GOBLIN VOLUME II 1975-1980

By: Steve Biodrowski
Date: Sunday, October 29, 2000

The problem with doing a track-by-track rundown of an album is that one's reactions to the individual pieces may not give an adequate indication of one's reaction to the collection as a whole. Thus, many of the rare tracks on The Goblin Collection are only good, not great (maybe that's why they were previously unreleased?); still, the album as a whole is an excellent anthology of music that fans would love to have. Goblin Volume II 1975-1980, on the other hand, may seem to rank higher on a title-by-title basis, because it sticks closer to tried-and-true cuts from the group's most creative period; but as a whole it is of slightly less interest to the avid collector, because it contains much less previously unreleased material. Nevertheless, it is nice to have these tracks in the pristine CD format, and there are a handful of rare gems that will make you feel you have received your money's worth, even if you do already own the original albums.

As with The Goblin Collection, the liner notes from Volume II suffer from some serious editorial problems. Several tracks are identified as 'previously unreleased,' even though they were indeed on the old vinyl albums. This kind of error, consequently, leaves one questioning the accuracy of other information provided, such as credits for additional musicians that don't always jibe with the information on the original record album covers.

In any case, it's the music that counts. Don't buy this disc as a reference guide; buy it because you want to listen to it.

FROM PROFONDO ROSSO (1975)

1. Profondo Rosso (alternate take, previously unreleased, 3:45): The first mistake that Volume II makes is starting off sounding almost exactly like The Goblin Collection. The title track from the 1975 Argento film was performed around a tape loop, which means that this alternate take is pretty much locked down to the same tempo and key as the more familiar version. If you do a side-by-side comparison, you might notice a few differences in Fabio Pignatelli's melodic bass lines, but that's about it. Still, in either version, this is one of Goblin's great instrumentals.

2. Gianna (alternate version, previously unreleased, 2:11): A little explanation is in order here: Profondo Rosso (a.k.a. 'Deep Red') was originally to be scored by jazz musician Georgio Gaslini before director Dario Argento opted to hire Goblin instead. Some of Gaslini's music remains in the original film (often as source music played by the film's lead character, a jazz pianist), but some of it was rearranged and performed by Goblin. This is one of Gaslini's compositions, a sort of love theme heard only in the uncut version of the film (currently available on DVD from Anchor Bay). There are a bass and a piano playing the accompaniment, which could be the work of Pignatelli and keyboardist Claudio Simonetti, but the liner notes credit this as 'composed, orchestrated, and conducted by Georgio Gaslini.' (And if so, then why is it on a Goblin album?) In any case, this is a slower version of the music than that which appeared on the original Profondo Rosso albuma simple melody repeated a few times on different wind instruments, relying on the different tonal colors to provide variety. Not exactly what you expect from Goblin, but it makes a nice change of pace from the rest of the album.


3. Deep Shadows (Film Version Part 1, previously unreleased, 1:57): Another Gaslini composition, this one clearly performed by Goblin, with rattling base lines, singing synthesizers, blazing guitars, and rolling drums. A pretty entertaining piece of progressive jazz-rock, this version is shorter than the one on the original soundtrack album, which came out of the kettle drum passage and launched into a piano-bass-drums three-way jam a la Emerson, Lake, and Palmer, followed by some guitar work and a return to the original them to bring the piece to a close. This 'Film Version,' as the name implied, conforms to how the music is heard in the film itself, cutting off after the kettle drums and segueing into Part 2.

4. Deep Shadows (Film Version Part 2, previously unreleased, 1:51): The beginning of this track was incorporated (a low rhythmic bass line with timpani subtle timpani rolls on top) was incorporated into the track 'Mad Puppet' on the original Profondo Rosso album. Here it builds up to a synthesizer melody, stated near the end, with a rattling guitar note swelling to the climax. (This is heard in the film when the David Hemmings character discovers the hidden painting that reveals a clue as to the killer's identity.)

5. Death Dies (Film Version Part 1, 2:40): Although identified as 'previously unreleased,' this is essentially the same as the 'original film version' that appeared on The Goblin Collection. Perhaps those with sharper ears can detect some difference.

6. Profondo Rosso (re-mix version, previously unreleased, 5:10): Some synthesizer chords add accents that are more annoying than entertaining. A few brief runs of notes are also dubbed on top to little effect, and the other instruments drop out at one point, allowing for a brief bass 'solo' (i.e., the bass guitar continues to play the same riff, just without other instruments on top). None of it is really enough to justify the additional length. This is okay as a novelty, but you'll soon find yourself returning to the original version of this piece.

FROM SUSPIRIA (1977)

7. Black Forest (6:05): One of the group's best efforts, this haunting piece appeared on the soundtrack album for Suspiria but not in the film itself. A plucked electric guitar sets the tone, with water synth sounds layer on top while the bass line introduces melodic runs, accompanied by a saxophone (played by drummer Agostino Marangolo's brother, Antonio). About midway through, this picks up into a more fast-paced rock-and-roll piece, with a nice guitar solo, followed by lots of keyboard work.

8. Blind Concert (6:15): This is really the conclusion of 'Black Forest' (the two titles were listed as one combined track on the original soundtrack album). The bass and drums lay down a jazzy kind of riff while the keyboards and guitar doodle out some free-form improvisational work. Not for those who like clearly defined melodies, but very interesting for those who want to hear what musicians can do when turned loose.

9. Markos (alternate version, previously unreleased, 4:10): A 'thicker' take on the track heard on the original soundtrack album, this version plays the same essential notes but with different tones on the synthesizer that almost overload the ear. Sequenced synthesizers lay down the accompaniment, while the bass and drums take the lead, belting out little improvised solos. Instead of building up gradually, as in the original, this one seems to start at full power, leaving it with nowhere to go. An interesting variation, but not as good as the previously released track.

FROM CHERRY FIVE (1975)

Before there was Goblin, there was Cherry Fivea name whose meaning remains mysterious even to the band members. The group at this time included Walter Martino on drums and Tony Tartarini on vocals. The sound is obviously reminiscent of ELP (a group much admired by the members of Cherry Five), but even at this early stage the penchant for the fantastic and the horrific is apparent. Although technically none of these tracks is 'previously unreleased,' the Cherry Five album was pretty much unavailable to American fans, so this material is of tremendous interest to collectors.

10. The Swan is a Murderer (Part 1, 3:53): Dig that title, huh? This is a track that will leave you scratching your head when you first hear it, because you're sure to think you've heard it beforeit has that familiar sound, like ELP (or more accurately, like one of their imitators). This starts with a catch intro, played by guitar and keyboards in unison; then the guitar drops out, and the vocals come in. Curiously, the lyrics are in English, but you won't be able to understand them, buried as they are in the mix. Still, an interesting remnant from the glory days of progressive rock. The track ends with a segue to Part 2 that will be familiar to anyone who has heard the Profondo Rosso album: a genuinely creepy interlude of musical ambience featuring synthesized wind effects and spooky, wordless vocals. (Apparently, director Dario Argento liked the effect so much that he wanted it incorporated in Deep Red's soundtrack. On the soundtrack album, it is part of a track called 'Wild Session,' which leads into a nifty jazz-rock jam session.)

11. The Swan is a Murderer (Part 2, 5:07):After a brief reprise of the ambient interlude at the end of Part 1 (presumably to buffer the switch from side one to side two, back in the old days of flipping vinyl records), this launches back into the song, at a faster pace. Pignatelli adds a melodic bass line reminiscent of Chris Squire from Yes. Simonetti blazes away on harpsichord and other keyboards, showing off just what he can do. Then the guitar re-enters, wrapping up the piece quite nicely.

12. Oliver (9:30): A brief piano intro leads to a slow, lilting, medium heavy riff, layered with some staccato solo work on top; nearly two minutes in, the vocals finally start. The organ-synth sounds are so reminiscent of ELP's work (especially on Tarkus) that you're bound to wonder why a lawsuit was never filed, but you'll enjoy this song anywaythink of it as an homage rather than a rip-off. Midway through, a slower interlude intrudes, with another memorable bass line from Pignatelli, overlaid with melotron sounds. At this point the sound becomes somewhat reminiscent of early King Crimson (e.g., In the Wake of Poseidon). The song (which remains mostly instrumental throughout) then returns to a fast pace with lots of clever playing; then a final verse brings it to a pretty nice finish.

FROM ROLLER (1976)

13. Il Resvegno del Serpente (3:27): Composed by keyboardist Simonetti, this is essentially a solo piano piece with some acoustic guitar accompaniment from Massimo Morante. Augostino Marangolo provides some slow cymbal splashes (distorted through a flanger to create a steamy-sounding effect), mostly at the beginning, and Simonetti (or perhaps Maurizio Guarini, who was a full-fledged member on ths album) adds a brief bit of synthesizer. A slow, almost melancholy piece, this has a certain delicate beauty to it. Another nice change of pace from the more raucous sounds of the rest of the album.

FROM SQUADRA ANTIGANGSTERS (1979)

14. Stunt Cars (4:00): Another supposedly 'previously unreleased' track that actually appeared on an album twenty years ago, this has a country-and-western sound presumably inspired by The Dukes of Hazard. Goofy but still entertaining, this track will either have you laughing at the tongue-in-cheek tone, or scratching your head and wondering whatever happened to the good ol' days of Goblin's best work. This track is from one of the group's least interesting efforts, recorded at a time after Morante had left; nevertheless, the liner notes insist that he played guitar on this track, despite the fact that his replacement, Carlo Pennisi, is given co-composing credit along with the rest of the then-current members.

FROM CONTAMINATION (1980)

This album was a considerable improvement over Squadra Antigangsters despite the fact that the group was down to two official members at this point: bassist Pignatelli and drummer Marangolo (Morante and Simonetti having left by this time). The liner notes credit the band's old friend and sometimes member Maurizio Guarini with playing keyboards; also mentioned are Antonio Marangolo on saxophone (though you won't hear him on these tracks) and Roberto Puleo on guitar.

15. Connexion (3:25): The opening track from the original album, this music plays in the film Alien Contamination while one of the lead characters is being eaten alive by the alien monsterthis truly awful film's one and only truly frightening set-piece. A really tight sound includes another active bass line and some good drum rolls accompanied by heavy keyboards and some sequencer effects. Ominous and threatening, this will, unfortunately, raise your expectations for the film. Don't be fooled; stick with the music.

16. Withy (3:19): This is yet another of those 'previously unreleased' tracks that I'll play for you from my twenty-year-old vinyl record, just to prove a point. Amway, it's pretty decent, with a simple rhythm tapped out by Marangolo on a muffled cymbal while the bass lays down the riff, topped with a simple synth accompaniment and some reverbed guitar to create an echoing sound. Only problem: it's not an adequate conclusion to the album, being more of a mood piece than a dramatic, exciting climax. Oh well, I guess you can't have everything.