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Drag Me to Hell (Original Motion Picture Soundtrack)

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Album Review

Movie director Sam Raimi is sometimes cited by critics for his ability to make genre films that are better than the genre as a whole, particularly the horror genre. It's something of a thankless talent, since horror fans don't necessarily appreciate the distinction, and people who don't care for horror aren't likely to be drawn into theaters because a particular horror film is "above average." Film composer Christopher Young, who has worked with Raimi extensively, has something of the same problem. His music is routinely described as better than the movies in which it appears, but most people don't go to movies to listen to the background scores, either. And that brings us to Raimi's Drag Me to Hell, with a score by Young. Once again, at least some critics ranked the film a cut about most demonic possession pictures, and once again, Young has done more with the music than might have been expected. To be sure, he conforms to the demands of the plot, often revving up his music to coincide with something particularly grisly on screen, with a tendency to create chaotic crescendos that are reminiscent of the one in the Beatles' "A Day in the Life." But the score also contains delicate keyboard-based themes ("Tale of a Haunted Banker," "Familiar Familiars"). In a sleeve note, the composer states that the prominent violin heard in several of the cues is meant to represent the Devil. He also reveals that, through the magic of overdubbing, the violin sometimes boasts ten fingers on the fretboard, playing passages that would be impossible for a single human being to replicate. Charlie Daniels, you have been warned.

Customer Reviews

The Jolts of Energy the Horror Soundtrack Needed

The release of Christopher Young's Drag Me to Hell score has been one of my most anticipated releases for a movie soundtrack this year (at times, even more that the release of Tarantino's Inglourious Basterds). When I first saw the film on opening night, I was captivated, not only by the comedic and ghastly imagery unfolding on-screen, but by Christopher Young's ethereal and bombastic ode to the Universal monster movies of the golden age. The opening and finale tracks are must owns for any fan of Young's work or of soundtrack connoisseurs in general, but it's also worth noting that each track is unique in its own way and perfectly demonstrates Young's capability with the genre, as well as building up to a finale one doesn't really see in score soundtracks these days. So if you're looking for a horror soundtrack that ranks up with the scores for classics like Halloween and Hellraiser (also done by Young), you needn't look any further, for it's only a dragging to Hell away.

Another Horror Gem From Christopher Young

Great sountrack from the man that brought you hellraiser and the grudge. My favorite tracks have got to be lamia, drag me to hell, and concerto to hell some very creepy violin music.


this soundtrack has taken way too long to release, but it was definitely worth the long wait. definitely.


Born: Redbanks, NJ

Genre: Soundtrack

Years Active: '80s, '90s, '00s, '10s

Christopher Young composed film scores for over 50 movies beginning in 1980, including Hellraiser (1987), The Five Heartbeats (1991), Murder in the First (1995), and Wonder Boys (2000); as well as scores for TV movies such as Vietnam War Story: The Last Days (1989), Max and Helen (1990), and the project that garnered him an Emmy nomination, 1996's Norma Jean and Marilyn. Born in Redbanks, NJ, Young attended the Manhattan School of Music, North Texas State University, and UCLA before scoring his first...
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