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The soundtrack to one of the more popular films that Morricone scored during the 70s – a successful comedy that scored big on the international market. A number of the tunes are a bit too silly for us, but there's also some nice numbers that get at the spare, dark, and lovelier side of Morricone's work – a few sweet little tunes that make the album worth having!

A really moody little record from Ennio Morricone – spare, subtle, and extremely beautiful – touched with notes of sadness and remorse, but also handled with a strong spirit of redemption! The sound here isn't as cold or atonal as that on some of Morricone's horror work – but it's also not sweet and dreamy either. Instead, there's kind of an economic use of piano, light strings, and odd sonic textures – woven into a tapestry of shorter tunes that convey a real sense of loss, but also a quietly growing beauty. There's a few wordless vocals on the set, but things are mostly instrumental overall – and titles include "La Califfa", "La Pace Interiore", "Fari Nella Notte", "La Cena", "Notturno", "Sotto La Pioggia", and "Sangue Sull'Asfalto".

Le Mani Sporche is a drama based around a story by Sartre – a bit moody, and so is the soundtrack, swirling strings and piano together in some very atonal tracks!

Mostly a mellow period score, but with a few favorite Morricone elements firmly in place: solo viola, solo female vocals by Gianna Spagnolo, and an orchestra and chorus conducted by Bruno Nicolai. Titles include "Battle & Red Sea", "In God's Voice", "Exodus Two", "Israel", "Nocturnal Shouts", and "Lamentation".

An excellent compilation of some of Morricone's best mellow tunes from the 70s – a record that brings together such haunting themes as "Chi Mai", "Verushka", "Poesia Di Una Donna", and "Ninna Nanna In Blue" – all of which have that magical floating feel that makes his 70s work so great – isolated instruments and wordless vocals coming together in otherworldly delight! The flipside also features the extended (18 minutes) "Les Deux Saisons De La Vie" – a really beautiful longer suite with great orchestrations and vocals.

Rare soundtrack work from Ennio Morricone, recorded for an Italian TV series that didn't get any play on this side of the Atlantic! The music has a surprisingly haunting quality, especially for television – almost the darker side of Morricone that you'd hear in the earlier part of the 70s, and less like some of his warmer scores of the time when this one was recorded. Edda Dell'Orso sings quite darkly on a few tracks – really bringing an edge to the music – and there's also a mix of atonal strings and lighter, lilting moments – of the sort we're much more likely to hear in some of Morricone's best cinematic endeavors. Titles include "Tema Borghese", "Tema Popolaresco", "Passione E Misticismo", "Musica Di Strada No 1", "Solo Violini", and "Notturno Senza Lunda".

The actual film was weaker than the first Exorcist movie, but the soundtrack's a great one – a wonderful Ennio Morricone score, right up there with his better-known classics of the 70s! Some tracks have a full, sweeping style that's sublime – that compressed Morricone approach to orchestrations that nobody else could touch – a redemptive sound which is then mixed with some much darker elements underneath – including some rough percussion, spooky voices, and other earthy touches that really stir things up. In fact, the overall effect of the record might scare you a lot more than the film – especially if you played it alone at home, late at night, with the lights off, and your head spinning round! Titles include "Great Bird Of The Sky", "Little Afro-Flemish Mass", "Regan's Theme", "Pazuzu", "Night Flight", and "Exorcism".