Extreme Prejudice (Expanded Edition)

Review by Thomas Glorieux:

We all know the '80 was the time for more experimentation around the synthesized effect of scoring, and in Goldsmith's era it was also the time he used it the most. Supergirl, effects of Gremlins, Legend, Explorers, even almost full scores ala Hoosiers. But of course, mostly the effect was there to add something different to the score the orchestra couldn't create and therefore its usage was accepted as just another tool of the orchestra. Of course there were times Goldsmith had to secure his ideas in a more electronic approach, and such was the case with Extreme Prejudice, Walter Hill's violent western tale starring Nick Nolte. And was the case with Hill, he wanted not a bombastic orchestral score but more a synthesized element that was only aided by the strings and horns of the orchestra when there was no other route to take it. Goldsmith had his ideas already penned out when hearing about this, but naturally the gentleman he was, he focused his ideas towards the electronics heavily when he heard about this and made the most of this. The final result is Extreme Prejudice, and more the release of La-La Land Records of 2005. Because here you have the full score of the film (as it was released by Intrada years ago) but also the non released cues, and especially this covers the deleted efforts and the mammoth orchestral track that would be replaced in the outcome by a more synthesized take. And as I heard, the sound did improve also greatly, so I guess people who haven't got a copy of Extreme Prejudice would be more interested in taking the release of La-La Land, and so I did. In the end the booklet brings a lot of detailed information, the quality is as it promised to be vibrant and the material the quality of a Goldsmith release, not brilliant but sufficient and interesting in occasions.

The score has several newly released tracks, as 'Extreme Prejudice (Unused Trailer Music)' which is a short but good collection of the ideas of the score, with electronic bounces ala Gremlins, but also now we have the film versions of the bank parts, as they are heard in the film, meaning the synthesized versions. Naturally, its easy to say the full non used cue 'The Plan (Original Version)' is of much more interest, because it holds the same electronic tension beat but creates a more satisfying link between the orchestral parts through, creating moods ala Rambo but above all setting a more rhythmic delight in general, especially in the end minutes. That 'The Bank (Pts 1, 2 & 3)' don't create this is partially true because its just not as powerful as it could have been, but still the level of intensity and effects ala Innerspace make it still more then bearable. The other newly released tracks are of no little consequence since these are short and don't carry much exciting material. However, there are still other tracks and these still show a bit the flair of his scores around that era. 'Cash' capturing the soft but acceptable Sarita's theme with the awkward sounding Cash theme (which sounds like a bug effect more then something else), 'Identities' which is described as covering the Soldier's theme but this on the Air Force One trumpets, 'No Friendlies' having then the delightful Mexican theme which is reminiscent of Under Fire and working with it as well and 'A Deal / End Credits' which is that theme but more bouncier then before, which really shows its flair working. The other tracks do have moments, but this covers basically either theme getting a version of it own with the Goldsmith standards of that era. To tell you the truth, there isn't much to fault on Extreme Prejudice, even the synthesized tone doesn't sound bad at all (perhaps due to the vibrant quality of the sound) but still there isn't much to say too about this score, its fun for while it lasts but not much will be remembered after it. Its one of those efforts that didn't really need a re-release but will be snatched up by Goldsmith enthusiasts any way they can.

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Tracks

Single Disc

1. Extreme Prejudice (Unused Trailer Music) (2.12)

2. Carolco Logo * (0.16)

3. Arrivals / Main Title (5.19)

4. Cash (7.27)

5. Next Time * (0.21)

6. The Set Up (3.20)

7. Dust (4.16)

8. A Nice Fellow * (1.29)

9. The Plan * (2.02)

10. The Bank (Pts 1, 2 & 3) * (4.58)

11. The Bank (Pt 4) * (1.31)

12. The Plan (Original Version) (9.21)

13. Identities (1.47)

14. To Mexico (3.05)

15. No Friendlies (2.40)

16. Positions * (0.51)

17. They Don't Care (3.27)

18. Fighting And Dying * (2.12)

19. The Funeral ** (2.10)

20. A Deal / End Credits (4.40)

* Never before Released

** Recorded for, but not used in final version of the film

Total Length: 64.10

The use of artwork or photos is posted for non profitable reasons

=== Link to Composer Site: Jerry Goldsmith ===