Film Score Monthly
Search Terms: 
Search Within:   search tips 
You must log in or register to post.
  Go to page:    
 Posted:   Aug 26, 2017 - 11:12 AM   
 By:   Justin Boggan   (Member)

This set of reviews will close out season six.

"Stolen Horses"
By: Jerome Moross

The end credits have changed again, that's twice in one season. It's back to the familiar one the series began with, only updated.

This is Moross' only effort for the series.

  • Maybe the cue starting about 10:40 in.
  • Maybe the cue at 21:45.

    I don't know. I just can't connect with this score and it didn't seem to service the episode very much at all. I'm glad he didn't score another.

    An okay episode.

    By: Fred Steiner

  • About 3:20 in.
  • About 4:30: a kind of bouncy piece with some fiddles added.
  • 13:57 in: some sneaking around music for Doc, then some playful stuff with fiddles added.
  • And the closing cue at 23:46 with strings and woodwinds that eventually finishes off with some playful fiddles.

    An okay episode. There's some fun back and forth between the leads as a result of the actress who brings some life to the episode. Probably one of the rare times Matt had some laughs.

    Miss Kitty: "That's the spirit, Doc, have another drink."
    Doc Adams: "I will."

    "Long Hours, Short Pay"
    By: Fred Steiner

    Each video I have

  • 0:03 in: some melodic woodwinds interspaced with some hand percussion, with more woodwinds joining in, with Steiner'stake on Indian music.
  • About 2:14 in: more woodwinds with an airy feel, leading to a brief transition with timpani, then some building suspense with contra bassoon, brass and more woodwinds.*
  • 7:26 in: woodwind staccato clusters, with a long chord leading out. It's short. wish it had developed.

    Steiner sure did lean heavy in the woodwinds this episode.

    I'm tempted to give this a second tier effort status.

    * = Holy moly, you can't get away with what happened here in this scene. Matt is fighting the bad guy and his head is literally mere inches away from a fire. The bad guy even reaches over for something, putting his clothed arm into the fire. Actor's insurance providers wouldn't even allow it.

    The episode started out good, was building to maybe something interesting happening, then it puttered out and the writers took a supremely lazy way out.

    "Hard Virtue"
    By: Wilbur Hatch

  • There's nothing wrong with the score and it has stand out moments, but there's no one cue that as a whole I can point to.

    A borderline poor episode.

    "The Imposter"
    By: Leonard Rosenman
    Suite: (now blocked world wide by CBS)

    This is Rosenman's only effort for the series. It's the complete score, minus a few seconds where I tried to edit out some SFX.

    Nothing really stands out.

    "Chester's Dilemma"
    By: Fred Steiner

  • About 3:40 in: some detache strings for a fun feel with a solo banjo adding an upbeat sound; more string work and a little plucked strings.
  • About 5:40 in: some more similar work, only no banjo.
  • 7:11: more string work, with some cello.
  • 17:53 in: more tender string work. Kind of gives of a "The Thorn birds" (Mancini) vibe.

    Over all a top tier effort mainly for strings by Steiner. Rest assured, just because I didn't mention more cues, doesn't mean they weren't worth mentioning; it felt like my descriptions would become repetitive. In fact, I'd go as far to say this is way better than the episode deserves.

    Steiner had a weak start on the series, but he quickly changed.

    An okay episode.

    No surprise composers in the next review batch, but they're all returning names.

     Posted:   Aug 26, 2017 - 12:34 PM   
     By:   (Member)   (Member)

    Oddly enough, most of the series scores you reviewed are functional and average.
    I enjoy Rosenman's "The Imposter".

     Posted:   Aug 26, 2017 - 2:01 PM   
     By:   Justin Boggan   (Member)

    SEASON 7

    The opening credits music has been re-done a little.

    There's also a new addition this season: titles cards; the producer, director, writer, and music just for the title card.

    The reviews will be less from this point on. The episodes are now an hour long. Still in black and white. I'll skim more boring episodes, and try to get to the score.

    By: Lucien Moraweck

    This is Lucien's final effort.

  • 8:15 in: a short but nicely uncertain sounding piece with brass.
  • 17:10 in: some playful woodwinds wit some brass huffs.
  • 22:35: some kid of moderately paced brass and woodwinds Chester as he just stands staring out a window
  • 31:00 in: some descending trembling cello bass opens the short cue, with some woodwinds taking over.

    A good enough episode, but with a sad ending.

    Chester: "You could get married any time that you'd want to. A man would be a fool not to have you."
    Miss Kitty: "Um hum. Here comes one of them now," seeing Matt enter.

    Chester: "I wasn't lookin' at nothing', I was just, er, is there anything wrong with that?"
    Doc: "Well, I'd be careful about it, that can put a terrible strain on ya."
    Chester: "Doc, did you come in here to be grumpy and disagreeable or just to mooch a cup of coffee of what?"
    Doc: "Well now, I can get my coffee down at Del Monico's."
    Chester: "But you never do do it."
    Doc: "No, it's cheaper here."
    Chester: "You know, you're just about the most brazen person that I ever did run into."
    Doc: "I think honest is a more neighborly word for it."

    Perce: "Some things are all wrote out; they just gotta be."

    "Old Yellow Boots"
    By: Wilbur Hatch

  • About 11:50: varies, but there's a good part with a trembling cello bass and a solo trumpet, with a nice outro as the episodes goes to a commercial break.
  • 30:42 in.
  • About 34:30 in.

    A good episode. Not excellent mind you. You have to be into slow-moving TV series though.

    Oh my goodness, sexual innuendo via coffee.

    Matt: "With men like you I object to your breathing."

    Matt: "I didn't know there were any single girls left around Dodge."
    Miss Kitty: Sarcastically, "You didn't, huh?"

    Chester: "By golly you leave the door open and there's no telling what'll come in. What are you doing here, Doc?"

    "All That"
    By: Fred Steiner
    No link provided since I cited nothing.

  • Nothing.

    It's a good episode. Is it possible to bluff your way to everybody in town that you're a millionaire to get revenge?

    "The Squaw"
    By: Fred Steiner

    There are actually two episodes by this name, with another in season twenty.

  • About 19:30 in: some quick staccato brass and timpani for a fight, with some a woodwinds running up and down over it.
  • About 41:20 in there's some more of the above. Reminds me of something but off hand I don't recall what.

    Oh my goodness what a cute lady.

    Matt: "What ever you meant to do, Cully, it doesn't matter much -- it's too late."

    That's it for today. Probably just two or three reviews tomorrow. No new names, just returning composers.

     Posted:   Aug 27, 2017 - 1:26 PM   
     By:   Justin Boggan   (Member)

    "Apprentice Doc"
    By: Nathan Van Cleave

    Cleave's first effort.

  • 19:51 in: there's not much to it and it's short, but I like it.
  • Same at 23:50, though longer with an oboe.

    A good episode.

    By: Leith Stevens
    no link provided since I cited nothing.

  • Nothing.

    A kind of mediocre episode, with a dark ending.

     Posted:   Aug 28, 2017 - 1:04 PM   
     By:   Justin Boggan   (Member)

    I had some extra time today.

    By: Nathan Van Cleave

  • 15:40 in: a slow piece with a plucked string and slow tuba (and some other instrument doubling it).

    There's a lot of low-key somber material in here. On it's own there's probably some nice listening, so I won't rule out the score as a whole just because I didn't list more cues.

    A mediocre episode.

    "Old Dan"
    By: Wilbur Hatch (BAD LINK)

    Some of the titles cards have the music replaced by scoring from the episode. This is an example.

  • 33:00 in: a montage cue with staccato brass and some woodwinds. I wonder what the earliest montage cue in television was; this is the earliest I cant recall.

    I guess there's nothing wrong with the score over all, it's just that it's clearly meant more to service an episode than to make a good listening experience.

    An okay episode.

    "He Learned About Women"
    By: Rene Garriguenc

    I was surprised to see, when pulling Rene up on IMDb, score from "Gunsmoke" by him was used this year's film "A Dog's Purpose". Isn't that odd.

  • About 6:05 in.
  • About 10:20 in: brass and timpani as Chester and Kitty are chased by bandits.
  • About 26:25 in.

    A good episode.

    Chester is a good character. He had some chances to shine this episode. And the bad spot he found himself in, is probably one of the worst I've seen a main character get into.

    Bandit: "You killed one of my men."
    Chester: "I'd have killed all of you if I could of."

    "The Gallows"
    By: Rene Garriguenc
    No link provided since I cited nothing.

  • Nothing.

    A good episode. And Matt does something I've never seen him do before. A sad ending.

    I thought I'd mention "Coventry" since it contains one cue by Tommy Morgan, and is tracked with some Goldsmith.

    "Wagon Girls"
    By: Fred Steiner

  • 0:22 in: strings and a flute for a pleasant sound.
  • 8:22 in: strings and some brass for a lighter sound as Matt is out on the hunt. There's more around 10:35 in.
  • 17:35 in: more strings, flute, some light brass.
  • 20:25 in: some detache strings and brass in unison, with strings playing around over. Sounds like American western era-type scoring and that's good to me. Some Copeland in it, to my ear.
    It's quite a long cue (almost three minutes) and mostly dialogue free.
  • About 26:30 in. In a similar vain to the above cue. Almost completely dialogue free.
  • 34:38 in. It transitions into some brief bouncy stuff and goes out on some soft strings.
  • 37:00 in: some strings with brass sort of mimicking the Reveille trumpet call, as the wagon train pulls into a Fort.

    Over all a fine second tier effort by Steiner.

    You might as well get used to seeing his name -- he's credited with 30 episodes.

    A mediocre episode.

    "The Summons"
    By: Fred Steiner

  • About 2:50 in.
  • 9:45: strings with timpani.
  • 13:37 in.
  • About 26:34 in.
  • About 34:20 in: action music as Matt is ganged up on.

    A mediocre episode.

    By: Fred Steiner

    This is the first original episode score with harmonica. did "Gunsmoke" start the trend or did some film set it off? It's 1962 now.

  • 0:24 in: it start out slow, but repeating french horns add a little bounce. Some other brass bites and woodwinds ad color. Harmonica joins in later.
  • 2:20 in: some light brass huffs with woodwinds playing over.
  • 17:10 in: castanets and brass in unison with strings and woodwinds running down the scale as Kitty makes her way to Matt. More at 17:37, with a lighter end.
  • About 29:30 in: a guitar with harmonica, and some woodwinds for a nice ending.
  • About 33:12 in.
  • About 39:00 in.
    About 48:25 in: a good closing cue with brass and woodwinds.

    Special note to actor Hank Patterson, who does a good job. Browsing IMDb, I see he was in 29 episodes of the series, apparently most of the time playing the same character, so that's something to look forward to.

    A good episode.

    And with this, season seven comes to a close for credited scores. The next season is short, with only nine credited original scores.

     Posted:   Aug 28, 2017 - 1:07 PM   
     By:   sdtom   (Member)

    can't thank you enough for doing this.

     Posted:   Aug 29, 2017 - 11:37 AM   
     By:   Justin Boggan   (Member)

    SEASON 8:

    "The Search"
    By: Leith Stevens

    This is Steven's fifth and final effort for the series.

    In a delightful return, both Cale and Hank from the episode "Cale" in the last review batch, are back.

  • 24:05 in: an uneasy cue with what sounds like minor chord guitar work with woodwinds.
  • 33:14 in.
  • 34:39 in.
  • 42:00 in: low brass and a Spanish guitar with a little flute doubling the guitar some. A short cue, but good nonetheless.

    An okay episode.

    Cale: "You cold?"
    Matt: "I've been warmer."

    "Call Me Dodie"
    By: Fred Steiner

  • 0:20 in:
  • 10:17 in: some light action-y music with strings and a little French horn and piano, followed by some more soft strings and delicate piano.
  • 13:14 in: some bouncy strings kind of like hoedown music, for Doc. There's more about 15:30 in.
  • 17:06 in: plucked violins in combination with what sounds like a glockenspiel, with some strings, as Dodie walks around town.
  • 20:13 in: some unusual action-y material with French horns, strings, and the glockenspiel. More at about 24:30 in.
  • 37:16 in: some soft strings with a little glockenspiel use.
  • 42:50 in: some more plucked strings and glockenspiel with strings.
  • Somewhere after 45:00 in.
  • About 49:00 in: more delicate piano, joined by light strings and what sounds like a tuba in the upper octave range.

    A very fine and unusually different effort from Steiner. This deserves a top tier spot. This will be a joy to hear if ever officially released. And it deserves nothing less than a complete release.

    The episode was innocent enough, but there was a dark turn around the end.

    "The Way It Is"
    By: Nathan van Cleave
    Suite: (some cues)

    A nice score that is heavy on the strings, with woodwinds.

    "Uncle Sunday"
    By: Tommy Morgan

    This is Morgan's first effort for the series. I know, this may surprise some of you who only know him for playing harmonica on well over a hundred film and television scores for decades, but he also did some scoring.

  • 0:17 in: the short cue for the title card (looks like last season they dropped the title card music and have original score now for each) with guitar and harmonica.

    Sometimes the score worked, other times it didn't. Morgan was too reliant on the harmonica though.

    An okay episode.

     Posted:   Aug 29, 2017 - 2:53 PM   
     By:   Justin Boggan   (Member)

    "Cotter's Girl"
    By: Fred Steiner

  • Nothing. At least, not for me. I think some people will like some of the music.

    An okay episode.

    Doc: "Yup, you know Kitty -- it's a terrible thing the way he has to hold women off at arm's length all the time," speaking of Matt, sitting with them.
    Kitty: "Oh, I know it. You know, ah, I think you ought to hire a police officer to help protect yourself."

    "I Call Him Wonder"
    By: Nathan van Cleve

  • 33:44 in: Oh, goodness. Could I have found Horner's "inspiration" for a part of a cue in his score to "Something Wicked This Way Comes"? Assuming this isn't' a lift from some classical work, too. Otherwise, busted Horner again. The repeating descending notes for the bad guys.
  • About 43:00 in.
  • About 49:20 in.

    An okay episode.

    That's it for today.

     Posted:   Aug 30, 2017 - 12:31 PM   
     By:   Justin Boggan   (Member)

    "Tell Chester"
    By: Wilbur Hatch

  • 0:13 in: the ascending notes for the titles card.
  • 11:20: a soft cue with woodwinds, with a flute taking the lead, and a little bit of strings.
  • 28:06 in: a sad cue with strings and a harmonica harmonizing with them; it shifts to brass and some harmonica.

    An okay episode.

    By: Fred Steiner

  • About 5:10 in.

    An okay episode.

    "Quest For Asa Janin"
    By: Nathan van Cleve (44:00)

    This is Cleve's final effort for the series. Five total.

  • 37:50 in.
  • About 40:00 in.
  • About 44:00 in. I I think it's two cues, so if it stops briefly and picks up, then I've accidentally listed two cues here.
  • 48:12 in.

    A borderline good episode, with a sad ending.

    This batch closes out season eight. The next two batches will be all Fred Steiner.

     Posted:   Aug 30, 2017 - 2:42 PM   
     By:   Justin Boggan   (Member)

    SEASON 9:

    "Kate Heller"
    By: Fred Steiner

  • About 15:30 in.
  • 21:50 in. I think it's a separate cue cross faded into the cue just before.
  • 41:35 in: a steady timpani beat with woodwinds running up and down and some brass.

    An okay episode.

    "Lover Boy"
    By: Fred Steiner

  • Nothing.

    An okay episode.

    "My Sister's Keeper"
    By: Fred Steiner

  • 6:20 in.
  • 19:03 in.
  • About 30:25 in: a slow piece with strings and a little brass. Almost completely SFX free.
  • About 36:10 in: another slow piece with mainly cellos and a light brass use.

    An okay episode.

    I did one additional episode today so that the next review batch tomorrow would not be completely made up of Steiner.

     Posted:   Aug 31, 2017 - 2:16 PM   
     By:   Justin Boggan   (Member)

    This set of reviews will bring in a new composer.

    "Extradition -- Part 1"
    By: Fred Steiner

  • 0:06: the brassy statement of the theme for this episode.
  • 7:04 in: some repeating staccato brass with some woodwinds as Matt travels. I think this was another cue cross-faded into another.
  • About 8:40 in: more spirited travel music with trumpets and bells.
  • About 16:05 in: some tense brass as Matt is knocked out and the man he's after escapes.
  • 32:06 in: some Spanish guitar and what sounds like a wooden xylophone. This score also brings in a snare drum, which I can't recall being in any other original score thus far.

    A refreshing change of pace -- seeing another country where they aren't speaking English, but the native language.

    Lt. Chavez: "Well, ah, an eye can be winked under extreme circumstances. I see no reason why the regulation would forbid me to me to, ah, grant you a temporary pass into Mexico."
    Matt: "Well, ah, I'd be mighty obliged to ya."
    Lt. Chavez: "That'll be a charge of, ahhh, twenty dollars."
    Matt: "Twenty dollars, huh?"
    Lt. Chavez: "Um hum," takes the money from Matt, "And, ah, under military regulations, ah..."
    Matt: "Military regulations?"
    Lt. Chavez: "Ahhh, the regulations require that you be accompanied by uniform escort."
    Matt: "Well, ah, look -- couldn't we, ah, maybe wink an eye on that regulation?"
    Lt. Chavez: "We have already winked. I cannot keep my eyes closed completely, can I? Ah, that will be a charge of, ah, two dollars a day. Ah, two days payable in advance."
    Matt: "You got some mighty expensive regulations here, mister, ah...""

    "Extradition -- Part 2"
    By: Fred Steiner

  • 2:36 in: a dramatic take on Mexican-flavored music.
  • 31:08 in: opens with two flutes slowly going down the key. Interspaced with some slow brass parts.
  • About 49:00 in: a sadder rendition of the theme, with a build up closing.

    Over all I have mixed feelings about the two-parter. I think I'll just leave it at: good episodes.

    By: Tommy Morgan

  • Nothing. Way to reliant on the harmonica.

    This is the first episode with an original score that Festus is in. Chester disappeared without explanation, best I can tell. He and Festus met, however. According to IMDb, Chester is in a 1974 episode. He was also referenced in a Bruce Broughton scored episode (the title escapes me).

    By: Richard Shores

    This is Shores' first effort for the series.

  • 15:00 in: some flutes and what sounds like a top xylophone for a brief cue of kite flying. More at 16:33.
  • About 25:00 in.

    An okay episode.

    Matt: "You know, that's the worst part of this job -- being a jailor."
    Festus: "That's what you get for takin' prisoners alive."

    Tomorrow's batch will close out the credited original scores for season nine.

     Posted:   Sep 1, 2017 - 10:36 AM   
     By:   Justin Boggan   (Member)

    Normally I would be listening a radio program today right now, but the host is off today, so I have extra time. So, after this, I'll be going right to Season 10.

    "Comanches is Soft"
    By: Bill Hatch

    This is Hatch's final effort for the series.

  • 22:53 in.
  • About 28:00 in.
  • About 49:15 in: the closing cue after Festus sings.

    An okay episode.

    "Kitty Cornered"
    By: Nathan G. Scott

    This is Scott's final effort for the series.

  • Somewhere after 17:00: a piece with banjo, a little harmonica (for harmonizing, not taking over like a Tommy Morgan score) and some strings.
  • About 40:00 in.

    A mediocre episode. This is the only episode I can recall where the bad person got away with it. Twice. No repercussions.

    Quint: "What do you got on your head?"
    Festus: "My hat, why?"
    Quint: "Smells awful, that's why."
    Festus: "Oh, that. Well, see they was this bottle and I thought it was rose water and I doused my head with it; turned out to be elder berry wine."
    Quint: "Ah. Smells awful."
    Festus: "I didn't put it on for your benefit."

    By: Tommy Morgan

    This is Morgan's second-to-last effort.

  • 19:48 in: a solo bassoon with some harmonica crunches (my term; better than "farting").
  • 41:38 in.

  • A mediocre episode. I hate boxing episodes. I wish TV series wouldn't do them, especially since they are clichéd and done poorly.

    This closes out credited scores for Season 9.

    The next batch today will start Season 10, which brings in four new composers in the season. The season is score heavy, with most episodes having an original score, so I won't be able to get through it as quickly as I did this and the previous season.

     Posted:   Sep 1, 2017 - 11:55 AM   
     By:   joan hue   (Member)

    I'm behind on these episodes and am trying to keep up and notice the music. Thanks, Justin.

     Posted:   Sep 1, 2017 - 1:59 PM   
     By:   Justin Boggan   (Member)

    SEASON 10:

    The opening music has been re-done again and a new arrangement of the end credits music.

    "Blue Heaven"
    By: Fred Steiner

  • 0:16 in: a nice short version, over the title card, of the series' theme.
  • 0:25: the moody and slowly building cue. Doesn't build to anything though.
  • About 14:00 in: a repeating two note cello bass pattern with brass and woodwinds playing over it.
  • 42:41: I love Steiner's brass work when he does it bold and with emotion.
  • About 46:30 in.
  • 49:25 in: a low key somber piece to close out the episode, with a brief more upbeat part with harmonica

    Imagine you lived in a place in town called "Rat-hole alley". Imagine people refer to it like that.

    A okay episode.

    Festus: "Seems like some folks is born to lose. Others work at it."

    "Crooked Mile"
    By: Rudy Schrager (BAD LINK)

    This is Schrager's first effort for the series. Musically speaking, the producers apparently decided to shake things up this season; Schrager scores almost all of it, then vanishes afterwards.

    They sure gave a lot of time to Quint these last two seasons.

  • 6:30 in.
  • About 22:15 in.
  • About 40:10 in.
  • About 47:50 in: some dramatic music with brass stabs and timpani.
  • About 50:10 in: the closing cue.

    An okay episode. It would have been a really good episode if there had been some minor changes to the script and the father had been re-cast.

    "Old Man"
    By: Rudy Schrager

  • 9:03 in: an upbeat piece with harmonica and some plucked cello bass.
  • About 38:00 in.
  • About 41:55 in: when the harmonica stops and the emotions strings and brass build to a hanging.

    An okay episode, but with another sad ending (well, not at the exact ending).

    Man in Another town: "I don't mind hangin' a man, but I sure hate waitin' around to do it."
    Sheriff in Another town: "When your hangin' comes you won't mind the waiting so much."

    "Doctor's Wife"
    By: Rudy Schrager

  • 0:21 in.
  • About 2:00 in: a soft theme with strings and woodwinds.
  • 2:44 in: some fight music.
  • About 9:50 in: a piece that's a little playful, with woodwinds; it shifts into a softer mood with flutes and strings at the end.
  • 16:28 in: it's short, but nice.
  • 45:30 in.
  • And 48:28 in: closing out the episode.

    A good episode. Has it's flaws, but good.

    That's it for today. Nothing but Rudy Schrager tomorrow.

     Posted:   Sep 2, 2017 - 12:20 PM   
     By:   Justin Boggan   (Member)

    "Take Her, She's Cheap"
    By: Rudy Schrager

  • 1:49 in. It picks up again not too long after it stops. More again at 3:06.
  • About 24:15 in.
  • About 36:20 in.

    A poor episode. Bad acting and a lackluster script (considering somebody got raped).

    Matt: "Who did this?"
    Festus: "Wadont nobody I know, but he know'd you and he don't like you none neither."
    Matt: "Doesn't narrow the field down much."

    "Help Me, Kitty"
    By: Rudy Schrager

  • 14:40 in: Some bold brassy stage coach travel music.
  • 16:30: some aggressive brass for action music, with some driving snare drum (very atypical, thus far, in scores from the series). Excellent stuff.
  • Around 29:00 in.

    Matt: "Sure is a dull day around here, isn't it Doc?"
    Doc: "You're a peace officer -- don't you like peace?"
    Matt: "Well, sure, but not quite this much."

    "Jonah Hutchinson"
    By: Rudy Schrager

  • About 22:30 in.
  • 41:39 in.
  • 48:20 in:
  • About 50:30 in: the closing cue, playing with the series' theme.

    A rather good episode. Life lessons that haven't aged one bit, in here.

    Doc: "People talk about the old days, you know, they forget that bread earned by the sweat of your brow was not just an expression, so sir -- a lot of times bread was all people got."

    "Big Man, Big Target"
    By: Rudy Schrager (BAD LINK)

  • 0:12: the title card with a good rendition of the series' theme, which crosses over into the episode.
  • 4:08 in:
  • About 19:13 in.
  • 23:03 in: some moody violas (I think I heave some cello in there).
  • 25:43: some steady repeating brass patterns (kind of like Rosenman), with the series' theme over it with some more brass as Matt is out on the hunt. Ends with a Leonard Rosenman tone pyramid. More at 28:15.
  • About 36:50 in: some biting brassy action material. Brief though.
  • About 39:06 in: some lightly playful material with woodwinds mainly. Followed by a lone bassoon note ending with a lone timpani note repeating as a rhythm, with a little brass over. More Tone pyramid (probably half a dozen in this score).

    I'm tempted to put this is a second tier effort category. Musically, Schrager takes more chances and has more ideas then typically for the series scores thus far. More at about 41:30.

    A borderline mediocre episode.

    It's remarkable Matt's shoulders work at all. Every few episodes he gets shot in one. There shouldn't be anything left that works.

    Matt: "You decide how you want it: hard or easy, mister," trying to take a wanted man in to jail.

    "I'll make you a bad enemy, Marshal."
    Matt: "I've had few good ones."

    By: Fred Steiner

  • About 30:50 in: two fiddles and some backing for a light bouncy piece for Doc.
  • 38:17 in: some slow menacing brass with a steady plucked double bass (like that cue from "Star Trek II: The Wrath of Khan" -- don't recall the name).
  • 40:50 in.
  • About 46:50 in: action music with some driving snare drum.

    An okay episode.

    By: Rudy Schrager

  • 37:28: another similar cue with Matt on the hunt, as from "Big Man, Big Target".
  • 47:07 in: a short tense piece with biting brass work and timpani.

    A mediocre episode.

    There were moments, but overall nothing to get excited over.

    That's it for today.

    More Rudy Schrager tomorrow. Monday, one or two different composers in the mix.

     Posted:   Sep 3, 2017 - 2:38 PM   
     By:   Justin Boggan   (Member)

    By: Rudy Schrager
    no link provided, since I cited nothing.

  • Nothing. At least for me.

    A mediocre/borderline poor episode about a horse race.

    "Double Entry"
    By: Rudy Schrager

  • 9:55 in.
  • 34:46 in. It's short though.
  • 37:18 in: like another couple of episodes, a bassoon note ending in a single timpani hit with the series' theme playing over it with brass. More at about 38:50 in. 39:50 it gets a little harder. I just enjoy this stuff.
  • About 46:10 in: some fight music with biting brass work, timpani, and some strings.

    Borderline okay episode.

    Doc singing. Sam played the fiddle a few episodes ago, too.

    Festus: "Just hold yer tatters; can't you see I'm a thinkin'?"
    Doc: "Oh, yes, I can see you're thinking all right, but can't you think while you're walking?"
    Festus: "Well, not good I cain't when I'm a thinkin' hard while walkin' jostles my brains."

    That's it for today. I won't be here Monday. Tuesday will bring more Rudy Schrager and a new composer. Maybe another Richard Shores depending on how far along I get.

     Posted:   Sep 5, 2017 - 2:22 PM   
     By:   Justin Boggan   (Member)

    "Run, Sheep, Run"
    By: Fred Steiner

  • 0:13 in: a rendition of the series' theme, with a Rosenman tone pyramid at the end.
  • 10:30 in: trembling strings and timpani open a cue that also features some harmonica and woodwinds.
  • 26:59 in.
  • 40:12: another example of a short burst of good material. There were other examples, but since they were all short, I skipped over them, but at least one should be listed.

    "Deputy Festus"
    By: Rudy Schrager

  • 26:01 in.
  • 29:09 in. More at 33:07.
  • 35:06: spirited and humorous fight music as Festus fights his cousin.
  • The next cue right afterwards.

    I guess it's kind of a good episode. It's Festus heavy, we see how he handles things, and it's humorous departure.

    Cousin Claudius -- yet another is a string of relatives to Festus. It's kind of Like Higgins on "Magnum, pi" -- always seemed to be another one.

    Festus: "Miss Kitty, now just suppose I have a friend."
    Doc: "Well, now there's a supposition for ya."

    "One Killer on Ice"
    By: Harry Geller
    No link provided, since I cited nothing.

    This is Harry's first effort for the series.

  • Nothing.

    An okay episode, but when Matt lays out how he found out, it's kind of like Columbo pointing out the one small mistake the bad guy made.

    It's too thin and kind of out-of-date sounding. It's a couple of steps down from Steiner and Schrager. I hope his efforts get better than this.

    "Song For Dying"
    By: Rudy Schrager (BAD LINK)

  • Nothing. This is the first Schrager score I can say that about.

    A mediocre episode.

    I thought Festus was a deputy -- Chester was. And Festus has a badge. Yet in this episode Matt deputizes him, so Festus can help. So, is it more like a honorary thing? A badge from a Cracker Jack box?

    "Winner Take All"
    By: Rudy Schrager (BAD LINK)

  • 5:16 in.
  • 8:04 in.
  • About 28:28 in.

    A mediocre episode.

    Shot in a shoulder again. Like I said, there's no way he should have use of his arms after all these shots.

    "Eliab's Aim"
    By: Fred Steiner (BAD LINK)

  • About 11:55 in: a couple of fiddles and a little bit of woodwinds. More at about 12:50 in.
  • About 20:51 in: some playful music with plucked strings and woodwinds as Festus sneaks away.
  • 21:20: some fun chase music with brass and woodwinds as Festus runs away from the relative.
  • About 22:00 in: more woodwinds and some brass and as Festus looks around to make certain he's safe. And it continues with some light suspense as his relative is trying to shoot. The cue goes on for a few minutes, with some brief seconds of silence here and there.

    Another relative of Festus'. Three others mentioned (including a half cousin named Ace).

    To my surprise, I looked up who plays quint (in 50 episodes) only to discover Burt Reynolds plays him. Doesn't look like Reynolds.

    That's it for today. More Schrager, another Steiner, another Shores, and a new composer tomorrow.

     Posted:   Sep 6, 2017 - 8:40 AM   
     By:   (Member)   (Member)

    I enjoy the scores by Shores and Geller, by the way. This is my W3 bias.

     Posted:   Sep 6, 2017 - 2:08 PM   
     By:   Justin Boggan   (Member)

    "Thursday's Child"
    By: Richard Shores (BAD LINK)

  • 0:24 in: the series' theme, which begins slowly, then picks up with some staccato brass (hey look -- stock footage!).
  • About 9:45 in.
  • 14:04 in: some playful music as Doc gets all uppity over a comment from Festus.
  • About 18:57 in: a more unsettling and semi-dramatic take on the series' theme, with some snare drum.

    A mediocre episode.

    By: Rudy Schrager (BAD LINK)

  • Nothing.

    "Dry Road To Nowhere"
    By: Gerald Fried

    This is Fried's only score for the series.

  • 0:16 in: his take on the opening credits theme, followed by some soft woodwinds.

    A borderline poor episode. Fried was wasted on this.

    "Twenty Miles From Dodge"
    By: Rudy Schrager (BAD LINK)

    This is Schrager's final effort for the series.

    Something is different: the opening credits has been re-produced and extended, with a longer focus on Matt and dramatic music.

  • About 2:50 in: another rendition of the series' theme.
  • About 24:30 in.

    And so ends Rudy Schrager's work for the series -- just one season. I don't know what happened here. The season had more original scores than normal, so if I had to speculate, they couldn't afford to have Steiner and others score every episode and Schrager was probably a composer who worked for a cheaper price. At the time he had a name for scoring TV western series, so he was probably an easy find, too.

    "The Pariah"
    By: Fred Steiner (BAD LINK)

  • 3:18 in.
  • Somewhere about 20:00 in.
  • 41:15 in.

    An okay episode. Over the last two seasons the people in town have really turned into assholes. If Matt wasn't there, it would turn into an epic hive of scum and villainy.

    There are a number of bad edits in the score.

    "Bad Lady From Brookline"
    By: Richard Shores (BAD LINK)

  • 10:53 in.
  • 40:27 in.
  • About 45:45 in.

    Claude Akins guest stars.

    A borderline terrible episode. The plot is clichéd and thin and the acting by the female lead is bad.

    Festus: "Well, come on -- get up; I'll get on you like ugly on ape."

    Tomorrow closes out Season 10, with more Steiner, and a surprise: three composers on one episode -- two who have no previous scoring credits and a composer not even I knew contributed to the series (certain older members of the forum will know his name...).

     Posted:   Sep 7, 2017 - 4:46 AM   
     By:   (Member)   (Member)

    "Thursday's Child" has the trade mark of Shores all the way, especially the musical passage from 9:45 when the old lady leaves her room at night and it returns at 15:12. There is another passage when Doc starts a fire at the farm at 36:38 which reminds "The Night of the Burning Diamond".

    Anyway, good job, Justin! Just keep up the good work.

    You must log in or register to post.
      Go to page:    
    © 2022 Film Score Monthly. All Rights Reserved.
    Website maintained and powered by Veraprise and Matrimont.