The Thriller Collection Disc 2
Tracks: 18, total time: 61:31, year: 1999, genre: Soundtrack
c 1999 DRG
Ennio Morricone - Conductor, Orchestration
AlanSilverman - Mastering
Edda Dell'Orso - Vocals
Claudio Fuiano - Producer, Album Supervision
Dan O'Leary - ProductionCoordination
John Bender - Liner Notes
|1.||4:46||A Lizard In A Woman's Skin (1971): Night of Day|
Ennio Morricone is probably the most famous film composer of the 20th century. He is also one of the most prolific composers working in any medium. No exact figure is available, but he's scored several hundred films over the past severaldecades, perhaps as many as 500. While these have been in almost every imaginable musical style (and for almost every imaginable kind of movie), he is most identified with the "spaghetti Western" style of soundtracks, which he pioneered when providing themusical backdrop for the films of director Sergio Leone. Morricone's palette is extraordinarily diverse, drawing from classical, jazz, pop, rock, electronic, avant-garde, and Italian music, among other styles. Esteemed by such important figures in modernmusic as John Zorn (not to mention contemporary directors like Martin Scorsese), he is increasingly placed among not just the finest soundtrack composers, but the most important contemporary composers of any sort.
Morricone began studying music at Rome'sConservatory of Santa Cecilia at the age of 12. Urged to concentrate on composition by his instructors, he supported himself byplaying trumpet in jazz bands, and then worked for Italy's national radio network after graduating from the conservatory. He didn't begin scoring films until the early '60s, and didn't begin attracting international notice until he began collaborating withLeone, starting with A Fistful of Dollars in the mid-'60s. (Morricone had previously worked on other Italian Westerns with other directors.)
The spaghetti Westerns only comprised a phase of Morricone's career, but for many his work in this field remains his best and most innovative. Morricone amplified the film's plots and drama through ingenious use of diverse arrangements andinstrumentation. Jew's harps, dissonant harmonicas, dancing piccolos, bombastic church organs, eerie whistling, thundering trumpets, oddly sung gunfighter ballads, and ghostly vocal chorusesall became trademarks of the Morricone-Leone productions, thenof the spaghetti Western genre as a whole. The influence of rock& roll was felt in the low, ominous twanging guitars, which reflected (intentionally or unintentionally) the sound of contemporary recordings by the Ventures, Duane Eddy, the Shadows, and John Barry. Morricone's most famous composition, the theme to The Good, the Bad and the Ugly, made number two in the U.S. when it was covered by Hugo Montenegro.
Even while he was busy with collaborations with Leone, Morricone found time for various otherfilm projects, such as the agitprop classic Battle of Algiers and Burn! By the 1970s, Morricone was winding down his involvementwith both Leone and the spaghetti Western, working with numerous other directors all over the world. Grand orchestration and memorable motifs were commonplace in Morricone's work; Warren Beatty, for instance, once told the Los Angeles Times that "there'snobody better than Ennio to create a haunting theme." His scoresalso began to utilize more contemporary electronic influences,with mixed results.
Age has not slowed Morricone in the least. In fact, the 1980s, '90s, and 2000s saw his commercial successand widespread recognition at an all-time peak. He garnered several Academy Award nominations for The Mission in 1986. Since then he's worked for such top directors as Pedro Almodovar, BrianDePalma, Roman Polanski, Mike Nichols, Oliver Stone, and Barry Levinson. Cinema Paradiso is probably the most renowned of his recent scores.
With such an abundance of recordings, collectingMorricone remains a daunting proposition. It's doubtful that anyone will collect all of his soundtracks under one roof; after all, the composer himself doesn't even remember how many films he's worked on. RCA's The Legendary Italian Westerns, Virgin's twoFilm Music volumes, and Rhino's Anthology are useful collections, and the DRG label has reissued other noteworthy compilationsof his work. Richie Unterberger
|2.||2:53||A Lizard In A Woman's Skin (1971): Legitamite Fear|
|3.||2:15||A Lizard In A Woman's Skin (1971): Spirits|
|4.||6:31||The Smile of The Great Temptress (1973): Victima Pascbali Laudes|
|5.||7:10||The Smile of The Great Temptress (1973): Lauda Sion|
|6.||4:00||The Antichrist (1974): The Dark|
|7.||5:28||The Antichrist (1974): The Light|
|8.||1:56||The Chosen (1978): From a Thousand Screams|
|9.||1:40||The Chosen (1978): Motto|
|10.||2:59||The Chosen (1978): Jesus|
|11.||1:18||The Chosen (1978): Return of Sounds|
|12.||1:38||The Chosen (1978): The Evil|
|13.||3:26||The Monster (1977): Deeply Within the Monster|
|14.||1:56||The Chosen (1978): Deeply Winthin the Monster, Theme 2|
|15.||2:28||The Chosen (1978): Serene Melancholy|
|16.||4:21||The Link (1984): Video Telephathy|
|17.||3:29||The Link (1984): Sinister|
|18.||3:24||The Link (1984): Mirror|
Category: soundtrack - Discid: 260e6912
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