Label: Warner Bros. - Seven Arts Records - WS 1814 • Format: Vinyl LP, Album • Country: US • Genre: Jazz, Latin, Classical, Folk, World, & Country, Stage & Screen • Style: Soundtrack, Smooth Jazz, Latin Jazz, Easy Listening
The scoring of this Sam Peckinpah western was a long and contentious affair that resulted in numerous demos, revisions and variations being recorded at the Warner Bros.
Fielding revised some cues as many as four times, and the last-recorded version was not necessarily the one used in the finished film. Disc 3 features the contents of the Warner Bros. Records soundtrack album for which Fielding specially arranged and recorded tracks 1 and 6as well as additional demos and alternates.
Please see the printed booklet notes for detailed information on the scoring process. These online notes also available in convenient PDF form for easier printing feature track-by-track commentary, along with the recording slate e. Sunset Blvd. These notes may be printed or archived electronically for personal use only. Entertainment Inc. All Rights Reserved.
FSM online liner Jerry Fielding - The Wild Bunch - Original Motion Picture Sound Track. The balance of disc 2 features earlier and alternate versions of the soundtrack cues. The Film Score Disc One 1. In town, paroled con Deke Thornton Robert Ryan and a pack of shifty gunmen bounty hunters hired by the railroad, although the viewer does not yet know this watch from the rooftops.
First, he establishes an implacable snare drum line, but uses an beat pattern—thus providing the sense of a march without actually establishing a march rhythm. A typical listener might not consciously become aware of the unusual meter, but will sense something out of place. Second, Fielding keeps the emotional tenor of the cue uncertain.
The brief figure that opens the main No Me Urgues - Various - Subterranica is rather mournful; the Spanish-flavored trumpet and horn riffs vaguely sinister; and the major chords for strings and harmonium toward the middle of the cue optimistic.
Only near the end of the cue does the tone clarify, with a sickening, descending line that leads into a wild orchestral trill and a hatchet-like descending tritone. As the parade nears the depot, Pike and his men spot the rooftop bounty hunters—including the crude, ceaselessly bickering Coffer Strother Martin and T.
The ensuing bloodbath, in which many of the townsfolk are killed, is unscored. The music enters with a flourish on a cut to the outskirts of town. Using a gesture drawn from the main title, low strings descend precipitously as the giggling children set fire to their cauldron of ants and scorpions. The scene then crossfades back to main street, where Coffer and T. A grim string passage plays as Thornton exits the depot and witnesses children already reenacting the gun battle.
One of their number, Buck Rayford Barnessuccumbs to his injuries and falls from his horse down the slope of an arroyo. A short flashback shows Thornton being tortured in a Yuma prison cell—his primary incentive to hunt down Pike.
A lovely duet for flute and guitar gives way to melancholy solo oboe as Pike and the bunch ride up from the desert. Fielding scores the flashback with anxious, dreamily shifting chords. Along the way, Sykes stumbles and sends them over the edge of a steep dune, dislodging everyone but Angel.
All of us! Shell Be Home For Christmas - Various - All I Want For Christmas. A Cool Christmas With The Stars Gorch brothers mock his apparent weakness, with the dirge theme briefly threatening to form. This, in turn, gives way to somber music as the desert trek continues.
The FSM assembly, however, allows the tracked cue to play out as recorded. Solo oboe enters on a transition to later that day, when the men have begun to unwind.
Even the worst of us. Perhaps the worst most of all. Here, Fielding arranges the song for his mariachi ensemble, adding strings, a guitarra de golpe a special five-string guitar, used for rhythm or chordal accompaniment and accordion. The orchestra thrashes violently, joined at one point by frenetic piano figures, as chaos breaks out and the bunch restrains Angel. Snarky brass and woodwinds slide over a snare drum rhythm, interrupted by a coarse harmonica and bleak descending gestures.
The music enters with the arrival of Mapache, continuing as Lyle and Tector offer an inappropriate toast and demand women. Mapache objects, but finally concedes, and the tone lightens with just a hint of the adventure theme—the music becoming slightly saucy as whores are brought in for the Gorch brothers.
Music enters as the film returns to the bunch, now headed out from Agua Verde. The cue concludes with an ominous passage, quoting the dirge theme as the bunch rides Jerry Fielding - The Wild Bunch - Original Motion Picture Sound Track. Fielding composed roughly 10 minutes of nearly continuous music for this sequence. Approximately a minute-and-a-half of music — does not appear in the film: a mixed-meter ostinato combining bars of five and seven would have underscored a vignette in which Dutch becomes trapped in the gap between cars and Angel must rescue him.
The finished film dials the music dials back in on a cut to the abandoned soldiers, with a martial line for snare drum and cymbal as they struggle to get their gear together.
This material trades off with suspenseful music for the bunch offloading the stolen weapons onto a waiting wagon. Pike proceeds to throw the engine into reverse, sending it chugging back along the track. The adventure theme sounds once again on a brief cut to the charging wagon, then the music returns to snare drum and cymbal for the soldiers attempting to unload their horses.
Their commanding officer Stephen Ferry watches in horror as the returning train engine smashes into their car—the music responding with a fierce, trilling crescendo.
The action motive accompanied by trilling xylophone returns as the soldiers finally get underway, followed by the bounty hunter motive as the pursuers exchange gunfire with the bunch. Suspense continues to build as the wagon gets Ghetto Blaster - WestBam - Ich Bin Ein Bass-Liner on the bridge after the fuse has been lit.
The action motive sounds again when the soldiers arrive and take up positions on a ridge. Finally, the wagon breaks free. The music intensifies as the bunch rides off and Thornton and his men ride onto the bridge for another exchange of gunfire.
The drama finally winds down with a fading trill, suggesting a lack of closure. The brooding atmosphere evaporates when Tector uncorks a bottle of whiskey and the gang eagerly passes it around. By the time the bottle reaches Lyle, it is empty, and laughter breaks out. Fielding scores this comic vignette with a winsome instrumental passage featuring harmonica. Peckinpah originally pressed for a more Mexican sensibility, but Feldman lobbied against the change, arguing that the joke was too universal to reduce to geography.
He strides through the war zone with an apparent lack Jerry Fielding - The Wild Bunch - Original Motion Picture Sound Track concern as a young boy-soldier watches in adoration.
The vocalist on Buffalo Tom - Buffalo Tom track and in the film is Yolanda Ponce. Meanwhile, Lyle and Tector discover an unexpected bonus among the weapons: a brand-new machine gun. Fielding scores the scene with a wandering passage for alto and bass flutes, clarinet and bassoon.
Fielding intended the music at — for a deleted exchange between Angel Rail - Swann & Moriarty - Quai de la Gare Pike, in which Angel warns that his people have been watching, and will be waiting to receive their share of Jerry Fielding - The Wild Bunch - Original Motion Picture Sound Track weapons.
Here Fielding brilliantly reworks the Jerry Fielding - The Wild Bunch - Original Motion Picture Sound Track from early during the film where children are seen burning a cauldron of vermin disc 1, track 3.
Metaphorically, the arroyo represents the cauldron, the bunch the scorpions, and the Mexican soldiers the ants. By linking the two scenes musically, Fielding subtly reinforces this connection and intensifies the sense of jeopardy. But the departing wagon has not gone unobserved—a sparkling figure reveals that Thornton has been spying on the proceedings. The elder Gorch brother laughs, although Sykes is predictably furious.
Angel does not incriminate the bunch, Dutch departs, and a quote of the dirge theme transitions to a long sustained note. Is That Sykes? Increasingly tense figures break into a passage of rapid action as Sykes makes a break for it The Time Has Come - Ole* - Heart Glow is shot through the leg.
When they find nothing but blood, they abandon the chase to go after the others. The bunch is conspicuously absent. In the next room, Lyle and Tector haggle with a whore. The orchestra enters as Mapache notices them, and a forlorn horn line plays as Pike demands that Angel be turned over. The sickening, descending line from the main title and the burning cauldron scene returns once more.
Only when Pike and Dutch finally fall does Fielding begin his dirge. The sorrowful melody continues as Thornton arrives to witness the aftermath of the battle. Woodwinds momentarily sour the mood as Coffer and T. The finale begins with a solemn horn line, as Thornton watches his men ride out—knowing that they will never make it back to Texas without him.
Mournful strings and harmonium enter, bringing more variations of the dirge as the film transitions to a windswept dusk and a funereal procession of villagers abandoning the ruined town. Now it is just Thornton, his horse and the buzzards, and the music thickens with expressive strings. Finally, the end credits begin to roll. The song became a beloved anthem—not only in Mexico, but around the world—and was especially associated with the Mexican Revolution. It is sung during the departure of the bunch from the native village.
Fielding prepared several instrumental versions of the song for the end credits, one of which wound up on his album program disc 3, track But Peckinpah ultimately opted to use a raw source-music rendition to close his bittersweet film. As on the Warner Home Video CD of The Wild Bunchthis closing music comes directly from the finished film in the absence of a surviving music track with vocalsincluding sound effects.
See disc 2, track 28 for the instrumental backing track. Main Title 2. From Coffer to First Shoot-Out 3. Entrance of the General Mariachi at First Cantina Give It to Him Drinking Song Santa Amalia
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