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You very rarely will be, despite how much work he churned out year after year! Looking forward to your thoughts on this one... did you have a chance to listen to the Soundtrack Spotlight? Yavar
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Take a Hard Ride is excellent. You might also like Breakheart Pass. Jerry Goldsmith never wrote a western score that wasn’t excellent... I guess I don’t often listen to The Ballad of Cable Hogue on album compared to the rest, but in the (wonderful) film it is *perfect*. Henry, I’m slightly mixed on Take A Hard Ride because I don’t always dig the abrasive villainous synth sounds, at least on album (need to see the film still)...that said the vast majority of the score is an absolute delight and some of my favorite western Goldsmith, so that really only ends up being a minor niggle in the end. Yavar
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That’s because AFI cares more about the reception of the films themselves. Even a great western (and great score) that’s too under-the-radar like Lonely Are the Brave gets ignored by them. And they’d list something like High Noon, which IMO apart from the climax cue is honestly memorable but mediocre as a film score. That said, I’ll push back myself as far as Alfred Newman is concerned. I think he along with Friedhofer and others in the 40s and 50s pre-Goldsmith were doing quite complex and sensitive work in the genre. Yavar
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I like Goldsmith's western scores well enough (although I prefer his Americana ones over his Tex-Mexicana ones), but personally enjoy cowboy scores by Elmer Bernstein, John Williams and Bruce Broughton much more. I think theirs are stronger efforts in the genre overall. For me, Goldsmith never wrote a western score as good as MAGNIFICENT SEVEN, THE SCALPHUNTERS, THE COWBOYS, SILVERADO or TOMBSTONE. But that's not to decry the quality or value of scores like LONELY ARE THE BRAVE, STAGECOACH, HOUR OF THE GUN, BANDOLERO or WILD ROVERS.
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Bruce Broughton is actually the underrated King of Cowboy scores for me. Apart from his two classics - SILVERADO & TOMBSTONE - his scores for O' PIONEERS, TRUE WOMEN, ROUGHING IT are really top notch efforts. I also loved the way he would often work a hoe-down style bit into many of his other, more contemporary 80s and 90s scores.
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