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Franco Micalizzi wrote one of his best OSTs for the Poliziesco genre with this one (the main theme is one of Micalizzi’s favorites and he often performs it live in concert with his orchestra BIG Bubbling Band). The OST opens with the strong main score written for woodwinds and percussion, which is then reprised with different arrangements throughout the film. It is also alternated with moments of suspense. The violent urban jungle atmosphere is broken by "Sambamba", a sunny pop piece with a Latin sound written for choir and orchestra. For this LP, the master tapes of the recording session were used.

Shelley pressing. Tear in spine.

Japanese pressing. Few paper scuffs. Without OBI.

Includes OBI.
Includes original insert.
Cover shows some foxing.

Orange / Red vinyl Translucent

The Ethiopians were one of Jamaica’s most popular bands during the late ska, rocksteady and early reggae periods. The much loved harmony group began working with the legendary producer Carl ‘Sir J.J.’ Johnson after a series of successful ska and rocksteady hits. This collaboration resulted in some of the biggest reggae hits of the late Sixties and early Seventies. Most notable hits were “Everything Crash”, “What A Fire”, “Feel The Spirit”, “Hong Kong Flu” and “Woman Capture Man”, which are all included on their 1969 debut album Reggae Power. The album cover features a photo of future Carry On Girls-actress Pauline Peart. Reggae Power is available on black vinyl.

“Metti, una sera a cena” is a 1969 movie directed by Joseph Patrons Griffi, made up from an eponymous theater script and especially transposed to the film medium. It immediately obtained consents and success, and paved the road to success for actors Florinda Bolkan and Tony Musante in particular. So did the music written by Ennio Morricone, who in 1970 won the Nastro D’Argento Award for Best Score. Lounge sounds, bossa nova, jazz (especially the drums touch) and beat (usually still in vogue in the Italy of the late ’60s), seasoned with orchestral arrangements conducted by Bruno Nicolai, merge here to one of the most famous soundtracks of the Italian Maestro. A perfect mix of eroticism and melancholy, for a real classic! This edition offers the original soundtrack released in 1969 on Cinevox Record in a new artwork, a gatefold cover and colored vinyl. A bonus track is also included, the song “Hurry to me” sung by The Sandpipers, a folk/pop trio who became famous at the time for their version of the popular “Guantanamera”.

Quartet Records presents the premiere vinyl edition Ennio Morricone’s bizarre giallo score for the 1974 thriller L’ultimo Uomo DI Sara (aka SaraH’S Last Man).

Directed by actress Maria Virginia Onorato (in her only foray into feature film directing), the movie stars Oddo Bracci as Paolo Castellano, an artist who wants to investigate the death of his ex-wife Sara long after the police declare the case closed. Aided by Sara’s friend Anna (played by Rosemary Dexter), Paolo goes through the hours of footage shot by Sara on her camera, slowly realizing that the identity of the killer is captured on film and his identity might be one of the reasons why the police wants the case closed as soon as possible.

The LP opens with the title song, performed by singer Carmen Villani, a passionate plea for peace and the memory of a doomed romance. The score features a propulsive action theme that Morricone varies and adorns with experimental percussion noises that mimic the sound of big-city traffic. Other tracks in the varied score include a heartbreaking love theme, a nice cue featuring Edda dell’Orso practicing musical scales, and a funny silent film pastiche.

This premiere LP has been produced and mastered by Chris Malone using the first-generation analogue stereo master tapes and pressed in 180 GM audophile black vinyl. The package features luxurious artwork designed by Luca Barcellona.

Dario Argento’s ‘opera prima’ ‘L’uccello dalle piume di cristallo’ was premiered in 1970 and marked an historical and revolutionary debut, being a truly original and innovative thriller. The stylistic choices of Argento mark a clear step forward from the thrillers of that era and even the soundtrack was something utterly special.

Argento assigned the score to Ennio Morricone, composer of the soundtracks for ‘Comandamenti per un gangster’, ‘C’era una volta il west’, ‘Metti, una sera a cena’ ‘Un esercito di 5 uomini’ and ‘La stagione dei sensi’, which Argento had already written the screenplay of. For this movie the maestro adopted a particular style that draws heavily on contemporary music and on the studies of his Gruppo di Improvvisazione Nuova Consonanza. With ‘L’uccello dalle piume di cristallo’ Morricone develops this approach and defines a 'formula': he alternates traditional songs, built around an easy and immediate melody used as a leitmotiv, with avant-garde and abstract tracks that amplify the state of uneasiness and fear of the viewers of tension and violence sequences.

Cinevox released this soundtrack on an LP with 10 tracks in the spring of 1971 when ‘Il gatto a nove code’ was already a big hit in the Italian cinemas. The record was originally issued in mono, with different tracks from the Stereo US version. This is the first vinyl reissue featuring the original score in Stereo, enclosed in a brand new artwork made by Adventprod studios!

Fifth western in a row for Sergio Leone after the Dollar Trilogy and “Once Upon a Time in The West”, “Giù la testa” (Duck, you sucker, 1971) is also the fifth collaboration between the director and Ennio Morricone, which would be followed by the final “Once Upon a Time in America” nearly 15 years later, before Leone’s premature death in 1989. World famous and holder of unlimited resources, with “Giù la testa” Leone directed an epic film that tells of the friendship between a Mexican bandit and an Irish explosives expert, during the historical context of the 1913 Mexican Revolution; lasting over two hours, the film has almost tones of an Hollywood colossal, but its epicness is only occasionally accompanied by Morricone’s music, which focuses more on the romance and melancholy aroused by the two protagonists’ memories. This score’s main theme alone would have been enough to make it a classic, thanks to the recurring “Sean-Sean” tune, and especially the melody sung by Edda Dell'Orso, a theme that even the less music passionate will immediately recognize!

Year 1964. Almost out of nowhere, the little-known and regarded director Sergio Leone transposes into a western key a film by Akira Kurosawa, and by putting together all the right pieces, adding a bit of intuition, lays down new rules for the ‘spaghetti western’ genre, giving way to an endless series of imitations.

“A Fistful of Dollars” would not have the same impact without the inimitable music written by Ennio Morricone, who had curiously been an old elementary school Leone’s classmate. The main soundtrack themes were chosen from two arrangements that Morricone had already drafted two years earlier; once removed the lyrics and added the unmistakable whistle of Alessandro Alessandroni, the spaghetti-sound was finally complete!

The film was an incredible success, and projected Leone, Morricone, and in particular the actor Clint Eastwood into the Olympus of the Great. The soundtrack was released for the first time the following year (1965), along with the one of Sergio Leone’s subsequent work “For a Few Dollars More”.

* First Time Reissued On Vinyl * Sourced From The Original Master Tapes * Pressed at RTI for Maximum Fidelity

Ex condition.

LP Ltd edition RED Vinyl. This first release from the Deeper Into Movies label is the score for Dasha Nekrasova's notorious award-winning debut feature film 'The Scary of Sixty-First'. Eli Keszler's score meets at the confluence between the visceral electro-acoustic Giallo style and brooding acoustic drones, which feature his abstract and textural percussion playing he has explored in his solo music. All of this working together to evoke the very haunts of the film's Uptown locations.Speaking about the score Keszler said_ "The score was built around the 'pentagram melody' as we called it, a seven-note symmetrical pattern that formed the sign found on the tarot card, a repeated motif of dread and premonition found in the film. In the Scary Theme and later in Tarot Theme three variations occur, where each tonal triangle is introduced individually, followed by it playing in counterpoint to each other to complete the symbol.Nekrasova's work is a thriller centred on two young women who unknowingly move into a Manhattan apartment that used to belong to Jeffrey Epstein. The psychosexual drama is steeped in Giallo, with a touch of DePalma and Polanski. Premiering at this year's Berlin International Film Festival, it took home their prestigious 'Best First Feature' award.Keszler other film work includes contributions to Daniel Lopatin's score for the Safdie Brother's acclaimed, Uncut Gems, while his solo music has been released on LuckyMe, Empty Editions, ESP Disk and PAN. His album 'Stadium' released on Shelter Press was awarded Boomkat's 2018 'Album Of The Year' and Pitchfork claimed his most recent album 'Icons' (2021) as 'strangely wonderful'. Frequent collaborator to Oneohtrix Point Never, Laurel Halo, and Rashad Becker - Keszler's has shown and performed at The Lincoln Center, Victoria & Albert Museum, MoMA PS1, and The Barbican. He has worked across music, film and art with exhibitions at the South London Gallery, MIT List Center and collaborations with Turner Prize-winning artist Laure...

Following their collaboration on 2021"s Oscar winning Drive My Car, Eiko Ishibashi & filmmaker Ryusuke Hamaguchi up the ante with a deeply inspired synergistic exchange: music for images, visuals for sounds. Eiko"s score initiated the project that has become his celebrated new film (Best Picture - BFI London Film Fest, Asian Film Awards, Silver Lion - Venice Film Fest, Best Score - Asia Film Awards). Eiko"s compositions are scored for violin, cello, guitar, drums and keyboards. Her longtime partner Jim O"Rourke played the guitar and mixed and mastered the recordings when they were done, eliciting further the necessary nuances of atmosphere and mood that one would expect in one film, much less two!

Re-recordings of Artemiev's soundtracks to the classic 1970s Tarkovsky film. Recorded in Moscow 1989-90.

sampled by Redman, Warren G, ...

Never released before Original Soundtrack of Sergio Martino's 1983 Movie