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Stagecoach/The Loner (1965/1966)
Music by Jerry Goldsmith
Stagecoach/The Loner Stagecoach/The Loner
Click to enlarge images.
Price: $12.95
Limited #: 3000
View CD Page at SAE Store
Line: Silver Age
CD Release: May 1998
Catalog #: Vol. 1, No. 1
# of Discs: 1

Stagecoach is the 1966 remake of the 1939 classic, starring Ann-Margret, Alex Cord, Bing Crosby, Stefanie Powers and others on their way to Cheyenne. The existing commercial album is a re-recording (not conducted by the composer), and was one of the all-time worst CD reissues. This CD is the first-ever release of the original film soundtrack as conducted by Jerry Goldsmith, a melodic and nostalgic take on the old West. The stereo sound is much superior to the re-recording, and the performance (chronologically sequenced) carries a vigor and buoyancy previously unknown to this score.

The Loner is a 1965 television western series written and produced by Rod Serling, starring Lloyd Bridges. Goldsmith composed the theme and two episode scores; the 20 minutes contained on this CD represents the totality of his contribution. The theme is a dynamic tune out of the Rio Conchos playbook, complete with harmonica, bass guitar, percussion and whipcracks, and the underscore is written in the style of the moody, solitary moments of Hour of the Gun, Bandolero! and 100 Rifles. The sound is clean mono; a unique, lost gem for fans of Goldsmith's westerns.

This inaugural disc in the Silver Age Classics series features liner notes by Jeff Bond, Jon Burlingame and Lukas Kendall, and a 16-page booklet illustrated with rare photos from the Fox Archives.

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 (23):Log in or register to post your own comments
I just opened this for my birthday and liked it a lot.

I especially liked "The Loner", which if you're too busy to listen to the sound samples, has a snappy rhythm and melody shape similar to the main title of RIO CONCHOS.

Funny thing: I heard it without reading the liner notes, and when it got to the vocal, I listened and thought, "Wow, Ann-Margaret doesn't sound so hot!"

I bought it when the stock count was dipping low, so you'd better nab it now.

You may be interested to know that the theme to The Loner actually derives from a motif that appears briefly in the score to Lonely Are The Brave, specifically from 2:29 into the track Run For It.

N.p. Home In Your Heart: The Best Of Solomon Burke

This was not only the first F.S.M. C.D., but also the very first F.S.M. disc I bought, period!

"Stagecoach" was not my first purchase from FSM ("The Taking of Pelham One Two Three" was), but it was the first on the FSM label. And it was also my first LP purchase 30 years earlier when I began collecting soundtracks. I still have a fondness for that re-recording, and I don't believe it suffers much in comparison to the original tracks. In fact, I much prefer the song "Stagecoach To Cheyenne" as sung by The Bill Brown Singers as opposed to Wayne Newton.

If anyone has a copy they want to trade, let me know!

This was my first western score by Goldsmith, picking up the old LP, when I was hoovering up anything that was available by him, after buying his STAR TREK - TMP and ALIEN LP's.
It's probably still my favourite western score by him, due to that 'first love' thing, although I do prefer his Americana/Folk style western scoring (this, WILD ROVERS) over his more aggressive 'latin style' (BANDOLERO, RIO CONCHOS) anyway.
I never knew the old LP was a re-recording, so hearing this CD was a bit of a shock at first.
I actually find that the differences between the two recordings sound more akin to the same score being recorded from different sides of the room. There are details and emphasis on the FSM version that you don't catch on the Mainstream and vice-versa. I edited the two short saloon tracks out of the FSM issue, as they add nothing to my listening experience. Without them, the Goldsmith score runs just under 22 mins on the FSM, while the Mainstream is around 25.
My abso' favourite bit is the opening of Aftermath, and that was because I first heard it in THE LAST HARD MEN (or was it THE CULPEPPER CATTLE COMPANY - both Goldsmith temp-tracked scores?), during a camp-fire hi-jinks scene where someone accidentally gets shot in the ear (I still can't listen to the cue without hearing "You Shot Him In The Ear" bouncing around my brain).
I think LK is a bit harsh in the liner notes, regarding the Mainstream issue, calling it 'the worst recording in history' or somesuch.
I find both recordings offer merit and find favour with various tracks from each one.
For the record, my favourite bit (see above) is much better on the Mainstream.
Still, I guess I'm lucky to have both and the score, in either incarnation, brings back wonderful memories.

I, too, have both the FSM (OST) and Mainstream (album re-recording) releases, the latter being a purchase in the last year when it appeared cheap enough on Amazon. I'd had that recording for many years on cassette tape and always found the OST release less to my liking.

After 6 years and numerous plays of the OST ... I'm still in favour of the album re-recording. And whilst the Mainstream release is not good quality it is good enough to be quite enjoyable.

As for The Loner ... this is enjoyable - mostly - but I could do without the crass dialogue which really spoils it for me.

If anyone has a copy they want to trade, let me know![/endquote]

I have a copy for trade.

What do you to offer?

Email me at


I have one for trade, but I'm only looking for La-La 1941 right now.

I guess I never noticed before (or just plain forgot uh-huh) but the gentle, wistful moments in this score, of which there are many, remind me so much of his equally beautiful/nostalgic moments in his FLIM-FLAM MAN score.
Just so gorgeous to listen to.
I've been playin' the shit outta both these CD's this past week (I have no idea what kicked it off - but I've been tearing through Goldsmith westerns like nobody's business since) and I definitely prefer the Mainstream CD for it's more spacious recording and less strident performance. The FSM release is fascinating (captain), with a more direct sound, but can be a bit harsh at times, at least to these ears.
Like I've said, it rules that I have both.
Anyway, carry on trading ;)

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Track List
Click on each musician name for more credits
For more specific musician lists for the scores on this album, go here:
The Loner - One Of The Wounded

Leader (Conductor):
Jerry (Jerrald) Goldsmith, Jerry (Jerrald) Goldsmith

Margaret Aue-Van Wyck, Naoum Benditzky, Paul Bergstrom, Joseph Coppin, Joseph DiTullio, Armand Kaproff, Raphael "Ray" Kramer, Lucien Laporte, Irving Lipschultz, Edgar Lustgarten, Harold Schneier, Frederick R. Seykora, Gloria Strassner

Milton Kestenbaum, Peter A. Mercurio, Meyer (Mike) Rubin, Meyer (Mike) Rubin, Kenneth Winstead

Arthur Hoberman, Luella Howard, Luella Howard, Sheridon W. Stokes, Sheridon W. Stokes

Gordon Pope, Gordon Pope

Russell Cheever, Russell Cheever, Abe Most, William A. Ulyate

Don Christlieb, Don Christlieb

French Horn:
John W. "Jack" Cave, John W. "Jack" Cave, Vincent N. DeRosa, Vincent N. DeRosa, Richard E. Perissi, Harry Schmidt, Harry Schmidt

Frank Beach, John Clyman, John Clyman, Robert Divall

Ray Klein, Richard "Dick" Nash, Kenneth Shroyer

Artie Kane

Laurindo Almeida, Robert F. Bain, Alton R. "Al" Hendrickson, Alton R. "Al" Hendrickson, Howard Roberts, Thomas "Tommy" Tedesco, Alfred Viola, Alfred Viola

Anne Stockton (Mason)

Tommy Morgan

Carl Fortina

Ralph Collier, Ralph Collier, Richard Cornell, Richard Cornell, Harold L. "Hal" Rees, Harold L. "Hal" Rees

David N. Tamkin

Orchestra Manager:
Urban Thielmann, Urban Thielmann

Alexander Gerens, Wally Heglin, Ernest Rosecrans, Paul Sprosty

Fred Combattente

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