"Like some other listeners i too was disapointed in realizing that some songs were not in the album. Sooooo i looked them up.
That song "Rolling Stone From Texas" (you know, the yodeling one)is in the album of the same title by Don Walser.
This is one great album. I have never heard of this artist but i will buy it. My 12 year old son loves this song. The other songs are great too!"
Score VS. Soundtrack
Molly's Mama | Austin, TX | 01/08/2005
(5 out of 5 stars)
"A score is the music composed exclusively for a film; typically this music is instrumental only. A soundtrack is a collection of songs used in a film, generally performed by various artists. Hopefully this will clear up the confusion for people who keep giving low ratings based on "missing tracks." This CD is the motion picture SCORE. NOT the soundtrack."
Sadly missing tracks....!
Madame | Eastern US | 02/13/2004
(2 out of 5 stars)
"I LOVED the movie and was eargerly awaiting the soundtrack to be released, but found that all the great Texas swing music ("Rolling Stone from Texas" ?) and the tune that was so appropriately played during the salesmen sequence of the movie ("I thought you were my friend" ?)were both missing from this CD. I am very, very disappointed!!!! I still enjoy all of the orchestration and melodies that are available on this disc, but feel that it would have done the CD more justice if the funny tunes were also included....Very disappointed indeed....:("
Uneven, but worthwhile
James Luckard | Los Angeles, CA | 09/27/2003
(3 out of 5 stars)
"If, like me, you struggled to notice the music in this film, don't worry, the album represents Doyle's contribution far better than the actual film, where his music is often mixed to almost nothing. Patrick Doyle is one of the most gifted composers around at creating lush, heartbreaking orchestral melodies, but with this film he was given very little to work with. There simlpy weren't any scenes that lent themselves to big, sustained musical set pieces. For that matter, he has little time to even develop themes, most of the cues are extremely short, and many have more of a "background music" sound than I am used to from Doyle.There is some fun 1930's Korngold style stuff for the flashbacks, but it pales next to the rousing action music he has done before.However, one of Doyle's most gorgeous themes is in here, if you seek it out. Tracks 18 and 23, as well as the final piano solo, contain a sweet, melancholy tune which is achingly orchestrated in 18 into one of the highlights of Doyle's film scoring career. I don't imagine this is an album that the average moviegoer will be picking up, the music is too subtle, but Doyle fans should know this is well worth buying."