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Music Conducted By
Jerry Goldsmith

Orchestrations By
David Tamkin

Recorded By
-

Performed By
-

Album Produced By
Jerry Goldsmith

Label
Varese Sarabande
 302 066 654 2

Previous Release(s)
Intrada MAF7020D
UA LP

Running Time
31:33

Availability
Normal Release

Cues & Timings

1. The Hour of the Gun ( 2.41)
2. Main Title (4.54)
3. New Marshall (1.06)
4. Ballot Box (3.41)
5. Ambush (2.14)
6. Whose Cattle (2.47)
7. The Painted Desert (1.33)
8. The Search (2.48)
9. Doc's Message (4.40)
10. A Friendly Lie (4.23)

Soundtrack Ratings

Disappointing

Functional

 Average

 Good

 Excellent

 Outstanding

Hour Of The Gun
 
Like every other genre Goldsmith has scored for, the western introduced an equally refreshing musical landscape to the listener. Goldsmith's view on the genre was also most notable for his use of 'south of the border' rhythms and this sound remained a constant through the handful of westerns he scored. Goldsmith never got to score a big box office western, but Hour Of The Gun was probably the most respected of the movies he wrote for. As a foot note, Hour Of The Gun was regarded by director John Sturges as his favourite take on the events at the O.K. Corral.

The album actually opens with the best instrumental I've ever heard adapted from an original score. Goldsmith convincingly popularises his Hour Of The Gun theme with a modern 60's tempo, but its so well constructed it plays as a large orchestral piece. Essentially a toe taper and a complete contrast to the use of the theme in the score.

This movies kicks off with the events at the OK Corral and is deliberately more realistic than previous big screen incarnations. Ultimately, it turns out to be a somewhat less glamorous affair, but far more brutal encounter than we ever thought. Goldsmith's ominous opening cue; Main Title introduces guitar for his theme with percussion and strings providing the eerie tense build up before brass and percussion enters to signal the gun play itself.

The main purpose of the story deals with the violence and vengeance between the Earps' and the Clantons' after the gun fight. As killing follows killing the movie takes on a mournful depressing feel as rage and hatred take over. Here Goldsmith gets the chance to play this morbid drama to the hilt; New Marshall and Ballot Box, are notably interspersed with some very melancholy moments. The music in the first act is really quite sad, but ultimately very beautiful.

Ambush introduces the theme to a moment of action and Goldsmith gives it a thorough workout. Whose Cattle, spots Goldsmith south of the border with welcome castanets and thumping bass drums. From here the score essentially plays like a finale suite. Painted Desert, The Search, Doc's Message return to the melancholy and sadness of the first act as justice is done, but Earp finds it a hollow victory - Goldsmith here, providing some very moving scoring for strings and guitar. A Friendly Lie sees Doc and Earp part company and again the music says more than the characters possibly could. The cue closes with a burst of action as Goldsmith presents his theme for an exciting coda.