Some composers sure know how to make an impression early on. In 1960, "Jerrald" Goldsmith (as he was known at the time) had only scored three movies when he was hired for Studs Lonigan, based on James T. Farrell's controversial novel. (Speaking of making an early impression, one Jack Nicholson made only his fourth film appearance in it.) And Goldsmith produced a remarkable score, full of vigour and passion, which would befit a composer with a lifetime's experience behind him, let alone one only 31 years old and still finding his feet.

Goldsmith's greatest influence as a film composer, musically speaking, was the great Alex North, and I don't think any other score has ever shown this more colourfully than Studs Lonigan. And colourful is just the right word, for Goldsmith's score paints a vivid and powerful portrait of Chicago in the Great Depression. The North influence comes from scores like The Long, Hot Summer and the extraordinary The Sound and the Fury, surely one of the all-time-great scores. This is sexy orchestral music with strong jazz undertones - seedy, smoky jazz.

The most remarkable cue is the six-and-a-half-minute "A Game of Pool". North himself would have been proud of it (as, indeed, would any of the veteran composers around at the time). One of the most notable ingredients within it is the virtuoso piano playing by a certain Johnny Williams. Yes, that Johnny Williams. The whole score is infused with a driving sense of passion, each cue is a joy to hear and Studs Lonigan - which now becomes the oldest of Goldsmith's film scores to have been released - is an essential ingredient in any film music fan's collection.

Sound quality is remarkably good and Robert Townson's liner notes give much-needed background on the film. And the music - fantastic stuff.