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A B C D E F G H I J K L M N O P Q R S T U V W Y Z

"Melodie en Sous Sol"

"Un Singe en Hiver"

Melodie en Sous Sol / Un Singe en Hiver
Michel Magne
Universal

"Route de Nuit" (MP3 edit)
"Ne Nous Fachons Pas" (MP3 edit)

Les Tontons Flingueurs /
Ne Nous Fachons Pas
Michel Magne / Bernard Gerard
Universal

One of the great French film composers, Michel Magne (Fantomas, OSS 117) scored his fair share of classic '60s flicks, and Universal has released several of them on a handful of compilations.

A recent Magne double bill from Universal pairs his jazz-tinged score for Henri Verneuil's heist drama Melodie en Sous Sol (aka Any Number Can Win, '63) and his more exotic work for Verneuil's Un Singe en Hiver (aka A Monkey in Winter, '62).

When Magne teamed with Verneuil he was in his early 30s and already displaying a penchant for unconventional orchestration (prepared piano, bursts of percussion) and catchy melodies. In the main theme for Monkey the composer juxtaposes expressive Oriental lute and percussion with sections for solo harmonica against lush strings. The Oriental and harmonica bits reoccur throughout the score, juxtaposed with baroque strings ("Yang Tse Kiang"), Spanish guitar and Mariachi brass ("Corrida Ethylique"), Argentinian accordion and tango tempo ("Pekin-Buenos Aires") and jazz trio ("China Jazz Hot").

For Any Number, Magne favored a big band jazz sound bolstered with swinging string sections ("Palm Beach"), but also explored a glamorous orchestral sound featuring regal brass, chorus and cascading piano chords ("Hymne a L'argent"). The high drama supplied by strings and earthy tones of the jazzier sections is reminiscent of Alex North's score for Elia Kazan's A Streetcar Named Desire ('51). The main theme is a scorcher, enflamed by crashing percussion and blaring brass. For Magne's more eccentric side check out "Hold Up (Part 2)," which starts with scraping pizzicato strings and what sounds like a Theremin before swinging away into beat jazz. It's cool, daddy-o.

The Number/Monkey CD closes with jazz organ legend Jimmy Smith's classic take on "Any Number Can Win" as well as a couple of Fred Pallem's unusual modern mixes of themes from both films.

An earlier Universal CD that celebrates the films of Georges Lautner juxtaposes Magne's scores for the action crime comedy Les Tontons Flingeurs (aka Monsieur Gangster, '63), action comedy thriller Les Barbouzes (aka The Great Spy Chase, '64), comedy spy thriller Le Monocle Rit Jaune (aka The Monocle's Sour Laugh, '64) and the crime drama Galia ('66) alongside Bernard Gerard's scores for the crime comedy Ne Nous Fachons Pas (aka Let's Not Get Angry, '66) and the crime drama La Grande Sauterelle ('67).

Among the Magne highlights is the crime jazz of "Route de Nuit," the playfully eccentric "Tamoure," the early rock 'n' roller "Tamoure Hully-Gully," the Western trotter "Barbouzes en Folie," the episodic and atmospheric "Du Rififi au chateau," the modal jazzer "Le Monocle Rit Jaune," the musically comedic "Monocle Story," the Bach-like Swingle Singers showcase "Largo," and the West Coast-style jazzer "Piege Party."

For his part, Gerard provides a big sky Western theme for Ne Nous Fachons Pas, a bit of baroque jazz ("Ballade Romantique"), some slick '60s surf rock ("Rosbif Attack"), a "Gloria" rip-off ("Akou," featuring an English language vocal by Graeme Allwright) and tense theme combining fuzz guitar, strings and drums for La Grande Sauterelle as well as a full throttle fuzz guitar rocker for the same picture ("Mechoui").

All told, these Universal discs display Magne's penchant for experimental flourish as well as the under-heralded film work of Bernard Gerard.

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"Main Title"

Napoli Spara!
Francesco De Masi
Beat Records

Poliziotteschi soundtracks are often adorned with movie poster paintings of men with guns and Beat Records' deluxe CD of Francesco De Masi's Napoli Spara! ('77) is no exception. It aims to grab your attention.

Napoli Spara! is deluxe for two reasons: the packaging is a miniature gatefold cover in heavy cardstock like an LP, and the CD contains a 14-minute video interview with filmmaker Mario Caiano in addition to 21 audio tracks by De Masi and others.

De Masi scored Caiano's crime thriller between Enzo Castellari's Inglorious Bastards (which Quentin Tarantino supposedly wants to remake) and Caiano's Nazi Love Camp 27.

Despite being a product of the late '70s, De Masi's score for Napoli Spara! surprisingly eschews disco funk — a common style employed on soundtracks of the era. Instead, he provides a mostly noir jazz sound that uses low brass, jagged guitar fills and plenty of atmospheric cymbalism. The main theme "Violent Life" smolders threateningly before swinging suavely as if to reassure the listener that for every deadly criminal there is a deadlier crime fighter. Tracks such as "A Train Robbery," "Deadly Crossing" and "A Bursting Punishment" traffic in the same sinister mood without the reassurance.

Alongside the dramatic bits are merry, carefree tunes that trade heavily on Mediterranean charm. Undoubtedly, these cues convey Italian street life without the threat of violence.

Additionally, there are several tracks borrowed from other films and sometimes other composers. Most noticeable is "Gangster Story" from Guido and Maurizio De Angelis' score for La Polizia Incrimina La Legge Assolve. Unfortunately, this tremendous action funk track abruptly cuts off after 90 seconds.

Nonetheless, Napoli Spara! offers plenty of original grooves for fans of Italian crime soundtracks, and the bonus video and packaging also are big selling points.

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"Folk and Violence"

Napoli Violenta
Franco Micalizzi
Beat Records

Franco Micalizzi scored several poliziotteschi flicks during the '70s (among them La Banda Del Gabbo). One of the best is Napoli Violenta (aka Violent Protection or Violent Naples, '76), Umberto Lenzi's sequel for Marino Girolami's Roma Violenta (aka Violent Rome, '75) and Italia a Mano Armata (aka A Special Cop in Action, '76), both starring genre regular Maurizio Merli as the tough blond cop Commissioner Betti.

Although some of the tracks from this classic Italian crime soundtrack have been available on compilations over the years, this Beat Records release is the full score's world premiere — a welcome one for certain.

Micalizzi expertly blends acoustic instruments (brass, acoustic guitar, strings) with electric (guitar, bass) and electronics (synths). Although the sounds are generally modern, he uses tarantella-style mandolin, which is traditional to Naples and throughout southern Italy, on several tracks including the main title.

The dynamic main theme gets worked over again and again in variations with titles such as "Bloody Robbery" and "Criminals at Work." What's common to most of these versions is the sinister, layered keyboard patterns, punchy brass, intricate drumming and crashing cymbals. The keyboard sound is similar to some of Goblin's work from the same era, but Micalizzi's use of brass distinguishes it.

A highlight of Napoli Violenta is the English-language song "A Man Before Your Time," which gets two vocal versions and an instrumental. It's one of those tough but tender ballads about what it takes to be a real man in a cruel world. The tune is haunting although the lyrics tend toward melodramatic.

Having already issued Roma Violenta on CD let's hope that Beat (or Digitmovies) issues the soundtracks for Italia a Mano Armata and Napoli Violenta's spin-off Napoli Spara as well. Once you have a couple of poliziotteschi soundtracks you'll want to have them all.

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"Spies and Guys"

Nati Con La Camicia
Franco Micalizzi
Beat

Starring the popular buddy team of Terence Hill and Bud Spencer, Nati Con La Camicia (aka Go For It, '83), is an Italian action comedy with spy elements and apparently set in the U.S. The latter point is quite apparent from the country western song that opens Franco Micalizzi's charmingly upbeat and stylistically rangy score.

"In the Middle of that Trouble Again," which is performed by A.D. Meakin, sung from the perspective of the Bud Spencer character about getting into mischief with a "crazy guy on roller skates" (that would be Hill). It's a goofy tune, but effectively captures the film's milieu.

Go For It goes from country to spy funk on "Spies and Guys" that practically quotes from the "James Bond Theme" and nearly sounds like a Goblin track before launching into jazzy synth and brass version of the theme song.

On "Caribbean Women," we get a disco calypso-type tune that has that light and bright early '80s vibe.

"Fighting at Burger Bar" kicks up the country dust for a bit of comedy/action fun, featuring lively saloon piano, steel guitar and Nashville pickin'.

"Shining Day" and "Flying to Miami" get back to light, breezy synth pop.

While Go For It isn't likely to become your absolute favorite Micalizzi score it's difficult to resist its friendly vibe and '80s take on spy pastiche.

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Neros u Bianco
The Freedom
Moving Image/Comet

"The City" from Nikkatsu... (MP3 edit)
"M-5" from Saru... (MP3 edit)

Nikkatsu Roman Porn No Sekai /
Saru No Gundan
Various Artists / Tsushima Toshiaki
Ultra Vybe

Japanese trash cinema soundtracks, like many things from the tiny island nation (sushi, wasabi, huge-eyed anime characters), are an admittedly acquired taste, not to mention difficult to acquire. Luckily, J-label Ultra-Vybe has released several compilations for those willing to drop $25 or more per CD. Unluckily, not all of the material is really worth the high sticker price.

Take Nikkatsu Roman Porn No Sekai for example. As a collection of tracks from notorious "pink" porno movies of the '70s, it doesn't exactly inspire lustful thoughts to see that sullen girl on the cover (there is a lurid interior photo that would've been much more effective at capturing this seedy genre). The music proves to be just another schizophrenic selection of lackluster bar rock and lounge pop, and most disappointingly one of the 17 tracks duplicates one heard on another "Hotwax Trax" compilation from Ultra-Vybe. As with all CDs in this series, the notes are in Japanese, so the artists and featured movies are a mystery unless you're intimately familiar with the films of this genre.

More interesting is Saru No Gundan, a collection of music from "Army of the Apes," a blatant TV show rip-off of Hollywood's Planet of the Apes (read more about it). Featuring 56 tracks and clocking in at over 75 minutes, this CD's music captures the presumed weirdness of the show. Stripped down instrumentals featuring reverbed electric guitar tones, droning organ, squelchy Moog, marimba and strange accents like Jew's harp make for an intriguing listening experience that manages to come off as exotic and psychedelic. Again, the notes are in Japanese. The few illustrations hint at the show's camp appeal, but the music is beyond camp — it's cool.

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1990 I Guerrieri Del Bronx /
I Nuovi Barbari
Walter Rizzati/Claudio Simonetti
Beat

Ninfadelica
Various Artists
Irma La Douce

Nonhosonno
Goblin
Cinevox

After nearly two decades of not working with one another, Italian horror rockers Goblin and legendary giallo director Dario Argento reteamed for Nonhosonno.

The band (featuring all returning members) attacks the material with gusto. The quartet picks up right where it left off with the director, by establishing sinister backdrops for bloody suspense with supernatural connotations.

They still play like Paganini's demons. Savage rhythms accompany heavy metal axe-abusing licks of hell fire. You'd think they were fighting off the devil himself. And again, they sound like they were raised on the same tainted water as King Crimson's Robert Fripp.

But Goblin also delivers a stunning cinematic listening experience. The music is full of mood and nuance, always signalling danger. In its own way, it sets the standard for rock horror scoring.

The production standards are immaculate, making this the best sounding Goblin recording to date. Musically speaking, there are plenty of memorable tracks, including the title track, "Killer on the Train" and "Death Farm" (which sounds like the name of a third-rate metal band from rural Texas).

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"Main Title"

La Notte Che Evelyn Usci' Dalla Tomba
Bruno Nicolai
DigitMovies

The Night Evelyn Came Out of Her Tomb, as it was called in the U.S., is a fairly entertaining giallo that benefits from Bruno Nicolai's outstanding gifts for melody and orchestration.

Nicolai’s main theme here is as memorably melodic as any heard in the genre, but most of the score favors dissonance. According to VideoWatchdog.com's Tim Lucas, the Evelyn soundtrack is believed to be a collection of library cues by Nicolai and not an original score. In Lucas’ liner notes for the DigitMovies soundtrack CD of Bava’s Bay of Blood, which also came out in ’71, the Nicolai tracks might have replaced a rejected score by Stelvio Cipriani, whose score for Bay includes "Evelyn’s Theme."

Nicolai’s main title ("Evelyn’s Ghost Theme") breezes along on swelling strings, acoustic guitar, solo trumpet, a rolling bass line and Edda Dell’Orso’s wordless vocals.

Elsewhere, Nicolai provides perfectly disturbing atonal atmospheres with screeching violins, bizarre electronic accents and ominous bass notes. He also cooks up groovy dance floor psychedelia on "Funeral Striptease" and "I Get You."  The former, in particular, is memorable for its despondent dirge-like intro that morphs into acid blues before launching into dance rock.

Evelyn includes bonus tracks, and like all of the label’s releases, the CD is lovingly packaged with liner notes, a film description and miniature reproductions of poster and DVD cover art.

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Notturno
Goblin
Cinevox