"Morricone Happening" is a psychedelic montage with the centrepiece being the music from three important soundtracks from the maestro's oeuvre; "The Serpent" (Yul Brynner, Dirk Bogarde, Henry Fonda), "Bluebeard" (Richard Burton) and "Burn!" (Marlon Brando's best screen performance).

Nadine / Radio Music 1 / Radio Music 2 / Barbablu / Preludio Alla Prima Moglie / Quemada Secondo-Quemada (Burn!) / Astratto / Samba In Tribunale / Mariangela E La Seduzione (Alternate) / Cherzi A Parte / Organo Liturgio / Terrazza Vuota / Ric Happening / Allegretto Burlesco / L’Aliante / Ballabile No 3 / Pazzia In Cielo / Erotico Mistico / Knowing The “Ins & Outs” / Qui Ci Scappa Il Mortole
 

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Flooding his music with feeling, the maestro is time and again able to inspire from his musicians performances of extraordinary emotional intensity.

Often a Morricone soundtrack will elevate an otherwise modest film to an unfathomable artistic status and ‘Love Sequence 1’ from the obscure 'Crescete e Moltiplicatevi' is a case in point; a wonderfully sensuous composition that open's the album with the loveliest of vocals from the unique Edda Dell'Orso.

Then 'Una Donna Da Ricordare (A Woman To Remember)' from the little known 'Maddalena' bursts with charm before we reach more familiar territory with 'Messico e Irlanda' from 'Giu La Testa (a fistful of dynamite)' one of Morricone's greatest soundtracks; where James Coburn recalls in flashback and with some sentimentality his earlier life in Ireland. Morricone's music to support this famous scene is wonderful. Simply hauntingly magical

Moving on, the composer delivers an appropriately melancholic theme for the tragic 'Verushka' and in 'D'amore si muore (for love one dies)' deals effortlessly with obsession, "I don't love you, I adore you. I'll only be happy when you're dead".

'Morricone in love' is a sensitive, dreamlike experience. Following 'Psichedelico Jassistico' and 'Morricone High' (mod psychedelia) and 'Morricone kill' (the spaghetti western) in the series of themed editions of the maestro's work.

Scena D’Amore 1 from Crescete E Moltiplicatevi (featuring Edda Dell'Orso) / Una Donna Da Ricordare (A Woman To Remember) from Maddalena / Messico E Irlanda from Giu La Testa (A Fistful Of Dynamite) / Belinda May from L’Alibi / In Un Filo D’Erba from L’Alibi / Un Po D’Ironia Acida from D'Amore Si Muore (For Love One Dies) / Federico E La Sua Solitude from Questa Specie D'Amore (This Kind Of Love) / La Donna Invisible from La Donna Invisible / Sembravi Desiderare from L’Assoluto Naturale (He & She) / L’Attico Illuminato from Il Gatto / La Bambola (alternate) from Verushka / Metti Una Serra A Cena from Metti Una Serra A Cena (Love Circle) (alternate main title) / Lay Down I Think I Love You from Scusi, Facciano L’Amore? / La Cosa Buffa (Reprise 7”) from Cosa Buffa (The Funny Thing)

 

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Eventually the layers of sensuality give way to the atonal but no less refined, 'Notte E Bambole' from the weird, dreamlike 'The Short Night Of The Glass Dolls' (about catalepsy in art deco Prague) and the equally intense '1970' for Dario Argento's Giallo 'Il Gatto A Nove Code' starring Karl Malden as a blind writer of crossword puzzles who stumbles on a murderous plot.

excuse me, let's make love? / between the sheets / take me now / to the altar and back / a lidia (jazz version) / allegretto per signora / amore come dolore / le foto proibite di una signora per bene / secondo intermezzino pop / la bamola / astratto 1 / le fotographie / ritratto d'autore / la moda / notte e bambole / 1970
 

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Morricone's theme for 'The Good The Bad & The Ugly' is arguably the most famous piece of music ever recorded for film. Director and composer are inseparable; the coordination of action and music such as to prompt some scholars to compare Leone's films to opera; images and sounds that are rich, solemn and often startling.

On 'Morricone Kill' the achingly beautiful melodies for Leone's 'A Fistful Of Dynamite' establish the magical Morricone atmosphere; the programme comprising three beautiful cuts from this film along with selections from lesser known westerns all of which are charged with extraordinary music.

Sergio Sollima's 'Resta Dei Conti (The Big Gundown)' is generally considered to be the finest spaghetti western not directed by Leone and stars the splendid Lee Van Cleef; Van Cleef emerging from retirement to become (along with Clint Eastwood) the leading name of the genre and one of the ten biggest box office draws in Europe.

Joseph Cotton stars in Sergio Corbucci's 'I Crudeli'. Franco Nero and Jack Palance in both ‘Il Mercenario' and 'Vamos' a Matar Companeros' and the immense Orson Welles is colonel cooscorro, the chief of police, in 'Tepepa' (Blood and Guns).

James Coburn and Rod Steiger combine famously in 'A Fistful Of Dynamite' and Henry Fonda, who years earlier had starred in the prodigious 'once upon a time in the west', returns to the genre for 'My Name Is Nobody' Sergio Leone's biographer Prof. Christopher Frayling's quotation about the stereo effect of the spaghetti western perfectly captures the mood, "one speaker is a fairy story, the other, brutal and nasty. A fabulous combination"

L'arena from Il Mercenario also featured in part two of Quentin Tarantino's 'Kill Bill'

Tradimento Primo from Tepepa... Viva La Revolucion (aka Blood & Guns) / Giu' La Testa from Giu' La Testa (Duck You Sucker - A Fistful Of Dynamite) / Mesa Verde from Giu' La Testa (Duck You Sucker - A Fistful Of Dynamite) / I Crudeli Number 2 from I Crudeli (The Hellbenders) / Minacciosamente Lontano from I Crudeli (The Hellbenders) / I Crudeli (The Widow) from I Crudeli (The Hellbenders) / Il Mio Nome E Nessune from Il Mio Nome E Nessune (My Name Is Nobody) / Arriva Cuchillo from Le Resa Dei Conti (The Big Gundown) / La Corrida from Le Resa Dei Conti (The Big Gundown) / La Vedova from Le Resa Dei Conti (The Big Gundown) / Il Pinguino from Vamos A Matar, Companeros (Let's Go & Kill, Comrades) / Un Uomo In Agguato from Vamos A Matar, Companeros (Let's Go & Kill, Comrades) / Il Pinguino (reprise) from Vamos A Matar, Companeros (Let's Go & Kill, Comrades) / Estasi from Il Mercenario (A Professional Gun) / Dopo L'Esplosione from Giu' La Testa (Duck You Sucker - A Fistful Of Dynamite) / Mucchio Selvaggio from Il Mio Nome E Nessune (My Name Is Nobody) / Nicciolo from Il Mercenario (A Professional Gun) / L'Arena from Il Mercenario (A Professional Gun)
 

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Morricone's innovative soundscapes for Sergio Leone's spaghetti westerns established his reputation and he would soon become one of the composers most coveted and sought after by film makers from all over the world. He created an extremely original style based on wordless vocals, unorthodox instrumental combinations, aggressive rhythms and quasi-experimental sounds. Mixing the most diverse musical languages, from jazz to classical music, and rock to electronic music.

This breathtaking eclecticism is the feature of Morricone's elegant soundtracks for the aerobatic 'Forza G' and the artily erotic 'Metti Una Sera A Cena' (One Evening At Dinner) and his evocative scores for Dario Argento's stylized thrillers, 'The Bird With The Crystal Plumage' and 'Four Flies On Grey Velvet'.

Piume De Cristallo / Non Rimane Piu Nessuno / Corsa Sui Tetti / Sospesi Fra Le Nuvole (Main Titles) / Forza G (Psichedelico Jazzistico) / Come Un Madrigale / 4 Mosche Di Velluto Grigio / Terraza / Mariangela E La Seduzione / Indagine Su Un Cittadino Ai Di Sopra Di Ogni Sospetto / L’Assoluto Naturale / Studio Di Colore / Alla Luce Del Giorno / Sauna / Uno Che Grida Amore
 

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