No Nonsense / Approaching The Minimal With Spray Guns

Artists: x_x

“Gatti rossi in un labirinto di vetro”(aka “Eyeball”) is a Giallo directed in 1974 by prolific director Umberto Lenzi. Barcelona is covered with blood because of a series of murders. A mysterious killer murders women within a group of American tourists. The protagonist finds himself in the middle of these murders, where the victims are found with a torn eye. The truth unravels while investigating the past of the people he loves. The movie is another lucky venture of Lenzi in the ‘70s Giallo period. The director prefers to go far from the nocturne atmospheres typical for Giallos of that period and gives the movie an unusual sunny mood. “Gatti rossi in un labirinto di vetro” can be considered as a precursor for that particular graphic violence of torn eyes (called Eye Violence) used later by many directors in their movie. Digitmovies presents the eight volume of the series “Bruno Nicolai in giallo” with the complete original motion picture soundtrack for the 1974 movie “Gatti rossi in un labirinto di vetro” (aka “Eyeballs”). At that time no record was issued. RCA released a CD only in 1999 as part of its OST series (74321 – 69391 – 2 OST 145) coupling 11 tracks from Nicolai’s score with another 11 tracks from the movie “I corpi presentano tracce di violenza carnale” (aka “Torso”) (1972) with the score by the brothers Guido & Maurizio De Angelis. After locating the master tapes of the original recording session, we could assemble the most complete presentation of the original score composed and conducted by Bruno Nicolai, including every note written and recorded in a fabulous stereo sound. So we have added other 21 tracks to those released on the previous CD and now the aficionado can enjoy one hour of music. M° Nicolai wrote a main theme – in his very recognizable style so well used in the Italian Giallo genre – for orchestra and rhythmic with a classic-Pop key as introduced in Titoli di testa (Tr.1) and frequently reprised with different performances like Tr.3 (low-key trumpet), Tr.6 (with a more evident harpsichord and organ), Tr.17 (with more strings), Tr.19 (with a trumpet high mix), Tr.28 (with stronger rhythmical section). Bruno Nicolai provided another recurring main theme, an elegant pop flavoured love theme for Oscar Valdambrini’s flugehorn. This particular love them is entitled ”Barlington” and presented in several version: Tr.2 (with long intro for strings),Tr.7, Tr.10, Tr.13, Tr.20, Tr.27. Third main theme is a mysterious, rhythmical, slow for bass guitar, drums and organ between religious and lounge style music, that certainly represents the Nicolai Sound of the ‘70s: Tr.4, Tr.11, Tr.21. The macabre side of the story is emphasized by a series of experimental and dramatic music themes that creates the right mood of fear and tension: Tr.7, Tr.12, Tr.14, Tr.16, Tr.18, Tr.25, Tr.26. The author reprises the main theme in a slow and mysterious way in Tr.8, Tr.9 and Tr.15 (with bass flute mix). Bruno Nicolai also provided some flamenco music for the movie that gives the right ethnic background (Tr.22, Tr.23). We enclose as bonus tracks alternate takes of the main themes: a different version of the Flamenco (Tr.29), long versions of “Barlington” (Tr.30), of “Catena di delitti (Tr.31) and of “Gatti rossi” (Tr.32), maybe conceived for a 33 rpm album that never saw the light of day.