1. The Star Spangled Banner (1:30)
Not exactly the most obvious opening for any score, let alone a horror
score, but then again, this is anything but an ordinary album. The
arrangement is a typical one, but it turns out to be source music, since
the track ends in the static of a TV.
2. The Calling/The Neighborhood (Main Title) (4:07)
Goldsmith opens with this extremely chilling "teaser" cue as the ghosts
summon Carol Anne to the TV. The composer interpolates brief celeste
statements of the main theme, as well as the beginnings of some of the
other motives, including the trilled tree motif, which sounds like it's
somewhat derived from "Outland." Also present is a hint of the sinister
ghost motif, which won't fully become evident until "Twisted Abduction."
Binding the cue together are some mid-range string dissonance and lush
glissandi that will become a signature of the score. Goldsmith uses
his trademark weird instrumentation, such as a bass slide whistle from
Planet of the Apes and a shimmering synth from ST:TMP. At the end
of this cue is the first lullaby arrangement of Carol Anne's theme, the
glue of the score. "The Neighborhood" lightens the mood considerably,
based almost completely around Carol Anne's theme. Goldsmith demonstrates
its versatility by placing it in a scherzo arrangement. Serving as
a bridge is a percussive section that sounds a lot like some of his later
'80s work, particularly Lionheart.
3. The Tree (Outtake) (2:26)
As the liner notes say, this presents an impressionistic portrait of
a gnarled tree. The trilled motif from the main titles returns, as well
as a few more distinct versions of the atonal ghost motif. Also present
towards the end is a mystical outline of the main theme accompanying the
tree motif on piano. Here, the theme settles from the scherzo into
the tranquil, lyrical melody that it is usually found in. I think
this cue would have greatly added to the scene, and I don't know why it
was removed.
4. The Clown/They're Here/Broken Glass (Outtake)/The Hole (Outtake)/TV
People (5:12)
In this track, Goldsmith provides the listener with the first dissonant
horror music of the album. "The Clown" introduces a new, minimalistic
theme for the object, with hints of the tree motif thrown in. Soon,
the scoring gets more violent with lunging woodwind runs and grinding percussion.
"They're Here" is an extension of the summoning theme from the teaser,
again with sections of the tree motif, shimmering synths, and bass slide
whistle. Next is a part for a grinding, spitting trombone, which
joins swirling strings to form an impressionistic monster. The next
cue is based around a high, dissonant string version of the ghost theme.
In the score, this has two different facets: a menacing motif for The Beast
and a religious arrangement for the benevolent ghosts. The track
is rounded out by forlorn string dissonance and Carol Anne's theme on harp.
5. Twisted Abduction (6:56)
Here, the ghost theme begins the track on bass clarinet, used to signify
The Beast. The music continues to build into a percussion and low-brass-driven
frenzy, all based around this theme. As the film cuts to scenes of
Carol Anne's abduction, the female chorus enters, singing the religious
version of the ghost theme, making this a definite highlight of the score.
The string writing is also noteworthy, using both glissandi and huge swirlings.
A new, pleading string figure makes its appearance, and most of the abduction
music is based on it. At the 3:00 mark, it quiets down into
more of the creepy ambient scoring. This facet of the score sounds
very much like the impressionistically dissonant writing from Planet of
the Apes, with some of the horror writing from Alien thrown in. Also
noteworthy is the way Goldsmith uses sound effects, especially during a
lot of the choral writing - even though it's sublimely lyrical, the listener
is scared to death by it. In the final minutes, the composer intercuts
some more dissonant low brass writing with this technique. Carol
Anne's theme finally appears at the end on celeste.
6. Contacting The Other Side (5:10)
The first few minutes of the track are engulfed in string dissonance,
outlining the religious version of the ghost theme. The summoning
motif also appears briefly, along with lots of slithering bass. Carol
Anne's theme appears at 2:30 in a full arrangement for woodwinds and strings,
but it's promptly thrown into the first statement of the "supernatural"
motif, which is derived from the V'Ger arpeggios of Star Trek. Just
as the lilting theme seems to calm, Goldsmith throws in a huge timpani/low
brass figure. Next is some meandering ethereal string writing, high
dissonance, and a synth version of the main theme. The track ends
with a dissonant orchestral outburst.
7. The Light (2:05)
Here, Goldsmith introduces another main theme of the score. After
a short recap of the main theme, the strings introduce the soaring Religion
theme, which is another of the composer's greatest.
8. Night Visitor/No Complaints (9:07)
This underscores the sequence of the spectres descending the stairs.
The first few seconds are based on the summoning motif, followed by extremely
unnerving dissonance utilizing out of control woodwinds and horn glissandi.
After a repeat of this pattern, yet another new motif enters, which was
hinted at in Contacting the Other Side. This seems partially based
on Spock's theme from STAR TREK, and much of the next section focuses on
that theme in both strings and woodwinds. It also seems like a more
(yes, I said more) dissonant version of one of Alien's themes.
Some of the string arrangements seem like they could be from Stravinsky's
Rite of Spring, since they utilize bitonality. The music grows in
intensity, finally hitting another supremely unnerving horror moment.
"No Complaints" continues this bizarre string arrangement, later turning
the theme into another dissonant action cue.
9. It Knows What Scares You (7:37)
This and the next track are actually one 16 minute cue. A welcome
respite comes in the form of Carol Anne's theme, but basically the entire
track is based around the meandering Alien-derived theme. Actually,
this section reminds me of one of the unreleased parts from the STAR TREK:
THE MOTION PICTURE score. After a while, the Religion theme enters,
bringing some raw power to the proceedings. Later in the track, Goldsmith
begins to experiment with his religious sound, introducing one of his favorite
techniques of using chromatic triads to signify the supernatural.
As someone mentions The Beast onscreen, Goldsmith responds with a menacing
version of the ghost motif in the bass. Following this is a hugely
disturbing slow string and xylophone glissando. Next is a bass piano
ostinato and hints of the Alien theme (I have no idea what to call this,
so I'm referring it to the Alien motif from now on, even though it's not
used much more in the score.) with high string dissonance. Carol
Anne's theme appears among another great passage using water-drop bars
and a menacing woodwind theme. This continues to build, until it
hits the emotional high of the score:
10. Rebirth (8:23)
Probably the most moving track of the score, this reintroduces the
choir, singing a grandiose arrangement of the religious version of the
ghost theme. Next, the supernatural theme, derived from V'ger's arpeggios,
enters, later joined by choir. Just as before, this hits a brass
dissonance. The Religion motif makes a brief appearance in woodwinds,
along with a return to the arpeggios. This next section is very faintly
based on the Alien theme as well as heavy doses of the aforementioned arpeggios.
Later, the brass dissonance is somewhat expanded, and the score builds
into a soaring string version of the Religion theme. After more of
the Alien motif, the arpeggios and Religion theme return, as well as the
grandiose passage that opened the track. In the final minute, Carol
Anne's theme makes its only appearance in the cellos. Like I said,
this is probably the best track on the album because of the way Goldsmith
seamlessly blends the themes into a "ferociously beautiful" monstrosity.
11. Night Of The Beast (3:51)
In the first half, the composer toys with our minds by basing most
of it around low bass rumblings, intercut with fortissimo dissonances.
The second half is completely dissonant and nonthematic, except for a slight
reference of the ghost theme. Still, it's got more of Goldsmith's
excellent uses of orchestration and 20th century modernistic techniques.
12. Escape From Suburbia (7:10)
For the climax of the film, Goldsmith provides us with arguably the
most dissonant action music heard thus far. The only thematic material
present is a recap of the Alien theme, as well as one of his cleverest
passages ever - as the mother lands in a pool full of skeletons, the composer
introduces a brief quote of the Dies Irae, from the Catholic Mass for the
Dead, on tremolo strings. Later, the dissonant action continues with
a more tonal horn riff thrown in. Again, Jerry uses all of his awesome
modernistic techniques to create a horrifying, ghostly sound world as well
as an adrenaline-pumping action cue. Finally, the music calms into
an unnerving string rendition of the Alien theme.
13. Carol Anne's Theme (End Title) (4:19)
Goldsmith gives a farewell to the summoning motif, Alien theme, and
string dissonance in the first section of this cue. The second, the
credits, give several full playings of Carol Anne's theme, now sung by
the female choir. The very last few seconds are probably the most
unnerving of the score, but you have to buy the score yourself to hear
what I'm talking about, because there's no way I'm going to spoil the surprise.
Let's just say that nothing else on the CD sounds remotely like it : -
)
This is another of Goldsmith's masterpieces, and every collector should
buy a copy, even those who hate atonality. Rhino's release is perfect,
rescuing the entire score from the void of studio vaults.
| Music Rating | 10/10  |
| Packaging/Liner Notes | 10/10 |
| Sound Quality | 8/10 |
| Orchestral Performance | 8/10 |
| Length | 10/10 |
