Every week in Second Listen, Frank Macarthy looks back at lesser-loved albums from well-loved bands’ discographies.

Whether we notice it or not, music plays a pretty hefty role in the success or failure of a film. There are those soundtracks that stand out. Sometimes because they actually add to the film (The Lord of the Rings trilogy). Sometimes because they make you want to turn the movie off (any of the Alvin and the Chipmunk movies). There are also the soundtracks that go unnoticed. Sometimes because they don’t exist (No Country for Old Men). Sometimes because they seemed like an afterthought (the majority of movies you have ever seen).  And then there are the soundtracks that you aren’t embarrassed to have on your iPod. The soundtrack for Drag Me to Hell is one of those soundtracks.

Christopher Young is the composer for the Drag Me to Hell soundtrack, and boy, does he have one hell of a horror résumé. Let’s run through a quick list, shall we? A Nightmare on Elm Street 2: Freddy’s Revenge, The Fly II, the first two Hellraisers, Species, the first two Grudge films, and A Madea Christmas, to name a few. Well, that last one isn’t technically a horror film, but there is something unsettling about Tyler Perry dressed as an old woman (even though he’s made a career out of it). Young has also been recruited by a few directors to work on the majority of their films. Scott Derrickson, for instance, has used Young for his films Sinister (one of my favorite contemporary horror films), The Exorcism of Emily Rose (let’s forget about that one), and the upcoming Deliver Us From Evil. Sam Raimi, the director of Drag Me to Hell, also used Young for The Gift and his third Spiderman installment. I’m not sure if he wrote the impromptu, choreographed musical number, though.

I’ll be the first to admit that I know practically nothing about orchestral film scores. What the hell is that guy doing with that stick, anyway? And where can I get one of those cool sticks? But, what I do know is when a film’s score is memorable. It’s rare that I’ll walk out of a film and talk about the music or the score before pretentiously analyzing the plot, acting, and cinematography. Hell, I might even talk about the costumes and set design before I talk about the music. What does this say about the state of film scores? I’m not sure, but it can’t be good.

Drag Me to Hell is different, though. Like most of Young’s work, the score is equally as important as the visuals. Shrill violin screeches and ethereal childlike vocals dominate the soundtrack. The first track, surprisingly titled “Drag Me to Hell,” fulfills every horror genre convention that almost every uppity horror movie fan expects. It’s more than just the scary, spooky sounds CD you’ve had since the early nineties and play at every Halloween party. Young builds an entirely separate supernatural world with his music. Tracks like, “Loose Teeth” and, “Concerto to Hell” tell a story of their own. They grow, develop, climax, diminish, decelerate, redevelop, and conclude in less than seven minutes. What else is that satisfying and fulfilling in such a limited amount of time? Don’t answer that.

“Lamia,” the name of the demon stalking the main character of the film, mixes the silly with the grotesque. The slow build promises an unforgettable drop (to use the lingo of the trashy dubstep generation), and Young doesn’t disappoint.  Like the silly walking bass line that breaks up the brutally horrific (and office supply-driven) parking garage attack scene from the film, “Lamia” descends into an almost satirical orchestral composition that would make Danny Elfman blush. This is all before shifting to a chaotic mess of goosebump-inducing terror. How many soundtracks can you name that adequately represent the overall emotional drive of a film? I’ll give you a hint, it’s not many.

One thing to keep in mind is that this is still a soundtrack to a film. These songs were orchestrated with specific scenes already prepared, and emotional intent already established. Thus, some of the tracks might not be the best to listen to while you’re out for your daily run. “Ode to Ganush” (the old gypsy woman from the film who places the curse of the Lamia on the main character), for example, is more of an ambient character introduction. And tracks like “Familiar Familiars” and “Brick Dogs Ala Carte” might be better suited as the background music for the fancy dinner you prepared for your significant other (or for yourself, I’m not one to judge). The Drag Me to Hell soundtrack is just that, a soundtrack to a film. A selection of songs meant to highlight the emotional impact of a particular scene. But, somehow, it’s also more than that.

Horror films can be a tough sell, which is why Drag Me to Hell received a wide range of reviews. Some fans argue that this was Raimi’s grand opus. His cumulative reflection on a 42-year career in horror/comedy.  I tend to agree. But, Raimi isn’t the only one who deserves the credit for this incredible piece of horror history. It’s time to give credit where credit is due. So, here’s to all the overlooked and underappreciated composers and sound designers. I like your fuzzy microphones.