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Section Header
Predator
(1987)
1997 Bootleg

2000 Bootleg

2001 Bootleg

2003 Varèse

2010 Intrada

2012 Intrada

Composed and Conducted by:
Alan Silvestri

Orchestrated by:
James Campbell

2003-2012 Albums Co-Produced by:
Nick Redman

2010-2012 Albums Co-Produced by:
Douglass Fake

Labels and Dates:
Alien Records Bootlegs
(1997, 2000, 2001)

Varèse Sarabande
(August 19th, 2003)

Intrada Records
(August 2nd, 2010)

Intrada Records
(March 5th, 2012)

Also See:
Predator 2
Predators
Back to the Future
The Mummy Returns
The Croods

Audio Clips:
2003 Varèse Album:

2. Main Title (0:34):
WMA (220K)  MP3 (274K)
Real Audio (171K)

7. Jungle Trek (0:30):
WMA (197K)  MP3 (242K)
Real Audio (150K)

11. We're All Gonna Die (0:30):
WMA (195K)  MP3 (242K)
Real Audio (150K)

21. The Rescue and End Credits (0:30):
WMA (197K)  MP3 (242K)
Real Audio (150K)

Availability:
No commercial release exists. The "Alien Records" bootlegs were in high demand from 1997 through 2003, often fetching over $50 on the secondary market. The 2003 Varèse Sarabande Club release was limited to 3,000 copies, sold out from the label and soundtrack specialty outlets in early December, 2003 and immediately sold for over $75 in online auctions (eventually reaching $200 in value).

The 2010 Intrada album of another 3,000 copies sold out within a day from the same specialty outlets and was seen in auctions for $100 thereafter. The 2012 follow-up from Intrada is a regular commercial release of unlimited quantities, available for $20 but initially restricted to the specialty outlets.

Awards:
  None.









Predator


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Our Price: $19.99
Used Price: $120.82

Sales Rank: 14639


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Buy it... if you seek one of Alan Silvestri's most enduring and memorable scores, led by an extremely catchy percussive rhythm highlighting the score's menacingly primal thematic ideas.

Avoid it... if any horror score without grand, fluid themes, and especially one with a driving militaristic personality, isn't worth the price of any of its albums.



Silvestri
Predator: (Alan Silvestri) When considering the early projects of Arnold Schwarzenegger, many viewers have argued successfully that Predator presents the actor-turned-politician in his most varied and human light. The bodybuilder (and reportedly regular orgy participant) had been an automated war machine in Conan the Barbarian and The Terminator, and the comical elements in his other projects lessened the effectiveness of his size and attitude. Such was the glory of the story of Predator, the first major feature triumph for successful action director John McTiernan. The plot of the film progressed backwards from the norm, with the technology and hunting spirit becoming more primitive and intensely personal as the film reaches its climax. A Central American rescue mission by American commandos is interrupted by the arrival of a member of a hunting species from another planet, and the crew of bad-ass Earthlings is picked off one by one by this "predator" before the inevitable struggle between the gruesome creature and Schwarzenegger. The human side of Schwarzenegger is portrayed in such a manner that the big guy might actually be killed while fighting for good, and this convincing aspect of the actor's performance helped maintain the film's awesome cult status. Composer Alan Silvestri was brought on to the Fox project at the height of his newly discovered popularity from Back to the Future. The composer had proven his talents with an orchestra during that production, and he had also provided comedy music for a jungle setting in Romancing the Stone. As a first venture into grand horror, though, Predator served Silvestri a test in a new genre that he passed brilliantly. The propulsion behind his Predator score caused the music, like the film, to be adopted as a cult favorite, with bootlegged versions of the music appearing everywhere in the decades following the film's release. He would go on to score Predator 2, which was larger in a symphonic sense (and translated into a more impressive title theme performance in the opinion of some) but lacked the purely primordial edge of its predecessor. Re-recordings of Silvestri's original Predator composition often lack its stylish, percussive appeal and precise, challenging rhythms. It would take until John Debney's faithful resurrection of this score's constructs in 2010's Predators before a convincing and accurate reprise of Predator's best musical aspects was heard.

Silvestri's intended use of music for Predator contains several motifs for the three or four basic situations in which the story's characters find themselves (all of which touched upon by Debney in the 2010 sequel). It was, therefore, a highly organized and precisely mapped score. Unfortunately for Silvestri, his music would suffer the same fate as Michael Kamen's in McTiernan's Die Hard the following year, with most major cues cut and rearranged throughout the film. Despite these questionable edits, the score is still remarkably effective. In a casual sweep of the music, the collection of motifs may seem to be an unorganized mass of jungle-induced sprawl. But the alien predator is provided with its own theme of descent that is wondrous in its string tones (and heard during its arrival). The American commandos counter with the score's most memorable idea, a simple, militaristic procession of piano and percussion. This six-note phrase, which is forcefully accompanied by precise rotations in the percussion section, is extremely distinctive. The commandos are also given a subtle motif for their efforts to run, hide, and complete their rescue mission. A slow fanfare of dread for the villain is hinted at in the score, expanded significantly by Debney in his sequel. A tribute to fallen friends is presented by a solo trumpet during scenes of mourning. A timpani-pounding running rhythm is perhaps the most driving element of the score, pushing the characters to their inevitable doom in the middle portion of the film. In many of these themes, a incessantly pounding piano in its lowest octaves is a menacing constant. Silvestri utilizes some stock horror techniques with brass hits and string strikes, but usually proceeds with a more consistent rumbling of ambient suspense that utilizes well-integrated electronic elements. Despite the use of the synthesizers, the score comes across as a symphonic powerhouse, alternating between Silvestri's racing action cues and suspenseful preparation material. A slight touch of fantasy in the aforementioned, descending string motif heard in "Main Title," "Building the Trap," and "The Pick-Up and End Credits" aides the science-fiction aspect of the score. The highlights of the work are the opening and closing sequences, as well as the "Jungle Trek" cue that presents the running theme's low brass and piano ostinato in its most engaging form. The final cue was unfortunately re-scored with the solo trumpet motif, signaling the loss of Schwarzenegger's team, whereas originally the score called for a repeat of the opening space motif (of descending strings) that had represented the alien, thus revealing in the end that Schwarzenegger was the true "predator" that the title suggests.

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Overall, it's one of Silvestri's most primal but sophisticated efforts all in one, assisting the film greatly in its success. The history of Predator on album has been a difficult one, though. A fictional label called "Alien Records" presented three different bootlegs of Silvestri's score between 1997 and 2001. Some included the song "Long Tall Sally" by Little Richard (featured in the film) or other Silvestri works, like seven minutes from Blown Away. Others included four minutes from Stop! Or My Mom Will Shoot and the "Silver Pictures Logo Theme," and even others had a sampling of music from Predator 2 and/or Schwarzenegger quotes from the original. A fourth bootleg, utilizing the first "Alien Records" cover, had no label, while the three under the "Alien Records" umbrella had the label number 27569. These bootlegs were widely passed around in CDr form so many times since they first hit the market in 1997 that some of them eventually had only the Predator score and no bonus material. The important thing to note is that all of the bootlegs had the same roughly 70 minutes of Silvestri material from the score. Their sound quality did vary from album to album, however, ranging from average to very good. Finally, in 2003, Varèse Sarabande released an official offering of the score as part of its Club series, with superior sound and a complete presentation that easily eclipsed all of the bootlegs. A detriment to the Varèse album, however, is the addition of Elliot Goldenthal's mutilation of the 20th Century Fox theme from Alien 3 at the start of the product. Its inclusion on this product makes no sense given that Predator predates Alien 3, and, besides, who wants to listen to a piece of Goldenthal's often obnoxious avant garde tendencies in a completely unrelated context? This limited Club release enticed owners of the bootleg to seek a crisp-sounding, official release of this cult score, though casual listeners did not have an overwhelming need to upgrade. As of the end of 2003, the issue became moot when the Varèse product sold out and itself shot up to $75 in value. In 2010, Intrada Records slightly rearranged the score from a better, digital source and added another 3,000 copies to the market. Also unfortunately including the Goldenthal intro, this product does have less tape hiss distraction. It sold out within a day, and in response to the wishes of the fans, composer, and studio, the label again rearranged the contents (adding short fragments and finally placing the cues in proper order) for an unlimited commercial pressing in 2012. Despite this history, Predator has always deserved repeated attention on album because of its enduring quality. Percussion enthusiasts, step on board.   Amazon.com Price Hunt: CD or Download

    Score as Written for the Film: ****
    Music as Heard on the 1997-2001 Bootlegs: ***
    Music as Heard on the 2003 Varèse Sarabande Album: ****
    Music as Heard on the 2010-2012 Intrada Albums: ****
    Overall: ****

Bias Check:For Alan Silvestri reviews at Filmtracks, the average editorial rating is 3.34 (in 32 reviews)
and the average viewer rating is 3.23 (in 31,303 votes). The maximum rating is 5 stars.





 Viewer Ratings and Comments:  


Regular Average: 3.67 Stars
Smart Average: 3.5 Stars*
***** 387 
**** 330 
*** 246 
** 116 
* 96 
  (View results for all titles)
    * Smart Average only includes
         40% of 5-star and 1-star votes
              to counterbalance fringe voting.
   If there ever was a curse, it's been lifted...
  Richard Kleiner -- 5/18/12 (12:47 p.m.)
   Is there a curse with this score?
  Richard Kleiner -- 12/30/10 (1:42 p.m.)
   Re: Well...it appears he's going to jail
  Oskar -- 10/4/10 (4:08 p.m.)
   Re: Best score I have...
  Marek -- 1/4/08 (3:37 p.m.)
   Re: Rescue music
  Marek -- 1/4/08 (3:32 p.m.)
Read All | Add New Post | Search | Help  




 Track Listings (1997 - 2001 Bootlegs): Total Time: 70:32


• 1. Main Title (3:48)
• 2. The Chopper (3:49)
• 3. Grim Discovery (0:37)
• 4. Dog Tags (1:19)
• 5. "Payback Time" (2:09)
• 6. Preparing Camp Attack (4:18)
• 7. Jungle Trek (1:49)
• 8. First Strike (5:55)
• 9. Blain Gets Killed (0:41)
• 10. "Who Did This?" (2:01)
• 11. Goodbye (1:26)
• 12. Predator Surgery (1:00)
• 13. Mac On Watch (1:09)
• 14. Pig Alarm (1:29)
• 15. Waiting (3:14)
• 16. Mac Loses It (1:21)
• 17. Dillon's Search (1:34)
• 18. Mac Targeted (1:58)
• 19. "Anytime" (1:06)
• 20. Dillon Disarmed (1:01)
• 21. Billy (1:19)
• 22. The Chase (1:18)
• 23. Camouflaged (2:11)
• 24. Preparations (4:42)
• 25. The Challenge (2:20)
• 26. The Fight (4:12)
• 27. Predator Unmasked (1:54)
• 28. "Bad Idea" (1:20)
• 29. The Trap (1:44)
• 30. Self Destruction (2:02)
• 31. Predator (1:13)
• 32. End Title (3:40)
Bonus Tracks:

First Edition: (1997 - 10th Anniversary)
• 2. "Long Tall Sally" (2:04)
   performed by Little Richard
• 34. Suite from Blown Away (7:17)

Second Edition: (2000)
• 33. Stop! Or My Mom Will Shoot (3:44)
• 34. Silver Pictures Logo Theme (0:20)

Third Edition: (2001)
• 1. Fox Fanfare (0:22)
• 2. Silver Pictures Logo (0:20)
• 34. Predator (10:11)
   includes Predator 2 end title and dialogue




 Track Listings (2003 Varèse Album): Total Time: 73:15


• 1. Twentieth Century Fox Fanfare* (0:27)
• 2. Main Title (3:51)
• 3. Something Else (3:34)
• 4. Cut 'Em Down (1:56)
• 5. Payback Time (2:09)
• 6. The Truck (4:22)
• 7. Jungle Trek (1:47)
• 8. The Girl's Escape (6:00)
• 9. Blaine's Death (2:47)
• 10. He's My Friend (1:26)
• 11. We're All Gonna Die (3:32)
• 12. Building a Trap (3:02)
• 13. The Waiting (3:27)
• 14. The Hunt is On (4:51)
• 15. Dillon is Disarmed (2:07)
• 16. Billy Stands Alone (2:34)
• 17. Battle Plans (9:24)
• 18. Wounded Predator (4:14)
• 19. Hand to Hand Combat (3:12)
• 20. Predator's Big Finish (3:42)
• 21. The Rescue and End Credits (4:44)

* composed by Alfred Newman, arranged by Elliot Goldenthal in 1992 for Alien 3




 Track Listings (2010 Intrada Album): Total Time: 74:45


• 1. Fox Logo* (0:26)
• 2. Main Title (3:52)
• 3. Something Else/Cut 'Em Down/Payback Time (7:37)
• 4. The Truck (4:23)
• 5. Jungle Trek (1:48)
• 6. Girl's Escape/Blaine's Death (6:40)
• 7. What Happened? (2:01)
• 8. He's My Friend (1:26)
• 9. We're Gonna Die (3:29)
• 10. Building the Trap (3:06)
• 11. The Waiting (3:27)
• 12. Can You See Him? (4:52)
• 13. Dillon's Death (2:05)
• 14. Billy and Predator (2:32)
• 15. Dutch Builds Trap (9:28)
• 16. Predator Injured/Hand to Hand Combat (7:22)
• 17. Predator's Death (3:43)
• 18. The Pick-Up and End Credits (5:58)

* composed by Alfred Newman, arranged by Elliot Goldenthal in 1992 for Alien 3




 Track Listings (2012 Intrada Album): Total Time: 76:05


• 1. Fox Logo* (0:26)
• 2. Main Title (3:52)
• 3. Something Else/Cut 'Em Down/Payback Time (7:37)
• 4. The Truck (4:23)
• 5. Jungle Trek (1:48)
• 6. Girl's Escape (5:59)
• 7. Blain's Death (0:47)
• 8. What Happened? (2:01)
• 9. He's My Friend (1:26)
• 10. We're Gonna Die (3:29)
• 11. Building the Trap (3:06)
• 12. The Waiting (3:27)
• 13. Can You See Him? (4:52)
• 14. Dillon's Death (2:05)
• 15. Billy and Predator (2:36)
• 16. Dutch Builds Trap (9:29)
• 17. Predator Injured (4:15)
• 18. Hand to Hand Combat (3:10)
• 19. Predator's Death (3:43)
• 20. The Aftermath/The Pick-Up and End Credits (7:01)

* composed by Alfred Newman, arranged by Elliot Goldenthal in 1992 for Alien 3




 Notes and Quotes:  


Packaging on the bootlegs was extremely varied, often with no information about the score other than track listings. The 2003 Varèse Sarabande Club album insert includes detailed information about the score and film, as well as a list of performers. That same level of detail was afforded the nearly identical inserts of the 2010 and 2012 Intrada albums as well.





   
  All artwork and sound clips from Predator are Copyright © 1997, 2003, 2010, 2012, Alien Records Bootlegs, Varèse Sarabande, Intrada Records, Intrada Records. The reviews and other textual content contained on the filmtracks.com site may not be published, broadcast, rewritten or redistributed without the prior written authority of Filmtracks Publications. Audio clips can be heard using RealPlayer but cannot be redistributed without the label's expressed written consent. Page created 9/16/03 and last updated 3/26/12. Review Version 5.1 (PHP). Copyright © 2003-2013, Christian Clemmensen (Filmtracks Publications). All rights reserved.