Soundtrack Information

Cahill: United States Marshal

Cahill: United States Marshal

Intrada (Special Collection Vol. 229)

Release Date: February 5, 2013

Conducted by Elmer Bernstein

Format: CD

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Track Listing

1. Main Title 2:11
2. Train 0:38
3. Billy Joe 0:58
4. Thickening Plot 1:11
5. Killers 7:35
6. Venture 2:01
7. Apology 1:15
8. Smoke 1:29
9. New Money 0:38
10. Surrounded 0:39
11. Necktie Party 3:49
12. Oath 0:48
13. Born To Hang 1:18
14. A Man Gets To Thinkin' (Instrumental) 1:49
15. A Man Gets To Thinkin' (Vocal) (lyrics composed by Don Black) 1:59
16. Cemetery 4:27
17. Lightfoot 1:30
18. Danny - Billy Joe 1:20
19. Various Troubles 5:02
20. Finale 0:48
21. A Man Gets To Thinkin' (End Cast) 1:05
  Total Album Time: 42:30

From the Manufacturer

Cahill: United States Marshal boasted a song, although this one is not featured in the film's opening credits. "A Man Gets To Thinkin'" was written to Elmer Bernstein's melody by lyricist Don Black and performed by Charlie Rich. Bernstein's wistful melody had to do more than simply provide the robust, feel-good vibe and energy typical of the composer's main titles for the Duke's films—in Cahill the melody not only characterizes the marshal's indomitable spirit, it also provides a thoughtful illustration of his relationship with his sons and the backbone for the Charlie Rich song, with its lyrics of regret and familial longing.

Bernstein opens Cahill: United States Marshal in typically boisterous fashion, as Cahill faces down a hostile party of five outlaws. After asking the men if they want to surrender, Cahill easily shoots down four of them, and the main title begins on a freeze frame of gunfire bursting from his shotgun as he takes aim at the fifth. After a horn fanfare and an energetic rhythmic figure spun off from his main melody, Bernstein's warm theme for Cahill takes over and accompanies the marshal as he rides down from the mountains with his injured captives in tow.

This album features a brand new stereo mix of the score derived from 2″ 16-track elements—which results in stereo separation and instrumental detail that are quite unusual for a score from this period. Some of Bernstein's unusual orchestration effects, like the use of a slide whistle and an electric organ, are more discernible due to the advanced recording techniques. Bernstein's music bursts with energy and melodic flair—his inimitable western style has never sounded better.

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