Excuse me, this is an experiment. I shall erase it when it doesn't work.
Actually I'll just keep it here to remind me that I have some fine tuning to do in order to get the whole full-frontal experience. I have not followed The Master's rules, because I didn't understand them.
I'll add substance to this later in the week when I have five minutes free. Goodbye.
Right, fantastic, I cannot yet master this sticky tape business. It doesn't matter. All you'd get to see of the full-frontal Monty is the cover of the old Beat CD, so you'd just be looking at Franco Nero's physogue.
My big thing lipstick-around-the-nipple point is that this is a GREAT CD!!! My re-release on another label (don't make me get up) doesn't distinguish between Bonus Tracks and the main prog. However, I think it's an absolute belter of a listen from tracks 1 to 12. Thereafter it begins to repeat itself and wander a bit.
Later, upon checking, I found out that the old Beat CD did have the tracks 1 to 12 as the main prog, the remaining ones being labelled as bonus material. So, low and be-holed, it turns out that my instinct for "a good play" was correct. I cannot put a window in with putty, but I still have carnal instincts. It even plays wonderfully as one of my imaginary LPs. Tracks 1 to 6 are Side A, tracks 7 to 12 are Side B. 35 minutes of perfection, and no fannying around with "whittling" and shite like that.
And so it came to pass that I was thinking during that TERRIFIC opening track that it doesn't sound much like any of the Ennio I have. I know that I only have heard 0.000001% of his output, but I'd say it leans more towards Jerry Fielding, or even Bill Bloody Conti of all people. It's about as unlike Ennio as that THE CASE OF THE BLOODY IRIS is TOTALLY 100% like Ennio (music by Bruno Nicolai).
I watched the start of the film on YouTube. I'd post it here, but... eh, I'm too busy. The vibrant Main Titles do not go along at all well with the visuals. I wish I hadn't seen that now.
I also watched FORBIDDEN PHOTOS OF A NEKKID LADY ABOVE SUSPICION last night, because my CD of that is due to arrive soon, and I wanted a context. Again, the music didn't "go". I wish I hadn't watched that either. My film was better, and the music (from the tracks I have of the film on a compilation) suited it better. I hope that when I get the CD, the score erases the memory of how it didn't work in the film. On the other hand, it's all part of early '70s Italian zeitgeist. Terrible dubbing, music that doesn't fit (no matter how great it is on CD), and absolutely gorgeous interior decoration.
"Oh darling, I would absolutely die to have a chandelier like that!"
"Hey honey, don't say things like that or your wish may be my command, ha ha!"
If you hit 'reply' on my post above Graham, you will the see last 11 letters/numbers of your link inserted between the two youtubes in brackets (ignore the other stuff, you just need the two youtubes in brackets with your 11 digit code inserted between the = and the last youtube in brackets).
Funny thing to visit the board and see this topic recently commented. Because I just listened this score for the first time on the past weekend. It was a blind adquisition, I didn't know anything about it, I thoguh I was gonna listen something like Citta Violenta, and it was pure jazz instead. It's a terrific score in my opinion, I love jazz and I love Morricone, what could go wrong?
"...masters degree in embedding. Lol" -------------------------------- Well Bill, on that subject...and to tie it in to your favourite franchise, you're the Yoda of embedding and I owe it all to you.
We are glad its drawn you further down the long but rewarding Ennio path, Graham.
Allow me to “pile on” and reiterate my great liking for this score, and for the present version, picked up in HMV Liverpool the October before last along with the city’s only copy of No Time To Die. I was introduced to the Blue-Eyed Bandit years ago, IIRC, by someone who’s mad about music, and I loved it from the first play.
