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Awesome Music / Spider-Man

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Much like Superman and Batman before him, Spidey has enjoyed some amazing music over the decades. The score for the Marvel Cinematic Universe films can be found here.


The Animated Series:

The Movies:

  • Danny Elfman's work in the first two Spider-Man Trilogy installments. The music in Spider-Man 2 as he stops the runaway train... just amazing. Though Christopher Young's music was used in the original instead of Elfman's... Sadly, Elfman's score for the second film was such a case of Executive Meddling (cues from the first film being tracked in, parts of Elfman's score reworked by Young and John Debney) that he said he'd never work with Sam Raimi again (explaining why Christopher Young did the third film - and got his score tampered with as well!). Happily, as with his bustup with Tim Burton after The Nightmare Before Christmas Elfman patched things up with Raimi in time for Oz the Great and Powerful.
    • Speaking of which, the second film had a different feature song depending on the country the film was shown in. Japan got the wonderous voice of Takanori Nishikawa with the song, Web of Night. Good lord, the energy of it is just so high-octane, that a Spider-Man anime NEEDS this song and the lyrics just fit for the character.
    • In a more mainstream example, Chad Kroeger and Josey Scott's "Hero" was everywhere when the first movie came out in 2002. Even the most devout Nickelback haters have been known to admit how awesome it is, and of the songs provided for the three movies in the trilogy this is the most easily-remembered.
    • Sandman's theme from the third movie is widely regarded as a beautiful piece of music.
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    • Venom's theme. It's a brilliant dark parallel to Spider-Man's Leitmotifnote  - while Spidey's theme is heroic, often having a sense of tranquility and tragedy reflecting his Dark and Troubled Past, Venom's theme is dark and villainous, with a sense of anger and detest slowly rising, before culminating in a fit of rage - reflecting Venom's hatred towards Spider-Man after he humiliated Eddie and rejected the symbiote.
  • The late James Horner's Young Peter from The Amazing Spider-Man, which captured Peter's transformation into Spider-Man with the theme for Spidey and an early hint of the Lizard theme.
  • The Amazing Spider Man 2:
    • Hans Zimmer gave us the awesomely creepy Electro Suite.
    • All of Zimmer's score, but special mention to "My Enemy", the theme for Electro.
    • "I'm Goblin" is extremely chilling.
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    • "Gone Gone Gone" by Phillip Phillips seems to have become the love theme for Peter/Gwen.
    • "Harry's Suite" is beautifully melancholic and perfectly captures the bitterness of Harry's character, complete with an eerie violin that reflects his subtler, more psychotic nuances.
  • Spider-Man: Into the Spider-Verse:
    • The Vince Staples piece used in the first trailer and the end credits, "Home", is extremely catchy and has an awesome sound to it.
    • The second trailer gave us "The Boogie" by Outasight. "Jump! Jump! Higher, baby!"
    • "Sunflower" by Post Malone and Swae Lee, created for the movie, which became a chart topper.
    • "Familia", the song Miles listens to as he goes through his neighborhood, introducing us to a warm, vibrant Afro-Latinx community that Miles is proud to be a part of.
    • "Scared of the Dark", an intensely melancholy song that captures the feeling that's sweeping New York City as they learn about the death of Peter Parker.
    • "Elevate" by DJ Khalil, which plays during the end credits and is a Boastful Rap that can be interpreted as being from the perspective of any of the Spider-People (though the song namedrops Peter Parker).
    • The Prowler's Theme; the first half will have you feeling incredibly tense with absolute fear as you feel the eyes of a relentless predator hunting you as it howls into the night. The second half perfectly captures the shock and heartbreak going through Miles' head upon the revelation that his beloved uncle is one of the people trying to kill him (albeit unknowingly), and the high-octane nightmarish chase sequence that occurs soon after.
    • "To The End" by Elliphant plays as Gwen's entrance song during her origin flashback. Although it didn't make the official U.S. soundtrack, it still works as a pumped-up hard-rock/techno power song that fits her fighting style. Considering she's a drummer for a band in her universe, it might be a song she plays back home.
    • Japanese marketing for the film went in a different direction than English-language promos in terms of music. While regular trailers used hip-hop and rap, Japan opted to go for more hard rock. Which means we get the truly epic "P.S. RED I" by TK from Ling Tosite Sigure.
    • There are two brass themes in the movie, one for Spider-Man, and one for Miles Morales.
      • Spider-Man's theme (most of which is in "Only One Spider-Man") is a repeating three note motif that continually rises in pitch and power. Much like how Spider-Man himself always rises after being knocked down, again and again.
      • Miles has a lower brass theme that plays during several important character moments, and most triumphantly when he gets up after Kingpin knocks him down.
      • Notably, there are two major moments in the movie where a scene starts out with Miles's theme, then turns into Spider-Man's theme: When Peter A is explaining the job to Miles, it starts with Miles's theme, but when Miles makes the promise, it transfers to Spider-Man's. And during the famous "What's Up, Danger" sequence, Miles's theme plays behind the song until he lands on the gargoyle, where Spider-Man's theme emerges triumphantly.
    • A Very Spidey Christmas, in its entirety, is packed with hilarity, but special mention has to go to Chris Pine's Spidey Bells (A Hero's Lament), as Peter Parker gradually collapses into the world's most meta-textual crisis of conscience.

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