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Recently received the CD of Armando Trovajoli's Il Gigante di Metropolis on Kronos Records (#14 in their Gold Collection) and the insert credits liner notes not by Godwin Borg but by James Phillips.
Would this James Phillips be FSM's jpteacher568?
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 Don't let the peplum out of the bag.
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This is a must have release for all fans of sword-and-sandal epics. Armando Trovajoli's score is a listening joy if you can get by the bad dubbing and overwrought acting in the first crossover genre film.
To coin a paraphrase: "The music is the thing wherein I will catch the conscience of the king."
JP
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This is a must have release for all fans of sword-and-sandal epics. Armando Trovajoli's score is a listening joy if you can get by the bad dubbing and overwrought acting in the first crossover genre film.
To coin a paraphrase: "The music is the thing wherein I will catch the conscience of the king."
JP
I agree with you, JP, that this a must-have release from 2015 but not all peplum fans like Trovajoli's music for Bava's ERCOLE.
Ray Worley thinks there's too much sustained organ chords and "Morricone" Henry thinks Trovajoli 's music lacks quality themes due to time and budgetary restraints.
John Archibald considers some of peplum soundtracks as 'duds' ... and so on.
Il Gigante di Metropolis should have some appeal amongst collectors of Planet of the Apes, too, since Gigante shares similarities with Beneath the Planet of the Apes.
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This is a must have release for all fans of sword-and-sandal epics. Armando Trovajoli's score is a listening joy if you can get by the bad dubbing and overwrought acting in the first crossover genre film.
To coin a paraphrase: "The music is the thing wherein I will catch the conscience of the king."
JP
I agree with you, JP, that this a must-have release from 2015 but not all peplum fans like Trovajoli's music for Bava's ERCOLE.
Ray Worley thinks there's too much sustained organ chords and "Morricone" Frank thinks Trovajoli 's music lacks quality themes due to time and budgetary restraints.
John Archibald considers some of peplum soundtracks as 'duds' ... and so on.
Il Gigante di Metropolis should have some appeal amongst collectors of Planet of the Apes, too, since Gigante shares similarities with Beneath the Planet of the Apes.
I agree with Ray and John that far too many peplum films had the budget for larger orchestras, but it is time that Trovajoli received his due among the more popular composers of Italian cinema.
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I'm sure that if we go back to previous posts and continue further discussions with two people I respect for their film music tastes and remember, not everyone can start out composing Citizen Kane.
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I'm sure that if we go back to previous posts and continue further discussions with two people I respect for their film music tastes and remember, not everyone can start out composing Citizen Kane.
Concern thyself not, JP, I, too, respect other FSM members who also collect peplum soundtracks (there should be more of us, but ... alas ...).
The reason why I remember such past input in former threads is because Trovajoli's ERCOLE is one of my favorite 50 soundtrack albums.
Since I love AT's peplum/horror so much, I have difficulty accepting opinions to the contrary whenever I encounter such. I ask myself: How could one not like ERCOLE AL CENTRO DELLA TERRA?
Well ... some do not think highly of it ... and I suspect the main reason is because some listeners value melodic themes over sonic atmosphere (that old 'lyricism over dissonance' chesnut).
I consider that Trovajoli's music for genre has both melody and moods, but the thematic material is not couched in the Romantic-era harmonic vocabulary.
Getting back on track with this KronGold edition of IL GIGANTE DI METROPOLIS, cue #10 has very far-out/way-out trippy percussion passages for what is supposed to be Mercede's dance.
I cannot image a composer such as Carlo Rustichelli going off the beaten path to conjure up this type of ambiance (though I do think other composers like Lavagnino or Savina could manage to produce something quite similar).
So ... in summary: if the peplum soundtrack is by Trovajoli, Savina, Nicolosi, Marinuzzi jr or Lavagnino (my 'top 5' composers for peplum), then that album is a must-have even if it's a blind buy (which is the case more times than not).
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This score is really superb I just received it two days ago I'm hooked already.
Zardoz Have you heard Rustichelli's Arrivano I Titani it was scored around the same time as Travajoli's Peplums after you skip those annoying comedy tracks your left with a number (2,3,5,6,9,15,17,18,25) which are very enjoyable indeed and not too unlike those atmosphere driven peplum scores from Trovajoli and Marinuzzi.
Thanks, wayoutwest.
Good to know about that Rustichelli soundtrack.
I don't own any of those out-of-print Rustichelli peplum soundtracks because I passed over them when they were new releases.
Since I have been disappointed with Rustichelli's "Windsor Concerto" in THE WHIP AND THE BODY, I've tended to ignore any Rustichelli release since then.
I plan to get ROSMUNDA E ALBOINO before the end of the year, though. 
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Zardoz
I have went off many of Rustichelli's Peplums maybe it is that run of the mill sound or what I would call his Swashbuckling Peplum sound Rosmunda E Alboino has a mild case of it in about two thirds of the tracks.
My top favourite scores by Rustichelli:
1961
Antinea L’Amante Della Citta’ Sepolta
1963
Ragazza Di Bube
1964
Sedotta E Abbandonata
Il Dominatore Del Deserto
I Lunghi Capelli Della Morte
1965
Signore & Signori
1967
Un Minuto Per Pregare, Un Istante Per Morire
1974
Salvo D’Acquisto
Delitto D’Amore
1976
Una Donna Alla Finestra
1977
Le Gang
Thanks for your highlights, wayoutwest.
I'll consider getting Delitto D'Amore and Il Dominatore Del Deserto and Antinea L’Amante Della Citta’ Sepolta
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Fortunately I have MACISTE for some time now, GIGANTE now in transit. I also enjoy ERCOLE.
Peplums are always a blind buy for me. I missed the boom.
Hope you love AT's MACISTE - I'm sure you will love his GIGANTE!
I was born after the baby boom, too, so peplum are not nostalgia for me but they hail from my favorite period of Italian film music (around 1959 through 1964) - from a time when Italian composers were not under any obligation to follow musical blueprints established by Ennio Morricone.
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