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100 Rifles (1969)
Music by Jerry Goldsmith
100 Rifles 100 Rifles
Click to enlarge images.
Price: $4.95
Limited #: 3000
View CD Page at SAE Store
Line: Silver Age
CD Release: March 1999
Catalog #: Vol. 2, No. 1
# of Discs: 1

It's that time again, for us to make available our latest limited edition soundtrack CD from the glorious "Silver Age" of film music, roughly defined as the late 1950s through the mid-1970s. This is an explosive Jerry Goldsmith western score from the 20th Century Fox archives, 100 Rifles (1969), commercially unavailable—until now!

Hopefully, longtime Goldsmith fans will be drooling at the mere mention of the title, 100 Rifles. For the uninitiated, this is a South-of-the-Border adventure starring Burt Reynolds, Jim Brown and Raquel Welch. The score takes Goldsmith's western style from Rio Conchos, Bandolero! and Hour of the Gun and elevates it to a new level of excitement and aggression, with Goldsmith's avant garde sensibilities blending brilliantly with Mexican gestures.

The main title alone is a robust tune for horns counter-balanced by mariachi rhythms and effects that ends in an audacious brass flourish. The rest of the score maintains the energy level and should be pure ear candy for Goldsmith aficionados: it flows with memorable melodic nuggets at the same time as it rattles with prepared piano, unusual percussion and even an Indian sitar. Goldsmith fans are well aware of the composer's genius for using instruments in weird ways and in the extremes of their ranges, especially brass; 100 Rifles is full of such bellicose outbursts.

This FSM release presents the 100 Rifles score not once but twice: first in stereo, with all but three cues (which were lost) newly remixed at 20th Century Fox; and then in mono (complete) from the original mix made for the film. Yes, this sounds silly, but if it was totally stupid we wouldn't be doing it. Each mix has its pros and cons: the stereo mix is, obviously, stereo, but the mono mix contains nuances and sweeteners (not to mention the three lost cues) which are no longer unavailable. Rather than switch back and forth between sources, we have decided to give all of the mixes to you, to decide which you prefer. It's sort of "200 Rifles"!

It's not often that we say, trust us, you'll like this CD, but this is one heaping helpin' of Mexican morsels that will fill you with delight. It's a complete Jerry Goldsmith score (twice!) from his glory days of the late '60s, and both mixes of the score are in excellent sound quality. The 16-page booklet features photos from the 20th Century Fox archives and liner notes by Jeff Bond, Doug Adams and Lukas Kendall.

Jerry Goldsmith Scores on FSM
About the Composer

What to say about Jerry Goldsmith (1929-2004), the reason so many of us are soundtrack collectors in the first place? The Los Angeles native knew early on he wanted to write music for the movies, had an extensive training in television in the 1950s (starting at CBS), and went on to an unparalleled career in the movies—capable of brilliance in every genre, and beloved by his peers and fans. FSM has released as many of his scores as we could get our hands on, from classic TV work like The Man From U.N.C.L.E. to famous features (Patton) and obscure gems like The Illustrated Man and 100 Rifles...heck, make that all of them. Jerry, we love you and miss you! IMDB

Comments (26):Log in or register to post your own comments
It's positively insane that this rhythmic and delightfully melodic score is still available! Either pay $19.95 for it today or upwards of $60.00 should it ever go the way of FSM's other sold out titles.

I got this as in 2001, buoyed by FSM the magazine's unending enthusiasm for all things Goldsmith. It was pretty early in my newfound interest in film music and learning about Jerry's many top quality scores was a constant, unfolding joy. He was so much more than Star Trek and Rambo, thank goodness.

"Escape and Pursuit" is a prime example of Jerry in his (unequalled) action mode...

100 RIFLES is the earliest cinematic collaboration between director Tom Gries and Jerry Goldsmith, a director/composer relationship which does not receive as much attention as, say, Joe Dante & Goldsmith.

Out of all the Westerns Goldsmith scored, the 2 directed by Tom Gries are my most favorite Goldsmith Western soundtracks - BREAKHART PASS and 100 RIFLES. I even heard the music of 100 RIFLES used in THE LAST HARD MEN, when I saw that on a UHF rerun - that's how good it is.
Perhaps the less-than-ideal reputation of 100 RIFLES hurt its soundtrack sales, as many younger/newer collectors may not be familiar with its content. Maybe it's the mono tracks which deter? Even though I love it, 100 RIFLES is flagrantly Latin - and ethnic-sounding music seems to have fallen out of favor with film-makers over the past few decades. Only the wailing Middle Eastern woman seems to be acceptable to the politically-correct 21st century ... :rolleyes: ...

Here's a little story. I absolutely love this score. It's dynamic and imaginative and propulsive, and just a sheer joy from start to finish. But about 15 years ago I picked up the only available version, on the "Best" label, and of course it sounds like it was recorded through the wall from the neighbour's TV set. But I loved the music. And I still haven't picked up the FSM copy, simply because there's always something totally new, never previously issued etc, to spend my small allowance on. My wish list is longer than a very long arm. I want to get BUSTING, PROPHECY, SADISMO etc etc etc etc.... and because I've got that damned "Best" ("Worst") release, I always keep pushing the purchase date further into the future. I even held off for years before getting THE ILLUSTRATED MAN, just because I had the beermat version. Now, you logical people will say "No freakin' way, man, these old muddy boots are rubbish, how can you listen to them?" and my answer is "I don't" - but having 100 RIFLES in its terrible former incarnation is really stopping me from getting the FSM one for the moment. I will regret the day it has gone forever. Actually, I wonder if a solution to the problem would be to just chuck out the old beermats and thus force myself to get the real Doc McCoy - even at the expense of staving off Les Baxter, Billy Goldenberg and Leonard Rosenman for even longer.

It was my first FSM CD, and still one of the best FSM releases.

Graham: Break the bootlegger's chains, man! FREE yourself! :D

Remember what I told you on Devil's Island:

"Me they can kill. You they own."

I don't think the presence of the mono 100 RIFLES is a problem, considering the fact that we also get the stereo version with those subtle nuances mentioned in the liners.

An absolutely gorgeous cue in this score is "Lydecker and Sarita." Go on, kids--listen to it!

Actually Jim, I was thinking of taking William Crum's advice and TRULY freeing myself, which would be chucking absolutely ALL my CDs away and then diving off a high cliff in the hope that I can swim to the nearest raft made out of coconuts and grin up at you all with brown teeth.

My wish list is longer than a very long arm. I want to get BUSTING, PROPHECY, SADISMO etc etc etc etc.... [/endquote]

Hope you know there's a crime-busting 1956 Ealing film called "The Long Arm"! :)

It has the first film score by Gerard Schurmann.

Leonard Rosenman's PROPHECY also surfaced on a b**tleg years before the FSM edition.
Maybe you can put Les Baxter further down on the waiting list, and get both 100 RIFLES and PROPHECY. I'm sure you'd love both of these FSM titles!

I'll let you know if I jump off a cliff instead. I'm still here, you bastards!

I'll let you know if I jump off a cliff instead. I'm still here, you bastards![/endquote]

Shall we look for you under the name "Papillon"?

Superb score, full of some of Goldsmith's most raucous action cues (sadly, the best of the bunch -- Downhill Ride" -- was one of the few mono-only tracks :() and infectious mariachi-isms. Plus, it has one of the best "under-the-CD" photos in FSM history. :D

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Track List
Instruments/Musicians
Click on each musician name for more credits

Leader (Conductor):
Jerry (Jerrald) Goldsmith

Violin:
Harry Bluestone, Lou Raderman, Paul C. Shure

Cello:
Margaret Aue-Van Wyck, Vance Beach, Naoum Benditzky, Joseph Coppin, Douglas L. Davis, Joseph DiTullio, Justin DiTullio, Edwin Geber, Armand Kaproff, Lucien Laporte, Irving Lipschultz, Kurt Reher, Alexander Reisman, Nino Rosso, Emmet Sargeant, Frederick R. Seykora, Mary Louise Zeyen

Bass:
Harold Brown, Richard F. Kelley, Sr., Milton Kestenbaum, Peter A. Mercurio, Meyer (Mike) Rubin, Kenneth Winstead

Flute:
Arthur Hoberman, Luella Howard, Ethmer Roten, Sheridon W. Stokes

Oboe:
Norman Benno, Bert Gassman, William Kosinski, Gordon Pope

Clarinet:
Kalman Bloch, Russell Cheever, Abe Most, William A. Ulyate

Bassoon:
David Breidenthal, Don Christlieb, Jack Marsh, Ray Nowlin

French Horn:
John W. "Jack" Cave, Vincent N. DeRosa, William A. Hinshaw, Harry Schmidt

Trumpet:
John Clyman, Robert Divall, Robert Fowler, Carroll "Cappy" Lewis

Trombone:
Ray Klein, Edward Kusby, Richard "Dick" Nash, Phillip A. Teele

Piano:
Artie Kane

Guitar:
Laurindo Almeida, Robert F. Bain

Harp:
Anne Stockton (Mason)

Drums:
Larry Bunker, Frank L. Carlson, Ralph Collier, Richard Cornell, Emil Radocchia (Richards), Harold L. "Hal" Rees, Alvin Stoller

Contractor:
Urban Thielmann

© 2014 Film Score Monthly. All Rights Reserved.