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An Ennio Morricone - Dario Argento Trilogy

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These three soundtracks are a landmark trilogy that helped shape how Giallo soundtracks would be imagined from that point forward. For any fan of Morricone and/or Itallian film scores, this is an absolute must. There is also an interview, translated into English in the booklet, that sheds a bit of insight on the working relationship between Morricone and Argento - not entirely revealing but a nice treat.
Use these sountracks as study for film music as an autonomous art form as well. Sountracks like these take on a new dimention when listened to apart from the film, in that the horror and beauty can be fully appreciated as being written directly into this music and is not dependant on the images to bring you to that space. I would even venture to say that letting your imagination run free to these sounds may just be more emotionally gripping when listened to in an uninterrupted and concentrated effort.
Though one may find these soundtracks separately (albeit fairly hard to find), to see them together on one disc is a sweet opportunity to get the utmost bang for your buck. This purchase will not be a dissapointment for anyone even remotely interested in Morricone, Argeno, Giallo, or just good music in general.

Dario Argento is a surreal horror filmmaker probably best known for Suspiria in the 1970s, where he worked with Italian prog band, Goblin

In the 60s, Argento worked with Enncio Marricone on these three scores. Creepily lyrical, sexual, frightening, heats pound, heavy breathing voices murmur, children seem to dance around these demented maypoles. These scores peak at what Maricone did best, create mood--here, long ago fever dreams.

Essential.

Combining 3 rare-to-find soundtracks to Dario's Trilogy of Terror this CD is a real find. In the late 60ies and early 70ies Dario Argento produced three memorable slasher pictures, most notably the violent, surreal "Bird with a Crystal Plumage". Ennio Morricone wrote the soundtracks. Being used to the timeless, hard and classic soundtracks of Argento's later films, one has to admit that the sound of Goblin contributed far more to the Argentoesque feel of his films than the rather standard, workmanshiplike 70is soundtracks by Morricone. It's all very hip and spaced-out, and some tunes are haunting. Nevertheless - a Morricone Soundtrack is after all still a Morricone Soundtrack. For the good and for the worse.