"They're heeeeere." This soundtrack's almost as spooky as Steven Spielberg's classic tale of the supernatural. Composer Jerry Goldsmith keeps listeners on edge by constructing sweeping soundscapes with drastically contrast... more »ing moods, rapidly slipping from childlike delicacy to overpowering grandeur in just a few bars of music. Consider the tones of the main title or the rapid shifts from understated menace to overwhelming terror in "Rebirth." From shivering strings (used to especially good effect on "Twisted Abduction") to gentle piano (the closing lullabylike "Rebirth"), Goldsmith is a master of effect, his compositional style perfectly suited to the film. --Genevieve Williams« less
"They're heeeeere." This soundtrack's almost as spooky as Steven Spielberg's classic tale of the supernatural. Composer Jerry Goldsmith keeps listeners on edge by constructing sweeping soundscapes with drastically contrasting moods, rapidly slipping from childlike delicacy to overpowering grandeur in just a few bars of music. Consider the tones of the main title or the rapid shifts from understated menace to overwhelming terror in "Rebirth." From shivering strings (used to especially good effect on "Twisted Abduction") to gentle piano (the closing lullabylike "Rebirth"), Goldsmith is a master of effect, his compositional style perfectly suited to the film. --Genevieve Williams
CD Reviews
A triumph of style and power.
Chadwick H. Saxelid | Concord, CA United States | 01/02/2004
(5 out of 5 stars)
"Jerry Goldsmith's score for Poltergeist is, arguably, one of THE greatest horror film scores of all time - right up there with Herrmann's score for Psycho and Williams for Jaws. Both haunting and soothing, etheral and chaotic, a listener does not know what will come out of the speakers next. This expanded edition, which contains more music than the first release did, is the very definition of ESSENTIAL. I give it my highest recommendation."
They're Heeeere! Goldsmith Is Heeere!!
Luis M. Ramos | Caracas, Venezuela | 03/08/2006
(5 out of 5 stars)
"Jerry Goldsmith has done it again: He freaks me out every time I hear his great composition for "Poltergeist". Let's face it: he gave me the chills with his scores for the Omen trilogy and "Alien". He knew how to make us wonder what mysterious things were lurking in the dark with the music he wrote for horror films.
In spite of the lovely theme for Carol Anne, Goldsmith manipulated our fears with suspenseful moments , especially 'The Tree', 'Night Visitor/No Complaints', and 'It Knows What Scares You'. Tension is also felt with tracks like 'Twisted Abduction' and 'Rebirth', which is one of the finest thrilling moments in this work. Of course, let's not forget the action as the Freeling family tries to escape their haunted house, as Goldsmith makes us join the runaway in the tracks 'Night Of The Beast' and 'Escape From Suburbia'. In general, Goldsmith knew how to scare our wits with his unique understanding of the horror medium.
It's a good thing that Rhino released this expanded edition of one of Jerry Goldsmith's most eloquent, yet creepiest, works. This album should not be looked over."
Perfect!!! Absolutely Perfect!!!
Varese Fan | Sunny FL | 02/02/2002
(5 out of 5 stars)
"I never owned the original album, so I can't compare the two. However, I looked it up on Soundtrack.net, and I couldn't believe there was less than 40 mins. on it! Thank goodness for Rhino Records! They have not only restored and re-mastered this score with perfect pristine sound, but they have included every single note heard in the film, and much much more! Almost 70 mins. of music!I can see why Jerry Goldsmith was nominated for this one! It is not only powerful and effective in the movie, but it is also wonderful as a listen-alone experience. The powerful choir during "Twisted Abduction" will enchant you as much as the brass stings (a frequent Goldsmith trademark) and the strings will sweep you into a world of your own! "The Light" is a very beautiful track in which Dr. Lesh (played by the wonderful Beatrice Straight) explains the concept of the light that the spirits must go through. The spectacular string effects will leave you breathless and begging for more. Another cue I would highly recommend is the "They're Here" cue. When the hand comes through the TV, it will make you jump. You just don't know exactly when that trombone is going to snap at your ears! Then comes the swirling strings as the poltergeist burns as hole through the bedroom wall and shakes the room.If you are a Goldsmith fan, then this is essential to your collection. No question about it! Every cue on this CD will have you pressing the "Skip Back" button many times!"
POLTERGEIST is one of my all-time favourite soundtracks!
Brian G. Joy | Logan, UT USA | 03/02/2000
(5 out of 5 stars)
"From the opening track of "The Star-Spangled Banner" to the chilling close of "Carol Anne's Theme (End Credits)," this album shines brilliantly with a supernatural intensity. It is a rare treat for soundtrack listeners because it includes all of the music from the film plus extra music which, amazingly, was cut from the final version of the film. And what a treat it is. POLTERGEIST is the American Dream turned into the American Nightmare.The inclusion of "The Star-Spangled Banner" as the opening track is a great, ironic prelude for the storm to come in Goldsmith's orginal score. This arrangement is the most familar verison of the song, but the track's ending gives a hint of what's to follow. The static at the end of the track signals the end of the dream and the beginning of the nightmare. The synthesized sounds which usher in track #2 (just as the TV static fades) instantly set the creepy atmosphere of the film. Keeping "The Calling" and "The Neighborhood (Main Title)" in one track (as they are in the film) effectively introduces the two sides which will do battle, both musically as well as in the film.The outtakes of "The Tree," "Broken Glass," and "The Hole" were finished along with the rest of the score before they were cut from the film; as a result, they sound as good as the rest of the score. Thankfully, the album producers decided to include them because the are marvelous additions to the score. They remain understated while retaining an unnerving, unsettling quality.This is where the hints of "something's wrong here" end and terror boldly takes centre stage. "Twisted Abduction" begins quietly, but with a frenzied urgency which only increases with the dynamic level of the music. The vocalising chorus which is introduced at this time lends another powerful element in the other-worldly effect of the music.The music for "The Light" is one of the few respites from the frantic drive of the rest of the ghostly music. Once again, the vocalising chorus adds to the other-worldly nature of the music, but with a totally different effect. It suggests that the "other side" isn't just a place of horror, but also a place where lasting peace can be found. Also, just as Carol Anne's theme represents the love and unity of the Freeling family, it suggests the presence of good.After this break, the listener is plunged back into the world of the macabre. Fractured excerpts of Carol Anne's theme and The Light theme are sprinkled throughout the music which accompanies the fight to bring Carol Anne back to the safety of her family, which she ultimately does. However, even after the house has been pronounced "clean", the monsters from the closet make one more try for Carol Anne before the family is finally able to escape.With this score, Jerry Goldsmith masterfully takes the listener on a journey which is immensely satisfying, both as part of the film as well as a separate musical experience. He delivers the sound of sheer terror just as easily as he relates the soothing tones of a lullaby. In fact, by constantly intermingling these two worlds together, he increases the power of each. Although I sometimes listen to this music as I am falling asleep, it's probably not a good idea for everyone-especially the faint of heart. Oh, and make sure you listen all the way to the end of the last track; it will set your hair on end. To quote Steven Spielberg in the liner notes (which by the way, are very good as well)-"Pleasant dreams.""
Goldsmith's Great Score To A 1980s Horror Masterpiece
Erik North | San Gabriel, CA USA | 04/09/2005
(5 out of 5 stars)
"The late Jerry Goldsmith ranks right up there with John Williams and Elmer Bernstein as one of the greatest composers of film music in history. Among his dozens upon dozens of credits are scores to horror films like 1972's THE OTHER, and his 1976 Oscar-winning score for THE OMEN. The one he composed for the 1982 Steven Spielberg/Tobe Hooper terror classic POLTERGEIST certainly ranks up there as a jewel in his crown.
Beginning with Goldsmith's adaptation of the National Anthem (used in the opening credits, and as the TV in the Frelengs' house is about to receive nothing but snow and a few "TV people"), the score for POLTERGEIST is designed, like the film itself, to keep one just a little off balance and on edge. "Carol Ann's Theme" is one of the more poignant single cues of music in film history, with its children's choir, an astounding fear considering that this is, after all, a horror film. In other places in the score, Goldsmith integrates the ominous Gregorian chant "Dies Irae", a centerpiece of Berlioz's "Symphonie Fantastique" and that also found its way loosely into the music for A CLOCKWORK ORANGE, THE SHINING, and THE RING. Other times, it has echoes of Debussy and Stravinsky. But the score is quite original in its own spectacularly suspenseful and terrifying way.
POLTERGEIST got Goldsmith another Oscar nomination in 1982; and while he lost to Williams' score for E.T., it nevertheless was a huge success for him as a composer, and a reputation that had been built since the 1950s would continue until his passing in 2004. This soundtrack is strongly recommended, especially because it comes from what is, along with THE SHINING, one of the few horror movies released during the 1980s that can legitimately be considered a masterpiece."
Track Listings (13) - Disc #1