The Wild Bunch

Tracks 4–28 of disc 2 feature earlier and alternate versions of various Wild Bunch soundtrack cues.

Alternate and Additional Music

Disc Two

4. Adelita
4M1X, 4809-3, 1/6/69
The song “La Adelita,” a corrido (folk ballad) of unknown authorship popular during the Mexican Revolution, tells the story of a young woman who falls in love with a sergeant and follows him to war. In the film, Angel sings it at Sykes’s camp while Dutch and Pike converse and reminisce (see disc 1, tracks 5 and 6). This is the guitar backing track, presented here as recorded in a performance by Julio Corona, a Mexican guitarist tracked down and extricated from Mexico at the special request of Peckinpah (and who performed on much of the score).
5. B Natural Chord (0:00–0:04)
3M1A, 4993-1, 3/6/69

Mexico Lindo (0:05–0:50)
3M2, 4877-1, 2/7/69

Half Hour of Light (0:51–1:15)
3M3, 4875-3, 2/7/69

To Sykes’s Camp (1:16–2:04)
3M4, 4876-5, 2/7/69

The first major difference of this alternate of disc 1, track 4 is the substitution of “Judas Goat” with a single tremolo B natural chord. Also significant is the presence of the dirge theme in “Mexico Lindo” where the film version referenced “Song From The Wild Bunch.”
6. 1st Denver Hotel (without “Darkey’s Awakening”)
4M1X, 5127-1, 4/14/69 (0:00–0:14)
  original title: “Extension Into First Flashback (Denver)”
4M1, 4991-2, 3/6/69 (0:15–0:40), without “Darkey’s Awakening”

7. Denver Flashback (without “Darkey’s Awakening”)
4M3, 4990-2, 3/6/69
  original title: “2nd Denver Hotel,” without Darkey’s Awakening

These two tracks feature the music for Pike’s flashback to Denver (disc 1, tracks 4 and 5) without the overlaid segments of “[The] Darkey’s Awakening.”


8. Slow Motion Tumble (0:00–1:00)
4M5 1st Revision, 5083-2, 4/7/69
original title: “Falling Down the Hill”

Aurora Mi Amor (1:01–3:02)
5M1R, 5050-3, 3/14/69

This version of disc 1, track 7 features the full-length recordings of logs 5083-2 and 5050-3; in the finished film, revised music replaced the first 0:18 and final 0:43. This track opens with a lighter arrangement of “La Adelita,” while “Aurora Mi Amor” retains the cue’s original conception for the ending (see disc 2, track 9), incorporating the dirge theme on muted trumpet.
9. Brother Pike Needs Help
5M1, 4873-3, 2/7/69
Fielding’s first version of the cue for Pike’s fall from the broken saddle (disc 1, track 7) does not feature the “Aurora Mi Amor” melody later associated with Pike’s leg injury. Instead, the dirge theme gets significantly more play, resulting in a darker tone.
10. All Clear (version 2)
5M3R, 5084-3, 4/7/69

11. All Clear (version 1)
5M3, 5052-4, 3/14/69

The April 7 recording of “All Clear” (disc 2, track 10) makes extensive use of the bounty hunter motive. In the March 14 version (disc 2, track 11), a fleeting quote of the dirge theme replaces the bounty hunter motive. The latter portion of the March 14 recording can be heard in the finished film, where it follows music tracked from an early version of “Bounty Hunters” (disc 1, track 8).
12. Drunk With Wine and Love
5M5X, 5140-1, 4/14/69 (0:00–0:15) [single channel]
  original title: “Front Extension (Accordion)”
5M5, 4878-2, 2/7/69 (0:16–1:45) [3-track]

A soft quote of “Aurora Mi Amor” on accordion opens this alternate. The remainder of the cue is similar to the film version, albeit with a gentler ending compared to disc 1, track 9.
13. Song From The Wild Bunch (slow version)
6M4/7M1R, 4966-3, 2/27/69 [3-track]
original title: “Puta”

Fielding recorded this more relaxed version of the song for, as scribbled on the score, “other parts of pict. if needed.” Unlike disc 1, track 12, it features a clean ending—without transitioning into “Angel Blows His Cork.”
14. They’re Coming
9M1, 4995-9/10, 3/7/69 (0:00–0:56) [3-track]
9M1A, 4996-5, 3/7/69 (0:57–1:54)

This alternate corresponds to “Assault on the Train and Escape, Part 1” (disc 1, track 16), and reveals that the cue originally entered almost a full minute earlier. The opening triangle note and clarinet lick would have occurred just as Angel slips the connecting pin free, while the interjections from piano and drums (starting at 0:17) would have come in just as the engine begins to move forward. The cue would have then built up to Thornton’s eager “Let’s go,” rather than enter immediately after it.
15. In the Drink
9M3, 5045-8, 3/14/69 (0:00–1:28)
9M3–10M1A, 5046-6, 3/14/69 (1:29–2:48)

After the Bridge
10M2, 4986-3, 3/6/69 (2:49–3:19)
For this alternate of disc 1, track 17, the first instance of the action motive (heard as the soldiers finally ride out) is absent (yet to be replaced by an insert); instead, this version features a short sequence of rising major seconds (0:43–0:59).
16. Santa Amalia
10M4, 4967-6, 2/27/69, 3-track
This is an earlier, instrumental version of the mariachi standard “El Corrido de Santa Amalia” (see disc 1, track 19 for the version with vocal, heard in the film).
17. Adventures on the High Road, Part 2
11M2X, 5086-2, 4/7/69 (0:00–0:07)   original title: “We Are Friends (front extension)”
11M2, 5049-3, 3/14/69 (0:08–1:32)
  original title: “We Are Friends”

An inverted brass figure at 0:56 and an absence of guitar during the next 0:10 distinguishes this alternate from the version heard in the film—the insert (11M2A in disc 1, track 21) had yet to be recorded.
18. Música—Música
12M2, 4962-2, 2/27/69
12M2S (sweetener), 5131-1, 4/14/69

This is the first of several source performances of “Jesusita en Chihuahua,” of which all but one are placed on disc 2 for optimal listening purposes. Immediately prior to “Sykes in the Sand Box or The Schidt Seen” (disc 1, track 23), Pike and Mapache agree to exchange money for the whereabouts of the guns, and Mapache’s band strikes up the tune as Pike rides off.
19. First Machine Gun Fiesta
12M3, 4963-1, 2/27/69
12M3S (sweetener), 5131-1, 4/14/69
original title: “First Machine Gun”

Second Machine Gun Fiesta
12M4, 4964-2, 2/27/69
12M4S (sweetener), 5133-3, 4/14/69
original title: “2nd Machine Gun”

These additional renditions of “Jesusita en Chihuahua” were used during the scenes in which Mapache recklessly tests out his new machine gun, nearly destroying Agua Verde in the process. (The ragged playing is intentional, as the band is disturbed by the gunfire.) Chronologically, they occur following “Sykes in the Sand Box” (disc 1, track 23).
20. Is That Sykes? (version 2)
13M2, 5001-6, 3/7/69

21. Is That Sykes? (version 1)
13M2, 4985-6, 3/6/69

Although similar to the final film version (disc 1, track 25) in overall shape, these early versions of “Is That Sykes?” are compositionally distinct. They share the final cue’s tension and dissonance, but lack its frantic, percussive momentum. While they are substantially similar, each contains unique performance variations.
22. Fireworks
13M4, 4959-2, 2/27/69 [3-track]
This festive cue is heard just prior to “Dragging Angel” (disc 1, track 26), as the bunch traverses the outskirts of Agua Verde and sees their comrade being pulled through the street, tethered to the back of General Mapache’s automobile. The cue, reprising music from “Mariachi at First Cantina” (disc 1, track 11), is placed on disc 2 for optimal listening purposes.
23. Song From The Wild Bunch (harmonica)
14M4A/5A, 4970-1, 2/27/69 [single channel]
original title: “Wild Harmonica”

This wild harmonica take of the song is an alternate for the guitar version ultimately used in the film (disc 1, track 27).
24. Long March
14M7, 4988-7, 3/6/69 [3-track]
Fielding’s original version of “Attempt to Save Angel” (disc 2, track 1) features shifting, dissonant chords to accentuate the doom-laden percussion.
25. Dirge (revised overlay pickup, take 3)
15M1AS, 5128-3, 4/7/69

26. Dirge (revised overlay pickup, take 1)
15M1AS, 5128-1, 4/7/69

These pickups were designed to be overlaid (at 2:47) onto a revised version of “Dirge and Finale,” the underlying track of which was never recorded—the overlays do not synchronize to the recording in the film (disc 2, track 2). Take 3 mixes the harmonium more prominently, while take 1 uses the timpani line that can also be heard in the film version.
27. La Golondrina (End Title, long version)
16M2R, 5087-2, 4/7/69

Fielding arranged and recorded two very different settings of “La Golondrina” for possible use over the end titles, neither of which wound up in the finished film—although his first version made it onto the original album (16M2; disc 3, track 10). The revised version presented here is a more up-tempo treatment for harmonium, guitar and strings, and includes an extended coda compared to the similar take that can be heard on disc 3, track 19.
28. La Golondrina (instrumental backing track)
6M2, 4969-1, 2/27/69 [3-track]

This is the guitar and harmonica backing track for the version of “La Golondrina” sung by villagers as the bunch departs Angel’s village, reprised for the film version of the end credits. The vocal track no longer survives, although it can be heard at a very low volume—especially during pauses in the instrumental—“bleeding” from its synchronized source on the recording stage in 1969.

Demo Score

Tracks 11 and 12 feature rare recordings located on a monaural ¼″ tape in the Sam Peckinpah collection at the Academy of Motion Pictures Arts and Sciences. These are Fielding’s earliest (albeit undated) demos from The Wild Bunch.

Disc Three

11. Demo #1 (Teresa’s Entrance)
The basic structure of this early demo, arranged for a small mariachi ensemble, is similar to the final form of the “Song From The Wild Bunch”—although the theme unfolds along different lines. This demo formed the basis of Fielding’s original treatment of Teresa’s entrance (disc 3, track 18).
12. Demo #2 (Dirge and Finale)
Fielding’s second demo opens with the dirge theme in more or less its final form, although Peckinpah objected to the very prominent trumpet. This is followed by the melodic relative of the dirge that would feature in the finale. The demo ends with a brief statement of the bounty hunter motive and another reprise of the dirge.

Additional Recordings

Concluding disc 3 are additional recordings from—except for the last track—early during the Wild Bunch scoring process:

13. Teresa Ad Lib #1
4M2A, 4879-1, 2/7/69 [single channel]
14. Teresa Ad Lib #2
4M2A, 4879-2, 2/7/69 [single channel]
15. Teresa Ad Lib #3
4M2A, 4879-3, 2/7/69 [single channel]

Julio Corona performed these guitar solos for the nighttime scene at Sykes’s camp. The finished film uses “La Adelita” exclusively (see disc 2, track 4), but these recordings additionally incorporate Fielding’s early melody for Teresa (see disc 3, track 11). Slate 4879-1 begins with “La Golondrina” before venturing into Fielding’s melody. Slate 4879-2 is the most fascinating, as Fielding can be heard dictating his “Song From The Wild Bunch” to Corona (who could not read music).
16. Santa Maria #1
no slate, 4807-2, 1/6/69 [single channel]
17. Santa Maria #2
10M5/11M1A 4808-2, 1/6/69 [dual channel]
These recordings of “El Corrido de Santa Amalia” (erroneously titled “Santa Maria”) were made for possible use during Mapache’s skirmish with the Villistas (disc 1, track 19). The first is a mariachi backing track containing relatively little melody, while the second features the melody on accordion.
18. Tender Theme (Teresa’s Entrance)
6M4/7M1, 4872-1, 2/7/69 [3-track with single channel on B stem]
This early version of Teresa’s entrance is close to the demo in conception (disc 3, track 11). After making this recording, Fielding revised the theme and recorded it again three weeks later as “Song From The Wild Bunch” (disc 1, track 12).
19. La Golondrina (End Title, short version)
16M2R, 5087-1, 4/7/69

This version of Fielding’s revised end title is substantially the same as that heard on disc 2, track 27, but with a shortened ending. —