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It's very good!
Much more satisfying, I think, than Hans Zimmer's BROKEN ARROW. 
Glad that this is being re-issued (limited to 300, I wonder?) for folks who weren't able to get it the first time around (as I had done).
Can't deny Hans Zimmer's was great though.
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Anyone who doesn't have this fantastic score should get it. One of the best Friedhofer scores and most deluxe Friedhofer releases ever (and the film ain't bad either).
Yavar
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I recently received this CD from Screen Archives Entertainment and it's wonderful quality with a superb and very informative and lavishly illustrated booklet. I have always loved this score and one of the great things about the CD is that almost all the tracks are in stereo (excluding the generic mono 20th Century-Fox opening fanfare). This is unusual for a film made as far back as 1949 (and not released until 1950) and I had always thought that stereo music recordings for films didn't start until around 1952.
Before I ordered it, I contacted SAE to ask if they actually had the CD in stock, because the previous CD I ordered turned out to be deleted and out of stock. However, they told me they had plenty of copies left of "Broken Arrow". I wonder if this means that it hasn't sold very well. If so, that's a shame, because it's certainly worth the money.
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I can't recall ever seeing the cover art on the original release from 1999, but this reissue version is just fine for me.
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Is scoreadore a website, Bob? If so, I've Googled for it and if it did once exist, apparently, there's no sign of it now.
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This is the same cover as on the one I just received from SAE and it has a 1999 copyright on the back cover. So it seems that SAE sent me the original from 1999 instead of a reissue.
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Ah, well, the CD label has an image of Debra Paget and James Stewart standing and embracing as they look into each others eyes.
I was taken to see the film when I was a little boy in the early 1950s and was immediately struck by the main title music, which was very haunting and striking and there was a definite sense of occasion about it that is totally missing from modern film scores. The best way I could describe it is that it was both sad and uplifting at the same time. I think that there are some scores that are, for want of a better way to describe them, on the same emotional wavelength as the person hearing them and so resonates with them so well. It described in musical terms the way I felt (and still does) and who I was (and still am). This may be the reason why some music means so much to one particular person and the same music has no affect on another person.
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