The instrumentation that Giacchino uses to bring velvety goodness to the emotions of the girl at the center of Inside Out will raise Elfman connections even before the rollicking rhythms cement those associations. The ensemble is often kept light and fleet of foot, the retro sounds of vibraphone, Hammond organ, electric bass, harmonica, ukulele, ocarina, percussion, and a variety of specialty (some seemingly synthetic) tones of yesteryear teaming with an often restrained orchestral presence to bounce playfully through the primary material of the score with almost sickeningly upbeat personality, reminiscent in some ways of the vintage Disneyland source music that seems wondrous when you're a kid but tries your patience as an adult (think about the Main Street Electrical Parade music). As expected, Giacchino applies the piano as the true heart of the score, however, evoking Up in the most tender of scenes with the girl. He's certainly fine-tuning the "less is more" technique even further here, the piano or vibraphone very plainly performing several sequences without much accompaniment. While he may contend that Inside Out exceeds Up in its raw musical emotions during these sequences, it's difficult to agree, as that card has been played enough times by the composer now to serve its purpose in almost generically expected ways. The main theme for the film certainly gets a workout, adapted throughout the various emotional realms while usually retaining its hopeless optimism. A secondary theme of greater confidence is assembled throughout the picture before reaching its natural conclusion at 5:25 in "Joy Turns to Sadness." The end credits cue runs these ideas in succession through all of the score's emotional corners, including the sidetracks to large, old-school jazz and the obligatory Elfman-like moments of organ-defined nightmares. The latter, along with full-throated orchestral depth of much length, is infrequently utilized, the trio of "Dream a Little Nightmare," "The Subconscious Basement," and "Escaping the Subconscious" summarizing the bulk of that material. The overall tone of the score can be grating at times, the vibraphone providing a wet environment while the piano remains quite dry. That, in combination with the happy-go-lucky bursts of uppity rhythmic flair, is difficult to reconcile in close quarters, as in the sudden transition late in "Escaping the Subconscious" that shifts quickly from David Arnold suspense to Carl Stalling prancing. In the end, Inside Out is an admirably effective score, but it's extremely challenging to appreciate in full on album. The CD version includes the non-Giacchino song from the short "Lava" that was included with Inside Out. If you're a parent, this is music to be tolerated for its merits, not necessarily appreciated for enjoyment's sake.  ***   @Amazon.com: CD or Download