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Jerry Goldsmith - Poltergeist: Original Motion Picture Soundtrack (1982) 2CD Remastered, Expanded Limited Edition 2010

Posted By: Efgrapha

Date: 21 Oct 2021 16:06:47

Jerry Goldsmith was at the peak of his phenomenal powers when he scored Poltergeist, Steven Spielberg’s 1982 film about paranormal activity. With this 2CD set, FSM presents the definitive edition of one of Goldsmith’s finest and most popular works—including the complete film score on Disc 1 and the original LP soundtrack album (along with a few previously unreleased bonus cues and alternates) on Disc 2.

Poltergeist was produced by Spielberg and directed by Tobe Hooper (The Texas Chainsaw Massacre). Set in a fictional Southern California development, it tells the harrowing tale of a typical suburban family whose home is invaded by demonic spirits. It blends elements from previous Spielberg films in a new mix that is part sci-fi, part horror, and part contemporary thriller—all genres in which Jerry Goldsmith excelled.

Goldsmith’s score flows effortlessly between hard-core, dissonant modernism and some of the most lyrical, humanistic music he ever wrote. It is both a marvel of musical construction and a visceral listening experience. Composed over an uncharacteristically long period of fifteen weeks, the music for Poltergeist evokes both child-like simplicity and sheer terror. The complete presentation of the score on Disc 1 includes several passages that were not used in the film.

Mike Matessino restored Goldsmith’s Poltergeist score from the three-track stereo film mixes for this release; Bruce Botnick, the film's original recording supervisor, did the digital mastering. The deluxe 28-page booklet features an informative and perceptive essay on the film and score—incorporating remarks by the composer—and a complete cue-by-cue analysis by Matessino.

As a bonus, disc 2 also includes the re-recorded suite of cues (including one previously unreleased) from Goldsmith’s The Prize (1963). Originally recorded for MGM LP, four of these tracks were included on FSM’s CD of the complete score (FSMCD Vol. 5, No. 16), but all five have now been remixed for superior sound quality from newly-discovered ½” three-track masters.

Review by FilmTracks.com

So active was Steven Spielberg's imagination in the early 1980's that he couldn't contain himself and release E.T. The Extra-Terrestrial and Poltergeist successively. In the process of directing the former and dominating the latter in 1982, he created more controversy with the concurrent projects than necessary. The famed director and producer both created the concept of Poltergeist and managed each of its production elements from start to end. A completely normal family in a suburban house becomes the progressive target of poltergeists associated with the spirits of those in the cemetery that was supposed to have been relocated to accommodate the sub-development. The spirits' revenge eventually includes the kidnapping of the family's youngest daughter and, after her successful rescue, the house is literally sucked into a void and chaos breaks out in the whole neighborhood. For expediency, Spielberg had horror veteran Tobe Hooper direct the film (despite being on set for practically all major shoots) and this decision proved problematic by the time Spielberg was writing public letters in the newspaper trying to convince a skeptical public that Hooper had any input into Poltergeist at all. No matter the extent of his involvement, Poltergeist was a Spielberg film through and through, and with his usual collaborating composer, John Williams, also tied up in early 1982 with E.T. The Extra-Terrestrial, Spielberg turned to Jerry Goldsmith for Poltergeist. The director had always been an enormous fan of Goldsmith, though the two would only work together directly on this and Twilight Zone: The Movie shortly thereafter. Goldsmith was a natural choice for the assignment, having won an Academy Award for his memorable horror genre style in The Omen and extending the same menacing tones to its sequels and Alien and Magic, among others. In the larger scope of Goldsmith's career, Poltergeist would mark the culmination of the composer's efforts in producing the most sinister music an orchestra can provide, and while he would revisit the genre very late in his career, he would never achieve the same monumental success. In Poltergeist, Goldsmith brilliantly created a war between the sweetest, most innocent lyricism and the darkest, most treacherous atonality possible. It's a lesson in contrasts so vivid that you can't help but admire its radical swings of mood and the primordial appeals that both ends of the sonic spectrum make to each listener.

The highly effective score would gain Goldsmith another Academy Award nomination, though all of Poltergeist's nominations would understandably lose to E.T.. Outside of the context of the film, the memorability of the score is most often created by the softer elements representing the Freeling family. As the concepts in the story evolve from the blissful suburban lifestyle to the turmoil of "the other side," the score turns progressively more frightful, first in a suspenseful, religious fashion, and eventually in a seemingly unorganized bombast of atonal orchestral strikes representing "the beast." The outstanding results from Goldsmith's most strident horror material in Poltergeist are difficult to diminish simply due to the fact that they're challenging to casually enjoy on album. But Goldsmith's route to those depths of fright is what matters, and the gems within the Poltergeist score exist halfway through that journey. The score's title theme could deceive the naive in the audience, though "Carol Anne's Theme" is such an invariably good-natured representation of a 5-year-old girl's lullaby that anyone can clearly see that Goldsmith was only using this theme as a control measure for the contrasting horrors to come. In concert performances of Poltergeist, listeners are treated to this lovely piece, but in retrospect, it borders on being contrived when seated next to the remainder of the score. This idea would be very well integrated into the rest of the work, especially in fragments, though a fuller arrangement in "The Neighborhood" (essentially for the main titles) is afforded a wholesome non-choral tone and bubbly interlude that serves as a foreshadowing of the composer's many fluffy, light drama themes in the 1990's. The only other truly organized theme in Poltergeist, however, is its highlight. For the more wondrous and mysterious element of the religious concept involving the souls caught in between worlds in the Freeling's sub-development, Goldsmith coins a longing string theme of curious elegance. First heard during the description of "the other side" in "The Light," this theme would accompany the psychic Tangina in "It Knows What Scares You" (otherwise known as "Let's Get Her"). The floating atmosphere of this melodic string theme causes Poltergeist's frequent comparison to similar parts of Star Trek: The Motion Picture. This theme seemingly plays a larger role in the film than on the various albums for the score, for it is a rare circumstance when early conversational scenes are provided with a substantially deep piece of music. In its fragments over the course of the film's frantic finale, this theme would mostly be unrecognizable due to its violent shifts in tempo and instrumentation.

As the film and score progress even further into the realm of the unknown, Goldsmith conjures two more ideas that successively become less organized. One of these is the transformation of the religious theme into a tumultuous rhythmic motif for low strings and brass that first erupts at 2:20 into "Contacting the Other Side" (also known as "The Jewelry"). This motif steams into full action throughout "Rebirth," first accompanied by whimsical female choir and eventually achieving remarkable weight in the fourth minute of that cue. As the battle to retrieve Carol Anne from the next world ensues, this "battle rhythm" is often interrupted by full ensemble hits. Its merging with the religious theme by the fifth minute of "Rebirth" is a highlight of the entire score. The demeanor of these portions have to make one wonder if Spielberg did not instruct Goldsmith to use John Williams' music for the Ark of the Covenant's opening in Raiders of the Lost Ark as a template for this scene. Hints of this rhythmic material would be rearranged by Goldsmith for the climax of The Haunting in 1999, a neat tribute to the earlier score. Horror enthusiasts will note that this motif clearly inspired Christopher Young when it came time for his Hellraiser scores, too. Finally, the "beast" itself is given an identity, but by the time the score addresses it, the motif is mostly represented by jagged blasts in the lowest registers of the ensemble. A preview of this idea would be provided in the latter half of "It Knows What Scares You" (otherwise known as "Let's Get Her") and occupies the first minute of "Night of the Beast." The larger representations of this concept are mostly atmospheric in a blasting, staggered, rhythmic sense. By "Escape from Suburbia," the score has lost all of its melodic cohesion and exists as only a series of sharp jabs over groaning, atonal strains. After the Freeling family escapes to a motel, the end credits returns to a full statement of the innocent "Carol Anne's Theme" provided at the start, though Goldsmith throws a kink into the conclusion with a really psychotic mix of laughing girls' voices overtaking the end of the thematic performance. While showing a bit of a sense of humor from Goldsmith (or Spielberg; the two collaborated so closely on the music for the project that it could be attributed to one or both), the laughing voices at the end are an extremely effective method of ending the score on a sour note without resorting to typical surprise tactics. Other singular elements in the score deserve mentioning. Throughout the recording, and most evident in the latter half of "Rebirth," Goldsmith utilizes the dry slashing of a cymbal in a fashion that almost resembles the passing of an electric shock. As source material, Goldsmith also recorded the Star Spangled Banner to accompany the television stations' conclusion of broadcasting for the night, an integral aspect of the film.

Goldsmith actually made no use of synthesizers in Poltergeist, but he did employ a musical saw, rub rod, bass slide whistle, water chime, resin drum, and other percussive sounds to both emulate synthetic effects and represent the sense of eerie unknown. Two distinct aspects of their contribution make themselves known immediately. In the first ten seconds of the score, Goldsmith offers the descending, low range effect that appears throughout the score for the sake of mystery, as well as the tingling, extremely high range keyboarded-like accent that usually accompanies it. Overall, Goldsmith's score is horror in its most classic and intelligent form. Whether or not you can enjoy its latter half depends on your ability to appreciate the short bursts of harmony amongst the demonic blasts of fright. The subsequent sequel score by Goldsmith a few years later would only carry over "Carol Anne's Theme" and explore a more menacing, male-chorus variant on the representation of evil. The original LP release of Poltergeist heavily favored the action material, with 38 minutes of music rearranged wildly out of film order. In 1997, Rhino and Turner finally gave Poltergeist a CD release, and it was one of those rare occasions when a label treats an unreleased score so well that no subsequent release was necessary for many years. Rhino expanded the running time to 68 minutes, placing the music in film order and presenting much of the softer material from earlier in the film. Interestingly, many of these cues, including an expanded rendition of "Carol Anne's Theme" in "The Tree," were removed from the film by Spielberg. Given how closely the composer and producer worked on Poltergeist, these outtakes' displacement from the film was a collaborative decision, and some of the problems related to the recordings' applicability to the film related to the fact that Goldsmith had to record the music before the special effects sequences were shot. As such, the composer was sometimes left approximating the synchronization points of the film. A similar presentation, along with that of the LP, was offered by Film Score Monthly as a 10,000-unit pressing in 2010, padding the second of its two CDs with twenty minutes of source and alternate material that is interesting, but not earth-shattering. Also included on that second CD is ten minutes of cleaned up and expanded selections of music from Goldsmith's 1963 score for The Prize, previously released by the label. The true benefit of the 2010 album, other than making the score available after the Rhino product had long gone out of print, is superior sound due to the discovery of better sources, though some listeners may not notice a tremendous difference in quality. While the "complete score" tracks on the two albums differ, they are simply cues combined or split in different places. On either of its CDs, Poltergeist is an essential entry for any Goldsmith collector.

Editorial Review by FilmTracks.com

~ Jerry Goldsmith at Allmusic
~ Jerry Goldsmith at Wiki

~ Film at IMDB
~ Film at Wiki

Tracklist:

CD1 - The Film Score (01:09:15)

01. The Star-Spangled Banner (1:36)
02. The Calling (2:02)
03. The Neighborhood – Day (2:16)
04. The Tree (2:28)
05. The Clown-They're Here-Broken Glass (3:55)
06. The Hole-TV People (1:29)
07. Twisted Abduction (7:01)
08. The Jewelry (5:14)
09. The Light (2:08)
10. Night Visitor (8:03)
11. No Complaints (1:07)
12. Let's Get Her-Rebirth (16:04)
13. Night of the Beast (3:56)
14. Escape from Suburbia (7:32)
15. No TV-End Credits (Carol Anne's Theme) (4:23)

CD2 (Original LP and bonus material) (01:10:39)

The 1982 Soundtrack Album

01. Carol Anne's Theme (3:34)
02. Night Visitor (7:30)
03. Escape from Suburbia (6:26)
04. The Light (2:07)
05. The Neighborhood – Day (2:15)
06. Night of the Beast (2:20)
07. Twisted Abduction (6:17)
08. Rebirth (8:25)

Bonus Tracks

09. Twinkle, Twinkle, Little Star (0:40)
10. Wild Percussion (3:14)
11. The Calling (alternate) (2:08)
12. Carol Anne's Theme (orchestra only) (3:19)
13. The Clown (alternate) (1:20)
14. Escape from Suburbia (alternate) (7:35)
15. Carol Anne's Theme (origianl edit and alternate vocal) (3:25)

Bonus Score: The Prize Soundtrack Album Recording
16. The Prize: Theme from The Prize (2:15)
17. The Prize: Manhunt (2:48)
18. The Prize: Three Lost People (1:23)
19. The Prize: The Night People (2:02)
20. The Prize: The Courier (1:35)

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Jerry Goldsmith / Poltergeist (Disc One: The Film Score)

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DR log CD1

foobar2000 1.2 / Dynamic Range Meter 1.1.1
log date: 2018-10-28 18:32:16

––––––––––––––––––––––––––––––––––––––––
Analyzed: Jerry Goldsmith / Poltergeist (Disc One: The Film Score)
––––––––––––––––––––––––––––––––––––––––

DR Peak RMS Duration Track
––––––––––––––––––––––––––––––––––––––––
DR10 -0.98 dB -13.55 dB 1:36 01-The Star-Spangled Banner
DR10 -3.65 dB -22.21 dB 2:02 02-The Calling
DR13 -1.37 dB -18.21 dB 2:16 03-The Neighborhood – Day
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DR11 -4.89 dB -20.09 dB 2:08 09-The Light
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DR10 -3.85 dB -21.29 dB 1:07 11-No Complaints
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================================================================================

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12 [f5fe33a9|a800c5ef] (08+23/37) Accurately ripped
13 [2062ca63|79879756] (08+23/37) Accurately ripped
14 [2fdddbf8|8679747a] (08+23/37) Accurately ripped
15 [41626eef|b265e208] (08+23/37) Accurately ripped
16 [c6f3571e|a52c82b8] (09+22/37) Accurately ripped
17 [c43f982a|785176bc] (08+22/36) Accurately ripped
18 [ecd7d474|f142d9b1] (08+22/36) Accurately ripped
19 [ca5cca4a|f1c049f1] (08+22/36) Accurately ripped
20 [06b04174|e0fb01c4] (08+22/36) Accurately ripped
Offsetted by 6:
01 [fdb757d9] (00/37) No match (V2 was not tested)
02 [7efd79f8] (00/38) No match (V2 was not tested)
03 [3aef2837] (00/38) No match (V2 was not tested)
04 [9aab32e7] (00/38) No match (V2 was not tested)
05 [0a463426] (00/38) No match (V2 was not tested)
06 [ede08ce2] (00/38) No match (V2 was not tested)
07 [511aaa62] (00/38) No match (V2 was not tested)
08 [26303ffd] (00/38) No match (V2 was not tested)
09 [ad1db8fa] (00/37) No match (V2 was not tested)
10 [c43ec889] (00/37) No match (V2 was not tested)
11 [7ce8cedc] (00/37) No match (V2 was not tested)
12 [3c83160f] (00/37) No match (V2 was not tested)
13 [9d4bb7c1] (00/37) No match (V2 was not tested)
14 [e02df1ca] (00/37) No match (V2 was not tested)
15 [d3ca2889] (00/37) No match (V2 was not tested)
16 [a046d7f2] (00/37) No match (V2 was not tested)
17 [f710a02a] (00/36) No match (V2 was not tested)
18 [4752f0f8] (00/36) No match (V2 was not tested)
19 [ee495824] (00/36) No match (V2 was not tested)
20 [e6cf462e] (00/36) No match (V2 was not tested)

Track Peak [ CRC32 ] [W/O NULL] [ LOG ]
– 89,3 [D841C743] [B52571A7]
01 80,1 [F0ABC09E] [6ABD2B33] CRC32
02 89,3 [6A1DE880] [BF34CAE8] CRC32
03 89,3 [33F8BB2C] [877AEB88] CRC32
04 56,9 [6571C5FD] [03E8E1D6] CRC32
05 85,4 [4E7185DE] [CBD35FB8] CRC32
06 87,0 [04D6E8F9] [6049F6A2] CRC32
07 80,2 [0734B6AE] [4584EB16] CRC32
08 89,3 [1DC2ADB7] [42721D29] CRC32
09 67,1 [97115D70] [AB5355B2] CRC32
10 69,7 [E38D5DC0] [497D9E0B] CRC32
11 67,8 [34BF8F05] [4EE3AEC0] CRC32
12 78,1 [23F2FDC1] [E6574A6A] CRC32
13 80,3 [AF8AF8E3] [69EA9575] CRC32
14 89,3 [787F68C1] [96A4C924] CRC32
15 73,3 [F3720AB8] [A8ED70B8] CRC32
16 66,6 [D205473A] [6BCE29A3] CRC32
17 78,3 [46F4F00C] [E3716EFF] CRC32
18 74,7 [4BBCE092] [8981C3FE] CRC32
19 89,3 [3247FF34] [FFB790CA] CRC32
20 80,9 [E4EA0ED6] [45EB8167] CRC32

CUE Tools log CD2

DR log CD2

foobar2000 1.2 / Dynamic Range Meter 1.1.1
log date: 2018-10-28 18:32:46

––––––––––––––––––––––––––––––––––––––––
Analyzed: Jerry Goldsmith / Poltergeist (Disc Two: The 1982 Soundtrack Album)
––––––––––––––––––––––––––––––––––––––––

DR Peak RMS Duration Track
––––––––––––––––––––––––––––––––––––––––
DR10 -1.92 dB -15.46 dB 3:34 01-Carol Anne's Theme
DR13 -0.98 dB -18.76 dB 7:30 02-Night Visitor
DR13 -0.98 dB -17.60 dB 6:26 03-Escape from Suburbia
DR11 -4.89 dB -20.10 dB 2:07 04-The Light
DR13 -1.37 dB -18.21 dB 2:15 05-The Neighborhood – Day
DR13 -1.21 dB -17.43 dB 2:20 06-Night of the Beast
DR13 -1.91 dB -19.36 dB 6:17 07-Twisted Abduction
DR12 -0.98 dB -17.23 dB 8:25 08-Rebirth
DR9 -3.45 dB -16.78 dB 0:40 09-Twinkle, Twinkle, Little Star
DR14 -3.13 dB -24.31 dB 3:14 10-Wild Percussion
DR11 -3.37 dB -20.84 dB 2:08 11-The Calling (alternate)
DR10 -2.15 dB -16.63 dB 3:19 12-Carol Anne's Theme (orchestra only)
DR13 -1.90 dB -20.35 dB 1:20 13-The Clown (alternate)
DR13 -0.98 dB -18.51 dB 7:35 14-Escape from Suburbia (alternate)
DR10 -2.70 dB -16.89 dB 3:25 15-Carol Anne's Theme (origianl edit and alternate vocal)
DR9 -3.53 dB -15.42 dB 2:15 16-The Prize: Theme from The Prize
DR11 -2.12 dB -17.05 dB 2:48 17-The Prize: Manhunt
DR10 -2.52 dB -17.13 dB 1:23 18-The Prize: Three Lost People
DR10 -0.98 dB -14.97 dB 2:02 19-The Prize: The Night People
DR12 -1.84 dB -15.64 dB 1:35 20-The Prize: The Courier
––––––––––––––––––––––––––––––––––––––––

Number of tracks: 20
Official DR value: DR11

Samplerate: 44100 Hz
Channels: 2
Bits per sample: 16
Bitrate: 899 kbps
Codec: FLAC
================================================================================

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