The story behind UK film composer Roy Budd’s (Get Carter) first screen gig is fascinating. When director Ralph Nelson asked for examples of Budd’ previous orchestral work, of which there was none because until this point he was a jazz musician, he supplied a tape of the work of Ennio Morricone and Jerry Goldsmith. This of course impressed Nelson. Then when Budd was shown the final massacre scene he was asked how he would score it. Budd replied that he would do nothing, that it was horrific enough without music. He got the gig.
Soldier Blue is a 1970 Western that many see as an allergy for the My Lai Massacre in Vietnam and is considered one of the most brutal and bloodthirsty westerns ever made. Budd’ score is surprisingly restrained, quite gentle, finding him conducting the Royal Philharmonic Orchestra with large sweeping strings and everything moving forward at a respectable canter. The use of piano, though at times played like weary honky tonk tends to work against the grittiness of the subject matter, yet this appears to be the point. The music is a counterpoint to the depravity. You get the sense that Budd buried himself in Western scores prior to his first gig, however he able to weave in moments of his trademark jazziness and when moving beyond his self imposed restrictions, such as the majestic Fields of Green and Skies of Blue, which with its liberal use of organ and effects, is the highlight.
Even on his more derivative moments, Budd’ use of melody and compositional flair make for a fascinating score. It also features excerpts from the quirky upbeat Catlow, World War One drama Zeppelin, Something to Hide and The Magnificent Seven Deadly Sins.
Bob Baker Fish
