Oups !!! I remain nevertheless on my proposal, which follows the evolution of the work: the original version, then the score revisited for the album. But it doesn't really matter.
Oups !!! I remain nevertheless on my proposal, which follows the evolution of the work: the original version, then the score revisited for the album. But it doesn't really matter.
Thanks Guys ! It makes sense to go with the OST and then watch the movie. That way, Ill be more eager to revisit the film score later on. betetr late then never, this would be a perfect experience of disovering the music and film together for the first time.
If the question is 'fave score from films DIRECTED by Clint Eastwood', for me, it's a toss up between EIGER SANCTON and OUTLAW JOSEY WALES. Did Ennio ever score a film actually directed by Clint?
Best score of a Clint Eastwood film is THE GOOD, THE BAD, AND THE UGLY hands down.
Favorite score of a movie directed by Clint Eastwood? Not sure, but yeah, THE EIGER SANCTION is definitely in the running, along with THE OUTLAW JOSEY WALES. It's a toss up.
Edit: I just see that I more or less posted the same thing as KeV McG directly above, but that was incidental, as I had not read his posting when I wrote this. We just came to the same conclusion. :-)
If the question is 'fave score from films DIRECTED by Clint Eastwood', for me, it's a toss up between EIGER SANCTON and OUTLAW JOSEY WALES. Did Ennio ever score a film actually directed by Clint?
Only if "Lennie Niehaus" was one of Morricone's pseudonyms.
Just received my copy.Fantastic....never thought that its that jazzy..and laid back.Pure joy to listen to. I wonder if Eastwood was heavily involved in it...cause it sure sounds like his love for jazz was incorporated.
This release is such a joy to listen to, I struggle to remember when I last experienced this. I thought multiple times now how this reminds me of decades back when my original passion for film music started with the James Bond soundtracks. THIS is why I love film music!
It occurred to me that, other than Roy Budd, either Jerry Fielding or Lalo Schifrin—considering their prior acquaintance with Eastwood—would have been superior hires to deliver on the trashy vibe of this film.