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Elmer Bernstein

If Elmer Bernstein had realized his childhood hopes, he might have been a successful concert pianist from the '40s through the '60s. Instead, thanks to his ability as a composer (manifested at an early age), and the timely intervention of World War II, he has for more than four decades been a major force in popular and film music, and a major influence on American popular culture.

Born in New York City, Bernstein as a boy showed a consuming interest in music, especially on the piano. He was a natural prodigy and early on, his teacher recognized a tendency on his part to improvise on the piece he was playing, an ability that he was encouraged to develop. Bernstein also had a serious interest in folk music, which was to serve him in good stead in the decades that followed. When Bernstein was 13, his music teacher arranged for the boy to audition for Aaron Copland, who was sufficiently impressed to arrange for him to study with one of his own students. He subsequently enrolled at the Juilliard School in New York, where he continued as a piano student and also took up composition. His composition teachers in the late '30s included Stefan Wolpe and Roger Sessions.

World War II interrupted any plans that Bernstein might have had to pursue a career in the concert hall. Luckily, he was assigned to an entertainment unit after being drafted and it was while serving in uniform that he got his first formal opportunity to write music. He was assigned as an arranger of traditional American songs for Glenn Miller and the United States Army Air Force Band, which led to his being assigned to write the music for Armed Forces Radio programs. By the time he returned to civilian life, Bernstein had written the music for more than 80 broadcasts and wanted to pursue a career as a composer. The post-war era offered ever-decreasing opportunities for composers, as entertainment and music were changing (and no one was sure how, or into what).

In 1949, he got a new chance to write music when he was commissioned to write the score for a United Nation radio program on the founding of the State of Israel. Radio was still a huge medium in those days and the dominant home entertainment medium, and the broadcast was also carried by NBC. One network executive who heard it was impressed with Bernstein's music and offered him the chance to compose the music for a network program. That program, in turn, led to an offer -- increasingly rare in that time of ever-tightening budgets and personnel lists -- to come out to Hollywood and work in movies. Bernstein arrived in Hollywood just as the studio system was entering a period of decline (and ultimate collapse), in the wake of the birth of commercial television and the consent decree signed by the studios that forced them to give up their theater chains. Still, there was work available and he spent the early '50s moving between the smaller major studios like RKO and Columbia and independent companies such as Astor Films. It was at Astor that Bernstein scored two of his stranger film vehicles, the notoriously bad (though campily funny) Robot Monster and Cat Women of the Moon.

He gradually moved up to doing films at the majors, including MGM and 20th Century Fox, where he got to write the music for some of their smaller-scale films. Bernstein's professional breakthrough took place in 1955 with Otto Preminger's film The Man With the Golden Arm. The movie itself was a breakthrough in terms of subject matter (drug addiction) and the fact that the lead character (played by Frank Sinatra) was a jazz musician, and it opened up possibilities that weren't often found in Hollywood features. Bernstein used jazz as the basis of his score for the film, and the result was a groundbreaking soundtrack that became the first of Bernstein's film music to get a commercial release -- it also received an Oscar nomination, the first of many for the composer.

His score for the Preminger film made a noise among musicians and the somewhat more adventurous portion of the audience for popular music, but that same year, Bernstein was assigned to a film with far wider, more mainstream, appeal: Cecil B. DeMille's The Ten Commandments. A religious epic that pulled whole families into theaters and found a major audience in every corner of the country and almost every social stratum, the movie was a monumental hit. Bernstein's big orchestral score achieved great popularity and the composer's name was suddenly known and recognized among casual filmgoers in the same manner as his much older contemporaries Max Steiner and Franz Waxman.

In 1958, Bernstein moved into a new and booming field of music composition -- television -- signing with Revue Productions, the television arm of Universal Pictures. For the next few years, he turned up as the composer of the main title music of series such as the detective thriller Johnny Staccato (which was a Top Five hit in England) and Riverboat, among other shows. He also cut a pair of light pop-jazz albums, one for Decca and the other for Capitol, in 1956 and 1960, respectively.

The next major milestone in Bernstein's career came in 1960 when he was engaged to score John Sturges' The Magnificent Seven. A Western adapted from Akira Kurosawa's medieval Japanese epic The Seven Samurai, The Magnificent Seven proved phenomenally popular, not only in the year of its release but perennially so. It had enough action and richness of characterization that audiences loved to come back to it year after year on television. It was with the score of The Magnificent Seven that Bernstein got to put his early love of folk music into play. In a manner not far removed from Aaron Copland (or, for that matter, film composer Alfred Newman), he utilized the melodic characteristics of folk and Western music in a sweeping orchestral canvas that gave the action on the screen the veneer of folk-legend and the urgency of a great symphony in performance.

In fact, the main title theme proved so rousing that it quickly took on a life of its own. Starting in the early '60s, The Magnificent Seven theme was licensed by the makers of Marlboro cigarettes for use in a series of Western-themed commercials (replacing a much more non-descript working man image previously used in their television ads) that ran for the remainder of the decade and right up until the end of legal cigarette advertising on television. In the end, it may have become the most widely heard piece of movie music in history, allowing for the hundreds of thousands of airings of dozens of commercials for the cigarettes, all of which used at least a fragment of Bernstein's music.

Ironically, the company that released the movie never capitalized on the music's popularity, and until 1999, there was no original soundtrack album for The Magnificent Seven. At the time of the film's release, Bernstein wasn't well-known for his Western theme music. That soon changed, but not in time for United Artists Records to do much about it. Additionally, United Artists Records was a new operation, only a couple of years old, and had not done particularly well with the Western soundtracks it had released up to that point, some of it very good and attached to even higher profile productions than The Magnificent Seven. By the time the music's popularity was achieved and recognized a year or so after the release of the movie, the assumption was that it was too late to capitalize on it by belatedly issuing an album, especially since one hadn't been prepared from the original film recordings.

After The Magnificent Seven, Bernstein's career was made, although he took great pains to see to it that he got other projects besides more Westerns. Bernstein's work during the '60s ranged from delicate, sensitive dramas like To Kill a Mockingbird, to such rousing adventure yarns as The Great Escape. The latter project was not surprising since it was an action-adventure film by the same director and featuring three of the same stars as The Magnificent Seven and resembled his score to the earlier Sturges movie and this time there was an album. His music for The Sons of Katie Elder featured a title theme very similar to his forgotten main title theme from the series Riverboat, but also a background accompaniment to an elegiac reading about the title character by John Wayne, and included a song by Johnny Cash. And his work as music director on Thoroughly Modern Millie, a musical and spoof starring Julie Andrews and Mary Tyler Moore, won Bernstein his only Oscar to date.

Having come up during the tail end of the studio system, Bernstein had come to know many of his older musical colleagues, both personally and through their work, and such was his success that he was able to do something on their behalf at the beginning of the '70s. He formed his own record label, Filmusic Collection, and used it to release a series of self-financed recordings of scores that weren't otherwise available, including Miklos Rozsa's music for The Thief of Baghdad, Bernard Herrmann's unused score for Torn Curtain, and a more complete version of his own To Kill a Mockingbird score than had ever been available. The '70s also saw a decline in the kind of big-budget film within which Bernstein's music seemed to work best. He did some television work, including the title music for the series The Rookies.

In 1977, he was thrust into composing for a wholly new idiom of filmmaking when he was asked by director John Landis to score the comedy Animal House. Bernstein had written the music for every kind of movie, from Westerns to science fiction, but had never scored a comedy. He hesitated, but Landis said that he wanted Bernstein to do exactly what he always did in scoring and, in fact, wanted the kind of big-theme, big-sound scoring that he was known for. As it turned out, the mix of his dignified music underscoring the film's physical comedy lent a deeper veneer of humor to the movie, making it seem even more satirical. Animal House was a huge success and opened up a whole new class and variety of film to Bernstein's talents. Over the next few years, he wrote the music for such comedies as Airplane, Stripes, Ghostbusters, and Three Amigos!

At the same time, his status as the dean of living soundtrack composers opened up serious dramas and the works of major filmmakers to him in ways that they hadn't been since the '60s; there weren't too many serious, big-budget movies being made, but any producer or director who wanted a score that matched the opulence of what they saw on the screen had to look to Elmer Bernstein. He was chosen by Martin Scorsese to score his remake of the 1960 thriller Cape Fear, for which he did a rescoring of Bernard Herrmann's original music; he also wrote new music for Scorsese's The Age of Innocence. Bernstein also wrote the music to such high-profile films as Jim Sheridan's The Field and Stephen Frears' ,The Grifters.

At the outset of the 21st century, Elmer Bernstein remained very busy as a composer, conductor and arranger, and he continued to devote his energy to the restoration of old film scores, making new commercial recordings of his own early works and those of other composers. He was also busy as a conductor and arranger on various commercial recordings that required his skills at coaxing a lush yet exciting sound from an orchestra. Bernstein died in his sleep on August 18, 2004 at the age of 82. ~ Bruce Eder
full bio

Selected Discography


Track List: The Silencers (Original Motion Picture Soundtrack)

1. Main Title

2. The Silencers

3. Tina's Waltz

4. Big 'O'

5. Blast-Off Minus 3

6. Matt Helm's Blues

7. Santiago

8. Spy Chase

9. Early To Bed

10. Promise Her Anything

11. A Little Tipsy

12. Showgirl Walk

13. Tung-Tze


Track List: The Carpetbaggers (Music from the Original Score) [Digitally Remastered]

1. The Carpetbaggers

2. Love Theme from the Carpetbaggers

3. Speak of the Devil

4. Forbidden Room

5. The Carpetbagger Blues

6. Main Title from the Carpetbaggers

7. New Star

8. The Producer Asks for a Divorce

9. Jonas Hits Bottom

10. Finale


Track List: The Thief of Bagdad

1. Main Title - Harbour Scene and I Want To Be A Sailor

2. The Chase

3. Abu and Achmad and Abu's Song

4. Horsemen's Fanfare

5. Love-Song - The Pool - The Prince and the Princess

6. The Sultan's Toys and Galop of the Flying Horse

7. Storm at Sea - The Seashore

8. The Djinn

9. The Skeleton Room - Duel With The Spider - The Return

10. The Blue Rose - Fight and Capture of Achmad

11. The Golden Tent

12. Abu to the Rescue - Death of Jaffar - Finale


Track List: Love Scene

1. Gone With The Wind

2. Around The World In 80 Days

3. Spellbound

4. Love Is A Many Splendoured Thing

5. For Whom The Bell Tolls

6. Lili

7. Raintree County

8. A Streetcar Named Desire

9. Laure

10. A Place In The Sun

11. Broken Arrow

12. The View From Pompey's Head


Track List: True Grit

1. The Comancheros: Main Title

2. The Comancheros: Escort

3. The Comancheros: McBaine And The Prairie

4. The Comancheros: Jake Surveys The Camp

5. The Comancheros: Pursuit

6. The Comancheros: Mexican Dance

7. The Comancheros: Indian Attack

8. The Comancheros: Finale

9. True Grit: Main Title

10. True Grit: Rooster And Runaway

11. True Grit: Bald Mountain

12. True Grit: Pony Mine And Papa's Things

13. True Grit: The Dying Moon

14. True Grit: Big Trail

15. True Grit: Sad Departure / The Pace That Kills

16. True Grit: Warm Wrap-Up

17. The Shootist: Main Title

18. The Shootist: Ride

19. The Shootist: In The Fire

20. The Shootist: Epilogue

21. Cahill: United States Marshal: Necktie Party

22. Cahill: United States Marshal: Nocturne

23. Big Jake: Riders

24. Big Jake: Reunion

25. Big Jake: All Jake

26. Big Jake: Buzzards

27. Big Jake: Going Home - Finale


Track List: Stripes (Score)

1. Stripes March

2. Winger

3. Depression

4. Push-Ups

5. Hair Cut

6. Training

7. Escape

8. Cops

9. Missing

10. Home

11. Graduation March

12. Italy

13. Gone

14. Captured

15. Into The Fire

16. Rescued

17. V-J-R

18. Freeze Frames

19. End Credits

20. Stripes Trailer (Bonus Track)


Track List: Bernard Hermann Film Scores

1. Citizen kane (Welles) - Suite

2. The devil and Daniel Webster (Dieterle)

3. The man who knew too much (Hitchcock)

4. Psycho (Hotchcock) - Suite

5. The wrong man (Hitchcock)

6. Vertigo (Hitchcock)

7. North by northwest (Hitchcock)

8. The bride wore black (Truffaut)

9. Fahrenheit 451 (Truffaut)

10. Taxi driver (Scorsese)

11. Bernard Hermann on film music


Track List: Far From Heaven

1. Autumn In Connecticut

2. Mother Love

3. Evening Rest

4. Walking Through Town

5. Prowl

6. Psych

7. The F Word

8. Party

9. Hit

10. Crying

11. Turning Point

12. Cathy And Raymond Dance

13. Disapproval

14. Walk Away

15. Miami

16. Back To Basics

17. Stones

18. Revelation And Decision

19. Remembrance

20. More Pain

21. Transition

22. Beginnings


Track List: Great Composers: Elmer Bernstein

1. Theme (From "The Magnificent Seven")

2. Main Title (From "The Shootist")

3. Main Title (From "The Comancheros")

4. Rooster And Runaway (From "True Grit")

5. Main Title (From "Wild Wild West")

6. Main Title (From "To Kill A Mockingbird")

7. Love Spoken (From "My Left Foot")

8. Moon (From "Frankie Starlight")

9. End Credits (From "The Age Of Innocence")

10. Beginnings (From "Lost In Yonkers")

11. Happy Train (From "A Rage In Harlem")

12. The City (From "The Grifters")

13. Finale (From "The Black Cauldron")

14. Main Title (From "The Great Escape")

15. Credits (From "Buddy")

16. Suite (From "The Ten Commandments")


Track List: Introducing Dorothy Dandridge (Original Soundtrack)

12. First Telephone

13. Try Again

14. No Song

15. Dorothy


Track List: Wild Wild West

1. Main Title

2. West Fights

3. Dismissal

4. East Meets West

5. Of Rita, Rescue And Revenge

6. Trains, Tanks And Frayed Ropes

7. The Cornfield

8. Loveless' Plan

9. Goodbye Loveless

10. Ride The Spider


Track List: To Kill A Mockingbird

1. Main Title

2. Remember Mama

3. Atticus Accepts The Case / Roll In The Tire

4. Creepy Caper / Peek-A-Boo

5. Ewell's Hatred

6. Jem's Discovery

7. Tree Treasure

8. Lynch Mob

9. Guilty Verdict

10. Ewell Regret It

11. Footsteps In The Dark

12. Assault In The Shadows

13. Boo Who?

14. End Title


Track List: To Kill a Mockingbird (Music from the Motion Picture) [Digitally Remastered]

1. Main Title

2. Roll in the Tire

3. The Search for Boo

4. Jem's Discovery

5. To Kill a Mockingbird

6. Tree Treasure

7. Lynch Mob

8. Footsteps in the Dark

9. Children Attacked

10. Scout & Boo

11. Summer's End


Track List: Bulletproof (Original Motion Picture Score)

1. Buddies

2. The Bust

3. Shots

4. Gurney

5. Flying

6. In The Desert

7. Cliff

8. Phone

9. Darryl's Rescue

10. Fighting

11. Thugs And Hugs

12. Mistakes


Track List: Last Man Standing (Music Inspired By The Film)

1. To Jericho

2. First Guns

3. Hijacking

4. Hello

5. Change

6. Felina's Story

7. Free

8. The Beating

9. Enough

10. Saving Joe

11. One Of The Last


Track List: Frankie Starlight (Original Motion Picture Soundtrack)

2. Moon (Main Title)

3. Windows And Memories

4. Flashback

5. Visions

6. A New Life

7. Jack and Bernadette

8. Emma's Revenge

9. At Play

10. Wild Ride

11. Rooftops And Starlight

12. Release

13. In Paris

14. Farewells

15. Proposal

16. Roofdance (End Credits)


Track List: Music From The Motion Picture: Baby The Rain Must Fall (Digitally Remastered)

2. Henry's Heap

3. Shine For Me

4. Travelin' Lady

5. Treat Me Right

6. Gospel Time

7. Pecan Grove Rock

8. Baby The Rain Must Fall

9. Wagon Wheel Watusi


Track List: Walk on the Wild Side (The Music from the Motion Picture) [Digitally Remastered]

1. Walk on the Wild Side

2. Somewhere in the Used to Be

3. Hallie's Jazz

4. Rejected

5. Doll House

6. Teresina

7. Night Theme

8. Walk on the Wild Side Jazz

9. Dove

10. Kitty

11. Oliver

12. Reminiscence

13. Finale


Track List: Cape Fear (Original Soundtrack)

1. Max

2. Sam's Story

3. Love?

4. Strip Search

5. Rape And Hospital

6. Frightened Sam

7. Cady Meets The Girls

8. Sam Hides

9. Drive

10. Teddy Bear Wired

11. Kersek Killed

12. Houseboat

13. The Fight

14. Destruction

15. The End


Track List: The Grifters (Original Soundtrack)

1. The City

2. The Racetrack

3. Roy In Trouble

4. School For Grifters

5. To The Hospital

6. Troubadour Race

7. Lilly's Argument

8. Bobo

9. Carhumba

10. Roy Gambles

11. Madness

12. Myra's Blues

13. Roy And Lilly

14. Chase

15. Fright And Flight

16. Endings

17. Credits

18. Do Ya, Do Ya Love Me?


Track List: The Three Amigos

2. Main Title

3. The Big Sneak

6. Fiesta And Flamenco

7. El Guapo

8. The Return Of The Amigos

10. The Singing Bush

11. Amigos At The Mission

12. Capture

13. El Guapo's Birthday

14. The Chase

15. Amigos, Amigos, Amigos

16. Farewell

17. End Credits


Track List: John Wayne, Vol. Two

1. Main Title (From "The Shootist")

2. Ride (From "The Shootist")

3. In The Fire (From "The Shootist")

4. Epilogue (From "The Shootist")

5. Necktie Party (From "Cahill, United States Marshall")

6. Nocturne (From "Cahill, United States Marshall")

7. Riders (From "Big Jake")

8. Reunion (From "Big Jake")

9. All Jake (From "Big Jake")

10. Buzzards (From "Big Jake")

11. Going Home - Finale (From "Big Jake")


Track List: Movie And TV Themes

1. Rat Race

2. Three Time Blueser

3. Radio Hysteria

4. Anna Lucasta

5. Hop, Skip But Jump

6. Saints And Sinners

7. Sweet Smell Of Success

8. The Man With The Golden Arm

9. Jubilation

10. Walk On The Wild Side


Track List: The Magnificent Seven (Original Motion Picture Soundtrack)

1. Main Title And Calvera

2. Council

3. Quest

4. Strange Funeral / After The Brawl

5. Vin's Luck

6. And Then There Were Two

7. Fiesta

8. Stalking

9. Worst Shot

10. The Journey

11. Toro

12. Training

13. Calvera's Return

14. Calvera Routed

15. Ambush

16. Petra's Declaration

17. Bernardo

18. Surprise

19. Defeat

20. Crossroads

21. Harry's Mistake

22. Calvera Killed

23. Finale


Track List: Paris Swings

1. Valentina (Feat. The Swinging Bon Vivants) (Remastered)

2. Autumn Leaves (Feat. The Swinging Bon Vivants)

3. Paris In The Spring (Feat. The Swinging Bon Vivants)

4. Adieux De Amour (Love Is Farewell) (Feat. The Swinging Bon Vivants)

5. Symphony (Feat. The Swinging Bon Vivants)

6. Under Paris Skies (Feat. The Swinging Bon Vivants)

7. Darling, Je Vous Aime Beaucoup (Feat. The Swinging Bon Vivants)

8. I Love Paris (Feat. The Swinging Bon Vivants)

9. April In Paris (Feat. The Swinging Bon Vivants)

10. Souvenir Du Printemps (Memories Of Spring) (Feat. The Swinging Bon Vivants)

11. La Vie En Rose (Feat. The Swinging Bon Vivants)

12. Pauvre Moi, Pauvre Moi (Poor Me, Poor Me) (Feat. The Swinging Bon Vivants)


Track List: Staccato (Original Johnny Staccato Soundtrack)

1. Staccato's Theme

2. Thinking Of Baby

3. Poi And Juice

4. Night Mood

5. Deadly Game

6. The Jazz At Waldo's

7. Greenwich Village Rumble

8. Like Having Fun

9. One Before Closing

10. Walk A Lonely Street

11. MacDougal Street Special

12. Pursuit


Track List: The Buccaner (Original Soundtrack)

1. Prelude

2. Honest Domminique/The Lady And The Pirate

3. Barataria

4. Mutiny

5. Ravens Pursuit And Hanging

6. Back To Barataria

7. The Knife

8. Lovers United

9. Treachery At Barataria

10. Battle At New Orleans

11. Polka

12. Valse Tragique

13. Out To Sea


Track List: Sweet Smell Of Success

1. The Street

3. Sidney And Susie

4. Hunsecker's Price

5. Tropical Island Mood

6. The Smear

8. Nite Spot Rock

9. Susie's Problem

11. Goodbye Baby Blues

12. The Trap Is Sprung

13. Love Scene

14. Out Of Darkness


Track List: Cecil B. DeMille's The Ten Commandments, Film Score

Title: Ten Commandments, Film Score

2. Ten Commandments, Film Score: Nefretiri

3. Ten Commandments, Film Score: Court Dance

4. Ten Commandments, Film Score: Sephora

5. Ten Commandments, Film Score: The Burning Bush

7. Ten Commandments, Film Score: The Exodus

8. Ten Commandments, Film Score: Dance Of Jethro's Daughters

9. Ten Commandments, Film Score: The Red Sea

10. Ten Commandments, Film Score: Finale


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We are the 3 ahhhhh MI goes
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You will be kissed on the nearest Friday by the love of you love. Now that you started reading this don't stop. This is so freaky but if you ignore it you'll have bad luck. Post this in 10 songs in the next 143 minutes when your done press the space bar and your crushes name will appear on the screen, this is freaky. It actually works.
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Agree...we need a Pandora TWO THUMBS UP. This supposed bio completely glosses over the tragic period in his life when lunatic conservative s like Joe McCarthy crushed one of our greatest American composers for casual associations with supposed communists leaving him to struggle in the early 50s to raise his family while only able to get work as a session pianist. Producers and directors were afraid to employ him until, ironically, deMille and Heston vouched for him to their right wing cronies.
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Timeless … except for the brief portion beginning around 2:30, which sounds quite like its 1960 era. But the rest: what a gorgeous and moving piece for the ages!
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As a 16 year old, many years ago, I had the honor of playing my trumpet under the baton of Elmer Bernstein with the Whittier Union High School District Honor Band. His rehearsal and concert performance, musical enthusiasm and inspiration for me at a young age has carried me into my 60's with my trumpet by my side. Our lead trumpet player was Donald Green who became the trumpet section leader for the L.A. Philharmonic for many years. Always GREAT music, incredible to experience his baton.
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Pandora needs to add a double-like button
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bensbadblueq u a d
Where's Heavy Metal?
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What a talent
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cello op!
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Magnificent seven film score is Awesome!
Love it!
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The music within To Kill A Mockingbird is hauntingly beautiful!
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Lucky Day, can you persuade Dusty Bottoms to play My Little Buttercup for President Obama when he's at the 3 Amigos Summit ?
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Good stuff
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i like his music
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Elmer Fudd
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why are cattle called DOGGIES ?
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good night Ned
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more bat wings Dusty >>>>?
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Lucky Day {67} is new father
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I feel like I'm in the west everything I hear this one. I see John Wayne and his eye patch. It's hard to imagine a single artist who could do so much as Elmer Bernstein. But to imagine the Magnificent Seven, The Great Escape, To Kill a Mockingbird, and much more. If you
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this song takes me back to Santa Pulco
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Look up here ...Look up here caw caw caw Look up here !
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Real Bullets
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Everyone has an El Guapo....wha t ' s yours ?
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I'll give you the 10 peso version
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Nothing much left to say, everyone's said it. The music made the movies, as much as the movies made the music. Art at it's finest.
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the music and the movie perpetuate the characters in this novel, Atticus.
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The Ten Commandments is one of my favorite film scores of all time! :D Thank you Mr. Bernstein!
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swordofarago r n
@Damien: Bernard Herrmann did the score for North by Northwest. Herrmann did many of the Hitchcock films from the 1950s until the mid-60s when Hitchcock made the mistake of replacing him with another composer. Coincidental l y , when Martin Scorese remade the film noir classic Cape Fear, he hired Elmer Bernstein to create the score, which he intentially borrowed from the original Cape Fear score composed by Herrmann.
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we are the 3 aaaaaaaamiii g o o o s
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i feel that much more american after listining to this triumphint beat... USA..USA...U S A . . . U S A . . . Amen
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One of the best!!! Many times before the credits rolled it apparent that Elmer Berstein was the composer.
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THE MAGNIFICENT SEVEN SCORE is amazing!!! Wow, I didn't realize how much of his music I've heard...
What an amazing composer!!!
Why isn't there more of his music on here?
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Why in the world don't you have the greatest theme song ever written, composed by Elmer Bernstein - the theme to To Kill a Mockingbird? This is one of the most beautifully haunting pieces of music. Please add it to the collection.
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To Kill A Mockingbird is one of the most intense scores that Bernstein wrote. Sweeping and Exciting, you can hear its influence everywhere, especially the score for the original Star Trek TV show. Too bad it's not available on Pandora (Too bad Pandora may soon disappear... )
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What, no North by Northwest?

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