engmus-f1005-5
Various
Artists -《Morricone Rmx》(2001)
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A
brief about the album
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Prolific Italian film-scoring legend
Ennio Morricone isn't afraid to use contemporary
pop idioms in his work but usually eschews them
because they become dated so quickly. That shrewd
sensibility helps make this collection of remixes
by an international slate of dubsters and electronica
artists a bit more interesting--and ironic--than
it might otherwise be; after all, what music dates
quicker than club remixes? Producer Stefan Rambow
(Mondo Morricone, the Canto Morricone series) also
notably secured Maestro Morricone's approval for
the project, giving it an added cachet. But that
official blessing may also account for the set's
patchy quality. A few of the efforts seem overly
conservative--especially given the genre--and hesitant
to tweak The Legend too much. Apollo Four Forty
and Terra Nova are satisfied to simply overplay
the most clichéd elements (twangy guitars, harmonica,
oddball percussion) of Morricone's spaghetti Western
canon, while the remainder of the set is surprisingly
atmospheric and sedate. The elegant melodies of
"Chi Mai" sometimes get lost in Nightmares
on Wax's groove lite, while Bigga Bush and DJ Dick
produce two nicely contrasting takes (rhythmically
edgy and languorously dreamy, respectively) of "Clan
of the Sicilians" and Thievery Corporation,
Tommy Hools, and Ali N. Askin plumb the often haunting
dimensions of Morricone's music. Enthusiasts should
welcome these mostly fresh takes on his enduring
legacy, even if they ultimately prove Il Maestro
was usually one step ahead--or completely outside--of
the game. --Jerry
McCulley
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Album
Details
Release date : 22 May 2001
Album Duration : 70:08
Genre: Electronica
Style: Ambient Dub, Ambient House, Ambient Techno,
Electro, Electronica, Experimental Ambient, Experimental
Dub, Experimental Jungle, Illbient, Jungle/Drum`n`Bass,
Progressive Trance, Techno-Dub, Trance, Trip-Hop
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The
artists
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"Morricone
RMX"(2001)
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Honorary
Oscar 2006 goes to composer Ennio Morricone
congratulations
Morricone most heartily
Ennio Morricone Mini biography: A classmate
of director Sergio Leone with whom he would form one
of the great director/composer partnerships (right up
there with Eisenstein & Prokofiev, Hitchcock &
Herrmann, Fellini & Rota), Ennio Morricone studied
at Rome's Santa Cecilia Conservatory, where he specialised
in trumpet. His first film scores were relatively undistinguished,
but he was hired by Leone for Per un pugno di dollari
(1964) on the strength of some of his song arrangements.
His score for that film, with its sparse arrangements,
unorthodox instrumentation (bells, electric guitars,
harmonicas, the distinctive twang of the jew's harp)
and memorable tunes, revolutionised the way music would
be used in Westerns, and it is hard to think of a post-Morricone
Western score that doesn't in some way reflect his influence.
Although his name will always be synonymous with the
spaghetti Western, Morricone has also contributed to
a huge range of other film genres: comedies, dramas,
thrillers, horror films, romances, art movies, exploitation
movies -making him one of the film world's most versatile
artists. He has written nearly 400 film scores, so a
brief summary is impossible, but his most memorable
work includes the Leone films, Gillo Pontecorvos _Battaglia
di Algeri, La (1965)_ , Roland Joffé's The Mission (1986),
Brian De Palma's The Untouchables (1987) and Giuseppe
Tornatore's Nuovo cinema Paradiso (1988), plus a rare
example of sung opening credits for Pier Paolo Pasolini's
Uccellacci e uccellini (1966). It must be stressed that
he is *not* behind the work of the entirely separate
composers Bruno Nicolai and Nicola Piovani despite allegations
made by more than one supposedly reputable film guide!
(see
here)
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