Posts by Raymond Walker5

silverpanther13 said:Was that an intentional move, or did you just miss the moment when things were really starting to pick up? 😁 So, I’ve been doing a little digging into our compatibility lately, and honestly? It looks like we're sitting pretty close to zero. Now, I did notice that the highest score belongs to Raymond Walker5, which just goes to show—it turns out even he doesn't quite have that perfect taste in music. 🙂

I feel like everything has lost its purpose... I'm just ready to call it quits on this whole nonsense. 🙂

It honestly baffles me that The Big Gundown hasn't picked up a single vote yet. I can't help but wonder if anyone has actually sat through the whole thing; once you finally hit that main section at the 1:22 mark, it just goes absolutely wild—it's pure spaghetti western madness flying everywhere.

Richard Brown51 said:I’ve been putting off sitting down with some Morricone for a while now... honestly, I just had a few bugs in my brain that kept me from really giving him the undivided attention he deserves.

He is truly incomparable. His work is such a whirlwind that one moment you feel like you own the entire world, and the next, you’re just a kid again, lost in a wave of pure nostalgia. Then, out of nowhere, you’re jumping around with this incredible euphoria, feeling the music vibrate through every single cell in your body. There are moments where tracks like "La Mod" stir up a deep, almost primal desire, only for something like "The Thing" to come along and absolutely rattle your nerves about five minutes in. Being able to pull a listener through such a massive spectrum of emotions is, without a doubt, the ultimate proof of his genius.

I’d honestly be down to vote for pretty much everything on this list, but since I didn't want to go overboard, I trimmed my selection down a little bit.

It’s a total Disgrace that such divine tracks as Lontano and Baaria have so little screen time to really breathe. Honestly, I was sitting here thinking about my favorite soundtracks, and it just feels like a missed opportunity when pieces that beautiful are barely given a moment to shine.
*Il Gatto* was such a delightful little surprise—really playful and full of charm.

Listening to "Silhouette of Doom" right now, and man, it is absolutely melting my brain.

Of all those "famous" tracks that everyone seems to love, Come Maddalen is one that just never really clicked for me.

Tracks like Rabbia E Tarantella or Chi Mai are just consistently top-tier. They always hit that sweet spot for me.

Honestly, I wouldn't mind having another week entirely dedicated to Morricone. I could sit with his scores for days on end and never get bored.

I think we might be missing Morton and that one lady—you know, the cheerful one who posted that video of two turtles racing through a canyon? I can't quite recall the exact title of her clip, though.

I just finished watching this video, and I have to say, it really struck a chord with me. There’s something about the way the music unfolds here that feels incredibly deliberate, almost like you can sense the composer's hand guiding every single note. It reminds me of those quiet Sunday afternoons back in my hometown in Ohio, where everything just seems to slow down and let the atmosphere breathe. Watching this makes me think about how much we often overlook the subtle textures in a score. We tend to hunt for the big, sweeping crescendos, but it’s often those tiny, delicate shifts—the kind of stuff you might find in a piece like *Jill's Theme*—that actually carry the emotional weight. I remember sitting in a small jazz club in Chicago years ago, listening to a pianist who played with that exact same level of restraint. He didn't need to shout to be heard; he just let the melody linger. It’s easy to get caught up in the technicalities of production, but this clip reminds us that at its heart, scoring is about feeling. You can feel the intention behind the arrangement. It’s thoughtful, it's composed, and honestly, it’s quite refreshing to see such craftsmanship being highlighted. Does anyone else find themselves getting lost in these kinds of deep dives? I certainly do.

😁
If there's any interest here, please let me know if adding an extra week of Ennio would work for you after the current two weeks wrap up. To be honest, looking at the engagement so far, I get the feeling the enthusiasm might not be exactly overwhelming. That’s perfectly fine, though! I’m planning to sit down and carefully compile all the feedback regarding what everyone felt was missing from our previous sessions. Once I've got that list organized, I'll make sure to weave those specific elements into the next poll so we can tailor things more closely to what you actually want to see.
It took me a little while to really get into it, but I have to say, *Come Maddalen* eventually won me over. There’s something about that main track—especially once those vocals finally kick in—that just hits perfectly. It really grew on me.

I’m right there with you on Lontano... honestly, what a stunning piece of music. It absolutely deserves a vote. I ended up passing on it this time, mostly because it just came down to the specific mood I was in at that moment—you know how it is, sometimes the timing just isn't quite right. But really, all these tracks are so good they deserve a shot.

It honestly baffles me that The Big Gundown hasn't picked up a single vote yet. I can't help but wonder if anyone has actually sat through the whole thing—because once you finally hit that 1:22 mark where the main section kicks in, things just absolutely lose it. It’s pure madness, and honestly, it's enough to make your head spin.

Richard Brown51 said:I’ve been procrastinating on sitting down with Morricone for a while now... honestly, a few mental cobwebs kept me from really giving his work the attention it deserves.

The man is unparalleled in his versatility. One moment you’re feeling like you own the entire world, the next you’re diving into a deep, nostalgic well of tears like a little kid. Then, suddenly, you’re jumping around with pure euphoria, feeling every cell in your body vibrate. Sometimes tracks like "La Moda" stir up this intense, primal energy, and then out of nowhere, something like the score from *The Thing* just chills you to the bone about five minutes in. Being able to whip a listener through such a dizzying whirlwind of emotions is, without a doubt, the ultimate proof of his genius.

I’d be tempted to vote for almost everything on this list, but since we can't spend an eternity here, I’ve trimmed my selection down a bit.

It feels like a crime that divine pieces like "Lontano" and "Baaria" barely got any votes at all.
"Il Gatto" was also a lovely little surprise—really playful and spirited.

"Silhouette of Doom," on the other hand, absolutely melts your brain.

Out of the more "famous" tracks, "Come Maddalena" was the only one that didn't quite click for me initially.

The more niche stuff, like "Rabbia e Tarantella" or "Chi Mai," are just consistently solid.

That said, I certainly wouldn't mind spending another week immersed in Morricone.

We might be missing "Morton"—you know, that one upbeat track with the music video where two turtles are racing through a canyon? It’s such a happy tune. I can't recall the exact title, though.

😁
If there's enough interest, let me know if you'd all be up for doing another week of Ennio instead of two, though it doesn't seem like there's a huge rush. I'll try to keep track of everyone's suggestions regarding what was missing so I can weave them into the next poll.
It took me a little while to warm up to it, but "Come Maddalena" actually grew on me quite a bit, especially once that main vocal section kicks in.

And I have to agree on "Lontano"... it’s truly stunning. It definitely deserves its moment in the spotlight. I didn't vote for it simply because of how I was feeling in the moment, but honestly, all these pieces deserve a chance.

vivideagle7 said:I mean, obviously it doesn't quite hit the heights of Deborah's Theme or Jill's Theme, but it’s still really easy on the ears.

edit: I think you might have shared Hundra's love theme somewhere else already—that one is absolutely fantastic.

It's definitely pleasant, but the real question is whether he actually composed it himself or if he just provided the orchestration for some existing folk tune.

vivideagle7 said:He’s certainly talented, but personally, I think this one is fantastic:

It’s such an emotional piece that really hits home, 😬 even if the melody does loop a bit.

But honestly, whenever I hear people claiming he's the greatest film composer of all time, I can't help but chuckle. There are dozens who are simply better.

In my experience, the folks who insist he's the absolute best probably haven't explored much outside his catalog. If you define "the best" based purely on exposure, commercial success, or how many Hollywood blockbusters they've scored over the last two decades, then sure, you could make that case. But in terms of pure artistry? Not really, and never will be.
For instance, even this piece by Jisas doesn't quite move me. It’s a lovely little tune, don't get me wrong, but it just doesn't touch my soul the way something like
"Deborah's Theme" or "Chi Mai" does. It's hard to compare them. I actually find many of the lesser-known tracks by Morricone to be far more moving, such as:




and so on, and so forth.

vivideagle7 said:I mean, obviously it doesn't quite hit the heights of something like the themes from *The Godfather* or *Star Wars*, but it’s still very pleasant to listen to.

edit: If I recall correctly, you might have already shared Hundra's love theme somewhere—that one is absolutely fantastic.

It’s definitely easy on the ears, though I find myself wondering if it’s truly an original composition or if he just took a traditional folk melody and gave it a grand orchestral arrangement.

vivideagle7 said:Well, he’s certainly talented. Personally, I think this one is wonderful:

It has that emotional quality that can really pull at your heartstrings, 😬 even if the melody does tend to repeat itself quite a bit.

But whenever I hear people claiming he's the greatest film composer of all time, I have to chuckle—honestly, there are dozens who are much better.

In my opinion, the folks who insist Hans is the absolute best simply haven't explored much outside of the mainstream. If your definition of "the best" is based purely on exposure, commercial success, and how many massive Hollywood blockbusters someone has scored over the last two decades, then sure, you could make that argument. But in terms of pure artistry? Not really, and he never will be.
Take the Jesus piece, for example; it doesn't hit me that deeply. It's a lovely little composition, don't get me wrong, but it just doesn't move me the way something like "Deborah's Theme" or "Chi Mai" does. It's hard to reach that level for me.
I actually find many of Morricone's lesser-known works to be far more moving, such as:




and so on, and so forth.

vivideagle7 said:Zimmer is fine, but he’s probably the most overrated film composer ever.

There are some pretty heated debates online regarding Zimmer. You have people who view him as the modern-day Beethoven, pitted against those who think his work is total garbage. Personally, I think the truth lies somewhere in the middle.
In today's landscape, there really isn't a more sought-after, commercial, or perfectly suited composer for Hollywood blockbusters than him. A lot of people wonder why he gets the job instead of, say... them. 🤣
I think the thing is, as a film composer, Zimmer is, above all else, truly Effective—and that is the deciding factor. He is someone who works incredibly hard to achieve the specific result he wants. He’s surrounded by a massive team of musicians and technicians who help him execute his vision. He knows how to craft a score that fits the film perfectly, even if it doesn't necessarily hold up as a standalone listening experience (which, let's be honest, often isn't the case, but it works brilliantly within the movie). Technically speaking, he's so progressive that many people today actually follow his compositional approach. You could almost say Zimmer himself pioneered what we now recognize as Epic Music. He has managed to evolve with every decade, staying right on trend... he follows the trends just enough to create and refine them. What many people criticize him for most is that his musical motifs have increasingly started to rely on just two notes, which he then modifies in countless ways throughout the entire film. He has admitted himself that this is his way of composing because it’s the most effective method. He has an incredible instinct for knowing exactly what will work in any given scene. Some argue that he doesn't write "film music," but rather "soundtracks" in the sense that his music blindly follows the action... and there's a bit of truth to that.
Unlike Morricone, his music often struggles when played on its own, but I personally feel that most great film scores can function quite well as standalone pieces, provided you aren't dealing with high-tension sequences and things like that. However, Hollywood over the last 20 or 30 years has "evolved" toward a style where films mostly demand cold, restrained, distant, and unobtrusive scoring. I honestly don't know if Zimmer has ever been able to create something light enough to truly touch someone emotionally... I highly doubt it. He’s essentially a high-tech, precision-oriented German technician at heart.

Again, Zimmer's obvious inspiration from Morricone's work is evident in what he did for Interstellar, especially regarding the use of the organ, which he executed masterfully. Yet, even then, some modern listeners found it distracting because they were hearing something that wasn't just sterile background filler. But Zimmer pulled it off beautifully, likely drawing inspiration from the film Mission to Mars—which didn't exactly break the box office, but features a scene where Morricone uses organ sounds. People criticized him for that too, despite the fact that those moments were made even more powerful and engaging specifically because of the music.
But it's precisely because of scenes like these that it's hard not to respect Zimmer... this is arguably one of the most visually and musically moving moments in cinematic history, yet even here, some critics found fault with the music, even though it wasn't just appropriate, but elevated the scene to a whole new level:


On one hand, Zimmer occasionally tries to be more creative, but then he gets criticized for that, too. Some people are happiest when they don't even realize music is playing in a film. A composer like Morricone wasn't built for those kinds of movies; he was built for the kind of cinema directed by people like Leone, who turned film into true art, which is what cinema is meant to be at its core. His scenes felt like music videos, unlike that damn "mickey mousing" technique seen in older films, which is a style John Williams used to make things feel a bit duller.
On the other hand, Zimmer really understands what modern audiences are looking for. He often takes the path of least resistance, yet somehow manages to make it feel perfectly appropriate for the moment. Technically speaking, he gives you nothing less than the absolute maximum, while hitting that musical sweet spot that feels just right.

vivideagle7 said:Zimmer is alright, but honestly, he’s probably the most overrated film composer ever.

The debates surrounding Hans Zimmer online are absolutely fierce. You have people treating him like the modern-day Beethoven, while others dismiss his work as complete garbage. Personally, I think the truth lies somewhere in the middle.
In today's landscape, there really isn't anyone more sought-after, commercially viable, or perfectly suited for Hollywood blockbusters than him. A lot of people find themselves wondering why he keeps getting the keys to the kingdom instead of, say... people like them. 🤣
I think the core of the matter is that as a film composer, Zimmer is, above all else, incredibly EFFECTIVE—and in this industry, that is everything. He is someone who works tirelessly to nail the desired atmosphere, backed by a massive team of musicians and technicians who help him execute his vision. He knows how to craft a score that fits a movie perfectly, even if it doesn't necessarily hold up as a standalone album (which, let's be honest, it often doesn't, but within the context of the film, it works beautifully). Technically speaking, he's so progressive that much of today's industry follows his blueprint. You could even argue that Zimmer basically pioneered what we now call "Epic Music." He has managed to evolve with every decade, staying right on top of the trends... he follows them, but he also shapes them. The biggest gripe many people have is that his musical motifs have increasingly leaned toward two-tone patterns that he then manipulates throughout a film. He has actually admitted that this is his way of doing things because it's simply the most efficient way to score a scene. He has an uncanny intuition for knowing exactly what a specific moment needs. Some critics argue he doesn't write "film music," but rather "soundtracks" in the sense that his music blindly follows the action... and there is some truth to that.
Unlike someone like Ennio Morricone, Zimmer's scores can sometimes feel a bit thin when played on their own. However, I personally feel that most great film music can function quite well as a standalone listen, provided you aren't dealing with high-tension sequences and such. But Hollywood has "evolved" over the last 20 or 30 years toward a style that mostly demands cold, restrained, distant, and somewhat unobtrusive scoring. I honestly wonder if Zimmer has ever been capable of composing something light and delicate enough to truly touch someone emotionally... I have my doubts. He’s essentially a highly advanced technician at heart.

Then again, Zimmer's clear inspiration from Morricone's style is evident in his work on *Interstellar*, particularly with the use of the organ, which he executed masterfully. Yet, even then, some modern listeners found it jarring because they were hearing something that wasn't just sterile background noise. Zimmer pulled it off brilliantly, likely drawing inspiration from the film *Mission to Mars*—which didn't exactly break the box office—where Morricone used organ sounds in a way that also drew criticism at the time, despite those moments being exactly what made the scenes so much more powerful and engaging.
But it's precisely because of scenes like these that it's hard not to respect Zimmer... this is arguably one of the most visually and sonically stunning moments in cinema history. And yet, even here, some people found fault with the music, even though it wasn't just appropriate—it elevated the entire scene to a higher level:


On one hand, Zimmer occasionally tries to get creative, but then he gets criticized for that too. Some people are happiest when they don't even notice there's music playing. A composer like Morricone wasn't built for these types of movies; he was built for the kind of cinema directors like Sergio Leone created—films that were true works of art in their very essence. Those scenes felt like music videos, unlike the damn "mickey mousing" style of scoring that was common in old films, a technique that composers like John Williams sometimes used to dull the impact.
On the other hand, Zimmer really understands what today's audience expects from a score. He often takes the path of least resistance, finding that sweet spot where everything sounds perfectly appropriate without being overbearing. Technically speaking, he gives it his all, yet musically, he always aims for the absolute optimum.

He’s probably the only composer out there who can pull a tear from your eyes with hundreds of different pieces, whereas most others just can't manage it with even one... maybe only Badalamenti comes close.
Morricone is that rare kind of musician who managed to bridge almost every gap—emotional melodies, atonality, jazz, fusion, experimental stuff, you name it.
Since Hans Zimmer is such a huge fan of Ennio, it honestly surprises me that he holds such a completely different philosophy and approach to scoring films. To be fair, while Zimmer isn't bad by any means—far from it—I really don't think he can hold a candle to Ennio on any level.

I think my first real deep dive into Ennio's work was about ten years ago. His music was unlike anything I had ever heard up to that point, and without even trying, it just sort of seeped under my skin. Most importantly, listening to him finally made me realize just how mediocre most other music actually is. It showed me how many musicians and bands just take the path of least resistance, churning out songs that lack structure, substance, or any real idea of what makes music good. Yet, somehow, these amateurs have always managed to build massive reputations, especially when it comes to pop culture and brainwashing the masses.
When you listen to Ennio, it becomes crystal clear how you can craft a beautiful, moving composition without it sounding cheesy or hackneyed. You see how to write something experimental without it feeling tedious, grating, or overly "artsy-fartsy." He shows you how to play with jazz elements without sounding as boring as a lot of the junk found in jazz history. It's not just about being a classically trained musician, either; it’s about having the sensibility and the instinct of a true artist. That instinct is exactly what someone needs when scoring films—you have to hit the mark for the director and the audience simultaneously. There are plenty of talented film composers out there, but nobody gets anywhere near Morricone. He literally broke the mold, not just by making great music, but by introducing an entirely new way of approaching film scoring. Even though he likely drew inspiration for those Spaghetti Westerns from the film Yojimbo and the composer Masaru Sato, he still injected his own massive trove of ideas and extraordinary musical essence into the work.
Before all that, back in the 1950s, he was arranging Italian pop songs, and he was so successful that some people even consider him the father of modern arrangement.
He created such a staggering amount of music that fans actually started a dedicated magazine just to cover his scores and the films he worked on. Later on, that evolved into an online publication. You could practically say that Morricone is a genre unto himself.

He might just be the only composer capable of pulling a tear from your eye with his massive catalog; most others simply can't manage it, no matter how hard they try... perhaps only Badalamenti comes close.
Morricone was a master who managed to bridge almost every musical gap imaginable—from deeply emotional melodies and sheer lyricism to atonality, jazz influences, fusion, and pure experimentation. He hit all the notes.
I know Hans Zimmer is a huge fan of Ennio, so it’s always been a bit puzzling to me how he maintains such a vastly different philosophy and approach to scoring. To be fair, Zimmer isn't bad by any means—not even close—but in my opinion, it’s hard to say he truly measures up to Ennio on any meaningful level.

I think my first real deep dive into Ennio’s work happened about ten years ago. His music felt fundamentally different from anything I had ever heard; without much effort at all, it just seemed to seep under my skin. Looking back, listening to him was a bit of an epiphany for me—it finally highlighted just how mediocre so much other music actually is. It felt like so many musicians and groups just take the path of least resistance, churning out songs that lack a soul, a structure, or a central idea. Yet, despite that lack of substance, these amateurs have always managed to build massive reputations, especially within pop culture where the goal seems to be more about mass brainwashing than artistry.
When you listen to Ennio, it becomes crystal clear how one can craft a stunningly emotional piece without it sounding cheesy or overdone. You see how to compose something experimental without it feeling tedious, grating, or "artsy-fartsy." He knew how to weave in jazz elements without falling into that dull, repetitive trap that much of jazz history suffers from. It isn't just about being a classically trained musician, either; it's about having that specific sensibility and the instinct of a true artist. That instinct is everything when you're scoring films, because you have to intuitively connect with the director's vision and the audience's emotions. There are plenty of talented film composers out there, but nobody really touches Morricone. He broke the mold, creating not just great music, but an entirely new way of approaching film scoring. Even though his ideas for those classic Spaghetti Westerns likely drew inspiration from the film *Yojimbo* and composer Masaru Sato, he infused them with his own unique genius and musical essence.
Before that era, back in the 1950s, he worked as an arranger for Italian pop songs, and he was so successful that some people actually consider him the father of modern arrangement.
He composed such a staggering volume of work that fans eventually started a dedicated magazine just to cover his music and the films he scored. Nowadays, that has evolved into an online publication. Honestly, you could say that Morricone is a genre unto himself.

Patrick Martin said:nobody is stopping you from doing that🤷

But there really is an interest in me choosing not to vote.

Patrick Martin said:well, shoot, I didn't realize

Just read what's written... I'm not the one making the rules here😁

Patrick Martin said:Look, nobody is actually stopping you 🤷

But there’s definitely an interest in me sitting this one out and not voting at all.

Patrick Martin said:Well, my bad, I didn't realize.

Just pay attention to what's being said... I'm not looking to be like silverpanther13😁

I’ve been feeling that same void myself, along with so many others, which is actually why I’m thinking about kicking off Vol. 2 in maybe a month or so.
By the way, regarding that opening theme you linked—it was actually what Ennio originally envisioned for the track. However, the main theme we all know today was actually the one De Palma insisted on. He wanted something more heroic, something grander, whereas Ennio felt it was a bit unnecessary. Still, he went ahead and composed a few different versions to satisfy the director's vision. Interestingly, he mentioned that De Palma ended up loving the version Ennio liked the least—which happens to be the *The Untouchables* theme featured in the poll.

Also, just in case you missed it, you actually had the option to vote for up to 20 different tracks! 😁

I honestly feel like we could keep this going for another week, just pulling from the next fifty entries on Morricone's top 50 list without breaking a sweat.
Right now, we’ve got 50 picks covering 41 different movies and shows... but considering he scored over 500 projects, this is really just a drop in the bucket.
I also have a sneaking suspicion that a huge chunk of the music he composed for cinema never even made its way onto an official soundtrack release.

I think we have to acknowledge that there’s a bit of a catch here: the massive popularity of a film naturally drives up the fame of its soundtrack and specific songs, which inevitably skews the results of a poll like this. It creates a bit of a feedback loop. When you look at Leone’s work, his films are legendary, and that prestige carries over directly to the music he composed for major American productions—think along the lines of *The Mission*, *Lolita*, or *Casualties of War*. On the flip side, there are hundreds upon hundreds of movies out there that have been completely forgotten by time. Most of them were either niche international productions or just films of questionable quality where the score actually ended up being much better than the movie itself. In those cases, the music lives on quite a bit longer than the celluloid it was written for.
One perfect example of music truly standing on its own two feet—even when the film itself has faded into relative obscurity—is...MagdalenaBack in 1971, we saw the debut of that legendary "Chi Mai" track—you know, the one that just hits different—and even its... That’s a pretty interesting alternative version..
It eventually gained quite a bit of traction thanks to some catchy commercials and that one TV series...I was just revisiting *The Life and Times of David Lloyd George* recently, and it really got me thinking about how certain narratives just age so gracefully. There’s a specific weight to it that you don't always find in modern cinema. I remember sitting in a small cafe back in Seattle, nursing a lukewarm latte and getting lost in those pages—it’s one of those rare pieces that stays with you long after you've finished. It has this incredible ability to pull you into its world, much like how a great piece of music can completely shift your mood. Just a quiet, thoughtful experience that I found myself returning to quite often.Back in 1981.
I believe that version first surfaced back in 1981—if I recall correctly, it was that extended cut where you get to hear that richer, more layered harmony perfectly weaving its way through the composition.
Back in 1981, during the production of *Le Professionnel*, there was actually a bit of a creative tug-of-war happening behind the scenes. Jean-Paul Belmondo was quite insistent that he wanted "Chi Mai" to be featured in the film. It was an interesting request because Morricone had already composed "Le Vent, Le Cri," which carries a very similar musical DNA and fits the mood perfectly. Despite that stylistic overlap, both tracks ended up making the final cut. I remember thinking how much that decision shaped the emotional weight of the movie; it’s funny how a single actor's intuition can change the entire texture of a soundtrack.
The "Come Maddalena" piece actually stems from that same "Magdalena" film.

It’s actually quite fascinating when you dig into the history of "Deborah's Theme." Believe it or not, the piece was originally composed all the way back in 1970, but it sat on the shelf unused for years. It wasn't until 1984 that it finally found its home in *Once Upon a Time in America*. Even then, I heard that Leone was pretty hesitant to go with it at first—apparently, the melody hit too close to home because it reminded him so much of the main theme from *Once Upon a Time in the Wild West*.
It really would be such a shame if a piece of music that beautiful just slipped through the cracks unnoticed, or worse, ended up sitting on a shelf never to be released at all.

Looking back at Ennio's incredible career, there is such an extensive collection of brilliant soundtracks and individual tracks out there—most of them hidden away in films and series that the general public hasn't even heard of. I decided to pick just a tiny handful of them to add to this list, mostly because I’d love for more people to finally discover this kind of magic.
I honestly believe you have to listen to every single one of his scores from start to finish. There’s just something about how he works; what starts out as a simple, quiet melody at the beginning often evolves into these incredibly complex, multi-layered themes that head off in completely unexpected directions. It’s all about that progression.
To truly grasp the sheer scale of his influence, that raw talent, and how incredibly versatile he was, you really need to sit down and listen to a much wider selection of his soundtracks. It’s one thing to know the hits, but it's another thing entirely to dive into the depth of his work.

There’s this rather silly little anecdote floating around regarding the score he composed for that Italian series...Marco PoloI have this vague memory of seeing that film playing on TV back in the early '80s, though I can't say for certain. Regardless, there actually is a double CD release of that soundtrack out there. The catch is that some of the tracks sound pretty rough—apparently, a lot of the original master tapes were ruined by moisture or some kind of flooding, and the audio quality just couldn't be salvaged.

It’s honestly such a joy to look back at that entire run of brilliant soundtracks from the 1960s. They were just so incredibly sharp—equal parts masterful, witty, and even a little bit experimental. It’s the kind of era where you could really feel the composers pushing boundaries while still keeping things catchy.MalamondoI was just listening to this incredible soundtrack composed specifically for a documentary. It’s truly something special.

It’s a bit of a shame, really, but looking back at his work throughout the 1990s, the scores he composed for American films felt like they took a sudden dip into mediocrity—some were even quite poor. I’ve often wondered why that was. Perhaps it was because he started dedicating more energy to his independent projects, but I can't help feeling that most of those Hollywood productions just didn't spark the same level of inspiration in him as an Italian project might have. Since the turn of the millennium, things seem to have picked up again, though he certainly doesn't score much for American cinema these days compared to what he used to do.

I’ve been feeling that same void myself, along with quite a few others, which is why I’m actually thinking about launching a Vol. 2 in about a month or so.
By the way, regarding that intro theme you linked—it was originally envisioned by Ennio as its own thing. But this main theme we all know? That was the one Brian De Palma insisted on. He wanted something heroic and grand, whereas Ennio felt that kind of bombast was totally unnecessary. Still, he went ahead and composed a few different versions to satisfy the director's vision. Interestingly, De Palma ended up loving the version Ennio liked the least, which happens to be that *The Untouchables* track featured in the poll.

And, just in case you missed it, you actually had the option to vote for up to 20 different tracks! 😁

I honestly feel like we could easily spend another week diving into Ennio Morricone’s top 50 tracks without breaking a sweat.
Right now, our list covers 50 highlights pulled from about 41 different movies and series... but considering he scored over 500 films throughout his career, this is really just a tiny drop in the bucket.
I also have a sneaking suspicion that a huge chunk of the music he composed for the big screen never actually made its way onto an official soundtrack release.