Ghostbusters II Score Album Notes and Analysis

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.

Out Today, Randy Edelman's 1989 Ghostbusters II Score Album!

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The wait is over! After 30+ years of fans wondering if they’ll ever get an official release of Randy Edelman’s bouncy and jovial score to Ghostbusters II, today is the day! Sony Masterworks has remastered and released 16 tracks, including three that have been newly recorded and one scored for the film but not ultimately used.

Stay tuned to the HQ for an in-depth analysis of the score, we’ll be doing our best impression of David Collins soon and trying to line up some of the cues with the film to see what and where material was unused or altered in post production.

And don’t forget the vinyl release hits October 16th. As previously mentioned here on the site, there are glow-in-the-dark Barnes and Noble and Mondo exclusives forthcoming. Stay tuned for more information on those as it develops.

In the meantime, here’s much more information from the good folks at Sony Masterworks:

GHOSTBUSTERS II
ORIGINAL MOTION PICTURE SCORE BY RANDY EDELMAN
AVAILABLE TO STREAM FOR THE FIRST TIME EVER & ON CD TODAY

SCORE TO THE 1989 FILM CLASSIC WILL ALSO BE AVAILABLE FOR THE FIRST TIME ON VINYL BEGINNING FRIDAY, OCTOBER 15 – PREORDER NOW

NEW YORK, NY – For the first time ever and 32 years after the film’s 1989 release, the Original Score to Ghostbusters II is now available to stream and on CD format today from Sony Classical – LISTEN HERE. Featuring score music by award-winning musician, producer and composer Randy Edelman, the 16-track album includes original recordings of the film classic’s score as well as 3 newly re-recorded tracks and an additional song originally recorded by Edelman for the film but not featured in its final production. The album will also be available in vinyl format beginning Friday, October 16, arriving as a gatefold set featuring photos from the film – PREORDER HERE.

(Photo: Billy Hess)

Of the score, composer RANDY EDELMAN says, “In Ghostbusters II, the characters and storyline were expertly conceived and then acted in the sequel brilliantly. The story took place a few years later, but in a sense each character already had a distinct personality, which hadn’t changed a bit. In a way, they carried their own music and soul with them. Their interactions in each scene would determine if musical accompaniment was necessary, and, in most cases, it was not. The new storyline and menace the city of New York was facing, the dark nature of the evil Carpathian, that was where this score would be most urgent. That and the supernatural, explosive and inventive methods of the group of our forward-thinking pals, was where the heart of my score would and should lie. Though I had watched and thoroughly loved the original film several years before, I decided not to view it during my involvement with the sequel. I knew I needed to carefully sculpt a musical palette for this new specific screenplay and did not reference any aspect of the original movie, trying to give Ghostbusters II a well-deserved, new color all its own. I will always appreciate the fact that this decision of mine was never once questioned.”

Speaking of his collaborators to the project, Randy continues, “Upon looking back at any score after so many years, a composer is surely cognizant of those who they were surrounded by, in a process that is always so challenging in many ways. In the case of the sequel to Ghostbusters, I was working on one of my first large scale orchestral works and one that followed the great success of the first movie. I was assisted by the great orchestrator, Mr. Greig McRitchie, music editor Kathy Durning, and engineers Elton Ahi and Robert Fernandez. I have elsewhere here thanked [Director] Ivan Reitman for a stern, yet assuring hand, in his direction at all times, and his confidence in trusting me totally throughout the always delicate process. The large orchestra gave me a spiritual high at each session, and I thank all the wonderful players who participated and lent their talent to my efforts. I got to revisit a few thematic moments for this collection, and it was a blast to be able to do that. It brought back all those incredible memories, and made that magic happen right now, once more. How lucky to experience it over again – I am one fortunate piano player!”

ABOUT RANDY EDELMAN

Music royalty with a career challenging the longevity that rivals the Queen of England, composer, conductor, singer and celebrated piano phenomena Randy Edelman has long been given tribute as one of the most profound and recognizable film, television, and sports soundtrack architects on the planet. A hybrid fusion of Mozart and Bruce Springsteen, there seems to be a certain bedazzlement or wizardry connected to him and his music that leaves a trail of glitter behind never to be forgotten.

Raised in Teaneck New Jersey, Randy was born with the ability to hear music and transcribe it onto the piano. After a brief quarrel with fate where Randy was temporally thrust into the pursuit of pre-med, he moved into full-time piano and composition study at the Cincinnati Music Conservatory where he was then able to follow his unquestionable destiny. He eventually procured an arranging assignment at James Brown’s King Records. In 1970 Randy relocated to New York to work as a staff writer at CBS Records while simultaneously playing piano in Broadway pit orchestras.

Like a seductive alchemist Randy began to write and record his own albums transforming the world’s anguish into a narrative of truth and granting him a thriving audience in the UK and a television spot on “Top of the Pops.” After enjoying the triumph of the British collective effervescence at the London Palladium and Drury Lane Theatre, Randy began to pursue a new interest in LA where he became interested in creating the life, blood and essence of the movies through music, making the plainest faces come alive with promise.

Randy is responsible for creating an endless cascade of many of the world’s most known soundtracks including: Ghostbusters II, 27 Dresses, While You Were Sleeping, The Last of the Mohicans, Kindergarten Cop, Dragonheart, XXX, Twins, My Cousin Vinny, The Mask, Beethoven, Dragon: The Bruce Lee Story, Anaconda, Mummy 3, Gettysburg, Billy Madison, Leap Year, The Whole Nine Yards, EdTV, Daylight and an endless array of others. Some of the television shows and series he scored include: MacGyver, Mr. Sunshine, Backdraft 2 for Netflix, and Citizen X for HBO. These credits only touch the surface of his accomplishments. He has also created the music for “Dare Mighty Things” for NASA’s final Shuttle launch, “Wimbledon, Grand Slam Tennis Series” for ESPN, “ESPN Sports Century,” and even the NBC “on air” Olympic Theme, of which he has celebrated over 20 years of Olympic themed glory keeping the musical flame alive.

Aside from crafting and orchestrating the scores that gave life to the films, a myriad of artists have covered and recorded Randy’s original songs from his solo albums. Included in that catalog is Barry Manilow’s “Weekend in New England,” The Carpenters’ “I Cant Make Music” and Nelly’s “My Place,” reaching Number 1 on the Billboard Hip Hop charts. Others include Willie Nelson’s “Down in the Everglades,” Patti LaBelle’s “Isn’t it a Shame,” Olivia Newton John’s “If Love is Real,” Blood, Sweat & Tears’ “Blue Street,” Royal Philharmonic’s “Grey,” and a list that continues endlessly. Randy has also opened live in breathtaking arenas for icons such as Frank Zappa and The Carpenters.

Randy has also received some of the most prestigious awards including BMI Top Grossing Film Awards, BMI’s highest honor, the Richard Kirk Award for Outstanding Career Achievement, the Lifetime Achievement Award in Film Scoring and Composition, the Best Accolade from the Los Angeles Film Awards, an Honorary Doctorate of Fine Arts and an Emmy for the close of the Olympic Broadcast.

Like a musical Chameleon, Randy continues to compose and record, lighting up the world like fireworks plunging into the night sky and shattering the darkness. The grand composer of modern and future times has just released his highly anticipated anthemic song of hope and inspiration titled “Comin’ Out the Other Side.” The single is now available worldwide via Soho Records. The song promotes an epidemic of joy and happiness as a grand finale to a time best forgotten….

He continues to work on the score for his musical, “Short Cut,” telling of the construction of the Panama Canal. Most recently Sony Masterworks is releasing Randy Edelman’s orchestral score to Ghostbusters II in all formats....

Make the Cutest Mini-Puft S'mores with JustJENN

The official Ghostbusters social media and YouTube channel released an awesome do-it-yourself recipe to create s’mores at home themed after the Mini-Pufts seen in Ghostbusters: Afterlife. All that you need are a few easy supplies, a steady hand, the desire to roast something super cute, and you’re good to go.

A few notable things about this easy to do craft that you can involve the whole family in creating: the recipe is created and crafted in the video by the amazing JustJENN, who has created several other awesome Ghostbusters-themed crafts. Definitely check out her website and social media for more! Secondly, she was kind enough to give me a call to help her film these fun videos, so it’s yours truly behind the camera filming for her.

And thirdly, for film score aficionados like myself, it’s been confirmed that this is the first listen that we’ve been treated to of Rob Simonsen’s new score for Ghostbusters: Afterlife. This theme, seemingly for the Mini-Puft characters combines a lot of the things that I love from 80’s film scores: obviously the original influences of Elmer Bernstein’s original Ghostbusters score is the foundation for it all, but there are also creepy and mischievous allusions to Jerry Goldsmith’s Gremlins score in there, plus a little fun whimsical ticking clock sounds that are reminiscent of Alan Silvestri’s Back to the Future score.

Give the video a watch (and a listen) below, and make sure to send us photos of your own creations from home!