Bruce Broughton
TOMBSTONE
SILVERADO

Alan Silvestri
THE QUICK AND THE DEAD
YOUNG GUNS 2

Basil Poledouris
LONESOME DOVE
QUIGLEY DOWN UNDER

Jerry Goldsmith
BAD GIRLS
100 RIFLES
RIO CONCHOS
WILD ROVERS
TAKE A HARD RIDE

Ennio Morricone
THE GOOD,THE BAD AND THE UGLY
ONCE UPON A TIME IN THE WEST
A FISTFUL OF DOLLARS

Elmer Bernstein
THE MAGNIFICENT SEVEN
RETURN OF THE MAGNIFICENT SEVEN

James Newton Howard
WYATT EARP

Broughton:
Tombstone

Newman!
How the West Was Won

Bernstein:
The Magnificent Se7en
The Comancheros
The Hallelujah Trail

Poledouris:
Quigley Down Under
Lonesome Dove

Goldsmith:
100 Rifles
Fake a Hard Ride
Rio Conchos
Bad Girls

Holdridge:
Old Gringo

Barry:
Dances With Wolves
Monte Walshp

Burwell:
The Hi-Lo Country

Danna:
Ride With the Devil

so, as you can see, choosing one as my favorite is quite challenging.
though, I really should get Big Country

Wild Rovers, Stagecoach, Hour of the Gun, and Lonely Are The Brave by Goldsmith.
Sons of Katie Elder Bernstein
The Professionals Jarre
Wild Bunch Fielding
High Plains Drifter Barton
Buffalo Girls Holdridge
Ride the High Country is a wonderful movie and has a great score by L. Bassman

The Cowboys
The Magnificent Seven
Quigley Down under
Silverado
And actually.... City Slickers

Marc, your right! What was I thinking! I guess sometimes I just clump those Tiomkin scores together, regardless of their actual genre. Still, a great score!

TOMBSTONE is a knockout. SILVERADO is tremendous. (I was surprised when that one got an Oscar nomination, since Broughton was mainly known for television then, and the Nominating Boarders can be such snots.)

Morricone's Western scores are far from "traditional," but that's part of what makes them great.

I adore Williams' THE COWBOYS.

Moross's THE BIG COUNTRY is one of the most indelible of all classically-styled Western themes.

Does anyone have the old LP of Herrmann's Western themes for television? I never got around to buying it. Is there a CD?

For an absolute must have western score, make sure you get yourself a copy of Lonesome Dove by Poledouris.
_Sc

Yes! Jerry Fielding did some suberb western scores. Apart from Lawman, there's Chato's Land and The Outlaw Josey Wales. And how can we forget The Wild Bunch? Some of these were kind of borderline westerns, and very nihilistic, so they didn't quite call for that expansive Copland/ Bernstein/ Moross sound, and the idiosyncratic Fielding was just the man for the job.

• The Cowboys - Only 2 people mentioned it so far? It's one of his best! In fact, the americana stuff in Superman sounds TOO similar for my tastes (but I still like it, 'cause I love Cowboys).
  
• The Magnificient Seven - of course.
  
• Morricone's first two Dollars scores, some parts of the 3rd one, and parts of Once Upon a Time in the West
  

Shame on me, I still haven't heard Goldsmith's western scores. I hestitate a bit to spend all the money on the FSM CDs, not knowing the score (the audio clips on their homepage are not enough for me to be sure).

(Strange that the biggest and best cue in the film, Connery's final punch-out of Peter Boyle, is the SECOND cue on the album, LP and CD both. Until the last few years, Goldsmith didn't structure his albums in chronological order. I can't decide which way I like better.)

Scorro was ENTIRELY correct in mentioning one that I TOTALLY forgot, although I've mentioned it before: Mark McKenzie's amazing FRANK & JESSE. Issued by Intrada, that was one I bought from them for just 99 cents. I think they're charging a bit more for it nowadays, but it's a beautiful score.

I'd add another Intrada cheapo (if it's still cheapo, but at the time it also went for ninety-nine), THE BALLAD OF LITTLE JO by David Mansfield. His first film score was HEAVEN'S GATE, in which he also appears as a fiddler-player.

F. Waxman's Cimarron. One of the loveliest melodies ever written for a western.

Other Western Scores I really like are;

The Big Country by Moross
Cowboys by Williams
Wyatt Earp by Howard

One of the best and, probably, also one of the last of the spaghetti-western-styled scores of the 1980s. I was tickled and gratified to hear Morricone go back to that style for U-TURN in 1998, though.

(This version of LONE WOLF being the expanded CD, runs about an hour, from Colosseum; can't think if their American cousin Varese released one too)

You all have to have this score if you do not already... it's not enough just to have the theme on a compilation!

PeterD!

Finally, someone else who knows Valley of Gwangi! Cowboys and dinosaurs, together at last! Moross did such a fabulous job with that score. I love how he was able to combine his own western style with Bernard Herrmann's Harryhausen style. One wouldn't think they'd go together so well.

"Shane" was my first score too. My parents took me to see the film when I was little and I love that film and score! I still have the 45 that my parents bought me.

(tea leafs = Cockney slang for Theives!)

They are compilations that combine movie Western music with real Western music and actual Western sounds. "Round Up" and "Round-up 2, Happy Trails", both by Eric Kunzel and the Cincinnati Pops Orchestra.

"Round-up" starts out with a horse galloping around and whinnying, a fitting intro into the "Lone Ranger Theme."

Next is the "Magnificent 7" and Franz Waxman's Furies Suite.

Then there's an anthology of TV Western Themes: Bonanza, Rawhide, Wagon Train and The Rifleman (the last complete with the rapid-fire gunshots of the original).

Next is a suite from "How the West was Won" and another of "Gunfight at the OK Corral"

Then there's a suite of actual Western songs, followed by "The Big Country" and "High Noon."

A coyote howls to bring on a medley of songs you might have heard around a cattle-drive campfire.

The CD finishes with "Silverado."

This is a very satisfying listening experience.

HAPPY TRAILS begins with a cattle stampede (sounds great on the big stereo or on your earphones -- loses alot in the mommymobile).

Then there's "The Sons of Katie Elder," "Ghost Riders in the Sky" (kinda corny at first, but it grows on you), "The Good, the Bad and the Ugly," "Duel in the Sun," "Giant," "The Green Leaves of Summer" from "The Alamo," "The Man Who Shot Liberty Valance," and "Johnny Guitar."

Then there's a track called "The Cowboys from Sunset," followed by a recitation of "The Cowboy Code" by Gene Autry. Next is about 12 minutes of cowboy songs ending in a Saloon Brawl.

Excerpts from "The Wild Bunch," "Lonesome Dove," and "Oklahoma Crude" follow.

After the sound of a steam engine, the CD finishes with TV Western themes: "Maverick," "The Rebel," "Bat Masterson," "Gunsmoke," "Wyatt Earp," "Cheyenne," "The Big Valley," and "Have Gun Will Travel."

Last, but not least, Roy Rogers and Dale Evans sing "Happy Trails to you."

We're headed out on a trip on Friday, and I think you know which two CDs are going to be played first as we head west of Fort Worth.

Marc

Joan, I don't know quite what to think, since those few women on the board whose tastes I've been able to track, have had likes as various as any other score lover's. One might conjure a stereotype of what you'd expect a woman to like, but I know it doesn't apply, either with scores or movies (my mom loved CON AIR, for example, and was insistent I accompany her to THE BLAIR WITCH PROJECT -- we both walked out at the end wondering "What was the big deal?") And I've made all manner of score tapes for her over the year, out of my own collection.

It's just rare enough for several women to contribute to the same (relatively short) thread that I noticed it.

After Lone Wolf McQuade I thought I’d never hear another
Morricone sounding western until I saw this movie. Emilio
Estevez is a little unbelievable as a Rambo cowboy, but the
score is great fun. Come on record companies; produce this
one.

And Audacity, we need to get Peter Bernstein some MAJOR motion pictures to score. He's underrated.