Soundtracks Vinyl 56 Items

“La Morte Ha Fatto l’Uovo” (1968), here reissued for the very first time on vinyl, is a unique score characterized by avant-garde sounds that combine with the bright tones of an atypical thriller that pays homage to the cinema of Luis Buñuel.

“La Morte Ha Fatto L’Uovo” (Death Laid an Egg) is a 1968 detective movie directed by Giulio Questi, featuring an international cast whose main actors are Ewa Aulin, Gina Lollobrigida and Jean-Louis Trintignant; the warm and bright tones of its photography strongly contrast against the dark and gloomy atmospheres and plot. The soundtrack of the film, composed and directed by Bruno Maderna, is even more peculiar and distant from the typical sounds of the time, and from almost any other soundtrack released in the 60s: there’s no trace of beat or psychedelia at all, but rather a collection of abstract and dissonant compositions, which we could classify as avant-garde and partly associate with certain experiments made by a contemporary group called Gruppo di Improvvisazione Nuova Consonanza, but also with the less common side of the library music genre. All the songs were created with the sole use of strings, acoustic guitar, piano and spoken word. A truly unique work, unpredictable and almost impossible to categorize!

Art Blakey and the Jazz Messengers with Barney Wilen provide an essential jazz soundtrack to an extended ‘surprise party’ scene in director Roger Vadim’s 'Les liaisons dangereuses'. Originally released on the Fontana label, Blakey’s lively hard-bop and latin originals were used specifically as night club and party music in the film and his ‘No Problem’ became a classic with Blakey’s band in full flight. Decca France present the original soundtrack recording on 180gm vinyl in a deluxe gatefold tip-on jacket with English translation of the original liner notes, and a photo from the film of Gérard Philippe and Jeanne Moreau. Included is a 2pp insert with additional notes by recording producer Marcel Romano from 1988.

“Ti Ho Sposato Per Allegria” (1967) is a comedy directed by Luciano Salce, taken from the theatrical play of the same name (1965) by Natalia Ginzburg. The main characters are Pietro and Giuliana, respectively interpreted by Giorgio Albertazzi and Monica Vitti. A lawyer from a good family, serious, accustomed to a calm and regular life who got married to a indolent and dazed girl with a difficult past a month after meeting her at a party. Despite Giuliana's inability to transform herself into a good housewife, his relationship with Pietro continues to flourish, because he seems to find enjoyment in each of his wife's many mistakes. The reason for their union lies not in love but, perhaps, in a genuine sympathy, as strong as it is mutual. The story has become a minor classic with each new representation. On both stage and screen the themes of everyday life, and the more complex and existential ones, are addressed. The subtle irony of the work relies on recounting problematic events in a carefree tone: realities such as abortion, death, separation and the couple's incommunicability are underplayed with naturalness. The funny events of the film are commented on by Piero Piccioni's music, published for the first time on vinyl by Musica Per Immagini, with an harmonious tracklist. For this first orchestra rehearsal with the director, which will be followed by other important soundtracks, the composer makes an effective and elegant synthesis: on the one hand he reworks moods and aesthetic intuitions of some previous and happy experiences, while on the other he identifies and anticipates the first bars of that unmistakable sound between bossa nova, funk and lounge nuances that will characterize almost all the production of the Seventies. In fact, the Turin-native artist simplifies in a positive sense the articulated harmonic structures that have always distinguished his authorial figure – where the so called jazz features are to be considered more than central in the musical texture, as prominent elements of the harmonic syntax – and he tries a melodic reduction that will make the compositions more catchy or memorized, but not easier for this. Lightness of spirit and rarefied elegance are the keys of this new Dionysian world.

We Are Busy Bodies is proud to announce the first official reissue of ‘Playtime’ by popular and prolific Italian composer, Piero Umiliani. Incorporating styles like jazz, easy listening/lounge, rock, funk, and bossa nova to a genre largely dominated by orchestral scores, he penned some of the most outstanding film music from the '60s and '70s with over 150 titles under his belt. Originally released on Umiliani‘s own Omicron label in 1968, the album has been remastered from the original recordings by Noah Mintz.

This is one of the most memorable film soundtracks ever, a rival for that other great example of the art `The Good, The Bad, The Ugly'. Sergio Leone's direction was a breath of fresh air, and his use of music in his films was an integral part of his style and the film successes. "For a Few Dollars More" is the natural progression from that movie, with the addition of a third protagonist - Lee Van Cleef - who joins the two actors: a triad that made history for another masterpiece Sergio Leone's masterpiece. Ennio Morricone's music is equally important. The Maestro here chooses a 'poor' registry, consisting of folk instruments such as ocarina, Jew's harp and chimes, respectively used to accompany the entry stage of the three main actors. But there are, as usual, the contributions of Alessandro Alessandroni and his Cantori Moderni choir, for an incredibly exciting final result

2012 reissue. Still sealed with hype sticker.

A high-speed car chase between a Dodge Charger and a Ford Mustang, with super-cop Bullitt at the wheel, who forces the hitman off the road and into a petrol station, which explodes and incinerates him. Prior to that, harsh clashes of metal, hubcaps flying all over the place, and the chief character Steve McQueen, who grimly changes gears and hurtles through the streets of San Francisco, wheels screaming and rubber burning. That was how Hollywood staged one of the longest and most dramatic car chases, long before the days of the Anti-Blocking-System and Anti-Slide-Control.
Very up-to-date and just as exciting as the screenplay is the music Lalo Schifrin wrote for the film, which embeds the characters, places and events in a musical context. For example, "Bullitt": the metrically angular main theme portrays a mysterious, cool character who sums up a situation with keen alertness and then makes his attack with the speed of lightning.
Initially the music travels through easy-going Latin terrain. But gradually the rhythmic texture changes and takes a rougher path, with clicks, knocks and hammering. Legendary flute lines create a compensatory placidness with airy clouds floating above the sharp mix. A really special track is "Shifting Gears": here you can listen to Schifrin tuning the car, how he manipulates a jammed springy bossa to take on the sound of clean, smooth-running rock.

This Speakers Corner LP was remastered using pure analogue components only, from the master tapes through to the cutting head. All royalties and mechanical rights have been paid.

Sticker on cover.

180 gram audiophile vinyl / Gatefold sleeve.
West Side Story is the soundtrack to the 1961 film by the same name. All music is composed by Leonard Bernstein and lyrics written by Stephen Sondheim. When released, the soundtrack spent 54 weeks at No.1 on Billboard’s album charts, giving it the longest run at No.1 of any album in history. Perhaps Michael Jackson’s Thriller comes close, on the grounds that West Side Story was listed on a chart for stereo albums only at a time when many albums were recorded in mono. During the Grammy Awards of 1962, it won Best Sound Track Album - Original Cast and Best Large Ensemble Jazz Album for Johnny Richards’ orchestrations of the movie score. These successes bolstered the popularity of the movie and soundtrack even further. In the United States, it was the best-selling album of the 1960s, certifying three times Platinum in over two decades. West Side Story includes 4 bonus tracks, “Overture”, “Intermission Music”, “Finale (Somewhere)” and “End Credits”. This 2LP-set is available as a limited edition on gold coloured vinyl, housed in a gatefold sleeve.

Originally released in 1968 as part of the "Serie Sonorizzazioni" series on Piero Umiliani's iconic Omicron label, "Preistoria" is the perfect example of a library music collection perfectly tailored to a theme. Through the use of orchestral accompaniment, jazzy arrangements, and tribal experimentation thrown in for good measure, the legendary Italian composer brings you back to the stone age, creating and ominous and primitive landscape, rich of caveman-style drums and deep bass lines. This extremely sought after gem is now available on vinyl for the first time since its original release, officially licensed by Piero Umiliani's family and available as a limited edition pressing of 500 copies.

Original US mono pressing.

Vinyl with scuffs and hairlines. Foxing on back cover.

From the legendary Omicron label secret archives, one of the rarest and nearly impossible
to find album signed by Piero Umiliani. Gli italiani e l’industria is the soundtrack of a
mysterious TV documentary by Romolo Marcellini broadcasted in 1967, and never
appeared again from then, which was focused on virtue and vice of Italian post-economic
boom industrialization. The music perfectly reflects the contrasts of the Italian society of
that period, equally divided by consumerism and alienation, with a number of tracks
deliberately easy-jazz and pop-beat on the one hand (with gorgeous ballads for
vibraphone, like Natascia or Negozi alla moda, and killer organ tracks, like Music Box, later
reused in some movies of the 70s, as Aragosta a colazione), and on the other with a
bounce of compositions ultra-jazz, close to free jazz, with electronics and avant-garde
solutions that Umiliani will explore completely in the further years (it is not by chance that 3
of those tracks are also included nine years after in a new library Umiliani’s LP named
Atmospheres). An essential album of easy-listening and experimental sound, necessary to
comprehend the richness of a genius of Italian soundtracks.

Another excellent soundtrack by Piero Umiliani, maybe his famous one ever,
this time composed for Luigi Scattini’s film “SVEZIA, INFERNO E PARADISO”
(Sweden, Heaven and Hell), a so-called ‘mondo movie’ entirely shot in the scandinavian
country which the title refers to. Umiliani’s music is able to emphasize the different moods
of the movie: at times dramatic, on other occasions ironic or peaceful.

Lavagnino's soundtrack to the great 1962 movie 'Kali-Yug: La Dea Della Vendetta' directed by Mario Camerini and starring Senta Berger and Lex Barker, finally gets a proper reissue since its 1963 release on CAM Records. Composed and directed by Lavagnino, 'Kali-Yug' is one of the best soundtracks ever written by the late Maestro. Known for his beautiful orchestral themes, Lavagnino outdoes himself in 'Kali-Yug', with stunning exotic themes which makes this score a must have for serious soundtrack collectors. Original artwork. Master and sound restoring done by Roberto Zamori at Film Music Art Studio. Original copies, if you're lucky enough to find one, change hands for more than 350 euro!!!

Record has surface marks and light scratches. Cover has ring wear. Orange RCA label.

Japanese pressing. taped spine

Includes original insert.

Includes original insert.

Reissue. seam split

Torn spines. 1962 US mono reissue.

Vinyl close to VG+

Still sealed with hype sticker. 2012 reissue. 180gr vinyl.

Cover is close to NM. 1975 reissue. OBI is missing, With insert.

Japanese pressing.

Cover has small puncture.

Ships in a label sleeve.

reissue

Vinyl is Close to VG+.

Back cover with faint ring wear.

1969 reissue. Japanese pressing. Slight storage wear. OBI is missing.

German pressing with label variation.

Japanese pressing.

Copy close to VG+

Cover with seam split and tape

Vinyl with a couple of light scuffs