The main theme quietly opens the Main Title; while nice enough, it's one of those Broughton themes that sounds vaguely like something else, but doesn't make the strong impression of his big screen melodies. Still, it has precisely the right mood and as ever, the composer puts it through enough dramatic variations to keep it memorable, but fresh. The quiet opening is soon interrupted by Night Raid and the score, as a whole, takes a turn for the darker. Night Raid itself seems a bit like an outtake from Lost in Space, the running string motif and brass hits being along the same lines. Still, it makes for effective and exciting action. Elements of excitement return throughout, notably The Barn Fire and The Lynching which feature plenty of bristling orchestration and dynamic drama.
However, it's the music for the interpersonal relationships which stands out here and track with uninspiring titles such as Campfire Concerns feature some splendid woodwind writing and the kind of subtle scoring at which Broughton excels. True Women doesn't quite reach the quality of Broughton's big screen western outings, but it certainly never belies its origins as a small screen score. That it is performed by the substantial band of the Sinfonia of London helps immeasurably. However, miniseries scores almost always seem that little less focused than feature scores, their sprawling nature means that it often doesn't feel as though it's pointing in any specific direction, but the overall impression is favourable and Broughton fans should be pleased by it.
Rating ~ 
Total Time ~ 73:56