Orchestrated by Tim Simonec, Jack J. Hayes, Matthew Ferraro, Adam Cohen,

                          and Chris Tilton

Conducted by Tim Simonec

Produced by Michael Giacchino

Release Date: November 2, 2004   

       Walt Disney Records
 

     The first Pixar film to not utilize a score by Randy Newman also translates into Michael Giacchino's first theatrical film score, something that I have been looking forward to ever since I first became introduced to his work with the original Medal of Honor album. Since that time, most of his scores have been in the large brassy militaristic vein, with two Medal of Honor sequels, Secret Weapons Over Normandy, and Call of Duty. With his television work, he branched out into the David Arnold-esque electronically-mixed orchestra for Alias. With The Incredibles, he takes that whole genre a few steps back into the 60s and introduces a score that is typical Giacchino, in that he knows what he's shooting for and hits it right on the mark, but that is so different sound-wise you'll be impressed he was able to pull it off so well.

     For The Incredibles, the style of a 60s jazz-based score was so key to the film that it was recorded totally live with no tracking (instruments added to the mix at a later date), and on analog equipment. The result is quite spectacular, and it sounds like a high-quality master of an older score (the slight mushiness of the analog format gives it this feel). Giacchino really pulls out all the stops for this score and it has that swingin' big band style that combines Carl Stalling, David Newman, and John Barry in one surprisingly well-rounded package. In fact, a few sections sound so much like Barry (New and Improved being the most immediate example), that if you ever wondered how other composers would handle the Bond franchise, this is your big chance. And after this, I daresay that David Arnold has some stiff competition out there. The string and brass sections come out almost exactly right in this regard.

     And speaking of brass, Giacchino goes insane with it for this score. Whenever the action gets hot and heavy, the brass is right there blaring away in an almost Goldenthal-esque Batman Forever fashion (though far less sarcastic sounding). It never gets overbearing, and there are plenty of breaks about from the intense action. The brass is also fitting for the jazzier moments that lift the music to a degree of absolute fun that is totally unexpected from this film (for those expecting more of the John Williams Superman-type heroics), but fits right in nevertheless. There is also the slight of tongue-in-cheek feeling that totally captures the over the top mood that this music sets from track one. It never takes itself seriously, even in the more emotional sections, but it never tries to pretend it's anything other than what it is.

01 - The Glory Days (3:32)

02 - Mr. Huph Will See You Now (1:35)

03 - Adventure Calling (2:23)

04 - Bob Vs. The Omnidroid (2:53)

05 - Lava in the Afternoon (1:29)

06 - Life's Incredible Again (1:24)

07 - Off To Work (1:59)

08 - New And Improved (2:15)

09 - Kronos Unveiled (3:16)

10 - Martial Rescue (2:19)

11 - Missile Lock (2:07)

12 - Lithe or Death (3:24)

13 - 100 Mile Dash (3:07)

14 - A Whole Family of Supers (3:27)

15 - Escaping Nomanisan (1:45)

16 - Road Trip! (2:27)

17 - Saving Metroville (5:03)

18 - The New Babysitter (3:26)

19 - The Incredits (7:23)