Surprisingly, the resulting score for Something's Gotta Give, albeit short, is quite cohesive and likable. It's more listenable in its melodic and orchestral consistency that Zimmer and company's later music for Myers, similar in terms of feathery touch to Silvestri's What Women Want (but without the magical choral effects). What Silvestri recorded for Something's Gotta Give is unknown, as is the extent and exact material by Young, though the music from Zimmer's score that has long circulated in the bootleg market is better than you may expect. A moderate orchestral ensemble is joined by acoustic guitar and piano solos for most of its length, sometimes utilizing synthetic keyboarding or Parisian-inspired romantic elements. Most of the score is carried by exuberant ensemble string and woodwind performances, however, conveying an innocuous though adequately unique theme (established at the outset of the film) over the course of the entire score's duration. The bouncy, airy demeanor of these passages will delight any vintage Rachel Portman enthusiast, while the acoustic guitar performances by Pereira are as attractive here as in subsequent equivalent works. The brief "Remember Me" cue featuring Pereira on the only commercially available track for Something's Gotta Give is a thematic highlight (and pads out the bootleg), but not really representative of the soothing orchestral nature of the rest of the score. Martin Tillman's credited cello solos don't seem to make much impact on the score, with no specific cues really highlighted by the instrument. Light jazz cues with loungey saxophone and percussion sprinkled throughout serve as source-like material. Some of the most impressive moments in this work are the dramatic cues of resonance for deeper strings, as at the conclusion of the ninth track on the score's bootlegs. Those 26-minute presentations are nothing more than a rip of the DVD's rear channels, though unlike many such amateur attempts to isolate most of the music, the assembly of material from Something's Gotta Give is actually quite well handled. Edits are as neatly executed as possible (only the thirteenth and sixteenth tracks suffer from gain or splice issues) and, although about half of the cues have minor ambient effects, these sounds are usually limited to the blowing of wind, pattering of rain, crashing of waves, or distant crowd noise of a public beach. As such, the music's easy-going personality is arguably enhanced by these sounds in some of the tracks. It's a rare day that anyone will approve of some ambient noise from the film on a score album, but here it works in all but two or three tracks. Among its peers, the bootleg for Something's Gotta Give is equal to that of What Women Want and is a step above Zimmer and associates' subsequent two scores for Myers. Now, if only someone could teach her how to respect veteran composers, the industry would need a few less antacid pills.  ****   @Amazon.com: CD or Download