In 1976, Carrie made a star of Sissy Spacek, a bankable first-tier director of Brian DePalma, and a household name of horror writer Stephen King (on whose first novel the film was based). Newcomers John Travolta, Amy Irving, and Nancy Allen didn't do so bad for themselves either.

But like the solid efforts of many film composers, Pino Donaggio's work went largely unheralded at the time, though DePalma would reward him with no less than five more scoring assignments in the years to come. Ironically, Donaggio was the director's second choice; the first, Bernard Herrmann, died just hours after the final recording session for Scorsese's Taxi Driver in December, 1975.

For the Carrie, score, Donaggio descends from the breezy string and flute arrangements that introduce the innocence of the title character into a darkening orchestral maelstrom as the troubled telekinetic Carrie suffers increasingly harsh indignities at the hands of her schoolmates and madly fundamentalist mother. Like his peers Morricone and Rota, Donaggio often understates the most dramatic scenes of his projects; the famed school prom hell storm scene is accompanied merely by rumbling sustained chords from the strings beneath subtly disquieting electronic effects. Ryko's interspersing of dialogue clips is especially effective here, particularly the chilling rantings of Piper Laurie as Carrie's mother.

02 Someone Like Me-vocal by Katie

08 Born To Have It All-vocal by Kate Irving-Merrit Malloy

09 Bucket of Blood

11 School in Flames

12 Mother at the Top of the Stairs

16 Sues Dream

01 black sabbath

02 il telefono

03 rosy e mary

04 frank

05 wurdalak

06 vladimiro e sdenka

07 inizia la strage

09 nessuno si salverà

10 vampiro!

11 la maledizione

12 il volto della paura

13 sangue viennese

14 la goccia d'acqua

15 l' infermiera e l'anello

16 il cadavere de miss perkins

This is Italian composer, Nino Rota's last, and probably most unusual film score.
It's unique percussive sections [the wonderous, brittle, repetitive mechanical bird sequence] aptly demonstrate Rota's vast range. 
This is an elegant final work, not often heard, aptly befitting to the period, it marries Fellini's images with perfection.
Nino Rota's score is really hard to describe. Through the use of unusual instruments (vibraphone, harp and harpsichord, among others) he creates an exotic score, unlike his other, more famous works for Federico Fellini, but very interesting nevertheless. 

01 Nino Rota - O Venezia Venaga Venusia

Boswell's score compliments Jodorowsky's scenes by using styles ranging from from Mexican Mariachi to Stravinsky.

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