The Good, the Bad and the Ugly [Original recording remastered] [Soundtrack] [Import] [PR]

Ennio Morricone
レーベル： Capitol
CD
発売日： 2004年5月18日(火)
画像： 大 中
◎関連『映画・ドラマ』タイトル
◎曲目リスト
  1. Il Buono Il Brutto Il Cattivo (Titoli) [The Good, The Bad & The Ugly (Main Title)]
  2. Il Tramonto [The Sundown]
  3. Sentenza (previously unreleased)
  4. Fuga A Cavallo (previously unreleased)
  5. Il Ponte Di Corde (previously unreleased)
  6. Il Forte [The Strong]
  7. Inseguimento (previously unreleased)
  8. Il Deserto [The Desert]
  9. La Carrozza Dei Fantasmi [The Carriage Of The Spirits]
  10. La Missione San Antonio (previously unreleased)
  11. Padre Ramirez (previously unreleased)
  12. Marcetta [Marcia]
  13. La Storia Di Un Soldato [The Story Of A Soldier]
  14. Il Treno Militare (previously unreleased)
  15. Fine Di Una Spia (previously unreleased)
  16. Il Bandito Monco (previously unreleased)
  17. Due Contro Cinque (previously unreleased)
  18. Marcetta Senza Speranza [Marcia Without Hope]
  19. Morte Di Un Soldato [The Death Of A Soldier]
  20. L'estasi Dell'oro [The Ecstasy Of Gold]
  21. Il Triello [The Trio (Main Title)]
◎レビュー (Amazon)
The concluding chapter of director Sergio Leone's epochal Man With No Name trilogy ushered film scorer Ennio Morricone into the pop mainstream courtesy of a hit cover of its main title by American Hugo Montenegro. More importantly, it both showcased the composer's spectacularly inventive range and set him up for even greater triumphs to come with Leone and others. But aficionados of il Maestro Morricone's G,B&U soundtrack knew its original editions contained but the main thematic/musical elements of the spaghetti western epic -- until now. The addition of ten previously unissued cues on this newly remastered edition render the landmark score in its full glory, nearly doubling its running time in the bargain. While some of these new elements are but spare, haunting reworkings of familiar motifs (including Allessandro Allessandroni's trademark guitar riffs and the chilling vocal shrieks the composer used to evoke the howling of coyotes) that help expand its emotional dynamic, others like "Sentenza," "La Missione San Antonio" (a haunting instrumental version of "A Soldier's Story" that effectively presages his elegiac Once Upon A Time in The West and "Il Bandito Monco" significantly add to its expansive scope, firmly restating its claim as Morricone's first true classic. -- Jerry McCulley
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