3) The Shack
4) Anna's Theme
6) The Train
7) Sanchez The Outlaw
8) The Ballad of Dr. Death
10) The Sawmill
11) The Mine
12) Two Feathers
13) Wild Card
14) The Last Gunfight
- Game website [offline]
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In the 1997 LucasArts first-person shooter Outlaws you take the role of retired Marshal James Anderson on his hunt for a band of vicious desperados who had killed his wife and kidnapped his daughter. The game was quite successful and combined action-oriented gameplay and amazing graphics to a compelling, story-driven experience.
LucasArts hired Clint Bajakian, one of their in-house composers, to take care of the music. Because of the game’s similarities to spaghetti-westerns the score is heavily inspired by Morricone’s soundtracks which is a good thing. Bajakian manages to excellently adopt Morricone’s style and delivers an impressive western score.
From the very beginning you’ll realize you’re in for a treat. The main title theme “Outlaws” captures the spirit of the Wild West perfectly and is so memorable that you’ll be humming it long after you’ve turned off the music. Other highlights include “Sanctuary” featuring woodwinds and classic percussion or the strikingly beautiful “Theme of Anna” with its Morricone-style female vocal.
The score wasn’t interactive in any way within the game so the cues would just play repeatedly from the CD. This could result in a bit too much repetition of the same cues at times. The cut-scenes on the other hand were scored with great skill and professionalism and showed Bajakian’s talent for cinematic composition.
While the thematic tracks are a joy to listen to some of the more ambient, un-thematic cues like “The Shack” or “Hideout” tend to be rather difficult to digest because of their chaotic and weird instrumentation and structure. One could also argue that it isn’t actually Bajakian's score but more of a Morricone rip-off. This would be unfair though, because that is the whole point of the soundtrack: to bring a spaghetti-western feel to the game.
The quality of the score is surprisingly good and it does help of course that the archetype Morricone scores are synthesized as well.
All in all, it is a very enjoyable and well-done score; one not to miss.