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Poltergeist II
Poltergeist II

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Manufacturer: Intrada
Publisher: Intrada
Artist(s): Original Soundtrack

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Product Description:
Binding: Audio CD
EAN: 0720258537027
Edition: Limited Collector's Edition
Format: Import
Label: Intrada
Manufacturer: Intrada
Number Of Discs: 1
Publication Date: 2017
Publisher: Intrada
Release Date: 2017-05-29
Running Time: 189
Studio: Intrada
Editorial Review:
Intrada returns to its roots with totally remastered and expanded 3-CD reissue of its own very first 1986 Goldsmith release! Brian Gibson directs follow-up to wildly popular 1982 MGM fright-fest. Original cast returns with addition of Julian Beck (as evil Reverend Kane), Will Sampson (as shaman Taylor) headlining Native American storyline. Goldsmith anchors all-new score with not one but two themes associated with Taylor: first is lean, sinewy idea over sparse open chords, second is powerful, major-key theme typically heard in French horns, trumpet. For portions of film dealing with evil Kane, Goldsmith introduces dynamic satanic choral writing plus chilling variants on early hymn. "Carol Anne's Theme" makes judicious appearances then wraps entire score in gentle fashion. In its day, recording was considered state-of-the-art, utilizing then-new Sony PCM 3324 digital format. For initial 1986 release, Goldsmith and scoring mixer Bruce Botnick created pure digital two-track mixes designed for album and listening purposes. For film itself, Botnick created analog three-channel mixes, designed to balance with center channel dialog. For this definitive edition of Poltergeist II, Intrada presents both complete digital album mixes plus analog film mixes. CD 3 presents array of extras including all cues scored for orchestra and chorus but sans choir. Idea is not as redundant as it may seem: Finished film itself frequently drops chorus or dials it down to near-inaudibility. Being presented for the first time ever is Goldsmith's complete initial version of the massive final confrontation, "Reaching Out/The Astral", which features a distinctive three-part female chorus throughout the winding chordal sequences and, at one point, a solo soprano intoning her own descant. For this early alternate confrontation music, Goldsmith wrapped with a more detailed finale emphasizing a variety of colors before finishing with a very deliberate, accented trombone coda.
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