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Silverado or Tombstone?

Which B. Broughton western score would you recommend more?  

13 members have voted

  1. 1. Which B. Broughton western score would you recommend more?



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2 hours ago, crocodile said:

I appreciate both, never listen to either. Bruce Broughton is a composer I admire and yet can't get into for the most part.

 

His craftmanship is remarkable, though his themes often are a bit bland. I love Tombstone's elaborate pieces (especially the long Coplandia parts are brilliantly conceived), so i'd choose that over the more old-fashioned Silverado - 'Young Sherlock Holmes' is his magnum opus, though.

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3 minutes ago, Richard said:

 

Agreed...but WYATT EARP blows both out of the water.

 

Agreed. On a personal, musical level, at least. But in terms of sheer construction, application and presence, SILVERADO is the artistcially superior and most ambitous. But I listen to WYATT EARP far more. It's not quite as "gritty".

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2 hours ago, crocodile said:

I appreciate both, never listen to either. Bruce Broughton is a composer I admire and yet can't get into for the most part.

 

Karol

 

Same.

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A tough choice since both have their strengths. Probably Silverado because of its heroic main theme.

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Tombstone, hands down. :)

 

Silverado has some excellent and rousing thematic highlights, but I much prefer the themes, development, and instrumentation (occasionally ethnic/folksy) in Tombstone. Plus the powerful low trombone version of the theme at the end is just so badass.

 

But I think I might like Broughton's True Women even better than Tombstone...

 

Yavar

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Just now, crocodile said:

I don't really like western scores. Like, any of them.

 

Me neither, though i dutifully have watched many and - Leone excepted - generelly prefer the odd ones to classics like 'The Searchers', 'Magnificent Seven' or 'Rio Bravo'. A great kind of western every guy should like is 'Emperor of the North' where Lee Marvin and Ernest Borgnine battle it out on a train.

1 minute ago, Yavar Moradi said:

But I think I might like Broughton's True Women even better than Tombstone...

 

'True Women' is one of those scores that is awfully good but probably just too concertant for us film music mavens. It actually could be from a Copland concert piece.

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Tombstone. Agreed about western scores in general, an overrated genre for film music, although I do like my share of Morricone scores etc even if I almost never listen to them, it is hardly Morricone at his very best (well, most of them at least).

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8 hours ago, crocodile said:

I don't really like western scores. Like, any of them.

 

Karol

 

That's rather strange, given it's such a musically rich genre. But hey, we all have our quirks. I rarely listen to horror scores, unless they're particular sub variants (melodic, lush darkness, for example, or darkly beautiful synth stuff). And I hardly ever listen to new, big, orchestral action scores anymore.

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18 minutes ago, Thor said:

I rarely listen to horror scores, unless they're particular sub variants (melodic, lush darkness, for example, or darkly beautiful synth stuff). And I hardly ever listen to new, big, orchestral action scores anymore.

Same here, in fact there isn't a genre I listen to more than others - or wait, maybe drama and sci-fi scores comes closest of what I most listen to film score-wise. 

 

In fact, I'd go as far to say that almost all action music doesn't interest me, because I can't think of much worthwhile action music at all in the history of movies. That doesn't mean that it is bad at all, but it isn't good enough for me to want to listen to it separately in isolation.

 

Empire and Nevsky probably contain most of the best action music in movies for me and even when it comes to these two, I don't that often listen to them.

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Don't get me wrong. I do listen to big, orchestral action scores once in a while, but 9 times out of 10, it's something from my formative years (the 90s, in particular).

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On 6/11/2018 at 3:43 AM, publicist said:

'True Women' is one of those scores that is awfully good but probably just too concertant for us film music mavens. It actually could be from a Copland concert piece.

 

I honestly don't know what you're talking about here. If anything Silverado and Tombstone have more "concert-music-sounding" sections. True Women sounds like a very straightforward film score to me, and certainly not like a Copland concert piece. What True Women cue, and which Copland concert piece would that be, exactly? (Silverado sounds the most Copland-influenced to me.)

 

Yavar

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Maybe i remember it wrong, i traded that score aeons ago and rembered it as pure Copland. But it's possible that Broughton had another one of that ilk. 'Silverado' sounds like old-fashioned movie music and 'Tombstone' much more Goldsmith (that main theme) than either.

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