{"id":201115,"date":"2021-02-24T17:00:22","date_gmt":"2021-02-24T17:00:22","guid":{"rendered":"https:\/\/gamerant.com\/marvel-cinematic-universe-songs-music\/"},"modified":"2021-02-24T17:00:22","modified_gmt":"2021-02-24T17:00:22","slug":"marvels-cinematic-universe-packs-13-years-of-amazing-superhero-worthy-music","status":"publish","type":"post","link":"https:\/\/itteacheritfreelance.hk\/wordpress\/index.php\/2021\/02\/24\/marvels-cinematic-universe-packs-13-years-of-amazing-superhero-worthy-music\/","title":{"rendered":"Marvel’s Cinematic Universe Packs 13 Years Of Amazing Superhero Worthy Music"},"content":{"rendered":"

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Since 2007 Marvel Entertainment<\/strong> set itself out to bring to cinemas all of the beloved superheroes from its comics in a way that had never been seen before. Of course, there were previous animated and live-action attempts to do so, but never quite matching the production values that are seen in Marvel<\/a> blockbusters today.<\/p>\n

Rewinding to the early cartoons from the 60s or the more sophisticated animated series from the 90s, all the way to the first superhero films of the 2000s -which also had Kevin Feige in producing roles-, each of those surely helped in crafting the MCU\u2019s identity today<\/a>. However, since the first Iron Man<\/em>, every subsequent Marvel movie went on to be bigger in almost every way, including the music that was featured in the films.<\/p>\n

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While the superhero movies from the early 2000s played it safe with then-current hits from contemporary bands and musical scores from the likes of Danny Elfman and John Ottman, Iron Man<\/em> represents a drastic change<\/a> in Marvel\u2019s sound with Ramin Djawadi (Game of Thrones<\/em>) bringing electric guitars and other electronic sounds into the film\u2019s score that better compliment Tony Stark\u2019s fondness for modern tech and classic rock. That change manifests itself from the first moment AC\/DC\u2019s \u201cBack in Black\u201d introduces audiences to Robert Downey Jr.\u2019s Stark until the end credits that adequately wrap up the film by borrowing from Black Sabbath\u2019s own \u201cIron Man\u201d.<\/p>\n

From that point onward the MCU really never looked back as far as music came, Iron Man 2<\/em> one-upped its game by not only including some songs by The Clash and AC\/DC in its soundtrack but making the latter an integral part of the movie\u2019s sound and Stark\u2019s personality. The move would signify that both musical scores and featured songs were now more than ever in tune with every superhero\u2019s personality and the movie\u2019s general tone, with some space for the greatest hits available at the time, like the Foo Fighters\u2019 \u201cWalk\u201d serving as Thor\u2019s<\/em> motivational anthem.<\/p>\n

For the remainder of the MCU\u2019s Phase One, every hero would start finding their own musical identity just like Iron Man<\/em> did and this was one of the challenges Alan Silvestri faced in the first Avengers<\/em> movie, the biggest MCU film up to that point, despite also scoring Captain America: The First Avenger<\/em>. The MCU\u2019s Phase Two was yet another turning point for Marvel\u2019s superheroes to level up their musical game and there is no better showcase of this than the entire soundtrack for Guardians of the Galaxy: Awesome Mix Vol. 1<\/em>.<\/p>\n

The opening credits scene in Guardian of the Galaxy Vol. 1<\/em> is certainly one of the MCU\u2019s most iconic musical moments<\/a> but the entire movie\u2019s soundtrack, which is meant to be a symbol for Star-Lord\u2019s links to his native planet, is a perfect example of how Marvel films narrow\u00a0the generational gap for younger audiences to become acquainted with songs that were sort of lost in time since their heyday back in the 60s and 70s.<\/p>\n

By the time Phase Three came knocking, Marvel had practically transformed superhero movies into their own genre, budgets and profits were both at an all-time high so the expenses for music royalties had to follow through. Doctor Strange<\/em> introduces viewers to a new Avenger to the sound of Pink Floyd\u2019s \u201cInterstellar Overdrive\u201d and also includes clever use of Earth, Wind & Fire\u2019s \u201cFeels So Good\u201d to show a bit of Strange\u2019s personality.<\/p>\n

Guardians of the Galaxy Vol. 2<\/em> repeats a lot of the same formula that was so well received to same level of success and Tom Holland\u2019s solo introduction as Spider-Man<\/em><\/a> sees the teenager web-swinger do his crime-fighting with bands like The Ramones, Rolling Stones, and A Flock of Seagulls in the background. Thor: Ragnarok<\/em>\u00a0only uses one\u00a0classic rock hit, but it makes the best use of Led Zeppelin\u2019s \u201cImmigrant Song\u201d for an epic finale that\u2019s only matched by Jack Black\u2019s own Thor<\/em> tribute<\/a>.<\/p>\n

Black Panther<\/em> produced not only original songs and an accompanying album by Kendrick Lamar, it features a marvelously written score from Ludwig G\u00f6ransson (The Mandalorian<\/em>)<\/a>, which blends electronic, hip hop, and African rhythms. Meanwhile, Captain Marvel<\/em> sees Carol Danvers land<\/a> in a 90s Los Angeles that\u2019s heavily loaded with hits from the decade featuring famous bands like R.E.M., Nirvana, and No Doubt.<\/p>\n

The more recent Marvel movies have pretty much stuck with the now established trend, really big musical scores for films like Avengers: Endgame<\/em><\/a> and a more personal touch for each hero\u2019s individual story. Music is even used in Spider-Man: Far From Home<\/em> as a way to bridge the gap between the late Tony Stark and a young Peter Parker who awkwardly confuses AC\/DC for Led Zeppelin much to Happy Hogan\u2019s dismay and it will probably continue to do so in the promising Spider-Man 3<\/em><\/a>.<\/p>\n

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