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I adore this score. Only discovered it a few years ago when I was still reviewing for Music from the Movies. I wouldn't have discovered the film had it not been for that soundtrack album. Those opening shots of Hackman's journey are beautifully set against Goldsmith's music. My Intrada order should be arriving any day now....
Anyway, to remind myself as much as anybody, (and to convince everybody they NEED to own Intrada's new release) here's my "review" of the original album:
Good evening, folks! You join us on what could be an historical night of playing as Jerry Goldsmith leans into his faithful synths and orchestra for Hoosiers. It’s 1986 and Goldsmith still seems to be at the height of his career coming off some great successes with Joe Dante’s Gremlins and Explorers and the Salkind’s Supergirl picture and – Oh! We start with a free throw that is just spectacular. ‘Best Shot (Hoosiers Theme)’ is masterful. I hope you heard that play on the benches ‘cos I don’t know when we’ll hear something like that again. How do you create that kind of feeling with synths that far out in the court? This is Americana on mescaline in the best possible way, even though that orchestra is nowhere in sight those hyped synths still rebound with such melodic force to get your feet tapping and your head nodding!
This has got to be some of the finest sports playing I have ever heard. Goldsmith knows his play; he takes his strings and electronics through a series of in and out dribbles and oh, listen to that spin move into some beautiful strokes from his string players. Now another transition to restrained synths in the close-out of ‘You Did Good’, which takes us into the meat of these forty minutes; Folks, this is like nothing you’ve ever heard! Goldsmith’s inventiveness is constantly refreshing and the heart-pounding theme in ‘The Coach Stays’ is testament to his invigorating energy and – oh my, it doesn’t end here, listen to that ‘Pivot’. Elaborate spin moves are something of a trademark for the big G and he doesn’t disappoint here. Where are these themes coming from? The horns make their move not a second too late and the beat truly takes the offence to the next level in ‘Get The Ball’. There’s more energy here than can be packed into this commentary as Goldsmith drives melody and lyricism to dizzying heights. We need a respite folks and it comes with ‘Town Meeting’, this backwater Americana theme settles the soul and replenishes the energy with its simple tones and unyielding attractiveness to the ear. A moments silence guys and dolls…
The beat builds. And we’re ball-side! ‘The Finals’ is a tour de force of forward pivot, reverse pivot, V-cut and curl. The strings dance left to right then pass to the synth beat, and the melody takes the lead, rebounding from the weak side wing to the elbow into the 3 second area and… it’s in! Goldsmith takes it to the hoop! What a play, folks. What a play. This is gonna go down in history. Heck, Goldsmith’s gonna go down in history. The big G… gorgeous.
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Just listening to the Intrada CD. I love the tender americana stuff Goldsmith wrote but - sorry - the dated 80s synth sounds and the dated drum machine IMHO ruin that score. And now I remember why I never listened to my old TER CD. But as an avid Goldsmith bottle cap completist I am still very happy about that release 
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I enjoy "Hoosiers." This new CD is unusual for me, in that I don't think the expansion hurts it or helps it. It's pretty much the same for me -- the new cues don't add much, but they don't detract, either.
What I noticed again is just how sloppy the orchestra's performance is. The horns especially play quite terribly. I'm sure it drove Goldsmith batty.
Which tracks specifically? I don't really have the ear you do, but I would like to know more.
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I think the strained playing adds to the charm somewhat, in the same way CONAN THE BARBARIAN and BATTLE BEYOND THE STARS sound quite unique, due to the effort being made by the players to perform such well written music, probably without much practice time.
I like it!
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>>>>>>Good point. I think on Conan the Barbarian the raw performance of the orchestra & choir is spot on, fitting with the rest of that film's style (storytelling, photography, thespian performance...)>>>>>>>
Haha! I've never thought about it that way, but that's an even better point!
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Which tracks specifically? I don't really have the ear you do, but I would like to know more.
Off the top of my head (I just confirmed this, but I have not refreshed by listening to the entire score), listen to "The Pivot" around the two minute mark.
This is just one example, but it was the first one I thought of.
OMG!! You are so right. I hear it now. That's actually pretty bad. It sounds like a squeaky toy or something...lol
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After listening very happily to Congo I´ve just started with Hoosiers. Boy, this is what I call 'remastered'! And many people know how critical I can be... the sound quality is stunning. Perhaps a bit too much on the aggressive side but still: spectacular! The metallic sound is almost gone. Very nice.
My original CD has been turned into a frisbee the minute I played this version by Intrada.
So does this mean we're waiting for Rudy now?
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