Score of the Month #10 - Rambo: First Blood by Jerry Goldsmith (1982)

Anyone who’s ever talked film music with me will know that Jerry Goldsmith sits very high on my list of favourite composers. In fact, this is his second appearance in #SotM, following my lengthy review of his 1968 score for Planet of the Apes.

One fascinating aspect is the more “poppy” arrangement of the theme, “It’s a Long Road,” sung by Dan Hill. It loosely recalls my comments in SotM #9 on Junkie XL’s Divergent, where he teamed up with Ellie Goulding to integrate her vocals into the score — though Goldsmith’s collaboration pushes the idea further. I’m fairly sure someone else arranged the Dan Hill version, but perhaps Goldsmith oversaw it himself. (If anyone knows, tell me!)

“It’s a Long Road” essentially grows from the opening cue “Home Coming.” It’s as sad and lonely as it is hopeful — a perfect introduction. The trumpet carries the main theme, supported by arpeggiated guitar lines and lush strings that tug at the heart. As the cue closes, heroic horns and woodwinds lift the music toward something more adventurous and optimistic.

Cue two, “Escape Route,” features those classic Goldsmith piano ostinatos — that sense of wandering tension I love. Much of the orchestration and instrumentation across the following cues recall his Planet of the Apes work, which in my book is never a bad thing. From here the album flows naturally into “First Blood,” with its unmistakable military pulse intrinsic to Rambo’s character. It cleverly weaves motifs from “Home Coming” and “Escape Route,” showing Rambo’s duality — the soldier and the man.

“The Tunnel,” “Hanging On,” and “Mountain Hunt” continue this pattern of re-orchestrated motifs and excellent pacing. “Mountain Hunt” especially stands out; its taut suspense reminds me of Alan Silvestri’s Predator (1987). I wouldn’t be surprised if Silvestri studied Goldsmith’s experiments on Planet of the Apes and First Blood when shaping that sound world.

Another highlight is “My Town.” It underscores key narrative moments where we glimpse the trauma Rambo carries after the war. The rhythmic build, rich horn section, and slower variant of “Home Coming” deliver real emotional weight.

There isn’t a vast amount of music in First Blood, but what’s there is exceptional — a masterclass in thematic economy. It’s a reminder of how potent recurring motifs can be when re-arranged and re-orchestrated with intention. Revisiting First Blood reminded me why Goldsmith remains such an influence — timeless craft, emotional intelligence, and melodic restraint at their