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The Good, the Bad and the Ugly
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(1966)
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1985 EMI Manhattan |
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2019 Universal / Pantheon
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Composed, Orchestrated, and Produced by:
Conducted by:
Bruno Nicolai
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LABELS & RELEASE DATES
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EMI Manhattan
(1985)
Vivi Musica
(1998)
GDM
(April 1st, 2001)
Capitol Records (American)
(May 18th, 2004)
EMI Capitol (European)
(May 18th, 2004)
GDM
(September, 2004)
GDM
(2010)
Recording Arts
(September 15th, 2014)
Retro Gold
(September 15th, 2014)
Universal / Pantheon
(November 29th, 2019)
Quartet Records
(December 8th, 2020)
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ALBUM AVAILABILITY
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All of the albums are regular commercial releases, some
more readily available in Europe than elsewhere. The 2020 Quartet Records
set has no indicated pressing limit.
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AWARDS
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Winner of a belated Grammy Award in 2009.
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ALSO SEE
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Buy it... for its two monumentally classic themes of popular
influence, Ennio Morricone striking gold with the flashy highlights of
this counterculture Western score.
Avoid it... because of most everything else in the score, the bulk
of the music far more muted and conservatively rendered for the
suffering in the tale's midsection.
BUY IT
 | | Morricone |
The Good, the Bad and the Ugly: (Ennio Morricone)
Regardless of what you think of Italian director Sergio Leone's
spaghetti Western style of filmmaking, he had a profound impact upon the
genre and beyond in the 1960's. His method of combining unconventional
camera angles, sometimes spinning in circles while at others jumping
between massive vistas and incredibly close shots of actors' eyes, can
be dizzying, obnoxious, and even funny. But they were wildly popular
with audiences at the time, who defied skeptical critics and made movies
like The Good, the Bad and the Ugly into classics. The 1966 epic
Western was actually the third in a trilogy of movies based upon A
Fistful of Dollars that starred Clint Eastwood as a bounty hunter in
the Old West. He plays the "good" character, Blondie, in The Good,
the Bad and the Ugly, seeking buried gold while serving as something
of an avenging angel and anti-hero. Countering him are a cold-blooded
gunslinger (the "bad") and a foolish Mexican bandit who provides the
comic relief (the "ugly"). Their equal plight for the gold takes them
through the battlefields of the American Civil War, and much of the
movie's midsection functions as a commentary about the futility and
wastefulness of that conflict. The plot propels itself to a climactic
gunfight between the three men in a triangle shootout at the cemetery
where the gold is buried, resulting in one of the most iconic scenes in
the history of film. The movie is also a satire of traditional Westerns
and sought to be different from them by design, and an important part of
that strategy involved Ennio Morricone. The composer had scored the
prior two entries in the franchise but was generally so unknown that he
had been credited as "Dan Savio" on the first one. The collaboration
ultimately lasted six movies and involved several of the composer's most
popular career scores. As the franchise progressed, Morricone began
writing more of the music prior to production to allow Leone to play it
at the shoot to time his scenes to its rhythms. The actors sometimes
performed over that music on location, requiring redubbing of the lines
and reintegration of the music later.
The most fascinating aspect of The Good, the Bad and
the Ugly is that its cultural significance is completely dependent
upon its immensely creative moments involving unconventional
instrumentation and vocals, and yet the majority of the score actually
resides closer to traditional Western norms than most listeners may
remember. The flashy moments of avant-garde style are so distinct that
people forget how subdued and even boring the remainder of the work can
be. The score makes its mark with its opening and closing portions, the
entire middle dedicated at first to the ambient music of the desert and
later the lengthy, melancholy material for the suffering of the soldiers
involved in the Civil War. Both in the film and on its famous album
arrangement, The Good, the Bad and the Ugly is a score of
incredibly creative and outright awesome highlights but cannot sustain
that quality or interest in its remainder, its immense popularity driven
by two extremely catchy themes known widely in pop culture. It was one
of a few select score soundtracks to sell a million units at record
stores, and though it did not receive any industry awards at the time,
Morricone was honored with a special Grammy for the score in 2009. The
key to his success didn't rest in just these melodies, however; he
instead struck gold with his instrumental and vocal choices. His
orchestra in Rome is highlighted by a very unusual set of colorful
accents, starting with a trumpet dubbed up to five times over itself in
stylish layers of challenging action, the instrument extending to open
romanticism and bugle calls of a military operation for the soldiers. A
thumping piano in the deep bass coincides with percussion for suspense
stingers, and harmonica, whistling, castanets, and acoustic guitar join
for the conventional Western methods. More ambitious tones involving
whip cracks, wood blocks, banjo, gunshots, and other Western musical
sound effects of the era are not unique to this score but make an
outsized impact. The contemporary side of the recording counters those
tones by glaringly highlighting an electric guitar for the post-modern
element of coolness, and joining it are Hammond organ, Fender Rhodes,
and other electronic elements contributing similarly in lesser
prominence.
Aside from the instrumentation of The Good, the Bad and
the Ugly, much of the score's mystique is derived from its
application of vocals, beginning with the most memorable: the imitations
of animal noises and, in particular, a coyote howl. But the heart of the
score's ponderous midsection comes from a men's chorus singing
lamentations about war, sometimes against snare drum. These renditions
sometimes continue as straight choral backing to the late action scenes,
but they also devolve to grunting as means of emphasizing the brutish
nature of the tale. Most notably, regular Morricone collaborator Edda
Dell'Orso made history by representing the allure of the gold in one
cue, her voice coming to define the composer's signature sound all the
way through the end of his career. These ingredients really make the
score the success it is, as the composer's thematic narrative is good
but not stellar. It didn't really need to be well-coordinated because of
how well utilized the themes are in the final edit regardless of
Morricone's use of a motific tapestry. The top secondary themes have
very memorable appearances late in the story, for instance, but are
barely foreshadowed. Much of the heavy lifting throughout the work is
handled by Morricone's main theme, the iconic combination two totally
different phrases at peace with one another and, astonishingly, in the
major key. This theme is actually a combination of two separate ideas,
one for the lead trio of characters while the other functions as the
work's adventure identity. The one for the trio is the A phrase, the
famous call and answer tandem in which the call is a five-note E to A
alternation and followed by three-note wah-wah trumpet and trombone
answers. Each man uses the same theme because of their common plight,
according to Morricone, but the instrumentation of the call portion (and
sometimes the answer) varies to represent them distinctly. The use of
the flute for Eastwood's version of the call was meant to soften his
demeanor romantically, whereas the sinister, low tones of the ocarina
are used for Angel Eyes, the villain. They have trouble competing with
the humorously screaming human voices applied to Tuco, the ugly, for
this motif. An actual coyote call is mingled into these renditions,
making for diegetic use. When the voices carry it, the call is sometimes
truncated to four notes.
While the A phrase of the main theme for The Good, the
Bad and the Ugly was largely diminished on the best-selling
soundtrack album, consolidated to almost exclusively the opening track
and a few obtuse references later, it's all over the score as a stinger
and doesn't necessarily denote solely good or evil. The coyote call
portion often exists alone, but the answer sometimes follows on brass,
whistling, or guitar, keeping it fresh. The call is heard immediately on
all three of the character variations in the film version of "Prologo/Il
buono, Il brutto, Il cattivo (titoli)," and here the answer includes
both the brass and whistling renditions in the first minute. It extends
at 1:27 against militaristic percussion rhythms, choir, and harmonics of
the theme's B phrase and reduces to close the title cue. The A phrase
opens "Il brutto/Il tramonto" with a single vocal call and brass answer
and continues with a quick ocarina reference later. Closing "Morte di
Stevens" on ocarina with the call and guitar for the answer, this motif
starts "Una taglia sulla testa/Un angelo biondo" with the voices and
brass and shifts over to flute with whistling answer for the Eastwood's
protagonist alternative. The flute call accents "Fuga a cavallo" and
starts "Il buono/Il biondo abbandona Tuco nel deserto," again with the
whistling answer and shifting to a human vocal call late. Whistling
takes a rare stab at the A phrase early in "Tuco fa la colletta" before
several other instruments take turns with it, making its purpose more
ambiguous at this juncture. The motif interrupts the dissonance on flute
at end of "I tre desperados/Una cannonata provvindenziale," proceeds on
flute and voices against Hammond organ in "All'inseguimento del Biondo,"
and informs quick reminders from the orchestra at the ends of "La
carrozza dei fantasmi" and "La missione di San Antonio/Il mio miglior
nemico veglia su di me." After adopting a brighter stance in "Biondo...
non morire!" against thumping drums and chimes, the vocal call accents
"Dio e con noi" and returns in that form and on flute in "Tuco scappa."
The A phrase is then littered throughout "Il bandito monco" and
"Inseguilo!," the latter with all three versions, and that same quiet
sonic battle continues in "Il bagnoschiuma di Tuco." Morricone reminds
of the motif on the flute at the end of "Morte di un soldato" and
returns to the organ-backed reverence under flute in "In due scaverete
piu presto!"
At the end of the picture, the A phrase of the main theme
is sparse in "Non e' uno scherzo, e'una corda" but explodes suddenly
into its references for all three modes in "Il buono, il brutto, il
cattivo" for the flashy character stills. The vocal call opens "Finale"
as a substitute for the word "bitch" to end the dialogue, an extremely
funny use in the film before the idea reprises its opening titles mode
in the rest of "Finale." The B phrase of the main theme from The
Good, the Bad and the Ugly provides more traditional Western
romanticism with vocals, chimes, and snare, its rising, five-note
electric guitar phrases introducing the cyclical melody at its height.
This theme doesn't really experience any notable variations in
performance inflection during its appearances, starting with its full
form at 0:52 in "Prologo/Il buono, Il brutto, Il cattivo (titoli)." Its
interlude at 1:42 for wild trumpet bugle calls is distinctive, but most
listeners will better connect with the rollicking melody of the B phrase
returning at 1:57. Later, the idea immediately gallops in "Fuga a
cavallo" with all its performance elements, and the opening sequence's
performance is once again reprised in "All'inseguimento del biondo" as
it develops against the A phrase's variants. Extending out of the
empathy material with gusto in "Ti aiutera a difenderti," the B phrase
of the main theme suddenly bursts with exuberance for two moments in
"Verso duecentomilla dollari" and accompanies Blondie's ride off in
"Finale," again reprising its opening titles mode. The middle of the
score explores three separate, far more restrained themes of more
melodic romanticism, the first representing despair and largely confined
to the desert scenes. With repetitively ascending and descending cycles
eventually consolidating to a three-note, cascading cycle, this motif is
heard middle of "Il deserto" on oboe against nervous strings and the
rhythm of the score's gold theme, with the entire, descending three-note
maturity of the idea forcing its will on brass at 4:04. It continues its
meandering in "Il deserto secondo" before consolidating to the theme's
main phrase again. An empathy theme presents the score's more hopeful
material and occasionally previews Morricone's later classic score for
The Mission, teasing around the edges on acoustic guitar in "Il
tramonto" but coming into its own during pretty incarnations in "La
missione di San Antonio/Il mio miglior nemico veglia su di me."
From there, Morricone's empathy theme in The Good, the
Bad and the Ugly blends with the progressions of the score's Civil
War theme, making them inseparable. Oboe carries its character tenderly
in "Il campo di prigionia di Betterville" while it helps inform the
vocalized "La storia di un soldato" with lyrics over Hammond organ and
acoustic guitar. It smoothly continues with the same vocals in "Tuco e
Wallace (La storia di un soldato)" and extends out of the war theme in
"Morte di un soldato." That explicit theme for the Civil War is an
equally elusive melody better known for the sincerity of its rendering
compared to the score's other aspects. Multiple trumpet lines are used
to represent the different armies in the war, an intelligent strategy
that almost didn't come about because Leone had originally considered
using Morricone's 1965 score for The Return of Ringo for these
scenes instead. Introduced carefully at the outset of "Il forte" on
rotating instruments with the trumpets in the lead, the war theme
utilizes common bugle calls as counterpoint in the cue's midsection. It
achieves nobility with Dell'Orso's voice over choir in "La carrozza dei
fantasmi," and the seemingly wild trumpet lines in "Il forte" return
while a harmonica takes the melody. Manipulated for a brief moment of
respect in "Il Canyon dei Morti," a harmonica explores a variation
further in "Marcetta prima/Marcetta seconda" before Morricone continues
that harmonica journey in "Un treno per la forca/Partenza del treno
militare." A trumpet adds some more nobility to the theme in "Arrivo
nella cittadina/Fine di una spia," and that format continues in "Il
capitano nordista," dying out in the cue's second half. Subtle on
harmonica in "Due assalti al giorno" against sparse percussive rhythms,
the war theme is restrained early in "Il capitano e' ferito," hummed in
"Marcetta senza Speranza," and reduced to sparse solo trumpet in "L'
esplosione del ponte" but joined by Dell'Orso's voice briefly. Its
unceremonious conclusion comes with the contemplative and pretty humming
of "Morte di un soldato." These more romantic themes in the score are
all highly accessible and represent Morricone's trademark lyricism at
its best, but none of them is allowed to really soar, and they sometime
blend into the background of the listening experience. Their
performances remain melancholy and understated, supplying the mass of
easy-going material that dominates most of the album arrangement of the
score.
Despite all those themes in The Good, the Bad and the
Ugly, none has had the impact of Morricone's "Ecstasy of Gold theme"
from the score. The most prominent piece of music written before
shooting began and dictating the motion of the "ugly" Mexican's
ecstatic, head-spinning run through the cemetery just before the finale,
this idea frustratingly only makes one full appearance in the work, but
that's all it took to become a classic. Several rock bands use this
theme as their stage entry music, and it's been heard in countless
television commercials for everything from cars to beer. The popularity
of this piece always greatly pleased Morricone, and it's likely his
single most career-defining moment. The gold theme consists of its
introductory acoustic guitar rhythm and then the main melody; the rhythm
is all over the score whereas the melody is withheld until its big
moment in the cemetery. Morricone debuts in rhythm only on the guitar in
"Il ponte di corde" and uses it to tickle against the despair in middle
of "Il deserto" and "Il deserto secondo" as a reminder of why the
characters are stuck in their predicaments. Developed extensively in
"L'estasi dell'oro," the full melody is finally revealed, and the
magnificent cue shines brightly in both the Dell'Orso vocal portions and
the orchestra elsewhere. It's a simply mesmerizing performance and the
singular moment of pure inspiration in the score. The rhythm alone later
persists at the start of "Il triello" for really good anticipatory
tension. New, ambitiously posturing secondary melodic lines are explored
during this final shootout sequence for no good reason, though they
certainly get a significant amount of attention given that they are the
only element heard in the film's sound mix as the gunslingers are eying
each other for the kill. The culmination of this continued evolution is
a compelling trumpet line presenting a fresh idea. It shares the gold
melody's chords, and it's not as unique as the gold theme would have
been if placed here, thus making it unnecessary. The rhythm gains
momentum again in "Il triello seconda parte," shifting to piano, and the
same unique theme from the prior cue returns once more on flamboyant
trumpet. The whole "Il triello" sequence can be considered as having its
own theme, perhaps, but the underlying rhythm and chords tend to tie it
so closely to the gold theme that it's essentially all one overarching
section. Incidentally, by Leone's request, the chime motif from the
prior score in the franchise makes an appearance in this sequence as
well.
Outside of the melodic portions of The Good, the Bad
and the Ugly, there are several sequences of dissonant suspense and
other less desirable material. These passages of tension often build in
intensity during each such cue to an unpleasant crescendo, as first
heard in the shrieking strings and brass in "Morte di Stevens." This
technique is softer but no less unpleasant in "La confessione di Maria,"
and it's far more subtle on strings against broken piano lines in
"Suspense" for a nasty climax, continuing with the same stance in "I tre
desperados/Una cannonata provvindenziale." Reduced to very slight string
atmospheres and meandering lines in "Il deserto," this material later
becomes a long bass string drone in "Lo stivale" that leads to a simple
timpani rhythm. Finally, it's more accessible but no more engaging in
"Il bandito monco." As mentioned before, the overall narrative flow of
The Good, the Bad and the Ugly suffers because Morricone wrote
music for concepts of the story but didn't really tailor them as well as
he could have in the narrative context of the film. The soldiers of the
war invariably receive their solemn material and the trio of outlaws is
treated to the main theme's A phrase call in predictable stinger
fashion. But these ideas rarely overlap. When they do, as with the call
in the middle of the famed "L'estasi dell'oro," the reference is much
appreciated. And one cannot forget that despite all the wonderful
characteristics of the main theme and Ecstasy of Gold theme, most of the
score doesn't feature them. Listeners have to sit through the somewhat
arduous desert and Marcetta sequences of significant length on album to
reach the splashy highlights. This issue has always affected the various
albums for the score, as even the composer's arrangement of highlights
heavily emphasizes the reverent but soft dramatic portions. While The
Good, the Bad and the Ugly has been released countless times on
album through the decades (starting with the two best tracks featured
alone on a 45 RPM vinyl record in 1966), its existence on CD has
consolidated into four different presentations. The original LP
arrangement of eleven tracks is the one that sold so well, its stereo
mix vibrant for the era in part due to Morricone's generous reverb. Once
again, expect this collection of cues to significantly downplay the two
phrases of the main theme. The equalization between the tracks was not
always satisfying, and the conclusion of "Il triello" ends as a
cliffhanger that suddenly drops during its action rhythm for a very
unsatisfying close to the experience.
In the 2000's, expanded releases started appearing,
some of them combining the film version of the score in mono sound with
the stereo version mixed for the original album. Because of the
significant reverb added to portions of the mix, the distinction between
the stereo and mono quality cannot be understated; this score sounds as
though it's practically a digital-era recording in its stereo soundscape
but is very badly dated in its mono film version, and that reverb that
functioned so well in stereo sounds simply strange in the mono
alternative. Expanded presentations in 2001 and 2004 yielded
remasterings but not the complete score. It took until 2020 before
Quartet Records provided an outstanding, comprehensive 3-CD set of the
full mono film version of the score, the original stereo rendition, and
a set of alternates and bonus cues that cover the unique tracks on the
former expansions and some intriguing renditions of major cues. The
alternate version of "Il triello" and the film version of "Titoli" with
gunshots, both in stereo, are particularly noteworthy. Nothing is as
amusing as "Uahuah & effetti," which offers most of the individual
components of the call and answer A phrase on their own for your own
assembly. A purportedly complete re-recording of the score in 2014 by
Solisti e Orchestre del Cinema Italiano has always been the bastard
child of the album offerings, providing more unreleased music than
otherwise available at the time but not presenting itself as a
re-recording and thus making buyers think they were buying the original
performance when they were not. Perhaps the ugliest aspect of that
product is that sound quality is quite hideous and the performances,
while marginally effective, are definitely not on par with the original
layering of trumpet and vocals. As such, that re-recording is not
recommended whatsoever. Listeners who do not feel served particularly
well by the original 11-track album presentation of mere highlights will
better appreciate one of the 21-track alternatives of the 2000's. But
the Quartet set is the gold standard for The Good, the Bad and the
Ugly, a truly outstanding assembly even if it does fully reveal the
score's weaker midsection and somewhat disappoints in the film version
due to the limitations of the mono sound. This is a challenging score to
rate because much of it is decently engaging three and four-star
material, but you have the utterly classic five-star moments that cannot
be denied. For those highlights in the main and "Ecstasy of Gold"
themes, the top rating is inevitable, because there is no escaping just
how effective and influential those moments became in the history of
film music.
@Amazon.com: CD or
Download
- Music as Written for the Film: *****
- Music as Heard on All Albums of the Original Recording: ****
- Music as Heard on the 2014 Re-Recording: **
- Overall: *****
| Bias Check: |
For Ennio Morricone reviews at Filmtracks, the average editorial rating is 3.31
(in 16 reviews)
and the average viewer rating is 3.3
(in 10,813 votes). The maximum rating is 5 stars.
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| 1985 EMI Manhattan/1998 Vivi Musica Albums Tracks ▼ | Total Time: 33:13 |
• 1. The Good, The Bad And The Ugly (Il Buono-Il Brutto- Il Cattivo) (2:38)
• 2. The Sundown (Il Tramonto) (1:12)
• 3. The Strong (Il Forte) (2:20)
• 4. The Desert (Il Deserto) (5:11)
• 5. The Carriage of the Spirits (La Carrozza dei Fantasmi) (2:06)
• 6. Marcia (Marcetta) (2:49)
• 7. The Story of a Soldier (La Storia de un Soldato) (3:50)
• 8. Marcia Without Hope (Marcetta Senza Speranza) (1:40)
• 9. The Death of a Soldier (Morte de un Soldato) (3:05)
• 10. The Ecstacy Of Gold (L'Estasi Dell'Oro) (3:22)
• 11. The Trio (Main Title) (Il Triello) (5:00)
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(The 1998 album also includes music from Morricone's The Big Gundown.) |
| 2001/2004 GDM Albums Tracks ▼ | Total Time: 58:07 |
• 1. Il Buono Il Brutto Il Cattivo (Titoli) (2:38)
• 2. Il Tramonto (1:14)
• 3. Sentenza (1:39)
• 4. Fuga a Cavallo (1:05)
• 5. Il Ponte di Corde (1:51)
• 6. Il Forte (2:19)
• 7. Inseguimento (2:22)
• 8. Il Deserto (5:14)
• 9. La Carrozza dei Fantasmi (2:06)
• 10. La Missione San Antonio (2:13)
• 11. Padre Ramirez (2:36)
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• 12. Marcetta (2:49)
• 13. La Storia di un Soldato (5:30)
• 14. Il Treno Militare (1:22)
• 15. Fine di una Spia (1:12)
• 16. Il Bandito Monco (2:43)
• 17. Due Contro Cinque (3:45)
• 18. Marcetta Senz Speranza (1:48)
• 19. Morte di un Soldato (3:07)
• 20. L'Estasi Dell'Oro (3:20)
• 21. Il Triello (7:14)
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| 2004 Capitol/EMI and 2010 GDM Albums Tracks ▼ | Total Time: 55:01 |
• 1. The Good, the Bad and the Ugly (2:38)
• 2. The Sundown (1:14)
• 3. Sentenza (1:39)
• 4. Fuga a Cavallo (1:05)
• 5. Il Ponte di Corde (1:51)
• 6. The Strong (2:19)
• 7. Inseguimento (2:22)
• 8. The Desert (5:14)
• 9. The Carriage of the Spirits (2:06)
• 10. La Missione San Antonio (2:13)
• 11. Padre Ramirez (2:36)
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• 12. Marcia (2:49)
• 13. The Story of a Soldier (5:30)
• 14. Il Treno Militare (1:22)
• 15. Fine di una Spia (1:12)
• 16. Il Bandito Monco (2:43)
• 17. Due Contro Cinque (3:45)
• 18. Marcia Without Hope (1:48)
• 19. The Death of a Soldier (3:07)
• 20. The Ecstasy of Gold (3:20)
• 21. The Trio (5:00)
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| 2014 Recording Arts/Retro Gold Albums Tracks ▼ | Total Time: 97:01 |
• 1. Titoli, Part 1 (Opening Titles) (Film Version) (2:45)
• 2. Il Tramonto, Part 1 (Film Version) (1:25)
• 3. Sentenza, Part 1 (1:29)
• 4. Fuga a Cavallo (1:56)
• 5. Sentenza, Part 2 (1:15)
• 6. Il Ponte di Corde (0:54)
• 7. The Good, The Bad and the Ugly, Part 1 (1:33)
• 8. Il Forte, Part 1 (2:24)
• 9. Inseguimento (2:28)
• 10. Il Deserto, Part 1 (5:17)
• 11. La Carrozza dei Fantasmi (2:11)
• 12. The Good, The Bad and the Ugly, Part 2 (0:59)
• 13. La Missione di San Antonio (2:17)
• 14. Padre Ramirez (2:40)
• 15. Marcetta (2:55)
• 16. La Storia di un Soldato, Part 1 (1:27)
• 17. La Storia di un Soldato, Part 2 (Film Version) (5:34)
• 18. Il Treno Militare (Extended Version) (1:59)
• 19. Fine di una Spia (1:16)
• 20. Il Bandito Monco (2:45)
• 21. The Good, The Bad and the Ugly, Part 3 (1:45)
• 22. Due Contro Cinque (3:54)
• 23. Il Forte, Part 2 (3:17)
• 24. Marcetta Senza Speranza, Part 1 (2:12)
• 25. Il Forte, Part 3 (1:24)
• 26. Marcetta Senza Speranza, Part 2 (1:55)
• 27. Il Forte, Part 4 (0:50)
• 28. Morte di un Soldato (3:11)
• 29. L'Estasi dell'Oro (3:28)
• 30. The Good, The Bad and the Ugly, Part 4 (0:40)
• 31. Il Triello, Part 1 (Film Version) (4:50)
• 32. The Good, The Bad and the Ugly, Part 5 (Finale) (3:14)
• 33. Marcetta Senza Speranza, Part 3 (2:51)
• 34. Un Uomo Cos'e (3:02)
• 35. Il Tramonto (Extended Album Version) (2:10)
• 36. Il Ponte di Corde, Part 2 (1:06)
• 37. La Storia di un Soldato, Part 3 (3:56)
• 38. Il Triello, Part 2 (5:05)
• 39. Titoli, Part 2 (2:42)
| |
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| 2019 Universal/Pantheon Album Tracks ▼ | Total Time: 60:00 |
• 1. Il Buono, Il Brutto, Il Cavitto (2:38)
• 2. Il Tramonto (1:14)
• 3. Sentenza (1:39)
• 4. Fuga a Cavallo (1:05)
• 5. Il Ponte di Corde (1:51)
• 6. Il Forte (2:19)
• 7. Inseguimento (2:22)
• 8. Il Deserto (5:14)
• 9. la Carrozza di Fantasmi (2:06)
• 10. la Missione San Antonio (2:13)
• 11. Padre Ramirez (2:36)
• 12. Marcetta (2:49)
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• 13. la Storia de un Soldato (5:30)
• 14. Il Treno Militare (1:22)
• 15. Fine di una Spia (1:12)
• 16. Il Bandito Monco (2:43)
• 17. Due Contro Cinque (3:45)
• 18. Marcetta Senza Speranza (1:48)
• 19. Morte di un Soldato (3:07)
• 20. L'Estasi Dell'oro (3:20)
• 21. Il Triello (4:57)
Bonus Track:
• 22. The Good, The Bad and the Ugly (2:57)
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(Music from this score exists on CD 2 of the 18-CD set. Total set time is 1215:47.) |
| 2020 Quartet Album Tracks ▼ | Total Time: 173:48 |
CD1: (61:21)
• 1. Prologo/Il buono, il brutto, il cattivo (titoli) (2:47)
• 2. Il brutto/Il tramonto (1:21)
• 3. Morte di Stevens (0:55)
• 4. Morte di Baker/Il cattivo (0:27)
• 5. Una taglia sulla testa/Un angelo biondo (0:52)
• 6. Fuga a cavallo (0:45)
• 7. Il buono/Il biondo abbandona Tuco nel deserto (0:37)
• 8. La confessione di Maria (1:14)
• 9. Il ponte di corde (0:50)
• 10. Tuco fa la colletta (1:05)
• 11. Suspense (1:14)
• 12. I tre desperados/Una cannonata provvindenziale (1:10)
• 13. Il forte (2:21)
• 14. All'inseguimento del biondo (2:25)
• 15. Il deserto (5:16)
• 16. Il deserto secondo (2:39)
• 17. Lo stivale (0:59)
• 18. La carrozza dei fantasmi (2:07)
• 19. Biondo... non morire! (0:56)
• 20. La missione di San Antonio/Il mio miglior nemico veglia su di me (2:23)
• 21. Incontro con Padre Ramirez/Perdonami fratello/Ti aiutera a difenderti (2:38)
• 22. Il Canyon dei Morti/Dio e con noi (0:26)
• 23. Marcetta prima/Marcetta seconda (2:45)
• 24. Il campo di prigionia di Betterville (1:25)
• 25. La storia di un soldato (5:34)
• 26. Un treno per la forca/Partenza del treno militare (1:56)
• 27. Tuco e Wallace (La storia di un soldato) (3:52)
• 28. Tuco scappa/Arrivo nella cittadina/Fine di una spia (1:16)
• 29. Il bandito monco (2:52)
• 30. Inseguilo! (0:56)
• 31. Il bagnoschiuma di Tuco (0:46)
• 32. Due contro cinque/Verso duecentomilla dollari (4:06)
CD2: (78:38)
• 1. Il capitano nordista (3:12)
• 2. Due assalti al giorno (2:08)
• 3. Il capitano e' ferito (1:20)
• 4. Marcetta senza speranza (1:51)
• 5. L' esplosione del ponte (0:48)
• 6. Morte di un soldato (3:17)
• 7. L'estasi dell'oro (3:23)
• 8. In due scaverete piu presto!/Il triello (2:50)
• 9. Il triello seconda parte (2:20)
• 10. Non e' uno scherzo, e'una corda/Nella linea del mirino/Il buono, il brutto, il cattivo (0:56)
• 11. Finale (2:01)
Bonus Tracks: (54:13)
• 12. Titoli (Versione film con cannonata) (2:46)
• 13. La storia di un soldato (Orchestral Version) (2:54)
• 14. Il tramonto (Alternate) (0:58)
• 15. Morte di Stevens (Alternate) (0:54)
• 16. Fuga a cavallo (Film Version) (0:45)
• 17. Intermezzo musicale (0:23)
• 18. Il forte (Alternate) (0:56)
• 19. Marcetta (Alternate) (2:44)
• 20. Organo (0:16)
• 21. Organo secondo (1:33)
• 22. L'estasi dell'oro (Mono Album Mix) (3:23)
• 23. Il triello (Alternate) (3:15)
• 24. Il triello/Il triello seconda parte (Extended Version) (7:13)
• 25. La storia di un soldato (Alternate) (3:56)
• 26. Lo stivale (Extended Sustain) (2:17)
• 27. Uahuah & effetti (2:04)
• 28. La storia di un soldato (Extended Stereo Version) (7:19)
• 29. Il triello (Alternate - Stereo Mix) (3:15)
• 30. La storia di un soldato (Extended Version) (3:55)
• 31. Titoli (Versione film con cannonata - Stereo Mix) (2:47)
CD3: (33:49)
• 1. Il buono, il brutto, il cattivo (2:42)
• 2. Il tramonto (1:16)
• 3. Il forte (2:23)
• 4. Il deserto (5:18)
• 5. La carrozza dei fantasmi (2:08)
• 6. Marcetta (2:50)
• 7. La storia di un soldato (3:54)
• 8. Marcetta senza speranza (1:52)
• 9. Morte di un soldato (3:10)
• 10. L'estasi dell'oro (3:24)
• 11. Il triello (4:57)
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The inserts of most of the albums contain no extra information
about the score or film. Those of the 2001 GDM, 2014 Recording
Arts/Retro Gold, 2019 Universal/Pantheon, and 2020 Quartet albums
feature varying levels of notation about both.
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