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Just to say that I found the LP in a shop in Manchester that I think was called Rare Records, just on the fringe of the city centre. Anyone else remember this shop?
I remember Rare Records, in 1978, the future Mrs Rimmer took me to Rare Records in Manchester, she was training at St. Mary,s Hospital and during one of her many shopping trips had stumbled across Rare Records.
I emerged sometime later with six LP's that I never thought I'd find anywhere, I couldn't believe my eyes when she took me to the shop, it was packed with soundtracks that I never dreamt I'd be able to buy. It was nothing short of a miracle that I only came out with six records, if I'd been on my own it would have been a lot more.
I can still hear that still small voice saying,"Put those back, six records is enough for anybody"
It's a funny thing, but do you know, she never did take me back.
Can't think why. 
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that rhythmic figure EM uses is called a habanera; origin South America/Cuba.
Its was also adapted by Ravel for Bolero; Bo Diddley, Buddy Holly ("Not Fade Away") Bruce Springsteen ("She's the One) Leonard Bernstein ("america") et al.
I may be wrong but I think the 'Bolero' and @Habanera' are two different dances/rhythms,Spanish and South American
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Those percussive blasts heard during the intro of "L'Arena"....
....."electric castanets"
bruce
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Posted: |
Jan 10, 2011 - 6:04 AM
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By: |
Tall Guy
(Member)
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Just to say that I found the LP in a shop in Manchester that I think was called Rare Records, just on the fringe of the city centre. Anyone else remember this shop?
I remember Rare Records, in 1978, the future Mrs Rimmer took me to Rare Records in Manchester, she was training at St. Mary,s Hospital and during one of her many shopping trips had stumbled across Rare Records.
I emerged sometime later with six LP's that I never thought I'd find anywhere, I couldn't believe my eyes when she took me to the shop, it was packed with soundtracks that I never dreamt I'd be able to buy. It was nothing short of a miracle that I only came out with six records, if I'd been on my own it would have been a lot more.
I can still hear that still small voice saying,"Put those back, six records is enough for anybody"
It's a funny thing, but do you know, she never did take me back.
Can't think why.
Heh heh - same shop, roughly the same time. And there was this trainee nurse....
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Just to say that I found the LP in a shop in Manchester that I think was called Rare Records, just on the fringe of the city centre. Anyone else remember this shop?
I remember Rare Records, in 1978, the future Mrs Rimmer took me to Rare Records in Manchester, she was training at St. Mary,s Hospital and during one of her many shopping trips had stumbled across Rare Records.
I emerged sometime later with six LP's that I never thought I'd find anywhere, I couldn't believe my eyes when she took me to the shop, it was packed with soundtracks that I never dreamt I'd be able to buy. It was nothing short of a miracle that I only came out with six records, if I'd been on my own it would have been a lot more.
I can still hear that still small voice saying,"Put those back, six records is enough for anybody"
It's a funny thing, but do you know, she never did take me back.
Can't think why.
Heh heh - same shop, roughly the same time. And there was this trainee nurse....
Behave yourself 
Oh, and belated Happy New Year to you, over in dear old Yorkshire.
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I love this one. Ome of Ennio's best.
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This is Morricone at his best.
I bought the original French LP (poor sound on side one) and then brought the Face to Face/A Professional Gun cd from Viva Musica, which I think, sounded even worse than the Lp.
Then I brought the GDM release followed by the Verita Note release. Boy I love this score.
So the GDM release has superior sound quality compared to Viva Musica and the LP, but how does the Verita Note release compare?
Thanks.
The Verita Note is slightly better than the GDM, but whether it's worth the extra pennies or not, well that's for you to decide.
If you can find the GDM one cheaper, then go for it, if you've only ever heard the Viva Musica version, you are in for a very pleasant surprise.
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Last night at the AFI's Silver Theater I finally saw THE MERCENARY. The AFI had a good-looking undamaged widescreen print of the film from United Artists--dubbed of course, but given that Jack Palance and Tony Musante are in it, I'd prefer hearing them in English anyway. The film's credits list Bruno Nicolai as a secondary composer. Does anyone know what music he composed and whether any of it is on the CD releases?
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Morricone has always stated that there was no collaboration and he gave him co-credit as a favor. There are some who dispute this. Nevertheless the last couple of releases of this score reflect the credit, music by Ennio Morricone conducted by Bruno Nicolai. Evidently no one has sued so I lean toward Ennio's version of things.
I wish he would cop to writing most of PRICE OF POWER (sole credit to Bacalov).
Just to set the historical record straight
brm
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Like some others my first exposure to this film was the one track on a Western Themes compilation LP. Then there was another western themes United Artists foldout i think 2 LP with the same track that also featured Scalphunters theme.
I finally saw the film on its premiere bbc1 showing mid-70s (mondays at 9.25 after the evening news was their film premiere slot for many years) and i was blown away by the score and the movie.
I thought Franco Nero was even cooller than Eastwood and Alessandroni's whistling that accompanied Sergei Kowalski everytime he appeared and lit a cigarette was just superb. I recorded the music extracts on cassette and practised it on the way to school. I wasnt a bad whistler but, jeez, that is a difficult theme to keep up with, the fast succession of notes down the scale, you soon realise how talented Alessandroni was.
Not long after i ordered the LP from Soundtrack and General. It got played a lot! And the CD years later is even better.
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I wish he would cop to writing most of PRICE OF POWER (sole credit to Bacalov).
Just to set the historical record straight
brm
As much as I'd like to agree, I don't really think it sounds much like ,EM, myself.
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Just one of old Bruce's difficult-to-swallow but relentless claims!
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Like some others my first exposure to this film was the one track on a Western Themes compilation LP. Then there was another western themes United Artists foldout i think 2 LP with the same track that also featured Scalphunters theme.
I finally saw the film on its premiere bbc1 showing mid-70s (mondays at 9.25 after the evening news was their film premiere slot for many years) and i was blown away by the score and the movie.
I thought Franco Nero was even cooller than Eastwood and Alessandroni's whistling that accompanied Sergei Kowalski everytime he appeared and lit a cigarette was just superb. I recorded the music extracts on cassette and practised it on the way to school. I wasnt a bad whistler but, jeez, that is a difficult theme to keep up with, the fast succession of notes down the scale, you soon realise how talented Alessandroni was.
Not long after i ordered the LP from Soundtrack and General. It got played a lot! And the CD years later is even better.
Scary how my experiences are so close to yours at times Bill. I saw that broadcast, and could not stop whistling that theme all the next day at school. Got that same double album with Scalphunters , not to mention Navajo Joe. Then came Western Themes Italian Style (with GBU, Navajo Joe, Death Rides A Horse and The Big Gundown, then a couple of compilations from Soundtrack and General.
Both the film and soundtrack of this are amazing. Big gaps in my collecting have meant that my next experience of the two quite recently are the German BD which has the best cover for my money, and the last GDM of the soundtrack which is on as I type.
And I watched it's stable mate Companeros only yesterday. I agree that Nero is easily as cool as Eastwood any day. Loving Tomas Milan too.
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