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Music Conducted By
Lionel Newman
Orchestrations By
Herbert Spencer
Recorded By
Len Engel
Performed By
-
CD Produced By
Nick Redman and Mike
Matessino
Album Produced By
Jerry Goldsmith
Label
La-La Land Records
LLLCD 1256
Previous Release(s)
Intrada Special Collection
Volume 16
Intrada CD (album)
Edel/SLC CDs
Project 3 LP
Year Of CD/Film Release
2013/1968
Running Time
78:21
Availability
Limited Edition Release
(2000)
Cues
&
Timings
1.The Saloon 1:33
2.Main Title 2:01
3.The Imposter :46
4.Procession to the Gallows 2:58
5.A Bad Day for Hanging/The Kidnap 4:10
6.Across the River 1:04
7.Bad News/He'll Cross It/The Bait 8:58
8.The Trap 2:28
9.El Jefe :53
10.Ambushed 4:05
11.The Violator 1:18
12.Sabinas 3:06
13.A Bag of Money 1:19
14.Dee's Proposal 5:34
15.A Better Way 3:46
Total Score Time: 44:28
BONUS TRACKS:
16.Main Title (without whistle)* 2:00
17.Maria's Theme (demo) 1:58
18.Bandolero! Theme (demo) 1:40
THE ORIGINAL ALBUM:
19.Main Title 2:00
20.The Trap 2:27
21.El Jefe :54
22.The Bait 2:14
23.Ambushed 4:00
24.Sabinas 2:54
25.Dee's Proposal 5:34
26.Across the River 1:04
27.A Bad Day for Hanging 3:04
28.A Better Way 3:39
Soundtrack
Ratings
Disappointing
Functional
Average
Good
Excellent
Outstanding
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Bandolero!
Rio Conchos, 100 Rifles and Bandolero!
defined Goldsmith's contribution to the horse opera, with what
appeared to be sparsely written scores for traditional orchestral
forces, juxtaposed with exotic period instruments that encompassed
all of the films' similar use of south of the border locales.
The final element these movies all seem to share is a focus on
character driven drama and combining popular western action with
notoriously downbeat finales that often saw main characters left
dead. Goldsmith's approach was in some ways ground breaking for
the time, presenting the filmgoer with an alternative to the
traditional Hollywood genre score composed by the likes of Moross
and Bernstein.
The Saloon opens this new CD presentation and is a jaunty
source cue heard before the opening credits roll, featuring Goldsmith's
main theme played on upright piano, banjo and harmonica. Though
interesting and accurate for the running order of the CD, this
cue clearly should have been relegated to the bonus section.
The score opens proper with the next cue, the film's Main
Title, a cue very much in the 'Fistful Of' variety
with solo whistler, triangle, guitar and Jew's harp introducing
Mace (James Stewart), on route to bust his brother Dee (Dean
Martin) out of Jail. Curiously Goldsmith's theme seems to be
at odds with the gritty and violent storyline, stylistically
giving the impression that what follows will be a rather light
hearted romp, but as often was the case the composer's sensibilities
were perfectly correct, giving Bandolero! a distinctive
edge.
The Impostor is a short previously unreleased cue with
the main theme played out on sitar and supported by Jew's harp.
This is followed by another previously unreleased cue and a highlight
of this new CD; Procession To The Gallows is self explanatory
with Goldsmith providing an ominous funeral march signalling
the gangs fate before Mace is able to save the day. A Bad
Day For Hanging is an expanded presentation of a previously
released cue featuring a lighthearted take on the main theme,
while the second part; The Kidnap is another new highlight
featuring a welcome but short burst of action as Goldsmith instigates
a mischievous accordion motif before orchestra builds to an exciting
coda. Which leads nicely into the exhilarating Across The
River as Goldsmith marshals his theme for full orchestra
for the gangs escape to Mexico.
Bad News/He'll Cross It, a major new cue for this CD is
joined by the previously released The Bait. Goldsmith's
lengthy piece takes in the second act's reflective moments featuring
guitar, accordion and oboe as the two brothers bond. Though the
highlight has to be a spectacular burst of action that appears
mid way as Goldsmith introduces an exciting new theme for the
Sheriff and his Posse as they trail the brothers into Mexico.
The Trap introduces the Bandits and spotlights banjo,
triangle, castanets and wood blocks. This cue in particular benefits
from the re-mastering process, revealing a tremendous amount
of new detail to Goldsmith's orchestration. But it's the next
cue (El Jefe) that develops the Bandit music proper as
Goldsmith fashions a short but fierce assault for trumpets and
horns. Ambushed takes these ideas further but is joined
by the Sheriff's theme.
The Violator is another new cue that subtly focuses on
Maria's theme and deals with some unwanted advances by the Bishop
gang. while Sabinas gets an expanded presentation adding
on several bars. Goldsmith's theme gets more of a dramatic workout
in the opening minute with orchestra providing much needed gravitas
to the proceedings, while the latter moments focus on Maria's
theme and the emotive sound of the marimba. A Bag Of Money
samples the Bandolero! theme with Jew's harp and guitar
again but developing some minor suspense along the way. While
Dee's Proposal focuses on the burgeoning attraction between
him and Maria, her theme now given the warmest of presentations
for castanets, banjo and accordion.
The final gunfight, un-scored by the composer, leaves the bandits
and both the leads dead, with Maria forced to return with the
smitten Sheriff. A Better Way sums up the grim finale
with sombre strings and a tragic rendition of the main theme
supported by timpani and chimes that signal a melancholy take
on the brother's theme. Maria's theme is heard once more as she
is escorted away, before Goldsmith closes the score with an elaborate
reprise of his Bandolero! theme.
Before a re-run of the album mix we get two bonus cues. The first
is a mono performance of Maria's theme played by twin guitars
and the other a bizarre 'Rock and Roll' take on the theme for
electric guitar, drum kit and organ! Close your eyes and you
can almost imagine the teens of the time happily dancing away
to this! Fascinating stuff.
Though a pretty minor movie event, Bandolero! did get
a short album release at the time by Project 3 and later officially
pressed on CD by Edel and then SLC in Japan, but both sourced
it from an LP! It took until 1993 before the prestige label Intrada
released a properly sourced version, albeit with a fair amount
of tape hiss. Then in 2004, announced on the sad day that Jerry
Goldsmith passed away, we had a new presentation taking
in the complete score as recorded for the movie, newly re-mastered
that revealed breathtaking clarity to Goldsmith's exotic blend
of orchestra and solo instruments. The only criticism is that
this new release has been unnecessarily limited to a paltry 1500
copies and not surprisingly quickly sold out! Now we have a re-issue
courtesy of La-La Land Records with a bonus cue for those who missed out before.
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