I ordered mine (in the UK) on the same day as Laurel and Hardy the Definitive Restorations Blu ray from Deep Discount. That came this morning. No cd yet.. As long as it comes before Christmas. That's how long I'll have to wait before I can actually play mine!! One of the wife's presents to me.... Don't ask!
Lucky. My latest order from LLL to NW England is 7 WEEKS and counting. The tracking says its still at LA airport so... My last order from LLL took eight weeks. So I ordered two mules from intrada. I understand that things can be slow but orders from both places go to LA, so why does LLL's take so long?
That's odd, because I live in Wales and my order from LLL took less than a week to arrive.
My, my. Guess what was waiting for me on the doormat this morning? Just a day short of two weeks. Of course it's had further to travel than my Blu ray ordered the same day, so complaints here. Except having to wait 'till Christmas to open it....
My, my. Guess what was waiting for me on the doormat this morning?
Could've been the neighbours cat.
Much better than that! Though I'm sure somewhere the Maestro would have considered mimicking the noises of a cat for a project, what with his sounds of howling coyotes etc., and his feeling of all sound being music. In the this case it's the braying of the donkey...
And further to concerns of folks on the King of Kings thread, I should say that as long as it took, the tracking La La Land provided me with was pretty excellent all in all. Cheers guys.
Here's a comparison between the new LLL CD and the music as it appears in the film.
All of the tracks on CD 1, except #21 "Main title" (original version), are included in the film. However, in the film a number of tracks have been edited/shortened (see track timings within brackets). Track #21 appears to be identical to track #1 on CD 2, so probably just a mono mix of the same track.
The film version of the main title is slightly different; the nun's choir appear only once vs three for the album version, the banjo is more prominent throughout and the segment in the 2nd half -where the high strings take over the main motif accompanied by the percussion and electric bass -is extended.
Morricone's scores were often hugely inventive in those days and for this film he made use of that weird electronic keyboard sound again, here in combination with a piccolo flute and a male voice (1), imitating the sound of a braying mule! He must have been very fond of this particular sound because it shows up in quite a few films, including several westerns. Organist Giorgio Carnini told me that he created the sound on the Hammond X-66 organ.
1. Main Title 4:17 2. Dynamite 1:18 3. Sara’s A Sister 2:48 4. The French Are Coming 1:40 5. Hiding In The Ruins 4:04 6. A Time For Miracles 2:00 7. Two Mules Theme 3:32 [ 1.44 - 3.32 ] 8. Up That Tree / Colonel Dies 3:09 [ 0.44 - 2.29 & 2.30 - 3.09 = last part is used separately in the execution scene ] 9. La Cueva 2:19 [in the film this cue begins right after the above and the mix is slightly different = the guitar is absent until 0.49 whereas on CD it's present from the beginning ] 10. Yaqui Go Home 2:22 11. Trestle 2:32 12. Hiding In The Ruins Again 4:53 [ 2.24 - 4.53 ] 13. La Cantina 1:36 [ 0.14 - 1.36 x 2 = this piece is used twice in succession). 14. The Swinging Rope 3:46 15. Night In Juarista Cave 2:08 16. Two Mules Theme (Reprise) 2:29 [ 1.05 - 2.15 = the brief segment after the choir at the end is not used in the film ] 17. Arrival At The Church 1:08 18. Sara’s Ruse / Hogan Kisses Sara 3:29 [ 1.48 - 3.29 ] 19. The Battle 3:36 [ 0.27 - 1.19 & 2.40 - 3.36 = heavily edited. This track actually appears before the previous one in the film ] 20. End Title Theme 1:28
(1) the male voice is probably Renato Oriolo (bass-voice of "I Cantori moderni") or Nino Dei who sometimes was called in as an extra singer in the group.
I don't know much about Nino Dei other than that he was hired by Ennio to do the 'frog-gimmicks' in Marcia degli accattoni and that he sometimes was performing as a guest singer in I Cantori moderni (he was not a permanent member of the group). Also, I think he mainly worked as a musical assistant at the ortophonic studios from the mid-to-late '70s onwards.
Renato Orioli on the other hand was a member of the choir and Sandro told me years ago that he did the duck-like voice on the Bluebeard soundtrack. He could very well be the performer on MULES in my opinion.