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Rita Monico – Thrilling (La Regola Del Gioco)

Label: Arc – AN 4068 Italy Released 1965

Track A: Thrilling (La Regola Del Gioco)

Thrilling: adjective – causing excitement and pleasure; exhilarating… “a thrilling adventure” 

That’s a definition that is so well suited to this Rita Monico soundtrack single, released back in 1965. This featured track defines the Italian dramatic movie theme sound of the sixties.

I’m finally diving into this Morricone-Monico thriller title track, a much loved record, and a rare diamond in my collection. Quite a notable singer in Italy, and releasing a modest amount of singles early in her career, I mistakenly thought I would be able to uncover a whole lot more about Rita than I could. There has to be fans out there that can shine more light on her than I can here, but for now, I need to share what I have found out about her release.

Monico was born in Milano in 1950, and began singing at a very early age. She participated in the Zecchino d’Oro, an Italian festival/competition held annually since 1959, showcasing children singing songs (the winners are the writers and composers of the songs, not the young performers). She also sang in other competitions such as The Golden Mask and Golden Colosseum.

Her first credited recording release was in 1960 (she must have been 10), a collaboration with Armando Galimberti, singing the children’s Rhyme “Vorrei Volare”. At 11, alongside Laura Belloni, she narrates a record of “Tiritera Dell’Arcobaleno”, which I am assuming is a children’s story accompanied by music. Then in 1964, she had her first actual pop (chanson) release on the ARC label with “Se Tu Non Mi Vuoi” and “Di Sera”. That same year she release “Non Ho L’Eta (Per Amarti)”, a song also sung by Gigliola Cinquetti, who would end up winning the 1964 Eurovision song contest, with her performance of it.

1965 saw the cinematic release of “Thrilling”, released in Italy by Dino De Laurentiis Cinematografica, filmed in Rome, Lazio. Filed as “mystery/thriller/comedy”, it’s an anthology made up of three short films, about three ordinary men who become involved in violent crimes. Each chapter had it’s own director and each included an array of iconic or up and upcoming Italian actors and actresses, all brilliantly cast. Here’s a brief depiction of the three chapters that make for the fun kooky ride.

Il Vittimista (The Victim) – The first story is about a Latin teacher named Nanni Galassi, who suspects his wife Frida (who also happens to have a creepy doll collection), is out to kill him. So convinced that she wants him dead, he consults a psychologist, to determine if it’s a reality or just a wild paranoid fantasy. His anxiety becomes so overbearing, and his tired hallucinating mind starts to break him down. His psychoanalyst reveals that his obsession is caused by a guilt complex stemming from an extramarital affair, so he breaks off all ties with his lover and resumes a quiet life with his wife. But his lover Luciana, isn’t too pleased to be brushed aside, and Nanni may have to pay the price. If you like Italian black humour and absurdity, then this is very enjoyable. Nino Manfredi plays the manic, witty Nanni superbly, and having both Alexandra Stewart as Frida and Magda Konopka as Luciana in the cast, makes it a delicious, if hardly thrilling short film. Ennio Morricone scores this first chapter with thriller instrumental themes, but the celebrated track to Il Vittimista is from Petula Clark, and her song Ciao Ciao (her Italian take on Downtown). It is heavily used in this first episode of Thrilling , and it is both genius and hilarious, as how it is placed in the final sequence.It’s the final master stroke by director Ettore Scola.

Sadik – Based on the comic series of the same name, this is the second story about a very stressed out business man-engineer named Bertazzi, who is struggling with debt and unpaid bills, but also having relationship troubles in the home, with his comic book obsessed wife. When Bertazzi comes home after a big day at the office, we first meet Veronique, lost deep into one of her comic books, that litter their living area. She pays him very little attention, far more interested in the adventures that picture the pages of her favourite Sadik paperback. After failed attempts of any real conversation, Veronique springs up an idea that may just spice up their relationship. She convinces her husband to dress up as her comic book hero and then break into their house, while she innocently waits in the bedroom. And yes she happens to have a replica costume, that really looks like she made it herself, ready to go. And miserable husband is willing to give it his all. The exotic escapade starts off well, but of course we know it’s not going to go to plan. The phone rings, his wife rejects a valuable business phone call from Switzerland, and he reacts by completely identifying with the comic book role imposed on him. Directed by Gian Luigi Polidoro, and starring Walter Chiari as Bertazzi and Dorian Gray as Veronique, this is a short but amusing adventure, with Monico’s title track used perfectly throughout, to give that wonderful Italian melodramatic and utmost thrill. 

L’autostrada del sole (The Highway of the Sun) – The final film of the trilogy starts with Fernando Boccetta, driving sporadically on a freeway, deluded he’s behind the wheel of a Ferrari rather than the incredibly tiny Italian car he actually is driving. Whippin’ and zippin’ through frantic traffic, throwing out attitude to truck drivers, flirty looks to passing ladies, and just being a little insane really. After ditching a suspicious hitch hiker, he ends up having a little bungle with the driver of a sports car he was egging on. The driver takes off and the pursuit starts. But Boccetta breaks down and is forced to spend the night at a mysterious inn run by a very strange family, that it seems are murdering their guests. He meets Paola, a beautiful guest also staying at the inn, along with the very suspect family members. Boccetta senses evil doings and after discovering a body in his cupboard, he really starts losing the plot. He tries to warn an unconvinced Paola, but realising he is likely the next guest to be disposed of, he does his best to make his own getaway. The framed Bocetta almost succeeds, until the final reveal. Director Carlo Lizzani chose well to cast Alberto Sordi as the hilarious and cowardly buffoon lead. And if you have a thing for Italian screen starlets, this short film is a delight! Two sisters of the creepy family are played by Nicoletta Machiavelli as Lea, and her sister Claudia, played by Oretta Fiume, and also the female lead Paola, played by Sylva Koscina, who was actually a Croatian starlet, very popular in Italy in those days. 

The title track “Thrilling (The Rules Of The Game)”, is another Morricone film score masterwork, and even though it was only this single that come out for the films release, I peak it very high, as one of his best. He’s collaborated with the highest calibre of female vocalists, but no one could ever better Rita Monico’s performance, or even be more suited for this particular track. It’s really hard to believe she was 15 or 16 when she recorded this! What an incredible range, from her sultry verses to the the big beautiful choruses. And so dramatically performed, in the way that only the Italians can do. And there is also icing of this cake with Alessandro Alessandroni’s musical vocal group Cantori Moderni di Alessandroni helping this become such a Morricone masterpiece. “Thrilling” is predominant used in the second act, but Morricone did create similar themes that really carries that beautiful eerie background atmosphere that is so good for this genre of Italian film making. There was never an actual LP soundtrack released for the film, however just recently in 2024, Solisti E Orchestre Del Cinema Italiano & EverKent, had released a “reconstruction” of  Morricone’s music score for the three episodes as a limited run on CD. I’m honestly not a big fan of such modern day re workings (I struggle with the modern production sound, and definitely not the talent), but it could be good, and may even give Monica’s obscure original release more recognition.

The flip side to this official release has Monico singing what is now a Hal David – Burt Bacharach classic, Quando Tu Vorrai (What The World Needs Now Is Love), which has nothing to do with the movie, but it is such a beautiful version. On record, it is Jackie DeShannon who was first to release the vocal song version in April of 1965, so possibly it was some very clever marketing to have an Italian version on the shelves. Not an uncommon occurrence from European or foreign labels at that time. Also, if you want this version of Thrilling, a more achievable 7″ to find, was an EP released in France which also includes “Non È Mai Tardi”, a take on The Shangri-Las 1966 track “Dressed in Black”. Another beautiful cover from Monico, but not as dark as the original, which is always so alluring about The Shangri-Las.

Monico would release singles yearly up until 1975, but I really couldn’t find too much about her career movements or personal life after that period. If I was going to pick a stand out from her further releases, I would suggest the 1975 single Sono Mia / Leggenda Del Futuro, which was used for  the documentary “Pianeta Donna – Italia”. The first in a series of documentaries dedicated to the condition of women around the world, produced to coincide with the UN’s “International Women’s Year”. The documentary explores the daily life of Emilia, a 28-year-old woman who emigrated from sunny southern Italy to foggy Turin, northern Italy. She lives with her large family (herself, her husband, four children, two sisters, and a nephew) in a squalid attic, and tries to make the income by working as a housemaid. Her life is devoid of entertainment and discusses the difficulties faced by immigrant families, similar to those faced by approximately 7 million Italians living in the North. The only footage I could find of this, was through the two clips of both songs posted on you tube. It actually looks ethereal and psychedelic, with trippy dance sequencing that plays against both songs, but particular well over Sono Mia. I believe Monico’s tracks are played for both the opening and closing sequences, but I would love to find the series… it’s very intriguing. 

I must recommend the film “Thrilling”, to put on your watch list if you have never seen it, especially if you love this era of Italian cinema. The film has never had an official non cinematic re-release, on DVD or for purchase, other that the exclusive VHS (Domovideo and BMG) releases many, many years ago. This is madness! There are some shared opportunities online, but none of the recordings were of the best quality, and likely taken from a VHS copy. Most versions were in Italian with no subtitles, and while my Italian is very poor these days, that didn’t stop me from absolutely enjoying the whole ride, from beginning to end. 

If you adore Morricone’s soundtrack work particularly from the sixties and seventies, you will understand why I absolutely treasure this obscure Monico release. 

– del Piero

Posted by  |  August 13, 2025 | Categories: Italy, Soundtracks, The Ladies | Tags: , , , , , , , , , , , , , , , , , , , , , , | Leave a comment

Nakahara Miki 愛のイエスタディ

Trio Records – 3A-116 Released Oct 21, 1973 JAPAN

TRACK B: 愛のイエスタディ (Yesterday)

So here’s another one I am filing under “Mysterious & Unknown”. Another one that has become an obsession, and has that alluring dreamy, misty gentleness. Embracing like a hallucinogenic lullaby from a faraway lost world in another time. But again, that place is Japan, and the year was 1973. Can anyone out there tell me anything about Nakahara Miki?

I can’t explain it, or describe it. There’s something I adore about hazy and quirky foreign and unknown releases from the sixties and seventies. I can’t place them in a category or genre. Somewhat seductive, and with both an outer space and under water atmosphere, and dripping with over the top romanticism. And part of not knowing what the song is about only adds to the desire and intrigue. This track sits nicely alongside the Naomi Chiaki – Asa Ga Kurumaeni track I featured a little while ago.

I could only find one isolated release from Kiki, this only 7″ single. Recorded through the same label as Tonpei Hidari – Hey You Blues , and released the same year of 1973. This makes me really want to dig into the Trio label’s archives to see if I can dig out any other lovely but odd jewels. I have done a bit of searching into the Japanese label’s catalogue, but there’s a fair bit to sift through, and it is ever so varied, with some very strange releases, and definitely not exclusive to Japan only artists.

The feature track is the B side of Kiki’s (possibly) only release. Side A 花嫁の手紙 (Bride’s Letter), is more of a typical soft rock ballad where Kiki uses her range to crescendo through soaring strings along the standard pop beat. She does do a thing I do like, that whole bridge thing where the singer narrates over the top, maybe telling a story or encounter perhaps. It’s kinda cheesy, but it is completely allowed by me if it’s coming from this kind of Japanese context. Hidari also does it in Hey You Blues. I know it was a “thing”, in a time, and in a lot of foreign countries. It’s just adorable!

But the Side B Track 愛のイエスタディ (Yesterday), is astonishingly beautiful… to me. Nothing typical here. So much melancholy from the very start, but it’s pure and just so lovely. The kind of sweetness bordering on”Lynchian”. The chorus is so distant and dream like. And yes again, we get some of that great narration. I suppose I could use some kind if AI app to translate it all. But I don’t need it. I love it all, with or without knowing the story or lyrics.

So if that is it from Nakahara Miki recording wise, then the next thing I do is search the trusty IMDB for any possible clues of film work, via music talents or other. “Nakahara Miki” does come up as an actress that possibly worked on approximately 7 films, between 1974 to 1991. But without any photo evidence and hardly any write ups of any of the films, I’m just not a good enough detective to confirm this is the same artist featured here.

So I’m going to leave this all here, and just wait in hope for someone out their to please enlighten me on Miki. The woman behind this truly beautiful, divine and poetic song I have deeply fallen for. And I hope someone out also feels the same way about it.

– del Piero

If you fancy this, you may dig these…

KIYOKO ITÕ – Hoshi Kara No Tayori

Maki Asakawa – Chicchana Toki Kara

Posted by  |  June 20, 2025 | Categories: Japan, Mysterious & Unknown | Tags: , , , , , , , | Leave a comment

Tonpei Hidari – Hey You Blues

Trio Records – 3A-118 Released 1973 Japan

Track A – とん平のヘイ・ユウ・ブルース Hey You Blues

I have promised myself to do  a post on Hidari’s “Hey You Blues”, since the day of his passing back in 2018. That was 7 years ago! Why do these things take me so long to get to? I recently pulled this record out for a radio show I put together celebrating some Japanese gems, but this time I promised myself not pack this one away until I finally share it here on this blog.

But now that I am back researching Tonpei Hidari, I am remembering why I put his story aside, which was because of the lack of information I was able to find on him at the time. Well, I’m still not finding a lot about him, but I won’t let that stop me from sharing this great release from him, and as always, just maybe, I’m hopeful, someone, anyone, that reads this who is far more knowledgeable, can share more truths and tales about the wonderful Mr. Hidari.

Tonpei Hidari (real name Hiromichi Hidaki) was born on May 30, 1937 in Tokyo, Japan. He was the youngest of three brothers and the house where he was born was a restaurant and sushi shop. In 1953 he entered Setagaya High School. At that time, inspired by the performances of the Dassen Trio and Hisaya Morishige, who were very popular at that time, he decided he wanted to be a comedian. In 1954, while still at school, he entered the Yoyogi Actors’ School. In 1956, he graduated from high school and helped out in the family sushi shop. In 1957 he formed a theatre group with his friends and in 1960 he joined Kiyoko Tange’s Etcetera Theatrical Troupe. He has appeared in films from 1963 onwards during the 60s and was under contract to Toei’s theatrical section and appeared in many plays for them. In 1962 he was married.

So to his recording career. This featured single, was his first release, and on the label TRIO Records, in 1973. The label was known for its jazz releases, and was established by the audio manufacturer later known Trio Kenwood Corporation. I always wanted a Kenwood in the seventies! This A side is killer! “Tonpei’s Hey You Blues” (Tonpei No Hei Yū Burūsu), strides through the verses with a soul jazz groove, where Hidari speaks more like in conversation than sings. But suddenly there comes the cresendos to the explosive chorus where Hidari shouts out in English “Hey you! What’s your name?” I have never known the story behind the lyrics in this song and what is behind the punch of the chorus.

With  many of the non English songs I research, I like to go to the comment sections, where ever I can find  the song posted, and hope to find meanings or peoples personal reactions. And here I could  a few things. Firstly, this song is very well known to the Japanese people, and many remember singing this chorus at schools when they were young. And many Japanese people respond to the meaningful lyrics. One commentator translates the lyrics which I will include here, and I trust it is correct, and will leave the reader to take in what they think it all means. This is one comment from a listener… “It’s a masterpiece that children who laugh and listen to without understanding the meaning eventually grow up and listen to it while crying.” And another comment… “He asks for the names of those who despise him, degrade him, and ruin him. But he must know that the name belongs to him. But I can’t help but scream. The blues of such a sad man’s soul. Even a professional soul singer would not be able to sing to this level.”

But I also find a few more exciting comments, from a Ken Muraoka, The actual Saxophonist that recorded on this track, and also the flip side track called “Tokyo Is A Great City” (Tōkyō tte ī machida na). “I’m Muraoka, who played saxophone on this song. I was invited by Mickey Curtis that day to record at a disco in Roppongi. Hey You Blues got the OK on the first take, and he said we were going to record one more song, so I wrote out the chords and we started playing and recording, and that’s how “Tokyo is a great city” on the back was completed. I had fun filling in both songs with guitar-like saxophone, right? I wonder if Mickey is reading this, hahaha.” 

It is also apparent that at this time of release, the rise of new soul such as Isaac Hayes’ “Shaft” in 1971, and Curtis Mayfield’s “Superfly” in 1972, and also The Phillly Soul Sound, was not only sweeping the United States, but was spreading across the world, and influencing musicians and music lovers. Ken Muraoka also mentions that he himself got to play with Curtis Mayfield when he toured Japan, and played in Shibuya in 1984.

The B side track “Tokyo Is A Great City”, is far more smooth, but again no actual singing from Hidari, but instead it’s more spoken and narration. Well the music is smooth, but it is sounding like Hidari ends up in some kind of angry argument, and without knowing the context, it’s difficult to know the story that is being told.

The following year in 1974, Hidari released a second 7″ titled “Tonpei’s Alcoholic Life” (Tonpei no sakebitari jinsei). This is an odd show tune sound and Hidari is sounding slightly intoxicated. In 1975 he released possibly his final single with the A Side Busuna on’na (Ugly Woman) and the flip “Koyubi No Warutsu” (Pinky Waltz). He actually sings on the A side, there’s kitsch strings and the soul is, well far less deep that the featured track. It is said that he also recorded a single years later called “Ningen te nandaro” or translated to “What are humans?” But I could not for the life of me, find anything on this after a deep dive. Is this true?

After a short recording career, Hidri would become a well known actor in Japan. In the 1970s, he became through various dramas such as “It’s Time”, “Terauchi Kantaro Ikka” and “Mu Ichizoku” and he played a Japanese Columbo-style detective in “Hijo No Licence”. He gave “passionate” performance as a detective in Nippon Television’s “Female Coroner Muroo Akiko”, which began in 1986, and would run for more than 20 years. In later years, he spent most of his time doing talk shows, but featured in comedies such as “Oedo degozaru”. Hidari also appeared on the big screens, working in films such as “The Ballad of Narayama” (1983), which won the Palme d’Or at the Cannes Film Festival, and “Yoshiwara Enjo” (1987). 

But it was the popular and bizarre TV series ” MONKEY”, that really made Hidari famous around most of the world, especially to the kids. It was an adaptation of a Chinese folktale about a pilgrimage to the West undertaken by a monk and his divine guardians (based on the 16th-century Chinese novel Journey To The West). The series surprising only ran for 2 seasons, between 1978 to 1980. Hidari would come in as Pigsy in 1979, replacing Toshiyuki Nishida, who  play that character in the first season. I was at school when this was showing on out TV screens all the way over here in Sydney Australia. Everyone liked it, but some obsessively loved it! And we’d talk about it and act out some of the memorable moves! It was so lovely to find out that Hidari was a part of that Monkey Magic era, after getting my hands of this record.

Hidari died on February 24, 2018 at a hospital in Tokyo due to heart failure. Thank you Hidari for your performance on this record. It sounds like you were loved by many and whenever I play this record for someone, it has always impressed them…immensely.

– del Piero

Lyrics translated by @ikidearitashi1030

Lyrics: Gogoro Composer: Yoshimichi Mochizuki 

HEY YOU HEY YOU WHAT’S YOUR NAME? HEY YOU HEY YOU WHAT’S YOUR NAME?

There is a sound in the air Do you remember your mother’s breasts? Can you remember the mole of the girl you abandoned? The world is full of people Life is a pestle, baby Life is a slippery slope OH MY BABY Listen to this blues

HEY YOU HEY YOU WHAT’S YOUR NAME? HEY YOU HEY YOU WHAT’S YOUR NAME? All my friends stole the same watermelon. All my friends were killed by the same woman All my friends were on the same train How about that? Before I know it, I’m a pestle I’ve been turned into a pestle I’m a tired and lonely pestle The one who turned me into a pestle Who is that? Who is that? 

HEY YOU HEY YOU WHAT’S YOUR NAME? HEY YOU HEY YOU WHAT’S YOUR NAME? Are you saying that alcohol doesn’t make you angry? Are you saying that my wife is not excited? If there is a god who throws away, then there is also a god who heals. The pestle has become so worn down that it looks tiny. Who is Hiromon? The more a pestle works, the more it grinds. Grind it, add miso and enjoy it. There’s got to be someone who’s wearing me down. The one who turned me into a pestle Who is that? Who is that? 

HEY YOU HEY YOU WHAT’S YOUR NAME? WHAT’S YOUR NAME? WHAT’S YOUR NAME? Please write your name Who are you? Who are you? Who is it? You too will become a pestle someday. I’m no good. I’m no good. HEY YOU WHAT WHAT WHAT’S YOUR NAME? HEY YOU WHAT’S YOUR NAME? I’m no good. I’m no good. WHAT’S YOUR NAME? No, no..

MOVIE CREDITS

1966 Kuromaku (Black Cutrain)
1968 Dorifutazu desu yo! Totte totte torimakure (It’s Drifter Tatsuru! Take it, take it, take it!)
1977  Torakku yarô: Otoko ippiki momojirô uncredited

1983 The Ballad of Narayama1987 Yoshiwara Enjo 

1987 Yoshiwara Enjo 

Live Appearance from 2002

Posted by  |  April 20, 2025 | Categories: Cool Cats, Funk, Japan, Mod Jazz | Tags: , , | 1 Comment

Naomi Chiaki – Asa Ga Kurumaeni

Columbia – SAS-1357 Japan Released 1969

Track A : 朝がくるまえに Asa Ga Kurumaeni

I absolutely love this track from Naomi Chiaki. I feel it is perhaps over looked in the Japan Sevens collector circles and it needs to be shared.

Born on September 17, 1947, Naomi Chiaki (real name Segawa Mieko) was born in Kanagawa, raised in Itabashi, in the Tokyo Metropolis in Japan. Born as the youngest of the three sisters, and heavily influenced by her mother who loved to perform, she learned tap dancing at the age of four, and at the age of five, she took the stage for the first time in the Nikgeki Music Hall, a beautiful former Japanese theatre, built in 1933, and which had avoided damage throughout air raids and war. It is documented that she sang at US military camps, jazz cafes and supported then popular singers on concert tours, when was she very young.

Chiaki moved schools numerous times, graduating and shifting through different cities around the Tokyo regions, but it’s difficult to find what musical path was leading her or the journey she was following during her teens. In the late sixties she succeeded an audition to become a pupil for composer Jun Suzuki and in 1969 she had signed to Columbia and released her first single, this featured release, “Asa Ga Kurumaeni”.

It translates as “Before The Morning Comes”, and it’s such a beautiful track. You can hear her jazz styling in her very polished voice. It’s a very theatrical song in that it feels like it should be part of spy thriller that was so popular in the sixties. Jun Suzuki is composing, and you can tell he was a master with mixing a good sixties back beat, with atmospheric strings, driving bass and distant piano chops. This Chiaki song is just devine! This track has the perfect vibe, and it’s one that really grew on me, to the point where I got a bit obsessed with it. It is a much loved 7″ that I pack for only the cool bars.

The flip to this single is called “Yoru Wa Darenimo Agenaide” and has a familiar arrangement, but isn’t as spectacular. But I will say it also is growing on me, so I am happily giving it more rotations. “Asa Ga Kurumaeni” also appears on her debut LP “Yottsu no Onegai; Anata ni Yobikakeru Chiaki Naomi”, which kinda translates to “Naomi Chiaki Is Calling Out To You With Four Wishes”, and was released the following year in 1970. I don’t own that LP, but I have has a listen and I like it. It feels like a conceptual love story record, with Chaki narration between some tracks. Again familiar themes and top class Jun Suzuki arrangements, and I will put it on my list of records to look out for if I ever get back to the Tokyo record stores.

Naomi Chiaki had her breakthrough single in 1970 with “Yottsu no Onegai”, and would end up releasing a barrage of singles through Columbia all through the seventies, and even beyond, with further labels. Further digging tells me her biggest and most successful hit was “Kassai” released in 1972, a song which has been commonly considered her signature tune. It sold over one million copies by February 1973, and because of it she won the 14th Japan Record Award and landed a “Gold Disc” for it. She would also release a tonne of LP’s (I have counted 28) all the way up to 1991, so she really enjoyed a successful recording career.

Chiaki also did a few musicals, but it is said when she played Billie Holiday in the musical ‘Lady Day’ in 1989 to 1990, that her performances were absolutely unforgettable. She also played Carmen the musical ‘Song Days’ in 1991, so this tells us a lot about her stage talent and vocal chops.

Sadly her husband *Eiji Go, passed on September 11 in 1992, and she stopped working completely as an artist. But I’m certain her millions of her admirers, will continue to listen to her vast catalogue for many years to come. Apparently Naomi Chiaki had recorded 425 songs, and I’m wondering if there’s a more perfect Chiaki release amongst them? Let me know if there is.

  • del Piero

*Eiji Go was an actor known for “Kamen Rider V3 vs. Destron Mutants” (1973) where he played Doctor G, and also starred in “The Executioner II: Karate Inferno” (1974) and “The Executioner’ (1974).

I think it is lovely and sweet to see Chiaki’s late husband in action, so here is a link to Kamen Rider V3 vs. Destron Mutants. I love this stuff! Hope you can see why!

Posted by  |  March 10, 2025 | Categories: Japan, Ye' Ye' | Tags: , , , , , , , , , , | 1 Comment

Victoire Scott 4ème Dimension

Decca – 461.163 France Released April 1968

Track A1: 4ème Dimension

Track A2: Une Fleur Dans Le Coeur

So the whole purpose of this blog was initially to contain information of all the things I have discovered about some of the musicians that have recorded on some my favourite 7″s. Artists or songs, that aren’t so well known, that has taken me hours and nights of digging into very particular music websites, elusive but specific forums, archival news articles, linar notes and even old fashion books. But there’s so many artists I want to feature here that for the life of me, I just cannot find anything on them! So I’ve decided to start a new “mysterious unknown” category on Seven45RPM, in hope that someone out find has something to enlighten me with, that I can add. This track, from Victoire Scott, has to be in my top sixties french femme list, and it needs to be shared!

Her real name apparently is Claudie Deneuville, and the only consistent word on this singer that I’m hearing, is that her whereabouts is famously unknown. We do know she released eight 7″ releases, between 1968 and 1971, with 3 ep’s include in that small mix. Decca released her french EP’s in the sixties, then possibly new management, or a deal, for her CBS releases for her early seventies releases. Her two canadian single releases were on London. So no real overseas pursuits by the looks of it?

4ème Dimension is her first release and her best. Haunting intro and versus, with psychedelic power pop bursts into choruses. The lyrics picture a dream like moment, where the world around is all unknown, perhaps lost in a 4th dimension. It’s all very psychedelic, fantastical, and paints all the images you need for a the surrealist’s journey. Shattered glass, one eye window and golden butterflies. It’s all so perfectly dreamy and bliss!

But this is not a “must have one track” EP, or no! The following track is also brilliant and beautiful. “Une Fleur Dans Le Coeur” follows a similar pattern to the opener, with it’s gentle but eerie start, but this time we are lead more into a prog garage blues shift, albeit still with catchy pop choruses. This track is actually a take on The Shamrocks* “Rich Life” from 1967. But it’s not a cover. Scott’s song title translates to “A Flower In The Heart”, and the lyrics are very different, this being a love song, again, quite pure and dream like. Where as The Shamrocks talk about Chevy’s, Swimming pools, Egyptian jewels and king size beds. No guessing which portrayal I prefer. French writer Christian Schaeffer gets a credit for “Une Fleur Dans Le Coeur”, but so do Shamrocks’ Keith Chambers and Peter Pawson, which would be for the rights to use the melody and song construction. Scott’s take blows away the original into fragments of rainbows. The following two B side tracks are also great, similar in spirit, and just adds to this whole package of pysche sixties delight.

Scott would release a second EP in October of 1968 and is another worthy release if you like her first release. The title track ” Un Garçon, Une Fille” is psychedelic floating pop, but has a really strong and catchy chorus, and wonder why this is obscure, as it has everything and more, than other more popular hits of the time, in he similar genre. Maybe the radio french weren’t  into the psychedelia. Or maybe they were and it did well? I just don’t know. But it’s brilliant! And as an extra treat, there’s a clip of her singing this track (search it on you tube), so maybe the expectations were hopeful for this release, by record executives?

Her 1969 Ep “Le Petit Train De Sasfé” doesn’t just have that amazing surrealist collage pic sleeve, but it also includes the incredible haunting “Abigaël”, which I’ve always been in love with. This is Victoire Scott, her voice, her mystery, her sound, and her everything. Some other artists that I love of this time, would release a one off psychedelic track, perhaps it was a thing that they felt needed, to fit all that was so happening at the time. But in Scott’s case, I feel it was coming from a more genuine place.

Scott would release “Hey Mamma” in 1970, and now she’s moved more in to a harder edge sound, not too far from what the Beatles were moving into, with an early taste of glam, and guitar heavier than early releases. Then 1971 saw the release of her much more radio friendly “Bientôt San Francisco”. And this is where it stops for Scott and her recording releases…as far as I know.

I will always respect artist’s privacy, especially when I have no idea of what their recording experiences were like, or their lives at that time or in following years. So I have to appreciate if these singers and musicians prefer to stay secluded and away from recognition. But I also hope that they do know how much their music is valued and loved all these years later. So, please, if anyone out there knows anything about the wonderful and mysterious Victorie Scott, please shine a light!

– dj del Piero

* The Shamrocks were a phenomenon as they never charted in Sweden, but were the most successful Swedish Rock band in Europe in the the ’60s, and charted in German, France, Netherlands and even Japan.

Other things I found out:

Therion  “Une fleur dans le cœur” in 2012.

Scott appeared on “Musicolor” in the Episode Les moyens de locomotion that aired on June 19, 1969.

Writing credits for “4ème Dimension” go to Guy Bonet and Christian Turban, the older brother of Alain Turban who covered this song as a disco track (!) in 1978 on Carrere.

Victoire Scott starred on Au Risque De Vous Plaire rare tv show directed by Jean-Christophe Averty. The clip below supposedly is taken from her appearance in 1968 and includes surreal artworks by Belgian surrealist Paul Delvaux and Dutch graphic artist M. C. Escher.

If you like this you may also like Maki Asakawa.

Posted by  |  August 29, 2024 | Categories: French, Mysterious & Unknown, Ye' Ye' | Tags: , , , , , | Leave a comment

Vetty – Nicolas

Riviera 231328 France Released 1969

Track B1 – Nicholas

Well here’s a favourite french 7″ that fits into a few categories. It’s beat ye’ ye’, it’s groovy French pop, it’s got a funk kick and it could definitely be filed under oddities. This is all I could find out about the mysterious Vetty that is behind this big rare french monster 45!

Yvette Levis was born in 1941 in La Croix Rousse, a small city high on the hill that shares the same name, in Lyon, France. In 1962 she was spending time in Switzerland and had a connection (possibly working) with La Chaux-de-Fond, in an establishment run by Jacques Marjo: La Boule d’Or, a few kilometres south of the French border. It is said that she started acting before any musical ventures, but I have no information as when and where this took place, in these earlier years.

In January 1966 she landed in Paris and took part in a game show, “Le Palmarès des Chansons” which was broadcast every week from 1965 to 1968 on the first French channel on television. On each show, a renowned singer is invited and young artists must perform one of this singer’s hits, or a potential new hit song, unknown to the general public. The winners were determined using a “computer machine”, where all the punched cards from the viewers where fed into and sorted automatically (this added a technical and modern side to the show). Some of the big french artists to appear on the show included Serge Gainsbourg ,Jacques Dutronc, Sheila ,Sylvie Vartan, Johnny Hallyday and Francoise Hardy. It is here, on this popular TV show, where Vetty was noticed and scored a three week opener for Gilbert Bécaud at the Olympia. Vetty then was able to jump onto another tour with a big name attached, the pop star Claude François, that really would have focused her in an even brighter spotlight.

In 1969, she recorded her only solo release, a 4-track EP titled “Vetty” through Riviera. On it’s release, the better known track was the opener “Johnny (Si Tu Viens À Saint-Étienne)”, co written by TV – radio host, comedian Jacques Martin. I am not an expert by any means with the French language, but I feel like it’s a call out to idol Johnny Hallyday from the fan girl. “Johnny if you come to Saint-Etienneuh, for one evening, I want to be yours”. A quirky and fun tune, but c’mon the real reason to sought this EP out is because of NICOLAS! My goodness what a track! This is as good as go go beat gets, and Vetty’s unique vocal, makes this such a stand alone track. Yes her odd vocal style, somehow fits this dance floor mover, and because of it’s peculiarity and distinctiveness, it actually demands attention! I don’t play this out much, but when I do, it turns heads and is responsive!

(Emma) Vetty would also appear on the “Petipatapon” LP, the soundtrack to a musical french show played at Bobino (Paris), April 1967. Recorded in 1968, the album would also feature Jacques Martin and chanson Catherine Franck, who sang the beautiful track Plus La Même (He’s My Little Devil).

So what happened to Vetty? I believe she found plentiful work through voice acting with children’s TV shows, and have read that she was the voice of the main character of the series “The Universe of M. Touchatou” from 1968 to 1970. She also toured with Nana Mouskouri in 1970, and for a time, worked in small theatre plays, and had a movie role in the 1983 film Sandy.

This is a prized 7″ and feel lucky to have found a copy a long time ago. Like I said, it doesn’t go into my dj box too often, but whenever I do play it, I’m just reminded how bizarre, great and gigantic this little Vetty treasure is!

– DJ del Piero

Posted by  |  June 9, 2024 | Categories: French, Funk, Ye' Ye' | Tags: , , , , , , , , , | Leave a comment

Mieko Hirota – On A Sorrowful Day

Columbia – P-65 Released 1969

Track B – あなたがいなくても On A Sorrowful Day

Here’s another gem from Japan, from perhaps a lesser known singer (well on our shores at least) which will always appeal more to me, but a track and artist I felt I needed to share. The singer was called Meiko Hirotota, had the nickname of Mico (also spelled Miko), and in Japan was very prolific and successful, releasing fourteen albums on Columbia between 1968 and 1977, (and a career totaling 35 albums) and was known in her country as “The Queen Of Pop”.

This will be another short and brief post, as I cannot find a lot about Hirota, which is surprising, considering her success in Japan throughout the late sixties, seventies and eighties. I’m really just trying to string together a few facts I have found out, here and there, into some kind of summary. So please reach out for any more info or helpful links! I would be most appreciative.

Hirota was born in Setagaya, Tokyo, on Feb. 05, 1947. She grew up listening to pop and jazz, and is believed to have started singing at US Occupation camps in Tachikawa, from the age of 7. Her brother who performed Hawaiian music, helped her with music and also learning the English language by teaching her nursery rhymes, while she was in Elementary school. By the time Hirota was 14, she had her first single release through Toshiba Records, in 1961. A cover version of Helen Shapario’s “Don’t Treat Me Like A Child. She would be releasing a lot of covers from the western world, in this early pop era of her career, following with “Vacation”, a Connie Francis’s cover, which in 1962, became a big hit for Toshiba and Hirato. 1962 would also see the release of her first LP, and she’d end up releasing around 35 albums in her time. Music critic Hisao Murata argues, “As a means of overcoming the problem of the Western rhythm, melody line and the language’s ability to communicate as a Japanese language, it is Mieko Hirota who invented English-like Japanese”. Hirota released around 25 singles through Toshiba in the space of 4 years, but in October 1964 she left the Toshiba music industry and moved to Nippon Columbia.

The world was changing it’s sound, and Hirota was maturing in her field, and developing more of a Jazz direction. Hirota recalls it was all because of a chance meeting in 1964, with jazz promoter extraordinaire George Wein on the Japanese Shinkansen bullet train, who convinced her that she had the range to explore Jazz. * In July 1965, Hirota performed with the Billy Taylor Trio at the American Newport Jazz Festival. This was a massive achievement to play at such a revered event, who’s line up also included so many esteemed musicians and groups such as John Coltrane Quartet, Thelonious Monk Quartet, Muddy Waters Blues Band, Dizzy Gilllepse Quintet, Drave Brubeck Quartet, Herbie Mann Octet, and the list goes on. Alongside Billy Taylor on piano, Hirota would have Grady Tate on drums and Ben Tucker on Bass. **

Her first Columbia LP release in 1966, was “Miko In New York” accompanied by the Billy Taylor Trio. There’s some beautiful work here from Hirota, covering some great standards including Torme’s “I’m Coming Home Baby”, and apparently the first Japanese woman to cover bobby Hebb’s Sunny. Hirota would then release a bunch of live albums, including “Exciting R&B Vol.1 and Vol.2” which mostly were covers, but with more zest and live energy (The live version of “I’m Coming Home Baby on Vol.2 is pretty great).

Hirota’s featured single from 1969, “On A Sorrowful Day” is her “swingiest” beat dancer release for sure. Far more fun and I’m sure hip to what was charting at the time of the late sixties in Japan. Lot’s of go go action with this one, with that great kinky beat and swinging horns. I have to say, as is common with the genre, to my ears there’s some similarities here, to other songs from the popular artists of that scene, which is something I actually love about this sound. The opening verses have very similar phrasing to Jun Mayuzumi’s “You And The Sun” and Segawa Mieko’s “Asa Ga Kurumaeni”, but the flavour here is more sultry coming from Hirota. In her huge catalogue of music, this is a groovy track that is more to my taste for sure, and somewhat overlooked I feel.

Hirota would keep releasing music for a very long time, and continued to have a huge fan base in her home country. She also worked a lot in the commercial world with diverse promoting from Japanese beer to coffee brands. And she will always be lovingly known as the voice to the theme song, “Leo no Uta”, for the animated television series Kimba the White Lion. Hirota died on July 21, 2020, at the age of 73 following a fall.

Research and referencing…

*people-vs-drchilledair.blogspot

** Newport Jazz Festival 1965

Posted by  |  May 16, 2024 | Categories: Japan, Ye' Ye' | Tags: , , , , , , | Leave a comment

KIYOKO ITÕ – Hoshi Kara No Tayori

CBS/Sony – SONA 86009 Released 1968

Track A – Hoshi Kara No Tayori (A Letter From The Stars)

 

Here is a “drifty” sweet release from Kiyoko Ito with a beautiful sprinkling of psychedelia. Perhaps more tempered and whimsical than my normal up beat dancers from the sixties gals, but it’s too good to not share this one!

There’s not very much I can find on Kiyoko, other that she was born on January 24, 1947, possibly in the northern island of Japan, in Sapporo, Hakkaido. After graduating from Aoyama Gakuin High School in 1964, she entered Takarazuka Music School. She passed the audition for Toho’s International Dancing Team and appeared as a dancer in the musical “No Strings” in June, but gave up dancing due to Achilles tendonitis. As a result, she dropped out of the music school.

Focusing on the folk songs that were popular among Japanese youth at the time, she decided to become a singer, and made her debut at the 1st Folk Song Festival held at The Nippon Theater on December 19, 1965. The following year, in May 1966, she passed the audition (of over 300 Japanese singers) for the popular American folk group New Christie Minstrels and became an official member. A group not really to my tastes, but they did have have amazing talent go through the ranks, such as Kim Carnes and Kenny Rogers. She went straight to the United States and remained with the group until her Visa expired in October.

After returning to Japan, she signed a contract with Watanabe Preofessionals, and had her debut single in June1967 on Nippon Columbia’s CBS label with the song “Hana to Kojisan” written by Kurunosuke Hamaguchi . This became her first hit! For some reason, I cannot find this in any of her catalogue listings, let alone a recording or clip, but I’m sure it’s out there somewhere. I’m sure it’s just lost in translation. Ito then would go on to record twelve 7″ singles with the CBS/Sony label, as well as three albums, between 1967 to 1975.

This featuring track “Hoshi Kara No Tayori” (A Letter From The Stars), is actually the B side to her euphonious upbeat Mishiranu Sekai single, one of three releases from 1968. Both sides of the single also appear on her 1969 LP Ballads Of Love. The year 1968 and sitars go hand in hand, and so many pop artists would experiment with introducing this sound with at least one song release of that year. And I’m ever so thankful for that! The trippy sitar introduces the song, a beautiful flavor that mixes in with the percussion and that 60’s bass that soon enters. A sweeping harp, then we receive Ito’s voice. I really wish I had a translation to this song. Of course it’s not always needed, especially in this case, as we are taken away and fall lusciously into her vocal clouds, but I do imagine the lyrics are about spirit, love and innocence. And it does after all translate to A Letter From The Stars.

As far as other release from Kiyoto Ito that take me away to that faraway dreamy place, she released the beautiful “Namida no Binzume” as a 1969 single, and is just as delightful as the featured track, sans sitar and psychedelics. This track also appears on the Ballads Of Love LP. I also love “Hana No Madonna” also from 1968, and a bit more of a dancer. And for your exotica lounge soiree, the 2 sider “Talking To Myself” and “Soon Will Be Morning” 7 inch from 1972, is an absolute goodie!

 

 

 

 

 

 

 

 

 

So there you have Kiyoko’s sweet, psychedelic love song release, and after a few listens, like a whispering haze, I’m sure it will seep delightfully into beating heart. I would love to be enlightened on anything more about this wonderful singer, from anywhere out there in the world.

– DJ del Piero

 

 

Posted by  |  April 11, 2024 | Categories: Exotica, Japan, The Ladies, Ye' Ye' | Tags: , , , , , , | 2 Comments

André Previn – Rollerball OST – Executive Party

United Artists Records – UA 36 033 Releaesed 1975

Track A: Executive Party

Track B: Executive Party Dance

Jazz influenced classical music composer-conductor, Andre Previn was responsible for one of the most funkiest spaced out film tracks you will ever hear, called Executive Party, released for the Rollerball soundtrack in 1975. Although I had watched this movie numerous times, the first time I really gave this track some serious and well deserved attention, was when I purchased the The Mighty Mellow (A Folk – Funk Psychedelic Experience) compilation in 1997, from the infamous Sydney record store Good Groove, which was recommended by the owner Tom. The comps linear notes and information was vague, mixed up and song titles were incorrect. I was certain that Andre Previn was incorrectly credited until I discovered it was from his Rollerball soundtrack.

Previn was born in Berlin to a Jewish family, with three children of Charlotte and Jack Previn, a father who was a lawyer, judge, and music teacher. All three children received piano lessons but André was the one who enjoyed them from the start and displayed the most talent. At six, he enrolled at the Berlin Conservatory. In 1938, Previn’s father was told that his son was no longer welcome at the conservatory, despite André receiving a full scholarship in recognition of his abilities, on the grounds that he was Jewish.In 1938, the family left Berlin for Paris, and Previn’s father enrolled him into the Conservatoire de Paris where he learned music theory. In 1938 his family left Paris and sailed to New York City, then their journey continued to Los Angeles, and Previn learned English, his third language after German and French, through comic books, reading the dictionary, and watching films.

In 1946 he graduated from Beverly Hills High School, but had already started working for Metro-Goldwyn-Mayer as a composer-conductor, and arranger, after their music department noticed his work for a local radio program and hired him. Previn recalled that MGM was “looking for somebody who was talented, fast and cheap and, because I was a kid, I was all three. So they hired me to do piecework and I evidently did it very well”. Previn focused his attention on film scores and jazz, and stayed at MGM for 16 years, but despite the secure job and good pay, he had come to feel increasingly confined, and consequently desired to pursue classical music outside of film scores. He resigned from MGM at 32, wanting “to gamble with whatever talent I might have had”.

Previn would branch out into classical music, theatre, easy listening music and contemporary classical music. His jazz recordings, as both leader and sideman, were primarily during two periods: from 1945 to 1967, and from 1989 to 2001, with just a handful of recordings in between or afterward. Previn was involved in creating the music for over 50 films and won four Academy Awards* for his work, and in 1966, Previn was the first person in the history of the Academy Awards to receive three nominations in one year. Some of his releases that I lean towards to, are two collaborations…Ravi Shankar & André Previn – London Symphony Orchestra Concerto For Sitar & Orchestra, from 1971, and the Valley Of The Dolls soundtrack, which was conducted by John Willams, and feature song composing by Previn and his then wife Dory, who was a poet, lyricist and singer song writer. I’m also a admirer of his Holst release of The Planets, Op. 32, in 1974.

Rollerball is a classic seventies sci-fi action film, with a large cult following and a very iconic look. It was directed by Norman Jewson, who had also directed The Cincinnati Kid (1965), In The Heat Of The Night (1967), The Thomas Crown Affair (1968), amongst others. These all did well for him, and taking on this dark, futuristic, violent action film, must have been a challenging curve ball he was looking for.

The Storyline: In a futuristic society where corporations have replaced countries, the violent game of Rollerball is used to control the populace by demonstrating the futility of individuality. However, one player, Jonathan E., rises to the top, fights for his personal freedom, and threatens the corporate control (IMDB – Jeff Hansen). The film is based on a short story by William Harrison’s “Roller Ball Murder”, first released in Esquire magazine in 1973. Although Rollerball may first look like a science fiction sports movie, it’s actually a deep philosophical look into a dystopian future, and looks into government control versus free will. James Cann plays the hero Jonathan, the ultimate champion and hero of Rollerball, and is adored by masses of fans of the blood sport. But he is getting on, well for a demanding sport that is evolving by becoming increasingly more violent. However the head of the energy corporation who runs society, wants him to retire, but when Jonathan refuses, things get intensely dangerous, and the game becomes a fight for his life. The film demonstrates that the individual can triumph over insurmountable odds and cautions against corporate control of society.

Jewson was a big fan of A Clockwork Orange, and used the film as a reference point for defining a world of concrete and steel imagery. He also adopted the idea of using classical music for this fierce movie, because of Clockwork, and also 2001 A Space Odyssey, and believed the timeless score would less likely age the film in the future. Previn composers The London Symphony Orchestra to perform Shostakovich’s Symphony No. 5 movements to establish tone, mood, and atmosphere for certain scenes, and also cunningly uses Tchaikovsky’s Sleeping Beauty Waltz for action and drama. Bach’s Toccata and Fugue in D minor plays during the opening title sequence and again at the final scene, book-ending the film. Previn wrote the space jazz track Executive Party and it’s lounge accomplice Executive Party Dance, and as isolating as they may seem on the album, they sit well within the more laid back dining scenes in the movie. Unfortunately Executive Party, one of my most favourite soundtrack instrumentals of all time, clocks in at only 1. min 47sec. But there’s also something nice about that.

These two tracks may feel odd or misplaced on the LP, amongst Previn’s composed The London Symphony Orchestra works. And I’m sure many like myself, that knew this track, before finding a copy of the soundtrack, were expecting and hoping for more wigged out grooves, like these featured tracks. But it shows us the diversity and dexterity of Previn’s mind, and how he was an artist of all musical styles. After learning more about Previn and this soundtrack, I like how the tracks sit amongst the classical tracks on film and on vinyl. I do admit I wish there was more of this to be found in his extensive catalogue, but I’m ever so grateful that these tracks not just made their place onto the LP, but also were released as 7″ singles.

* Previn won four Academy Awards for Gigi (1958), Porgy And Bess (1959), Irma La douce (1963) My Fair Lady (1964) and was nominated 11 times.

Previn was married four times which included 9 years with Mia Farrow.

Newsom has been nominated for the Academy Award Best Director three times in three separate decades for In the Heat of the Night (1967), Fiddler on the Roof (1971) and Moonstruck (1987).

Japanese and French movie poster releases.

If you like this kinda stuff, check out some other soundtrack titles I’ve dug into….

Berto Pisano featuring Doris Troy – Kill! Them All!

Christy – Deep Down (Danger: Diabolik OST)

Ennio Morricone – Svolta Definitiva (Città Violenta)

Posted by  |  April 26, 2023 | Categories: Exotica, Funk, Mod Jazz, Soundtracks, Space Age Pop | Tags: , , , , | Leave a comment

Ennio Morricone – Svolta Definitiva (Città Violenta)

RCA SS 1985 Japan Released 1970

Track A – Città Violenta

Track B – Svolta Definitiva

Legendary master composer Ennio Morricone, is behind the soundtrack for the 1970 film Città Violenta, and this Japanese single release gifts us with two outstanding tracks from Sergio Sollim’s film. Italian soundtrack collectors…you need this!

Morricone was the unquestionable leader for scoring Italian cinema, and although he achieved wide recognition with Sergio Leone’s series of Westerns, we all are aware of his diverse range of colour, style, methods and moods. He was always exciting and knew how to create atmosphere, even if it was a totally new angle, and opposing the predictable. I get this feeling, when Ennio was composing scores for these kind of action thrillers of the 60’s and 70’s, it’s like he’s at the wheel of a Ferrari Dino 246, steering us in and out of dangerous and intense situations, speeding up, slowing down, then flooring it even more. And when things are calm, you’re still anticipating the unexpected. Morricone knows how to create atmosphere. He invented it for this era of cinema, and today we still love it, because it just belongs…it’s the right time and place for his mastery. Yes, we all are aware of Morricone’s talent, but what we have to keep reminding ourselves, is the amount of work he was producing and the variety of projects he was taking on. In 1970, the year Città Violenta was released, I count Morricone’s soundtrack tally to 15 films just for that year alone!

Directer Sergio Sollim’s crime thriller is released as Città Violenta in Italy, but it also had two additional releases in the US, the first as Violent City, then a later and wider release as The Family. This was an intentional name change for the 1973 release, to try and jump on the success of The Godfather that had been released the year earlier in 1972. The marketing department were even influenced by the famous Godfather font, with some blatant borrowing. This would be Sollima’s 7th (I think) feature film and would call on Morricone again, for his talents to score his new film as he had done with 3 of his earlier films, The Big Gun Down, Face to Face and Run, Man, Run, featuring Christy. I can assume their working relationship together was reverent and successful, however all Sollima’s three previous films they collaborated on, were westerns. I’m not sure how Sollima discussed or briefed sound concepts with Morricone for Città Violenta, but with hindsight, it would definitely become a new sound for his film catalogue.

Città Violenta carries some good acting talent as well, with Telly Savalas, Charles Bronson and his fairly new recent wife, Jill Ireland (Ireland’s former husband-actor David Mc Callum, first introduced them on the set of The Great Escape in 1963). Bronson was just becoming a major star in Europe after the success of recent and broad films such as London Affair, Adieu l’ami, and Sergio Leone’s Once Upon a Time in the West, and for a good period of the seventies, he would rival Clint Eastwood as the biggest movie star in the world.* So it’s great to see Bronson here at this important part of his acting career, and working alongside his wife. That same year and Bronson would also star in Cold Sweat, directed by Terence Young, and again co staring Ireland.

Synopsis – Jim Heston (Bronson) a professional hit man, is left for dead after a double cross murder attempt by a his wife Vanessa Shelton (Ireland) and another hit man. The set up costs him four years in jail, but when he gets out, he sets out to take revenge on his wife and the mob who put her up to it. He finds himself blackmailed by a powerful crime boss (Savalas), who wants the fiercely independent gunman to join his organization. Jeff who wants to leave that line of work, refuses, and is hunted by killers for the effort. Vengeance and love drives him through detrimental roads of uncertainty and it’s consequences.

The opening title sequence is beautifully stylised and features the main theme Città Violenta, straight up creating a mood of excitement, intrigue and suspense. And what soon follows, is a exceptional and insane thrilling car chase in the small streets of a tight Italian country town, where Sollim decides to take away the music for impact, and unusual but very effective decision for action sequences. I know when I’m discovering a new soundtrack track list, I usually go straight to the “car chase” theme, as it’s usually the one with the big beats and drive. So audiences are right in from the get go, and you already can tell this is no novice in the directors chair. Sollim knows about the film making and how music can be used to paint, just as much as visuals. And he wouldn’t be afraid to NOT use it, if he felt it may deter from story or action, or if it felt too predictable or typical to do so. The track Città Violenta gets a good run through the film as does a few nicely composed variations on the theme, but it is all for a reason. Svolta Definitiva is the perfect background music to a bar sequence where the patrons are the in-crowd… a bit hippy trippy, but an exclusive scene. Models, dancers and gangsters. It’s perfect! I have loved this track for many years before I knew this movie, and I was so please to discover that it belonged in such a great sequence! Later in the film we get some memorable hard hitting and surprising moments, and again Sollim creates such an impact with his music direction, and how effectively he uses it, and again, not uses it. Together the movie and music direction entwine effortlessly and results with a strong action film of it’s time, that both hold proudly in their catalogue of successes.

And this is also why Morricone’s music is so revered today. The impact it leaves on the audiences. His scores are often considered as much as part of the experience, as the story or cast of the film. A lot of the times, his scores are more remembered than the films itself. But in this case Città Violenta is a perfect score to a great crafted Sollim film. – Piero Sgro

Here is a link where you can watch Sollim’s Violent City, which is a nice print, but note that it will only on the occasion, revert to Italian dialogue every now and then. But it’s a good source.

Other Ennio Morricone scores for Sergio Sollima…

  • The Big Gun Down 1967 (La resa dei conti) lit. ’The Settling of Scores
  • Face to Face 1967 (Faccia a faccia)
  • Run Man Run 1967 featuring Christy (Corri uomo corri)
  • Devil in the Brain 1972 (Il Diavolo Nel Cervello)

Piero Umiliani scores for Sergio Sollima…

  • Agent 3S3: Passport to Hell 1965 (Agente 3S3: Passaporto per l’inferno)
  • Agent 3S3: Massacre in the Sun 1966 (Agente 3S3, massacro al sole)

* Sergio Leone once called Bronson “the greatest actor I ever worked with”, and had wanted to cast Bronson for the lead in 1964’s A Fistful Of Dollars. Bronson turned him down and the role launched Clint Eastwood to film stardom. The film was the biggest hit of 1969 in France.

Image 1 – Ennio Morricone (photo credit unknown)

Image 2 – Charles Bronson and fellow actress wife Jill Ireland (photo credit unknown)

UPDATE Alternate version of Violent City

– Everlasting Screen Themes

JAPAN Overseas Records UXW -66-V

Track 1: Violent City

Here is a Japanese alternate version of Violent City, that’s pretty great and different enough from Morricone’s original. Had to share this also. This rare EP also includes a wild take on Quincy Jones’ Mr. Tibbs.

Posted by  |  March 14, 2023 | Categories: Italy, Soundtracks | Tags: , , , , , , , , , , | 1 Comment

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