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Kritzerland is proud to present a new limited edition soundtrack CD release and our first ever Jerry Goldsmith score:
BREAKHEART PASS
Music Composed and Conducted by Jerry Goldsmith
Breakheart Pass, a wonderfully entertaining thrill ride in the old west featured a stellar cast, including Charles Bronson, Ben Johnson, Richard Crenna, and Jill Ireland, along with a terrific supporting cast that included Charles Durning, David Huddleston, Ed Lauter, Bill McKinney, Archie Moore, and Sally Kirkland. The director was Tom Gries, the screenplay was by Alistair MacLean (The Guns of Navarone, When Eight Bells Toll, Puppet On a Chain, Force Ten from Navarone), and cameraman was the great Lucien Ballard. What they all delivered was a terrific adventure yarn, one with rousing action sequences, and one that kept you guessing as to who was really who and who was doing what to whom.
But what becomes an action adventure movie most is its score, and Jerry Goldsmith’s score for Breakheart Pass is as good as it gets. Goldsmith had worked with director Gries on 100 Rifles and the mini-series QB VII so they knew each other’s sensibilities well. From the first guitar strums of the main title, Goldsmith’s score does what all great scores do – involves you instantly and sets you up for what’s to come. His theme is addictive and propulsive – it literally makes you sit up and take notice. From there he captures not only the rhythm of the train itself (which is a character in the film), but tender moments, moments of high suspense, character moments, and, of course, the adventure sequences, which no one did better than Goldsmith.
Breakheart Pass was previously released on CD by La La Land Records. This release is essentially that album as mastered by James Nelson, with some notable exceptions: In the film, there is a wonderful action sequence towards the end on top of the train. Goldsmith apparently didn’t score it, but Gries and his music editor thought music would help there and so two cues were edited together for that sequence (“Runaway” and “Box Car Fight”) and we’ve recreated that edit for this CD and put it in the proper sequence – it plays beautifully with it. On the previous CD there were two bonus tracks – some guitar strums called “Four Styles” and a trumpet cavalry call. We have left off the cavalry call since it has nothing to do with Jerry Goldsmith or his score. The four guitar strums are not really germane to anything but we’ve kept them. But the biggest difference is the inclusion of a cue that was missing from the previous release. The hunt for that cue took weeks – pulling every tape MGM had and frustratingly not finding it anywhere. Finally, we decided to pull the D/M/E tracks and that’s where we got it from – it’s a great cue (it’s actually the second half of the cue called “Here They Come”) and we’re thrilled to finally have it available, and in excellent sound to boot. We include it in two forms – in the score program as a part two of “Here They Come.” The “Here They Come” album cue was missing almost fifteen seconds of its electronics at the beginning, so as a bonus we give you the entire cue as it plays in the film, complete from the music track of the D/M/E.
Breakheart Pass is limited to 1000 copies only. The price is $19.98, plus shipping.
CD will ship the third week of May but preorders placed at Kritzerland usually ship one to five weeks early (we’ve been averaging four weeks). To place an order, see the cover, or hear audio samples, just visit www.kritzerland.com.
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Is the sound quality any different from the previous release? Haven't listened to the d album in a long time but wasn't it a bit hissy or tinny sounding? I could be wrong...
Sound is the same - but I think it sounds great - both releases are off 15ips tapes.
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The inclusion of an editorially created cue is NOT cool.
The unreleased cue is intriguing but I'll stick with the LLL because, overall, it seems like a better listening experience.
What is cool to one person is not cool to another person - and so it goes. As to a listening experience - you wouldn't know that without hearing the new CD, would you? And how can a missing cue that is actually the second half of another cue be "an interruption"? And those who know me and my taste know I am ALL about the listening experience.
Each person will judge for themselves whether they need this or not. You don't, so you can now buy other things.
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Mr Kimmel, will you consider releasing more Goldsmith, say, the River Wild, Take a Hard Ride, Magic??
Please consider releasing Kritzerland's first Morricone too.
We're looking into a lot of things. 
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What is cool to one person is not cool to another person - and so it goes. As to a listening experience - you wouldn't know that without hearing the new CD, would you? And how can a missing cue that is actually the second half of another cue be "an interruption"? And those who know me and my taste know I am ALL about the listening experience.
It's uncool for the same reason that including all the dodgy editorial edits on Congo would have been uncool. Thankfully, Intrada resisted the temptation.
And regarding the interruption, I can't believe a D/M/E track will sound the same as material from more refined elements.
Can't blame you for adding whatever you can to shift 1000 copies I suppose.
And you would be wrong about the DME. It's got a little more hiss, but that's it - it sounds great. Again, what's uncool to you is cool to others, including Jeff Bond, who I consulted every step of the way with this release, and that includes identifying the missing cue, which was a thorn in his side for years. He's now a happy man.
Why is it necessary to complain, I wonder, about a release you never had any intention of purchasing? Some patterns don't change. You can move along now and leave this one to the people who'd like to have it. Some people completely missed out on the previous release and now they can get it. Seems like a winning idea to me, but what do I know. And let's face it, Spymaster - even if we hadn't included the edited track as it - you know - appears in the film - you'd have still come and complained that you didn't need the additional cue because it ruins the listening experience, even though you haven't heard it. I don't think I need say more, do you?
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Posted: |
Apr 15, 2013 - 8:08 AM
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By: |
Limmerine
(Member)
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What is cool to one person is not cool to another person - and so it goes. As to a listening experience - you wouldn't know that without hearing the new CD, would you? And how can a missing cue that is actually the second half of another cue be "an interruption"? And those who know me and my taste know I am ALL about the listening experience.
It's uncool for the same reason that including all the dodgy editorial edits on Congo would have been uncool. Thankfully, Intrada resisted the temptation.
And regarding the interruption, I can't believe a D/M/E track will sound the same as material from more refined elements.
Can't blame you for adding whatever you can to shift 1000 copies I suppose.
And you would be wrong about the DME. It's got a little more hiss, but that's it - it sounds great. Again, what's uncool to you is cool to others, including Jeff Bond, who I consulted every step of the way with this release, and that includes identifying the missing cue, which was a thorn in his side for years. He's now a happy man.
Why is it necessary to complain, I wonder, about a release you never had any intention of purchasing? Some patterns don't change. You can move along now and leave this one to the people who'd like to have it. Some people completely missed out on the previous release and now they can get it. Seems like a winning idea to me, but what do I know. And let's face it, Spymaster - even if we hadn't included the edited track as it - you know - appears in the film - you'd have still come and complained that you didn't need the additional cue because it ruins the listening experience, even though you haven't heard it. I don't think I need say more, do you?
I am one of the new generation of film score fancier who missed the previous La-La Land release.
What matters to me is I can have it finally!
I am on your side, Mr. Kimmel!
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Posted: |
Apr 15, 2013 - 8:08 AM
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By: |
Limmerine
(Member)
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What is cool to one person is not cool to another person - and so it goes. As to a listening experience - you wouldn't know that without hearing the new CD, would you? And how can a missing cue that is actually the second half of another cue be "an interruption"? And those who know me and my taste know I am ALL about the listening experience.
It's uncool for the same reason that including all the dodgy editorial edits on Congo would have been uncool. Thankfully, Intrada resisted the temptation.
And regarding the interruption, I can't believe a D/M/E track will sound the same as material from more refined elements.
Can't blame you for adding whatever you can to shift 1000 copies I suppose.
And you would be wrong about the DME. It's got a little more hiss, but that's it - it sounds great. Again, what's uncool to you is cool to others, including Jeff Bond, who I consulted every step of the way with this release, and that includes identifying the missing cue, which was a thorn in his side for years. He's now a happy man.
Why is it necessary to complain, I wonder, about a release you never had any intention of purchasing? Some patterns don't change. You can move along now and leave this one to the people who'd like to have it. Some people completely missed out on the previous release and now they can get it. Seems like a winning idea to me, but what do I know. And let's face it, Spymaster - even if we hadn't included the edited track as it - you know - appears in the film - you'd have still come and complained that you didn't need the additional cue because it ruins the listening experience, even though you haven't heard it. I don't think I need say more, do you?
I am one of the new generation of film score fancier who missed the previous La-La Land release.
What matters to me is I can have it finally!
I am on your side, Mr. Kimmel!
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YOR is among those who consider very COOL the inclusion of an editorially created cue!
Good job, KRITZERLAND!
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He's not taking anything away, he's adding to it because there's room on the CD. Why not? Intrada did a similar thing by creating Goldsmith's concert arrangement of "Breakout" using the film tracks and no one complained about that, did they?
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I don't have the previous release so I'm thrilled about this one! Thanks, BK!
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