I love film scores. Nothing can evoke images and memories from your favorite films like sitting and listening to a well-crafted film score. Which is why it’s been such a treat to have in my hands the score to the 1989 film Ghostbusters II and to hear all the nuances and decisions made that aren’t necessarily audible in the film, nor the unofficial bootleg releases, we’ve all listened to repeatedly over the course of a few decades.
Randy Edelman’s Ghostbusters II score is often overlooked. Elmer Bernstein’s original film score usually commands the majority of the spotlight. But upon first listenings of this incredible remastered score, the themes that present themselves are very apparent. Peter has a recurring theme that gives him swagger and confidence. Dana has a lovely theme to counter that, which is thoughtful and measured, and quite a bit different than that which Bernstein presented in the first film that was far more romantic. There’s a Ghostbusters “hero theme” that’s present for when all four of them gather together. Oscar’s theme sounds like a very sweet and melodic variation on “Rockabye Baby.” There’s even a recurring love theme for sentimental moments between Peter and Dana. More on the themes and motifs here as they become clearer.
It’s also interesting that Edelman and Ivan Reitman were virtually inseparable for a ten year streak starting with Twins in 1988 and ending with Six Days Seven Nights in 1998. In fact, many of Reitman’s films during that period have the same look and feel and the score followed in step. Listening to the album, it’s hard not to also get a sense of Kindergarten Cop and other Reitman films that shared this same optimistic and whimsical sense of comedy. Where Reitman’s working relationship with Bernstein seemed to have soured after the original Ghostbusters, he continued to collaborate with Edelman following this film and far beyond. And, as Reitman’s choices in projects shifted into the 2000’s and beyond, his relationship with Edelman came to a close as well. It’s almost as if entire phases in Ivan Reitman’s career were also accompanied by the music of singular composers until recently, where one doesn’t get the sense he’s found his next match still.
The album is presented out of film sequence, with many tracks combined with other moments elsewhere in the film. I know this can be frustrating to some listeners. There are two schools of thought in film score releases: the completionism approach - where every note heard, or not heard, is present and accounted for. Then there’s the album listening experience, where the composer and producers have arranged the tracks to be a more complete and fulfilling experience from start to finish. Unfortunately, both parties always think the other is wrong. Honestly, I’m just glad to have clean and high fidelity versions of cues. I feel like the beggars can’t be choosers rule should probably be applied in this instance. If rearranging and compiling the music to be optimized for album play was a demand of Edelman or the music label, then it was worth it. Frankly, it’s a miracle this release has occurred. While it would be great to have a 100% complete copy of all score recorded for the film, even having this edition is a most-welcome addition to the collection.
As I listen to the score and hopefully get more insight via liner and production notes to come. I’ll be adding to this dossier of each of the tracks. Since so much of listening to film scores is hearing them over and over and becoming more familiar with them, it’s absolutely impossible to create a complete write up in just a few sittings.
So keep visiting for additional updates and thoughts as they come!
A Few Friends Save Manhattan
This definitely is a one-to-one lift of the end credits melody that closes out the final moments of the credits in the film. I’ve always adored this compilation which starts with Janine’s “You look fantastic in this” moves into the love theme and then into the scurried courtroom/Vigo battle chaos and introduces what I call the “hero theme” for the Ghostbusters as a whole. It comes to a satisfying crescendo meant to close out the credits, but in this instance almost feels like the ending of an overture leading us into the musical experience.
A Baby Carriage Meets Heavy Traffic
Being that the score is so heavily featured in the opening moments of the film, it’s great to hear the urgency and the tension as it was composed here, and how the sound design and effects also helped punctuate some of the musical choices made. I’d love to line this one up with the film to see if any music edits were made in the film that aren’t present here.
Venkman's 6th Ave. Strut
Composers love writing themes for Bill Murray. This jaunt is no exception. To my ear, this is one of the newly recorded tracks mentioned in the press release. It feels like a composed and orchestrated concert version of the Venkman theme that’s heard throughout the film, and highlights Randy Edelman’s incredible piano talents. Between Bernstein’s Bill Murray themes in Stripes and Ghostbusters, and this confident melody, I’m anxious and anticipate what Rob Simonsen may have also done for Afterlife.
Order in the Court
A short quote of the Ray Parker Jr. theme around 2:30 as the courtroom gets eerie and the Ghostbusters search for the Scoleri Brothers that isn’t heard in the final film’s mix. As well as a few instances of Oscar and Dana’s themes at the end of the track that sound to me like the “You’re short, your belly button sticks out, and you’re a terrible burden on your poor mother.”
He's Got Carpathian Eyes
Part of the end battle with Vigo is presented here, essentially the “giving you until the count of three” moment leading to Vigo’s horrible breath knocking our heroes to the ground. This cue seems to track exactly with how it is presented in the film.
The Sensitive Side of Dana
Another cue that sounds like it might have been intended as a concert version, particularly with a lovely string introduction that leads into the Dana theme heard throughout the film starting around the one minute mark. Particularly since this main theme is played on the piano, guessing that this was one of the newly recorded tracks as well. Dana’s theme in the second film sounds very nurturing and comforting, as if more a maternal motif is being presented to her. It’s an interesting contrast to Bernstein’s score which presented Dana as a romantic, but perhaps supernatural in nature character utilizing the ondes martenot to give her an otherworldly feel. Interestingly, that same dichotomy is reserved for Oscar, as we’ll hear in his concert arrangement later.
In Liberty's Shadow
Starts with the heroic and wonderful moment as the Ghostbusters approach the “giant Jell-O mold” of the museum and find that their proton beams are ineffective. This cue is such a rollercoaster of emotion from heroic, to failure, to inspiration, to a quote of almost patriotism as the heroes land on Liberty Island. I’m also excited to figure out just how many different themes we can now sense a repeated pattern of with this presentation.
Rooftop Broom Kidnap
I know that the title of this one trips many people up, is it possible that Janosz was going to appear on a broom stick rather than as a ghostly nanny at one point in the production? It is also one of the tracks on the album that has combined cues spotted from elsewhere in the film for this presentation. Guessing rather than separating out tracks that were short segments, some of the music was arranged for a more complete album listening experience. The last 15 to 20 seconds of the track is the lovely transition sting that leads from the “Face it, Ghostbusters doesn’t exist” conversation into Dana entering Egon’s lab, and is also used elsewhere in the film as a similar transition.
The Scoleri Brothers
The cue begins with Ray noticing the specimen container admitted as evidence “twitching” ultimately leading the explosive reveal of the Scoleris. Then switches to the percussive “teamwork” theme as a transition that crescendos into a full-blown phrase of Ray Parker Jr.’s theme played heroically on the horns. Was this intended to accompany the boys in grey throwing the packs on again for the first time in five years? I’ve also seen a few fellow fans mention this all seems to be score for the post slime swim moments where Ray, Egon and Winston interrupt Peter and Dana’s date in their long johns. Possible either way that the album producers felt this was a good segue from the frantic and intense courtroom battle into a soft and sweet concert piece for Oscar. EDIT: On further reflection, I think the synth leading into the full blown rendition of the Ray Parker Jr. theme is an alternate to the Ecto-1A conversation in front of the museum leading to “Suck in the guts, guys” pose. The timing seems to line up perfectly. Interesting that it was intended to hear the familiar Ghostbusters theme in this moment, but a more generic fanfare replaced it.
Oscar is Quietly Surrounded
This very tender and sweet cue feels like the third and final “newly recorded” concert piece for the album. The cue starts with a sleepy baby’s lullaby phrase of Oscar’s theme. As mentioned earlier, the similarities to the classic “Rockabye Baby” are immediately noticeable here. As more instruments introduce themselves, the piece grows - then takes a dark and ominous note, a looming shadow over Oscar. That see-saw back and forth between childhood and an almost Gothic evil continues throughout as elements from the film are incorporated to build out and fill the concert piece.
A Slime Darkened Doorway
Much like “Vigo’s Last Stand” this appears to be a compilation of the slime moments throughout the film. The cue starts with a mysterious note as the river of slime is building underground and Ray is dangled like a worm on a hook. Tension increases as the slime attacks and Ray causes a Manhattan blackout. The last forty seconds of the cue appear to be the fire erupting in the firehouse darkroom as Winston barges in to save the day.
One Leaky Sewer Faucet
This one is a fun enigma that I look forward to learning more about. Is this the cue that was recorded for the film and unused? Or can we hear bits and pieces of it somewhere and we’ve never realized? Further investigation is needed for this one. Some have suggested it could have been a score for use in the spot eventually occupied by Glen Frey’s Flip City. Which would track, a similar moment like this was scored for the first film and replaced by Magic, after all. Would need to line these up on an edit timeline to investigate further. Though it doesn’t feel quite long enough. It’s a whimsical almost Danny Elfman plucky sounding cue. Perhaps written for Louis’ Slimer experiences omitted from the film?
Vigo's Last Stand
While the title of the track points to the conclusion of the film, which is present at the top of the track here starting with the “Ray, could you move? We’d like to shoot the monster” moment, this actually acts as a compilation of Vigo moments and thematic phrases. Vigo’s Greatest Hits, if you will. At about a minute thirty, it sounds like the moment Venkman finds Oscar a shady spot combined with Egon’s “uh oh” as Vigo exits the painting. The last forty seconds ends on Venkman’s first visit to the museum and introduction to Janosz. A final spooky note when Dana tells Venkman she feels like the painting is watching her and Janosz believes his love is reciprocated closes out the track.
Good With Kids
This compilation of what I can only call the “three men and a baby theme” throughout the film. Starts with the “Not going to get a green card with that attitude pal,” and a phrase from Ray, Egon and Peter’s study of Oscar’s room and wanting to run gynecological tests.
Enlightenment
Janosz’s possession and the reveal that Vigo is commanding him. “Find me a child that I might live again” and lightning shooting into Janosz’s eyes close out this cue straight from the film.
Family Portrait-Finale
The first minute and thirty seconds of this cue as the “Fettuccini” painting is revealed are exactly from the film, but from that point forward a tender resolve feels written for a dialogue scene and conclusion that might have been left on the cutting room floor. Or, being that piano is heavily featured here, parts of this inclusion are newly recorded to being the album to a close where the familiar Ray Parker Jr. theme usually left us on a high note. Particularly the optimistic resolve into the “hero theme” which builds into the full orchestration reprise used in the end credits gives us a sense of the heroes riding off into the sunset as the album comes to a close.
