Music Box (France), 1967/1975. New Copy
2 of our favorite action soundtracks from French maestro Georges Garvarentz – the funky mid 70s Killer Force and the groovy late 60s Corrupt One – in one fantastic set! Killer Force is up first – and it's filled with strident grooves that are right up there with some of the best
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Music Box (France), 1978/1982. New Copy
2 rare soundtracks by French composer Eric Demarsan – 1978's Attention Les Enfants Regardent and 1983's L'Indiscretion – back-to-back! Attention Les Enfants Regardent kicks off with an ethereal choir overture, and from there rolls out some laidback, but moody tracks that steadily build
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Music Box (France), 1970/1978. New Copy
A pair of soundtracks from legendary composer Georges Delerue – beautiful work for Bernardo Bertolucci's Le Conformiste (Il Conformista) from 1970 – and the lesser-remembered, but again quite beautiful La Petite Fille En Velours Bleu from 1978! Le Conformiste has a few modes, ranging
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Sidewalk/La La Land, 1969. New Copy
Fantastic funkiness! Although Les Baxter's best known for his easy listening work in the late 50s/early 60s, this 1969 biker flick soundtrack is a motherlode of funky funky tracks, and a veritable cornucopia of breakbeats. The drums are nice and hard, and there's plenty of fuzzy guitars to give a
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Dot/La La Land, 1970. New Copy
An amazing little soundtrack – one that's as spooky and eerie as the film for which it was written, and which was also one of the few American recordings issued by Polish jazz great Krzysztof Komeda! The core of the album is an especially haunting theme – one hummed as a lullaby by Mia
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La La Land, 1962/1963. New Copy
Eerie early 60s material from Les Baxter – his soundtrack work for Roger Corman's American International feature The Man With X-Ray Eyes – plus Corman's Morella entry in the Poe-themed anthology Tales Of Terror! The Man With X-Ray Eyes is one of those groovy soundtracks where the mood
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Music Box (France), 1982/1984. New Copy
Two sweet 80s scores from Michel Magne – still very much at the top of his game here! First up is the sexy soundtrack for Emmanuelle 4 – done in a style that's very similar to some of the 70s films in the series, but with some slight 80s twists in the instrumentation and overall
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Right Tempo (Italy), 1973/1998. New Copy 2LP
Fantastic! Easy Tempo scores again with this beautiful rerelease/repackaging of Gianni Ferrio's lost score for the film Una Farfalla Con Le Ali Insanguinate. The music has lots of spare spooky keyboards, with a slow building sound that's similar to Francis Lai's best soundtrack work, and a warm
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Easy Tempo (Italy), 1975. New Copy
One of the coolest Italian soundtracks we've heard in a long time – a wonderful set of tunes that moves from slinky, to easy, to groovy, and beyond! The tunes start out bubbling very spare and slow – with floating piano, moog, and other nice bits – and as the record progresses,
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Beat (Italy), 1967. New Copy
A really cool spy soundtrack from the Italian 60s scene – put together by Piero Umiliani with lots of jazzy touches! The music here is a nice change from the more obvious, more familiar American spy modes of the time – and often uses some cool vibes mixed with horns, to create this
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Cinedelic (Italy), 1950s/1960s/1970s/1980s. New Copy CD & Book
A beautiful tribute to Italian director Mario Monicelli – a book of images, packaged with a CD of music from his films! The images are wonderful – lots of black and white movie stills, mixed with color images of posters too – often in historical chronology with some additional
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Beat (Italy), 1980. New Copy
A very cool sci fi soundtrack from Marcello Giombini – as sexy as the image on the cover might imply, but also pretty darn electric and spacey as well! The album echoes some of Giombini's earlier electronic sound library material – and is often spare, with heavy use of keyboards –
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Cinephile/Castle (UK), 1975. New Copy Gatefold (reissue)
Heist films always provided some of the best soundtracks of the 70's, and this one (starring Robert Shaw and Richard Roundtree, and issued in the US as Diamond Shaft) is no exception! Roy Budd rises to the groovy occasion and scores some excellent moments that match a light orchestral sound with a
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Death Waltz (UK), 1988. New Copy (reissue)
Amazing work from John Carpenter – still a dedicated soundtrack composer long into his film career – and always a master of spare, spooky electronics! The instrumentation here is a bit evolved from some of his earliest classics – different keyboards and electronics developed
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Beat (Italy), 1988. New Copy
A bouncy little soundtrack – with a feel that's just what you'd expect from the cover – plenty of playful 80s grooves with a good mix of sex and schlock – all pretty heavy on keyboards, basslines, and beats! The film's an erotic romp, in the best style of the decade – and
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Beat (Italy), 1980. New Copy
Lost greatness from Stelvio Cipriani – a racing soundtrack, but one that's scored in the same modes as some of his best crime and police work from the 70s! Cipriani's definitely in that best "exploitation" groove here – sometimes using a bit of disco or club, sometimes laying
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El (UK), 1961. New Copy
Back to back jazz soundtracks – the cream of the crop of the early 60s! First up is The Hustler – a killer jazz score from Kenyon Hopkins – a composer we can almost always trust to turn around a killer jass score! The work is mostly in a jazz ensemble mode – and moves
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Beat (Italy), 1972. New Copy
An early 70s giallo soundtrack by Roberto Pregadio – who we know and love for some very cool and moddish jazzy soundtrack work a bit earlier on – and this is another groovy, yet necessarily seedy and sinister set from the under-appreciated composer! It revolves around a funky theme,
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Beat (Italy), 1980. New Copy
There's kind of a Blue Lagoon story going on here – as if you couldn't guess from the cover – and who better to score such a film than the Italian maestro of love, Stelvio Cipriani! The soundtrack has a slinky, sexy quality that's way more urban than the setting of the movie –
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Beat (Italy), 1974. New Copy
A heavenly soundtrack from Ennio Morricone – written for a film set in a convent, and scored with some really unique touches! Given the spiritual nature of the film, Morricone uses this spooky chorus – singing in a staccato style at first, but then opening up in a mode that's almost a
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