And so we reach one of the 20th century’s best-known pieces of music. People might not be aware that they know the theme from ‘The Good, The Bad and The Ugly’, but if you can mimic the woo-wee-oo-wee-oo well enough, then they should be able to come back with a passable waa-waa-waa…
The Good, The Bad and The Ugly, by Hugo Montenegro, His Orchestra & Chorus (his 1st and only #1)
4 weeks, from 13th November – 11th December 1968
It’s so famous that it sounds kind of clichéd now. It’s been used in so many spaghetti-western spoofs – a gun slinger in a poncho with an orange setting sun in the background, close-up on his narrowed eyes as he spits his tobacco on the ground (the famous refrain is supposed to sound like a coyote howling.) You’re almost surprised to remember that it was an actual real piece of music, soundtrack to real movie all of its very own.
Back in the fifties and early-sixties, when it seemed as if every second chart-topper was an instrumental, I regularly complained that lyric-less songs can sometimes meander and get lost. Not always, but for every ‘Apache’ or ‘Nut Rocker’ there was a ‘Side Saddle’. Instrumentals need a bit of atmosphere about them to cover up for the fact that you can’t sing along. The instruments need to become the voice. Which is what happens with this record. This instrumental passes the test. You definitely can sing along to it.
Speaking of ‘Apache’, this theme owes a bit of a debt to The Shadows when the twangy, Hank Marvin-ish guitars come in. It also reminds me of ‘Running Bear’ (1960 was a big year for the cowboys and injuns themed #1s) with its rep rop ooh wah too chants, which came from band leader Hugo Montenegro himself, and which sound a lot like someone counting in a strange, forgotten tongue.
It’s a fun mish-mash of sixties styles – a bit latin, a bit rock ‘n’ roll and a bit psychedelic. It sounds old-fashioned at the same time as sounding like nothing that’s reached the top of the charts before. It was, of course, from the movie of the same name, starring Clint Eastwood but this isn’t the version used in the film. The original was written and recorded by Ennio Morricone – listen to it here – and it sounds a bit bleaker, a bit more like a movie soundtrack should. This version is softer, warmer – more of a pop song. Why it hit #1 a full two years after the movie’s release…? I’m not sure.
I’m glad it did make a belated chart-topper, though. It’s given us yet another strange side-road to wander down on our journey through 1968. We’re almost there, though – almost made it through this most eclectic of years… Hugo Montenegro wouldn’t enjoy chart success on the scale of ‘The Good, The Bad and The Ugly’ again, though he tried his hand at covers of several of the songs we’ve heard elsewhere on this countdown: ‘Cherry Pink and Apple Blossom White’, ‘Stranger in Paradise’, ‘Good Vibrations’… He died very young, in his mid-fifties, in 1981.
We may have left the golden age of the instrumental behind us – the days of Winifred Atwell, Eddie Calvert and, of course, The Shadows – long ago. But there are a few more still to come. Looking at the modern day, I can’t remember the last big instrumental hit. Maybe a nineties dance track…? Though they usual had at least one vocal refrain. I can’t help feel that it’s something we’ve lost – our love for the instrumental single – because when a good one comes along it’s usually quite the experience…
8 thoughts on “261. ‘The Good, The Bad and The Ugly’, by Hugo Montenegro, His Orchestra & Chorus”
Love this although it won’t get out of my head until tomorrow…love the trilogy also.
It is a catchy one, for sure
I prefer this version to Morricone’s original. Apparently, so did my father as he owned Montenegro’s version and not Morricone’s.
This song is a tapestry in the background of my childhood. The movie was released four months after I was born and Montengro’s music was always played on my parents huge stereo cabinet when I was growing up.
Nice memories… I love that people bought and played this record at the time… To me it is so linked to the movie and to Westerns in general that it seems a bit strange to listen to it out of context. It’s a great piece of music, though
I agree. Well put.
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