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By the way, I was surprised to discover that Goldsmith's final touching score cue, "The Eulogy", actually doesn't play in the film! His eulogy goes unscored, and with David Warner providing it... it works just fine. But I'd love to see a score restore adding his music back into the sequence.
Yavar
I'm days late getting to this thread, but here I am -- with acknowledgement that I didn't bother mentioning before the Richard Gillis 45rpm single of "Tomorow Is the Song I Sing" (with "Butterfly Mornin's" as B-side). This did receive commercial release in Japan on Warner Bros.-Seven Arts Records (thanks, eBay!), although for the USA I only know of white-label promotional copies from Warner Bros. Records. David Corkum, I'll let you down easy: Despite what you recall from your unmentionable LP, the single's "Tomorrow" arrangement is more Country & Western than faithful to Goldsmith's film version, while Gillis' own rendition of "Butterfly Mornin's" proves to me that the song works better from a woman's lips. (To have been able to hear him sing it at Peckinpah's memorial service, though... No, I would have preferred hearing "Wait for Me, Sunrise" on that occasion.)
I have no idea whether the WB Records label would help or hinder licensing the covers for a Varese CABLE HOGUE expansion, but those pop versions would definitely belong on an album after the score program. I feel differently and fondly toward the Arthur Morton saloon-source cues, though, as part of the familiar fabric of a film which I have treasured since 1970.
Nick Redman's booklet notes, as well as at least two books on Peckinpah, discuss the director's having bought Gillis' songs "Butterfly Mornin's" and "Wait for Me, Sunrise" for the film before production. The greatest value of those notes for me comes from material gleaned from extensive access to WB production memos about music matters discussed between Peckinpah and his executive producer. You'll also find references to the Goldsmith/Gillis collaboration there.
But between us, Yavar: Loving this film and its score as I do for my subjective reasons, I am glad to hear the unused cue "The Eulogy" for information... and I love it. Yet I definitely feel the sequence and ending are much stronger without it, and the director was right not to use it. I'll discuss that sometime but not here, flinging around spoilers for locals who still haven't watched the movie. (In fact, I personally would recommend shifting the cue to the end of the disc along with the unused end title.)
Also, it's wonderful to learn how both movie and score have risen in value for some people over time -- now including you, Yavar. This sole occasion when my favorite writer/director, actor, and composer all worked on the same project did not disappoint me... and eventually I recognized it as my most favorite film. (Six months later, I learned that Peckinpah named it his favorite among his own films.) And while I don't claim that HOGUE is Goldsmith's single greatest work, it demonstrates the top level of humanity, humor, intimacy, and poignancy that he could convey and, in this case, enhance in a picture. He was very proud of this score. Even four years later, he was still as disappointed over the film's obscurity as Peckinpah was; and first-hand I know that both men appreciated fans who appreciate it.
Kev: You couldn't imagine an extra 6:00 of HOGUE making a difference to your satisfaction with the existing CD which you have ingested, and you embrace the album as it is. I certainly understand that: It's not likely that you were as delighted to get that album as I was. Even so, if you ever return to the film, some of that unreleased material will stand out to you -- and as used to happen to us all back in the LP era, you'll pine for magical cues and moments that are simply inaccessible away from the movie itself.
Unless Varese decides to change that.
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I've just discovered this thread. Thanks for your detailed breakdown of the unreleased cues.
You're very welcome! I love the film and the music in film context, so it was a pleasure to do this investigative work (spurred of course by my board buddy Steven Lloyd who let me know some of the key pieces missing).
I suspect that Intrada is more likely than Varese Sarabande to produce a deluxe version of this soundtrack.
I disagree with that assessment, for two reasons:
1) The film is Warner Bros., which hasn't licensed any new expansions from the specialty labels in years (the last ones being released in 2020). The sole exception has been Varese Sarabande, due to their perpetuity rights deals they worked out with Warner Bros. back in the 90s and early 2000s. We've had a steady stream of Varese WB expansions over the past four years, from Elmer Bernstein's Wild Wild West and Jerry Goldsmith's Looney Tunes: Back in Action, to super popular titles by other composers like Don Davis's The Matrix.
2) While Varese didn't usually get perpetuity rights for titles released in their CD Club, The Ballad of Cable Hogue *may* be an exception to this because they seem to still have digital rights to the title, selling and streaming a digital version online which is unusual for titles they put out in their Club. Maybe it was original planned as a standard release or something, and only folded into the Club later in the process? But I think Varese maintaining perpetuity rights on this is our best hope of an expansion, even though I am sure Doug Fake at Intrada would love to release a complete version of this if possible.
I have the promo single of 'Butterfly Mornings' and 'Tomorrow is the Song I Sing' sung by Richard Gillis and this would make a good addition to any extended album. I don't know if you have come across it but there's also 'The Ballad of Cable Hogue Suite', floating around on the Internet. It is mostly 'Tomorrow is the Song I Sing', mixed with a few bits of incidental music. It seems to have been generated by Jerry Goldsmith. Silva Screen also did a nice suite of music based on themes from the movie.
I'd be all for these extras being included along with the seven missing minutes of music in the movie, on a future CD edition of this score.
Yavar
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