"Hey Hey Its Esther Blueburger" Soundtrack Lyrics

"Hey Hey It’s Esther Blueburger (Original Soundtrack)" Soundtrack Description

Overview

Can a coming-of-age comedy juggle synagogue hymns, kids’ choir pop, and bratty indie dance? This one does. The 2008 Australian film Hey Hey It’s Esther Blueburger builds its musical identity around a kid’s-eye collage: school chants, bat mitzvah traditionals, and fizzy alt-pop stitched between Guy Gross’s tender score cues.

The companion album (Original Soundtrack) mixes licensed songs (Operator Please, Surferosa, Bob Evans, Missy Higgins, Sara Storer) with original material: Paul Mac’s theme “The Only One” (with Bertie Blackman and the Sydney Children’s Choir) anchors the film and recurs in playful variations. Verified credits attribute the film score to Guy Gross; the song roster and choir features are documented in reliable databases (Wikipedia, IMDb Soundtracks, Discogs) and on major streaming listings.

Questions & Answers

Who composed the original score?

Guy Gross composed the score heard under family, school, and introspective scenes.

What’s the main theme song?

“The Only One,” written by Paul Mac, performed with Bertie Blackman and the Sydney Children’s Choir. It appears in several variations across the film.

Is there an official soundtrack album?

Yes—a 2008 compilation with ~20 tracks (songs + score cues). Streaming and CD listings align on the core contents.

Any notable cover versions in the film?

Yes, the children’s choir performs a classroom-style take on “I Melt with You,” cheekily reframed to match Esther’s world.

What’s the overall musical vibe?

Upbeat indie/alt-pop for Esther’s mischief and reinvention; gentle piano/strings for family beats, faith rituals, and private doubts.

Is there a trailer ID for reference images?

Yes—the official trailer used for figures in this article is on YouTube (see images above/below).

Notes & Trivia

• The film premiered at the 2008 Berlin International Film Festival; original score credit goes to Guy Gross.
• Paul Mac’s theme was recorded with Bertie Blackman and the Sydney Children’s Choir; the choir reappears for diegetic classroom moments.
• The soundtrack blends Jewish traditional pieces (arr. for on-screen ceremony) with contemporary Australian pop.
• Operator Please contribute both the spiky “6/8” and a take on “The Clapping Song,” matching the film’s schoolyard cadence.
• Streaming versions show ~20 tracks; region metadata may vary slightly by service.

Genres & Themes

Indie dance / brat-pop: sharp handclaps, chant hooks, and bright guitars (Operator Please, Surferosa) mirror peer pressure, pranks, and the thrill of reinvention.

Choir-pop & classroom minimalism: Sydney Children’s Choir reframes pop tunes as school ensemble pieces—innocence with a wink.

Warm acoustic pop: Bob Evans, Missy Higgins, Sara Storer supply diary-page intimacy for friendship wobbles and after-school reflection.

Light orchestral score: Guy Gross’s cues (piano, small strings) steady the movie during family and ritual scenes—tender but unsentimental.

Tracks & Scenes

Selected placements below are drawn from documented soundtrack credits and on-screen usage; timecodes vary by release.

“The Only One” — Paul Mac feat. Bertie Blackman & Sydney Children’s Choir
Where it plays: opening and recurring theme; non-diegetic main title and reprise stings across Esther’s identity pivots.
Why it matters: defines the film’s point of view—kid chorus + pop electronics as Esther’s inner voice.

“6/8” — Operator Please
Where it plays: school-corridor mischief and montage energy; non-diegetic, cutting to rhythmic locker-door edits.
Why it matters: the chant-like meter doubles the tempo of Esther’s social experiments.

“The Clapping Song” — Operator Please
Where it plays: playground / group dynamic scene; partly diegetic as kids echo the pattern.
Why it matters: turns a hand-game into a beat for confidence and chaos.

“Lucky Lipstick” — Surferosa
Where it plays: makeover/prank prep; non-diegetic during wig/wardrobe trial runs.
Why it matters: synth-punk sheen underlines the performance of a new persona.

“I Melt with You” — Sydney Children’s Choir
Where it plays: class/school performance; diegetic.
Why it matters: a familiar 80s hit reframed through children’s voices—innocence colliding with teenage longing.

“Don’t You Think It’s Time” — Bob Evans
Where it plays: reflective walk-home beat after a falling-out; non-diegetic.
Why it matters: acoustic warmth steadies the emotional pendulum.

“The Wrong Girl(s)” — Missy Higgins
Where it plays: bedroom scene, fallout with friends; non-diegetic.
Why it matters: lyrics and tone quietly interrogate peer loyalty vs. self-respect.

“Be a Woman” — Persian Rugs
Where it plays: swagger montage; non-diegetic.
Why it matters: retro-garage strut for a too-fast grown-up act.

“Bar Mitzvah Medley / Hora” — Ilan Kidron & ensemble
Where it plays: on-screen celebration sequence; diegetic band/ensemble.
Why it matters: grounds the story in community ritual and rhythm.

“Sometimes” — Danielle Catanzariti & Sydney Children’s Choir
Where it plays: intimate diary-like interlude; diegetic/near-diegetic as a pupil-voice texture.
Why it matters: gives the lead character a literal sonic presence.

“Ribbons” — Guy Gross
Where it plays: private mother-daughter exchange; non-diegetic score.
Why it matters: a small piano figure that lets the actors breathe.

“Duck Walk” — Guy Gross
Where it plays: comic beats with Esther’s pet duck; non-diegetic.
Why it matters: light motif that tags her oddball tenderness.

Music–Story Links

• Identity play: brat-pop cuts (“6/8,” “Lucky Lipstick”) track the thrill—and cost—of pretending to be someone else.
• Community & ritual: diegetic medleys and choir moments mark belonging, even when Esther resists it.
• Repair: acoustic singer-songwriter cues (Bob Evans, Missy Higgins) bridge fights and apologies without melodrama.
• Inner compass: Paul Mac’s theme returns at turning points, cueing us to Esther’s real voice beneath the personas.

How It Was Made

Writer-director Cathy Randall set a sonic brief that balanced schoolyard immediacy with cultural specificity. Guy Gross’s score provided the emotional spine; Paul Mac crafted the theme and variations, recording with Bertie Blackman and the Sydney Children’s Choir. Licensed picks skewed Australian and teen-forward, with a few international staples. The result plays like a scrapbook: songs for the showy bits, small score pieces for the diary pages.

Reception & Quotes

Contemporary coverage noted the bright musical palette against heavier family material; databases consistently credit Gross’s score and Mac’s theme. A few snapshots:

“Music: Guy Gross.” The Hollywood Reporter

“Opening and recurring theme ‘The Only One’ by Paul Mac, recorded with Bertie Blackman and the Sydney Children’s Choir.” Wikipedia

“Soundtrack roster includes Operator Please, Surferosa, Bob Evans, Missy Higgins, Sara Storer.” IMDb / Discogs

Availability: the album appears on streaming (compilation, ~20 tracks); CD issues circulated in Australia.

Additional Info

• The trailer used in figures above is the official 2008 cut.
• Score authoritatively credited to Guy Gross across press and databases.
• Paul Mac’s theme surfaces in at least three variants (main, “Duck Dissection,” toy-piano style).
• Diegetic music covers ceremony scenes (hora/medley) and classroom/choir moments.
• Streaming metadata groups the release under “Various Artists.”

Technical Info

• Title: Hey Hey It’s Esther Blueburger (Original Soundtrack)
• Year: 2008
• Type: Songs + Original Score selections
• Composer: Guy Gross (score)
• Key Originals: “The Only One” — Paul Mac feat. Bertie Blackman & Sydney Children’s Choir; “Sometimes” — Danielle Catanzariti & Sydney Children’s Choir
• Notable Licensed Cuts: Operator Please (“6/8,” “The Clapping Song”), Surferosa (“Lucky Lipstick”), Bob Evans (“Don’t You Think It’s Time”), Missy Higgins (“The Wrong Girl[s]”), Sara Storer (“Long Live the Girls”)
• Release context: Premiered Berlin (Feb 2008); Australia theatrical Mar 2008; soundtrack issued alongside rollout
• Availability: Streaming compilation (~20 tracks) and region CD

Canonical Entities & Relations

Sources: Wikipedia; IMDb Soundtracks; Discogs; Spotify.

November, 10th 2025