Do any of his other scores exist on CD, ones I can find in the stores and not promo-only CD, where I have to search for them on-line?

Does anyone else here think this guy can write some kick-ass action music, or am I the only one?

1. Narrow Margin - "Train Fight" (6:21)
2. Glory and Honor - "Trek On the Ice" (1:33)
3. The Presidio - "Chinatown Chase" (2:21)
4. Shadow Conspiracy - "Georgetown Pursuit" (6:25)
5. Narrow Margin - "Choppers and Rails" (5:46)
6. Silverado - "Slick, Then McKendrick" (4:02)
7. J*A*G* - "High Flying" (4:28)
8. Narrow Margin - "The Hit" (2:07)
9. Young Sherlock Holmes - "Diversionary Tactics" (3:23)
10. Narrow Margin - "Pit Stop" (2:05)
11. The Presidio - "Quick Exit" (4:31)
12. Narrow Margin - "Searching the Train" (3:00)
13. Tombstone - "Finishing It" (3:58)

Though every track on this CD is worth the price you pay for it, The Presidio and Narrow Margin are my personal favorites. You'll be fighting to catch your breath by the time you've finished listening to "Train Fight," "Chinatown Chase," "Choppers and Rails," and "Quick Exit."

"The Boy who could fly"
"young sherlock holmes"
"Young Women"
"Silverado"

and so much more...

Too bad he's so seldom called to work these (sad) days of Music Vaporizers and so on...

My fave Broughton score?....Young Sherlock Holmes! (and I picked it up 'sealed' for 50p)

quote:

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Originally posted by André Lux:
but my favorite still is "Young Sherlock Holmes"... Why no one release this score on CD is beyond my imagination!!!

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Andre, there is a bootleg out there. The quality ain't too shabby.

Scott

--Kyp

NP: sound of jaw hitting the floor

Too many must-haves in Broughton's ouevre to list. But some of my favorites are:

YOUNG SHERLOCK HOLMES (Grammy award nominee for Best Instrumental Theme) (haven't heard the boot CD, but I'd grab it, it's my favorite Broughton by far)

SILVERADO (Academy Award nominee) (the Intrada CD is longer than the original LP, as I recall) (this was Broughton's first big movie, and he really did an AMAZING job)

TOMBSTONE (should've been nominated for something -- he was recommended for the job by the original guy set for it, Kenny G -- no, it was Jerry G -- Jerry something, at any rate) (if all you've heard of TOMBSTONE is that one cue listed above, you're missing a TON of amazing stuff)

oh never mind the titles, just assume that if it's Broughton, it's cool. He's not someone I buy automatically, because of my money situation, but if I had MORE money to spend impulsively, I'd roll the dice on him every time.

I spoke to him on the phone a couple of times during my first trip to Los Angeles, trying to set up an interview, but he cancelled at the last second, saying he was too busy finishing THE OLD MAN AND THE SEA (a TV movie for which I think he won yet another Emmy, I believe he has quite a few of them). A perfect gentleman about it, I wasn't offended or anything. I mentioned this to another composer later, and he told me that Broughton very often put off actually writing anything until the last second, he's a master procrastinator -- but hey, look at what he comes up with!

Goldsmith also referred Broughton to LOST IN SPACE when he couldn't score it himself. I hated the movie so much that I barely remember the score except thinking "I'll buy that for a dollar!" I'd spend more, actually, once I have more (I didn't see that Intrada version coming, and am most grateful that I didn't buy the TVT version when I *DID* have a few bucks.) I suspect it was also Goldsmith who referred Broughton to BABY'S DAY OUT, which was originally supposed to be scored by Goldsmith ... although Broughton was the first composer assigned to HOME ALONE (I remember seeing the original poster with his name on it), but Broughton left, Jonathan Sheffer came in, and then, in his words, "lost it to John Williams, who wanted to do a comedy." I always thought Spielberg, in particular, was using Broughton as a sort of Williams stand-in for many scores in the middle and late eighties. I'm also sure he's the one who selected Broughton for TINY TOONS and so on.

Trivia: Broughton originally wanted to be an actor, not a composer. But he was on soundstages early enough in his career to watch even Bernard Herrmann at work.

NP: THE CHALLENGE (I can't even afford this one yet, this copy is borrowed.)

JJ wants you to re-record Miklos Rozsa's Sodom and Gomorrah, a la Julius Caesar and Ivanhoe! So let's get to it!

Shaun

--Kyp

I love his score to Tombstone. It definetly finds his way into my player everytime. Along with his scores to For Love Or Money (It's a guilty pleasure), Narrow Margin, The Presidio, Young Sherlock Holmes, and the best comedy score of the 90's, Honey I Blew Up the Kid.

Is anyone interested in a copy of the complete Narrow Margin? i have an extra copy if anyone wants it.