MOVIE MUSIC UK

In this tenth installment of my series looking at the early careers of iconic composers, we take a look at the final seven scores written by the legendary Ennio Morricone in 1970. These titles include one of the most important giallo scores of all time, a couple of quirky dramas, two spaghetti westerns (one of which stars Clint Eastwood), and a psychedelic sex comedy score that has to be heard to be believed!

LA MOGLIE PIÙ BELLA [THE MOST BEAUTIFUL WIFE] (1970)

La Moglie Più Bella is an Italian drama film directed by Damiano Damiani. The film looks at the concept of ‘fuitina,’ a formerly common custom in southern Italy in which a young woman would be kidnapped by a prospective husband and then forced to take part in a ‘matrimonio riparatore’ – a rehabilitating marriage – to her kidnapper. Specifically, the story examines the real-life case of Franca Viola, who became famous in the 1960s in Italy for refusing to take part in such a marriage after she was kidnapped as part of a fuitina plot, held hostage for more than a week, and raped numerous times. The film started Ornella Muti as Franca in her debut film role, Alessio Orano as her kidnapper, and Pierluigi Aprà as the Carabinieri lieutenant who investigates her case.

Morricone’s score is serious and dramatic, but still has some lovely melodic moments, and the whole thing is steeped in his style. The main theme, “La Moglie Più Bella,” is a combination of a standard orchestra, a twanging Jew’s harp, a cimbalom, and solo soprano vocals, all coming together to perform a strong, purposeful, determined-sounding theme that speaks to the resoluteness of Franca and her determination not to be abused. It has all the hallmarks of his spaghetti westerns, but it’s interesting how he was able to shift the focus to a more contemporary setting. The theme appears several times in the score; “Dramma Lontano” initially focuses on the familiar rolling pianos that have been a part of several Morricone scores, and surrounds them with thoughtful strings which eventually segue into a bold statement. Later, “Intimità” rearranges the theme for oboes and voice, “Sguardi Torbidi” is dark and arrayed with moody woodwinds and stark strings,

The twanging and boinging sound of the Jew’s harp is prevalent throughout much of the score, but what Morricone does with the orchestral parts around them changes significantly. For example, “Rapimento in Campo Aperto” and “Lupara” are full of strident, slashing strings and tempestuous percussion, while “In Campo Aperto” adds guitars and shrill whistles into the mix, as a well as a frantic tribal-style beat. I’m not sure what the boing sound represents in context but – and here’s a hot take – I personally think it undermines the seriousness of the story and feels like a rare tonal miscalculation on Morricone’s part.

Of course, this wouldn’t be a Morricone score without a lovely romance theme, and La Moglie Più Bella has several. “Vito e Francesca” takes part of the main theme and arranges it for soft strings, intimate pianos, and Edda dell’Orso’s unmistakable voice. The melodic highlight is undoubtedly the gorgeous “Tema di Francesca,” which again takes the thematic content from the opening cue, but presents is a tender, but slightly melancholy, lament that moves around from woodwinds to soft brass to strings and soprano, while the piano comments repetitively underneath. It’s really lovely, and it’s certainly a welcome break from the pinging and ponging elsewhere.

The score La Moglie Più Bella has been released several times. My personal preference is for the 2017 release from Italian label Cinevox, which builds slightly on their own earlier 1999, and has superior remastered sound.

Track Listing: 1. La Moglie Più Bella (Single) (2:09), 2. Rapimento in Campo Aperto (1:21), 3. Vito e Francesca (2:21), 4. Nascosto (0:28), 5. Dramma Lontano (2:36), 6. Intimità (1:18), 7. Lupara (1:06), 8. In Campo Aperto (1:42), 9. Sguardi Torbidi (1:37), 10. Ritrovata (1:22), 11. Tema di Francesca (Single) (2:52), 12. Amore Triste (2:02), 13. In Campo Aperto – Alternate Version (3:43), 14. Infinita Malinconia (2:20), 15. Tema di Francesca (Alternate Version) (2:22). Cinevox CDOSTPK-027, 29 minutes 19 seconds.

L’UCCELLO DALLE PIUME DI CRISTALLO [THE BIRD WITH THE CRYSTAL PLUMAGE] (1970)

L’Uccello Dalle Piume di Cristallo – The Bird with the Crystal Plumage in English – is a horror-thriller film written and directed by Dario Argento, in his directorial debut. The film stars Tony Musante as Sam Dalmas, an American on vacation in Rome with his English model girlfriend (Suzy Kendall), who witnesses a woman being attacked in an art gallery by a mysterious assailant dressed in a raincoat. It soon emerges that the attacker might be a serial killer who is killing young women across the city; haunted by his brush with death, Sam teams up with a police inspector named Morosini (Enrico Maria Salerno) to try to help solve the crime. The film is widely considered to be the film which popularized the giallo genre among international audiences, and is the first installment in Argento’s Animal Trilogy that also includes Il Gatto a Nove Code and Quattro Mosche di Velluto Grigio.

This score is also notable as being the first collaboration between Argento and Morricone with Argento as director, and for the fact that is represents one of the most challenging explorations of dissonance and musical abstraction of Morricone’s career. The score is essentially split into two halves; the first comprises a set of lounge jazz and light pop pieces that represent 1970s Rome and Tony’s experiences in it. “Non Rimane Piu Nessuno” is alternately fun and lively, and laid back and relaxing, and has a light bossa nova beat. The conclusive “Violenza Inattesa” is warm, almost pleasant piece for wordless vocals, light rock guitars, and glassy percussion.

The second deals with the murder and mayhem, the horror and suspense at the center of the plot, and this is where Morricone gets really wild. “Corsa Sui Tetti” is a vivid collision of jazz drums, muted trumpets, frantic keyboards, tolling bells, and various other assorted noises that have to be heard to be believed. “Svolta Drammatica” adds insistent, trembling strings into the mix. “Frasseggio Senza Struttura” and “La Citta Si Risveglia” are extended exercises in minimalist tension-building, again using glass and metallic sounds as a topical marker. “Silenzio Nel Caos” adds whining jazz saxophones to the palette, as well as low male voice grunting and disturbing female ululations.

Then there is a final overarching idea that runs through both halves of the score, and that is the sound of Edda dell’Orso having an orgasm into a microphone. Her wild, agonizing moans and groans represent the underlying sexuality that Argento injects into the entire film. It begins in the opening cue, “Piume di Cristallo,” which is a pretty lullaby-esque piece featuring la-la-la vocals, wind chimes, vibraphone, and organ. She can be heard gasping breathlessly in “Corsa Sui Tetti,” and quivering erotically in “Svolta Drammatica,” before climaxing (pardon the pun) in the astonishing title track “L’Uccello Dalle Piume di Cristallo,” which is literally nothing more than vocal sex noises and a heartbeat pulse that gradually quickens and quickens. Oh, yeah, there’s also an Italian drinking song (“Se Sei Stonato”), if you perverts are into that sort of thing.

In my opinion the best presentation of the score for The Bird with the Crystal Plumage is the 1998 release on Italian label Cinevox, which presents everything the score has to offer without you having to wade through six variations of every theme. There are other albums which offer slightly different presentations, and of course the main theme has been included on many Morricone compilations over the years. This one comes highly recommended as a groundbreaking work for an important landmark film in Italian giallo history.

Track Listing: 1. Piume di Cristallo (5:12), 2. Non Rimane Piu Nessuno (3:17), 3. Corsa Sui Tetti (4:59), 4. Se Sei Stonato (0:48), 5. Svolta Drammatica (2:43), 6. Frasseggio Senza Struttura (4:16), 7. La Citta Si Risveglia (3:09), 8. L’Uccello Dalle Piume di Cristallo (1:25), 9. Silenzio Nel Caos (2:12), 10. Violenza Inattesa (4:08), 11. Frasseggio Senza Struttura – Alternate Version (2:26), 12. Piume di Cristallo – Alternate Version (2:08). Cinevox MDF-313, 36 minutes 43 seconds.

METELLO (1970)

Metello is an Italian historical drama film directed by Mauro Bolognini, starring Massimo Ranieri in the title role. It’s the story of how a man struggles to escape from the abject poverty that led to the premature death of his parents – the poverty that defined the working class in northern Italy during the second half of the 19th century. The film follows Metello as he fights his way through the class system inherent in Italian society, working hard but also taking advantage of his good looks when dealing with women; eventually he assumes an important role in a workers movement, but soon finds he must balance his new and risky political activities with his active private life.

The score for Metello, like many Morricone works, is based around two main themes, and several variations thereof. The main theme, “Metello,” is initially heard as a pretty, wistful, intimate melody that moves backwards and forwards between acoustic guitars, woodwinds, solo violins, piano, solo trumpet, and organ in the opening “Tema Titoli”. As then as the score progresses it goes through several variations, including one notable one where the melody is arranged for saxophone, flute, cimbalom, and oboe. It’s a lovely theme, perhaps a little old-fashioned in some of its renaissance-esque chord progressions, but it speaks both to the main character’s humble origins, as well as his aspirations and desire to prove himself. The final statement, in “Titoli Finale – Grande Orchestra,” is really superb, the best cue on the album.

The main secondary theme is “Tema Scioperpo” – the Strike theme – which is a little more dour and serious, and blends woodwinds and cimbalom together to perform a melody that actually feels a little Jewish in tone, as if it is carrying the weary weight of the world on its musical shoulders. The “Solenne Triste” variation is quite striking and dramatic, with more prominent piano and strings, while the “Versione Lunga” passes the melody between numerous different solo instruments over the course of its seven minute length.

There are also some one-off cues of note, including a flamboyant and brassy piece of regal pastiche in “L’Arrivo de Re,” some old-fashioned source music in “Pianino Nella Strada,” and a lively militaristic flurry for trumpet, fife, and drum in “La Naja”.

Metello is not one of Ennio Morricone’s more well-known scores, but the main theme is especially worth seeking out of you like your romantic themes underpinned with a sense of melancholy. The version reviewed here is the one released by GDM Music in 2006, digitally remastered and expanded from previous releases, but as is always the case there are multiple options to choose from, including one from GDM released in 2014 which pairs the score with The Secret of the Sahara as part of a 2-CD set.

Track Listing: 1. Metello (Tema Titoli) (2:44), 2. Tema Sciopero (Andante Triste) (1:58), 3. Pianino Nella Strada (2:15), 4. Metello (Tema Titoli Sax-Flauto-Cembalo-Oboe) (1:49), 5. Tema Sciopero (Solenne Triste) (2:04), 6. Metello (Tema Titoli) (2:19), 7. L’Arrivo del Re (Marcia Militare) (2:37), 8. Tema Sciopero (Versione Lunga) (6:57), 9. Metello (Ripresa) (2:58), 10. La Naja (Marcetta Per Tromba, Ottavino e Tamburo) (1:35), 11. Tema Sciopero (Ripresa) (5:57), 12. Metello (Ripresa #2) (4:04), 13. L’Arrivo del Re #2 (2:45), 14. Metello (Titoli Finale – Grande Orchestra) (2:39). GDM Music GDM-2071, 42 minutes 41 seconds.

QUANDO LE DONNE AVEVANO LA CODA (1970)

Quando le Donne Avevano la Coda – translated to ‘When Women Had Tails’ – is an Italian sex comedy directed by Pasquale Festa Campanile, set in pre-historic times when ‘women had tails’ and were hunted by cavemen. Giuliano Gemma plays Ulli, the eldest of seven orphan cavemen who grow up on an isolated island. After a fire burns all their crops, Ulli leads his brothers off the island to find a new home, and while out hunting one day they come across Filli (Senta Berger), a beautiful ‘cave-woman’. As none of the brothers have ever seen a cavewoman before, naturally, they want to kill and eat her – but Filli has other ideas, and tries to use her ‘feminine wiles’ to seduce Ulli and save her life.

The score for Quando le Donne Avevano la Coda is very, very peculiar. It features an orchestra, the chorus of I Cantori Moderni di Alessandroni, and specialist instruments including keyboards, guitars, marimbas, and more, but that description of simple facts doesn’t really come close to capturing just how odd the score is. The main title cue, “Quando le Donne Avevano la Coda,” begins with a bizarre muted keyboard rhythms over which Morricone layers a deep, croaking male vocal saying ‘ah-wa,’ a breathy female vocal effect, and an oddly comedic recorder theme that is catchy and pretty and quirky, but then becomes even more so when the light 70s lounge rock arrangements kick in. This is what I love about Morricone so much – who on earth could have possibly come up with this combination of sounds for a prehistoric sex comedy? It’s just brilliant; insane, unexpected, so clever.

And so on the score goes. “Nascita di Filly” features breathy, slightly erotic come-hither female vocals over a lilting instrumental base, and reprise of the main theme featuring some brilliant bulbous tuba chords. “Can Can Delle Filly” is a fabulous bossa nova jazz piece that it is impossible not to dance to. “Marcetta dei Sette” is a reworking of the main theme for recorder and Jew’s harp which makes it sound like the insane cousin of La Moglie Più Bella. “I Civettoni” sounds like a variation on ‘Twinkle Twinkle Little Star’ offset with a flirtatious classical violin solo. “Ulli, Grr, Malug, Put, Uto, 204, KAO” returns to the ‘wa-wa-wa’ voices in what can only be described as 1960s psychedelic laid-back country music comedy romance – maybe?

“Balletto Sulle Uova” is so bizarre as to almost defy description, except to say that’s essentially instrumental farting and popping. The subsequent “Pantomima Delle Caverne” builds on this by adding grunting to the mix, as well as an off-kilter statement of the main theme, a dainty music box ballet sequence. “Introduzione all’Introduzione di Una Introduzione” offers a variation on the can-can theme which is wonderfully infectious, while the conclusive “Preludio Alal Gioia” builds up slowly but eventually becomes something of a dance-like celebration, blending many of the score’s unique and idiosyncratic ideas into a buoyant whole. The entire thing is just so cheerful and upbeat and silly and cheesy and good-natured that you can’t help but swept along by it.

There are several versions of the soundtrack for Quando le Donne Avevano la Coda, several of which pair it with music from its 1972 sequel Quando le Donne Persero la Coda, which was scored by Bruno Nicolai. The version I have reviewed here is the CD re-issue of the 11-track original LP released by Contempo Records, and it comes highly recommended if you want to listen to a score which slaps a stupid smile on your face while you marvel at Ennio Morricone’s endless creativity.

Track Listing: 1. Quando le Donne Avevano la Coda (2:45), 2. Nascita di Filly (2:51), 3. Can Can Delle Filly (5:33), 4. Marcetta dei Sette (2:08), 5. I Civettoni (4:20), 6. Ulli, Grr, Malug, Put, Uto, 204, KAO (3:44), 7. Balletto Sulle Uova (1:40), 8. Can Can Delle Filly #2 (4:02), 9. Pantomima Delle Caverne (3:04), 10. Introduzione all’Introduzione di Una Introduzione (1:16), 11. Preludio Alal Gioia (1:59). Contempo CD-2001, 33 minutes 27 seconds.

UCCIDETE IL VITELLO GRASSO E ARROSTITELO (1970)

Uccidete Il Vitello Grasso e Arrostitelo – known in English as Kill the Fatted Calf and Roast It – is an Italian giallo drama/thriller directed by Salvatore Samperi. Maurizio Degli Espositi plays Enrico Merlo, a young man who returns home from his father’s funeral, and then soon begins to suspect that his brother Cesare (Jean Sorel) and his sister Verde (Marilú Tolo) are plotting to murder him.

The score for Uccidete Il Vitello Grasso e Arrostitelo is another one of those anachronistic lounge jazz/light rock scores which crop up from time to time; the main title theme is a hip beat with a prominent Hammond organ performing the dance like melody, accompanied by a rock drum kit, before it veers off into the first of a series of impressionistic harpsichord interludes. The opening cue “Lungo la Stradina,” and its subsequent recapitulation, are a pair of playful woodwind dances that picksup a variety of other instrumental textures as they weave their merry magic. Similarly, “Ricordi Tanti Fiori” has an almost pastoral nature, with especially lovely writing for flutes and harpsichord, while the groovy “La Fredda Lama Del Coltello” goes down the road towards pop psychedelia.

The first “Al Confini Della Follia” is more conventionally romantic, showcasing a lovely bucolic piano line accompanied by lilting flutes and harpsichord. However, its recapitulation namesake is more unusual and unsettling, a series of abstract textures for woodwinds, percussion, and haunting keyboard tones; this is the part of the score that clearly alludes to Enrico’s suspicions about his potentially murderous siblings, and Morricone captures that unsettling trepidation well. The conclusive “Scivolando Nel Buio” is a disorienting collision of frantic electric guitars, insistent percussion, la-la vocals, and more keyed organ music, insinuating that Enrico may be a little mad… or is he?

The version of Uccidete Il Vitello Grasso e Arrostitelo reviewed here is the 2007 release from Italian label Digitmovies, but there are several options to choose from, including a shorter version released by CAM Records in 1992 which pairs the score with music from the 1968 film Grazie Zia.

Track Listing: 1. Lungo la Stradina (3:03), 2. Al Confini Della Follia (4:41), 3. Uccidete Il Vitello Grasso (Titoli) (2:21), 4. Ricordi Tanti Fiori (3:30), 5. Al Confini Della Follia (Versione 2) (10:26), 6. La Fredda Lama del Coltello (2:12), 7. Echi del ‘700 (1:33), 8. Scivolando Nel Buio (5:20), 9. Lungo La Stradina (Versione 2) (2:46), 10. Ricordi Tanti Fiori (Versione 2) (3:25). Digitmovies CDDM-083, 39 minutes 17 seconds.

VAMOS A MATAR COMPAÑEROS (1970)

Vamos a Matar Compañeros is an action/comedy spaghetti western directed by Sergio Corbucci, starring Franco Nero, Tomas Milian, Jack Palance, and Fernando Rey. The film is set during the Mexican revolutionary war and follows the adventures of Yodlaf Peterson, a Swedish arms dealer and mercenary, who teams up a poor revolutionary named El Vasco; their adventure involves them travelling across Mexico to break a fellow revolutionary – a well-educated Professor – out of an American army jail, as the Professor is the only person who knows the combination to a safe which contains a large amount of money. The film was the fifth of Corbucci’s popular spaghetti westerns after Navajo Joe, I Crudelli, Il Mercenario, and Il Grande Silenzio, and was a cult international hit upon its release.

Morricone’s score for Vamos a Matar Compañeros is one of my all-time favorites by him, because it combines the sublimely beautiful with patently stupid and hilarious, all to astonishingly entertaining effect. The first time I heard the titular song, which has Spanish lyrics by director Corbucci, I literally burst out laughing. It’s an insanely catchy and fast cowboy clip-clop rhythm which uses a trilling recorder, a harmonica, and tolling bells in between vocal passages that gradually become louder, higher, and more shrill with each successive verse. When the vocalist literally shrieks – “aaaaaaaaaarghhhh!” – at the 1:21 mark, you can’t help but fall in love with the absurdity of it all. The fact that this song was written by the same man who wrote Gabriel’s Oboe and Deborah’s Theme is testament to Morricone’s genius. No one wrote music like him, with this much innovation, this much style, and this much humor.

The second theme relates to Nero’s character, “Il Pinguino,” and is a laid-back piece for a plucked guitar and Alessandro Alessandroni’s iconic whistling; it’s perfect depiction of the character – simple, nonchalant, without a care in the world; it reminds me a little of the music Burt Bacharach wrote for Butch Cassidy and the Sundance Kid in 1969, to the extent I actually wonder whether it was temp-tracked. The rest of the score is made up mostly of variations on these two themes, with some of the versions of the Pinguino theme receiving a very satisfying re-orchestration where the melody is carried by a solo trumpet.

Of the other cues include “La Loro Patria,” the main romantic piece, a slow and hesitant piece for strings, strummed guitars, and woodwinds, which at times becomes quite sweeping and moving on the few occasions the full orchestra rises to carry the melody. “Un Uomo in Agguato” is a classic piece of Morricone suspense music, full of insistent jangling guitars and jagged percussive textures, which becomes powerfully dramatic when the rasping brass and open voices take over. “La Messicana” is a lovely, gentle piece that yearns for the Mexican homeland and features a rich harmonic solo.

If I’m ever in a bad mood I put on Vamos a Matar Compañeros and I immedialy feel better. You can help but smile while listening to this score. Quite how Morricone came up with the idea to combine abstract and angular action music with carefree whistling and that song to convey a story about the Mexican revolutionary war and missing gold will never be anything but astonishing to me, but that’s what made him who he was. I like the release from Screentrax that came out in 2000, but there are multiple options to choose from. Whichever one you can find, this one is not to be missed.

Track Listing: 1. Vamos A Matar Compañeros (2:21), 2. Il Pinguino (2:52), 3. La Messicana (2:36), 4. La Loro Patria (1:38), 5. Un Uomo in Agguato (5:36), 6. Pensando Alla Libertá (1:18), 7. Cecchino (1:19), 8. Il Pinguino #2 (2:59), 9. Vamos A Matar Compañeros #2 (2:02), 10. Il Pinguino #3 (1:59), 11. Un Uomo in Agguato #2 (4:02), 12. Il Pinguino #4 (2:29), 13. La Loro Patria #2 (3:56), 14. Vamos A Matar Compañeros #3 (3:22), 15. Un Uomo in Agguato #3 (3:32), 16. Il Pinguino #5 (2:05), 17. Vamos A Matar Compañeros #4 (3:54), 18. La Loro Patria #3 (3:13), 19. Vamos A Matar Compañeros #5 (1:50), 20. Vamos A Matar Compañeros #6 (6:17). Screentrax CDST-327, 59 minutes 20 seconds.

TWO MULES FOR SISTER SARA (1970)

Two Mules for Sister Sara is an American spaghetti western directed by Don Siegel, starring Clint Eastwood in one of his most popular early leading roles following his success in Sergio Leone’s Dollars trilogy. The film is set in Mexico just after the American Civil War, and sees Eastwood playing Hogan, a former soldier. Hogan rescues a woman from being raped by bandits, and discovers the woman is a nun, Sister Sara (Shirley MacLaine). Sara is raising money to assist Mexican revolutionaries fighting against French occupying forces, and she convinces Hogan to take her to the Mexican camp; the mismatched pair sets off across the desert, and must overcome various threats and obstacles to reach their goal.

Two Mules for Sister Sara was one of the first films where Morricone worked with an American director within the recognized Hollywood studio system, and as such can be considered something of a landmark score. Thankfully, these new surroundings didn’t dampen Morricone’s creativity at all; the score is very much rooted in the now-established spaghetti western sound he created for Sergio Leone, Sergio Corbucci, and others, and is just as quirky and idiosyncratic as one would expect. The “Main Title” introduces the two main themes; the first is a broad, adventurous theme for guitars, flutes, and the full orchestra, and which features the score’s gimmick – a little instrumental flutter intended to mimic the sound of a mule’s hee-haw; the second is a liturgical choral theme steeped in Catholic religious music that acts as a motif for Sister Sara herself.

The main Adventure theme appears regularly throughout the score; “The Braying Mule” offers an even more peculiar arrangement that adds marimbas and creaking percussion to the mix, while “The Cool Mule” allows the flute performances to become even more flamboyant and impressionistic, often sounding wildly improvised.

There are also several lovely returns to Sister Sara’s theme. In “A Time for Miracles” the choral theme is re-orchestrated for a different instrumental ensemble, and includes a very gorgeous interlude for lilting guitars. “Night on the Desert” offer a slightly distant, wistful take on the theme, wherein the melody jumps around from florid Spanish guitars to fluttering piccolos, and a variation of the theme that uses warm and romantic woodwinds rather than vocals. The main concert statement of the melody is “Sister Sara’s Theme,” which again uses inviting acoustic guitars and elegant woodwinds as dominant textures.

The rest of the score is dominated by Morricone’s idiosyncratic action and suspense music to underscore the various dangerous encounters Hogan and Sara face on their journey. “The Swinging Rope” and “La Cueva” favor tight string phrases, shrill woodwinds, tension-filled guitars, nervous rattling percussion and strummed banjos. “The Battle” is the score’s major action set piece, a fantastic and vivid eruption of bold horns, swirling strings, and martial percussion that leads into a reprise of the “Main Title” to close.

The album, released by La-La Land Records in 2020, offers two versions of the score as part of a 2-CD set: the first is a straight re-issue of the original 1970 vinyl LP release of the score, the second is a re-mastered expansion of the score in chronological order, containing several previously unreleased cues that increase the running time by more than half an hour. Two Mules for Sister Sara is clearly not one of Morricone’s better western scores, but it’s fun nevertheless, and is interesting from a historical point of view.

Track Listing: 1. Main Title (Film Version) (4:17), 2. Dynamite (1:18), 3. Sara’s A Sister (2:48), 4. The French Are Coming (1:40), 5. Hiding in the Ruins (4:04), 6. A Time for Miracles (2:00), 7. Two Mules Theme (3:32), 8. Up That Tree/Colonel Dies (3:09), 9. La Cueva (2:19), 10. Yaqui Go Home (2:22), 11. Trestle (2:32), 12. Hiding in the Ruins Again (4:53), 13. La Cantina (1:36), 14. The Swinging Rope (3:46), 15. Night in Juarista Cave (2:08), 16. Two Mules Theme (Reprise) (2:29), 17. Arrival at the Church (1:08), 18. Sara’s Ruse/Hogan Kisses Sara (3:29), 19. The Battle (3:36), 20. End Title Theme (1:28), 21. Main Title (Original Version) (4:17), 22. Main Title – Original Album Presentation (4:10), 23. A Time for Miracles – Original Album Presentation (1:54), 24. Night on the Desert – Original Album Presentation (3:13), 25. Sister Sara’s Theme – Original Album Presentation (5:18), 26. The Swinging Rope – Original Album Presentation (3:40), 27. The Braying Mule – Original Album Presentation (2:30), 28. La Cueva – Original Album Presentation (2:13), 29. La Cantina – Original Album Presentation (1:32), 30. The Cool Mule – Original Album Presentation (2:16), 31. The Battle – Original Album Presentation (3:30), 32. Main Title (Reprise) – Original Album Presentation (3:26). La-La Land Records LLLCD-1525, 93 minutes 21 seconds.