A double vinyl, taken from the Cam Sugar archives, celebrates the Italian genius so loved today by Tarantino and Springsteen. Between whistled motifs and whipping, the soundtracks that have made the history of this cinematographic genre are back in fashion (not only among the collectors)
In western spaghetti the music does not accompany the story, he tells it. In this cinematographic genre born in the mid -1960s and became an Italian excellence in the world, the soundtrack is part of the narrative, so much so that it can say that in many films the assembly and rhythm of the scenes adapt to the music songs and not vice versa.
In this sense, the legendary duel, renamed “Triello”, conceived by Sergio Leone at the end of the end The good, the ugly and the bad. Five vibrant minutes, speechless, in which Clint Eastwood, Eli Wallach and Lee Van Cleef scrutinize themselves with the hands that slide to the font waiting to guess who will spare first. Three pistolors, the peak sun, a disseminated cemetery of wooden crosses in the background, and a single sound, that of the music of Ennio Morricone, epic and dramatic that accompanies the fiery looks of the duelists. A masterpiece.
They are a sort of magical box the Italian western, A meeting between cinematographic and musical language unique in the world, an unprecedented combination between two arts that reread the archetypes ofOld Wild West Going beyond the scripts and sound comments with stars and stripes.
The American West Made in Italy is all action, cynicism, cult of money, shootings and revenge. The clash with the Native American rarely enters the scene: the reference border is that with Mexico crossed by ruthless and unscrupulous bandits. The interiors are often those of Cinecittà, the external filming, depending on the budget, oscillate between the Spanish desert of Tabernas, in Andalusia, North Africa and the surroundings of Rome. Behind the camera are Sergio Leone, Sergio Corbucci (Django), Sergio Sollima (The rendering of the accounts), Duccio Tessari (A gun for Ringo) and many others, for a total of almost 400 films made between 1964 and 1978.
All accompanied by original songs, light years away from folk and country ballads that populated the American soundtracks of the genre. In spite of the snobbery of Italian criticism which for decades has struggled the sound comment of the western spaghetti, the composers of those music invented a genre, a unique and inimitable style.
Adored in the United States by Bruce Springsteen, with metal, by directors such as Quentin Tarantino and Robert Rodriguez, who became worship in Japan, Australia and Northern Europe. Recently, Jeymes Samuel, an English director and songwriter, has immersed himself in the archives of Cam Sugar, the largest catalog in the world of Italian cinema soundtracks, to make Spaghetti Western CollectioN, a double vinyl (also in the Deluxe box version) which pays homage to Italian composers.
From Ennio Morricone down. A record that, as Samuel says, is a “love letter” for a generation of brilliant and often underestimated musicians. Songs like He killed him like a dog … but he still laughed (by Daniele Patucchi) or Hey Amigos You’re Dead (by Carlo Savina) are the quintessence of the western sound spaghetti. Which crosses all musical genres, keeping together the rock guitars, soul, psychedelia, jazz and Afro percussion, with the addition of a peculiar touch made of whistles, shouts, bells, whipping, harmonica, trumpets, winds of wind, screaming of coyote and environmental noise of the desert.
A new and unprecedented sound identity, surreal, hypnotic, which allows films and their protagonists to communicate without uttering a word. Spaghetti Western Collection It is a journey into the folds of an inimitable musical universe, in atmospheres suspended over time such as those of Gray Skies by Alessandro Alessandroni (from the film On the codary hands. You are arrested!). Composer and conductor, Alessandroni was the most famous whistle in the history of cinema: in fact he is the legendary whistle with which the song begins For a fist of dollars signed by Ennio Morricone. And it is always he who whistles in the soundtracks of Once upon a time the West, They called him Trinity (with Bud Spencer and Terence Hill) and also in When I will be olda 2011 Jovanotti song.
The spectacular plays and majestic choirs of Concert for a killer (from the movie The wrath of God) edited by Michele Lacerenza, the composer defined by Morricone as “a sublime trumpeter”, who went down in history with the solo of For a fist of dollars.
“When you place the girode rod on the vinyl, take some time to absorb the magic of these exclusive songs,” recommends Samuel, who Spaghetti Western Collection He handed the cover by hand.
A disc that tells a world made of sand, gunpowder, forks, Horses that scratch, men “who never ask” and fully made in Italy sounds, in which music has no gender boundaries and in which Peppino Gagliardi, a pop legend of the long summers “same beach itself sea” of the sixties and seventies, lends its vocal cords to the grim Pistolero ballad (from the film of the same name): “You said O Lord, the day of anger and massacre came like a thunder of summer …”.
Unforgettable.
