SAND PEBBLES, THE (2CD)

Label: Intrada MAF 7116
Date: 1966
Time: 1:49:28
Tracks: 50
Finally! Complete 2-CD presentation of all-time classic Jerry Goldsmith soundtrack from legendary Robert Wise film with Steve McQueen (in his only Oscar-nominated performance), Richard Attenborough, Candice Bergen. Newly re-mixed, re-mastered from original multi-track stereo elements vaulted at 20th Century Fox, 2-CD set features everything in stereo (including stereo CD premiere of "Repel Boarders") plus several previously unreleased cues, numerous never-before-heard alternates as well as Lionel Newman-recorded source music heard in important brothel scenes where Maily (Marayat Andriane) is introduced. Score itself has truly interesting architecture: Goldsmith creates not one but two distinct main themes, yet draws each from the same first four notes! Go one direction, get his military theme for titular gunboat, go the other direction, get his famous major-key love theme for Jake (McQueen), Shirley (Bergen). In addition, composer creates haunting minor-key secondary theme for Frenchie (Attenborough), Maily. Highlights are many but getting spotlight is premiere release of brief all-important cue where Jake first sees "San Pablo" on docks at night. It is here Goldsmith introduces his four widely-spaced notes on French horn, launching military theme that anchors score. Another highlight is premiere release of aggressive, action-oriented alternate for "Commence Firing". Sequence was re-scored, toned down for final production. Both versions are presented here. Strong liner notes by Julie Kirgo, background details by co-producer Michael Matessino, overall supervision by Nick Redman plus both original artwork campaign, 1966 album cover art round out exciting package. Lionel Newman conducts. A genuine film score classic!

Price: $24.99

 
  • More Info
  • Track List
  • Doug's Tech Talk
  • Musicians List
  • Finally! Complete 2-CD presentation of all-time classic Jerry Goldsmith soundtrack from legendary Robert Wise film with Steve McQueen (in his only Oscar-nominated performance), Richard Attenborough, Candice Bergen. Newly re-mixed, re-mastered from original multi-track stereo elements vaulted at 20th Century Fox, 2-CD set features everything in stereo (including stereo CD premiere of "Repel Boarders") plus several previously unreleased cues, numerous never-before-heard alternates as well as Lionel Newman-recorded source music heard in important brothel scenes where Maily (Marayat Andriane) is introduced. Score itself has truly interesting architecture: Goldsmith creates not one but two distinct main themes, yet draws each from the same first four notes! Go one direction, get his military theme for titular gunboat, go the other direction, get his famous major-key love theme for Jake (McQueen), Shirley (Bergen). In addition, composer creates haunting minor-key secondary theme for Frenchie (Attenborough), Maily. Highlights are many but getting spotlight is premiere release of brief all-important cue where Jake first sees "San Pablo" on docks at night. It is here Goldsmith introduces his four widely-spaced notes on French horn, launching military theme that anchors score. Another highlight is premiere release of aggressive, action-oriented alternate for "Commence Firing". Sequence was re-scored, toned down for final production. Both versions are presented here. Strong liner notes by Julie Kirgo, background details by co-producer Michael Matessino, overall supervision by Nick Redman plus both original artwork campaign, 1966 album cover art round out exciting package. Lionel Newman conducts. A genuine film score classic!
  • Play all clips

    CD 1 - The Film Score = 70:22
    01. Overture (2:17)
    02. Main Title (2:56)
    03. Getting Acquainted (3:52)
    04. The San Pablo* (1:02)
    05. Hello, Engine (1:24)
    06. Trial Run - Part I* (0:24)
    07. Trial Run - Part II* (0:22)
    08. Death Of A Coolie (0:57)
    09. Maily Appears (1:07)
    10. The Student (0:40)
    11. Repel Boarders (2:39)
    12. Chang-sha Dock (2:04)
    13. Death Of A Thousand Cuts (4:07)
    14. Not In Vain (0:59)
    15. Chang-sha (Entr'acte) (1:02)
    16. Unfriendly Welcome (0:53)
    17. My Secret (4:00)
    18. Jake And Shirley (4:22)
    19. A Matter Of Ideals (2:01)
    20. The Wedding (6:10)
    21. Coolies Jump Ship (1:50)
    22. Restless Months** (4:35)
    23. Frenchie's Death (2:18)
    24. Maily's Abduction (2:49)
    25. Worried Captain (0:33)
    26. Final Mission/Commence Firing (6:11)
    27. Fire Aft! (2:13)
    28. Almost Home - Part I (1:46)
    29. Night Mission* (0:34)
    30. The Sniper (0:58)
    31. End Title (Almost Home - Part II) (0:59)
    32. Cast Credits (Almost Home - Part III) (0:38)

    CD 2 - Additional Music  = 39:06
    01. Overture (Original Version) (2:53)
    02. Trial Run - Part I (Alternate)* (0:25)
    03. Trial Run - Part II (Alternate)* (0:25)
    04. A Crushing Affair (Music & Effects)* (1:35)
    05. Unfriendly Welcome (Alternate)* (0:48)
    06. Jake And Shirley (Alternate Ending)** (0:49)
    07. Restless Months (Alternate)* (4:37)
    08. Final Mission (Unedited) (3:36)
    09. Commence Firing (Alternate)* (2:14)
    10. Almost Home (Edited Version) (3:01)
    11. Chinese Love Theme (2:27)
    12. And We Were Lovers (Exit Music) (2:39)
    Additional Music Time = 26:28

    Source Music
    13. Toot Toot Tootsie* (2:03)
    14. Five Foot Two* (1:25)
    15. Stumbling* (1:48)
    16. Sleepy Time Gal* (3:25)
    17. I'll See You In My Dreams* (1:59)
    18. Linger Awhile (1:59)
    Source Music Time = 12:32

    * Previously Unreleased
    ** Contains Music Previously Unreleased

  • Tech Talk From The Co-Producer…

    Like most people, the first thing that comes to my mind about September, 2001 is 9/11. I’m fortunate that right behind that come thoughts of Jerry Goldsmith and Robert Wise, both of whom were part of my day-to-day business at that moment in time.

    As the tragedy unfolded we were in the midst of preparing for a September 21 Hollywood Bowl concert at which twenty minutes of Star Trek: The Motion Picture would be performed live to picture. A few nights earlier, Bob Wise was attending a 60th anniversary screening of Citizen Kane, which he’d edited, while I was nearby at the Bowl tech rehearsal, charged by Jerry with making sure all was as it should be (talk about responsibility). In addition to work on the music itself, which involved procuring an incredible variety of percussion and the famous “blaster beam,” details were also being finalized for bringing Mssrs. Wise and Goldsmith, their wives and some of our Star Trek production team together in the best boxes in the house. Despite the concert’s sci-fi emphasis (Goldsmith’s Planet of the Apes, Alien and Star Trek V were also on the program), the first thought I had when I saw the two geniuses together in public was, to my own surprise, “My God, 35 years ago these guys made The Sand Pebbles.” Throughout the evening, that title was mentioned countless times by fans and colleagues who stopped by to experience this historic reunion.

    Only ten days after the events that changed the world, the subject of anti-American sentiment was particularly resonant. So too was the theme of mankind’s propagation of war … as we found out four nights later at a 50th anniversary screening of Wise’s The Day the Earth Stood Still (Bernard Herrmann’s theme had also been played at the Bowl concert). While Robert Wise was never known for a particular visual stamp, a common thread running through his films is an unflinchingly merciless tackling of tough issues. The Sand Pebbles, his favorite of his forty films, is perhaps the definitive expression of that.

    Goldsmith’s music is equally unflinching—we feel the “Death of a Thousand Cuts” rather than just listen to a cue with that title … and his two love themes manage to carry longing and foreboding within their beautiful melodies. This common ability to get to the heart of the matter is what makes the Wise/Goldsmith collaboration so ideal and unique. Even though they only made one other film together (yielding, of course, one of cinema’s most loved and recognized scores), they remained close friends over the years because they shared a way of looking at the world that transcended their professional work. Their first collaboration captured it so perfectly that there was nothing else to say until they together breached the final frontier over a decade later.

    I’ve been honored to be associated with both of these films and scores. Shortly after assembling the first expanded edition soundtrack of The Sand Pebbles, I worked on the special features for the first DVD release of the film, done while Robert Wise Productions was based at Paramount for the “Director’s Edition” of Star Trek. This included a commentary with Bob Wise and some of the actors (sadly, Jerry had a toothache and couldn’t participate). Then, after both men had left us, came the Blu-Ray release for which I conformed the music for an isolated score track that wrapped around a new commentary featuring this album’s producer, Nick Redman, leading Jon Burlingame and Lem Dobbs through a discussion of the film’s production and legacy with, of course, an emphasis on the music. We even got to kick off the track with Jerry himself, excerpting the audio from my interview with him done for the Star Trek project.

    That seemed like a fitting capper but I’m delighted that there was one more to come in the form of the enclosed full restoration of the score for The Sand Pebbles. The process began with recalling the 2? 24-track protection masters made from the original 35mm multi-track magnetic elements in the 1990s. Retransferred at 96k/24 bit resolution, this facilitated the repair of each separate track of audio and the finessing of balance, equalization and stereo steering to bring out the dynamic brilliance of the Fox scoring stage and the studio orchestra’s consummate performance under the exacting baton of Lionel Newman. The original ¼? 1966 album master thankfully provided a stereo version of the cue “Repel Boarders,” which survived in the Fox material only as a monaural dub. Previously unreleased cues fill out the first-ever complete presentation of the score on Disc 1, while a second disc features album versions, alternates and six pieces of period source music recorded for the film. It is indeed the definitive version of The Sand Pebbles, and I have no doubt that both Bob and Jerry are smiling. Listeners will certainly do the same, even as the music takes us on a journey into deeper thoughts.

    —Mike Matessino



  • Composed by Jerry Goldsmith and Conducted by Lionel Newman.

    This soundtrack was produced in cooperation with the
    American Federation of Musicians of the United States and Canada.


    CONTRACTOR
    Urban Thielmann

    VIOLIN
    Louis Kaufman
    Victor Arno
    Israel Baker
    Robert Barene
    George Berres
    Harry Bluestone
    Joachim Chassman
    Harold Dicterow
    Kurt Dieterle
    Adolph DiTullio
    Bonnie Douglas
    Walter Edelstein
    David Frisina
    Jack Gootkin
    Otis Igelman
    Anatol Kaminsky
    Nathan Kaproff
    Varoujan Kodjian
    Marvin Limonick
    Paul Lowenkron
    Alfred Lustgarten
    Erno Neufeld
    Irma Neumann
    Joseph Quadri
    Lou Raderman
    Paul Shure
    Marshall Sosson
    Joe Stepansky
    Leon Trebacz
    Dorothy Wade
    Heiman Weinstine

    VIOLA
    Alvin Dinkin
    Myer Bello
    Sam Boghossian
    Cecil Figelski
    Phillip Goldberg
    Allan Harshman
    Jan Hlinka
    Virginia Majewski
    Alex Neiman
    Sven Reher
    Paul Robyn
    Armand Roth
    Sanford Schonbach


    CELLO
    Kurt Reher
    Margaret Aue
    E. Vance Beach
    Paul Bergstrom
    Joseph Coppin
    Joseph DiTullio
    Armand Kaproff
    Lucien LaPorte
    Irving Lipschultz
    Edgar Lustgarten
    Nino Rosso
    Emmet Sargeant
    Harold Schneier
    Fred Seykora
    Gloria Strassner

    BASS
    Meyer Rubin
    John Bambridge, Sr.
    H arold Brown
    Edward Gilbert
    Richard Kelley, Sr.
    Milton Kestenbaum
    Peter Mercurio
    Kenneth Winstead

    FLUTE
    Luella Howard
    Arthur Hoberman
    Sheridon Stokes

    OBOE
    Gordon Pope
    Norman Benno
    William Criss
    William Kosinski
    Gordon Schoneberg

    CLARINET
    Russell Cheever
    Abe Most
    William Ulyate

    < b>BASSOON
    Don Christlieb
    Jack Marsh
    Ray Nowlin


    FRENCH HORN
    Vincent DeRosa
    Jack Cave
    James Decker
    William Hinshaw
    George Price
    Harry Schmidt
    Henry Sigismonti

    TRUMPET
    Carroll “Cappy” Lewis
    John Clyman
    Robert Fowler

    TROMBONE
    Richard Nash
    Charles Bovingdon
    Ray Klein
    Phillip Teele

    TUBA
    Phil Stephens

    PERCUSSION
    Hal Rees
    Hugh Anderson
    Larry Bunker
    Ralph Collier
    Richard Cornell
    John Cyr
    Frank Flynn
    Walter Goodwin
    Emil Radocchia

    HARP
    Ann Stockton

    PIANO
    Ray Turner
    Caesar Giovannini
    Artie Kane

    GUITAR
    Allan Reuss
    Al Hendrickson
    Robert Bain

    CYMBALOM
    Sam Chianis