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AKA:
Einer frisst den anderen
O Crime Caminha a Meu Lado (Brazil)
O crime caminha ao meu lado (Brazil) (dubbed version)
La môme aux dollars (France) (dubbed version)
When Strangers Meet (UK)
L'ora di uccidere (Italy)
La morte vestita di dollari (Italy) (reissue title)
Dog Eat Dog! (USA) (promotional title)
Einer frißt den anderen (West Germany)
An Act of Violence (World-wide) (English title) (pre-release title)
Kronos Records is very proud to present the soundtrack to the 1967 film, LA MORTE VESTITA DI DOLLAR (DOG EAT DOG aka WHEN STRANGERS MEET), starring Cameron Mitchell and Jayne Mansfield. The eclectic score was penned by none less than one of Italy's most active composers of the era and one of Kronos Records' top champions Maestro Carlo Savina.
The score includes several musical styles, all of which are rich in melody and filled with drama and vitality. The score is a vibrant and energetic one, the composer combining the big band jazz sound with that of a more luxurious and stylish aura that is linked with many movies that were produced during the 1960, s. For much of its duration the soundtrack leans towards a more traditional jazz style, which is in keeping with the films storyline and the period in which it is set. He composer utilizing to great effect piano, woodwind and at times lush string interludes that are quite grandiose and opulent sounding. The Maestro also employs a style and sound that is very much akin to the composing style of fellow Italian composers such as Piero Umiliani, Armando Trovaioli and Gianni Ferrio to identify a few. Savina makes effective use of organ solos and introduces and integrates these performances at key points within the work, the sound and style lending much support and atmosphere to the score as well as enhancement to the scenarios unfolding on screen. The use of organ was commonplace in so many Italian soundtracks, the instrumentation adding touches of drama, melancholy and fleeting hints of the sinister, when employed. The opening cue sets the scene perfectly for what we are about to hear, it is a fast-paced swing composition for percussion and brass and although short lived makes an impact immediately. Track two, is a more elaborated version of the opening cue and contains nice muted trumpet performances as well brushed drums and classy sounding piano. Track number three, is more dramatic in its sound and style, the composer employing strings that are supported by both percussive elements and brass, that when combined create a tense and urgent sound. Other cues as CONCERTO ROMANTICO, are quite powerful and emotive, the composer employing solo piano underlined by the string section, which add a certain classical sounding persona to the score. Whereas tracks such as RITMI DI LATTA are pure jazz/swing with vibes and saxophone combining with guitar, piano, percussion, bongos, and bass to purvey a groovy sounding piece, that has an infectious pace and appeal. When listening to this and other scores by the Maestro, it becomes very clear why he was in such demand and how versatile and talented he was.
- Kronos Records
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