FIVE MAN ARMY Un esercito di cinque uomini Classical Western Morricone #26
It has been days since I've been able to do anything. When someone like John Barry, Jerry Goldsmith or Elmer Bernstein passes away a piece of me dies. A piece of me I can never get back. But this morning it has strengthened my resolve about what I am doing here. Number one is to treasure the likes of John Williams and Ennio Morricone because we still have them here with us today. In particular Morricone who is 82. Do you know how many composers even make it to that age, let alone continue working?
But for you Barry fans what if someone said "Outside of THE LION IN WINTER and some James Bond scores John Barry never wrote anything great"? I’m sure there would be an outcry like no other heard from all corners of this board. Well, no one would ever say that. Why? Because Barry lived and worked here in America on big American films like MIDNIGHT COWBOY, OUT OF AFRICA and DANCES WITH WOLVES so the evidence of his superiority is at hand. But if Barry fans can feel just the bristle of outrage, injustice and maybe depression that such a statement evokes they can get a clue about my world regarding Morricone.. But rather than come back with epithets and insults (which is standard operating procedure on this board) I have decided to build a house of bricks as evidence of Morricone’s greatness that no one can blow over. This is brick #26 and when I am finished the house that I show you will have the elegance of John Barry's house, the eclecticism of Jerry Goldsmith's estate, the traditional lines of John Williams's abode and it will have been bulit on a solid foundation like Elmer Bernstein's old place.
Don't ask me why but of all Morricone's westerns this one's main theme reminds me of a classical piece, despite part of it's orchestrations sounding like someone is stepping on a frog. I always imagined if someone did some sedate chamber version of this it would fit right into the repertoire:
Like HORNET’S NEST this film has an American director but the rest of the crew and most of the cast seems to be Italian. But the sound is actual recorded-on-set dialogue rather than the traditional Italian dubbing. So this soundtrack seems more synched-to-picture cues rather than the cut and paste ones that usually accompany spaghetti westerns. As a result there are more themes. A gentle revolutionary theme called “I Bambini e i Fiori” (Flowers and Food), a theme of camaraderie among “The Five” called “Cinque Amici, Cinque Eroi”, a heroic theme that is a precursor to themes like THE TREASURE OF FOUR CROWNS and the most traditionally Morricone sounding piece “Muerte Donde Vas” although the one vocal of it sounds unique and tragic. A very full score! I also am delighted to defer the glossy 20 page booklet FSM for lots of information, pictures, backstories and analysis. If only all these releases had what FSM furnishes regularly. Thanks FSM. Again Bruno Nicolai is conducting and I have no doubt that is Alessandro Alessandrini stepping on that frog. According to those notes there is a question as to how much director Don Taylor did and how much the producer Italo Zingarelli (who has also directed) was responsible for. Morricone did work with that producer again on STAGIONI DEI SENSI while never again with Don Taylor. This was also one of the last screenplays Dario Argento did before he began his career in horror the next year with THE BIRD WITH THE CRYSTAL PLUMAGE...scored by Ennio Morricone. This unique bridge between Morricone’s comedy westerns and his intense serious ones is on my top 5.
I've had the combo CD of FIVE MAN ARMY and THE LINK for a long time (and of course upgraded to the FSM release), and I have played that main title from FIVE countless times. I think it's one of Il Maestro's strongest western themes. I find it infinitely memorable and hummable (even more fun if you can do the sound effects with it). The aspects of the main theme that resonate the most with me are those ominous, sustained strings in the background that remain through most of the cue. Morricone is brilliant at providing musical landscapes like that, a backbone of sustained strings (or other instruments for other themes) that support the piece and distinguish it (the main theme to WOLF is another good example).
I have decided to build a house of bricks as evidence of Morricone’s greatness that no one can blow over. This is brick #26 and when I am finished the house that I show you will have the elegance of John Barry's house, the eclecticism of Jerry Goldsmith's estate, the traditional lines of John Williams's abode and it will have been bulit on a solid foundation like Elmer Bernstein's old place.
I wanted to repeat this because it's so damn good.
I've had the combo CD of FIVE MAN ARMY and THE LINK for a long time (and of course upgraded to the FSM release), and I have played that main title from FIVE countless times. I think it's one of Il Maestro's strongest western themes. I find it infinitely memorable and hummable (even more fun if you can do the sound effects with it). The aspects of the main theme that resonate the most with me are those ominous, sustained strings in the background that remain through most of the cue. Morricone is brilliant at providing musical landscapes like that, a backbone of sustained strings (or other instruments for other themes) that support the piece and distinguish it (the main theme to WOLF is another good example).
Wonderful selection, Henry!
Thanks, David. And thanks for the new button, it might help more people to participate if they know they have a self-defense mechanism for those out-of-control posts. Then it can be about the music which is what I'm trying to do here.
I have, as yet, failed to get the FSM release and I think this is partly due to indifference. I'm sure I should enjoy the score more with the better sound, etc. and, had this been a few years ago, that CD would be in my collection (as I used to buy all releases I could get hold of).
I find the Beat album pairing with Extrasensorial (Blood Link) divides my attention ... I much prefer the second score which I play a lot. In the title score I love the very melodic track but find the main themes less interesting.
Again, it is overdue a visit so maybe a little later today ...
Edit: now played - and enjoyed - though I can't rate it as highly as others apparantly do. Whilst I thoroughly enjoy the softer melodic themes, the tracks Una Corsa Disperata and, to a lesser extent, Contro Il Tempo were less enjoyable. I'm pretty sure that the former track seems to crop up on my random play more than its fair share of times and this has clouded my feelings a little towards the score!
I have decided to build a house of bricks as evidence of Morricone’s greatness that no one can blow over. This is brick #26 and when I am finished the house that I show you will have the elegance of John Barry's house, the eclecticism of Jerry Goldsmith's estate, the traditional lines of John Williams's abode and it will have been bulit on a solid foundation like Elmer Bernstein's old place.
I wanted to repeat this because it's so damn good.
Wow! I actually like that myself. Here's hoping I can live up to it.
This was a wonderful CD release by fsm, and the main theme is superb. Love those sawed violins like angry wasps (at 33 seconds) interspersed with Alessandroni shrieks (see 57 secs in) n whistles and possibly punctuated by what could be the clavioline again (12 secs)!!
I love the version from the actual film as its rougher and the whistles are more distorted!
This was a wonderful CD release by fsm, and the main theme is superb. Love those sawed violins like angry wasps (at 33 seconds) interspersed with Alessandroni shrieks (see 57 secs in) n whistles and possibly punctuated by what could be the clavioline again (12 secs)!!
I love the version from the actual film as its rougher and the whistles are more distorted!
"...The Dutchman wants to see you, amigo..."
Bill, I remember seeing an advertisement in 'Photoplay' magazine in the seventies citing this as " Possibly Morricone's greatest western score"....shortly after it was reissued on the 'Duse' record label.
Fantastic soundtrack ! And yes those "sawed violins"....Wow !
The weird electronic sound was created on a Hammond X-66 electric organ! I always thought it was a clavioline or similar electronic keyboard but it's NOT, at least not according to Giorgio Carnini who was Morricone's organist from '67-'68 until '76. From the early '70s onwards he also did most of the synth work on Morricone's and Nicolai's scores with the exception of the synket which was handled by Walter Branchi.
Interesting mikael. I was comparing it to the long ironic bursts from Inseguimento in GBU where tuco is puffing on the campfire cigars. I always believed that was clavioline. Maybe it was the Hammond too? Or maybe they just very similar?
I was always disappointed that on the LP we got 3 lots of Muerte donde vas and not enough of the fabulous main theme. And the only version of Muerte that i loved was the final one that really gets going with drumming n chorus.
When the general says "Were you successful?" And Peter Graves shouts "I....WE ...were succesful!!" And the music kicks in!
I hadn't heard FIVE MAN ARMY in a number of years, but just had a listen on a long car ride last week. I must admit I'd forgotten how wonderful it was.
Given how thorough fsm were, im sure if there was any sniff of stereo tapes they wouldve ripped an arm off grabbing them. I think the main title usually popped up in stereo on various compilations.
This was a wonderful CD release by fsm, and the main theme is superb. Love those sawed violins like angry wasps (at 33 seconds) interspersed with Alessandroni shrieks (see 57 secs in) n whistles and possibly punctuated by what could be the clavioline again (12 secs)!!
I love the version from the actual film as its rougher and the whistles are more distorted!
"...The Dutchman wants to see you, amigo..."
Bill, I remember seeing an advertisement in 'Photoplay' magazine in the seventies citing this as " Possibly Morricone's greatest western score"....shortly after it was reissued on the 'Duse' record label.
Fantastic soundtrack ! And yes those "sawed violins"....Wow !
Exactly my experience. The shop advertising was Soundtrack and General where I got this and my RCA Vinyl Once Upon A Time In The West. The witty poster cover alone of Bud Spencer in the hammock spurred me on no end. I'm pretty sure I can even remember among the description was "with a hint of hoedown".
Always loved the main theme, a great Dollars trilogy quality theme that sits alongside TGTBATU as a great Morricone theme. I listen to the FSM cd A LOT. The reprises of the Main Title make it a better listen as the expanded GBU does for that score. And many's the time I'll stick that gutsy (especially when the percussion really kicks in) theme on when I only have time for one or two tracks.
I think i got the reissue posted from S and G and then about 2 years later i obtained the orig Ariete LP of this....(someone a bit older than me was selling their collection - i was in like a rat up a drainpipe on this and that famous western Guns for San Sebastian and loussier's Dark of the sun)
Interesting mikael. I was comparing it to the long ironic bursts from Inseguimento in GBU where tuco is puffing on the campfire cigars. I always believed that was clavioline. Maybe it was the Hammond too? Or maybe they just very similar?
We can exclude the Hammond X-66 for that sound because it wasn't released until '67.
There are several possibilities for that sound in 'Inseguimento': it resembles the sound of a bassoon but electronically processed (perhaps with a Synket). Alternatively it could be a clavioline or some orchestral stop on an electronic organ such as the Lowrey or Thomas. I strongly doubt it's a traditional tonewheel Hammond like the famous B-3/C-3 models because, unlike electronic theatre organs, they didn't have 'orchestral' voices.
It does sound like a Hammond C-3 or Lowrey was used in GBU though, playing soft chords in the background of some tracks, for example in the beginning of the "Main title", "Inseguimento", "Fuga a cavallo" as well as in some unreleased versions of the main theme.
I think i got the reissue posted from S and G and then about 2 years later i obtained the orig Ariete LP of this....(someone a bit older than me was selling their collection - i was in like a rat up a drainpipe on this and that famous western Guns for San Sebastian and loussier's Dark of the sun)
Yay, that's the one (top). The most likely sw soundtrack cover to end up framed and displayed that I have I reckon. But yes, I agree about the lobby card pic you support as better at least in terms of representing the title, Bill. Similar to an early shot in the film if memory serves, though that's slightly better I think as they're all in their original outfits.
Did a quick look on Amazon as to availability of Blus or dvds and it's readily available on region 1 dvd. One reviewer incorrectly states it's only been broadcast once in the UK. I remember at least two. One late Friday night I think, and later on earlier Wednesday evening, both in the 70s and on BBC 1.
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