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Editorial Reviews
Original soundtrack to the 2011 blockbuster motion picture composed by Michael Giacchino.
Customer Reviews
Most Helpful Customer Reviews
15 of 15 people found the following review helpful
Format:MP3 Music|Amazon Verified Purchase
The quality of this music is just fantastic - one of the best in recent years. Super 8 is a film that reminds many viewers of the old Spielberg films such as E.T., and the music reminds me of those classic scores by John Williams. The music perfectly captures the spirit of the movie, so anyone who enjoyed Super 8 should definitely give this soundtrack a listen.
In terms of quantity, there is a lot of music here. Normally, most film scores contain approximately 60 minutes of music. Super 8 contains nearly 78 minutes of music. This feels like its the complete score. I have seen the film twice, and all the key musical moments from the film are included on this soundtrack.
I strongly suggest purchasing this entire album, especially because the music is divided among 33 different tracks. Many tracks are under a minute, and are therefore not cost-effective for single track purchasing. But for those who don't want to purchase the whole album, I would recommend these two tracks as the essentials:
Track 1 - Super 8
Track 31 - Letting Go
Also, for those unfamiliar with the work of composer Michael Giacchino, allow me to suggest two other soundtracks which are just as great as Super 8.
Star Trek & Up
In terms of quantity, there is a lot of music here. Normally, most film scores contain approximately 60 minutes of music. Super 8 contains nearly 78 minutes of music. This feels like its the complete score. I have seen the film twice, and all the key musical moments from the film are included on this soundtrack.
I strongly suggest purchasing this entire album, especially because the music is divided among 33 different tracks. Many tracks are under a minute, and are therefore not cost-effective for single track purchasing. But for those who don't want to purchase the whole album, I would recommend these two tracks as the essentials:
Track 1 - Super 8
Track 31 - Letting Go
Also, for those unfamiliar with the work of composer Michael Giacchino, allow me to suggest two other soundtracks which are just as great as Super 8.
Star Trek & Up
8 of 9 people found the following review helpful
4.0 out of 5 stars
Reflections of early Williams brought to life through his clear successor
August 21, 2011
By Jon Broxton
Format:Audio CD
Super 8 is director J.J. Abrams' sentimental homage to Steven Spielberg. One part monster movie, one part children's fantasy, it takes inspiration from films such as E.T. and The Goonies in that it looks at a terrible event from an adult perspective, but filters it through children's eyes, so that the simple and uncomplicated central truths of that event shine through, especially the ones which the adults cannot see. It's also a loving tribute to a childhood obsessed with movies, sitting in darkened theaters, munching popcorn, dreaming of making movies one day yourself. Abrams did this, Spielberg did this, and Michael Giacchino did this too.
The film stars Joel Courtney as Joe, a young boy in 1970s small-town America who passed the time making Super 8 films with his friends during their summer vacation. Joe is emotionally distant from his father Jackson (Kyle Chandler), the chief of police in the town, following the death of his mother, but has a crush on Alice (Elle Fanning), the daughter of the man whose heavy drinking indirectly caused his mother's death. While out shooting their home movie one night, the children inadvertently witness - and record - a terrifying train wreck, and before long strange happenings begin to occur in their town. With Government agents attempting to cover things up, the children put two and two together and realize that the train crash and the unexplained deaths are connected, and set out to solve the mystery themselves.
Michael Giacchino has worked on almost every one of Abrams' works to date, both small screen and theatrical, ranging from hit TV shows like Lost, Alias and Fringe to big-screen smashes such as Star Trek, Mission Impossible III and Cloverfield. Their relationship is such that Giacchino understands Abrams' deeper meanings in his films, and such is the case with Super 8, where the film - and the score - looks at things with an unmistakable sense of child-like wonder. Written for a large symphony orchestra with an unexpected emphasis on woodwinds and harp, Giacchino's score drips with the ghosts of John Williams' 1980s Spielberg scores, in the way certain instruments are phrased, his chord progressions, and in the general "sound" of the piece as a whole. This throwback sound, which Giacchino captured so well in his early Medal of Honor scores, gives Super 8 an immediate sense of time and place which is rare for a film of this type, as well as giving it all a wonderfully nostalgic sheen for anyone whose first experience of film music was through those classic Williams scores of the period.
The centerpiece of the score is the Children's theme, which usually centers itself around Joe and his feelings, but often acts as a broad motif for the entire gang of children. First appearing in the opening "Super 8", it's a nostalgic and hopeful cue for the full orchestra, and as it develops through the score it most often accompanies Joe's moments of self-reflection and, especially, the memories of his mother. The tender piano-led performance in "Family Matters", the intimate statement for solo harp in "Model Painting", and the gentle recapitulation in "Thoughts of Mom" are all lovely, and allows the theme to make itself known without becoming obvious or maudlin.
Several secondary themes act as leitmotifs for different aspects of the story. There's a recurring motif for the budding relationship between Joe and Alice; it first appears with timid hesitancy in "Acting Chops", and later plays with a light-hearted fluidity in "We'll Fix It Post-Haste". The monster gets a motif of his own - a growling four note piece - which first appears in "Aftermath Class" and which goes on to accompany the monster's many rampages through dark and vivid action material in cues such as "Circle Gets the Cubs" and "Breen There Ate That". A lot of the suspense material that also follows the monster around involves high string sustains and tumbling, slithering woodwind effects, creating a creepy atmosphere of dark unease. However, as the score progresses, the monster motif starts appearing everywhere, hovering in the background, as the search for the creature intensifies. Listen for it, for example, played on searching strings and harps at the end of "Neighborhood Watch - Fail", on rumbling low pianos at the beginning of "The Evacuation of Lillian", and with an almost breathless nobility during the spectacular "The Siege of Lillian".
The final thematic idea is a staccato militaristic motif for the Army-types that invade the little town, whose unwillingness to reveal information about the monster and its origins raise the suspicions of the gang in the first place. Usually played on fluttering muted brasses, the Military motif actually seems to be rooted in Giacchino's early video game scores such as Medal of Honor and Secret Weapons Over Normandy, further elaborating on the Williams similarities. Following brief snippets in cues such as "Gas and Go", "Radio Haze" and towards the end of "Thoughts of Mom", its centerpiece performances come in the aforementioned "The Evacuation of Lillian" and "Lambs on the Lam", two of the barnstorming highlights of the score.
Throughout the score Giacchino cleverly blends these four themes together to create a sensible and intelligent progression of the ideas, often playing them off against each other in unusual and unexpected combinations. "Thoughts of Cubism", for example, has the Children's theme on piano playing off the Monster motif on woodwinds, allowing the conversation in Joe's bedroom to foreshadow the events to come. The lovely pairing of "Mom's Necklace" and "Alice Projects on Joe" both combine the Children's theme with the Joe & Alice love theme in a sentimental and graceful arrangement for harp and strings. "Woodward Bites It", "A Truckload of Trouble", and the vicious-sounding "World's Worst Field Trip" pit performances of the Monster motif against ragged, dangerous-sounding statements of the Military motif to excellent effect. Best of all, the middle section of "Neighborhood Watch - Fail" actually sees the Children's theme and the Joe & Alice love theme play in simultaneous counterpoint to each other in a panicky way, illustrating the increasing danger in which the children find themselves.
The 20-minute finale, comprising "Creature Comforts", "Letting Go" and the "Super 8 Suite", stands as some of the most emotionally charged and conventionally beautiful music Giacchino has ever written for film, presenting large and powerful statements of both the Children's theme and the Joe & Alice love theme for the entire orchestra. The uneasy atmosphere of "Creature Comforts", in which Joe's theme and the Monster motif reach their zenith via some dark and ominous orchestral rumblings, thunderous action moments and dissonant effects, allow the thematic power of the final two cues to really shine. The astonishing statement of the Joe & Alice theme towards the end of "Letting Go", as well as the subsequent counterpointed performance of the two themes together, is goosebump-inducing stuff that clearly aspires to emulate the operatic finale of E.T.
The more I listen to Super 8, the more I think that this score is one of the most impressive cinematic works of Michael Giacchino's career. While his TV score for Lost had the leitmotivic complexity to end all, and while his Oscar-winning score for Up had buckets of emotional pathos, and while scores like Star Trek had a great deal of action music power and resonance, Super 8 is the first of his scores to combine all three elements together into a satisfying whole that has worked personally for me as a standalone listening experience. This, combined with the obvious inspiration he took from the story and its deeper meanings, as well as the clear and intentional illusions to the classic work of John Williams, makes Super 8 a winner.
The film stars Joel Courtney as Joe, a young boy in 1970s small-town America who passed the time making Super 8 films with his friends during their summer vacation. Joe is emotionally distant from his father Jackson (Kyle Chandler), the chief of police in the town, following the death of his mother, but has a crush on Alice (Elle Fanning), the daughter of the man whose heavy drinking indirectly caused his mother's death. While out shooting their home movie one night, the children inadvertently witness - and record - a terrifying train wreck, and before long strange happenings begin to occur in their town. With Government agents attempting to cover things up, the children put two and two together and realize that the train crash and the unexplained deaths are connected, and set out to solve the mystery themselves.
Michael Giacchino has worked on almost every one of Abrams' works to date, both small screen and theatrical, ranging from hit TV shows like Lost, Alias and Fringe to big-screen smashes such as Star Trek, Mission Impossible III and Cloverfield. Their relationship is such that Giacchino understands Abrams' deeper meanings in his films, and such is the case with Super 8, where the film - and the score - looks at things with an unmistakable sense of child-like wonder. Written for a large symphony orchestra with an unexpected emphasis on woodwinds and harp, Giacchino's score drips with the ghosts of John Williams' 1980s Spielberg scores, in the way certain instruments are phrased, his chord progressions, and in the general "sound" of the piece as a whole. This throwback sound, which Giacchino captured so well in his early Medal of Honor scores, gives Super 8 an immediate sense of time and place which is rare for a film of this type, as well as giving it all a wonderfully nostalgic sheen for anyone whose first experience of film music was through those classic Williams scores of the period.
The centerpiece of the score is the Children's theme, which usually centers itself around Joe and his feelings, but often acts as a broad motif for the entire gang of children. First appearing in the opening "Super 8", it's a nostalgic and hopeful cue for the full orchestra, and as it develops through the score it most often accompanies Joe's moments of self-reflection and, especially, the memories of his mother. The tender piano-led performance in "Family Matters", the intimate statement for solo harp in "Model Painting", and the gentle recapitulation in "Thoughts of Mom" are all lovely, and allows the theme to make itself known without becoming obvious or maudlin.
Several secondary themes act as leitmotifs for different aspects of the story. There's a recurring motif for the budding relationship between Joe and Alice; it first appears with timid hesitancy in "Acting Chops", and later plays with a light-hearted fluidity in "We'll Fix It Post-Haste". The monster gets a motif of his own - a growling four note piece - which first appears in "Aftermath Class" and which goes on to accompany the monster's many rampages through dark and vivid action material in cues such as "Circle Gets the Cubs" and "Breen There Ate That". A lot of the suspense material that also follows the monster around involves high string sustains and tumbling, slithering woodwind effects, creating a creepy atmosphere of dark unease. However, as the score progresses, the monster motif starts appearing everywhere, hovering in the background, as the search for the creature intensifies. Listen for it, for example, played on searching strings and harps at the end of "Neighborhood Watch - Fail", on rumbling low pianos at the beginning of "The Evacuation of Lillian", and with an almost breathless nobility during the spectacular "The Siege of Lillian".
The final thematic idea is a staccato militaristic motif for the Army-types that invade the little town, whose unwillingness to reveal information about the monster and its origins raise the suspicions of the gang in the first place. Usually played on fluttering muted brasses, the Military motif actually seems to be rooted in Giacchino's early video game scores such as Medal of Honor and Secret Weapons Over Normandy, further elaborating on the Williams similarities. Following brief snippets in cues such as "Gas and Go", "Radio Haze" and towards the end of "Thoughts of Mom", its centerpiece performances come in the aforementioned "The Evacuation of Lillian" and "Lambs on the Lam", two of the barnstorming highlights of the score.
Throughout the score Giacchino cleverly blends these four themes together to create a sensible and intelligent progression of the ideas, often playing them off against each other in unusual and unexpected combinations. "Thoughts of Cubism", for example, has the Children's theme on piano playing off the Monster motif on woodwinds, allowing the conversation in Joe's bedroom to foreshadow the events to come. The lovely pairing of "Mom's Necklace" and "Alice Projects on Joe" both combine the Children's theme with the Joe & Alice love theme in a sentimental and graceful arrangement for harp and strings. "Woodward Bites It", "A Truckload of Trouble", and the vicious-sounding "World's Worst Field Trip" pit performances of the Monster motif against ragged, dangerous-sounding statements of the Military motif to excellent effect. Best of all, the middle section of "Neighborhood Watch - Fail" actually sees the Children's theme and the Joe & Alice love theme play in simultaneous counterpoint to each other in a panicky way, illustrating the increasing danger in which the children find themselves.
The 20-minute finale, comprising "Creature Comforts", "Letting Go" and the "Super 8 Suite", stands as some of the most emotionally charged and conventionally beautiful music Giacchino has ever written for film, presenting large and powerful statements of both the Children's theme and the Joe & Alice love theme for the entire orchestra. The uneasy atmosphere of "Creature Comforts", in which Joe's theme and the Monster motif reach their zenith via some dark and ominous orchestral rumblings, thunderous action moments and dissonant effects, allow the thematic power of the final two cues to really shine. The astonishing statement of the Joe & Alice theme towards the end of "Letting Go", as well as the subsequent counterpointed performance of the two themes together, is goosebump-inducing stuff that clearly aspires to emulate the operatic finale of E.T.
The more I listen to Super 8, the more I think that this score is one of the most impressive cinematic works of Michael Giacchino's career. While his TV score for Lost had the leitmotivic complexity to end all, and while his Oscar-winning score for Up had buckets of emotional pathos, and while scores like Star Trek had a great deal of action music power and resonance, Super 8 is the first of his scores to combine all three elements together into a satisfying whole that has worked personally for me as a standalone listening experience. This, combined with the obvious inspiration he took from the story and its deeper meanings, as well as the clear and intentional illusions to the classic work of John Williams, makes Super 8 a winner.
1 of 1 people found the following review helpful
Format:Audio CD
This score has the excellent combination of fast-paced action and elegant beauty in its tracks. The names of the songs are in Giacchino's typical puns but the music is far from comedic. From the opening track there comes to be a clear understanding of what kind of disc you are listening to as the music uses the simple theme that closes with a long, ominous note that had been playing in the background for the last few seconds. Songs like "Aftermath Class" and "The Siege of Lillian" portray the action music with the blaring brass that Giacchino uses so often. My favorite aspect of the disc, however, is the main theme that uses strings, xylophone, and a solo trumpet to create a flowing piece of music similar to "E.T." The best two songs form that category are the two closing songs "Letting Go" and "Super 8 Suite." "Letting Go" is the song playing for the last scene in the movie that starts out fast-paced and then slows down for the last half of the song so that the theme can take over a more emotional side of the scene. "Super 8 Suite" is a song that basically serves as a credits type song which combines the themes into one song. Other great tracks form the album include "Super 8" and "Family Matters." This soundtrack contains a lot of songs that are way to short to get into, but the album as a whole is a very beautiful piece of work; and, in my opinion, Giacchino's best.
Most Recent Customer Reviews
5.0 out of 5 stars
It could only be better with My Sharona.
Giacchino is a top-notch composer and validates his status as one of the best in the business with Super 8. The movie is fantastic, but the music is integral. Read more
Published 2 months ago by Alex
4.0 out of 5 stars
a subdued soundtrack
I'm a big fan of Michael Giacchino. His soundtrack for Star Trek was my favorite part of that movie. However, as much as I liked his soundtrack for Super 8, I can't say I loved it. Read more
Published 3 months ago by Enjolras
5.0 out of 5 stars
Great service!
Great movie that I enjoyed in theater and again on my home system. I know that it did just so-so in box office but I was one of those that really liked this movie. Read more
Published 4 months ago by Luc Durocher
1.0 out of 5 stars
did not like
it was not what my friend said to me about the music from this music cd. it was a gift for him.
Published 5 months ago by Mercedes F Castro
5.0 out of 5 stars
Wonderful Soundtrack
Superb score for a spectacular but also touching movie.
A very enjoyable listening experience.
Feel again the sound of 80's movies.
A very enjoyable listening experience.
Feel again the sound of 80's movies.
Published 5 months ago by heriberto navarro
5.0 out of 5 stars
Paul's review
We bought this music for our son. He enjoys listening to musical scores from different movies. He has a liking to science fiction.
Published 12 months ago by Paul D. Harvey
5.0 out of 5 stars
Michael Giacchino does it again!
All I have to say is that Michael Giacchino and symphony have done it again! He is on par to take over John Williams' spot as the great American Composer this generation. Read more
Published 13 months ago by beatlesfan
5.0 out of 5 stars
Awesome Soundtrack
this is an awesome soundtrack it is fun and enjoyable to listen to. the best songs on this cd are all of them. if you have not listened to this cd then i recommend you do
Published 15 months ago by David A. Smith
5.0 out of 5 stars
Michael Giacchino Is A God
Simply put, Mr. Giacchino's score of Super 8 captivates one with dynamic intensity and tender beauty. Read more
Published 16 months ago by Brosrt52
5.0 out of 5 stars
Super 8 Soundtrack
There isn't much I can add to the detailed comments already written about this remarkable score except to say this is one CD to buy. Read more
Published 17 months ago by Alfie
