Customer Reviews

Close Encounters Of The Third Kind: Original Motion Picture Soundtrack

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Though I have many complaints and quibbles with the various "versions" of the Close Encounters of the Third Kind movie, this is wonderfully conceived and put together and there's no need for any other soundtrack versions at least of CE3K.

A lot of soundtrack releases based upon motion pictures often get it wrong. There are always considerations of what music from the film to keep in or out. This is not such a problem with movies that have a dozen or more "pop hits" in them, or classic musicals and broadway type stuff. But in a soundtrack like Close Encounters, there is only the music in the film (all versions) from which to draw material. It is a pleasure to announce that almost ALL of John William's BEST work ever, in my humble opinion, is ON THIS ONE CD. But wait, there's more!

Unlike previous treatments of the music in Close Encounters (from vinyl to 8 track to cassette to CD), not only is there a ton more music here than previously released, but it is arranged in an amazing manner. Though there are many individual tracks, almost all of it proceeds in a symphonic whole. And while it generally follows events in the movie, there are detours along the way that are a pleasant surprise. It is great on repeat or random mode.

John Williams is a composer of many fine movie scores, but is especially associated with Star Wars. Rightfully so, as his work for those films is great. But back in 1977, he not only did the soundtrack to Star Wars, but Close Encounters as well. While even casual music fans know many themes from Star Wars, the five note sequence in CE3K is about all that's memorable for most folks. But dive into the wonder and magic and power of the music on this CD, and hear what you might've missed from the film.

While this work stands alone as a symphony with the best of composers of all time, including the classics, fans of the movie itself, and especially those who've seen it several times, will love this. There are many little touches here that will bring back memories of the film that were both subtle and sublime. As one who has listened to this soundtrack since 1977 in all its forms, I applaud the producers of this treatment. There had always been musical moments from the films missing, but not here. Everything is here, and it's all great.

John Williams uses almost every style imaginable here, every orchestral instrument being used to create alternative moods of doom and the scary and unknown, to rousing, joyous chorus voices mixed with dozens of instruments. Part Star Wars, part 2001, the music here is an awesome ride all the way.

There are a few liberties taken here, and parts of this were not in the film but seem arranged for this CD especially, but everything works beautifully. While John Williams will probably always be better remembered for Star Wars, Jaws, ET and other soundtracks, in my view, the glorious roller coaster ride of his music for Close Encounters will always remain my favorite. And there are really no need for anymore music from the movie CD's at this point. They got it right with this one, and it just doesn't get any better than this.

Even if you don't care that much for the film(s) this music comes from, if you've never heard this work of art in its entirety, you're missing something. And for fans of John William's other work who've never heard a lot of this also (apart from the visual experience of watching the movie), you're in for a pleasant surprise.

An amazing musical trip. Get it!

No two scores could be as different as John William's efforts for "Star Wars" and "Close Encounters of the Third Kind." While "Star Wars" revels in Big Tunes stylistically (and gleefully) "appropriated" from Strauss, Elgar and Korngold, "Close Encounters" voyages to the other end of the sonic universe: dark, fragmented polytonal/ microtonal murmurings more reminiscent of Penderecki or Lutoslawski. And for a director as addicted to sentimental overkill as Spielberg, William's often brooding sonic textures lend a note of menace that skillfully counterbalnces the movie's ocassional whimsy. And when lightness is called for, William's famous five-note "Mother ship" theme comes to the fore, skillfully integrated with references to "When You Wish upon a Star." It's a thoroughgoing treat to see this score not only properly remastered for CD but sporting lots of new music and notes. Too much film music wears thin after repeated listening, but "Close Encounters"'s often dense and mysterious scoring stands up to multiple listenings. Considering the hatchet job usually done to recorded film scores, it's always a pleasure to see a great work get the respect it deserves.

John Williams is no stranger when it comes to writing knockout themes for the cinema. This soundtrack though, doesn't quite lay out a huge main theme like some of his other scores do. Not to say that there isn't one because there is a main theme present. The theme itself is a 5 note motif that Williams finally came up with after literally hundreds of different options. The beginning of the soundtrack is mainly filler music that is atmospheric in nature. "Navy Planes" contains standard Williams action music. Some military-esque marches are found in "The Cover Up", "Stars and Trucks", and "Who Are You People?" Hints of the 5 note main theme are found in "Encounter at Crescendo Summit" and "Barry's Kidnapping". "Wild Signals" is an interesting cue with the aliens and humans playing the 5 note theme to each other faster and faster. However, the best track is the last one, as the main theme is given in full force in gigantic proportions with full orchestra and choir. Bits and pieces of "When You Wish Upon A Star" are featured in the last track as well. If you are expecting Williams' usual bombast and fanfarish sounds, you may be disappointed with this one, as it is much different and more atmospheric than most of his others. Still a good score, though.

Despite Star Wars, from the same year (1977) receiving most of the acclaim at Oscar Time, I, even at ten years old, felt this score was superior. Hearing it again confirms that belief, though my admiration for SW is still boundless. But here Williams runs a wide gamut, from simple "military" music to fill background time to atonal and highly textural segments for the arrival of the aliens. Williams smartly begins these alien encounters on harsh, dissonant music, only to allow it to slowly tonally resolve as our understanding of the aliens' peaceful intention becomes clear. Also, rather than give CE3K a leitmotif contruction a la Wagner as he did SW, here the events of the plot are the focus and have the themes, rather than the people. The thematic growth is extraordinary, and the theme for the arrival of the aliens is especially memorable. But not to be outdone is the grueling music for the Devil's Tower climb. This is film music of a very high order. Williams has done flasier music (and more popular with movie-goers) but rarely music as "organic" and subtle.

The soundtrack to my favorite movie. All the familiar themes and cues are intact, and in the correct order as heard in the film.
For those that know and enjoy the movie after all these years will find new life in the soundtrack with the extra tracks not used in the film, or found on earlier versions of the film music.
It only made me appreciate the movie more, and all will rejoice in the attention and effort put into this soundtrack. Of course, I can't help but look behind me in my truck when the scarier tracks play, but isn't that the essence of what a soundtrack is supposed to accomplish? Evoke the emotions you felt when watching the film. It was a dream realized when this soundtrack was re-released. Superior.

John Williams has to rank as this era's single most popular film music composer. Evidence of this is readily apparent in his complete score for Steven Spielberg's 1977 science fiction masterpiece CLOSE ENCOUNTERS OF THE THIRD KIND. With seventy-eight minutes worth of music, following the film's story from start to finish, the score is brilliantly done, with echoes of Ravel, Ligeti, and Penderecki finding their way in. The celebrated five-note UFO signal piece wisely stays in, as does the use of "When You Wish Upon A Star" (from PINOCCHIO). A tremendous endeavor from a master composer of our time, film music or otherwise.

Ever since I saw the movie, I wanted to have the soundtrack to "Close Encounters". The first time I listend to it, I was amazed. John Williams, as always, delivers a fantastic score, especailly with the surperb opening. The music tells most of the story of them film, changing in style from an otherworldly type, to action, to calm and melodic. Also unforgetable is the communication between the earthlings and aliens in "Wild Signals". The soundtrack is a definate MUST for music lover of all kinds!

The score for Close Encounters of the Third Kind offers a particularly striking contrast to that of Star Wars, which Williams wrote around the same time. It bears much more in common with Jaws, from a couple of years before. While Star Wars leans heavily on the brass section and relies on a series of Wagernian leitmotifs to passively reinforce character and action, the score to Close Encounters actively drives the film, and it's much more subtle, but much less operatic than Star Wars.

So many of the tools that comprise the modern toolbox for the horror or suspense score -- spine-tingling pizzicato, strident discord in the brass and woodwind sections, unnerving sostentuto dissonance on the strings, creepy glissandos and powerful crescendos -- were practically invented by Williams here in the Close Encounters score. One hears a few prefiguring echoes in the score for Jaws as well, and Williams would go on to use similar techniques in Jurassic Park (especially for the raptors) some fifteen years later. But Close Encounters remains the model.

Williams relies on relatively few recurring motifs in his score, though the ones he does use are beautiful and haunting. More often, however, it's atonal, interstellar mood music. Listen to the tracks "Barry's Kidnapping", "The Returnees", and "The Visitors" for examples of these. They're quite otherworldly and brilliant. And the "dialogue" between the scientists and the mothership, with its universally recognizable five-tone sequence (an essential plot point in the film), is playfully rendered in the track "Wild Signals".

All together, one of Williams's very best scores.

Second only to Star Wars because of its historical importance, Close Encounters Of The Third Kind remains John Williams' most remarkable effort.
From hard to soft, from creepy to downright haunting, from mysterious to shocking, from thematic grandeur to terrifying cacophony, practically everything you can do with a symphony orchestra is presented here.
And not only that; John Williams defined alien music for generations to come.

Presented here is the full score in chronological order, plus alternates and unused cues, and it was about time.
What John Williams managed to do to the film and the listener is outstanding: there has never been, nor will there ever be a score that is so strange and dissonant, but so fascinating, powerful and capturing at the same time.
I don't know where Williams dug up all those playing techniques and writing styles, sometimes so abstract that you'd think it would be impossible to incorporate them into a coherent piece of music, but Williams did it; and you just can't detach yourself.

What fascinates me most about Close Encounters is the way dissonance and harmony full of awe are combined. John Williams would write fast aleatoric, almost incomprehendable violin passages, and suddenly slow, huge sounding tuba lines come in underneath to illustrate the arrival of the aliens. Out of the cacophony, suddenly an emotional horn line would emerge. You can hear this approach for instance in "The Mothership". I think hearing one of these cues with the film in mind is one of the most chilling moments someone can experience; this truly is the power of movie and music.

One of the best cues on the album is the track "Wild Signals", written in a call-and-response manner. This piece accompanies the scene in which humans and aliens are communicating via music (which is such a touching idea itself) and Steven Spielberg actually edited the movie in a way so that it would fit the music.
This track also introduces the main theme for the film, the five-note motif that NASA now sends out into the space to look for extraterrestrial life.
There is a handful of other themes, all featured in the final 12 minute track that is in my humble opinion one of the best cues ever written for film. The thematic and choral beauty is so overwhelming; and the terrifying, yet awe- inspiring alien music transforms over the course of the piece into something friendly and pure, until the main theme is sung by a boy choir.

It's not only the technical aspects that make Close Encounters so outstanding, it's first and foremost the emotions you feel when you hear it.
Just like in the film, there's always a sense of mystery in the air; you can't put your finger on it, but there's always something in the air.
The movie, and much more so the music, make you yearn. You believe it, you long for the great mystery. This score will change the way you look at the evening sky forever, so be prepared; it might never let you go!

I love this score. It is a true accomplishment on Williams' behalf. Also, the sound quality has been greatly improved from the Varese release thanks to Shawn Murphy and the 20 bit Digital Mastering.