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Friday, August 08, 2008


Il Terrore Dei Barbari (Golith and the Barbarians)
Music by Carlo Innocenzi
Digitmovies CDDM113 (Italy)
24 Tracks 47:32 mins

Veteran soundtrack collectors will probably be aware of Lex Baxter's music (including his rousing main title march) for the American release of this 1959 movie, which starred Steve Reeves and was directed by Carlo Campogalliani. What they will probably not have heard before is the score for the original Italian release by a composer totally unfamiliar to me, and with the most unlikely name of Carlo Innocenzi, but apparently he did exist, although the accompanying booklet notes give very little information about the man.
What we have here then is that original score, conducted by the great Franco Ferrara and, having heard it, it seems strange that a replacement score was necessary, though that was the norm at that time for foreign films distributed in the states by Roger Corman's AIP.
After a dramatic opening, Innocenzi introduces his own main title march, which is certainly not as rousing as Baxter's pretty matchless composition, but is suitably epic nevertheless. A brief reprise of the theme appears in "Musica All'Accampameno."
Much of what follows consists of exciting and dramatic orchestral action music, with suspenseful moments here and there, for the various battle scenes between the invaders and the Italian defenders. But it's not all action and the composer introduces a somewhat exotic love theme for "Landa," which soars nicely on strings and has something of a nautical feel. The theme features in a number of subsequent tracks, including "Dichiarazione D'Amore, with its intimate flute and woodwind opening.
Completing the score are a handful of source cues, including a couple of dance cues, with the fast and furious "Danza Del Fuoco being particularly notable.
Both the main and love themes share the finale "Per La Sacra Corona; the album concluding with a bonus track, an alternate version of the finale, omitting the opening statement of the main theme.
The aforementioned accompanying booklet, as well as the aforementioned introductory notes by Claudio Fuiano, features plenty of colour and black & white stills and artwork from the film. Visit


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