Try & Buy From

Music Conducted By
Lionel Newman

Orchestrations By
Herbert Spencer

Recorded By
Len Engel

Performed By

CD Produced By
Nick Redman and Mike Matessino

Album Produced By
Jerry Goldsmith

La-La Land Records
LLLCD 1256

Previous Release(s)
Intrada Special Collection Volume 16
Intrada CD (album)
Edel/SLC CDs
Project 3 LP

Year Of CD/Film Release

Running Time

Limited Edition Release (2000)

Cues & Timings

1.The Saloon 1:33
2.Main Title 2:01
3.The Imposter :46
4.Procession to the Gallows 2:58
5.A Bad Day for Hanging/The Kidnap 4:10
6.Across the River 1:04
7.Bad News/He'll Cross It/The Bait 8:58
8.The Trap 2:28
9.El Jefe :53
10.Ambushed 4:05
11.The Violator 1:18
12.Sabinas 3:06
13.A Bag of Money 1:19
14.Dee's Proposal 5:34
15.A Better Way 3:46
Total Score Time: 44:28


16.Main Title (without whistle)* 2:00
17.Maria's Theme (demo) 1:58
18.Bandolero! Theme (demo) 1:40


19.Main Title 2:00
20.The Trap 2:27
21.El Jefe :54
22.The Bait 2:14
23.Ambushed 4:00
24.Sabinas 2:54
25.Dee's Proposal 5:34
26.Across the River 1:04
27.A Bad Day for Hanging 3:04
28.A Better Way 3:39

Soundtrack Ratings








Rio Conchos, 100 Rifles and Bandolero! defined Goldsmith's contribution to the horse opera, with what appeared to be sparsely written scores for traditional orchestral forces, juxtaposed with exotic period instruments that encompassed all of the films' similar use of south of the border locales. The final element these movies all seem to share is a focus on character driven drama and combining popular western action with notoriously downbeat finales that often saw main characters left dead. Goldsmith's approach was in some ways ground breaking for the time, presenting the filmgoer with an alternative to the traditional Hollywood genre score composed by the likes of Moross and Bernstein.

The Saloon opens this new CD presentation and is a jaunty source cue heard before the opening credits roll, featuring Goldsmith's main theme played on upright piano, banjo and harmonica. Though interesting and accurate for the running order of the CD, this cue clearly should have been relegated to the bonus section. The score opens proper with the next cue, the film's Main Title, a cue very much in the 'Fistful Of' variety with solo whistler, triangle, guitar and Jew's harp introducing Mace (James Stewart), on route to bust his brother Dee (Dean Martin) out of Jail. Curiously Goldsmith's theme seems to be at odds with the gritty and violent storyline, stylistically giving the impression that what follows will be a rather light hearted romp, but as often was the case the composer's sensibilities were perfectly correct, giving Bandolero! a distinctive edge.

The Impostor is a short previously unreleased cue with the main theme played out on sitar and supported by Jew's harp. This is followed by another previously unreleased cue and a highlight of this new CD; Procession To The Gallows is self explanatory with Goldsmith providing an ominous funeral march signalling the gangs fate before Mace is able to save the day. A Bad Day For Hanging is an expanded presentation of a previously released cue featuring a lighthearted take on the main theme, while the second part; The Kidnap is another new highlight featuring a welcome but short burst of action as Goldsmith instigates a mischievous accordion motif before orchestra builds to an exciting coda. Which leads nicely into the exhilarating Across The River as Goldsmith marshals his theme for full orchestra for the gangs escape to Mexico.

Bad News/He'll Cross It, a major new cue for this CD is joined by the previously released The Bait. Goldsmith's lengthy piece takes in the second act's reflective moments featuring guitar, accordion and oboe as the two brothers bond. Though the highlight has to be a spectacular burst of action that appears mid way as Goldsmith introduces an exciting new theme for the Sheriff and his Posse as they trail the brothers into Mexico. The Trap introduces the Bandits and spotlights banjo, triangle, castanets and wood blocks. This cue in particular benefits from the re-mastering process, revealing a tremendous amount of new detail to Goldsmith's orchestration. But it's the next cue (El Jefe) that develops the Bandit music proper as Goldsmith fashions a short but fierce assault for trumpets and horns. Ambushed takes these ideas further but is joined by the Sheriff's theme.

The Violator is another new cue that subtly focuses on Maria's theme and deals with some unwanted advances by the Bishop gang. while Sabinas gets an expanded presentation adding on several bars. Goldsmith's theme gets more of a dramatic workout in the opening minute with orchestra providing much needed gravitas to the proceedings, while the latter moments focus on Maria's theme and the emotive sound of the marimba. A Bag Of Money samples the Bandolero! theme with Jew's harp and guitar again but developing some minor suspense along the way. While Dee's Proposal focuses on the burgeoning attraction between him and Maria, her theme now given the warmest of presentations for castanets, banjo and accordion.

The final gunfight, un-scored by the composer, leaves the bandits and both the leads dead, with Maria forced to return with the smitten Sheriff. A Better Way sums up the grim finale with sombre strings and a tragic rendition of the main theme supported by timpani and chimes that signal a melancholy take on the brother's theme. Maria's theme is heard once more as she is escorted away, before Goldsmith closes the score with an elaborate reprise of his Bandolero! theme.

Before a re-run of the album mix we get two bonus cues. The first is a mono performance of Maria's theme played by twin guitars and the other a bizarre 'Rock and Roll' take on the theme for electric guitar, drum kit and organ! Close your eyes and you can almost imagine the teens of the time happily dancing away to this! Fascinating stuff.

Though a pretty minor movie event, Bandolero! did get a short album release at the time by Project 3 and later officially pressed on CD by Edel and then SLC in Japan, but both sourced it from an LP! It took until 1993 before the prestige label Intrada released a properly sourced version, albeit with a fair amount of tape hiss. Then in 2004, announced on the sad day that Jerry Goldsmith passed away, we had a new presentation taking in the complete score as recorded for the movie, newly re-mastered that revealed breathtaking clarity to Goldsmith's exotic blend of orchestra and solo instruments. The only criticism is that this new release has been unnecessarily limited to a paltry 1500 copies and not surprisingly quickly sold out! Now we have a re-issue courtesy of La-La Land Records with a bonus cue for those who missed out before.