Let’s be real for a second. When Disney announced a sequel to the 1993 cult classic Hocus Pocus, we were all a little terrified. Sequels—especially those arriving nearly thirty years late—usually feel like a soulless cash grab. But then the music started. Specifically, when Bette Midler, Kathy Najimy, and Sarah Jessica Parker strutted onto that outdoor stage in Salem to belt out a cover of Elton John, it felt like the Sanderson Sisters never actually left. The Hocus Pocus 2 soundtrack had a massive job to do. It had to bridge the gap between 90s nostalgia and modern pop sensibility without losing that "spooky-ooky" orchestral magic that John Debney pioneered in the original.
It worked. Honestly, the music is probably the most cohesive part of the entire movie.
The Cultural Weight of "One Way or Another"
You can’t talk about this soundtrack without hitting the big one. "The Bitch is Back" was famously used in the first film's trailers, but for the sequel, the producers went with a Blondie classic. Well, sorta. It’s a cover, obviously. But hearing Bette Midler lean into those raspy, theatrical vocals on "One Way or Another" is a religious experience for musical theater nerds. It isn't just a pop song; it's a plot device.
In the 1993 film, "I Put a Spell on You" was a literal spell. It was used to enchant the parents of Salem into dancing until they died. In Hocus Pocus 2, the musical numbers serve a similar purpose, but they feel more like a celebration of the Sanderson Sisters' legendary status. The arrangement by Marc Shaiman—who has worked with Midler for decades—is lush. It’s got that big-band, Broadway energy that feels expensive. It’s flashy. It’s camp. It’s exactly what you want from a trio of witches who think a Walgreens is a magic apothecary.
Beyond the Big Hits
While the covers get the most TikTok airplay, the actual score by John Debney is where the craft really hides. Debney returned to the franchise, which is a big deal. Usually, sequels get a "style-alike" composer to save money, but Disney brought back the original architect. He weaves in the "Sarah’s Garden" theme (the "Come Little Children" melody) in ways that feel haunting rather than just repetitive.
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He uses a lot of woodwinds. Flutes and oboes create this skittering, nervous energy that mimics the sisters' frantic search for the Magicae Maxima spell. It’s a masterclass in leitmotif. Every time you hear those specific chimes, you know the Book is about to do something weird.
Why the Hocus Pocus 2 Soundtrack Hits Different
Most modern soundtracks are just a collection of licensed songs thrown together by a committee. This feels curated. Take "Skeleton Sam" by LVCRFT. It’s a modern track, but it has this 1960s "Monster Mash" vibe that fits perfectly with the aesthetic of a New England Halloween. It doesn't feel like a jarring jump from the orchestral score to the pop tracks.
- The Skylar Astin Factor: Having a talent like Astin (from Pitch Perfect fame) on the track "The Witches Are Back" adds a layer of vocal polish that the original movie didn't necessarily have.
- The Original Score: Debney recorded with a full orchestra. You can hear the difference in the "The Kingston Home" track. The strings are thick. They have weight. It’s not just synth-pads.
- The Humor: There’s a track called "I’m an Economy Size" which is just... peak Sanderson humor. It’s theatrical.
The soundtrack also features "Hocus Pocus Voo Doo" by Big Bad Voodoo Daddy. If you lived through the 90s swing revival, this is a deep-cut nostalgia hit that feels incredibly intentional. It mirrors the era when the first film finally found its audience on cable TV.
Dealing With the "I Put a Spell on You" Shadow
Let's address the elephant in the room. Nothing will ever top "I Put a Spell on You." It’s impossible. That performance is etched into the DNA of Halloween. The Hocus Pocus 2 soundtrack doesn't try to beat it; it tries to expand on it. "The Witches Are Back" (an Elton John rewrite) is a bit on the nose, sure. But the lyrics are clever enough to pass. "We're sisters, we're back, and we're ready to attack"—it’s simple, but in the context of the movie’s high-energy opening act, it hits the right notes.
Some critics argued that the music was too "Disney Channel." I disagree. If you listen to the nuanced shifts in the score during the flashback scenes in 1600s Salem, it’s actually quite dark. Debney uses lower brass and minor keys to remind us that, despite the comedy, the Sandersons are actually child-eating hags. That tonal balance is hard to strike.
The Technical Brilliance of Marc Shaiman
Marc Shaiman’s involvement is the secret sauce here. He’s the guy behind Hairspray and Mary Poppins Returns. He knows how to write for Bette Midler better than anyone on the planet. When you listen to the vocal arrangements on the Hocus Pocus 2 soundtrack, notice how he layers the harmonies. Sarah Jessica Parker’s "Siren" voice is always slightly higher and breathier, while Kathy Najimy provides the grounded, rhythmic middle, and Midler takes the lead. It’s a vocal "power trio" dynamic that has been perfected over thirty years of them working together intermittently.
There's a specific track, "The Raven’s Flight," that often gets overlooked. It’s purely instrumental but showcases the evolution of the film's sound. It uses more contemporary percussion than the 1993 score, giving it a slightly faster pace that matches modern cinematography. It’s snappier.
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A Breakdown of the Essential Tracks
- "The Witches Are Back": The high-energy opener. It’s a rewrite of "The Bitch Is Back." It sets the stage for the sisters' return to modern-day Salem.
- "One Way or Another": The centerpiece performance. It happens during the town festival and features a choreographed dance number that is pure fan service.
- "Skeleton Sam": The breakout "cool" song of the movie. It’s been added to about a million Halloween playlists since 2022.
- "Garden of Magic": This is where Debney’s score shines. It’s atmospheric and creepy, reminding us of the witches' origins in the woods.
The production value is noticeably higher than the first film. While the original has that grainy, 90s charm, the sequel’s audio is crisp. You can hear every pluck of a violin string. For audiophiles, the vinyl release of this soundtrack is actually worth picking up because the low-end frequencies in the orchestral bits are surprisingly robust.
What Most People Get Wrong About the Music
A common misconception is that the music was just "background filler." In reality, the music was one of the first things finalized during production. Director Anne Fletcher has a background in dance and choreography (Step Up, 27 Dresses), so she directed the film with a rhythmic sensibility. She needed the music to drive the camera movement. When the sisters are flying on brooms (and Swiffers/Roombas), the music syncs with their flight paths.
Another weird detail: the soundtrack includes a version of "Planet Claire" by The B-52's. It seems out of place until you realize the kitschy, alien-esque vibe of the song perfectly matches the "outsider" nature of the Sandersons. They are effectively aliens in the 21st century.
How to Truly Appreciate the Score
If you want to get the most out of it, stop listening to the vocal tracks for a minute. Go to the second half of the album—the score. "The Mother Witch" is a standout track. It introduces a new motif for the character played by Hannah Waddingham. It’s more primal and ancient-sounding than the sisters' music. It uses deeper choral elements that give the world of Salem a bit more lore-heavy weight.
It’s also worth noting the absence of certain themes. Debney was careful not to over-use the "Come Little Children" melody. He knew that if he played it every five minutes, it would lose its "creepy-sweet" impact. Instead, he saves it for the moments of genuine emotional stakes.
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Actionable Insights for Your Halloween Playlist
If you’re building a mood for a party or just want to relive the movie, don’t just hit "play" on the whole album. Curate it.
- For High Energy: Stick to the first four tracks. They are designed to get people moving.
- For Ambience: Focus on the John Debney score tracks starting from "The Kingston Home" onwards. They are great for background noise while carving pumpkins or reading.
- The "Hidden" Gem: Don't skip "Hocus Pocus Voo Doo." It’s the bridge between the two movies and carries that "Old Salem" charm.
The Hocus Pocus 2 soundtrack succeeds because it respects the source material without being a slave to it. It takes the whimsical, slightly dangerous energy of the 1993 original and polishes it for a generation that grew up on Broadway-style Disney hits. It’s a rare example of a sequel's music actually standing on its own two feet.
To get the full experience, listen to the score with a decent pair of headphones. The stereo field on "The Power of Three" is incredible; you can hear the "magic" swirling from the left ear to the right as the sisters cast their spells. It’s immersive in a way that the first movie’s mono-leaning soundscape never could be. Next time you watch, pay attention to the silence, too. Debney uses quiet moments to make the orchestral stabs hit twice as hard. It’s brilliant.
Next Steps for Music Lovers:
Check out the "making of" featurettes on Disney+ to see Bette Midler in the recording booth. Watching her work with Marc Shaiman provides a whole new level of appreciation for the vocal precision required for these songs. Also, look up the 1993 score on vinyl for a side-by-side comparison of how Debney’s style has matured over three decades.