At last! World premiere release of complete soundtrack by Jerry Goldsmith for Michael Crichton period action tale of gold robbery performed aboard moving train, starring Sean Connery, Donald Sutherland, Lesley-Anne Down. Though rumored to have been lost forever, Intrada locates complete 1/4" two-track stereo session masters made by Eric Tomlinson during London recording sessions, maintained in beautiful condition courtesy MGM. This enables first-ever release of numerous cues including all-important action cue "Dead Willy", where frenzied string rhythms, powerful trombone figures provide score with its most ferocious moment. Other new cues offer variants to main theme, additional darker sequences. Goldsmith also recorded all of his classical source pieces during the sessions and we include those as well. His take on Handel's famed "Music For the Royal Fireworks" is dazzling indeed. Several alternates were present on masters, including early take on classic "The Gold Arrives" set piece, this time with central section spotlighting virtuoso trumpet double-tongue passage Goldsmith ultimately toned down for final take. Roaring fun! Bonus CD offers U.S. CD premiere of original 1979 soundtrack assembly as produced by Goldsmith, newly mastered from United Artists album master. Informative notes from Jeff Bond, handsome original campaign art complete exciting package. Jerry Goldsmith conducts National Symphony Orchestra. Nicely-priced 2-CD set is part of Intrada MAF catalog of great film scores!
CD1 Complete Original Motion Picture Soundtrack 01. The Gold * (0:11) 02. Main Title (2:43) 03. Is He Dead? * (0:51) 04. Breakfast In Bed (Record Version) (1:49) 05. Breakfast In Bed #1 * (1:44) 06. Breakfast In Bed #2 * (1:46) 07. No Respectable Gentleman (2:25) 08. A Relentless Suitor * (1:16) 09. Clues (3:54) 10. Rotten Row (2:43) 11. The First Key (0:08) 12. Bordello Raid (0:46) 13. Kiddie Caper (2:03) 14. Casing The Station (1:33) 15. Street Attack (Record Version) (1:41) 16. Street Attack (Film Version) * (1:40) 17. Over The Wall (1:59) 18. Night Entry (2:29) 19. Night Exit * (1:00) 20. Double Wax Job (2:57) 21. The Tombstone (1:13) 22. We Go To Paris * (1:12) 23. Dead Willie * (1:58) 24. Open Casket * (0:23) 25. The Padlock * (0:41) 26. All Aboard * (0:35) 27. Departure (0:42) 28. The Gold Arrives (2:44) 29. Torn Coat (1:52) 30. End Title (2:58)
Complete Soundtrack Time 51:00
The Extras (Conducted and/or Supervised by Jerry Goldsmith) 31. The Gold Arrives [Alternate] * (2:43) 32. Sonata In D For Two Pianofortes K448 (Mozart) * (6:02) 33. Source Medley * (5:06) 34. Music For The Royal Fireworks (Handel) * (3:03)
Total Extras Time 18:03
CD1 Total Time 1:09:10
* = Previously Unreleased
CD2 Original 1979 United Artists Soundtrack Album 01. Main Title (2:33) 02. No Respectable Gentleman (2:23) 03. Double Wax Job (2:46) 04. Casing The Station (3:09) 05. The Gold Arrives... (2:43) 06. Kiddie Caper (2:02) 07. Clues (3:52) 08. Rotten Row (2:40) 09. Torn Coat (2:23) 10. End Title (2:58)
CD2 Total Time 27:51
Tech Talk From The Producer…
One of Jerry Goldsmith’s most popular scores arrived in 1979
on a United Artists LP. Taken from the actual soundtrack, the rousing but all-too-brief album
only contained 28 minutes of music. A subsequent expanded CD from Varese Sarabande added
some 8 minutes of material to bring the total of music up to 36 minutes. However, as it turns out,
Goldsmith actually recorded nearly 70 minutes of music, including 50 minutes of his own original
music and another 16 minutes of source material, all under his baton at the Anvil Studios
recording sessions held late in 1978.
Not all of this music ended up in
the final cut of the film. Several cues
are truncated while others are dropped
entirely. In a couple of instances, such
as with “Street Attack,” two different
versions were scored, with the film using
part of one take and just a brief snippet
of the other. In fact, this cue invites
particular attention because the film
discards the second half of take 7 (5M3
Alt.) which otherwise features some
terrific clarinet counter-melodies heard
nowhere else in the score.
Another interesting alteration
comes with the terrific set-piece, “The Gold Arrives.” While previous releases have included
this cue, Goldsmith actually recorded an earlier take never before heard until now, in which the
middle section features three trumpets playing a staccato “double-tongue” passage at fortissimo
levels, a device entirely subdued in the final film (and record) version. It adds an interesting new
layer of excitement to the cue and can be found on CD1 as an “extra.”
Goldsmith also composed and recorded several beautiful chamber variants on his main
theme for lute and flute or lute alone. In another example of music being altered for the film,
you’ll find the familiar reel one orchestral cue, “Breakfast In Bed,” as an example of music not in the film but available on the original record. However, you’ll find the second of two
previously unreleased reel one chamber pieces actually being used in the film, in place of the
LP version. We’ve included all three of them for your listening pleasure.
Headlining the several previously unreleased cues is a sequence entitled “Dead Willie.” A
standout action cue, it becomes the sole piece of action music in the film actually scored with
Goldsmith’s beloved intensity, especially with several descending fortissimo low brass figures.
After some sustained tension (edited from the finished film) the cue breaks loose with another
round of ferocity, much of this portion also deleted from the film. You’ll find it premiering intact
on CD1 as track 23.
All of this is finally possible courtesy
several reels of mint condition ¼˝
two-track stereo session mixes made by
Eric Tomlinson at the sessions. In fact, it
was from these mixes that copies were
made of the ten selections released on
the original United Artists LP. Working
with these masters and the engineering
paperwork, we were able to assemble
every note of Goldsmith’s score in his
intended sequence, as well as all of the
source music he supervised and conducted.
Regarding the latter, listening to
Goldsmith’s interpretation of excerpts from Handel’s justifiably famous “Music For The Royal
Fireworks” (heard in the film underneath—what else?—the fireworks scene) is a great joy.
In addition to the complete 69-minute session recordings, we are also including the original
United Artists LP presentation, newly re-mastered from the 1978 album masters assembled
by Goldsmith and Tomlinson for the film's release. Now we invite you to hear one of the most
rousing and enjoyable works of Goldsmith’s seventies repertoire, complete and unexpurgated
on CD1 and presented in the original edited album form on CD2. Take your pick. Either way,
long trip or short, you’re in for a sensational ride!