GREATEST SCORES OF THE TWENTIETH CENTURY
Original Review by Craig Lysy
Novelist Roy Chanslor was a longtime admirer of actress Joan Crawford and so dedicated his 1954 novel Johnny Guitar to her. Crawford bought the film rights and submitted a script to Republic Pictures, which agreed to produce the film with the provision that Crawford would star and Nicolas Ray would direct. Herbert J. Yates was placed in charge of production with a $1.591 million budget, Ray was tasked with directing, and Philip Yordan and Ben Maddow were hired to write the screenplay. Joan Crawford would star as Vienna, joined by Sterling Hayden as Johnny Guitar, Mercedes McCambridge as Emma Small, Scott Brady as the Dancin’ Kid and Ernest Borgnine as Bard Lonegran.
The film is set in a small Arizona cattle town in the late 19th century. It follows the fortunes of Vienna, a middle-aged strong-willed woman who runs the town’s saloon. Conflict arises with the town due to her support of a railroad project, complicated by the return of two former lovers; Johnny Guitar, and then The Dancin’ Kid who is accused of leading a gang that robbed the local stagecoach. Additional complications arise with the competition of Emma and Vienna in a love triangle with the Dancin’ Kid. After a series of conflicts, which includes Vienna being shot by Emma, her saloon burned down, and the Dancin’ Kid killed by a posse, Vienna and Johnny leave town to build a new life together. The film performed well, especially in the European market and made a $901,000 profit. Critical reception was very harsh on Crawford’s appearance and miscasting against men ten and twenty years younger. The film received no Academy Award Nominations.
Victor Young was assigned to the project, and upon viewing the film I believe he clearly understood that Joan Crawford was the nexus of the film and that a memorable theme would be needed to both animate her, and buttress her dominating role. Also, the film’s setting in the late 19th century Arizona Territory called for him to infuse his soundscape with folksy ‘Western’ themes to provide the requisite cultural sensibilities. Additional needs included the many action scenes in the film and the romantic triangle between Vienna, Emma and The Dancin’ Kid. Last, the studio wanted a titular song, and so Young collaborated with singer and songwriter Peggy Lee to write “Johnny Guitar”.
The Main Theme is derived from the song “Johnny Guitar” melody, and it is one for the ages. Rendered as a cantata romantico with an ABA construct, it permeates the film. Borne by strings, we discern a palpable sadness in the notes, with the A Phrase full of yearning, while the B Phrase speaks of bitterness, and regret. When expressed as a Love Theme, Young drapes it with Spanish auras, with classical guitar adornment. The theme is offered in many guises often taking on a bold, defiant and heroic expression, which is used by both Vienna and Johnny. The Outlaw Theme offers a dire, abyssal, and menacing five-note construct, often buttressed by a two-note motif by horns sinistre. It supports the Dancin’ Kid personally, and by extension his fellow outlaws Bart, Corey and Turkey. The Pose Theme supports the pose organized by Emma after her brother is murdered and her bank robbed. It offers a strident, charging, and galloping structure, which empowers, and propels the vengeful horsemen. Lastly, the cinematography of the film offers sweeping vistas and classic western beauty. Young’s music, which includes a number of set pieces and travel motifs, achieves an often stirring confluence.
The album presentation of Young’s score includes a forty-eight-minute orchestral suite, in which the cues are joined sequentially in film order. I will break out these cues and offer time indices. Cues coded (*) contain music not found on the album. (*) “Logo” supports the display of the Republic Pictures studio logo with David Raksin’s famous fanfare bravura. “Main Title and Johnny Guitar” offers a score highlight featuring one of the finest themes in Young’s canon. It opens up with fanfare declarations of the Main Theme, which support the flow of the opening credits against a verdant, mountainous panorama with billowy clouds. At 0:31 we shift to a lyrical, and sumptuous string borne presentation of the Main Theme. At 1:18 we close the credits with a fanfare declared coda of the Main Theme. “Orchestral Suite”; 00:00 “A Lone Horseman” reveals Johnny Guitar riding in the mountains empowered by dire five-note horn declarations of the Outlaw Theme. A foreboding musical narrative unfolds as two explosions in the rock beds above shatter the calm. Johnny seems unfazed as a man yells “All clear!” and at 0:22 dozens of men race up the hillside propelled by racing strings energico. Gun fire erupts below as he sees a stagecoach being attacked by outlaws. At 0:47 Young supports with an agitato as Johnny observes the coach surrender, a passenger shot dead, and the outlaws riding off.
At 1:18 we segue into “Wind and Dust”, which offers cyclic, vortices of strings and trilling woodwinds that create a wind effect, buttressed by horn quotes of the Outlaw Theme, as we see Johnny engulfed in a sandstorm. He sees a building with a sign “Vienna’s” and rides towards it for shelter. The stableman Tom takes his horse and Johnny enters carried by a musical narrative that is foreboding and uncertain. Music ceases inside as he takes a shot of whiskey, and heads to the dining room for supper after the owner Vienna tells him she will meet with him shortly. At 2:19 we segue into “Emma Arrives With The Marshall”, which reveals a posse arriving with the stagecoach. Vienna is concerned, and dons her pistol. Young reprises his Swirling Wind Motif joined by an ominous musical narrative as they carry a dead man into the saloon and lay him on the table. Emma is furious that the Dancin’ Kid killed her brother and accuses Vienna of complicity. They tell Vienna to leave town as they will not allow her and the railroad company to build a depot here as this will lead to farming, fences, and the end of cattle ranch culture. At 3:11 we segue into “The Dancin’ Kid Arrives”. Young reprising his ominous musical narrative as the Dancin’ Kid and his gang arrive. The two sides face each other and the tension is palpable. After a tense standoff Johnny exits the kitchen and diffuses the tension.
This album cue interrupts the suite. In “Guitar Solo” he strums the folk song “Old Joe Clark” on his guitar and the Dancin’ Kid takes Emma by the hand and begins dancing to the tune. McIvers has had enough, and informs Vienna that he is instituting a new law that forbids gambling and drinking outside the town’s limits. Its legality is challenged by the Marshall, but McIvers prevails warning Vienna that she has twenty-four hours to leave or she will be arrested. 3:34 “After the Fight” the Dancin’ Kid out of jealousy, and then his henchman Bart take a dislike to Johnny. At Vienna’s urging, they take it outside to settle it with fisticuffs. Outside Bart sucker punches Johnny and the fight is on. Music enters as Bart, who had his bell rung, stumbles into the saloon carried by woodwinds sardonica and strings comici. Johnny kicks his behind and a descent motif by strings energico propels him across the room where he crashes with a musical thud. An ominous aftermath follows as the Dancin’ Kid and his men depart with a warning to Johnny that it was unwise to make Bart an enemy.
Gunshots and Johnny Guitar” offers a poignant romantic score highlight. Turkey remains and offers to stay and protect Vienna. Vienna declines saying he is still a boy, and he counters by saying he is a man and expertly shoots a glass and sugar bowl off her table. Johnny rushes in and masterfully shoots Turkey’s gun out of his hand, and then propels the gun, shot after shot across the room. Music enters ominously at 4:03 in the aftermath as we see fury in Vienna’s eyes. A musical narrative of pathos follows as Turkey leaves stunned and humiliated, and a disappointed Vienna reproaches Johnny for again taking up a gun. He apologizes, and she asks if he still has his guns. He says yes, in my saddlebag, and she says keep them there and she’ll tell him when to use them. The Main Theme now enters in romantic guise draped in Spanish auras and adorned with classical guitar as she takes him to a model of a new town she intends to build, one that will thrive thanks to a train depot. She asks him to join her and be part of this dream, but the conversation goes south with the acrimony of the past rearing its ugly head. Young supports this riveting scene with a romantic rendering of his Main Theme, within which are woven undercurrents of disappointment, bitterness, and regret. They both deny being in love with the other, we see clearly, that they still harbor feelings as she returns to her upstairs quarters, offering a final parting gaze of regret.
9:55 “The Waterfall” offers a score highlight. It reveals the Dancin’ Kid, Bart, Turkey and Corey are riding through a forest along a river, which leads them to a waterfall. Young fills us with a sense of wonderment, supporting with a beautiful, languorous and idyllic travel motif borne by warm horns, woodwinds pastorale and shimmering strings. At 11:13 the music darkens as they pass through the falls into a tunnel and emerge on the other side of the cliff, where we behold their hideout cottage. Inside there is discord, as Bart wants to leave concerned that they are going to be framed for the robberies. We end darkly as Dancin’ Kid decides that they are going west to California to find their fortune. At 11:44 we segue into “The Kitchen and Johnny Guitar”, a masterpiece cue where Young’s music achieves sublimity, offering a romanza for the ages. We open atop a solo cello triste and kindred strings as Vienna comes down to the kitchen server window where she finds Johnny inside drowning his sorrows in whiskey. Their conversation offers regrets, which Young supports with a plaintive albeit wistful musical narrative. At 13:22 we shift to bitterness borne by an aching Love Theme when Johnny asks; “How many men have you forgotten?” Her reply; “As many women as you remember.” As they navigate through the years of separation, the unfulfilled dreams, the bitterness, and the regrets, a solo violin triste with a retinue of strings, supported by classical guitar, offer a romanza, which transcends the actors and the film. At 15:41 the music becomes passionate as she succumbs to his ardent declarations of undying love, takes her into his arms, and proposes.
16:37 “Good Morning” reveals Johnny wishing Vienna a good morning as he escorts her to her carriage. She asks him why are we waiting? He gets in and they depart for town to get married. Young supports with a gorgeous, blissful, string borne melody that reflects Vienna’s joy that she and Johnny are at last about to begin a life together. At 17:25 a piccolo comici supports ranch hand Tom musing; “All a man needs is coffee and a good smoke” as Johnny and Vienna depart. At 17:29 we segue into “The Bank” atop foreboding woodwinds as a lone dog wanders the street. Yet the blissful travel motif resumes as Vienna and Johnny arrive at the bank. At 17:44 the foreboding woodwinds return as Vienna seems to sense misgiving, yet when Johnny returns to her they dissipate and the blissful melody resumes. He escorts her to the bank but its door is closed. She knocks and a man opens the door and says the bank is closed for Mr. Small’s funeral. She says it is not a holiday and demands access to her money. The man gives way and she enters the bank without Johnny. She asks to close her account as Emma assumes ownership following her brother’s death, and she will not do business with Emma. Turkey arrives at the bank with a bag of money. At 18:09 an ominous musical narrative commences as the man opens the door, Turkey grabs him, throws him to the ground, and the Dancin’ Kid and his gang storm in. Vienna tries to dissuade the Dancin’ Kid from robbery to no avail. A distressed Love Theme entwines with the menacing musical narrative, which informs us that Vienna still harbors feelings for the Dancin’ Kid. At 19:39 the Love Theme mirrors Vienna’s internal conflict and we culminate with a torturous statement as he pulls Vienna into his arms for a departing kiss. The gang races off, leaving the unarmed Johnny untouched. Vienna returns, they depart and an argument ensues when Johnny asserts that she is now tied to the Kid’s gang as no one will accept that it was just a coincidence that she was at the bank when he arrived. He advises leaving the valley, Vienna says no, and orders him to return home.
At 21:21 we segue atop dire cords into “Emma” who is furious and bent on revenge against Dancin’ Kid, his gang, and Vienna whom she believes is complicit in the robbery. The entire town mobilizes a posse, that will be led by Emma, McIvers and the Marshall. Young fuels the anger, menace, and desire for vengeance with his Pose Theme, a harsh, strident, and ferocious musical narrative surging at 22:04 on a stepped crescendo bellicoso. At 22:29 “Vienna and Johnny Part Ways” Young sow suspense as we shift to the outlaws riding leaving the valley on a high mountain pass. At 23:06 we shift to Vienna and Johnny arriving at her saloon. Young drapes the arrival with foreboding auras as Dancin’ Kid dynamites the pass out of the valley with an explosion that shatters the calm. Johnny says the outlaws are now safe, while she will soon be hanged by a posse. They begin to argue and a very sad musical narrative supports as he says they have to fight, and with fighting, you kill. She will not kill, and at 24:42 an anguished Love Theme full of despair joins as she tells him that he will never change, and that it was a mistake to hire him. She departs saying he can pick up his pay and leave now. At 25:02 in “Escape Denied” Young emboldens Dancin’ Kid’s escape, now secured by the avalanche, which blocks the pose’s pursuit through the pass. Unfortunately, the subsequent explosions were poorly timed and end up blocking their escape as Turkey is blown off his horse. They argue, decide against the desert route, and so Dancin’ Kid leads them back to their hidden lair. The pose splits up to cover all three escape routes and rides out of the valley. At 25:33 a galloping motif supports Johnny hiding under a bridge as the outlaws ride past, crowned by grim trombones as the wounded Turkey struggles to ride.
26:13 “Vienna Says Goodbye” offers a sad musical narrative as Vienna thanks, and pays her three casino workers, then sends them on their way. She calls back Eddie, and gives him more money, saying this if for Tom, and if you find him, take him with you. At 26:22 Johnny returns supported with the pathos of their Love Theme, aching with regret. She greets him coldly, addressing him as Mr. Logan. She pays him his salary, and departs to her upstairs quarters saying Vienna’s is closed Mr. Logan. He declines the money, and departs. At 27:07 the charging Outlaw Theme full of menace supports the outlaws ride back to their lair. Turkey’s blood loss from a shrapnel wound has weakened him and a low tree branch knocks him to the ground, crowned at 27:39 by trombone declarations of doom. A film-album variance occurs here. In the film an aggressive, charging musical narrative empowered by the Pose Theme propels Emma and the pose across the bridge, followed by the dire two-note trombone motif of the outlaws as the reach the waterfall. They discover Turkey is missing, argue as to whether to go back, but decide against it as they see the pose approaching in the distance. The pose’s reunite, and decide to follow the stream, believing the outlaws must be between them and Vienna’s. The charging Pose Theme propels them forward, yet they find nothing. Frustrated, they come around to Emma’s view that the outlaws must be held up at Vienna’s. Vindicated, Emma exhorts their ride propelled by her blood lust.
Film-album synchrony is restored in the suite at 27:56 in “Vienna’s Fateful Choice”. Vienna is dressed in a resplendent white dress and one by one lights the oil candles of her chandelier. When finish she hoists it up and secures the rope. Young supports with a statement of the Love Theme by cello triste filled with regret. The music ends as Tom returns, which elicits her anger. Turkey then staggers in and collapses on the floor from blood loss. As Vienna tends to him, she is conflicted on what to do with him. The situation worsens as they hear the pose arrive. At 28:30 music resumes with a piano rendered rendering of the Love Theme as Emma and the pose burst in and find Vienna playing the tune on her piano. They search the place, find nothing and she claims no knowledge of the Dancin’ Kid’s whereabouts. She continues to declare here innocence, and that she as ordered, shut down her business and sent her staff away. Emma demands she take them to the Kid’s lair, and Vienna twice says, she can’t. The moment is shattered harshly at 31:00 by dire chords of doom as Turkey tumbles out from beneath the model display, exposing her complicity. Musical support ends as they browbeat and coerce the boy into making a false confession of Vienna assisting in the bank robbery, promising that they will let him go free. Emma and McIvers then renege on their offer and decide to hang the boy and Vienna. The Marshall will have none of it, pulls his pistol and declares he intends to jail both, take them to trial, and will shoot anyone who interferes. Music resumes at 31:23 with menace as Tom pulls out his pistol and says that they may take Turkey, but not Vienna! Emma shoots Tom and Tom shoots the Marshall. We shift to an aching string borne lament as Vienna come to Tom and asks why? He responds, that you would have done the same for me. He then says look, everybody is looking at me. This is the first time I have ever felt important, and then he dies in her arms.
28:47 “Arrest” we surge with a musical narrative of violence as Vienna is pulled away as she reaches for Tom’s pistol and Turkey is tackled as he tries to flee. Vienna breaks free but is recaptured and dragged out along with Turkey. 33:25 “Emma’s Revenge” offers her returning to the saloon with diabolical intent, carried by a malevolent diminuendo. She shoots the chandelier support rope, the chandelier crashes to the floor shattering the six glass oil reservoirs, and a fire erupts. Young evokes rising flames with string and woodwind effects as Emma gloats. As she runs out a dire, descending stepped decrescendo dramatically carries her exit, and turn to the camera with a diabolical smile of triumph. Vienna and Turkey watch in horror as Vienna’s Saloon is consumed by the roaring flames. A harsh, musical narrative supported by drum strikes of doom support the pose’s departure with Vienna and Turkey riding with their hands bound behind their back.
34:21 “Johnny Rescues Vienna” on horseback empowered by horns eroica as he gazes at the burning saloon. We return to the pose atop and dire musical narrative replete with horn declarations of doom as they arrive at the bridge, with two nooses hanging from it. At 35:12 Turkey is placed in a noose and he repeated begs; “You promised me! You promised me! Abyssal horns portend his doom, punctuated with drum strikes of death as they whip his horse, which runs away, snapping his neck in the noose. Music ceases as Vienna is moved into position and the noose placed. Yet one by one, the men refuse to be party to hanging a woman, even when Emma offers $100. Vienna tells Emma, she will have to do it, and the men hand Emma the whip. At 35:47 she strikes the horse, which bolts, as we see that Johnny had cut the rope on the bridge. Vienna rides off propelled by flight music empowered by an ever-shifting string ostinato, followed by Johnny who leaps on his horse and follows. The pose is stunned, but mount to follow. Far ahead, Johnny cuts Vienna’s bonds, they dismount, chase off their horses, and hide in the brush as the pose passes. Vienna takes them to a basement entry to her saloon and asks why he came back? He said it was time to become a hero. She takes better clothes and leads him to a secret tunnel she built as an escape, which will take them to safety.
“Vienna and Johnny” offers a conversation between the two as she changes around the bend. She explains her original plan would take them to the safety of the Kid’s lair, but that having the two of you under one roof would not turn out well. Johnny asks; “Which one are you worried about?” She answers; “What’s your guess?” He answers that he saw how she looked at him, and it was not a look one gives a stranger. Music enters at 37:18 with the Love Theme borne by a cello triste as she drops all pretenses and admits she never claimed he was a stranger, or a friend, but something more. However, she told him, there was someone else, and there always would be, even if you had not come back. When Johnny asks, how can, he be sure? The theme warms as she comes back, looks him in the eyes and says; “If you’re not sure by now, telling won’t help.” We fade on a diminuendo of uncertainty as they move off through the tunnel. 37:58 “Escape” a dramatic and intense musical narrative empowered by the charging Pose Theme with quotes of the Love Theme woven within unfolds as we return above and see the pose continuing its frantic search, the saloon collapsing on itself, and Vienna and Johnny fleeing on foot in the darkness. The pose closes and they again hide behind rocks in the shadows unnoticed. The next day at 39:01 offers a soft, non-dramatic musical narrative of tension and unease as Johnny and Vienna trek across the rocky river shore. Interspersed are shots of the pose sleeping. Vienna notices Turkey’s horse as they swim across the river unnoticed. The music surges with menace at 40:53 as they sneak past the waterfall and into the tunnel, which will lead them to the Kid’s lair.
40:56 “Reunion” offers musical menace with plucked guitar at 41:09 as Corey, who is on sentry duty, orders them to stop at rifle point. Vienna identifies themselves and Cory orders Johnny to raise his arms. The reunion with the Kid is not scored, and the dialogue carries the film with both men competing to possess Vienna. The Kid is taken aback when Vienna discloses Johnny’s last name, Logan, who is renowned for the quickest and most lethal draw in the west. At this point there is a film-album variance. In the film, the two-note horn declaration of the Outlaw Theme sounds with Turkey’s horse becoming agitated. A dramatic musical narrative follows with portentous horn quotes of the Outlaw Theme as the pose releases it. It heads off into the river carried with drama by repeating horn declarations It disappears after passing under the waterfall. Multiple strikes by vengeful timpani empower the Pose Theme as they remount and ride to the waterfall. Bart sees them come and Young sow tension as he positions himself to open fire. Emma sees him and calls out to him, saying she wants to talk. He agrees, but she must come alone. She orders the men to hold and prepares to ride past the waterfall. Inside the cabin Johnny and the Kid continue to quarrel over Vienna, with the Kid leaving after Johnny demonstrates how fast his draw is. We regain film-album synchrony at 41:37 atop the Love Theme, which joins as Vienna cooks Johnny some eggs. At 42:12 dissonance supports the Kid’s revelation to Bart that he is Johnny Logan, and that he should stay clear of him. Bart is unimpressed and heads back to the cabin. 42:25 “Bart Kills Corey” reveals Bart trying to convince Corey to kill the Kid and escape or be wiped out by the pose as the Kid will not abandon Vienna. Johnny and Vienna overhear the conversation behind a closed door. Corey refuses and horns of death sound as Bart stabs him in the back. Bart then grabs the stolen money and his rifle and exits the lair. A foreboding musical narrative follows as Johnny and Vienna enter and find Corey dead. A crescendo of tension supports Bart raising his rifle to shoot the Kid in the back as Johnny exits onto the 2nd floor deck to see Bart taking aim. Johnny yells “Kid!” and leaps on Bart. Causing him to misfire.
43:03 “Johnny Saves Kid” resounds with trumpet calls and a menacing stepped crescendo as Emma leads the pose through the falls. At 43:30 a tempest of violence unfolds as Bart and Johnny fight hand to hand. Bart tumbles down the hill, regains his footing, draws his gun, and at 43:52 gunned down by Johnny supported by a death chord. The pose begins shooting at the Kid and Johnny who take cover. A timpani ostinato brings the pose to Bart’s corpse and at 44:21 a stinger supports Emma and Vienna locking eyes. Young sow an increasing menace as Emma and McIvers lead men up the hill in a pincer maneuver. At 44:59 a violin tremolo supports Emma taking aim at Vienna, and shooting. She misses and shouts; “I am coming up Vienna!” with Vienna replying; “I’m waiting!” An ascending stepped crescendo of tension carries Emma upwards. Music pauses at 47:49 as they meet face to face on the deck. The stepped tension crescendo resumes as both women glare at each other. They fire with Vienna being winged. Emma charges as does the Kid, and Emma shoots him in the forehead. Emma then runs around the corner to find Vienna holding her pistol, which she shoots and kills Emma. With timpani death strikes supporting her roll down the hill. “Finale” reveals Vienna throwing down her pistol, and McIvers deciding to call it a day and departing. Young supports with the title song melody joined by Peggy Lee’s vocals: “Whether you go, whether you stay, I love you. What if you’re cruel, you can be kind, I know. There was never a man like my Johnny. Like the one they call Johnny Guitar. “The End” is crowned powerfully with a crescendo magnifico.
This recording was made from original acetate discs located in the Republic Pictures Music Archives, which were preserved in the Arts & Communications Archives at Brigham Young University. It offers an improved and enhanced monaural audio. What I would give for a stereophonic 21st century audio recording of this beautiful score. I believe Young understood that the nexus of the film was Vienna, and the story of her two loves; Johnny and the Kid. In a masterstroke, I believe Young composed a Love Theme, which earns him, immortality, one which can proudly take its place on the hallowed halls of the pantheon of great movie themes. Rendered in cantata form the melody voices all the powerful emotions which have led to Vienna’s estrangement from Johnny, disappointment, regret and bitterness. The full presentation of this melody in the scene “The Kitchen and Johnny Guitar”, offers a masterpiece where Young’s music achieves sublimity, offering a romanza for the ages. The action themes for the Outlaws and the Pose provide a powerful juxtaposition, which help propel the film’s narrative and fuel its forward momentum. Lastly, Young masterfully infuses his score with the requisite western sound, which in every way enhances Harry Stradling’s cinematography. Folks, this score offers a testament to Victor Young’s gift for melody, as we bear witness to music, which ultimately transcends its film. The 1993 Varese Sarabande CD is long ago passed out of print. If you can obtain it, do so! If you cannot, watch the film that joins one of cinema’s greatest actresses with a score for the ages.
For those of you unfamiliar with the score, I have embedded a YouTube link to a ten-minute suite; https://www.youtube.com/watch?v=tYUiM781O6I&list=RDtYUiM781O6I&start_radio=1
Buy the Johnny Guitar soundtrack from the Movie Music UK Store
Track Listing:
- Main Title (1:29)
- Johnny Guitar (written by Victor Young and Peggy Lee, performed by Peggy Lee) (2:03)
- Suite from Johnny Guitar, Part 1 (3:33)
- Suite from Johnny Guitar, Part 2 (0:46)
- Suite from Johnny Guitar, Part 3 (0:28)
- Suite from Johnny Guitar, Part 4 (5:54)
- Suite from Johnny Guitar, Part 5 (1:32)
- Suite from Johnny Guitar, Part 6 (5:10)
- Suite from Johnny Guitar, Part 7 (1:31)
- Suite from Johnny Guitar, Part 8 (3:13)
- Suite from Johnny Guitar, Part 9 (3:57)
- Suite from Johnny Guitar, Part 10 (3:12)
- Suite from Johnny Guitar, Part 11 (2:29)
- Suite from Johnny Guitar, Part 12 (4:35)
- Suite from Johnny Guitar, Part 13 (1:43)
- Suite from Johnny Guitar, Part 14 (2:05)
- Suite from Johnny Guitar, Part 15 (2:09)
- Suite from Johnny Guitar, Part 16 (6:01)
- Johnny Guitar – Finales (written by Victor Young and Peggy Lee, performed by Peggy Lee) (1:06)
Varese Sarabande VSD 5377 (1954/1993)
Running Time: 52 minutes 51 seconds
Music composed and conducted by Victor Young. Orchestrations by Sidney Cutner, Leo Shuken and Stanley Wilson. Recorded and mixed by XXXX. Score produced by Victor Young. Album produced by Robert Townson.
