"The A-Team" Soundtrack Lyrics

"The A-Team (Original Motion Picture Soundtrack)" – Album Guide to Tracks and Key Scenes

Overview

What does a plan sound like when it really comes together? In Joe Carnahan’s 2010 reboot, it’s Alan Silvestri’s orchestral-meets-percussion engine — brass fanfares, militarized snare grids, and sly quotations of Mike Post & Pete Carpenter’s classic TV theme. The score does the heavy lifting while needle-drops flash character: BA’s muscle-car bravado, Murdock’s chaos, Face’s con-man charm.

The soundtrack is anchored by Silvestri’s 72-minute album on Varèse Sarabande/Fox Music, recorded at Fox’s Newman Scoring Stage. Cue titles double as story beats (“Alpha Mike Foxtrot,” “Putting the Team Back Together,” “Flying a Tank,” “I Love It When a Plan Comes Together”). Around it, sharp source cues — Sex Pistols, The Black Keys, Frederick Knight — spike the film’s biggest gags. It’s old-school A-Team swagger built with modern action sonics.

Genres & phases — Orchestral action for mission building; electric guitar/rock accents for bravado; catalog cuts for location flavor and punchlines; TV-theme interpolation for nostalgia hits.

How It Was Made

On Dec 1, 2009, Fox tapped Alan Silvestri to score the film. He recorded with the Hollywood Studio Symphony at the Newman Stage, weaving the original TV motif into a brand-new action palette. The official album arrived June 21, 2010 via Varèse Sarabande and Fox Music (16 tracks, ~72 minutes), and it’s the definitive listen: from the desert prologue to the container-port climax, capped by a triumphant end suite.

Song licensing keeps it punchy: The Game’s “House of Pain” jump-starts a Mexico opener; Sex Pistols needle the asylum breakout; The Black Keys grease a con montage; Tom Morello’s “A-Team Blastoff Suite” tags the end credits. The film also features an on-screen rendition of “You Spin Me Round” — Murdock, of course.

Tracks & Scenes

Timestamps are approximate for the 121-minute theatrical cut; “diegetic” = heard by the characters. We avoid listing the full score album; these are representative beats.

“House of Pain” — The Game

Where it plays:

~00:07 — “Somewhere else in Mexico.” Police chase BA’s orange Lamborghini across dusty roads. Diegetic in-world source that slams right into the opening action.

Why it matters:

Instant character sketch for BA: pedal down, volume up.

“Theme from The A-Team” — Mike Post & Pete Carpenter (quotation within the film & Silvestri’s cues)

Where it plays:

Early titles and peppered through Silvestri’s score (e.g., “Somewhere in Mexico/Original ‘The A-Team (Theme)’” and the finale suite). Non-diegetic, orchestral treatment.

Why it matters:

Nostalgia charge with modern muscle; the brand in eight bars.

“Anarchy in the U.K.” — Sex Pistols

Where it plays:

~00:18 — Psychiatric hospital breakout. Murdock distributes 3-D glasses, patients start chanting “Movie!” as the jailbreak goes gloriously sideways. Diegetic blast from the ward’s system.

Why it matters:

Murdock’s chaos, bottled: punk as punchline and propulsion.

“I’ve Been Lonely (For So Long)” — Frederick Knight

Where it plays:

~00:43 — Crematorium gag: headphones on, an attendant dances as Hannibal fakes an overdose. Diegetic needle-drop in a very wrong place.

Why it matters:

Classic soul used as misdirection for one of the film’s best cons.

“I Got Mine” — The Black Keys

Where it plays:

~00:50 — Operation prep montage. Face flirts his way into access cards while the team assembles the scam. Non-diegetic swagger.

Why it matters:

Sweaty guitar groove = instant montage momentum.

“Trio Para Enamorados (Trio for Lovers)” — Jorge Calandrelli

Where it plays:

~00:23 — Murdock croons along and Face hams it up — a deliberately cheesy romantic interlude before the next caper beat. Diegetic.

Why it matters:

Shows how often music is the joke in this movie.

“You Spin Me Round (Like a Record)” — Dead or Alive (on-screen performance)

Where it plays:

Midfilm asylum antics — Murdock (Sharlto Copley) sings it in-scene. Fully diegetic, comic focal point.

Why it matters:

Copley’s bit commits so hard it becomes a musical number.

“A-Team Blastoff Suite” — Tom Morello

Where it plays:

End credits — a short, riff-driven tag.

Why it matters:

Guitar hero fireworks as the curtain call.

Score spotlight — Alan Silvestri

“Alpha Mike Foxtrot” / “The Plan”

Early mission table-setting: rhythmic ostinati and low brass punching transitions as Hannibal narrates the con.

“Putting the Team Back Together”

Post–court martial rebuild — character motifs lock back in, tempo climbs.

“Flying a Tank”

Mid-air tank drop/cannon-as-thruster set piece. It shouldn’t work; the cue makes you believe it does.

“The Docks, Part I & II” → “I Love It When a Plan Comes Together”

Container-port shell game through the end suite — escalating hits, TV-theme payoff.

Notes & Trivia

• The score album runs ~72 minutes across 16 tracks; official label credit is Varèse Sarabande in partnership with Fox Music.
• Silvestri recorded at the Newman Scoring Stage with the Hollywood Studio Symphony; guitarist Dean Parks contributed solos.
• Several source cues (e.g., “Anarchy in the U.K.,” “House of Pain,” “I Got Mine”) are not on the score album but are documented in film credits/scene indexes.
• Murdock’s on-screen “You Spin Me Round” is a fan-favorite gag — it’s sung by Sharlto Copley in character.

Reception & Quotes

Critics split on the film but agreed the music hits the brand sweet spot: modern action writing with generous nods to the TV theme.

“Silvestri blends cheesy, pioneering TV spirit with modern, Zimmer-era bravado.” — AllMusic summary

“A very good album is in here — and the TV-theme payoff lands.” — Movie-music press

Interesting Facts

• Theme threading: The classic TV motif is quoted straight and reharmonized across cues — nostalgia without pastiche overload.
• Guitar color: Silvestri seasons orchestration with electric guitar to bridge orchestral heft and heist swagger.
• Diegetic comedy: Multiple gag-driven uses of source music (asylum, crematorium) make songs part of the con.
• Credit sting: Tom Morello’s short “Blastoff Suite” gives the credits a crunchy send-off.

Technical Info

• Title: The A-Team (Original Motion Picture Soundtrack)
• Year: 2010 (album released June 21, 2010)
• Type: Original score (with prominent licensed songs in film)
• Composer: Alan Silvestri
• Label: Varèse Sarabande / Fox Music
• Studios/Musicians: Newman Scoring Stage; Hollywood Studio Symphony; guitar solos by Dean Parks
• Selected notable placements: “House of Pain,” “Anarchy in the U.K.,” “I Got Mine,” “You Spin Me Round” (on-screen), “A-Team Blastoff Suite” (end credits)
• Key cues (score): “Alpha Mike Foxtrot,” “The Plan,” “Putting the Team Back Together,” “Flying a Tank,” “The Docks I–II,” “I Love It When a Plan Comes Together”
• Availability: Streaming on Apple Music/Spotify; CD via Varèse Sarabande

Questions & Answers

Who composed the movie’s score?

Alan Silvestri, recorded with the Hollywood Studio Symphony at Fox’s Newman Stage.

Is the TV theme in the film?

Yes. Silvestri quotes Mike Post & Pete Carpenter’s theme in multiple cues and features it prominently in the finale suite.

Which cue scores the mid-air tank sequence?

“Flying a Tank” — a fan-favorite on the album.

Are the rock songs on the official album?

No — the retail album is Silvestri’s score; the film’s licensed songs (e.g., Sex Pistols, The Game, The Black Keys) are tracked in credits/scene indexes.

What plays over the end credits?

Tom Morello’s short “A-Team Blastoff Suite.”

Key Contributors

Sources: Varèse Sarabande album listing; Apple Music/Spotify album pages; Wikipedia (soundtrack & film); Discogs (credits & track data); WhatSong scene index; IMDb Soundtracks; official trailers (for figures).

November, 27th 2025