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The Stripper/Nick Quarry (1963/1968)
Music by Jerry Goldsmith
The Stripper/Nick Quarry The Stripper/Nick Quarry
Click to enlarge images.
Price: $30.00
Limited #: 3000
View CD Page at SAE Store
Line: Silver Age
CD Release: January 2001
Catalog #: Vol. 3, No. 9
# of Discs: 1

Jerry Goldsmith has sustained relationships with numerous top Hollywood directors, from Robert Wise to Joe Dante to Paul Verhoeven. However, no relationship was as longlasting or as fruitful as his collaboration with director Franklin Schaffner, for whom he scored Planet of the Apes, Patton, Papillion, The Boys from Brazil, Islands and the Stream and Lionheart. But before those classics there was The Stripper (1963), Schaffner's first feature film with a heartfelt and melancholy score by Goldsmith, then only 33 years old.

The title is a bit of a misnomer—the film is based on a play by William Inge titled A Loss of Roses and follows a failed Hollywood showgirl (Joanne Woodward) as she returns to her home town and begins a tentative romance with a young man (Richard Beymer). The story is hardly a day in the life of a stripper but rather a sensitive human drama about loneliness and love.

Goldsmith's score is one of his earliest available to collectors and is a rare chance to hear him tackle an established '50s-styled genre rather than push off into his own ‘60s territory. The score is permeated with melody, as well as some jazz elements, and is very much in the style of Alex North's scores for similar pictures—while still retaining Goldsmith’s unique voice. It is presented here in stereo from the original session masters. Also included for the sake of completeness are the various source cues (not by Goldsmith) and the songs recorded by Joanne Woodward for her strip act at the end of the film, only one of which was used in the picture.

As a special bonus, the CD is filled out with a true Goldsmith rarity: Nick Quarry, an unaired 1968 TV show (actually an abbreviated pilot known as a demonstration reel) produced by 20th Century Fox based on the Tony Rome detective film. Goldsmith wrote 11 minutes of music in his Our Man Flint/In Like Flint style which have never been heard—or for that matter, heard of! His complete score is presented here in clean mono.

Jerry Goldsmith Scores on FSM
About the Composer

What to say about Jerry Goldsmith (1929-2004), the reason so many of us are soundtrack collectors in the first place? The Los Angeles native knew early on he wanted to write music for the movies, had an extensive training in television in the 1950s (starting at CBS), and went on to an unparalleled career in the movies—capable of brilliance in every genre, and beloved by his peers and fans. FSM has released as many of his scores as we could get our hands on, from classic TV work like The Man From U.N.C.L.E. to famous features (Patton) and obscure gems like The Illustrated Man and 100 Rifles...heck, make that all of them. Jerry, we love you and miss you! IMDB

Comments (9):Log in or register to post your own comments
On this cd I just got, I found more than one thing to make me happy:

-Early 60's Goldsmith dramatic writing, including some very tender moments for small groupings of the orchestra.
-Interesting vocals by Joanne Woodward (playing someone who can't necessarily sing :) )
-Awesome 60's source music, in small, tasty quantities
-Bonus 60's-jazz-oriented detective action music!

Did you also dig the first cinematic collabortion between director Schaffner & Goldsmith? :D

I like THE STRIPPER side of Goldsmith, though it's never a major Goldsmith opus to me, it's an effective melodramatic score of the kind they don't make anymore.

Tell me, how would rank Goldsmith's THE STRIPPER alongside the similar musical territories of George Duning and Alex North?

I'm sure you're aware that orchestrator Arthur Morton worked extensively with both Duning and Goldsmith at different periods in their careers...

I think THE STRIPPER is absolutely great, and somewhat unusual in Goldsmith's career in the sense that it seems to be almost completely modelled on Alex North's hothouse melodramas. We all know the huge influence North had on Goldsmith, but it was mostly textural things like orchestral growls, whereas in THE STRIPPER it sounds almost like Alex North melodic material. Those long-line bluesy themes were something that Goldsmith never really went back to.

"Those long-line bluesy themes were something that Goldsmith never really went back to."
Thank God!!! ;)
Part of my problem with A GATHERING OF EAGLES is that melodramatic sound he apes from the Golden Era. I like the militiary-style material and action stuff, but the other stuff exists in a world I can't get into.
Although he did revisit the STRIPPER main theme again in JUSTINE :)

Listen at :55 in the cue "Quarry Cornered" (from NICK QUARRY) to hear the beginning of a section where Goldsmith layers solo line upon solo line, one at at time, in fascinating-and-fun, 60's-instrumentation scoring.

That alone was worth the cost of the cd.

THE STRIPPER is a terrific score and one of my 4 or 5 very favorite Goldsmiths.

I just realized that the original FSM description/release announcement for this twofer claims that Nick Quarry is complete but makes no such claim about The Stripper. Does anyone know if there are unreleased cues from The Stripper which Jerry recorded? I wonder if this is a candidate for expansion in the new LLL Goldsmith at 20th series, a la The Flim-Flam Man (which they added a single minute long cue to, even though FSM *did* claim in their original announcement of that title that it was the complete score).


I seem to remember using everything available for The Stripper. But it was a while ago!


I figured you had, since you always did! But you were also pretty diligent about telling us when a release was the complete score, and you didn’t spell it out here (or for Ace Eli) while you did for their respective pairings (Nick Quarry and Room 222). So I’m assuming there was a bit of music you didn’t have, i.e. it wasn’t available on the sources provided by the studio in order to include on album. Like Intrada on their recent Take Her, She’s Mine (a handful of cues lost), or the Varese and Quartet editions of Studs Lonigan (ditto).

Maybe more can be salvaged (and more in fixed/undamaged stereo) with the new tech that’s come out since these early FSM releases... that’s what I’m hoping for LLL’s new Goldsmith at 20th series, anyhow. :)


Track List
Click on each musician name for more credits
For more specific musician lists for the scores on this album, go here:
Nick Quarry
The Stripper

Leader (Conductor):
Jerry (Jerrald) Goldsmith, Peter Rugolo

Victor Arno, George Berres, Joachim Chassman, Kurt Dieterle, Adolph DiTullio, Anatol Kaminsky, Nathan Kaproff, Louis Kaufman, Marvin Limonick, Paul Lowenkron, Erno Neufeld, Irma W. Neumann, Lou Raderman, Ralph Schaeffer, David Selmont, Paul C. Shure

Myer Bello, Alvin Dinkin, Allan Harshman, Alex Neiman, Sven Reher, Sanford Schonbach

Joseph Coppin, Joseph DiTullio, Ossip Giskin, Armand Kaproff, Kurt Reher

Philip J. Graziano (Gray), Keith "Red" Mitchell, Meyer (Mike) Rubin, Kenneth Winstead

Arthur Hoberman, Luella Howard

William Kosinski, Gordon Pope

Russell Cheever, Justin Gordon, Abe Most, Ted Nash, William A. Ulyate

Don Christlieb, Ray Nowlin

Acatino "Tino" Isgro, Plas Johnson, Al Pellegrini

French Horn:
Vincent N. DeRosa, Richard E. Perissi, Harry Schmidt

Herb Alpert, Frank Beach, John Clyman, Don Fagerquist, L. Kaye Klassy, Carroll "Cappy" Lewis

Francis Fitzpatrick, Philip J. Graziano (Gray), Ray Klein, Edward Kusby, Richard "Dick" Nash, Phillip A. Teele

Artie Kane, Milton Raskin, James G. Rowles, Urban Thielmann

Robert F. Bain, Barney Kessel, Trefoni "Tony" Rizzi, Thomas "Tommy" Tedesco

Fender (electric) Bass:
Carol Kaye

Anne Stockton (Mason)

Richard Cornell, Sheldon "Shelly" Manne, Harold L. "Hal" Rees

Bobby Blue (aka Robert Schwartz), Jack Burger, Richard Cornell, Sheldon "Shelly" Manne, Harold L. "Hal" Rees

Urban Thielmann

Wally Heglin, Ernest Rosecrans, Harry Stone

Fred Combattente

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