Kritzerland To Release Poltergeist II Complete 08-26-13

[Ollie 1,064]

http://www.filmscoremonthly.com/board/posts.cfm?forumID=1&pageID=5&threadID=98150&archive=0

http://www.filmscoremonthly.com/board/posts.cfm?threadID=98350&forumID=1&archive=0

Looks like 1500 copies.

[Naïve Old Fart 9,667]

Thanks for that, Mark. I have always thought that "P:II" was a score that was too good for its film (rather like "Jaws 2", "Link", "Supergirl", and "The Swarm").

I look forward to purchasing this, even though I already have the Varese edition. I used to have this on vinyl. "Inner-groove distortion" my ass!!!

[Ollie 1,064]

I've had all the previous CD releases, what's one more?

[Naïve Old Fart 9,667]

That's the spirit!! Plus: it's Jerry!!!

[Koray Savas 2,251]

Kritzerland is on a roll this year. Will definitely pick this up.

[ManofDestiny 72]

I can't miss it. Good timing to get it with Matrix Reloaded, Earp and Trek Insurrection.

[scallenger 487]

Will have to re-watch the film to see if it is indeed one worth picking up for myself. I love the score to the first film but I'm not sure if I was so fond of the 2nd. It was quite different, as noted.

[Naïve Old Fart 9,667]

The liner notes on the expanded Varese quoted one reviewer, who said that the score was "an island of class, in a sea of dross".

That pretty much covers it.

While it can't stand up to the original, "P: II" is a competent stand-alone score that further cements JG's title as the world's most versatile composer, coming, as it did, between "Runaway", and "Link". How's that for different?! "P: II" has grown on me over the years, although I always found the sound to be a little hollow, and I can't help thinking that the best tracks were on the vinyl edition in 1986...

[King Mark 3,631]

what...it's like the 4th release or something...

[Naïve Old Fart 9,667]

True, but I'll bet that some people have "Star Wars" on;

Vinyl

Cassette,

8-track

CD

Anthology

1997

2004

Corellian ed.

[publicist 4,643]

It's certainly far from necessary, but while it's not top-drawer Goldsmith, he actually came up with quite a bit of interesting new stuff that will only irritate people that generally hate the more synthie-late-80s-aesthetic. This is much more of a blue collar action score with heroic and downright scary elements, with Goldsmith using the chorus chanting TOTAL-RECALL-style. Sometimes when a cue like THEY'RE BACK hits my ipod i'm actually surprised how well it plays among much more recent stuff.

[Jay 37,468]

It's the 4th release of this score. From an FSM poster:

The history of POLTERGEIST II: THE OTHER SIDE soundtracks ...

1986: 30-minute vinyl from Intrada Records and Varese Sarabande

The Power / Late Call / The Smoke / The Worm / Reaching Out

1993: 55-minute Limited Edition from Intrada Reords

The Power / Where Are You? / The Gift / Late Call / They're Back / The Butterflies / Dental Problems

The Plan / The Smoke / The Worm and Vomit Creature / Back to Cuesta Verde / Reaching Out /

Carol Ann's Theme

2003: 60-Minute Deluxe Edition from Varese Sarabande

The Power / Things / The Mall / Late Call / They're Back / Butterflies / The Visitor / Wild Braces /

Leave Us Alone / The Smoke / Back to Cuesta Verde / Reaching Out / Carol Ann's Theme

2013: Kritzerland!

The unreleased tracks will probably be something like this:

The Past (after The Mall aka Where Are You) / The Dream (after The Gift) / Take Care (after They're Back) / The Bottle (after The Smoke)

With the extras, I am guessing the CD will be close to 80 mins.

-Rick O.

Bruce says

Your additional cue titles are all correct as they appear on the cue sheets except for what you call The Bottle - that's called The Drink. There are a few titles that will be different on our release - we've stuck strictly to the titles as the appear on the cue sheets - for example, there is no cue titled "They're Back" -

and

Does "Late Call" include the phone ring effect?

Do you want it to?

We have both versions, with and without.

and most importantly

We've gone back to the original three-track mixes so we didn't have to deal with the previous CDs various EQs, none of which were to my liking and the last of which is mastered so hot as to defy credulity. The four missing short cues are there. No alternates, but we are including bonus tracks of two cues that appear without choir in the film (they were scored to have the choir and appear that way in the main program - but we have the instrumental-only versions in the bonus section) along with some other odds and ends that are fun. Very excited about this one and yes, it's more than 1000 and less than 2000 - given it's prior release history I wasn't comfortable with 2000, whereas I was with 1500, which I think will move just fine. At 2000 I'd have to read the endless litany of "I'm fine with the Varese" - you know what I mean.

[Ollie 1,064]

No matter how many times I listen to that score, that damn phone still startles me.

[publicist 4,643]

Though it was different on EVERY release, wasn't it? I think i preferred the ring on the first release.

[Ollie 1,064]

I believe the expanded Intrada didn't have the rings but the first release and the Varese Deluxe one did.

[crocodile 8,041]

Nice, something I might want.

Maybe it's time to invest in Carrie as well? Always wanted that.

Karol

[Jay 37,468]

Roger from Intrada has chimed in with a couple statements

I never picked up the Varese because I thought our expanded version was fine (it's never been my favorite score...but yes Goldsmith's program for our original release was crazy. Even with the 30 minute AFM restriction, he choose to avoid any of the action music!). The too hot doesn't surprise me, as Varese has been pumping the levels for a while. The RUNAWAY deluxe addition is really hot too...I prefer the sound of their first release. I just didn't realize they were doing this going back so far. Am I reading right that this new release is from the analog masters? Previous releases were from the digital masters (I wonder if Varese forgot to return them to MGM!). Although 1/2" have pretty good sound, if I'm interpreting the source right. Always a good score to keep in print especially for those that wanted everything.

If I remember correctly, and Doug would know better...I think Goldsmith was not in favor of using the chorus. Really not in favor...which is one of the reasons he did not include any of it on the original album. And I think Botnick added the telephone ringing when they made the album...I think it was his idea, not Goldsmith's. But then you get used to it and it sounds weird without it.

http://www.intrada.net/phpBB2/viewtopic.php?p=65361#p65361

Interesting that Varese might have kept the digital masters! Well, maybe the analog ones sounded better anyways.

I'm sure digital recording technology wasn't close to being what it is now back in 1986

Woops, Roger has added

Gah! Of course there's chorus on the original album. Just not the big choral action cues. That's what I meant.

[Jay 37,468]

Oh dear. Doug F has just chimed in with a very interesting post

One big thing to keep in mind, and this we know from being the original label to finance the project back in 1986. The three-channel mixes for Poltergeist II were NOT designed for true stereo listening but made for the Dolby four-channel film prints. On this title, the center channel was mixed specifically with balancing underneath dialog. As such, instruments were positioned in that region separately from where they were in the proper stereo listening mixes. Re-mastering these mixes can address lots of audio issues for today's marketplace BUT can not alter the intentions of them being made to accommodate dialog in Dolby presentations. We already went through all of this with both Goldsmith and Bruce Botnick when we made the original album, one of the first digital soundtracks to hit the then-new CD marketplace, and again when we put together our first expanded release. Goldsmith specifically stated the mixes for the film presentations altered the violas, woodwinds, percussion and some of the electronics considerably and said they were not designed for listening apart from the dialog because they would phase improperly.

While there is warmth to the analog three-channel elements, the instrumental positioning is out of kilter with the actual two-track digital mixes Botnick created. Both he and Goldsmith preferred the digital two-track sources (Sony PCM format) because they reflected what the orchestra spread was intended to be. Though it was then state-of-the-art, the Poltergeist II recording has never been my favorite in terms of audio, and hot and brittle is a good way to describe the digital sources. However, the correct stereo imaging and spread of the true stereo mixes is certainly an important consideration and trumps warmth for me.

If the 1/2" three-channel tapes were all that survived, using them would be a necessity. But the true stereo PCM masters do exist. When we decided to delete the release, we sent the masters to Varese so they could do their own version.

I'll look forward to this upcoming new version and probably enjoy it just fine. Bruce Kimmel can work wonders with the audio on his albums. But that said, my personal preference will still be the true stereo mixes Goldsmith and Botnick created.

--Doug

http://www.intrada.net/phpBB2/viewtopic.php?p=65375#p65375

[#SnowyVernalSpringsEternal 10,265]

Interesting.

I knew Goldsmith and Botnick did both analog and digital for (parts of) Star Trek TMP. Didnt know that about Poltergeist II.

[Marian Schedenig 8,239]

Interesting. I've never warmed up to the score, but some of the reserved praise it gets still makes me not want to give up on it. I think part of the problem might just be the sound, which is extremly wet and makes it hard to hear any details in the orchestration. Listening to it via headphones makes it sound like I'm seriously drunk. I wonder how the new release is going to sound.

[scallenger 487]

One of my bigger problems is actually the choral elements. I can see why Goldsmith didn't really like them. In a way it almost sounds like rejected music from his "Omen" scores, almost having that sort of "rip-off" feeling to them, and they don't really feel like they belong with the rest of the music. It isn't bad, but I'd rather just listen to those "Omen" scores then instead of this one.

I decided not to seek this one after viewing the film again last night just to see (it'd been a while since I'd seen it, haha... not a great film). Since it's fairly limited I'm happy to let one more person who actually really wants it instead.

However, this has now made me want to pop in the wonderful FSM Poltergeist release.

[Jay 37,468]

My oh my, Doug and Bruce are at it again! Read their epic battle right here:

http://www.intrada.net/phpBB2/viewtopic.php?p=65382#p65382

(Keep reading into page 2 of the thread)

[publicist 4,643]

These clowns.

[Ollie 1,064]

Can't we all just get along?

[crocodile 8,041]

Yeah.

Karol

[Wojo 2,453]

I listened to the latest version that I own, but wasn't blown away or anything. I probably won't be upgrading.

[crocodile 8,041]

I haven't got this one at all. I've never heard it, in fact.

Karol

[publicist 4,643]

Get it. It has a mediocre reputation but actually all classic Goldsmith trademarks are included, action, horror, sweet, it's played by an ace american orchestra and has 4 or 5 themes. Hardly classic, but a nice diversion.

[crocodile 8,041]

Oh I wouldn't miss out on it now, it's as good opportunity as any to check this one out.

So I'm gathering from readings bits and bobs from various threads (and I'm not reading very carefully - busy day) this is a 2 CD set?

Karol

[Jay 37,468]

Yes

[crocodile 8,041]

So I guess the original short album will be part of it then as well? If so, sweet.

Karol

[Jay 37,468]

It does not. Bruce says:

no, we're not putting the original LP presentation on the second disc - that interested me not one whit.

disc one will be the complete score, disc two the bonus material.

[crocodile 8,041]

Oh ok. It's still all good. There must be quite a lot of extra material then?

Karol

[Jay 37,468]

Oh boy. Doug has said was is presumably his final say on the matter

http://www.intrada.net/phpBB2/viewtopic.php?p=65424#p65424

[Ollie 1,064]

[#SnowyVernalSpringsEternal 10,265]

To be honest, this is getting a bit childish.

I mean this are 2 mature men who run a business.

[scallenger 487]

Not mature anymore! lol.

[Koray Savas 2,251]

If that's childish I don't know what I'd call the stupid bickering that goes on between members of FSM and JWFan.

[#SnowyVernalSpringsEternal 10,265]

For example?

[Ollie 1,064]

We've been here since 1999, you have to ask?

At least they're presenting facts and actual info.

[#SnowyVernalSpringsEternal 10,265]

Oh yeah!!!

[fommes 154]

They just disagree seriously on those "facts and actual info".

[Jay 37,468]

Now up for sale

http://www.kritzerland.com/poltergeist2.htm

http://www.screenarchives.com/title_detail.cfm/ID/25740/

“THEY’RE BACK…”

In 1982, Steven Spielberg gave the movie world a one-two punch – Poltergeist, which he co-wrote and produced, and a little movie called E.T. Poltergeist delighted audiences and critics – it was the best kind of horror film: a carnival fun ride, a rollercoaster that could have you laughing out loud one minute and screaming in terror the next, all with a shiver-inducing Twilight Zone kind of creepiness.

Since sequels were becoming the norm and were big business, it was not much of a surprise when Poltergeist II: The Other Side went before the cameras – the only surprise was that it took four years to do so. Back were the lovable and endearing Freling family and the actors who played them (Craig T. Nelson, Jobeth Williams, Oliver Robins and Heather O’Rourke), and Zelda Rubinstein as the psychic. In the director’s chair this time was Brian Gibson, and the writers were Michael Grais and Mark Victor who, with Spielberg, had written the original Poltergeist.

While the film wasn’t the success of its predecessor, it did make money and was nominated for an Academy Award for Best Visual Effects. The reviews were middling at the time because there was disappointment (as there usually is with sequels of any kind) that it didn’t live up to the first film. But viewed years later without that baggage, the film does have its pleasures, with wonderful performances by the leads, and a truly one-off and incredibly creepy performance by Julian Beck, the kind of performance that induces nightmares. But what takes the film to a whole other level is the same thing that took Poltergeist to a whole other level – the magnificent score by Jerry Goldsmith.

Goldsmith’s score for Poltergeist had been nominated for an Academy Award (losing to the other Spielberg film, E.T.). But rather than just rehash that score, he chose to just use the “Carol Anne” theme and a few other bits and pieces from the first film, and a lot of new material. Goldsmith uses his usual orchestral forces with some electronics and choir mixed in to good effect. The “Carol Anne” theme occurs every now and then and is, of course, one of the most memorable and beautiful themes he ever wrote. The music for Poltergeist II is ethereal, majestic, suspenseful, heart pounding, and tender. It is also its own distinct thing – it’s not Poltergeist because the film is not just a rehash of the first film.

For this first time ever complete release of Poltergeist II: The Other Side, we have gone back to the original three-track mixdowns as prepared by Jerry Goldsmith. All cues are present and accounted for. Furthermore, we have some bonus tracks – two cues that were on the previous CDs with choir, as they were recorded, were played in the film without the choir and we’ve included those film versions. Also, the cue “Late Call” had a toy phone sound effect on the first release, that wasn’t included on the second, but was on the third – we include it in our bonus section, just for completeness sake, and there are several other nice bonus tracks, including an alternate version of one of the new cues making its first appearance on this CD.

It is a pleasure to release this wonderful Goldsmith score from one of his most fertile periods, complete and in beautiful sound. There was no one like Jerry Goldsmith – he was a film music force like no other. He could do anything – romance, comedy, drama, horror, sci-fi, thriller, mystery – his music has made great films greater and mediocre films tolerable. He understood film music and its purpose as well as any film composer who ever lived. - KRITZERLAND

DISC 1

1. The Power

2. Things

3. The Mall

4. The Past

5. Late Call

6. The Dream

7. Clouds / It’s No Use

8. Take Care

9. Butterflies

10. The Visitor

11. Wild Braces

12. Leave Us Alone

13. The Smoke

14. The Drink

15. The Worm/Out of the Ceiling

16. Faces/Back to Cuesta Verde

17. Reaching Out

18. End Title (Carol Anne’s Theme)

DISC 2: BONUS TRACKS

1. Wild Braces (Film Version)

2. The Worm (Film Version)

3. The Visitor (without choir)

4. The Smoke (without choir)

5. The Dream (alternate version)

6. Late Call (with toy telephone sound effect)

7. It’s No Use (choir track)

8. Star Spangled Banner

[Marian Schedenig 8,239]

Out already, eh? How long do we expect the 1,500 units to last?

[Jay 37,468]

I predict 48 hours.

[#SnowyVernalSpringsEternal 10,265]

Damn, I was considering a purchase, but it will probably sell out too fast.

[Jay 37,468]

If you email Bruce, he will hold a copy for you until you can pay for it.

Peter K will also do the same for you over at moviemusic.com.

[#SnowyVernalSpringsEternal 10,265]

Thanks.

Still havent decided if I need yet another copy of this though.

[lonzoe 18]

They're saying on their site that it ships on the 2nd week of October. And it's not even Sept. yet. WTF? The samples aren't working for me and is causing to my computer to freeze whenever I play one..

[Jay 37,468]

Yea, some of Kritzerland's business practices make no sense.