I've had ROVERS on LP and tape for years...shame that the new CD is missing the cue "Friendly Advice".
Rented ROVERS last nite, and plan on finally sitting down to watch it tonight.
I've refrained since I'm sure there is tons of music missing from the short recording...35 mins. plus two songs totalling about 8mins.

The disc is well worth it though! The sound is fantastic with great stereo seperation, although the notes are a bit lacking...one paragraph on each score and track titles and times buried within the book.
I just hope there isn't too much missing score from ROVERS...guess I'll find out tonite!

Best wishes,
Sean

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Originally posted by OHMSS76:
I just picked this great disc up over the holidays, and was pleasantly surprised by THE LAST RUN. It is a Goldsmith I was not familiar with, but would highly recommend.
Kind of like Goldsmith tries his hand at Morricone and Schifrin.
The cue "Spanish Coast" is gorgeous, no one writes pseudo-Spanish music like Gerrald. Even the song "Yo Te Amo" is fun in a white bread choral Johnny Williams way.

I've had ROVERS on LP and tape for years...shame that the new CD is missing the cue "Friendly Advice".
Rented ROVERS last nite, and plan on finally sitting down to watch it tonight.
I've refrained since I'm sure there is tons of music missing from the short recording...35 mins. plus two songs totalling about 8mins.

[Message edited by OHMSS76 on 01-03-2001]

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I was very surprised the first time I heard "Yo Te Amo." It doesn't sound much like anything else I've heard Jerry write. The Last Run also has one of my favorite vocal songs written for a movie.

Wild Rovers has its moments, but in my opinion, isn't one of his greatest western scores.

Still, great stuff though. The disc is moving at times and just plain fun at others. A good buy.

I finally watched WILD ROVERS last night and I think that Senor Fart is right.
Its a good movie, but not a great one.There is seemingly WAY too much silence here.
Of course the pan and scan of a nightmare VHS I viewed certainly hurt the film, but I don't know of this being on DVD yet.
The good news, at least for completists, is that the album is much better than what's heard in the film, and expands on many ideas.

The only cue I missed was a rough brass cue for a shootout which lasts about a minute.
The two songs, sung by Goldsmith's daughter(is this the one who dated Horner in the 70's?) are not in the film surprisingly enough. "Wild Rovers" is a great song, I agree, but "Texas Rangers" is one I always skip.
Another gripe about that is the song cuts into the end of "Final Destination" which trails out in silence in the film, holding that last gong stroke.
The intermission,entre'acte, and playout music are here, sounding like alternate versions of the "Bronco Bustin'" and "Saturday Night".
The film performance is quite different,sounding like it was performed by a 17 piece orch. of mental patients!
The main title "Wild Rovers" is faster,and chopped up.
"Wild Rovers" is heard again when William Holden is catching his horse, as it is on the album, yet again with a poor performance.I don't know if all the copies of this film on video are like this, but this cue, due to the mix, sounded synthesized(!?!?)in the film!
"Bronco Bustin'" concludes this scene, yet is interupted by what sounds like an alternate "Saturday Night" halfway through, before "Bustin'" starts up again!
So there ya go...you aren't missing anything gang!

THE LAST RUN....too bad Spanish Coast is a source cue Great that Goldsmith often expands on his music for album. The song sounds like a typical croony ballad, although I miss when the composer had a part in the film's song.

THE LAST RUN is one of my favourite movies, thanks chiefly to George C Scott, here seen at his taciturn best. The movie is a little cheesily dated in places, such as the drug/sex scenes, but the assuredness of the direction, scripting and performances more than compensates for the movie’s perceived weaknesses. Goldsmith’s score is simply fantastic. An intricate and yet beautifully understated main theme provides the perfect mixture of poignancy, warmth and nostalgia, as well as local colour (we’re in Portugal), as we see Scott working on his automobile. The rest of the score successfully merges this plaintive waltz-like theme with early ‘70s musical sensibilities – Goldsmith’s LAST RUN is a real winner, and I believe it to be one of this composer’s most listenable and enjoyable compositions, partly owing to its contemporary feel.

The same cannot be said of his work on WILD ROVERS, or at least about how Goldsmith’s score is deployed in the movie itself. Sadly, much of Goldsmith’s delightful work on WILD ROVERS does not appear within the movie – the movie itself is very poor, being fragmented, dull, poorly edited and never convincing. The two songs that appear on the album, for instance, are dropped from the film itself – in fact, very little of Goldsmith’s score remains in the finished product.