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Awesome Music / Alan Silvestri
aka: Back To The Future

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  • The Mummy Returns Ending Credits Suite. Sadly, this track was not included on the offical soundtrack album (not because Universal didn't want to include it, but because the album was assembled before the climactic cues — basically everything in the film from the race to get Evy to the pyramid to the main credits — were recorded). "Sandcastles" is a shorter version of it, but it lacks the triumphant reprise of Rick and Evy's theme. ("Just an Oasis.") Thankfully, "My First Bus Ride" is on the album. Even more thankfully, Intrada issued the complete score on a 2-CD set in 2018.
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  • Beowulf. The introduction of the title character is accompanied by an incredibly awesome piece of music by Alan Silvestri. Only the best for Ray Winstone! "What We Need is a Hero!"
  • The iconic themes from Predator, Forrest Gump, Back to the Future and The Abyss all suit the mood of each film very very well. The "Feather Theme" from Forrest Gump is whimsical and emotional, the Predator theme ominous then moves into stirring, the Back to the Future theme a riff on the epic super hero theme given a humourous edge, and "Bud On the Ledge" from The Abyss ethereal and soaring.
  • Predator:
    • The Main Title gets a menacing theme with a sudden Scare Chord at the beginning to set the stage for a chilling alien monster movie.
    • End Title. Equally as chilling as its opening theme with the same riff that started it all, the track leaves you wanting more of the monster alien.
  • The Delta Force has one of the most memorable main themes ever put to film, which is 80s badassery and Big Damn Heroes personified. Enjoy.
  • Robert Zemeckis said in an interview that he felt the story of Back to the Future wouldn't stand up on its own, so he told composer Alan Silvestri to make the music as big and memorable as possible to make up for it. And you know... he may have been right.
    • Back to the Future has its main theme playing over the credits. A grand, thrilling extravaganza, this adventurous theme sums up the adventurous exploits of Marty and Doc on their wild, grand adventure through the past from its triumphant chords and recurring main melodies to the backing harmonies. The result is a film and its soundtrack thereof becoming a timeless classic fit for any year, age, generation and/or era.
    • Back to the Future Part III featured the themes from the previous two movies along with a traditional western style score.
    • Alan Silvestri's score for the train sequence in Part III is nothing short of brilliant. It uses the standard BTTF leitmotifs as a baseline; it throws in a drum beat that sounds like a train chugging; it intertwines the action themes, the tense themes, the love themes, the Western themes; and it ends with pure power.
  • He did a wonderful score to Who Framed Roger Rabbit, combining smooth film-noir jazz with wacky cartoon themes. The end credits shows it off in all in its glory. And the track "Valiant & Valiant" which contains a sad rendition of "Eddie's Theme" is a definite tearjerker.
  • Why was "End Credits" from G.I. Joe: The Rise of Cobra dropped from the film to make room for The Black Eyed Peas' "Boom Boom Pow" (the track times perfectly with the Peas)? Fergie may have the humps but Silvestri has the chops.
  • Chips: He was hired in the second season to do a disco re-arrangement of the main theme by John Parker and he scored most of the episodes after that. He made a car chase down a Southern California freeway feel like disco nirvana. And thanks to FSM, there are three soundtrack albums of his stuff available (covering seasons twonote , three and four).

Alternative Title(s): Back To The Future