Sub Ost Vinyl, CD & Tape 13 Items

“Gli Intoccabili” (The Untouchables) is a particular semi-unknown movie that belongs to a very crowded underground panorama made of international productions realized between the '60's and the '70's. Some few lucky ones immediately became 'instant classics', while many others remained in some dusty closed drawer for years, just to be rediscovered lately and being considered a cult. To this second category belongs this film directed by Giuliano Montaldo in the US and screened for the first time on April 1969. The cast is stellar, with a newborn Peter 'Lieutenant Columbo' Falk, John Cassavetes (who had just worked on Rosemary's Baby), Gena Rowlands and Florinda Bolkan as the main characters. The music is written by the omnipresent Ennio Morricone, who fluently moves from the western genre to the police/thriller one, making this one of his most varied works. As in the western field, we find here also one sung track about the main character, "La ballata di Hank McCain", while the rest of the soundtrack toggles between symphonic/epic moments and tensive/dissonant ones, going through more mellow and lounge atmospheres. These remarks make “Gli Intoccabili” an album that can be listened to in it's entirety without necessarily being linked to the images of the movie. One of many hidden gems by Morricone.

A tight, atmospheric and pretty damn funky soundtrack composed by the Maestro Ennio Morricone for the 1970 crime-drama Città Violenta starring the mighty Charles Bronson and directed by Sergio Sollima. Another hard-hitting score by Morricone with a quite dark mood flowing from the dramatic to psychedelic along with a touch of funkiness. The famous Città Violenta track, the score’s main theme, is celebrated as one of Morricone’s most iconic theme.

This is a record of rare beauty that collects the soundtrack of a 1975 film called "Drugged Rome: the Police Can't Intervene" (in English "Hallucination Strip") directed by Lucio Marcaccini. The soundtrack was written by Alber Verrecchia, a French composer (but I presume originally from Italy) who came to Italy in the 1960s and formed the group I Pyranas, with whom he recorded two albums released by Arc. In the 1970s Verrecchia devoted himself mainly to making soundtracks, including the one presented here. Unlike other soundtrack composers, Verrecchia preferred electric sounds to orchestral arrangements. This disc contains interesting tracks in rock and blues styles, with some psychedelic influences. Musicians featured on the record include Cyan, Baba Yaga, Toni Esposito, and singer Sammy Barbot (whom we may remember best as the host of two 1980s TV shows, Piccolo Slam and Popcorn). The Cyans are an old acquaintance of ours, who are credited with a 33 rpm in 1972 and a handful of singles; Le Baba Yaga were a female trio who made a single in 1972; and finally Toni Esposito who needs no introduction. Singer Edda Dell'Orso, with her soprano voice, also appears on two tracks. In short, a unique record in the panorama of soundtracks

“Gli Intoccabili” (The Untouchables) is a particular semi-unknown movie that belongs to a very crowded underground panorama made of international productions realized between the '60's and the '70's. Some few lucky ones immediately became 'instant classics', while many others remained in some dusty closed drawer for years, just to be rediscovered lately and being considered a cult. To this second category belongs this film directed by Giuliano Montaldo in the US and screened for the first time on April 1969. The cast is stellar, with a newborn Peter 'Lieutenant Columbo' Falk, John Cassavetes (who had just worked on Rosemary's Baby), Gena Rowlands and Florinda Bolkan as the main characters. The music is written by the omnipresent Ennio Morricone, who fluently moves from the western genre to the police/thriller one, making this one of his most varied works. As in the western field, we find here also one sung track about the main character, "La ballata di Hank McCain", while the rest of the soundtrack toggles between symphonic/epic moments and tensive/dissonant ones, going through more mellow and lounge atmospheres. These remarks make “Gli Intoccabili” an album that can be listened to in it's entirety without necessarily being linked to the images of the movie. One of many hidden gems by Morricone.

“Gli Intoccabili” (The Untouchables) is a particular semi-unknown movie that belongs to a very crowded underground panorama made of international productions realized between the '60's and the '70's. Some few lucky ones immediately became 'instant classics', while many others remained in some dusty closed drawer for years, just to be rediscovered lately and being considered a cult. To this second category belongs this film directed by Giuliano Montaldo in the US and screened for the first time on April 1969. The cast is stellar, with a newborn Peter 'Lieutenant Columbo' Falk, John Cassavetes (who had just worked on Rosemary's Baby), Gena Rowlands and Florinda Bolkan as the main characters. The music is written by the omnipresent Ennio Morricone, who fluently moves from the western genre to the police/thriller one, making this one of his most varied works. As in the western field, we find here also one sung track about the main character, "La ballata di Hank McCain", while the rest of the soundtrack toggles between symphonic/epic moments and tensive/dissonant ones, going through more mellow and lounge atmospheres. These remarks make “Gli Intoccabili” an album that can be listened to in it's entirety without necessarily being linked to the images of the movie. One of many hidden gems by Morricone.

This is a record of rare beauty that collects the soundtrack of a 1975 film called "Drugged Rome: the Police Can't Intervene" (in English "Hallucination Strip") directed by Lucio Marcaccini. The soundtrack was written by Alber Verrecchia, a French composer (but I presume originally from Italy) who came to Italy in the 1960s and formed the group I Pyranas, with whom he recorded two albums released by Arc. In the 1970s Verrecchia devoted himself mainly to making soundtracks, including the one presented here. Unlike other soundtrack composers, Verrecchia preferred electric sounds to orchestral arrangements. This disc contains interesting tracks in rock and blues styles, with some psychedelic influences. Musicians featured on the record include Cyan, Baba Yaga, Toni Esposito, and singer Sammy Barbot (whom we may remember best as the host of two 1980s TV shows, Piccolo Slam and Popcorn). The Cyans are an old acquaintance of ours, who are credited with a 33 rpm in 1972 and a handful of singles; Le Baba Yaga were a female trio who made a single in 1972; and finally Toni Esposito who needs no introduction. Singer Edda Dell'Orso, with her soprano voice, also appears on two tracks. In short, a unique record in the panorama of soundtracks

Soundtrack for the 1972 Spanish-Italian crime film directed by José Luis Madrid (a sort of baroque revisiting of Jack The Ripper). The Maestro Piero Piccioni is in a rare groove mode here, lost between acid jazz breaks and deep funk rhythms in what is the first ever vinyl reprint of a minor classic. An impressive variety of themes, with the Hammond organ often doing the lion's share of the work, the climate reminds us of the compositions of the late 60's of the master; memorable sessions that would lead to the publication of the classic posthumous 'Camille 2000'. The glamorous arrangements are fascinating, incorporating Mediterranean warmth through the US's R&B demarcation lines.

Soundtrack for the 1972 Spanish-Italian crime film directed by José Luis Madrid (a sort of baroque revisiting of Jack The Ripper). The Maestro Piero Piccioni is in a rare groove mode here, lost between acid jazz breaks and deep funk rhythms in what is the first ever vinyl reprint of a minor classic. An impressive variety of themes, with the Hammond organ often doing the lion's share of the work, the climate reminds us of the compositions of the late 60's of the master; memorable sessions that would lead to the publication of the classic posthumous 'Camille 2000'. The glamorous arrangements are fascinating, incorporating Mediterranean warmth through the US's R&B demarcation lines.

The disturbing soundtrack of the same film directed by Alberto De Martino in 1985 and composed by Francesco De Masi, author and Roman arranger already famous for classical b-movie soundtracks such as Lo Squartatore Di New York (The New York Ripper) and Fuga Dal Bronx (Escape From The Bronx). For a long time associated with 'genre cinema', the man had an innate passion for primitive electronics. A long suite divided into 14 movements that best describe the climate of tension and the upcoming deadlines of the featured film, a Gothic thriller in the orbit of meta-horror. The music - sometimes a bit of a timbral but often deliberately descriptive and overwhelming - pin of synths and analogue machines, capable of defining the desperate plot of the film. A classic fully restored on LP on limited Colored Vinyl.

Taken from the 1993 movie directed by Pupi Avati. Riziero Ortolani (25 March 1926 – 23 January 2014) was an Italian composer, conductor, and orchestrator, predominantly of film scores. He scored over 200 films and television programs between 1955 and 2014, with a career spanning over fifty years. Internationally, he is best known for his genre scores, notably his music for mondo, giallo, horror, and Spaghetti Western films. His most famous composition is "More," which he wrote for the infamous film Mondo Cane. It won the 1964 Grammy Award for Best Instrumental Theme and was nominated for the Academy Award for Best Original Song at the 36th Academy Awards.[3] The song was later covered by Frank Sinatra, Kai Winding, Andy Williams, Roy Orbison, and others. Ortolani received many other accolades, including four David di Donatello Awards, three Nastro d'Argento Awards, and a Golden Globe Award for Best Original Song. In 2013, he received a Lifetime Achievement from the World Soundtrack Academy. In the early 1950s, Ortolani was founder and member of a well-known Italian jazz band. One of his early film scores was for Paolo Cavara and Gualtiero Jacopetti's 1962 pseudo-documentary Mondo Cane, whose main title-song More earned him a Grammy and was also nominated for an Oscar as Best Song. The success of the soundtrack of Mondo Cane led Ortolani to score films in England and the United States such as The Yellow Rolls-Royce (1964), The Spy with a Cold Nose (1966), The Biggest Bundle of Them All (1968) and Buona Sera, Mrs. Campbell (1968). He also scored the 1972 film The Valachi Papers, directed by Terence Young and starring Charles Bronson. Ortolani scored all or parts of over 200 films, including German westerns like Old Shatterhand (1964) and a long series of Italian giallos, Spaghetti Westerns, Eurospy films, Exploitation films and mondo films. These include Il Sorpasso (1962), Castle of Blood (1964), Africa Addio (1966), Day of Anger (1967), Anzio (1968), The McKenzie Break (1970), The Hunting Party (1971), A Reason to Live, a Reason to Die (1972), Seven Blood-Stained Orchids (1972), The Fifth Musketeer (1979), From Hell to Victory (1979), the controversial Ruggero Deodato films Cannibal Holocaust (1980) and The House on the Edge of the Park (1980), and the first series of La piovra (1984). In later years he scored many films for Italian director Pupi Avati. His music was used on soundtracks for Grand Theft Auto: London 1969 (1999), Kill Bill: Volume 1 (2003), Kill Bill: Volume 2 (2004), Drive (2011) and Django Unchained (2012).

Taken from the 1993 movie directed by Pupi Avati. Riziero Ortolani (25 March 1926 – 23 January 2014) was an Italian composer, conductor, and orchestrator, predominantly of film scores. He scored over 200 films and television programs between 1955 and 2014, with a career spanning over fifty years. Internationally, he is best known for his genre scores, notably his music for mondo, giallo, horror, and Spaghetti Western films. His most famous composition is "More," which he wrote for the infamous film Mondo Cane. It won the 1964 Grammy Award for Best Instrumental Theme and was nominated for the Academy Award for Best Original Song at the 36th Academy Awards.[3] The song was later covered by Frank Sinatra, Kai Winding, Andy Williams, Roy Orbison, and others. Ortolani received many other accolades, including four David di Donatello Awards, three Nastro d'Argento Awards, and a Golden Globe Award for Best Original Song. In 2013, he received a Lifetime Achievement from the World Soundtrack Academy. In the early 1950s, Ortolani was founder and member of a well-known Italian jazz band. One of his early film scores was for Paolo Cavara and Gualtiero Jacopetti's 1962 pseudo-documentary Mondo Cane, whose main title-song More earned him a Grammy and was also nominated for an Oscar as Best Song. The success of the soundtrack of Mondo Cane led Ortolani to score films in England and the United States such as The Yellow Rolls-Royce (1964), The Spy with a Cold Nose (1966), The Biggest Bundle of Them All (1968) and Buona Sera, Mrs. Campbell (1968). He also scored the 1972 film The Valachi Papers, directed by Terence Young and starring Charles Bronson. Ortolani scored all or parts of over 200 films, including German westerns like Old Shatterhand (1964) and a long series of Italian giallos, Spaghetti Westerns, Eurospy films, Exploitation films and mondo films. These include Il Sorpasso (1962), Castle of Blood (1964), Africa Addio (1966), Day of Anger (1967), Anzio (1968), The McKenzie Break (1970), The Hunting Party (1971), A Reason to Live, a Reason to Die (1972), Seven Blood-Stained Orchids (1972), The Fifth Musketeer (1979), From Hell to Victory (1979), the controversial Ruggero Deodato films Cannibal Holocaust (1980) and The House on the Edge of the Park (1980), and the first series of La piovra (1984). In later years he scored many films for Italian director Pupi Avati. His music was used on soundtracks for Grand Theft Auto: London 1969 (1999), Kill Bill: Volume 1 (2003), Kill Bill: Volume 2 (2004), Drive (2011) and Django Unchained (2012).

Working on their project Talking Book, Bill Gould and Jared Blum have always preoccupied themselves with textures of sounds rather than just melodies. Uniting exploratory sound-work, dramatism and their innate curiosity, the members of Talking Book have approached every release of theirs with this intention. Sonically different from Bill’s most-widely known project, Faith No More, Gould’s work composing the soundtrack for ‘The Eclipse’ brought him to the whole different mental space. “I had known Nataša Urban for over a decade already, and was already familiar with her previous work.” – explains Bill Gould: “During this time, I had also sent her our two Talking Book releases, which paired well with her visual aesthetic. On top of that, Faith No More was a big soundtrack to her teen years, and as the film is quite personal about her coming to terms growing up in Serbia, it seemed to make sense for us to collaborate together on this film”. The duo's artistic journey requires a profound exploration of sound textures, a departure from the familiar tunes of Bill's renowned venture. 'The Eclipse' is a poignant cinematic ode to the scars of Yugoslavia's tumultuous history. The process of synchronizing their music with the film's essence became an exercise in shedding conventional creative approaches, embracing instead the art of building new sonic pathways. “The film itself was made on several film stocks including handmade ones so for us employing timbres that are both grand and decaying at the same time accompanied the visuals very well.” – explains Jared Blum. While fragmentary nature of the shooting helped represent the presence of different people in the picture, it was also learning experience for the duo in terms of of contiguity. “So much of it is about letting go of familiar methods of working; rather than finding a way to express an idea I already have.” – says Bill Gould describing the process: “It is about having the patience to go into something without a specific idea and just employ a process of discovery.” Gould continues: “Our music always has a certain amount of drama of some sort, so we didn't literally have to write according to the story line. But it meant that we had to look at was happening in the flim intuitively, and make creative decisions based on that. We could have totally missed the mark, but as it turns out, it really resonated with Nataša.” Bill and Jared's creative synergy is manifested in their ability to conjure a cascade of imagery passing through a rich spectrum of emotions, in tune with nuances of Yugoslavia's fractured history. From the delicate subtlety of background whispers to the vast expanses of sonic palettes, the duo has orchestrated a symphony that transcends the boundaries of conventional melodies as natural and emotive as a total eclipse.

Working on their project Talking Book, Bill Gould and Jared Blum have always preoccupied themselves with textures of sounds rather than just melodies. Uniting exploratory sound-work, dramatism and their innate curiosity, the members of Talking Book have approached every release of theirs with this intention. Sonically different from Bill’s most-widely known project, Faith No More, Gould’s work composing the soundtrack for ‘The Eclipse’ brought him to the whole different mental space. “I had known Nataša Urban for over a decade already, and was already familiar with her previous work.” – explains Bill Gould: “During this time, I had also sent her our two Talking Book releases, which paired well with her visual aesthetic. On top of that, Faith No More was a big soundtrack to her teen years, and as the film is quite personal about her coming to terms growing up in Serbia, it seemed to make sense for us to collaborate together on this film”. The duo's artistic journey requires a profound exploration of sound textures, a departure from the familiar tunes of Bill's renowned venture. 'The Eclipse' is a poignant cinematic ode to the scars of Yugoslavia's tumultuous history. The process of synchronizing their music with the film's essence became an exercise in shedding conventional creative approaches, embracing instead the art of building new sonic pathways. “The film itself was made on several film stocks including handmade ones so for us employing timbres that are both grand and decaying at the same time accompanied the visuals very well.” – explains Jared Blum. While fragmentary nature of the shooting helped represent the presence of different people in the picture, it was also learning experience for the duo in terms of of contiguity. “So much of it is about letting go of familiar methods of working; rather than finding a way to express an idea I already have.” – says Bill Gould describing the process: “It is about having the patience to go into something without a specific idea and just employ a process of discovery.” Gould continues: “Our music always has a certain amount of drama of some sort, so we didn't literally have to write according to the story line. But it meant that we had to look at was happening in the flim intuitively, and make creative decisions based on that. We could have totally missed the mark, but as it turns out, it really resonated with Nataša.” Bill and Jared's creative synergy is manifested in their ability to conjure a cascade of imagery passing through a rich spectrum of emotions, in tune with nuances of Yugoslavia's fractured history. From the delicate subtlety of background whispers to the vast expanses of sonic palettes, the duo has orchestrated a symphony that transcends the boundaries of conventional melodies as natural and emotive as a total eclipse.