From Joan Baez to Pet Shop Boys: five of Ennio Morricone’s finest pop songs
To say Italian composer Ennio Morricone was prolific might be the greatest understatement—having written and composed over 500 pieces for film and television, Morricone was more than just a credible composer; he was a monolith of all forms, his work appearing across almost every space and genre imaginable.
Although Morricone’s career in music began in the 1940s, his initial foray saw him penning classical compositions before his move into radio led him to get more involved in writing music for popular artists. While it’s no secret that Morricone is largely celebrated as the maestro of film scores, his influence in the realm of pop music showcased his indisputable versatility and expansive musical creativity.
Beyond the enduring noise surrounding The Good, the Bad and the Ugly, Morricone’s music compositions were just as innovative, showcasing his unparalleled talent for composition and arrangement. Due to his immense versatility and technical adeptness, his collaborations often blended his orchestral sensibilities with the distinctive voices of singers, resulting in a unique fusion of styles.
For this reason, he rightly believed his take on pop stood out from the rest: “Pop music is standardised; it’s made to please the largest audience possible,” he told The Guardian in 2016. “I also compose to please a large audience, but when you listen to my music, you understand that I have studied and applied the whole history of composition.”
Although his musical roots were always firmly planted in 20th-century classical compositions, Morricone’s unconventional approach to pop music meant that he adapted depending on cultural and societal context, guided by the heart of that which he became immersed in, open to the ideas of whoever he collaborated with, regardless of how much their styles differed from his.
Let’s take a look at five Morricone enhanced with his magical and sophisticated touch.
Ennio Morricone’s best pop songs:
5. ‘Here’s To You’ – Joan Baez
Released as part of the Sacco & Vanzetti soundtrack, Morricone and Joan Baez‘s ‘Here’s To You’ drew inspiration from the unfair trial of Italian anarchists Nicola Sacco and Bartolomeo Vanzetti, navigating the shortcomings of bigotry in America at the time. The lyrics borrow from a statement written by a reporter who visited Vanzetti in prison just before his execution, in which he said: “Never in our full life we could have hoped to do such work for tolerance, for justice, for man’s understanding of man as we now do by accident.”
As a result, ‘Here’s To You’ builds and builds, using these words as a worthy muse, the tragedy of Morricone’s accompanying arrangements complementing Baez’s emotional vocal delivery perfectly. This is particularly prominent in the final line of each repeated paragraph: “The last and final moment is yours / That agony is your triumph.” It’s heroic, but in a way that holds the tragedy of the situation at its core in a complex manner that only Morricone could have achieved.
4. ‘Se Telefonando’ – Mina
Mina’s ‘Se Telefonando’ is one of Morricone’s most celebrated forays into the realm of pop music, and it’s entirely easy to see why—not only does it adopt an intensely Morricone-esque sophistication, it also includes many of his signature quips, making it a timeless piece that sits firmly in the Italian pop canon. ‘Se Telefonando’ was a huge commercial success at the time. Still, it also continues to be hailed as an era-defining 1960s pop piece, mainly because it blended classical and cinematic elements with the accessible appeal of Mina’s pop.
‘Se Telefonando’ immediately pulls you in with its simple and upbeat melody before Mina’s instantly recognisable vocals begin to sing about something most of us can probably relate to—the excitement and uncertainty of starting a new relationship and waiting for the phone to ring, only to hear your better half speaking on the other line.
3. ‘Il Mondo’ – Jimmy Fontana
Considering the fact that ‘Il Mondi’ means “the world” in English, it’s not too difficult to detect the song’s overarching themes of love, loss, and the fickle nature of life. The lyrics, penned by Carlo Pes, reflect on the beauty and transience of the world. At the same time, Fontana’s emotive vocal delivery, combined with the poignant arrangement by Morricone, creates a powerful and melancholic atmosphere—utterly timeless.
Morricone’s involvement greatly enhances this track, creating a lush, sweeping orchestral backdrop that perfectly complements the vocals. The result is a sound that is deeply emotive, with a profound mix of despair and hope.
2. ‘Penso a te’ – Catherine Spaak
Catherine Spaak was often likened to Françoise Hardy, and in ‘Penso a te’, it’s clear why. This is a deeply heartfelt song in which Spaak expresses her relentless affection and devotion to another person, emanating joy and soulfulness evoked solely from her muse. ‘Penso a te’ translates to “I think of you”, which is quite possibly one of the most profound sentiments you can hold onto in a song.
Once again, Morricone’s involvement adds a layer of sophistication. His arrangements strengthen the song’s emotional depth and demonstrate the composer’s versatility, which not only adheres to various tropes and sensibilities but enhances the music’s viscera, making us feel like we’re right there, in the moment, experiencing the same kind of love and adoration as Spaak.
1. ‘It Couldn’t Happen Here’ – Pet Shop Boys
On the surface, Pet Shop Boys and Ennio Morricone couldn’t be further apart, so when the pop duo called upon the composing prodigy to help with a song called ‘Jealousy’, it would be expected for him to give some critical notes. In fact, Morricone wasn’t all that bothered about ‘Jealousy’ at all and suggested working with Pet Shop Boys on something else instead.
‘It Couldn’t Happen Here’ is a deeply sad and emotional track, which shows how adept Morricone is at every mindset and emotion you could think of. In this case, however, he seems to have applied a more atmospheric touch, creating an overwhelming yet endearing sense of melancholy. “The lyric is about this friend of mine who was diagnosed with having AIDS,” Neil Tennant explained, and who better to enhance the track’s delicacy than the master of the art himself.
