He handled the two later scores in the order of their films' post-production arrangement, so while there is some common structural development to the two sequel scores, they exist as largely effective separate entities. Silvestri did manage to write, without ever seeing any of the third film, a preview of one of the two major new themes for Back to the Future Part III to accompany a teaser sequence appended to Back to the Future Part II. Most of the second score directly extends from the first, however, an intentional byproduct of the story's immediate continuation and, in some cases, rehash of the same action from different camera angles. Outside of the short burst of foreshadowing of the Western theme for Back to the Future Part III, which wasn't heard on the original album for the first sequel, there is little of note that could be called original in the second score. Silvestri does introduce a new, menacing theme of trepidation for Back to the Future Part II, a sneaky and ominous identity for Biff's altering of the timeline and the sports almanac he uses to change the outcome of time, but the music is otherwise completely dependent upon the themes and even specific rephrasing from the first film. In some cases, Silvestri remains so loyal to the material from Back to the Future that he almost reprises substantial lengths of cues in cut and paste fashion for the second entry. Along with the logical need to accompany scenes already witnessed in the first film with similar music in the sequel, the loyal usage speaks to the strength of the original composition. This tactic does tend, though, to leave listeners unsatisfied with Back to the Future Part II, a work that ultimately simply teases out a few more slight variations on the existing franchise themes for most of its duration. The title theme and its two halves (the triumphant fanfare and the longer adventure portion) are once again integral to the score, both given extended treatment. The adventure half of the theme, and especially its distinctive first three notes, is more frequently referenced in subtle mutations. The soft theme for Marty and his friendship with Doc Brown is rarely utilized, though it is heard in full on woodwinds in the middle of "Western Union."

The two themes for Doc Brown are employed in Back to the Future Part II with greater frequency. The bumbling rhythmic theme (the official identity of the character) frantically tumbles along as the interlude to the primary theme in "Main Title" and then reappears early in "The Future," both accompanying Brown's rather colorful, wacky persona. Returning as a poignant stinger is the pair of descending triads on percussion used by Silvestri to pinpoint the magical, time-traveling aspect of the entire concept, though despite its opening of "Back to Back," "Pair O' Docs," and "Western Union" (among other places), it is unfortunately less prevalent than in the original. In many ways, this little six-note phrase is a favorite motif in the entire franchise, its xylophone and chimes performances so affable and incredibly unique to these scores. The rumbling, rhythmic theme for suspense, somewhat solidified as an identity for Biff, is heard far more frequently in the sequel score (understandably), reprising its Skateboard chase positioning in "Hoverboard Chase" and culminating in the climactic "Tunnel Chase." It was always mostly a background element, usually churning on piano, though in Back to the Future Part II it is given a leading role in several cues. The militaristic theme of danger originally accompanying the initial time travel tests and Libyans in pursuit of their plutonium in Back to the Future is also expanded, occupying much of "The Future" and "Something Inconspicuous." Whereas this rhythm once foreshadowed Predator for Silvestri, it now seems like a shadow of that impressively percussive score. The only new identity that Silvestri conjures for Back to the Future Part II is a two-part idea for the altered realities and gloomy future that defines the sequel as a less fluffy story. Growing out of a greater role of dissonance is this theme of brutal tone, blurting out from brass and piano in "My Father," "Alternate 1985," and "If They Ever Did." The stark orchestration of its performances affords it a certain level of fright that Marty expresses upon seeing everything in his life gone wrong. The secondary phrase of this theme, conveniently laid out in "My Father," extends this idea to excruciating agony, its descending string figures once again reminding of Predator. The three cues encapsulating these scenes in the center portions of Back to the Future Part II offer the score's most unique material, though with its drab, often simmering tone, it's easy to overlook this section of the score.

Outside of the cues aimed at the alternate 1985 in Back to the Future Part II, Silvestri enters copy and paste mode, overshadowing the new music with familiar performances that are, in some cases, only slight in alteration. "The Future" is a partial reprise of "'85 Twin Pines Mall," "Hoverboard Chase" obviously imitates "Skateboard Chase," and "Burn the Book" and, to a lesser extent, "Tunnel Chase," regurgitate substantial portions of "Clocktower." The arrangement of the "End Title" cue for Back to the Future Part II really doesn't present anything satisfying fresh, either. Normally, these reprises wouldn't be a problem, but only if the subtle alterations were intelligent and the performance and recording quality improved. The former does exist (a few of the changes are quite keen, especially in the increased insertion of Biff's suspense theme as counterpoint), but the performance of this score, made on two separate sound stages, is lousy at times and the sound quality (even compared to the original Back to the Future album that featured only 12 minutes of score) is far more muted. This final point is the biggest problem with Back to the Future Part II; it simply sounds extremely poor compared to the first and third recordings. The piano is mixed with a bit of reverb, it seems, but the rest of the ensemble is incredibly flat and sounds remarkably small. The constricted atmosphere of the score sucks much of the life out of the work and diminishes the fantasy element significantly. There is also, ironically, a lingering effect of the songs from the first film; Back to the Future is such a spirited blend of 50's songs, 80's songs, and adventure score that to hear a repeat of most of the score without the hip and stirring song placements is a bit awkward. In terms of listening to the score alone, however, this Silvestri entry still can be recommended to enthusiasts of the original because of the strength of the returning themes. Just be sure to temper your expectations. In 2015, just in time for the film's future setting (in which the Chicago Cubs did not win the World Series as predicted, though they came comparatively close, much to the hype of concept enthusiasts), Intrada Records provided a full presentation of the score, including an extensive selection of alternate takes recorded before final edits. Unfortunately, the sound quality on this set isn't much improved, revealing the original recording arrangement to be the issue with score's perceived smallness. If the amount of rehash and sound issues deter you from this entry, then Back to the Future Part III is a superior and more original alternative.  ***   @Amazon.com: CD or Download