Customer Reviews

WALL-E [Original Score]

5 star:		(28)
4 star:		(13)
3 star:		(2)
2 star:		(0)
1 star:		(0)

 

 

This soundtrack really stands on its own, despite accompanying one of the most achingly beautiful films I have ever seen.

Stanton says in the liner notes that the movie as a whole was a space opera, something he kept emphasizing as Newman composed. Compared to the defining space opera, the original Star Wars trilogy, there are rather a lot of differences. Williams' score in Star Wars had a clear sense of accoustics and an expansive staging that translated even while watching the film. With a good sound system, you can almost imagine an orchestra pit just below the screen. The score seemed to come from the eternally romantic Star Wars universe itself, boldly proclaiming its themes of good, evil, love, and war.

Newman's score for WALL-E, on the other hand, has a sonically closed or condensed aspect to it that draws you in closer to the intimate world of its inhabitants. As breathtaking as Stanton's vision of outer space turns out to be, you are still invited to experience it through the eyes of a newcomer, a little robot who, like yourself, has never been there before. Rather than coming from the universe, the soundtrack to WALL-E seems rather to simply be the music that accompanies the imaginative, curious, and ultimately wonderstruck mind.

Although I liked nearly all of it, EVE stood out as my favorite individual track. In all I recommend the album, especially to those who enjoyed the movie.

I saw "WALL-E" the other night, and it truly is a magical film. I think the folks at Pixar have got some Oscars coming to them for this one! I also predict that two of those Oscars will be for Best Original Score and Best Original Song, both of which can be found right here on the wonderful "WALL-E" soundtrack. Thomas Newman's score is at turns delightful, quirky, and beautiful, while Peter Gabriel's song, "Down To Earth" (co-written with Newman), which plays over the film's end credits, is simply an uplifting joy. I sincerely hope that both Newman and Gabriel are justly rewarded at the Academy Awards for their marvelous "WALL-E" music. And, as an added bonus, the "WALL-E" soundtrack also includes Louis Armstrong's whimsical treatment of the old Edith Piaf fave, "La Vie En Rose," as well as the film's signature song, "Put On Your Sunday Clothes" (from "Hello Dolly"). There's also a few soundbites from the movie scattered throughout. So, what's not to like about the "WALL-E" soundtrack? It's a wonderful CD, and I highly recommend it. (And go see the movie too!)

In a film where there is not a word of dialogue from your main character for over half an hour, the score has a special duty. Whereas it might take a backseat in films with action and elaborate monologues to care our auditory senses along, WALL·E's design forces Thomas Newman to stand in the foreground, pants down, exposed to the audience. In some ways WALL·E marks a touch of the standard fare for Thomas Newman. At first impression it could be suggested that his particular brand of restraint toward an overly-developed set of themes and motifs might be inappropriate for a large fun sci-fi outing. However, Newman makes no apologies for his consistent use of light and airy orchestrations and without a doubt, it raises up the film.

While fans of recent Pixar films may be hyped up on the delightful and more pronounced themes Michael Giacchino, it would be hard to argue that he could match Newman in the realm of tone. And WALL·E, despite its very well-paced plot is a film that relies on tone.

There is no cohesive set of themes in WALL·E. There are no really action-packed cues to get our hearts pumping. Instead, we are presented with music that defines its world. In the year 2815 AD there is one robot left to clean up the garbage left behind on earth. It is a new but familiar world. One which requires a tonal introduction. Newman obliges. From the first cue "2815 AD" (following "Put On Your Sunday Clothes" from "Hello Dolly!") Newman creates a fantasy tone for us that drags us into a world with one occupant left. The spine-tingling chord shifts and arpeggiated harp immediately create a feeling of isolation that gives form to the earth of the future. This musical thought is followed up at the end of the film in "Horizon 12.2" but with the isolation feeling substituted with a sense of curiosity in the music. While this styling has not become standard fare for sci-fi movies in the past few years. One need only look at Jerry Goldsmith's score for Alien (which Newman seems to pay homage to) to find the value of tonal science- fiction music.

Newman has managed to tap in to the brainwaves of his main character. The tone of the music often follows closely the mindset of WALL·E and helps us along when WALL·E's thoughts might be a little unclear for us. Newman also relies heavily on his established use of rhythmic strings and staccato brass to drive the film from point to point. Perhaps the most interesting new element would be the introduction of the Harp which expertly serves to levitate or add mystery to the cues it graces. The only downside to the construction of these cues may be that rarely is a theme allowed to fully develop within a cue. But, that kind of imitates the pattern of the story. WALL·E is not allowed his expression of love for EVE to play out until the end of the film. Cues like "Define Dancing" serve to express those feelings but never let them reach their conclusion. While not necessarily helpful for those who might want to listen to the score on its own, it works splendidly in the film.

For those bombastic action moments Newman has no trouble giving us some full orchestrations. The momentum in "EVE Retrieve", "Rogue Robots", and "Hyperjump" drive along their respective scenes without becoming overly thematic. They just move well. Also fun and charming are the themes for EVE and WALL·E which were co-written with Peter Gabriel. WALL·E's is light and quirky, while EVE's is flowing and graceful. Perhaps the most fun in the score however is Newman's short jingle for the "BNL" company, sure to amuse.

Overall, fans should find the score to be a strong addition to Newman's personal brand of sensitive and emotion driven tones. While, there could have been more thematic development in places, the score serves the film without ever getting in its way, which is quite a feat considering its prominence.

OK, so I'm a complete sap. Even as I write this tears are forming. WALL-E is a Disney/Pixar film that will undoubtedly become a legend. I don't know how Andrew Stanton, Thomas Newman and their teams did it, but this is a movie like nothing you have ever seen before. I've heard all the gripes that the film offends overweight people (hey, I'm overweight and it didn't even come close to offensive). Other gripes range from ecological offenses, it's too liberal, and that the film is hypocritical because Disney/Pixar are selling toys that are not biodegradable...the list goes on. People who watch this film and say such things I feel are saying it because 1)They're just plain jealous of the success of Disney/Pixar and most of all they don't get it that 2) THIS IS A LOVE STORY! It's just that simple. I say to those who dislike it for those reasons to please stop looking so deep into this film. Yes, it brings up the fact that we've got to stop trashing our planet, but isn't that a good thing to say?

WALL-E is truly one of the most wonderful, beautiful, touching love stories I have ever seen and not once is the word "love" even mentioned! Matter of fact the first 20 minutes or so there is hardly any dialogue. Wall-E is such an endearing character. He's part E.T., SHORT CIRCUIT,Chaplin and Keaton and pretty much a trash compactor with binoculars for a face. And even though he technically doesn't have one he is ALL heart.

But since this is supposed to be a review of the CD let me just say that if Thomas Newman doesn't get an Oscar (as well as the film itself) then the voters are clearly dismissing this amazing composition which I feel, so far, is the best music Newman has ever written. From the very beginning of the film the music feels mysterious, desolate, lonely yet you get the sense that something pretty incredible is about to happen to our little robot friend and his pet cockroach (who ever thought that a cockroach could be so cute)? Wall-E's theme is Newman being wacky and fun and the rest of the score just soars. There are a few tracks that will have you in tears especially if you've seen this film. I've read a few reviews where people hope that Thomas Newman and Peter Gabriel's song, "Down to Earth" wins the Oscar as well, but if I'm correct I believe that the Academy has a new ruling that songs played over the credits of the film are not eligible for a nomination so I'm afraid they'll lose out in that category.

Please see this movie and please buy this CD and get the DVD when that comes out. WALL-E has now become my favorite film of all time. It's one little robot's breathtaking journey through the galaxy to be with the one who fulfills his life. Don't look for deep meanings. It's simply a film about love and the desire to connect and what's so bad about that? Thank you Messrs. Stanton and Newman and all those people that worked on this film and made it a classic that all ages will enjoy!

The first time I saw the movie in a theater, I was amazed by the visuals, story, every single aspect of the movie, and ESPECIALLY the score! The second time watching Wall-E, I just melted and kept falling for the soundtrack. It's so good it sounds better the more you listen to it!

The music just captivated me. It made the movie perfect to watch. The score seemed to perfectly match and enhance the mood of the scenes. My favorites include First Date, Define Dancing, and of course, Down to Earth!

Get your hands on the soundtrack now, some way, some how!

Wall-E is magical, no doubt, and the soundtrack contributes and compliments it all. But for me, when the credits rolled, and "Down to Earth" began I was just floored. I know that if something grabs me the first time I hear it, something is up; this is a very uplifting and magical piece, perfectly suited to the movie. I haven't heard Peter Gabriel in some time, but you can't mistake him, and he and everybody with him has really done a fine, fine thing. Some other reviewer noted "Oscar"; who needs awards but, if this can be topped, I can't wait to hear it. I walked out the the theater and mentioned to my wife that this would grab a best song Oscar.

Not only has Thomas Newman created a wonderful score for this film, but peter Gabriel's song is absolutely stunning in its execution and message. The score is so full of emotion, catchy themes, and pure innovation in the sounds that are used. Not to mention, some of the robots from the film, like lovable Wall-E, M-O, and a few others have there say on the score as well. The two songs from "Hello Dolly" also make this score a must own.
I enjoyed every moment of the score and I know it will stay in my top faves for a long time, especially "Down to Earth," a wonderful anthem to the Earth and the wonders it holds and how dreams are always possible to achieve.

I enjoyed the soundtrack for this movie. But, what struck me instantly was the first song that was played during the end credits. I had to find out the name and who composed it. Peter Gabriel's "Down to Earth" was the song that ultimately inspired me. I wish there were more like this song available, but I am still happy with listening to it over and over for now.

OK, the music is great, if you liked the score to Finding Nemo, you'll find more of the same here. The lonesome, haunting melodies that begin the story are great, and there's some fun adventure music and audio clips from the movie.

BUT

Disney decided to package this in a 100% recycled cardboard sleeve case, which essentially means that every time you take your CD in or out of the sleeve, you are scratching the CD against cardboard. So while they're supposedly being environmentally-conscious with the packaging, they're quickly destroying a CD disc which will need to be trashed in a landfill somewhere once it gets too scratched to perform. My suggestion if you like this score: buy the mp3 download, or buy the disc and make a copy of it--or put the CD into a less destructive jewel case.

Composer Thomas Newman has landed a great score with Disney Pixar's "Wall E." The characters stand alone, but for those in the audience listening for tonal quality, cluster chords, and pure musical delight, then this score is for you! The fictional company Buy n Large comes to life on Track 13 with the song "BNL." [...]. BNL the song is a lovely barbershop quartet, SATB composition which claims, "Happiness is what we sell."

We enjoyed the orchestral performace in "The Axiom," which bounces on the melody of the rest of the score. The French Horns are delectable, and the strings really pull through.

For any music lover, I suggest you put on your Sunday best, purcahse this score and download it today!