembered, but I honestly thing "The Untouchable" is one of his most memorable scores.

lol, "Untouchables." Anyway, anyone know anything about this?

https://www.youtube.com/watch?v=pjJ4KCcIjsw

No but funny timing for the bump I’ve been all morricone for the last few days

Just got delivery of 4 CDs (99 pence each!) of Morricone soundtracks.

Metti, Una Sera a Cena (1968) (which I've heard before and is very good in a loungey/easy listening vein.)
Giordano Bruno (1973) (one of his soundtracks for period dramas, so I imagine this will be him at his stateliest.)
Che C'entriamo Noi Con La Rivoluzione? (1972) (comedy western, which is fine as long the comedy isn't overdone.)
La Vita A Volte È Molto Dura Vero Provvidenza? (1972) (another comedy western, like the previous soundtrack there's not a lot of variety in track titles which makes me think there will be a LOT of variations on a theme - but it only cost 99p, so what the hell.)

I still dream of a Complete Morricone box set, can't see it ever happening though

Jesus, you'd need an articulated lorry to deliver that.

Che C'entriamo Noi Con La Rivoluzione? (1972) (comedy western, which is fine as long the comedy isn't overdone.)

I really enjoyed the "Ennio" doc, which is full of personality and personalities. Learned a lot, like how Kubrick (supposedly) wanted Ennio to do "Clockwork Orange" (which seems inconceivable) but Kubrick called Leone and Leone accidentally/intentionally/hard to say told him Ennio was too busy (!). The array of talking heads on hand is top notch, from many of his Italian peers and collaborators to an eclectic array of familiar faces, all of whom recognize his particular genius.

He was pretty busy in 1971!

Yeah, he was cranking them out! Iirc he claims in the documentary that he had finished Fistful of Dynamite, he was just working on the mix, but even if he hadn't the guy clearly had time, lol.