By ProgBlog, Feb 22 2015 10:54PM
Yesterday evening I rushed from Selhurst Park (Crystal Palace v Arsenal) to the Barbican to watch a screening of Dario Argento’s horror masterpiece Profondo Rosso (Deep Red) on the occasion of its fortieth anniversary, with a live score performed by the band. I first saw Goblin last year at the Electric Ballroom in Camden, where clips from Argento’s films were played behind the band on a cramped stage. On that occasion, I overheard complaints that the music wasn’t synched with the films (I’m guessing they were horror fans, not aficionados of Italian prog); they did it properly this time in the main hall of the Barbican – a good sized stage, great acoustics, comfy seating with unrestricted views wherever you sit, and a big screen. I bought my ticket just a few days before the show and somehow managed to get a prime seat, just off-centre and around mid stalls, not too far in front of the mixing desk. I actually ended up with two tickets; my payment was declined for no apparent reason and when I navigated back to restart the process, I somehow ended up reserving the seat next to the one I’d originally chosen. When the purchase confirmation came through I’d booked two seats, M42 and M43 and, not wanting to pay double for the one seat I required, I contacted the box office by ‘phone. They told me that somehow I’d booked two tickets and only paid for one, so much for complaining!
I hadn’t know quite how performing the live score would work but Claudio Simonetti revealed in an interview that there were times, the longest of which lasted about 20 minutes, when the band wasn’t required to play. During these pauses, they all sat quite still at their instruments: Simonetti at his keyboards; Titta Tani at his drums and percussion (including gong and timpani); Bruno Previtali with his guitars; and Federico Amorosi with his sunburst-finish Rickenbacker bass. I used to watch Hammer Horror films in the 1970s but I’d hardly call myself fanatical about the genre and I didn’t really know very much about the Argento films; the stills from the film set out in my 2012 reissue of Profondo Rosso soundtrack CD (bought second-hand when I was in Genova last year) didn’t really add to my understanding of the plot. The Barbican screening was dubbed into English and though I like my foreign films in their original language, with subtitles, that probably wouldn’t have worked as I shifted focus from Goblin to film and back again. Starring David Hemmings as jazz pianist Marcus Daly who befriends a psychic medium who gets murdered (he lives in the same apartment block), the film follows Daly’s investigation into a series of subsequent, related murders and culminates in a confrontation with the mysterious murderer, the mother of his alcoholic friend Carlo, in which he gets injured with a blow from a meat cleaver but manages to cause the gruesome demise of the murderer when her necklace gets caught in the grille of an old-fashioned lift. Daly calls the lift which subsequently pulls on the necklace and beheads her. This final scene, together with an earlier scene depicting the death of Carlo, provoked an outburst of laughter from the audience. It’s hard to believe that the performance was restricted to those over 18; the horror is dated and doesn’t hold much shock value. In fact, there’s a psychedelic vibe to the film; the blood looks like red paint, the narrative jumps inexplicably and the setting, presumably Turin where much of the filming took place, included some modernist architecture that reminded me of the Barbican because of the mix of residential and leisure facilities. Suspense was created by hiding the identity of the murderer and by the use of a child’s lullaby, played on a tape recorder by the murderer before she commits a crime. I’d never rated David Hemmings as much of an actor and none of the others appearing in the production were much good either but the film was critically acclaimed and became an international success. That’s not to suggest I didn’t enjoy the film, because I did. The soundtrack, originally put together in ten days after Simonetti’s band Cherry Five were asked to step in following a disagreement between director Argento and original composer Giorgio Gaslini, fits the idiom incredibly well. This may come as a bit of a surprise when you consider that Cherry Five were influenced by King Crimson and Genesis and played extended compositions on the jazzy side of prog, but perhaps not when you find out that tracks on the under-rated eponymous Cherry Five album include Country Grave-Yard [sic] and The Swan is a Murderer. In keeping with the nature of the material they were providing music for they changed their name to Goblin and the success of the Profondo Rosso film was replicated by the soundtrack which has sold over a million copies.
The live score stuck fairly faithfully to the original. Whereas the original recording utilised church organ and harpsichord, Simonetti reproduced the analogue sounds with great precision and his Moog playing was absolutely brilliant; however, this was a band performance and whereas at the Electric Ballroom I found the sound indistinct and the guitar somewhat lost, the sound at the Barbican was balanced and clear, including the guitar harmonics and trebly bass. I think that Mad Puppet bears more than a passing resemblance to the section on Mike Oldfield’s Tubular Bells that leads up to Vivian Stanshall recounting the instruments used in the production; is it coincidence that part of Tubular Bells was used in horror film The Exorcist? A fair amount of the material is quite jazzy and at other times a Keith Emerson influence is evident that reminds me of ELP’s interpretation of Ginastera’s Toccata.
The performance was split with a twenty minute intermission but following the closing credit sequence the band remained on stage and played some more of their soundtrack material, Demoni, Zombi, Suspiria, Tenebre and Phenomena. This was all very well received by the audience and I even liked the version of Tenebre where I found the vocoder parts less grating than when I’d heard it last year. Suspiria, from 1977, is regarded as being the real Goblin sound where it became impossible to hear their original prog influences in the music.
It wasn’t five years since I’d last seen Goblin and it was another very enjoyable gig made even more special because of the 40 year celebrations since the release of Profondo Rosso. I almost forgot that I’d just seen Crystal Palace narrowly beaten by Arsenal...