Back to the Future

Back to the Future

(Original Motion Picture Score)

Music Composed and Conducted by

Alan Silvestri

Renovatio Records proudly presents a new, thoughtfully curated edition of Alan Silvestri’s unforgettable score for Back to the Future; released in celebration of the film’s 40th anniversary.

Four decades after director Robert Zemeckis and producer Bob Gale introduced audiences to Marty McFly, Doc Brown, and a time-traveling DeLorean, Back to the Future remains a cornerstone of popular culture, a definitive blend of humor, heart, spectacle, and timeless cinematic craftsmanship. As part of the film’s anniversary festivities (which recently included a 2025 IMAX theatrical re-release) Renovatio Records revisits Silvestri’s music with a newly revised album structure that spotlights the score’s most iconic moments while offering a cohesive, engaging listening experience.

Released in July 1985, Back to the Future was an instant phenomenon. Directed by Robert Zemeckis and executive-produced by Steven Spielberg, the film stars Michael J. Fox as Marty McFly, a charismatic but directionless teenager whose life takes an extraordinary turn after his eccentric friend, inventor Emmett “Doc” Brown (Christopher Lloyd), unveils his latest creation: a time machine built from a DeLorean sports car. When a late-night demonstration goes disastrously wrong, Marty is accidentally sent back from 1985 to 1955, where he encounters his teenage parents: his shy, awkward father George (Crispin Glover) and the unexpectedly bold and infatuated Lorraine (Lea Thompson). His sudden presence inadvertently disrupts their first meeting, threatening his very own existence. To return home, Marty must seek out the younger version of Doc Brown, repair the damaged timeline, and somehow ensure his parents fall in love; all before a critical lightning strikes, the only thing that can power the DeLorean back to 1985.

Audiences embraced the film’s perfect balance of adventure, comedy, and emotional storytelling. Its mix of relatable characters, clever time-travel mechanics, and dazzling set pieces propelled it to massive worldwide success. Back to the Future became the highest-grossing film of 1985, earned widespread critical acclaim, and launched a multimedia legacy that includes sequels, an animated series, a stage musical, and generations of cultural references. Forty years later, it remains one of the most beloved and influential films ever made.

As regards its music, when Alan Silvestri was hired to score Back to the Future, he was still early in his career and far from the Hollywood mainstay he would later become. His previous collaboration with Zemeckis on Romancing the Stone (1984) had been a breakthrough, showcasing his rhythmic instincts and flair for melody, but Back to the Future was an entirely different challenge; one that would ultimately shape the rest of his career. The project also marked the true beginning of one of cinema’s longest-running director–composer partnerships, continuing unbroken through multi-genre films including Who Framed Roger Rabbit? (1988), Death Becomes Her (1992), Forrest Gump (1994), Contact (1997), Cast Away (2000), What Lies Beneath (2000), The Polar Express (2004), Beowulf (2007), Flight (2012), and most recently Here (2024).

From the outset, Zemeckis was clear about what he wanted for Back to the Future: a big, heroic, symphonic score; one that would lend the film a sense of scale and grandeur far beyond what was visible on screen. Because the film contained few wide vistas and much of its action unfolded in tight interiors or at night, he needed the music to “open the movie up,” giving the story the cinematic weight its visuals alone could not. The grand orchestral approach also served as a deliberate counterbalance to the film’s pop-oriented soundtrack, which included period-appropriate 1950s “doo-wop” tracks, Marty McFly’s exuberant onstage rendition of Chuck Berry’s “Johnny B. Goode,” and contemporary artists such as Huey Lewis and the News anchoring the 1985 setting. The contrast was intentional: the songs grounded the film in character and time, while Silvestri’s score supplied the mythic, larger-than-life dimension Zemeckis knew the story needed.

But not everyone was immediately convinced. Spielberg reportedly questioned whether the relatively young composer was the right fit for such a major production. The turning point came during an early screening for Spielberg, who expected to hear temporary tracks filling in for the unfinished score. Instead, nearly half of the music in the film was already Silvestri’s own. Spielberg reportedly praised the cues, assuming they were temp selections from established composers. When informed that the music was in fact Silvestri’s original work, his doubts vanished. From that moment, Silvestri not only secured the project but cemented his place in Hollywood history. Spielberg even requested heavier use of the main theme throughout the film, a note that prompted the re-recording of several cues to strengthen its presence. As a result, the score for Back to the Future contains numerous alternate cues and adjustments, testament to how carefully the filmmakers shaped the musical identity of the film.

The experience was transformative. Silvestri delivered a timeless, exuberant orchestral score that instantly entered the cultural bloodstream, proving that even a young composer could make history with the right moment, the right film, and the right collaborators.

What makes Silvestri’s Back to the Future score so enduring and instantly recognizable is its extraordinary thematic cohesion. Every motif, every rhythmic gesture, every harmonic shift feels like part of a single musical organism. Few scores demonstrate such a tightly reasoned architecture while remaining so exhilarating and heartfelt.

The main theme is built from two interlocking musical ideas that together form the backbone of the entire score. The better-known half is the triumphant fanfare, the score’s blazing signature. Though originally composed to open the film (the unused “Main Title” cue), its first appearance instead comes in “DeLorean Revealed,” not as a heroic proclamation but as a suspense-tinged gesture of awe. Only during Marty’s escape at the Twin Pines Mall does the theme unleash its full heroic potency. This version, and its sibling in “Skateboard Chase”, became the musical identity of the franchise, a symbol of courage, invention, and high-spirited adventure.

The other half of the theme (the propulsive adventure idea) is just as important, and to some listeners even more recognizable. Introduced in full during “Twin Pines Mall,” it often precedes the fanfare, establishing rhythmic momentum before the brass takes flight. Silvestri quotes its opening three notes throughout the film in disguised forms, from flute and horn solos in “Back to 1955”, “Flux Capacitor”, and “1.21 Jigowatts?!” to tension passages and transitional moments. Its versatility is astonishing: it fuels action scenes like “Skateboard Chase” and “The Clocktower,” and provides emotional grounding in cues such as “The Kiss”. Together, the fanfare and adventure motif form one of cinema’s most instantly identifiable musical signatures.

Supporting the main theme is a sparkling, tingling four-note descending motif often performed by metallic percussion or subtly synthetic timbres. First established prominently in “Back to 1955,” this stinger-like idea is often tied to the magical physics of time travel, fate, realization, and discovery. The motif intertwines closely with Doc Brown’s theme, an eccentric, energetic idea built on playful rhythms and quirky orchestrations. Designed as musical tickling clocks, and heard in cues like “1.21 Jigowatts?!,” it mirrors Doc’s manic genius and boundless enthusiasm.

Silvestri also shapes the adventure motif into a warm, dedicated theme for Marty and his more vulnerable or heartfelt moments. This idea opens the score in the first seconds of “Main Title”, and later reappears in introspection tracks like “Marty’s Letter”, “It’s Been Educational”, the second half of “Lone Pine Mall” and the beginning of “Doc Returns”.

Silvestri completes the musical palette with two darker motifs. Firstly, a nervous, churning minor-key danger motif that snakes through the film’s tensest scenes, especially “Skateboard Chase” and “George to the Rescue”. While often associated with Biff Tannen, its broader use suggests it represents danger and instability in general. And also, a tension-building motif that consists of a menacing militaristic rhythm for snare, winds and low brass, introduced in “Twin Pines Mall.” Silvestri adapted and expanded this idea extensively for Back to the Future - Part II, but its DNA is firmly rooted in the first film.

All of these motifs (heroic, magical, suspenseful, rhythmic) culminate in the nearly ten-minute tour de force “The Clocktower,” widely considered one of the finest action cues ever written. Here, Silvestri demonstrates unparalleled command of pacing: tempos accelerate almost imperceptibly as the scene’s tension rises; brass eruptions arrive with pinpoint dramatic emphasis; and the main theme’s halves interlock in thrilling counterpoint. Few film cues so perfectly marry on-screen tension with musical architecture. It is, in many ways, the purest expression of the score’s spirit: breathless, emotional, triumphant, and impeccably structured. Specifically, Silvestri’s control of percussion (from pounding pianos to shimmering metallic tones), brass writing, textures, and pacing in this cue is astonishing, especially for a composer still early in his career.

For many years, the score for Back to the Future suffered from frustratingly limited access in high fidelity. The original 1985 MCA album prioritized the film’s songs, offering only two score suites, far from enough for those who understood how essential Silvestri’s music was to the film’s identity. Bootlegs containing additional cues filled the gap but these had appalling sound quality. Only in 2009, with Intrada Records’ monumental 2-CD release, did fans finally hear the complete score in pristine condition, along with alternates and previously unreleased cues. Yet for many listeners, the exhaustive completeness made for an overwhelming experience, better suited to archival preservation than to everyday listening.

This new Renovatio Records edition offers a different path: a curated, listener-oriented presentation that celebrates the score’s finest moments while maintaining its dramatic flow. The album begins with Huey Lewis and the News’ “The Power of Love,” the chart-topping, Oscar-nominated anthem that instantly sets the tone. From there, the score unfolds in a revised structure crafted for pure musical pleasure, highlighting Silvestri’s most iconic themes, his warmest emotional writing, and the exhilarating sweep of cues like the legendary “Clocktower” track.

By distilling the score to its most essential, satisfying core and presenting it with renewed clarity, this edition offers the ideal way to revisit Back to the Future’s musical legacy, restoring the sense of cinematic wonder that has made the score endure for forty years.

And as Doc Brown might put it: if our calculations are correct, once you hit “play”… you’re gonna hear some serious stuff.

Track listing:

1. The Power of Love (3:57) - Performed by Huey Lewis and the News

2. Main Title (0:21)

3. DeLorean Revealed (0:59)

4. Twin Pines Mall (4:12)

5. Back to 1955 (2:30)

6. Flux Capacitor (1:51)

7. 1.21 Jigowatts?! (1:36)

8. Skateboard Chase (1:39)

9. Marty's Letter (1:17)

10. George to the Rescue (3:12)

11. The Kiss (1:33)

12. It's Been Educational (0:54)

13. The Clocktower (9:34)

14. Lone Pine Mall (3:41)

15. Doc Returns (1:50)

16. End Credits (3:15)

Total Running Time: 42:21

Download Link

Size: 300.0 MB

Files type: FLAC Audio File [.flac]

Channels: 2 (stereo)

Sample Rate: 44.1 KHz

Sample Size: 16 bit

Bit Rate: 1,411 kbps

Cover Artwork:

Credits:

Music Composed and Conducted by Alan Silvestri

Music Produced by Alan Silvestri

Executive Producer for Renovatio Records: John M. Angier

Orchestrations by James B. Campbell

Recorded by Dennis Sands at The Burbank Studios Scoring Stage, Burbank, CA

Mixed by Dennis Sands at Group IV Recording, Inc.

Music Editor: Kenneth Karman

Music Software: Dick Bernstein

Assistant Music Editor: Deborah Zimmerman

Music Supervisor: Bones Howe

Orchestra Manager: Sandy DeCrescent

Album Sequencing: John M. Angier

Art Direction: Mira B. Ellis

"The Power of Love"

Performed by Huey Lewis and the News

Courtesy of Chrysalis Records, Inc.

Written by Huey Lewis and Chris Hayes

Published by Hulex Music

Administered by Red Admiral Music, Inc.

Cue Assembly:

Track Title	Slate Number and Cue Title
1. The Power of Love	The Power of Love (Huey Lewis and the News)
2. Main Title	1m1 Logo
3. DeLorean Revealed	3m1 DeLorean Reveal 7m1 Picture Fades
3. Twin Pines Mall	4m1 ‘85 Twin Pines Mall (Edited)
4. Back to 1955	3m2 Disintegrated Einstein (Edited) 4m2A Marty Ditches DeLorean
5. 1.21 Jigowatts	6m2 Jigawatts
6. Flux Capacitor	6m1 Retrieve DeLorean 5m2 Is That You (Edited)
7. Skateboard Chase	8m4 Skateboard Chase (Edited) 8m4 Skateboard Chase [New] (Edited)
8. Marty’s Letter	9m1 The Letter
9. George to the Rescue	10m5 George to the Rescue 10m5BA Reaching for Lorraine (Edited) 10m5BB George McFly
10. The Kiss	11m2A Earth Angel Overlay A 11m2B Earth Angel Overlay B / The Kiss
11. It's Been Educational	11m4 It's Been Educational
12. The Clocktower	12m0 Clocktower / Part IA 12m1 Clocktower / Part 2
13. Lone Pine Mall	13m0 Helicopter 13m1 Lone Pine Mall (Edited)
14. Doc Returns	14m0 4x4 14m1 Doc Returns
15. End Credits	Back to the Future

Motion picture title, artwork and photography © 1985 Universal Studios. This compilation and cover artwork © 2025 Renovatio Records. All rights reserved. Unauthorized duplication is a violation of applicable laws. For promotional use only.

Renovatio Records [0-01702-19098]

Hollow Man

 

Hollow Man

(Original Motion Picture Soundtrack)

Music Composed and Conducted by

Jerry Goldsmith

Renovatio Records proudly presents a new release of Jerry Goldsmith’s electrifying score for Paul Verhoeven’s 2000 sci-fi thriller Hollow Man. Twenty-five years after its theatrical release, this expanded presentation revisits one of the composer’s final large-scale orchestral works: a fascinating blend of psychological horror, cutting-edge electronics, and explosive symphonic action that captures both the scientific ambition and moral decay at the heart of Verhoeven’s vision.

Released in August 2000, Hollow Man marked Verhoeven’s return to science fiction after RoboCop (1987), Total Recall (1990), and Starship Troopers (1997), reuniting him with many of his longtime collaborators for what would become his last major Hollywood studio production. The film stars Kevin Bacon as Sebastian Caine, a brilliant yet dangerously egocentric scientist leading a government research project on molecular invisibility. When he tests the serum on himself, his power (and isolation) soon drive him toward madness, quickly becoming emotionally unstable and going on a killing spree. Elisabeth Shue portrays Linda, his former lover and research partner, while Josh Brolin plays her new companion and fellow scientist, Matt. The supporting cast includes Kim Dickens, Greg Grunberg, Joey Slotnick, and Mary Randle, forming the core research team trapped with Sebastian as the experiment spirals out of control.

Stylistically, Hollow Man bears Verhoeven’s unmistakable touch: the sleek precision of his camera movements, the coldly clinical settings, and  the provocative exploration of cynicism, voyeurism and corrupted desire. The film’s visual effects, then at the forefront of digital innovation, were widely praised for their groundbreaking realism, particularly the stunning transformation sequences depicting Sebastian’s gradual disappearance, achieved through meticulous layering of CGI and physical performance. These sequences remain among the most technically impressive of their era, showcasing Verhoeven’s ability to merge spectacle with psychological unease.

Critically, the film divided audiences. While its visual innovation and kinetic direction earned praise, detractors pointed to its descent into slasher territory during the final act, its uneven dialogue, and a lack of emotional depth. Yet despite its mixed reception, Hollow Man proved a financial success, grossing over $190 million worldwide, and has since gained appreciation as a bold, unsettling study of unchecked ego and moral decay.

For a film that straddles the line between cerebral science fiction and visceral horror, Goldsmith’s music provides the essential connective tissue. His score amplifies both the laboratory setting and the psychological descent of its protagonist, charting Sebastian’s transformation with an uncanny balance of intellect and menace. Drawing upon his long experience with the genre (from Alien to Total Recall) Goldsmith approached Hollow Man with masterful restraint and technical daring, crafting a soundscape that is at once sleek, unsettling, and emotionally resonant. The result is one of his final masterpieces: a fusion of orchestral grandeur and electronic experimentation that captures the allure and terror of invisibility.

At the heart of Goldsmith’s score lies a long-lined, moody main theme, first introduced in the opening track “The Hollow Man.” It’s a masterclass in ambiguity: graceful yet ominous, restrained yet emotionally charged. Carried by strings and shadowed by a whispery synthesizer pulse that becomes a recurring element throughout the score, the theme is both appealing and malleable, capable of reflecting the duality of Sebastian himself: a man of brilliance and control whose intellect conceals deep instability. The theme’s fluid contour and unresolved harmonies lend it a deceptive elegance: an almost sympathetic quality that invites the listener into Sebastian’s perspective. Beneath its surface beauty, however, lingers an undercurrent of tragedy and inevitable doom, foreshadowing the moral decay that defines the character’s arc. Like Verhoeven’s camera, which alternates between detachment and intimacy, Goldsmith’s theme captures fascination and fear in equal measure: the invisible man rendered all too human, and all too dangerous.

Complementing the main theme is a “science motif”: a mechanical, rhythm-driven idea that dominates the film’s transformation sequences. First introduced in “Isabelle Comes Back,” as a test gorilla is brought back from invisibility, the motif unfolds through a precise interplay of piano and harp patterns, supported by plucked strings and a steady, procedural pulse. As the experiment intensifies, the writing expands into swelling strings and brass, underscored by an array of thumping electronic effects that gradually build in pace and volume. The result is a dazzling display of musical engineering, mirroring both the meticulousness and the mounting danger of the on-screen process. Goldsmith returns to this motif throughout the score’s key transformation scenes: “This Is Science,” accompanying Sebastian’s initial invisibility test, and “Not Right,” when the reversal attempt nearly kills him. In each instance, the composer reshapes the material to fit the evolving emotional temperature. What begins as curious and almost wondrous becomes increasingly dissonant and agitated, the orchestral textures tightening as the sense of peril escalates. Despite its recurrence, the motif never feels redundant; rather, it provides a structural and emotional thread that evolves with the story, offering a different shade of tension each time. By the film’s climax, as Linda must rely on ingenuity to survive, Goldsmith brings the motif back one more time (“Linda Takes Action”), now transformed into something more assertive and triumphant. Its reappearance, stripped of the earlier scientific detachment, serves as a musical catharsis: the sound of intellect reclaimed from madness, and of human resolve outlasting the chaos it once unleashed.

Among the more human dimensions of Hollow Man lies a small, bittersweet keyboard theme representing the fractured relationship between Sebastian and Linda. Though gentle and lyrical, the melody carries a quiet melancholy; its romantic phrasing undermined by an unmistakable sense of emotional distance. Goldsmith uses it sparingly, allowing the music to comment on the tension between affection and resentment that defines their interactions. Its delicate simplicity offers a rare glimpse of warmth within the otherwise clinical, dangerous world of the film.

Goldsmith also explores Sebastian’s growing moral corruption through a series of motifs rooted in sensuality and perversion. Unlike the sultry eroticism of his music for Basic Instinct (1992), these passages twist desire into something unsettling. In cues like “First Night” and “I Can’t See Him,” insinuating flutes and sliding string glissandos create an atmosphere of predatory intimacy, while the ever-present whispering synthesizer pulse reminds us of Sebastian’s unseen proximity. These textures evoke the invasive, voyeuristic nature of his invisibility, not as seduction, but as violation. Goldsmith’s restraint makes the music even more disturbing: the scenes are underscored not with shock, but with quiet, creeping menace.

As Sebastian’s descent into madness reaches its final stage, Goldsmith unveils a low, rhythmic piano motif representing his homicidal persona, which works as a darker echo of the science motif. Menacing and mechanical, it first emerges during “I Can’t See Him” and "Broken Window", then grows increasingly dominant in “False Image” and “Hi Boss,” where it gains strength through aggressive brass and percussion. By the climactic action cues (“Find Him,” “Bloody Floor,” “The Elevator,” and “The Big Climb”) the motif explodes into full orchestral fury, driving the relentless action forward. Here, Goldsmith propels the orchestra through some of his most ferocious late-period action writing, a testament to his precision and dramatic instinct even in his seventies.

With its intricate blend of orchestral and electronic textures, Hollow Man quickly became a highlight among Jerry Goldsmith’s late-career works: a showcase of his technical and emotional mastery. Yet for many years, the score was only partially available. The original 2000 Varèse Sarabande album offered a 50-minute selection that focused mainly on the film’s central set pieces. Though effective as a listening experience, it inevitably left collectors yearning for the complete picture, especially given how much of Goldsmith’s finest writing remained unreleased. Two decades later, Intrada Records finally delivered the definitive edition. Their comprehensive 2-CD set unveiled the full extent of Goldsmith’s achievement: nearly two and a half hours of music, including alternate takes, previously unheard cues, and restored passages that revealed the score’s meticulous structure.

This new Renovatio Records edition builds upon that foundation, offering a slightly expanded yet thoughtfully assembled presentation, allowing listeners to appreciate the evolution of the film’s musical identity (from scientific curiosity to psychological horror) exactly as Goldsmith intended.  While maintaining the chronological flow, the album refines transitions between cues to create a smoother, more immersive experience for home listening. The newly remastered audio highlights the extraordinary clarity of Goldsmith’s orchestration: the shimmer of harps, the sharpness of brass, and the pulsing synth textures that give the music its unsettling edge.

By bringing together every layer of Goldsmith’s design, this release not only celebrates Hollow Man as one of his last great achievements but also reaffirms his unparalleled ability to merge humanity, horror, and high-tech sophistication into a single, cohesive musical vision.

Track listing:

1. The Hollow Man (2:58)

2. Isabelle Comes Back (6:02)

3. Linda & Sebastian (2:57)

4. This Is Science (6:17)

5. First Night (3:32)

6. Not Right (2:40)

7. What Went Wrong? (1:42)

8. I Can't See Him (3:43)

9. Broken Window (2:58)

10. False Image (1:57)

11. Hi Boss (2:48)

12. Find Him (4:26)

13. Bloody Floor (5:12)

14. Linda Takes Action (4:49)

15. The Elevator (2:58)

16. The Big Climb (3:10)

Total Running Time: 58:09

Download Link

Size: 300.6 MB

Files type: FLAC Audio File [.flac]

Channels: 2 (stereo)

Sample Rate: 44.1 KHz

Sample Size: 16 bit

Bit Rate: 1,411 kbps

Cover Artwork:

Credits:

Music Composed and Conducted by Jerry Goldsmith

Produced by Jerry Goldsmith

Executive Producer: Paul Verhoeven

Executive Producer for Renovatio Records: John M. Angier

Orchestrations by Alexander Courage

Music Recorded and Mixed by Bruce Botnick

Music Recorded and Mixed at Abbey Road Studios, London, England

Music Editor: Ken Hall

Orchestra Contractor: Isobel Griffiths

Music Preparation: Vic Fraser

Computer Programming: Nick Vidar

Assistant to Mr. Goldsmith: Lois Carruth

Album Sequencing: John M. Angier

Art Direction: Mira B. Ellis

Published by Colpix Music, Inc. admin. by Sony/ATV Tunes LLC (BMI)

Cue Assembly:

Track Title	Slate Number and Cue Title
1. The Hollow Man	R1P1 The Hollow Man
2. Isabelle Comes Back	R1P7 Isabelle Comes Back
3. Linda & Sebastian	R2P1 Linda And Sebastian
4. This Is Science	R2P3 This Is Science
5. First Night	R3P1 The Buttons (Edited) R3P2 Coffee Break
6. Not Right	R3P4 Not Right
7. What Went Wrong?	R3P5 What Went Wrong?
8. I Can’t See Him	R4P1R I Can't See Him (Alternate) R4P1A I Can't See Him Part II R4P1B I Can't See Him Part III (Edited) R4P4R Broken Window (Revised #1) (Edited)
9. Broken Window	R4P4 Broken Window
10. False Image	R4P7 False Image
11. Hi Boss	R5P1 Hi Boss
12. Find Him	R5P3 Find Him (Edited)
13. Bloody Floor	R5P4 Bloody Floor
14. Linda Takes Action	R6P1 Linda Takes Action
15. The Elevator	R6P3 The Elevator
16. The Big Climb	R6P4 The Big Climb

Motion picture artwork and photography © 2000 Columbia Pictures Industries, Inc. This compilation and cover artwork © 2025 Renovatio Records. All rights reserved. Unauthorized duplication is a violation of applicable laws. For promotional use only.

Renovatio Records [0-01702-19089]

Tremors

Tremors

(Original Motion Picture Score)

Music Composed and Conducted by

Ernest Troost

Additional Music by

Robert Folk

For this year’s Spook-tober festivities, Renovatio Records digs deep (literally) to bring back the subterranean thrills of Tremors, the beloved 1990 creature feature that turned desert sand into deadly ground. Directed by Ron Underwood and starring Kevin Bacon, Fred Ward, Finn Carter, Michael Gross, and Reba McEntire, Tremors blended horror, humor, and good old-fashioned monster-movie thrills into a perfectly balanced cocktail of entertainment. Its mix of scares, laughs, and small-town charm spawned an entire franchise, but it’s the original film that remains a fan favorite. Its practical effects, masterfully crafted by Amalgamated Dynamics, continue to impress more than three decades later and remind us why audiences still thrill at the sight of a Graboid bursting through the earth.

Set in the dusty, isolated town of Perfection, Nevada, Tremors follows two handymen, Valentine McKee (Bacon) and Earl Bassett (Ward), whose dreams of escaping their dead-end life are interrupted when mysterious underground creatures (soon dubbed “Graboids”) begin devouring anything that moves. With a clever script that constantly walks the line between comedy and tension, and a host of colorful characters, from seismologist Rhonda LeBeck (Carter) to survivalist Burt Gummer (Gross), the film became a cult phenomenon upon home video release, spawning multiple sequels and a TV series.

For the film’s music, director Ron Underwood first turned to Ernest Troost, whose background in folk and Americana was ideal for capturing the quirky spirit of Perfection and its eccentric inhabitants. Troost’s score begins with a lively, rustic flavor; harmonica, guitar, and light percussion evoke both humor and warmth, painting the town’s dusty landscape with a friendly, down-home touch. In the folksy country cue “Val & Earl,” Troost introduces his main theme for the protagonist duo: a relaxed descending piano figure that perfectly mirrors their easygoing camaraderie. This motif soon evolves into a distinctive seven-note melody that recurs throughout the score in various guises, from subtle hints to more dynamic statements underscoring their determination. Its most striking transformation comes in “The Plan,” where Troost crafts an Americana-tinged, heroic rendition meant to accompany the dozer rescue sequence, a cue ultimately replaced by Robert Folk’s more forceful orchestral counterpart in the final film.

Troost’s early cues establish the film’s identity with warmth and personality, effortlessly blending small-town charm with the promise of adventure. But as the film’s horror elements emerge, Troost’s writing evolves. The score gradually introduces eerie textures, percussive pulses, and atmospheric motifs that signal growing danger, with cues such as the first half of “On the Road to Bixby,” “Something’s Wrong,” “UZI4U,” and “Goin’ Fishin’” emphasizing mystery and mounting fear. Amid this tension, Troost also weaves in a delicate love theme for Val and Rhonda: a gentle, unassuming melody that adds warmth and humanity to the unfolding chaos. The theme first appears in “On the Rock (Love Theme)” and later returns in the film’s epilogue during “Finale,” where it reaches its emotional resolution.

However, when it came to the film’s full-scale action moments, Troost’s material, while rhythmically inventive and thematically cohesive in cues like “Barbed Wire” and “Rec Room,” was ultimately deemed too restrained for the intensity the filmmakers desired. The producers sought a more forceful, dynamic approach to drive the larger set pieces and amplify the film’s energy.

Enter Robert Folk, known for his robust symphonic style, who was brought in to write new music for the action and climax sequences, giving Tremors the adrenaline and heroic power the producers sought. His contribution (roughly twenty minutes of music) is a masterclass in rhythmic propulsion and orchestral energy. Tracks such as “Run!”, “Graboids in Town,” and “Val’s Run” deliver relentless momentum, propelled by muscular brass, racing strings, and dynamic percussion that elevate the tension to blockbuster levels.

Yet Folk’s approach wasn’t purely orchestral. To maintain cohesion with Troost’s soundscape, he subtly incorporated country-flavored elements, like harmonica and twangy guitar lines, particularly evident in “Vibrations in the Ground” and moments of “Run!”, where these textures are cleverly repurposed to evoke suspense rather than humor. Folk also introduced a distinctive Graboid motif, built around a repetitive clanging, metallic synth-cymbal effect that punctuates their attacks and reinforces the sense of subterranean menace.

Most notably, Folk created a heroic fanfare motif in an Americana style, featuring bold brass and lush strings, which makes a striking appearance in “Dozer Rescue” (a cue used twice in the film). This fanfare underscores the heroism of the characters while evoking the sweeping Nevada desert landscapes. The heroic motif later shines during the thrilling “Stampede” sequence at the end, driving the action forward to its climatic resolution as the last of the Graboids bursts through the cliff wall and meets its demise, punctuated by a triumphant statement of the theme signaling the creatures’ defeat. This combination of heroic brass, expansive strings, and rhythmic drive gives Folk’s music its unforgettable cinematic punch, perfectly complementing Troost’s earlier cues.

Together, Troost and Folk create a fascinating hybrid: Americana-infused small-town charm colliding with muscular symphonic terror. The result is a score that mirrors Tremors itself — part creature feature, part character comedy, all heart and excitement.

The music of Tremors has had a long journey to an official release. Ernest Troost’s score was first issued in a limited promotional edition in 1999, offering a strong but incomplete selection of his work. Robert Folk’s contributions remained largely unavailable, aside from a privately commissioned suite the composer released himself in his 1993 promotional "Selected Suites" album. It wasn’t until La-La Land Records’ 2020 two-disc edition that fans finally received a comprehensive presentation of the film’s music: CD1 featuring Troost’s full score and CD2 devoted to Folk’s material. While this was a landmark for collectors, the separation of the two composers’ work (though complete) did not fully reflect the experience of the music as heard in the film.

This new Renovatio Records edition approaches the score differently, respecting the chronological order of the film as much as possible to preserve its narrative and emotional flow. Troost’s thematic warmth and character-driven cues naturally give way to Folk’s dynamic action sequences, allowing the score to unfold exactly as it does on screen. To enhance the listening experience, several tracks combine multiple cues, creating fluid, extended movements; a welcome adjustment, given that much of the original score, by both composers, consists of short pieces, many under a minute. This careful assembly ensures that the music is both coherent for home listening and faithful to the film’s dramatic arc.

All in all, thirty-five years after its premiere, Tremors remains a rare cinematic gem: witty, thrilling, and endlessly rewatchable. The same can be said for its score: a unique collaboration between two composers whose differing sensibilities ultimately complemented one another. With this new presentation, Renovatio Records invites fans to rediscover Tremors not just as a cult classic, but as a showcase of musical ingenuity, tonal balance, and raw creature-feature fun.

Hold on tight… the ground’s about to shake again.

Track listing:

1. Main Title (0:29)*

2. Val & Earl (2:46)*

3. On the Road to Bixby (2:16)*

4. Vibrations in the Ground (1:04)+

5. Something's Wrong (2:48)*

6. Best Horsemen (1:10)*

7. Run! (2:54)+

8. On the Rock (Love Theme) (2:37)*

9. Pole Vaulting (1:10)*

10. Barbed Wire (2:34)*

11. Graboids in Town (1:59)+

12. UZI4U (2:46)*

13. Rec Room (2:47)*

14. The Plan (3:41)*

15. Val's Run (3:35)+

16. Dozer Rescue (1:36)+

17. Goin' Fishin' (3:50)*

18. Stampede (2:54)+

19. Finale (2:11)*

*Composed by Ernest Troost

+Composed by Robert Folk

Total Running Time: 45:09

Download Link

Size: 291.4 MB

Files type: FLAC Audio File [.flac]

Channels: 2 (stereo)

Sample Rate: 44.1 KHz

Sample Size: 16 bit

Bit Rate: 1,411 kbps

Cover Artwork:

Credits:

Music Composed and Conducted by Ernest Troost

Additional Music by Robert Folk

Music Produced by Ernest Troost and Louise Hatem

Executive Producer for Renovatio Records: John M. Angier

Orchestrations by Barb Luby and Ernest Troost

Music Recorded at Carriage House Studios and Castle Oak Studios

Music Recorded by Phil Magnotti, Johnny Montagnese and Michael Aarvold

Music Editing by Triad Music

Supervising Music Editor: Kathy Durning

Music Editor: Patricia Carlin

Special Thanks: Ron Underwood, Brent Maddock, Steve Wilson, Ginny Nugent, Gale Anne Hurd, Ellen Collett, Sandy Fox, and Jeff Kaufman.

Additional Music:

Composed and Conducted by Robert Folk

Produced by Robert Folk

Music Scoring Mixer: Michael Aarvold

Music Preparation: Tom Brown

Orchestrations by: Brad Dechter, Randy Miller and William Ross

Album Sequencing: John M. Angier

Art Direction: Mira B. Ellis

Featured Instrumental Soloists:

Bass: Norman Ludwin

Trumpets: Malcolm McNab, Roy Poper

Clarinet: John Moses

French Horn: James Thatcher

Flute: Louise Di Tullio

Cue Assembly:

Track Title	Cue Title
1. Main Title	Titles (Troost)
2. Val & Earl	Val & Earl (Troost) Drive to Rhonda (Troost)
3. On the Road to Bixby	Rhonda with Graboid (Troost) On the Road (Troost) Into Perfection (Troost)
4. Vibrations in the Ground	Fred Dies (Folk)
5. Something’s Wrong	Finding Fred (Troost) Finding Fred (Folk) Road Attack (Troost) Roadblock (Troost)
6. Best Horsemen	Best Horseman (Troost) Rhonda (Troost) Riding (Troost)
7. Run!	Horses Stop (Folk) Graboid Revealed (Folk) Chang Dies (Folk) (Edited)
8. On the Rock (Love Theme)	Rock (Troost) Love Theme (Troost) (Edited) Night (Troost) Val and Rhonda (Alternate) (Troost) Love Theme (Troost) (Edited)
9. Pole Vaulting	Pole Vaulting (Troost)
10. Barbed Wire	Someone Will Come (Troost) Mindy (Troost) (Edited) Barde Wire (Troost) (Edited)
11. Graboids in Town	Barbed Wire Part I (Folk) Barbed Wire Part II (Folk)
12. UZI4U	UZI4U (Troost) Going After Burt (Troost)
13. Rec Room	Horses Stop (Troost) (Edited) Rec Room (Troost) (Edited)
14. The Plan	All Cheer (Troost) (Edited) Truck Alarm (Troost) Tractor (Troost) (Edited) Don’t Move (Troost) (Edited) The Dozer Rescue (Troost)
15. Val’s Run	Tractor (Folk) (Edited) Val Drives Dozer (Folk) (Edited) Graboids After Val (Folk)
16. Dozer Rescue	Dozer Crashes (Folk)
17. Goin’ Fishin’	Run for the Rocks (Troost) (Edited) Goin' Fishin' (Troost) (Edited) Graboid Guts (Troost) (Edited)
18. Stampede	Away from the Rocks (Folk) (Edited) Val Drives Dozer (Folk) (Edited) Final Confrontation (Folk)
19. Finale	Feel Like Making Noise (Troost) (Edited) Val and Rhonda (Alternate) (Troost) (Edited) Val and Rhonda (Troost) (Edited)

Motion picture artwork, logos and photography © 1990 Universal City Studios LLC. This compilation and cover artwork © 2025 Renovatio Records. All rights reserved. Unauthorized duplication is a violation of applicable laws. For promotional use only.

Renovatio Records [0-01702-19111]