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 Posted:   Jan 20, 2023 - 7:03 PM   
 By:   DavidCorkum   (Member)

OK, I identified the LP this was on. "Filmusic", centurion clp-1600. I still own it but I no longer have a turntable. I found it on two pages, one confirms that Cable Hogue is the 3.06 version. As I recall it sounds so much like the regular Main Title that it's hard to think that it's different conductor than Goldsmith. But I'm relying on memory.

https://www.scorefun.de/musicdetails.php?CID=814&Stil=A&searchwhere=A&since=&medium=All&searchtext=&Pagestart=2350

https://www.discogs.com/release/3432285-Various-Filmusic-Original-Motion-Picture-Soundtracks

 
 
 Posted:   Jan 20, 2023 - 7:04 PM   
 By:   Larry847   (Member)

Fascinating! It says "arranged and conducted by Don Costa". Also, the B site with Butterfly Mornin's might be Richard Gillis singing his own composition this time?

Yavar


Richard sang it live at Peckinpah's memorial. It was cool to hear his voice doing the song.

 
 
 Posted:   Jan 20, 2023 - 8:37 PM   
 By:   Steven Lloyd   (Member)

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.

 
 
 Posted:   Jan 23, 2023 - 3:30 PM   
 By:   Chris Avis   (Member)

While we're on the subject of The Ballad of Cable Hogue, does anyone have one of Varese albums that they'd want to sell? I'll pay $40 US + shipping if anyone's interested... Chris (caavis@gmail.com)

 
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