Piero Umiliani has been called one of the sexiest soundtrack composers ever, and they aren’t wrong. He’s the king of mixing grooviness with musical sex appeal, and this remastered reissue of the original 1969 soundtrack for La Morte Bussa Due Volte is no exception. This is a great release by Cinevox, and includes material not found on the original release.
If you’re a fan of the groovy sounds of 60s eurocinema, this is a must-own. Bossa nova? Check. Italian Lounge? Definitely. If you’re not convinced, have a go at the YouTube clip below…then just click Add To Cart. We know you want to.
La Morte Bussa Due Volte is a new, shrink-wrapped Italian import compact disc. Buy it now from Turntabling for $17.00 plus shipping.
Piero Umiliani is a Turntabling favorite. If you’re not familiar with his soundtrack work from Mario Bava movies and films like La Morte Bussa Due Volte, this soundtrack is squarely in retro Italian lounge/retro territory. It’s great for anyone who loved the Beat at Cinecitta collection, or a hard-to-find disc called The Beat, The Shake, and the Lounge.
La Morte Bussa Due Volta, also known as Death Knocks Twice, stars Fabio Testi, Dean Reed and Anita Ekberg and is probably tough to pin down on DVD (we haven’t tried yet). The movie involves a bit of euro-mystery, a bit of serial killing, an dhis soundtrack is great fun, and if you’re loving the lounge sound, scoop this up. If you’re hunting for haunting, Morricone-esque experimentation this CD isn’t for you, but Umiliani fans won’t be let down.
Experienced lovers of Italian lounge, 60s and 70s Italian sountrack music and chillout sounds will appreciate the excellent track selection on this compilation from ESL. Newcomers, this collection of grooves is an OUTSTANDING primer. Have you heard the glorious sounds of Morricone and want to learn who else was creating lush, gorgeous textures in Italian cinema? Easy Tempo is the place to start.
There are plenty of legends on this disc, including Armando Trovajoli, Giancarlo Barigozzi, The Green Future, Piero Piccioni and the amazing Piero Umiliani. There is a great selection here, from loungey grooves to more suspenseful tracks from Italian thrillers. This disc is a good gateway drug to the hip, swinging world of Italian soundtracks, which are far cooler than most of their American counterparts in many cases.
It’s important to note that this CD is NOT part of the Italian-made Easy Tempo series distributed by Right Tempo, but it does contain a cross section of tracks licensed by ESL from that hard-to-find series.
Here’s the best bit–you can support Turntabling.net by purchasing a copy of this Easy Tempo disc from Turntabling. Use the PayPal button below to place your order and it will be sent out immediately. This is part of our very selective stock of media which will be made available for purchase over the coming weeks. It’s true–Turntabling is expanding its horizons, as I want to do more than talk about this great stuff–I want to bring it to you as well. It all starts with Easy Tempo…if you’re new to Italian soundtrack sounds and want to support Turntabling, click the Paypal button with my sincere thanks.
I don’t want to turn into a YouTube repository here, but this one’s definitely worth the effort. Morricone turned the film soundtrack business on its ear, especially in the 60s when he was pushing the boundaries of traditional composition by using improvisation, vocalizations-as-instruments, and other innovations. One of his greatest collaborations was with Edda Dell’Orso, one of the most recognizable voices in music from that era…if you were paying attention.
Normally I hate these types of YouTube clips–they generally lack imagination and I wonder why people make the effort. This one’s a bit different, and I have to say much better than the other posts of this type. The model you see in all these images is the legendary Peggy Moffitt, who was featured in Blow Up, worked with Rudi Gernreich, and also appeared in William Klein’s Qui êtes-vous, Polly Maggoo? Her career is just as interesting as Morricone’s for vastly different reasons.
This track is one of Morricone’s more straightforward Italian soundtrack tunes, but Dell’Orso’s voice over the top of the orchestra makes this a groovier affair…you’ll either be a Morricone convert or wonder why we’re bothering you with all this “Austin Powers” crap…either way, now you know.