La-La Land Records presents the world premiere release of acclaimed composer Ennio Morricone s (ONCE UPON A TIME IN AMERICA, THE MISSION, THE UNTOUCHABLES) original score to Paramount Pictures 1989 docudrama FAT MAN AND LITTLE BOY, starring Paul Newman, Dwight Schultz and John Cusack, and directed by Roland Joffe. Never before released in any format, Mr. Morricone s hauntingly beautiful and complex orchestral score receives a definitive, 2-CD treatment that demonstrates the composer s notable skill in emotionally interpreting what is at once an amazing and tragic chapter in mankind s history the birth of the atom bomb. Full of dramatic suspense, passion, sadness and gravitas, this is a notable, major Hollywood work by Morricone that is ripe for discovery. Produced by Dan Goldwasser and mastered by Mike Matessino, this special 2-CD release includes source cues, alternates and exclusive, in-depth liner notes by film music writer Daniel Schweiger.
"Fat Man" and "Little Boy" were the nicknames given the atomic bombs that were dropped over Hiroshima and Nagasaki in the waning days of World War II. This elaborately assembled film is the story of the events leading up to the dawn of the atomic age. Paul Newman plays General Leslie Groves, a hard-nosed career soldier who in 1942 finds himself the reluctant "nursemaid" to a group of idealistic scientists in Los Alamos, New Mexico. As the military head of the top-secret Manhattan Project, Groves intends to have the operation run by the book–and failing that, to have things his way at all costs. The film's storyline narrows down to a battle of egos between Groves and atomic scientist J. Robert Oppenheimer (Dwight Schultz), in his own way as contentious and childishly single-purposed as the general.
It has taken eight years and over 130 CDs but FSM finally releases a score by the great Ennio Morricone: Guns for San Sebastian (1968), commonly known as a western but more accurately a historical adventure set in Mexico circa 1750. The film stars Anthony Quinn as an outlaw who is mistaken for a priest and protects a humble village against a violent tribe of Indians; Charles Bronson is the antagonist and Anjanette Comer the love interest. Filmed in Mexico, the international production is a sunburnt, action-packed look at a violent time in colonial Latin American history. The late 1960s were an especially fertile period for Ennio Morricone, whose prolific genius has enhanced hundreds of films for over 40 years. By 1968 Morricone had already scored the groundbreaking Dollars trilogy for Sergio Leone—establishing the revolutionary style for the "spaghetti" westerns—and Guns for San Sebastian preceded their western masterpiece, Once Upon a Time in the West.
Ennio Morricone 's compilation album from Quentin Tarantino's films including Django, Kill Bill and Inglourious Basterds.
Guitarist, singer, and songwriter John Campbell had the potential of turning a whole new generation of people onto the blues in the 1990s, much the same way Stevie Ray Vaughan did in the '80s. His vocals were so powerful and his guitar playing so fiery, you couldn't help but stop what you were doing and pay attention to what you were hearing. But unfortunately, because of frail health and a rough European tour, he suffered a heart attack in his sleep on June 13, 1993, at the age of 41. In 1985, after playing a variety of clubs between east Texas and New Orleans, Campbell moved to New York. One night in New York, guitarist Ronnie Earl happened upon Campbell in a club, playing with Johnny Littlejohn. Earl was so impressed that he offered to produce an album by Campbell, and the result was A Man and His Blues (Crosscut 1019), a Germany-only release that has since been made available in the U.S.
This two-disc anthology assembled by Mike Patton is, after the spaghetti Western soundtracks and themes, essential Morricone. Never has his music from the strange films he scored in the 1960s and '70s been showcased in such an original and powerful way. Patton has looked closely into the experimental nature of the maestro and found plenty here to offer as well as to crow about. Many of the scores he chose from would be known only to cineastes of minor and obscure Italian films. Yet, Patton understood that Morricone loved his own process and treated crime and exploitation flicks like L'Anticristo and Forza G with the same delightful sense of adventure that he approached The Godfather and The Mission with. Here, all manner of strangeness is on offer: from psychedelic guitars and tripped-out wordless vocals to sitars, layers and layers of percussion, acid-drenched strings, an Echoplexed celeste, toy pianos, psychotic operatic voices in chorus, and more.