The score is predictably efficient at its task, but remains anonymous in its character. While Newman's work for this genre of films has been both noteworthy and effective, his Americana scores have relied heavily on the quality of the films to sustain the reciprocal popularity of the music. Apart from the memorable theme for The Natural, Newman typically approaches this kind of project with less than flamboyant ideas of simple constructs and orchestral conservatism. For Seabiscuit, Newman constructs a pleasant, occasionally exciting, orchestrally safe environment. Hardly original in instrumentation, Newman restrains his orchestra in all but two or three cues of chasing and racing. Acoustic guitars provide a basic, soothing layer of history and heartland sentimentality to the drama. Newman's own piano performances add an additional layer of character depth, and woodwind solos accentuate the feel of the horse racing venues of times past. Steady, flowing string writing sustains a minimal volume in the music for lengthy sequences of soft underscore. Eloquent, but conservative brass contributes to the heroic aspects of the concept, bolting into action with a full string section and guitars during victorious moments. A hint of Hispanic influence accompanies one Latin source song featured in the film. When you step back from this consistently pleasant listening experience, you have to wonder if there's anything more to this predictable equation than there really is. Newman certainly wasn't taking any instrumental or thematic chances here, keeping everything uncomplicated and true to the expectations of the genre. Thus, the score for Seabiscuit, while not spectacular, works. On the other hand, the score presents little tingling enthusiasm, rapturous engagement, or nervous energy (outside of the brief "Call Me Red" and "Campfire" cues) that could have perhaps better represented the ambience of heightened anticipation in professional horse racing. Without a magnificent, lofty, or affirming theme and without a creative, hoof-pounding method of conveying energy, Newman's work is restrained to average levels of intensity. On album, the consistently easy score is only broken by the one source song in the middle; Newman does not sing for this album. An awkward background hum in the recording mix, or perhaps simply a wrong note by a woodwind instrument, tarnishes "Idea" at about 0:50. Overall, Seabiscuit is an appreciable and endearing score, but it fails to kick up enough emotion and energy to sustain itself as a really strong listening experience on album.  ***   @Amazon.com: CD or Download