Danny Elfman
2) MARS ATTACKS - introduction/main title (City of Prague Philharmonic Orchestra & Crouch End Festival Chorus)
7) MEN IN BLACK - main title (Produced and Performed by John Beal)
Danny Elfman pulled out all the stops when scoring MARS ATTACKS, mirroring '50s space invasion music with a brassy main theme, driven by the eerie strains of a theremin and choir. Elfman kept a much straighter face when providing the evocative music for MEN IN BLACK. The PETER GUNN-styled riff, pop/jazz beat and use of electric bass and twangy electric guitar gives the score a tongue-in-cheek detective feel.

Christopher Young
3) SPECIES - end title** (City of Prague Philharmonic Orchestra & Crouch End Festival Chorus)
Among the most inventive composers in Hollywood, Christopher Young has created some of the most bizarrely effective scores for horror and science fiction films. For SPECIES, he developed a spooky score built around sound clusters, minor melodies and massive orchestrations of symphony orchestra and chorus.

John Williams
4) E.T. - medley (Performed by Michael Chertock)
John Williams has been the preeminent movie music composer throughout the '80s and '90s. Drawn from similar melodic ground as that of STAR WARS and SUPERMAN, Williams' music for E.T. was heartwarming and poignant, solidifying the friendship between a boy and a marooned alien with a heartfelt melody.

Alan Silvestri
5) CONTACT - end title (City of Prague Philharmonic Orchestra )
8) PREDATOR - main title (Produced and Performed by John Beal)
Alan Silvestri's poignant CONTACT eschewed the bombastic thematic structure of a STAR WARS or STAR TREK epic. Instead, Silvestri lent this thoughtful examination of science and faith a suitably introspective atmosphere. Silvestri turned in a far more malevolent score for the exciting fast-paced PREDATOR.

John Carpenter & Alan Howarth
6) THEY LIVE - main title (Performed by Alan Howarth)
John Carpenter is one of the few film directors who is also an accomplished composer. Frequent collaborations with sound designer/composer Alan Howarth led to scores like THEY LIVE - a catchy, rock-style score that creates an effective claustrophobic atmosphere for resistance fighters who uncover alien infiltrators on Earth.

Richard Band
9) ALIENS - the ride* (Composed, Conducted and Produced by Richard Band)
ALIENS, the popular sequel to ALIEN, was adapted into a popular amusement park ride. Composer Richard Band created a original score for the ride that uses James Horner's main theme from "Aliens" as its jumping off point.

Jerry Goldsmith
10) ALIEN - end title (Orchestra of the Americas)
Jerry Goldsmith took a very sparse approach to his brooding, desolate music to ALIEN. This score contrasted very soft, plaintive motifs suggestive of the solitude of space with low, extremely brash terror music heralding each attack by the alien creature.

Denny Zeitlin
11) INVASION OF THE BODY SNATCHERS - main title (Original Soundtrack Recording Produced by Denny Zeitlin)
San Francisco jazz musician Denny Zeitlin's quirky music for the 1979 remake of INVASION OF THE BODY SNATCHERS (his only film score) made use of an array of electronic instruments and percussive sounds, evoking a disturbing musical atmosphere of discomfort.

Elliot Goldenthal
12) ROSWELL - main title* (Original Soundtrack Recording Composed and Performed by Elliot Goldenthal)
Elliott Goldenthal is among the most promising newcomers to emerge into Hollywood film music during the '90s. His synthesizer score for the cable-TV movie, ROSWELL, was neatly off-center, maintaining an aura of clandestine spookiness throughout the picture.

Christopher Franke
13) THE TOMMYKNOCKERS suite* (Produced and Performed by Christopher Franke)
Christopher Franke crafted an effective synth score for Stephen King's alien invasion story, THE TOMMYKNOCKERS, filled with plenty of eerie atmospherics for this moody TV movie.

Michael Hoenig
14) DARK SKIES epilogue* (Original Soundtrack Recording Produced and Performed by Michael Hoenig)
Michael Hoenig lent an effectual air of apprehension and mystery for the stylish TV series DARK SKIES through intriguingly arranged electronics.

Mark Snow
15) THE X-FILES - theme (Hollywood Chamber Orchestra)
Mark Snow's eerie theme and atmospheric scoring for THE X-FILES encapsulates a world of quasi-government conspiracy, alien infiltration and paranoia that have helped keep the series popular for five seasons and one feature film.

David Arnold
16) INDEPENDENCE DAY - end credits (City of Prague Philharmonic Orchestra & Crouch End Festival Chorus)
Despite his British origins, David Arnold's music for INDEPENDENCE DAY is steeped in Americana. Sweeping in scope and tonality, the music - as with the film - personifies the alien invasion film and reiterates humankind's ultimate triumph.