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SEASON 1:
Theme by Cyril J. Mockridge.
"Stage Stop" (the pilot)
By: Nathan Scott
https://archive.org/details/lar-1.1-stage-stop
Highlights:
0:00 in.^
1:22 in.^
3:41 in. When television scoring is done right, you get a cue like this.^
9:39 in.
13:24 in.^
21:01 in.^
24:10 in.^
30:32 in.^
36:58 in.^
39:08 in.^
43:13 in.^
44:44 in.^
46:26 in.^
A terrific old-school score.
"Glory Road"
By: Cyril J. Mockridge
https://archive.org/details/lar-1.2-glory-road
Highlights:
0:00 in.^
2:37 in. And the cue after the bold title card piece.^
3:27 in.
7:06 in.
9:40 in.^
11:25 in.^
13:51 in.
16:57 in.^
29:33 in. And the cue after the commercial break.^(first)
34:54 in.
38:38 in.^
45:57 in.
"Circle of Fire"
By: Cyril J. Mockridge
"Arranged and Adapted by
ARTHUR MORTON"
https://archive.org/details/lar-1.3-circle-of-fire
Highlights:
1:56 in.^
3:26 in.
4:28 in.^
11:42 in.^
14:11 in.^
19:46 in.^
21:33 in.^
25:44 in.^
27:21 in.^
30:49 in.^
33:26 in.^
38:17 in.^
42:45 in.^
44:13 in.^
46:57 in.^(closing)
This is the only contribution by Morton for the series. ASCAP lists him for cues. I suspect some contractual issue caused Mockridge to get the composer credit, but that the score is really by Arthur Morton.
(Note to ME: 1:07)
"Fugitive Road"
By: Cyril J. Mockridge
https://archive.org/details/lar-1.4-fugitive-road
Highlights:
0:00 in.
2:29 in.^
4:52 in.^
11:53 in.^
14:51 in.^
16:45 in.^
21:01 in. Over five minutes long.^
26:44 in. And the cue after the commercial break.^(both)
29:00 in.^
30:41 in.^
32:00 in.^
35:19 in.^
40:44 in.
42:27 in.^
43:45 in.^
47:13 in.^
"Man can always get another horse, but a good friend is hard to come by."
"You sleep pretty light."
"Comes from having nothing on my mind."
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Continuing SEASON 1:
"The Star Trail"
By: Cyril J. Mockridge
"Arranged and Adapted by
ALBERT SENDRY"
https://archive.org/details/lar-1.5-the-star-trail
Highlights:
0:00 in.^
1:21 in.^
2:47 in.^
14:33 in.^
20:30 in.
22:19 in.^
25:44 in.^
27:27:09 in.^
28:06 in. About four minutes long, with the first half being exciting chase music.^
33:17 in.^
35:18 in. And the cue after the commercial break.^(second)
39:01 in. Not too far from four minutes long.^
45:47 in.^
47:53 in.^
The best score -- over all -- by Mockridge so far. I don't think I'd skip a single cited cue on a set of season one scoring.
Out-of-context quote...
Woman: "Then I'll go to another town, and another, but somewhere I'm gonna get it; and I don't care from whom."
"The Lawbreakers"
By: Nathan Scott
https://archive.org/details/lar-1.6-the-lawbreakers
Highlights:
7:16 in.^
9:04 in.^
13:29 in.^
16:10 in.^
18:54 in.^
27:13 in.^
29:28 in.^
32:20 in.^
36:06 in.^
38:33 in.^
40:35 in.^
44:57 in.
47:47 in.^
(NtM: 0:00)
"What'cha gonna do now?"
"Shut up. Why don't you?"
"Suppose I give you a mouth full of buckshot for desert."
"The Iron Captain"
By: Nathan Scott
https://archive.org/details/lar-1.7-the-iron-captain
Highlights:
3:47 in.^
10:21 in.^
11:39 in.^
14:11 in.^
17:23 in.^
18:52 in.^
20:14 in.^
25:10 in.^
30:53 in.^
35:15 in.^
38:28 in.^
40:10 in.^
42:24 in.
43:35 in.^
45:00 in.
45:46 in.^
Out-of-context quote exchange...
"Too bad, ma'am, because you're gonna come."
Bountiful Boosum Brunette Woman: "Am I?"
"General Delivery"
By: Alexander Courage
https://archive.org/details/lar-1.8-general-delivery
This is the only effort by Courage for the series.
Highlights:
0:42 in.^
2:44/4:30 in.^
7:04 in.^
9:51 in.^
11:45 in. And the cue after the commercial break.^
14:28 in.^
19:41 in. And the cue after the commercial break.^
22:24 in.^
25:36 in.
27:40 in.^
30:31 in.^
34:00 in.^
36:02 in.^
38:03 in.^
39:19 in.
47:29 in.^
48:23 in.^
Courage provides an excellent tense and dramatic orchestral score. It's surprising he didn't do any more for the show.
"The Run to Tumavaca"
By: Hans J. Salter
https://archive.org/details/lar-1.9-run-to-tucumvaca
This is the only effort by Salter for the series.
Highlights:
0:29 in.^
2:29 in. Title card piece.^
4:13 in.^
5:04 in.^
7:37 in.^
9:44 in.^
13:22 in. And the cue after the commercial break.^
15:26 in.^
20:39 in.^
22:28 in.^
24:23 in. And the cue after the commercial break.^
28:36 in.^
30:29 in.^
32:12 in.^
33:47 in. And the cue after the commercial break.^
37:10 in.^
38:36 in.^
42:41 in.^
44:35 in.^
47:06 in.^
Slater also provides another terrific, although different, score which leaves me wondering why he apparently wasn't asked back either.
If anybody recognizes any of the music from being tracked into other series of films, let me know. I'll be going through all the episodes with no credited composers to see if I readily recognize any of the score.
I might have cited every single cue, so I might as well say the entire score should be released.
For some reason Mockridge does get a theme music credit like in prior episodes.
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Continuing SEASON 1:
"The General Must Die"
By: Cyril J. Mockridge
https://archive.org/details/lar-1.10-general-must-die
Highlights:
1:45 in. And the cue after the title card piece.^
2:55 in.^
11:01 in. And the cue after the commercial break.^
14:46 in.^
17:02 in.^
20:08 in.^
22:14 in.^
29:46 in.^
34:37 in.^
37:07 in.^
38:10 in. And the cue after the commercial break.^
39:28 in.^
44:21 in.^
46:20 in.^
(NtM: 0:00, 0:49)
"You look real happy."
"Well, I didn't get shot."
"Dark Verdict"
By: Cyril J. Mockridge
https://archive.org/details/lar-1.11-dark-verdict
Highlights:
1:59 in.^
3:10 in.^
3:55 in.^
4:42 in.^
5:14 in.^
10:34 in.^
12:50 in.^
16:32 in.^
23:53 in.^
43:37 in.^
46:48 in.^
48:47 in.^
(NtM: 12:41, 38:33)
"Man of God"
By: Albert Sendrey
https://archive.org/details/lar-1.12-man-of-god
Highlights:
0:00 in.^
6:48 in.^
11:16 in. And the cue after the commercial break.^
15:54 in.^
21:01 in.^
23:14/24:57 in.^
31:42 in.^
35:57 in. Almost three minutes long. And the cue after the commercial break, which is essentially another version of this cue.^
43:16 in.^
43:57 in.^
45:59 in.^
46:40 in.^
Sendrey, like Arthur Morton, had previously gotten a music arranged and adapted by credit in a previous episode (noted). Now I'm starting to wonder if these were early attempts by Mockridge to audition new composers to come in and do episodes.
"Bare Knuckles"
By: Henri Rene
https://archive.org/details/lar-1.13-bare-knuckles
This is the only effort by Rene for the series.
Highlights:
0:00 in.^
1:19 in.^
2:44 in.^
7:10 in.^
15:59 in.
18:04 in.^
19:20 in.^
22:45 in.^
25:48 in. And the playful comedic cue after the commercial break. A little over two minutes long.^
30:01 in.^
32:19 in.^
35:11 in. And the cue after the commercial break.^
46:29 in.^
47:31 in.^
A good score. It's a shame he was apparently not asked back either.
Henri Rene did very little scoring, looking over his IMDb credits. And of his television scoring -- which represented the last half of his output -- this was the first episode of any series he worked on.
https://www.imdb.com/name/nm0456332/
"The Lonesome Gun"
By: David Buttolph
https://archive.org/details/lar-1.14-the-lonesome-gun
Highlights:
0:00 in.^
2:52 in.^
6:42 in.^
8:15 in.^
17:40 in.^
19:54 in.^
20:56 in.^
21:58/26:58 in.^
26:54 in.^
28:55 in.^
32:06 in.^
37:29 in.^
41:41 in. After a short lull, the cue continues.^
44:37 in.^
47:53 in.
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Continuing SEASON 1:
"Night of the Quiet Men"
By: David Buttolph
https://archive.org/details/lar-1.15-night-of-the-quiet-men
Highlights:
0:00 in.^
1:53 in.^
3:25 in.^
4:36 in.^
5:46 in.^
10:17 in.^
13:45 in.^
15:46 in. Short intro cue.^
17:43 in.^
24:43 in.^
29:17 in. Includes wooden block clops for a kind of playful, perhaps more light-hearted cue. You can hear a little more of it in 35:44.^
32:55 in.^
35:44 in.^
37:07 in.^
38:50 in.^
41:12 in.^
45:36 in.
47:40 in.^
I'm almost tempted to say Buttolph should have gotten an Emmy nomination for this episode score.
"I had enough beef on that drive to start growin' horns."
"The Pass"
By: Albert Sendrey
https://archive.org/details/lar-1.16-the-pass
Highlights:
0:00 in.^
0:37 in.^
5:16 in.^
7:29 in.^
10:52 in.^
11:50 in.^
15:41 in.^
18:30/19:25 in.^
21:09/21:49 in. And the cue after the commercial break of the second noted cue.^
23:20 in.^
27:21 in.^
29:50 in.^
33:52 in. And the cue after the commercial break.^
36:14/37:30 in.^
38:36/40:23 in.^
41:39 in.^
45:27 in.^
47:18 in.^
A score with a number of snare drum and trumpet/brass lead cues to signify the military.
2:30 in: I wonder if that is just an actor with the playing dubbed over, or a real player from the scoring sessions.
"Trail Drive"
By: Albert Sendrey
https://archive.org/details/lar-1.17-trail-drive
Highlights:
0:00 in.^
1:22 in.^
5:55 in.^
9:35 in.^
14:19 in.^
15:16 in. Bold lower-octave brass-heavy cattle herding cue. Just a tad over three minutes long.^
18:52 in.^
19:31 in.^
23:23 in.^
25:02 in.^
26:05 in. And the cue after the commercial break.^
28:55 in.^
31:36 in.^
36:50 in.^
37:35 in.^
40:34 in.^
43:42 in.^
45:59 in.
47:48 in.^
"Day of Vengeance"
By: Leigh Harline
https://archive.org/details/lar-1.18-day-of-vengeance
This is the only effot by Harline for the series.
Highlights:
0:55 in.^
2:19 in.^
4:43 in.^
6:52 in.^
8:53 in.^
11:49 in.^
14:34 in.^
16:33 in.^
18:48 in.^
21:10 in.^
25:38 in.^
27:33 in.^
28:57 in.^
33:16 in.^
34:27 in.^
36:01 in.^
38:33 in.^
41:28 in.^
43:24 in.^
47:46 in.^
(NtM: 14:23)
"The Legend of Lily"
By: Cyril J. Mockridge
https://archive.org/details/lar-1.19-legend-of-lily
Highlights:
0:00 in.^
7:30 in.^
11:13 in.^
13:13 in.^
19:10 in.^
21:52 in.
33:01 in. And the cue after the commercial break.^
35:51 in.^
41:56 in.^
47:21 in.^
(NtM: 25:00, 46:06)
Out-of-context quote exchange...
"Like what you see?"
"More or less."
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Continuing SEASON 1:
"Death Wind"
By: Harry Sukman
https://archive.org/details/lar-1.20-death-wind
Highlights:
2:05 in.^
3:40 in.^
5:18 in.
11:27 in.^
13:03 in.^
15:16 in.
18:19 in.^
22:16 in.^
25:59 in. And the cue after the commercial break.^
33:46 in.^
38:46 in.^
41:00 in.^
44:34 in.^
47:08 in.
It's unusual to see Claude Akins with a mustache.
"Company Man"
By: Albert Sendrey
https://archive.org/details/lar-1.21-company-men
Highlights:
0:00 in.^
2:18/6:21 in.^
7:43 in.^
9:26 in.^
13:24 in.^
23:51 in.^
25:30 in. And the cue after the commercial break.^
29:08 in.^
30:03 in.^
33:24 in.^
35:57 in.^
37:01 in.^
38:43 in.^
40:57 in.^
42:55 in.^
44:51 in.^
46:58 in.^
Sendry provides an usually different (in orchestral colors approach and ideas) score than his prior efforts, and it pays off. Probably his best effort so far and probably one of the series' best episode scores.
"A rattlesnake can be poisonous at any age."
"Rope of Steel"
By: Albert Sendrey
https://archive.org/details/lar-1.22-rope-of-steel
Note: Episode title does not appear on screen as normal.
Highlights:
0:00 in.^
2:22 in.^
About 6:05 in. Joining a cue already in progress.^
8:33 in.^
9:16 in.^
10:44 in.^
12:11 in.^
14:16 in.^
17:13 in. This cue sounds like a riff on the "Star Trek" theme and up until the gun fire, could be something that could have been tracked into "Star Trek".^
27:36 in.^
30:31 in.^
36:15 in.^
40:22 in.
42:34 in.^
43:13 in.^
45:05 in.^
46:16 in.^
47:57 in.^
Some really good work here and there. Sendrey is a name I am quickly looking forward to on the show.
Out-of-context quote...
"Handle it anyway you want."
"Duel At Alta Mesa"
By: Albert Sendrey
https://archive.org/details/lar-1.23-duel-at-alta-mesa
Highlights:
0:38 in.^
2:35 in.^
5:11 in.^
7:11 in.^
14:04 in.^
15:14 in.^
19:33 in.^
20:37 in.^
22:36 in.
24:40 in.
26:16 in.^
29:13 in.^
34:02 in.^
35:58 in.^
39:45 in.^
45:53 in. I think the cue might naturally fit onto the end of the previous cue. If I ever do a suite, that's probably what I will do.^
"Glad you're not dead, 'cause I ain't got time to bury ya."
Out-of-context quote...
"Well, give it to her!"
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Continuing SEASON 1:
"Street of Hate"
By: David Buttolph
https://archive.org/details/lar-1.24-street-of-hate
Highlights:
0:44 in.^
2:33 in.^
8:19 in.^
9:22 in.^
14:25 in.^
16:19 in.^
19:47 in.^
28:21 in.^
30:53 in.^
31:44 in.^
34:17 in.^
39:50 in.^
41:31 in.^
44:07 in.^
45:41 in. And the cue after the commercial break.^
"Ride or Die"
By: Harry Sukman
https://archive.org/details/lar-1.25-ride-or-die
Highlights:
0:00 in.^
4:30 in.^
10:34 in.^
11:30 in.^
15:54 in.^
21:22 in.^
24:16 in.^
24:49 in.^
28:10 in.^
29:04 in.^
30:28 in.^
33:23 in.^
34:34 in.^
35:35 in.^
40:24 in.^
42:19 in.^
43:27 in.^
47:05 in.^
"Hour After Dawn"
By: Harry Sukman
https://archive.org/details/lar-1.26-hour-after-dawn
Highlights:
3:55 in.^
6:37 in.^
7:28 in.^
8:25 in.^
9:52 in.^
13:16 in.^
19:11 in.^
21:59 in.^
24:28 in.^
25:18 in.^
26:54 in.^
34:15 in.^
35:13 in.^
36:12 in.^
38:26 in. And the cue after the commercial break.^
41:18 in.^
45:13 in.^
48:00 in.^
An enjoyable low-key moody, tense, and sometimes soft score. In my personal opinion I might list this amongst the best of the series. I know, people want big, bold, adventurous, dramatic action, but an episode score doesn't always have to be that way.
(NtM: 13:11)
"The Protectors"
By: Albert Sendrey
https://archive.org/details/lar-1.27-the-protectors
Highlights:
6:58 in.^
11:47 in.^
14:26 in.^
18:02 in.^
21:18 in.^
25:56 in.^
31:51 in.^
40:37 in.^
43:31 in.^
"What are you doin' out this way?"
Slim: "Getting shot at mostly."
Out-of-context quote...
"I like a man who doesn't forget which trees got the honey in it."
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As I've mentioned a few times in the TV Scoring thread, the flash drive is almost full. I have been editing down old suites from certain series to remove things not worth keeping (but are still preserved in the rendered videos in lower quality), and lowering certain suites from 32-bit to 16-bit. This has given me room, which I have used for Elmer Bernstein (suite on the 20th this month), Jerry Goldsmith, and the remainder will probably go to Franz Waxman.
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Finishing SEASON 1:
"Saddle and Spur"
By: Harry Sukman
https://archive.org/details/lar-1.28-saddle-and-spur
Highlights:
0:00 in.^
1:40 in.^
3:27 in.^
10:38 in.^
12:54 in.^
17:37 in.^
20:49 in.^
25:20 in.^
26:55 in.
27:57 in.^
29:07 in.^
32:43 in.^
39:25 in.^
44:00 in.^
45:08 in.^
47:02 in.
There is some good stuff here.
"We'll fix it so you can do your talkin' at the end of a rope."
Out-of-context quote...
"Jess, I think you and I are going to get nice and fat."
"Midnight Rebellion"
By: Harry Sukman
https://archive.org/details/lar-1.29-midnight-rebellion
Highlights:
2:11 in.^
5:44 in.^
8:33 in.^
11:21 in.^
19:39 in.^
22:32 in.^
23:59 in.^
28:23 in.^
29:37 in.^
31:32 in. And the cue after the commercial break.^
32:54 in.^
33:50/40:54 in. The second cue (which can be connected to the first) just by itself is nearly five minutes long.^
46:21 in.^
Another score with a lot of good material in it. Maybe even Emmy-nomination worthy.
"I'd be a lot smarter if I was a colonel. And if I was a General, I'd be practically a genius."
"Cemetery Road"
By: Harry Sukman
https://archive.org/details/lar-1.30-cemetery-road
This is the final effort by Sukman for the series.
Highlights:
0:00 in.
3:30 in.^
4:38 in.^
6:53 in.^
10:35 in.^
13:34 in.^
15:36 in.^
17:40 in. Including slow whimsical music for a drunk.^
20:11 in.^
24:26 in.
27:06 in.^
28:23 in.^
33:16 in.^
34:53 in.^
36:31 in.^
39:53 in.^
42:00 in.^
46:00 in. And the cue after the commercial break.^
47:20 in.^
Another good score from Sukman, kind of like a weird "Superman" theme part combined with a touch of John Barry and western music.
"Men of Defiance"
By: Cyril J. Mockridge
https://archive.org/details/lar-1.31-men-of-defiance
Highlights:
2:14 in.^
4:03 in.^
8:50 in.^
12:52 in.^
14:25 in. And the cue after the commercial break.^
19:47 in.^
24:17 in.^
26:12 in. Solo acoustic guitar source cue. It's pleasant and if it was not performed live and was recorded, I'd like to have it.^
30:28 in.^
31:05 in.^
35:33 in.^
38:43 in.^
41:08 in.^
45:09 in.^
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SEASON 2:
"Queen of Diamonds"
By: Cyril J. Mockridge
https://archive.org/details/lar-2.1-queen-of-diamonds
Highlights:
1:24 in.^
1:52 in. New opening credits music. And a new title card piece immediately afterwards. Gone is the elegant main theme and creative appearance of the show's name and in it's place an inferior theme and very cheap-looking opening singular image with names appearing over it. The new title card looks just as bad.^
3:50 in.
6:49 in.^
12:43 in.
19:08 in. And the cue after the commercial break.^
20:41 in.^
23:30 in.^
27:56 in.^
32:39 in.^
34:52 in.^
37:07 in.
42:08 in.^
45:39 in.^
Claude Akins guest stars.
"Some women are just plain poison, and she's one of them. Take my word for it."
"If that's what poison looks like, I'm all for it."
Out-of-context quote...
"Don't get anxious -- let him come."
"The Track of the Jackal"
By: Cyril J. Mockridge
https://archive.org/details/lar-2.2-track-of-the-jackal
Highlights:
0:00 in.^
1:33 in.
2:13 in.^
3:20 in.^
6:50 in.^
10:17 in. And the cue after the commercial break.^
16:34 in.^
19:44 in.^
21:56 in.^
25:17 in.^
29:22 in.^
31:10 in.^
33:22 in.^
36:33 in.^
38:49 in.^
45:02 in.^
"Three Rode West"
By: Nathan Scott
https://archive.org/details/lar-2.3-three-rode-west
Highlights:
0:23 in.^
2:36 in.^
4:56 in.^
9:25 in.^
10:16 in.^
15:47 in.^
21:08 in. And the cue after the commercial break.^(second)
24:42 in. And the cue after the commercial break.^(Second)
29:06 in.^
31:55 in.^
33:00 in.^
34:06 in.^
35:38 in.^
37:39 in.^
44:11 in.^
45:11 in.^
47:45 in.^
Out-of-context quote...
Attractive Brunette Woman: "I can take care of myself, you take care of yourself."
"Ride the Wild Wind"
By: Cyril J. Mockridge
https://archive.org/details/lar-2.4-ride-the-wild-wind
Highlights:
0:00 in.
1:19 in.^
4:11 in.^
6:49 in.^
9:45 in.^
11:20 in.^
16:36 in.
17:33 in.^
22:20 in.^
28:58 in.^
30:27 in.^
33:08 in.^
34:33 in.^
39:01 in.^
41:07 in.^
43:28 in.^
45:48 in.^
"Ride Into Darkness"
By: Albert Sendrey
https://archive.org/details/lar-2.33-ride-into-darkness
This is the final effort by Sendrey for the series.
Highlights:
0:00 in.^
3:24 in.^
4:22 in.^
9:44 in.^
14:53 in.^
18:56 in.^
20:26 in.^
25:21 in.^
27:06 in. The cue pauses when he asks about the room key, then picks back up in short order.^
29:32 in.^
30:34 in.^
37:12 in. And the cue after the commercial break.^
40:44 in.^
41:50 in.^
43:36 in.^
45:41 in.^
Based upon the opening and closing credits being the old ones from season one, this has to be an episode that was not aired originally back then for what ever reason, then burned off in season two.
Out-of-context quote...
"I want it now!"
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Continuing SEASON 2:
"The Long Riders"
By: Nathan Scott
https://archive.org/details/lar-2.5-the-long-riders
Highlights:
0:00 in.^
1:47 in.
4:03 in.^
5:55 in.^
13:00 in.^
20:02 in.^
22:00 in.^
25:43 in.^
34:11 in.
34:53 in.^
38:45 in.^
42:05 in.^
45:49 in.^
48:12 in.^
"The Dark Trail"
By: Cyril J. Mockridge
https://archive.org/details/lar-2.6-the-dark-trail
NOTE: The sound and picture quality of this load is inferior to others this season. The uploader explains why in a note before the episode begins.
Highlights:
0:51 in.
3:11 in.^
8:07 in.^(open/8:50)
10:33 in.^
15:33 in.^
19:46 in.^
21:55 in.
26:07 in.^
29:42 in.^
37:23 in.^
38:16 in.^
44:28 in.^
".45 Calibre"
By: David Buttolph
https://archive.org/details/lar-2.7-45-calibre
Highlights:
2:59 in.^
5:05 in.^
9:34 in.^
11:08 in.^
13:41 in.^
15:53 in.^
17:03 in.^
26:53 in.^
34:40 in.^
37:05 in.^
39:07 in.^
41:21 in.^
44:13 in.^
44:43 in.^
46:10 in.^
47:46 in.^
"License to Kill"
By: David Buttolph
https://archive.org/details/lar-2.8-license-to-kill
Highlights:
3:58 in.^
5:51 in.^
9:17 in.^
10:16 in.^
13:17 in.^
15:41 in.^
23:36 in.^
31:07 in.
34:50 in.^
39:21 in.^
40:49/43:25 in.^
43:53 in.^
47:00 in.^(next scene)
"Drifter's Gold"
By: Cyril J. Mockridge
https://archive.org/details/lar-2.9-drifters-gold
Highlights:
1:14 in.^
2:39 in.^
4:05 in.^
6:30 in.^
8:34 in.^
9:54 in.^
18:18 in.^
24:26 in.
36:06 in.^
37:59 in.^
43:16 in.^
45:15 in.^
On a set of season two scoring, there's not much I'd take away from this episode score (if anything at all; more room for cues from other episodes might be a better way to use CD space).
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Continuing SEASON 2:
"No Second Chance"
By: Cyril J. Mockridge
https://archive.org/details/lar-2.10-no-second-chance
Highlights:
0:00 in.^
2:01 in.^
5:46 in.^
11:34 in. And the cue after the commercial break.^(second)
22:25 in.^
24:05 in.
2617 in.^
27:17 in.^
27:59 in.^
29:35 in.^
32:15 in.^
40:44 in. And the cue after the commercial break. Both cues together run over four minutes.^
47:23 in.^
I'm not sure how much of this I would include on a set of season two scoring, if I were compiling one.
"Duel At Parkison Town"
By: R. Dale Butts
https://archive.org/details/lar-2.11-duel-at-parkinson-town
Highlights:
0:00 in.^ *
3:22 in.^
21:01 in.^
14:50 in.^
18:12 in. And the cue after the commercial break.^
20:19 in.^
22:37 in.^
27:26 in.^
28:06 in.^
31:04 in.^
32:45 in.^
36:41 in. And the cue after the commercial break.^
41:55 in.^
47:26 in.^
The year is stated to be 1870.
* = Is that the Norman Bates house?
Butts did more episodes, so you will see more Butts.
(yeah, sorry -- I had to)
"A Sound of Bells"
By: Cyril J. Mockridge
https://archive.org/details/lar-2.12-a-sound-of-bells
Highlights:
1:26 in.^
2:34 in.^
8:48 in.^
14:21 in.^
17:45 in.^
18:57 in.^
22:51 in.^
25:11 in.^
26:46 in.
29:11 in.^
31:12 in.
38:13 in.^
42:28 in.^
45:30 in.^
"The Passing of Kuba Smith"
By: Richard Shores
https://archive.org/details/lar-2.13-the-passing-of-kuba-smith
Highlights:
0:00 in. (2:10 long) ^
4:18 in. Over four minutes long, though it's probably too repetitious for some listeners.^
9:22 in.^
22:17 in. And the cue after the commercial break.^
23:11/24:22 in.^
29:33/32:43 in.^
42:05 in.^
44:57 in.^
"Man From Kansas"
By: Richard Shores
https://archive.org/details/lar-2.14-man-from-kansas
Highlights:
0:00 in. Almost a minute of music for an American Indian attack.^
1:17 in. More attack music.^
3:21 in.^
7:45 in.^
10:47 in.^
13:14 in.^
16:17 in.^
23:17 in.^
27:49 in. And the cue after the commercial break.^
30:38/32:06 in.^
34:31 in.^
36:39/37:33 in. And the cue after the commercial of the second cue noted.^
44:05 in.^
46:44 in.^
47:47 in.^
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Continuing SEASON 2:
"Killer Without Cause"
By: Cyril J. Mockridge
https://archive.org/details/lar-2.15-killer-without-a-cause
Highlights:
3:39 in.^
7:03 in.^
8:31 in.
11:50 in. And the cue after the commercial break.^
16:35 in.^
18:29 in.^
24:04 in.^
26:41 in.^
28:01 in.^
30:28 in.^
31:23 in.^
35:03 in.^
36:02 in.^
41:51 in.^
44:55 in.^
"Stolen Tribute"
By: David Buttolph
https://archive.org/details/lar-2.16-stolen-tribute
This is the final effort by Buttolph for the series.
Highlights:
1:27 in.
2:12 in.^
4:56 in.^
8:23 in.^
9:43 in.^
11:23 in.^
15:51 in.^
20:57 in.^
21:59 in.^
25:04 in.^
27:55 in.^
29:19 in.^
33:38 in.^
38:25 in.^
40:52 in.^
42:47 in.^
44:55 in.^
47:05 in.^
Another moody low-key score which I would personally cite as amongst the best efforts for the series.
The original opening credits theme has been re-instated (at least for this episode), with all new credits scenes. The same nice appearance of the show's name is kept. The original end credits music is also kept, but the same cheap background drawing is retained.
I liked the Tully character, shame he didn't make another appearance. He was delightfully played by Edgar Buchanan, who made a career out of playing in various western TV series.
Tully: "If I had two bullets, you wouldn't be around here to call me a liar."
Jess: "Well, that's how it is with stolen money: it just never belongs to you."
"The Lost Dutchman"
By: Cyril J. Mockridge
https://archive.org/details/lar-2.17-the-lost-dutchman
Highlights:
1:55 in.^
2:38 in.^
10:05 in. Just short of being three minutes long.^
19:09 in.^
25:53 in.^
32:01 in.^
33:52 in.^
35:38 in.^
42:19 in.^
45:19 in.^
"Cactus Lady"
By: Cyril J. Mockridge
https://archive.org/details/lar-2.18-cactus-lady
Highlights:
0:00 in.^
6:55 in.^
8:19 in.^
9:33 in. And the playful cue after the commercial break.^
13:50 in.^
17:05 in.^
18:43 in.^
20:15 in.^
22:30 in.^
23:37 in.^
25:38 in.^
26:37 in.^
28:11 in.^
31:01 in.^
32:16 in.^
34:09 in.^
36:26 in.^
38:20 in. And the cue after the commercial break.^
40:26 in.^
46:21 in.^
47:08 in.^
A nice score with lots of soft cues, playful pieces, and a little more.
"Riders of the Night"
By: Cyril J. Mockridge
https://archive.org/details/lar-2.19-riders-of-the-night
Highlights:
1:41 in.^
4:19 in.^
6:07 in.
8:33 in.^(9:16)
11:38 in.^
16:27 in.^
18:12 in.^
24:28 in.
26:09 in.^
47:05 in.^
8:26 in: I think I hear an airplane flying over.
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Continuing SEASON 2:
"Mark of the Manhunters"
By: Cyril J. Mockridge
https://archive.org/details/lar-2.20-mark-of-the-manhunters
Highlights:
0:00 in.^
2:29 in.^
3:14 in.^
7:51 in.^
9:19 in. And the cue after the commercial break.^
16:09 in.^
22:47 in.^
34:46 in.^
42:49 in.^
46:21 in.^
(NtM: 40:49)
"Rimrock"
By: R. Dale Butts
https://archive.org/details/lar-2.21-rimrock
Highlights:
0:00 in.^
2:20 in.^
5:14 in.^
10:57 in.^
13:10 in.^
14:46 in.^
19:56/21:43 in.^
23:02 in.^
25:52 in.^
33:54 in. And the cue after the commercial break.^
39:20 in.^
42:21 in.^
47:21 in.^
"Run of the Hunted"
By: Richard Shores
https://archive.org/details/lar-2.22-run-of-the-hunted
Highlights:
0:00 in.^
1:37 in.^
6:27 in.^
9:27 in.^
11:35 in.
16:13 in.^
19:59 in.^
24:24 in.^
26:25 in.^
28:54 in.^
33:55/35:35 in.^
37:54 in.^
39:54 in.^
43:43 in.^
45:09 in.^
47:57 in.^
Your mileage may vary, but I want to say this is amongst the best episode scores of the series.
"Two For the Gallows"
By: Cyril J. Mockridge
https://archive.org/details/lar-2.23-two-for-the-gallows
Highlights:
0:00 in.^
0:40 in.^
1:44/3:30 in.^
8:41 in.^
9:26 in.^
11:49 in.^
15:25 in.^
16:10 in.^
19:21 :in.
23:23 in. And the cue after the commercial break.^(second)
25:25/27:05 in.^
29:07 in.^
31:45 in.^
34:42 in.^
37:29 in.^
41:48 in.^
42:41 in.^
45:21 in.^
"The Debt"
By: Nathan Scott
https://archive.org/details/lar-2.24-the-debt
Highlights:
0:00 in.^
5:25 in.^
7:59 in.^
13:41 in.^
16:41 in.^
21:52 in.^
25:50/27:31 in.^
31:35 in.^
36:26 in.^
39:54 in.^
42:17 in.^
45:33 in.^
No title card on this episode.
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Continuing SEASON 2:
"Killers' Odds"
By: Cyril J. Mockridge
https://archive.org/details/lar-2.25-killers-odds
Highlights:
0:00 in.^
2:30 in.^
5:52 in.^
7:26 in.^
13:02 in.^
15:30 in.^
17:58 in.^
21:53 in. And the cue after the commercial break.^(second)
23:47 in.^
28:06 in.^
31:48 in.^
37:52 in.^
40:06 in.^
40:56 in.^
46:35 in.^
47:51 in.^
"Bitter Glory"
By: R. Dale Butts
https://archive.org/details/lar-2.26-bitter-glory
Highlights:
0:00 in.^
0:46 in.^
2:47 in.^
5:04 in.^
9:39 in.^
11:38 in.^
13:28 in.^
24:02 in.^
28:17 in.^
34:34 in.^
36:34 in.^
41:07 in.^
43:37 in.^
"The Tumbleweed Wagon"
By: Nathan Scott
https://archive.org/details/lar-2.27-the-tumbleweed-wagon
Highlights:
0:00 in.^
1:26 in.^
3:59 in.^
10:34 in.^
14:30 in. And the cue after the commercial break.^
19:00 in.^
19:51 in.^
22:38 in.^
26:48 in. And the cue after the commercial break.^
29:16 in.^
33:36 in.^
34:34 in.^
37:26 in.^
39:03 in. And the cue after the commercial break.^
41:38 in.^
44:30 in.^
46:41 in.^
47:41 in.
A low-key semi-dramatic score that reminds me more of Alexander Courage than Scott.
"Trigger Point"
By: Cyril J. Mockridge
https://archive.org/details/lar-2.28-trigger-point
Highlights:
2:39 in.^
7:06 in.^
8:13 in.^
15:17 in.
16:38/18:58 in.^
21:44 in.^
23:15 in.^
25:54 in.^
27:29 in.^
31:19 in.^
34:15 in.^
37:15 in.^
38:40 in.^
42:23 in.^
45:43 in.^
465:9 in.^
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Finishing SEASON 2:
"Badge of the Outsider"
By: R. Dale Butts
https://archive.org/details/lar-2.29-badge-of-the-outsider
Highlights:
1:55 in.
3:54 in.^
5:25 in.^
7:55 in.^
9:17 in.^
11:31 in.^
20:24 in.^
21:46 in.^
23:06 in.^
24:04 in.
28:44 in.
30:59 in.^
35:54 in.^
43:33 in.
45:07 in.^
47:29 in.^
If I were compiling a set of season two scoring, there's not much I'd include from this episode score.
"Men in Shadows"
By: R. Dale Butts
https://archive.org/details/lar-2.30-men-in-shadows
Highlights:
1:22 in.^
6:06 in.^
7:07 in.^
8:33 in.^
9:21 in.^
11:33 in.^
14:51 in.^
16:28 in.^
19:47 in.^
24:03 in.^
28:55 in.^
33:49 in.^
35:31 in.^
38:33 in.^
39:43 in.^
43:10 in.^
"Strange Company"
By: Cyril J. Mockridge
https://archive.org/details/lar-2.31-strange-company
Highlights:
1:45 in.
4:31 in.^
9:11 in.^
12:01 in.^
13:28 in.^
16:44 in.^
18:18 in.^
21:04 in.^
22:56 in.^
27:05 in.^
31:44 in.^
35:01 in.^
36:18 in.^
38:58 in.^
40:02 in.^
41:41 in.^
46:45 in.^
47:57 in.
If I were compiling a set of season two scoring, there's not much I'd include from this episode score.
"Widow In White"
By: Cyril J. Mockridge
https://archive.org/details/lar-2.32-widow-in-white
Highlights:
0:00 in.^
2:09 in.^
11:21 in.^
13:01 in.^
19:25 in.^
22:00 in.^
31:35 in.^
34:13 in.^
43:21 in.^
46:40 in.
Out-of-context quote...
"That's Shermans' no fool -- he's got a ramrod for her."
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SEASON 3:
Aside from two scores by Butts, the rest of the episodes are credited by Mockridge this season.
"Dragon At the Door"
By: R. Dale Butts
https://archive.org/details/lar-3.1-dragon-at-the-door
Highlights:
1:50 in.
4:59 in.
7:15 in.^
8:56/9:52 in.^
13:25 in.
15:03 in.^
19:28 in.^
25:09/27:25 in.^
34:28 in.^
37:05 in.^
44:33 in.^
46:35 in.^
Some nice stuff in this score, especially the cues early on for all the hot Asian girls.
"Ladies' Day"
By: Cyril J. Mockridge
https://archive.org/details/lar-3.2-ladies-day
Highlights:
0:00 in.^(closing)
4:33 in.^
6:00/7:03 in.^
9:36 in.^
12:30 in.^
17:43 in. And the cue after the commercial break.^
28:12 in.^
31:22 in.^
35:07 in.^
37:27 in.^
38:43 in.^
42:48 in.^
44:13 in.^
"Siege At Jubilee"
By: Cyril J. Mockridge
https://archive.org/details/lar-3.3-siege-at-jubilee
Highlights:
0:00 in.
4:21 in.^
6:05 in.^
9:42 in.^
12:17 in.^
12:51 in.^
13:55 in.^
17:07 in.^
19:26 in.^
21:48 in. And the cue after the commercial break.^(second)
27:11 in.^
31:10 in.^
34:27 in.^
37:02 in.
42:00 in. Including "Jaws" swimming away cello bass.^
43:26 in.^
46:56 in. Short playful outtro cue.^
Out-of-context quote...
"We shouldn't have any trouble getting him off with the help we have aboard."
"The Mountain Men"
By: R. Dale Butts
https://archive.org/details/lar-3.4-the-mountain-men
This is the final effort by Butts for the series.
Highlights:
1:28 in.^
4:03 in.^
5:51 in.^
9:28 in.^
10:30 in.^
14:22 in.^
16:56 in.^
23:27 in.^
27:15 in.^
33:08 in.^
34:47 in. And the cue after the commercial break.^(second)
43:18 in.^
Out-of-context quotes...
Spinster Daisy: "I think I know how to give it to them."
Spinster Daisy: "Hey, you're doing real well; I bet you're enjoying it, too! I can't wait to see you finished!"
"The Fatal Step"
By: Cyril J. Mockridge
https://archive.org/details/lar-3.5-the-fatal-step
Highlights:
2:17 in.^
3:35 in.^
4:51 in.^ *
7:39 in.^
12:39 in.^
16:21 in.
17:57 in.^
20:00 in.^
21:11 in.^
25:13 in.^
28:16 in.^
32:46 in. And the cue after the commercial break.^(both)
38:09 in.^
37:37 in.^
41:09 in.^
42:35 in.^
* = A few episodes back Mockridge had a theme for wagons traveling, with staccato brass, which I didn't mention because it wasn't heard before or since, but now in this episode it make a re-appearance.
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Continuing SEASON 3:
"The Last Journey"
By: Cyril J. Mockridge
https://archive.org/details/lar-3.6-the-last-journey
Highlights:
6:19 in.^
7:04 in.^
8:17 in.^
12:24 in.^
16:49 in.
21:07 in.^
22:11 in.^
26:49 in.^
28:07 in.^
30:25/32:08 in.^
33:50 in. and.^
42:07 in.^
44:07 in.^
44:57 in.^
Slim: "You got the upper hand now, mister, but don't plan on it stayin' that way."
"Deadly is the Night"
By: Cyril J. Mockridge
https://archive.org/details/lar-3.7-deadly-is-the-night
Highlights:
3:31 in.^
5:56 in.^
12:25 in.^
17:46 in.^
20:04 in.^
26:57 in.^
29:31 in.^
34:51 in.^
36:25 in.^
40:01 in.^
41:58 in. "Jaws" is back.^
44:59 in.^
45:36 in.^
(Note to Me: 25:23)
"The Accusers"
By: Cyril J. Mockridge
https://archive.org/details/lar-3.8-the-accusers
Highlights:
5:37 in.^
6:32 in. "Jaws" returns.^
9:39 in.^
14:07 in.^
18:55 in.^
22:26 in.^
24:33 in.^
28:41 in.^
31:02 in.^
32:24 in.^
35:00 in.^
36:48 in.^
38:02 in.^
39:27 in.^
41:44 in. "Jaws" is back.^
Daisy Cooper -- the original Jessica Fletcher.
I'm starting to think the "Jaws" cues are all the same cue, just edited up and tracked. An eventual far in the future later comparison will likely yield that result.
"Wolf Cub"
By: Cyril J. Mockridge
https://archive.org/details/lar-3.9-wolf-cub
Highlights:
0:39 in.^
2:56 in.^
4:49 in.^
7:13 in.^
9:56 in.^
14:50 in. And the cue after the commercial break.^(both)
16:09/17:57 in.^
19:25 in.^
22:33 in. And the cue after the commercial break.^
23:39 in.^
24:53 in.^
26:02 in.^
29:47 in."Jaws" returns.^
34:04 in.^
33:54 in.^
36:40 in.^
38:33 in.^
43:49 in.^
45:52 in.^
Robert Blake plays an Indian.
I'm almost positive now these last few episodes have had tracked cues from other previous Mockridge efforts. And the "Original Music" credit has been replaced with a "Music" credit.
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Continuing SEASON 3:
"Handful of Fire"
By: Cyril J. Mockridge
https://archive.org/details/lar-3.10-handful-of-fire
Highlights:
1:00 in.^
7:33 in. Might be tracked.^
8:23 in.^
11:13 in.^
15:31 in. And the cue after the commercial break.^
18:10 in.^
22:02 in.^
25:46 in.^
27:05 in.^
29:22 in. This cue, and the one after the commercial break, are exciting chase music lead by brass.^(both)
33:17 in.
34:28 in.^
38:40 in. And the cue after the commercial break.^
44:34 in.^
George Macready plays a military man who cares more about his hate for Indians and his battle glory than the lives of all his men which can be easily spared. Basically the same kind of character he played on "Peyton Place", which means you'll enjoy it.
0:00 in: I think this is tracked.
19:34 in: tracked. Part of the "Jaws" cue I believe.
"The Killer Legend"
By: Cyril J. Mockridge
https://archive.org/details/lar-3.11-the-killer-legend
Highlights:
0:00/1:50 in.^
5:56 in.^
10:08 in.^
12:44 in.^
15:37 in.^
20:13 in.
25:00 in.^
27:35 in.^
29:13 in.^
31:17 in.^
38:33 in.^
40:35 in.^
43:29 in.^
23:29 in: I think this is tracked.
29:59 in: tracked.
"The Jailbreakers"
By: Cyril J. Mockridge
https://archive.org/details/lar-3.12-the-jailbreakers
Highlights:
0:51 in.
3:17 in.^
4:07 in.^
8:22 in.^
11:16 in.^
18:11 in.^
23:35 in.
25:48 in.^
27:46 in.^
39:30 in.
44:48 in.^
28:57 in: tracked. And so is the cue after the commercial break.
41:39 in: tracked.
"The Lawless Seven"
By: Cyril J. Mockridge
https://archive.org/details/lar-3.13-the-lawless-seven
Highlights:
0:00 in. I think this might be tracked.^
0:50 in.^
2:#6 in.^
4:25 in. I think this might be a tracked edit job.^
7:18 in.^
9:02 in.^
10:34 in.^
18:56 in.^
21:17 in.^
23:46 in.^
25:06 in. Opens with exciting horse buggy traveling music.^
26:59 in.^
30:30 in.^
31:47 in.^
35:04 in.^
40:25 in.^
43:07 in.^
44:08 in.^
45:03 in.^
(NtM: 13:00, 24:59)
"The Perfect Gift"
By: Cyril J. Mockridge
https://archive.org/details/lar-3.14-the-perfect-gift
Highlights:
2:55 in.^
10:02 in.^
14:05 in.^
18:02 in.^ *
21:50 in. This might be tracked.^
24:10 in. Short dramatic outtro. And the short piece intro cue that follows.^(both)
26:41 in.^
27:44 in.^
31:40 in.^
32:56 in.^
34:49/36:25 in.^
39:59 in.^
41:23 in.^
45:32 in.^
16:55 in: edited track job. Some of it is from the "Jaws" cue.
* = That's somebody who either knows how to chop wood or had a good teacher. Still could be done better and with less ease, but that's a good technique, even down to how he put the axe into the stump.
Indian Woman: "It is my duty to please -- even in small ways."
Slim: "Love isn't something you can order, it's something that's inside of you whether you want it to be there or not."
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Continuing SEASON 3:
"The Barefoot Kid"
By: Cyril J. Mockridge
https://archive.org/details/lar-3.15-the-barefoot-kid
Highlights:
5:08 in. This might be tracked.^
7:42 in.^
10:28 in.^
14:39 in.^
16:02 in.^
20:03 in.^
29:48 in. The short light dramatic outtro and the cue after the commercial break.^
31:01 in.^
33:40 in.^
37:37 in.^
40:31 in.^
45:47 in.
1:51 in: tracked.
34:47 in: I think this is an edited track job.
"Shadows in the Dust"
By: Cyril J. Mockridge
https://archive.org/details/lar-3.16-shadows-in-the-dust
Highlights:
1:21 in.^
6:57 in. This might as just be an edited track job.^
11:19 in.^
15:44 in.^
24:31 in.^
28:27 in.^
31:04 in.^
40:17 in.^
42:43 in.^
44:33 in.^
I'm honestly nto sure how much -- if any -- original scoring there is in the episode.
13:02 in: edited track job.
20:51 in: edited track job.
33:32 in: edited track job.
"The Runaway"
By: Cyril J. Mockridge
https://archive.org/details/lar-3.17-the-runaway
Highlights:
0:00 in.^
2:57 in.^
4:42 in.^
32:22 in.^
33:05 in.^
35:20 in. This might be an edited track job.^
36:58 in.^
41:33 in.^
44:40 in.^
A lot of the tracked scoring in these passed episodes, seem to be coming from one episode; one day I think it wold be possible to do a suite of that episode with clean cues. FX music stems could be used to piece together entire cues where tapes are missing or damaged.
10:35 in: tracked. And so is the cue after the commercial break.
21:13 in: edited track job.
29:44 in: edited track job.
37:49 in: edited track job.
42:53 in: edited track job.
"The Confederate Express"
By: Cyril J. Mockridge
https://archive.org/details/lar-3.18-the-confederate-express
Highlights:
0:00 in.^
4:52 in.^
7:37 in.^
15:13 in.^
16:40 in.^
38:22 in.^
41:47 in.^
44:28 in.^
2:04 in: I think this is tracked.
19:18 in: track job.
22:50 in: tracked.
23:29 in: track job.
26:37 in: track job.
27:53 in: track job.
33:51 in: track job.
35:07 in: track job.
36:52 in: track job.
PLEASE NOTE:
I am listing all the cue uses in the tracked episodes and identifying them as possible, just for me; these are track jobs, no need to waste your time on them.
"The High Country"
NCC
https://archive.org/details/lar-3.19-the-high-country
(Score: 0:00, 1:10, 2:24, 3:59, 8:33, 9:17, 12:28 [Mockridge stagecoach travel music], 16:14, 18:41 [including Mockridge "Jaws" music], 23:34 and next cue [next cue is Mockridge "Jaws" music], 25:24, 27:27, 28:42 [Mockridge], 30:18, 31:42, 33:00 [including Mockridge, if not all by him], 36:34, 38:24, 38:55 [Mockridge], 43:33 [Mockridge], 44:12, 45:37 [Mockridge].)
Out-of-context quote...
"I suggest you get off while you still can."
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