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I second that emotion.
Track of the Day: "Getting Better"
More of a 'Coogan Raga' man myself, Thomas 
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Further to my earlier ramblings, I think that what I initially disliked about it (its seeming lack of coherence) is now its main strength. Most of the scores in my collection are played from beginning to end with no tampering. Come to think of it, given the nature of the beast, it's amazing that so many soundtracks work at all in that way. But I digress - COOGAN'S BLUFF is like a Lucky Bag. Dip in and pull out a cracker, or if you're unlucky you'll get one of the few booby prizes. It's so eclectic that there's bound to be something annoying about it, but it's good that all soundtracks don't have the same form.
Anyone care to comment on the "deaf-in-one-ear" stereo separation?
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Further to my earlier ramblings, I think that what I initially disliked about it (its seeming lack of coherence) is now its main strength. Most of the scores in my collection are played from beginning to end with no tampering. Come to think of it, given the nature of the beast, it's amazing that so many soundtracks work at all in that way. But I digress - COOGAN'S BLUFF is like a Lucky Bag. Dip in and pull out a cracker, or if you're unlucky you'll get one of the few booby prizes. It's so eclectic that there's bound to be something annoying about it, but it's good that all soundtracks don't have the same form.
Furthermore, Schifrin achieved many composite/eclectic soundtracks (theme, source, muzac) during the Silver Age: see "Bullitt", "THX 1138", "Dirty Harry" and "Pretty Maids all in a Row" to name but a few.
If you like "Coogan's Bluff", you'll love "The Contender": a season 3 score from "Mission: Impossible".
Schifrin composed many beautiful love themes in that era: see "Song to Julie" in "Coogan's Bluff".
I love hearing Susan Clarke humming "Song to Julie" in THE EXTRAS.
PS: on the film note, "Coogan's Bluff" has the template of the hippie freak foe played by Don Stroud
which will turn into Scorpio played by Andy Robinson three years later.
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Here is what the lp might have looked like had it been released at the time of the film.
It took a lot of work to whip this sucker into shape. I think the vastly improved listening experience made it worthwhile.
COOGAN'S BLUFF
Music by Lalo Schifrin
Sequencing by Bruce Marshall (TRACK NUMBERS REFER TO THE iNTRADA CD RELEASE)
Side One
01. Arizona Desert (1:12)
02. Coogan's Wild Ride (1:15)
05. Main Title: theme from COOGAN'S BLUFF (2:40)
06. The Big Apple (1:22)
16. Tell Me About Arizona (3:53)
13. Wrong Number (1:56)
17. "Pigeon-Toed Orange Peel" [vocal] (4:30)
Side Two
19. "Coogan Raga" and Pushie's Pool (4:34)
15. Green Worms (2:27)
07. Small Talk (1:07)
21. Where's Ringerman? (2:42)
22. Ringerman's Chase (2:41)
23. The Chase Continues (1:31)
26. End Title (0:49)
Total Album Time: 31:46
Other titles in this series:
DUEL
HIGH PLAINS DRIFTER
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Coogan is growing on me a bit though, although perhaps a little too much 'sourcey' piano tinkling for me early on.
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Try my version!
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Further to my earlier ramblings, I think that what I initially disliked about it (its seeming lack of coherence) is now its main strength. Most of the scores in my collection are played from beginning to end with no tampering. Come to think of it, given the nature of the beast, it's amazing that so many soundtracks work at all in that way. But I digress - COOGAN'S BLUFF is like a Lucky Bag. Dip in and pull out a cracker, or if you're unlucky you'll get one of the few booby prizes. It's so eclectic that there's bound to be something annoying about it, but it's good that all soundtracks don't have the same form.
Anyone care to comment on the "deaf-in-one-ear" stereo separation?
I think my sequencing brings some "coherence" to the score.
As to the stereo.... play it thru two speakers as the Lord intended!
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We all know Lalo was eclectic, but what do folk think about the mood here? I always reckoned that, as is the case with the script itself, the pop bits ('Pigeon -Toed Orange Peel' etc.) were meant to be a sort of satirical crit of real pop music of the time.
So is it a satire score, or straight-up?
Whoever said above that 'The Beguiled' needs a release is right on.
Lalo is to film music what George Harrison is to pop: the first to introduce Indian music to the masses. So no it isnt satire.
The pop song seems to emulate Jefferson AIrplane whilst the title is probably a sly joke on psychedelic lyrics of the time.
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you are welcome.
br,
no respect, I tell ya'. no respecttt
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Any chance of this getting a re-release?
@ Mr. Spiderbite: Looking for a copy?
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Any chance of this getting a re-release?
@ Mr. Spiderbite: Looking for a copy?
Yes sir.
malcovellian AT email DOT com
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