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THE BIG COUNTRY: LIMITED EDITION

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LIMITED EDITION OF 3000 UNITS

SHIPPING MARCH 28, 2007

Presenting the first ever official, studio-endorsed CD release of composer Jerome Moross’s classic, original score to the beloved 1958 MGM/UA epic western, THE BIG COUNTRY, starring Gregory Peck, Carroll Baker, Charlton Heston, Burl Ives and Chuck Connors and directed by William Wyler. Remastered and complimented with exclusive liner notes and official art, this special release of Moross’s original score recording is limited to 3000 units.

TRACK LISTING:

1. MAIN TITLE (3:21)
2. JULIE’S HOUSE (2:10)
3. THE WELCOMING (3:09)
4. THE HAZING (1:49)
5. COURTIN’ TIME (1:21)
6. THE TERRILL RANCH (1:35)
7. OLD THUNDER (1:40)
8. THE RAID Parts 1 & 2 (3:39)
9. McKAY’S DECISION (1:03)
10. THE CAPTURE (1:28)
11. McKAY’S TRIUMPH (0:35)
12. MAJOR TERRILL’S PARTY (1:30)
13. MAJOR TERRILL’s PARTY - PART 2 (1:09)
14. WALTZ (2:16)
15. POLKA (0:54)
16. NIGHT IN BLANCO CANYON (0:52)
17. McKAY’S RIDE (1:20)
18. McKAY IS MISSING (2:02)
19. THE OLD HOUSE (2:18)
20. WAITING (0:30)
21. HORROR STORIES (1:04)
22. BIG MUDDY (2:33)
23. STILL WAITING (1:37)
24. McKAY ALONE (1:20)
25. NIGHT AT LADDER RANCH (1:09)
26. THE FIGHT (2:54)
27. CATTLE AT THE RIVER (2:21)
28. PAT’S MISTAKE (1:20)
29. BUCK COMES FOR JULIE (1:12)
30. THE ABDUCTION (1:10)
31. THE CAPTIVE (1:34)
32. THE ATTEMPTED RAPE (2:10)
33. THE WAR PARTY GATHERS (2:39)
34. McKAY IN BLANCO CANYON (2:27)
35. JIM AND JULIE (0:35)
36. THE MAJOR ALONE (1:51)
37. THE DUEL (0:51)
38. THE DEATH OF BUCK HANNASSEY (2:44)
39. AMBUSH IN BLANCO CANYON - PART 1 (1:16)
40. AMBUSH IN BLANCO CANYON - PART 2 (1:47)
41. THE STALKING (1:21)
42. END TITLE (1:59)

TOTAL TIME: (74:00)

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Wow, just a few weeks ago, this was on TV, and my mom was saying how it was one of her favorite scores of all time. Then I got online to try to find CD release, and found that the only one was a rare old collector's edition. So this release is great news! Order commencing...

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Need cash!!!!! Gotta make room for my expanding CD collection too.

I'm glad I didn't buy the Silva re-recording a couple of weeks ago.

Ahh, now I see...

I'm glad as well I didn't buy the re-recording!

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I thought I remembered a JW connection somewhere

You remembered well :o

And one question... I only have had this on CD-R for some years. I just checked the new release, and the track list is identical. But the copy I have, I've always wondered if it was an oficial release. There isn't any label name, only a catalogue reference (SC-1R-JM). Does anyone knows if this a legit release or a bootleg?

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And one question... I only have had this on CD-R for some years. I just checked the new release, and the track list is identical. But the copy I have, I've always wondered if it was an oficial release. There isn't any label name, only a catalogue reference (SC-1R-JM). Does anyone knows if this a legit release or a bootleg?

Screen Archives issued a 42-track, 72-minute promo CD after 15 years ago, it's probably that.

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And one question... I only have had this on CD-R for some years. I just checked the new release, and the track list is identical. But the copy I have, I've always wondered if it was an oficial release. There isn't any label name, only a catalogue reference (SC-1R-JM). Does anyone knows if this a legit release or a bootleg?

Screen Archives issued a 42-track, 72-minute promo CD after 15 years ago, it's probably that.

Yes it is, as I just took the time to do some research: http://www.soundtrackcollector.com/catalog...hp?movieid=1179

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That still does not say much!

Just listen to the theme. The rest of the score is just as good, and it is one of the finest western themes ever (For me, it's probably the favorite).

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As soon as I listened to the clip from the Main Title, I realized this is a piece that was frequently played in the lobby of the Wilderness Lodge hotel where I worked at Disney. Such a great piece, I might actually be interested in getting this release.

Ray Barnsbury

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The very first film music concert I ever attended opened with a fine suite from The Big Country. The suite consisted of Main Title / The Welcoming / Old Thunder / The Raid and Capture / The Death of Buck Hannassey / End Title. I still remember hearing the trumpets practising the main theme before the conductor walked on to the podium. Who wouldn't be hooked on film music after that?

It's nothing short of a travesty that this score did not win an Oscar. Jerome Moross's music is very balletic, dontcha think?

Damien :unsure:

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I hope Morlock doesn't get wind of this...

Not all of us gloat like you do, Mr. Stefan I-don't-like-golden-age-scores-and-westerns-and-i'm-a-dutchman-with-a-cat-and-damn-proud-of-it-

who-was-just-convinced-by-a-lowly-numbnuts-to-buy-a-score-he-never-would-have-concidered-that-was-called-by-one-member-'balletic' Cosman. Not all of us are like that.

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I hope Morlock doesn't get wind of this...

Not all of us gloat like you do, Mr. Stefan I-don't-like-golden-age-scores-and-westerns-and-i'm-a-dutchman-with-a-cat-and-damn-proud-of-it-

who-was-just-convinced-by-a-lowly-numbnuts-to-buy-a-score-he-never-would-have-concidered-that-was-called-by-one-member-'balletic' Cosman. Not all of us are like that.

:unsure:

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Awed to silence by my amazing display back there, huh? I have that effect on people.

Yes..... ;)

;)

It's nothing short of a travesty that this score did not win an Oscar.

I disagree, Vertigo was clearly the best score that year.

And that didn't even win the Oscar.

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Hollywood was not especially fond of Hitchcock at the time, from what I can understand. The films were not regarded as instant classic. Hitchcock developed a huge following among the New Wave directors, and the 70's directors. I never got the sense that people went that gaga for his late 50's and beyond movies when they came out, except for the sensation Psycho caused. And that year, at least 4 of the five nominated scores (never heard Previn's Elmer Gantry, nor anything else Previn has written) were superb, became classics -The Alamo, The Magnificent Seven, Spartacus and Exodus, which won. So while Psycho was certainly deserving, it had pretty stiff competition for the top 5.

My first theory may not be reality-based, just a sense I get. And it would explain the general cold shoulder Hitchcock 3 consecutive classics he made in the 58', 59' and 60' (and, indeed, why the last oscar a Hitchcock film received was for 'Que Sera Sera' from The man Who Knew Too Much).

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Hollywood was not especially fond of Hitchcock at the time, from what I can understand. The films were not regarded as instant classic. Hitchcock developed a huge following among the New Wave directors, and the 70's directors. I never got the sense that people went that gaga for his late 50's and beyond movies when they came out, except for the sensation Psycho caused. My first theory may not be reality-based, just a sense I get. And it would explain the general cold shoulder Hitchcock 3 consecutive classics he made in the 58', 59' and 60' (and, indeed, why the last oscar a Hitchcock film received was for 'Que Sera Sera' from The man Who Knew Too Much).

As for the films, the Academy giveth and the Academy taketh away. Rebecca won best picture in 1940 and I think there were a lot of better films that year (The Grapes of Wrath, Pinocchio, The Great Dictator, Fantasia, etc.). I think a lot of it just had to do with competition. North by Northwest came out the same year as Ben-Hur, Some Like it Hot, Anatomy of a Murder, etc. Although I do agree that Hitchcock's films weren't viewed as masterpieces until the 60's and 70's. Vertigo was practically booed out of theaters in 1958 and now it's considered one of the top 50 films ever made!

As for the scores not being nominated, I agree with whoever mentioned that Herrmann was an unpleasant ass. I think that probably had something to do with it. That and the fact that the Academy's Music Branch seems completely inept at judging the quality of music. They're like the FEMA of the entertainment industry.

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Vertigo was practically booed out of theaters in 1958 and now it's considered one of the top 50 films ever made!

Most recent Sight & Sound poll (of prominant film critics and directors) placed it in the top 10 (I think it was number 6, after Kane, both Godfathers, Le Regle Du Jour and a couple of others.

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