A wonderful and overlooked soundtrack by Morricone – done for a western, but with a tone that's very different than most of his other spaghetti work! The main theme to the film has a very cool and groovy approach – almost in the gentle bossa mode at times, with a slightly jangly theme that reminds us a bit of moments from La Donna Invisible, juxtaposed with some other starker tunes that use mouth-organ, piano, or banjo to create some slight whimsicality. The whole thing's great – with some really cool lost mellow tunes that rank with some of our favorite in this mode by him! There's a total of 18 tracks in all on this version, including a stereo mix of "Rivoluzione??", plus "Chje C'Entriamo Noi?", "Rivoluzione??" and evolving varitions of the title theme. CD

A very spooky score for this film that's also known in America as "The Cat With Nine Tails" – the second collaboration between Ennio Morricone and noted horror director Dario Argento! The album's a bit different than some of Morricone's other work on horror films – and at times, it almost has qualities that sound more like a western – a spacious mix of light strings and more sparely focused instrumentation – sometimes a bassline, sometimes a bit of flute. Other numbers get a bit more dark and jagged – slightly atonal, with shimmering, shifting styles that create a tremendous amount of tension! Titles include "Paranoia Prima", "1970", "Sottintesi", "Ninna Nanna In Blu", "Placcaggio", and "Metafora Finale". This special version of the score features a 12 minute version of "Il Gatto A Nove Code", some other alternate takes, and a bonus interview with Dario Argento! CD

One of the more unusual Morricone scores of the 70s – penned as part of a collaboration with director Maximilian Schell, and done in ways that are a bit different than some of the maestro's Italian work! There's plenty of voices at play here – the lead of Edda Dell'Orso, and harmonies from Il Cantori Moderni – used in ways that are sometimes a bit sweeter than usual, with a level of warmth that might not be what you'd expect from the movie! Morricone also throws in a few waltz-like melodies, too – almost the sort of numbers you'd find in a Nino Rota score – but as the soundtrack moves on, things get noticeably darker, too – and move into a rich array of odd sounds and weird tones. CD features a huge amount of tracks issued for the first time ever – a total of 31 tracks that includes "Fox Astratto", "Caduta E Ripresa", "Shake Del Giudice", "Balletto Col Morto", "Meditazione Melodica", and "Fuga In Svizzera". CD

One of our favorite all-time soundtracks from the legendary Ennio Morricone – and a record that really clued us in to that subtle sort of genius that sets him apart from the rest! Maestro Morricone is working in a number of different modes here – really making this one of the more richly textured soundtracks. His notes just inch by, one after one, in short, spare passages – and they build up into a tapestry of sweet, yet off-kilter sounds – which are then balanced with some warmer moments too – with occasional bossa moments to relieve the tension, and a few groovy cuts too! The whole thing is incredible – a masterpiece of sound and subtle instrumentation – on titles that include "In Un Sogno Il Sogno", which features a stunning solo vocal performance by the great Edda Dell'Orso – plus "La Donna Invisible", "Un Bacio", "Alla Serenita", "Silenziosamente", "Incontro Travsversale", and "La Moda". CD

A Morricone score penned for a comedic western – but music that's really on a par with any of his more familiar classics of the genre! The styles here run from dark to bright – with some numbers that feature trademark Morricone styles like isolated harmonica or chanting vocals, to others that cascade with slightly more contemporary instrumental modes – including just a bit of subdued electricity amidst the larger orchestrations. But in any setting, the Morricone genius shines through beautifully – and there's a sense of depth to even the simplest tunes here that's really great – and the balance here is what really makes the album strong. CD features a whopping 29 tracks in all – way more than any other issue of music from the film – with titles that include "Non Fare L'Indiano", "Sfida All'Ultima Forchetta", "L'Ultima Tromba", "Tanti Pugni", "Occhio Alla Pena", "Passagio Dal Male Al Bene", and "Dal Sarto". CD

A landmark record – not only in the history of the western, but in that of Ennio Morricone! The soundtrack, written for this hit Clint Eastwood spaghetti western, is everything you'd want in a 60s western – driving orchestral passages, twanging guitar parts, and spooky little bits that isolate the mood of a scene nicely. The work's an instant classic, and is still one of Morricone's strongest western soundtracks – even if it is one of the most familiar. This expanded Italian version features 17 tracks in all – including some rare mono and stereo mixes – and titles include "Quasi Morto", "Musica Sospesa", "Senza Pieta", "Tortura", "Alla Ricerca Dell'Evaso", "Consuelo Baxter", and "Ramon". CD

A killer Morricone soundtrack from the late 60s – filled with sweet tunes and moodier numbers – all served up with cool orchestrations, and some sweet work on electric harpsichord too! The score's lesser-known than some of the maestro's best from the time – but is equally great, and one we're very happy to discover – caught at a mode that still has Morricone using some of his best mod elements from the 60s, yet also beginning to explore the darker sounds that would unfurl even more strongly in the 70s! Bruno Nicolai conducts the group, and the set features a few great vocal moments from I Cantori Moderni – on titles that include "Scherzo Da Guerra", "Scherzo Da Baffone", "Filastrocca Per Cretini", and "Lo Sai Che Cosa Facevano Le Donne A Stalin". CD

A really unusual soundtrack from Ennio Morricone – one that's from the start of the 80s, and which has some sweet electric touches used alongside some of his more familiar modes! There's a bit of funk at the start, which heralds some of the less conventional instrumentation for the maestro – yet tunes still then follow that sense of slowly unfolding, flowering melody that can make his work so great – all the classic Morricone modes we love so much, but given a nice twist as well! The change is a great one – especially as at this moment, Morricone was moving into much larger orchestrations for bigger global films – and the set also features a bit of vocals from Nora Orlandi, and work from Alessandro Alessandroni on one track too. CD

Morricone fans – this one's got it all! The music is completely wonderful throughout, and a great mix of everything that makes Ennio Morricone so tremendous – a bit of bossa here, some funky bits there, and even some spookier slow passages with a nice atonal feel! The main theme of the record is more than enough to get us going – a wonderful tune with wordless female vocals in the best Mondo Morricone mode – but other instrumental tracks follow with some very cool, slow moments – including some great love themes which then lead to some beefier, bouncier numbers that are really great too. This limited 2CD version is great – with a total of 24 tracks that include "La Lucertola", "Magia Nera", "Giorno Di Notte", "Spiriti", "Ancora Ad Est", "Sfinge", "Spostato Ad Est", and "A Lucio Fulci". CD

A lesser-known Morricone soundtrack – written for an obscure western, but right up there with some of the maestro's best for much bigger movies! A number of tunes have that spooky "whistler" style of writing that we love from Morricone – spare whistling over darker orchestrations – in ways that create some spare and wonderful passages that are especially great! Other tracks are a bit fuller, and more dramatic – the bolder western modes of the 60s – and the set also features two vocal numbers, sung by I Cantori Moderni – that wonderful vocal group that shows up on some of our favorites from the time. Titles include "Paco", "Ricciolo", "Liberta", "Estasi", "Bamba Vivace", "Fiesta", and "Il Mercenario" – and the CD's got 16 tracks in all. CD

A cool collection of vocal songs from the world of soundtrack maestro Ennio Morricone – many of which are more unusual than some of his bigger themes, and brought together here as a great addition to the Segreto series! The work runs from the early 60s to the early 70s – and the package mixes together dreamy female vocal numbers, catchy western themes, and plenty more great bits – all at a level that also showcases the way the maestro was working in Italian vocal music during the 60s, before moving more firmly into the world of cinema. The package features 21 rare tracks in all – including one number by a singer who's completely unknown – with titles that include "Splash" by Peter Boom, "Fruscio Di Foglie Verdi" by Trio Junior, "Una Stanza Vuota" by Lisa Gastoni, "Pioggia Sul Tuo Viso" by The Sorrows, "Nuvole" by Jimmy Fontana, "You & I" by King Harvest, "Luce Chiara Per Vergine" by Edda Dell'Orso, "Filastrocca Vietnamita" by Sergio Endrigo, "Metti Una Sera A Cena" by Florinda Bolkan, and "Matto Caldo Soldi Morto Girotondo" by I Cantori Moderni Di Alessandroni. CD

One of Ennio Morricone's most famous film scores – and certainly the one that got him recognized as a genius on a global level! The whole thing's pretty damn eerie – about as eerie as the movie, which is a real stunner – and it shifts from dark orchestral themes to sparer numbers that use guitar, banjo, and some really creepy whistling to set the mood – that landmark Morricone sense of space that really transformed film music in the 60s. Some tracks feature vocal work by I Cantorni Moderni, directed by Alessandro Alessandroni – and titles include "C'Era Una Volta Il West", "Cheyenne", "Armonica", "L'Uomo Dell'Armonica" and "L'America Di Jill". Plus, this bonus version features loads more extra tracks – making for a total of 27 in all, the fullest version of the score we've ever seen! CD

Two groovy Ennio Morricone scores from the 60s – both of them pretty darn great! La Trappola Scatta A Beirut is a hip spy thriller from the time – done with some bold, jazzy inflections on the instrumentation – and styles that echo American and British thrillers of a similar nature. There's some great use of flute and saxophone over more complicated backings – and although there's a bit less of the Morricone sense of space in the overall composition, there's still some key darker touches that are definitely the mark of the maestro. Titles include "Relax Per Un Agente Segreto", "Inseguimento", "Attesa E Fuga", "Agente 505 Missione Compiuta", and "Langiudamente". Next up is the equally jazzy score to Il Successo – a beautiful blend of tenor, vibes, flute, and other sweet instrumental touches – very much in the best Italian soundtrack jazz style of the early 60s. The whole thing's great, and a very overlooked chapter in Morricone's music – with titles that include "Malinconico", "Il Successo", "Per Vittorio", "Allegra Sambina", and "Sarabanda Twist". CD

A gorgeous second volume to this amazing set – every bit as career-spanning as the first edition, but with a nicely different focus! This time around, the set has some especially rare material for fans of the Italian soundtrack genius – including a full CD of rare TV soundtracks scored by Ennio Morricone – plus additional themed CDs that include one disc of Vocal Songs and Covers, one of Lost Horizons, one of Unique Collaborations, and other CDs titled Comedy, Faces Of Italian Cinema, French Cinema, American Cinema, War Stories, and International productions! The package is stunning too – a book-style hardcover set, with 48 pages of notes and interviews! There's a massive 310 tracks on the 14 CDs – and the set mixes classics with rare material and some previously unreleased tracks – further testament to the endless depths of the soundtrack genius of Ennio Morricone. CD

A really lovely later score from Ennio Morricone – done for the final film of Marcello Mastroianni, and with a subtle sense of grace that echoes some of his best from earlier years! Much of the music has a lean focus that's different than some of the larger, lusher scores that Morricone was giving bigger pictures on the global scene – and there's a nice balance of isolated instrumentation, occasional atonal moments, and even great use of female vocals in an old school way – sung here by Dulce Pontes on two tracks. Most of the selections are much longer songs than standard film cues – and titles include "Assassinato", "Chitarre", "Il Simbolo", "A Brisa Do Coracao", "Rotativa", and "Manifestazioni". CD

One of Ennio Morricone's most famous film scores – and certainly the one that got him recognized as a genius on a global level! The whole thing's pretty damn eerie – about as eerie as the movie, which is a real stunner – and it shifts from dark orchestral themes to sparer numbers that use guitar, banjo, and some really creepy whistling to set the mood – that landmark Morricone sense of space that really transformed film music in the 60s. Some tracks feature vocal work by I Cantorni Moderni, directed by Alessandro Alessandroni – and titles include "C'Era Una Volta Il West", "Cheyenne", "Armonica", "L'Uomo Dell'Armonica" and "L'America Di Jill". Plus, this bonus version features loads more extra tracks – making for a total of 27 in all, the fullest version of the score we've ever seen! CD

Dark genius from Ennio Morricone – a soundtrack that begins with a cool water dripping sound on the title theme – then moves into a set of tunes that are equally spacious and moody! The music unfolds slowly, in this really beautiful way – sometimes with light piano lines stepping along, sometimes with wordless vocals from the great Edda Dell'Orso, sometimes with a bit of woodwind – but all in that isolated, slow-building mode that Morricone could do so well at the time! There's a sense of larger majesty from simple elements that almost hints at the wider Morricone sound to come – but overall the whole thing's still got that spare, compressed sound that we love so much from his early 70s work. Titles include "Il Segreto", "Dal Mare", "Nebulosa Seconda", and other variations on these themes. New CD edition features 5 bonus tracks! CD

A really unique little record – one that's a revelation both to lovers of the music of Ennio Morricone, and fans of the sci-fi TV classic Space 1999! The program was famously scored by Barry Gray – in a sweet 70s variation of the best Brit TV modes – but here, the music is provided by Ennio Morricone – who created his own music for a special cinematic release in Italy – sounds that didn't get any global circulation at the time, and which are quite unknown to longtime devotees of the program, too! Morricone's music is extremely moody – an unusual blend of avant jazz, electronics, and other offbeat touches that are lifted from his horror work, but then abstracted in a very different way – and used here in some of his most striking sounds since his performances with the Gruppo D'Improvvisazione Nuova. CD features 70 minutes of music in all – a great discovery – and titles include "Eletronica #1", "Parallasse", "Suoni Di Una Nuova Civilita", "Interposione", "Studio", "Follia Nello Spazio", "Fasi", and "Elettronica #4". CD

A surprisingly beautiful score for a film that's about revenge – one that maybe elevates the whole proceedings past the George Kennedy performance on the screen – at that level that can always make a Morricone score for a forgotten film well worth seeking out! There's plenty of tension in the music – sounds that draw on some of the maestro's understanding of more atonal elements, yet mixed with other moments that show a slight sense of relief – orchestrations sliding back into more familiar formation – in a shifting balance that creates a nicely unsettling sound throughout the entire score! Tunes include "Il Giustiziere", "Terrorist", "Vite Cancellate", and "Gusto Di Vendetta". CD

One of the more striking Ennio Morricone scores of the early 70s – a set that's probably less iconic than some of the rest – but in a very cool way! The set begins with a vocal number performed by Carmen Villani, then moves into music that drifts between the ethereal and funky – often with instrumentation that's a slight shift from the usual Morricone modes, yet still graced with all that sense of space, timing, and charm that the maestro can bring to his music! The music more than lives up to everything you love about Ennio Morricone, but there's a sense of execution that's a really good change too – on titles that include "Quasi Rock", "Informale V", "Archi", "Scale", "Resquiescant", "Topi", "L'Ultimo Uomo Di Sara", and "Informake VIII". CD

That's a sexy-looking lady on the cover – sliding on her cutoffs after a rendezvous in the dark – and the sound of the album definitely fits the image, at least at the start! Stelvio Cipriani begins the music like the story – a bit light and romantic at first, then sliding into tension as the album goes on – marking a point in the narrative where sex turns to suspense, which Stelvio follows by picking up the action on some of the tunes, and dropping into darker moments at others! Edda Dell'Orso delivers a fair bit of wordless vocals on the album, next to keyboard lines from Cipriani – and the whole thing almost feels like a late 70s update of the modes she might have crafted with Ennio Morricone a decade before. CD features 17 tracks in all – and wonderful sound! CD

A naked woman in a giant hand? They've already got our attention – and we haven't even heard the music! Fortunately, the music is every bit as great as you'd guess from the cover – the best sort of slinky Italian soundtrack, served up in a mix of haunting melodies and really offbeat sounds that never fail to delight! Keyboards and woodwinds find a similar sense of space as in the music of Ennio Morricone – and despite the nudity on the cover, the overall sound is never too cheesy or too oversexed – just perfectly balanced between lightness and dark, in a sublime blend of instrumentation and production! CD features 23 tracks in all – nearly 75 minutes of music! CD

A very rare slice of work from one of the hippest Italian soundtrack composers of his time – presented here with a huge amount of tracks that have never been released! Piero Piccioni scored the musico for the TV show L'Alba Dell'Uomo in 1975, and the work was hardly released outside of Italy – making the sounds within a very obscure chapter in the very storied career of the composer. Tunes are mostly short, and have a blend of light woodwinds, slight electric instrumentation, and some nice exotic touches – mixed with a few more offbeat moments that you'd be more likely to find in the work of Ennio Morricone, and just a few of the groovier cuts you'd expect from Piccioni's earlier work! CD features 34 tracks in all – half of which are previously unreleased – over 70 minutes of music. CD

Soundtrack funk doesn't get any better than this – thanks to a head-expanding of tracks from the Italian scene of the 60s and 70s – served up with the usual ear for a great cut by the folks at Easy Tempo! The groove here is far from the "easy" you might expect – and most numbers have tight drums, funky basslines, and other heavy elements – all put together with an approach to the music that's far different than anything happening in the US at the time, especially in the way the instruments sound in the end – and in the way that the production techniques make them do really crazy things! Titles include "Parangua" by Luiz Bacalov, "Flirt a Rio" by Piero Umiliani, "Side Sleep" by Berto Pisano, "Little Shakie Girl" by Armando Trovajoli, "Tremendous Stars" by Piero Piccioni, "Under Drama" by Giancarlo Gazzani, "Realta No 5" by Stelvio Cipriani, "So" by Lara Saint Paul, "Israelites" by Capuano, and "Citta Viva" by Ennio Morricone. (Funky Compilations, Soundtracks) CD

A later soundtrack in the legendary pairing of composer Nino Rota and director Federico Fellini – and a set that almost seems to have Rota picking up a few tips from his 70s contemporaries on the Italian scene! The music here is often more spare than before, and sometimes uses a key instrumental element – like a keyboard or guitar part, delivered with a languid energy that recalls work by Ennio Morricone or Stelvio Cipriani, mixed with a few other passages that have some more Rota-like melody emerging into the mix. There's an almost dream-like quality to the whole record, making it one of Nino's most striking from the 70s – and titles include "L'Uccello Magico", "Canto Della Buranella", "The Great Mouna", "Ricordo Di Henriette", "O Venezia Venaga Venusia", and "La Poupee Automate". Great pressing – with a huge amount of bonus material not on the original! CD