Music of the Marvel Cinematic Universe
The music of the Marvel Cinematic Universe (MCU) covers the soundtracks of the American media franchise and shared universe, which is centered on a series of superhero films produced by Marvel Studios. The films are based on characters that appear in American comic books published by Marvel Comics. The soundtracks include the original scores composed by various composers for the films and television series of the franchise, as well as the songs that are heard in each film.
Ramin Djawadi provided the first MCU music with his original score for Iron Man in 2008. Alan Silvestri was the first composer to work on multiple MCU films, while Brian Tyler was the first composer to reference the work of another MCU composer when he quoted Silvestri's "Captain America March" in his score for Thor: The Dark World (2013) and he composed the previous fanfare for the Marvel Studios production logo from 2013 to 2016. Michael Giacchino has scored five MCU films, the most for any composer in the franchise, and composed the fanfare that has been used for the Marvel Studios production logo since 2016. Original music has also been composed for the Marvel One-Shots short film series and other related MCU projects, and original songs have been created specifically for use in the franchise.
The scores for every MCU film and television series have received album releases, and several compilation albums featuring existing songs used in the films have also been released. Critical response to the MCU's music has been mixed, with focus placed on a lack of memorable themes compared to other large media franchises and on the lack of continuity between works. Some critics have shown more appreciation for the work of more traditional composers like Silvestri, and for Tyler's attempts to establish a consistent tone and thematic continuity for the franchise.
Feature films
Phase One
Title | U.S. release date | Length | Composer(s) | Label |
---|---|---|---|---|
Iron Man: Original Motion Picture Soundtrack | April 29, 2008 | 54:14 | Ramin Djawadi | Lionsgate Records
|
The Incredible Hulk: Original Motion Picture Score | June 13, 2008 | 1:50:55 | Craig Armstrong | Marvel Music
|
Iron Man 2: Original Motion Picture Score
|
July 20, 2010 | 1:12:01 | John Debney | Columbia Records |
Thor (Original Motion Picture Soundtrack) | May 3, 2011 | 1:11:53 | Patrick Doyle | Buena Vista Records Marvel Music |
Captain America: The First Avenger — Original Motion Picture Soundtrack | July 19, 2011 | 1:11:53 | Alan Silvestri | |
The Avengers (Original Motion Picture Soundtrack)
|
May 1, 2012 | 1:04:25 | Hollywood Records Marvel Music |
Iron Man
Ramin Djawadi had been a fan of the character Iron Man as a child, saying that he always liked superheroes "that actually don't have any superpowers". After Iron Man director Jon Favreau's previous collaborator John Debney was unavailable to score the film,[1] Djawadi sought out the role himself.[2] Filming on Iron Man had already been completed by the time Djawadi joined the production,[3] and rather than wait until he could see the completed film, as he usually would, Djawadi began "playing with ideas" as soon as he saw the first trailer.[2] Due to time constraints and the final cut of the film changing until "the last possible minute", Djawadi had help with arrangements and additional cues from Hans Zimmer and Remote Control Productions.[2] Rage Against the Machine guitarist Tom Morello, who makes a cameo appearance in the film, contributed guitar performances to the score.[4]
Favreau had a clear vision of heavy metal music and guitars for the project,[2] saying that Tony Stark was more of a rock star than a traditional superhero, and "there's Spider-Man, Batman and all these superhero movies. This superhero movie's different. I want to do something completely different, instead of going down the orchestral route. I want to do more rock and roll."[3] Djawadi subsequently composed most of the film's score on guitar, before arranging it for orchestra. Djawadi composed several themes for the character of Tony Stark, representing his different moods and attitudes, all inspired by Robert Downey Jr.'s performance. Other themes for the film are "not so much character based, but rather plot based that carry you through the movie".[2] Musicians John O'Brien and Rick Boston, frequent collaborators with Favreau, provided a big band-style arrangement of the Iron Man theme song from the 1966 cartoon The Marvel Super Heroes for a scene where Stark attends a casino.[5]
The Incredible Hulk
Director
When Armstrong first began working in Glasgow, he did so with three sequences which he called "the keys to opening up" the score: the
Iron Man 2
For the sequel to Iron Man, Debney returned to work with Favreau, replacing Djawadi as composer.[8] Debney called his score for Iron Man 2 "quite different in many ways from the last score. This score while employing much guitar and more contemporary elements, it is also much bigger and darker in tone and scope."[9] He described his music as "Led Zeppelin with an orchestra",[10] and elaborated that "The two scores share a common pedigree [of rock-and-roll and electric guitar] but are generally different. They are different scores with different results."[1] Debney was not influenced by the AC/DC soundtrack for the film, feeling that "the songs and score play two very different roles in the film", and unlike the previous score he used a large choir for some of the film's more dramatic moments. Morello returned to again contribute guitar performances for the film, this time collaborating with Debney to write some of the music itself, with Debney first composing the score, and then working with Morello on the guitar parts and "textures".[9]
Debney called Iron Man 2 "odd in that there were not a lot of places where a true superhero theme could be played. Tony Stark is uber cool even as Iron Man, so, musically, we couldn't state a full-blown superhero theme. The strains of Iron Man's theme are heard only in a few spots by design. I'm hoping with future films, Iron Man might get his full-blown theme played aggressively."
Thor
Director
Doyle took inspiration for the score from his own
Captain America: The First Avenger
By February 2011, Marvel chose Alan Silvestri to provide the score for Captain America: The First Avenger after composing the "iconic scores" for Back to the Future and Forrest Gump, over a number of other composers including Michael Giacchino, John Powell, and Henry Jackman.[12][13] Silvestri then met with director Joe Johnston to spot the film, and had seven and a half weeks to compose the score. Johnston wanted a full orchestral score "to allow for movement" between the film's two genres: a period piece and a futuristic, high-tech sci-fi film. Silvestri noted the appropriateness of the fact that his style of music, which he describes as "romantically heroic", is often described by others as "patriotic", as well as his tendency to use brass instruments, which can "compete sonically and give the music some kind of presence where it might not have any", something necessary during the film's action sequences.[14]
In Silvestri's first meeting with Johnston, the latter raised his desire for a central theme. On this, Silvestri said, "To have some kind of musical signature either for a character or some aspect of the film, truly holds the score together. A theme makes the music feel like one piece in a sense." For this central theme, a fanfare for
The Avengers
In November 2011, Marvel announced that Silvestri would return to compose the score for the crossover film Marvel's The Avengers. Silvestri found it helpful to have already been part of the "Marvel process", which gave him a "sense of how Marvel treats their characters, cares for them, and a bit of what that Marvel post-production process feels like".[16] Director Joss Whedon preferred an "old-school ... old-fashioned" score to using pre-existing songs, which he felt makes "the moment [become] about the song". He called Silvestri "letter perfect for this movie because he can give you the heightened emotion ... but he can also be extraordinarily cue and character specific, which I love."[17] Silvestri did not want the score to have the same "military" feeling as Captain America: The First Avengers's, as Stark says in the film "We're not soldiers." However, Whedon did want aspects of the film to resemble a war film, and "there are times where [the Avengers are] absolutely functioning as this paramilitary unit", so Silvestri did add some "military seasoning" in places. Both Whedon and Silvestri wanted the score to build throughout the film, to climax in the final battle. For the aftermath of that fight, Silvestri uses a simple guitar piece to give the audience a rest with a "complete sonic break" from what comes before in the film. He then segues back into the full orchestra for the end of the film. For a sequence where the villain Loki attacks while a string quartet plays Franz Schubert's String Quartet No. 13 in A minor, the editors had already overlaid the piece with a temp track for when Loki "starts to do his thing". Silvestri expanded on this for the final score, having the music transition from the onscreen quartet to the entire orchestra playing the same piece when the fighting begins.[18]
On composing for a film with such a large cast, Silvestri said, "I've worked on films where there have been a number of stars and certainly worked on films where there have been characters of equal weight in terms of their level of importance and profile in the film, but this one is somewhat extreme in that regard because each of these characters has their own world ... the film is really about the coming together of these characters, which implies that there is this entity called the Avengers which really has to be representative of all of them together."[16] Later elaborating on this, Silvestri said, "We knew that if we were to have a theme for every character in this movie, the music would get very clunky and intrusive. So I stayed away from all of that." Instead, Marvel and Whedon wanted a central, definable "Avengers" theme for the film, which Silvestri wanted to have a heroic aspect and a grandness, but also be "generated from that scene when they're all gathering for the last great battle ... the interesting thing about it as the 'big moment; of the score is that they're not doing anything. They're standing there, which allowed me to move away from the idea of it being an action moment."[18] Silvestri did ultimately use some other themes in the score: he developed a motif for Loki as the central villain of the film, a "low, ominous sequence of chords, [used] when his presence is either visible or implied"; he reprised his Captain America theme, for when that character "makes his entrance, or when he's in the middle of a fight scene ... yet not using it fully" as "a little of his theme goes a long, long way", and his Tesseract theme, including over the opening logos of the film; and midway through Silvestri's work writing the score, Whedon had seen some completed scenes featuring the Black Widow and "wanted to explore music that was a bit more thematic for her", so Silvestri introduced "a lonely, plucked theme with an Eastern European flavor" to define the character.[15][18][19] For the other major characters, Silvestri used instrumentation to differentiate their scenes, for instance Iron Man "always has the more contemporary, rhythmic component to a lot of his music."[15]
Phase Two
Title | U.S. release date | Length | Composer(s) | Label |
---|---|---|---|---|
Iron Man 3 (Original Motion Picture Soundtrack)
|
April 30, 2013 | 1:15:53 | Brian Tyler
|
Marvel Music
|
Thor: The Dark World (Original Motion Picture Soundtrack) | November 12, 2013 | 1:17:11 | ||
Captain America: The Winter Soldier (Original Motion Picture Soundtrack) | April 1, 2014 | 1:14:32 | Henry Jackman | |
Guardians of the Galaxy (Original Score)
|
July 29, 2014 | 1:04:34 | Tyler Bates | |
Avengers: Age of Ultron (Original Motion Picture Soundtrack) | April 28, 2015 | 1:17:26 | Brian Tyler and Danny Elfman | |
Ant-Man (Original Motion Picture Soundtrack) | July 17, 2015 | 1:05:20 | Christophe Beck |
Iron Man 3
With
Marvel specifically asked Tyler for a new and different, "really identifiable" theme for Iron Man to represent his "serious" new role in the MCU as a "legitimate superhero", which Tyler described as a thematic
Thor: The Dark World
Branagh chose not to return for the sequel to Thor,[23] and was replaced as director by Alan Taylor.[24] By August 2012, Doyle had discussed potentially returning to score the film with Taylor,[25] however, Taylor's first choice for composer was Carter Burwell,[26] who signed on to Thor: The Dark World by April 2013.[27] A month later, Burwell left the film in what Marvel described as a "creative split",[28] and Tyler signed on to replace him that June.[29] President of Marvel Studios Kevin Feige later explained that Marvel had approved of Taylor's choice based on Burwell's collaborations with the Coen brothers, but the studio ultimately felt that Burwell was not the right fit for the film, and had to make an early decision to replace the composer due to the relatively short time left for post-production on the film; Feige admitted that if there was "time for trial and error, it might have worked" out. Tyler was chosen by Marvel to replace Burwell based on the positive experience the company had working with him on Iron Man 3.[26]
On differentiating his scores for Iron Man 3 and The Dark World, Tyler said that they were at the opposite ends of the "superhero spectrum", and so even though he used full orchestras for both, "the actual writing of the notes and the harmonies and all that was different."[30] He later elaborated that "The feel of Thor is a very different than Iron Man. Yet they live in the same universe. For me, it's like somehow Indiana Jones showed up on the Enterprise, or something."[31] Tyler described The Dark World as "science fiction meeting classic medieval war",[30] and saw it as a cross between Star Wars and The Lord of the Rings—"there's spaceships and lasers ... but within it they wear capes and fight with swords and ride horses ... those were not elements really present as much in the first one. So it required something different. I think my score for Thor: The Dark World would have been out of place in the first film and vice versa."[32] Azam Ali, who collaborated with Tyler on Children of Dune, and Tori Letzler are featured vocalists for the score; Tyler felt that their contributions provided "something emotional" to the score.[33][34]
Rather than have Tyler reprise Doyle's themes from the first film, Marvel wanted Tyler to create a new, post-Avengers Thor theme as he did for Tony Stark in Iron Man 3.[20][32] Tyler described his new theme as mature, regal, and epic, and noted that the romantic elements with the character Jane Foster become "kind of melancholy" for the sequel, "because she's this mortal that he's fallen for, which could not be further from his side of the train tracks".[32] The theme for Thor evolved from a more "pageant"-like theme that represents Asgard in the film,[35] which has a much more lived-in feeling than it did in the first film. Tyler also introduced a new theme for post-Avengers Loki to reflect his increasingly complicated personality and storyline,[22] performed on a harp to play against expectations.[36] Despite not reprising Doyle's themes, Tyler looked to pay homage to his general style and sound from the first film during quieter moments like dialogue scenes.[22] He also quotes Silvestri's Captain America theme when that character makes a brief cameo appearance.[22][37]
Captain America: The Winter Soldier
When Henry Jackman was in the running to score Captain America: The First Avenger, he had written "a full-on traditional symphonic, Americana score" as proof-of-concept for Marvel, which he looked to return to when Marvel asked him to score the sequel, Captain America: The Winter Soldier. He felt that Silvestri had used that same style to great effect in the first film, but found that the second film "could not have been more different, and the score was not suitable, so I had to rewrite it".[13] Jackman said of his work on the film, "it's 50% production and all the tricks I've learnt from spending years in the record industry but then it's also got the kind of injection of symphonic, thematic, heroic music that all kind of merges into one musical, and hopefully coherent piece".[38] He described the film as aesthetically "way closer to something like Dark Knight Rises than it is to say the Richard Donner's Superman, or the traditional, nostalgic superhero film."[13] Some of Silvestri's work from the first film is tracked into the opening of the sequel, which Jackman said "reminds everyone where we left off. This character is about to get hurled into a completely different environment, so it's a nice way to tie the two films together."[39] Jackman reprises Silvestri's Captain America theme from The First Avenger at the beginning of the film.[40]
Jackman first created three pieces of music for directors
Guardians of the Galaxy
As he did on his previous films, director
Bates said on using themes and motifs in the score, "Very few movies that are made these days are fantastical enough to sustain huge, bold identifiable themes. Even with the majority of the comic-book films, they have a tendency to be steeped in a realism that would be disturbed or interrupted by highly emotive, melodic themes, and it seems like a lot of the stuff going in these films is propulsive and somewhat cold emotionally." He felt that Guardians of the Galaxy did not fit this model, and "unabashedly embraced leitmotifs for the array of cosmic characters" that appear in it.
Avengers: Age of Ultron
After scoring both Iron Man 3 and Thor: The Dark World, Brian Tyler was rumored for several months to be scoring The Avengers sequel
Tyler stated that his usual approach to taking over a franchise from another composer is to "try to take from what's before me and also forge ahead".[53] So, though Tyler "was really married to" the idea of reprising Silvestri's Avengers theme from the first film in the sequel and wanted to keep in-line with "the language of what Alan had done in The Avengers",[55] he instead began by composing a "classic, epic" suite of his own for the film. Titled "Rise Together", Tyler said that it "is much more about pageantry and a march, and there's a slight militaristic aspect. I tend to stay away from that, but I felt that that, combined with a choir, would make them feel larger than life. And certainly, this is when they're 'rising together,' so you need to have that unifying heroic theme with them."[53] Elfman then took Silvestri's theme and "pulled it into" the new material for the sequel to make a "kind of a hybrid" theme for the film.[56] Tyler also reprised his own Iron Man and Thor themes in the score, as well as previous Captain America material, "in order to create a similar musical universe",[50] especially since those character's post-Avengers solo films "set up" Age of Ultron.[55]
Tyler composed several other new themes for the film, to represent the titular villain
Ant-Man
Steven Price was announced as the composer for Ant-Man by director Edgar Wright, who he had previously worked with, in February 2014,[59] but they both left the film that March.[60] In January 2015, Christophe Beck was hired to score the film, having previously worked with the new director, Peyton Reed.[61] Beck and Reed began experimenting with "high concept" electronic music to create a "glitched out, digital, electronic, skittery score" that could represent the insect and technology aspects of the film, but it was ultimately "too weird and quirky ... almost weird for its own sake". Feige asked that they instead take "the classic symphonic approach with big themes and bold brass",[62] which Beck did with the unique twist of "a sneaky sense of fun since it is, after all, not only a superhero movie, but also a heist comedy."[63] That heist genre gave Beck "a little latitude to use a rhythm section and something a little bit more funky and jazzy and groovy that I wouldn't otherwise have been able to get away with."[62]
Beck composed two main themes for the film: the Ant-Man superhero theme and a theme for family. In addition to using the traditional brass for the Ant-Man theme, Beck used an alto flute and violas, which he felt had "a little bit of the sound world of the heist movie and the spy movie, the old
Phase Three
Captain America: Civil War
The Russo brothers confirmed in August 2014 that Jackman would return to score Captain America: Civil War.[65] In July 2015, Jackman noted the industrial elements of his Winter Soldier suite from the previous film was an indication of what the new score would sound like, but did caution that "it's just a jumping off point since the Russos are looking for something new—similar with a twist."[66] Once Jackman read the script for the film, he realized that the "movie tonally was so different to the second one ... it's sort of half Captain America, half an Avengers film in a way" and so Jackman ultimately wrote a much more symphonic and orchestral score than he did for Winter Soldier. This culminates in the final fight between Captain America, Winter Soldier, and Iron Man, the music for which Jackman described as "somewhat operatic and ... almost classical in its style ... some of the harmony and the orchestration really does get quite classical."[67]
Concerning the central conflict of the film, Jackman found that he was in "constant danger of tipping it too much" and pushing the audience to one side or the other, so he composed a new main theme for the film to represent that Civil War, which he called "a generic theme to balance everything out",
Jackman also wrote motifs for the major characters introduced in the film:
Doctor Strange
Having known Kevin Feige for some time, Michael Giacchino spent years working with him on potentially scoring one of Marvel's films. When he heard of development on Doctor Strange, Giacchino was particularly interested in working on the film, feeling that it would have more of an independent film feel than other Marvel films. He contacted Feige, "and that ball just rolled very quickly downhill, and I was on" the film.[73] Giacchino revealed his involvement with Doctor Strange in May 2016.[74] Director Scott Derrickson called the score "magic in the literal sense of the word" and said that Giacchino "is doing what good scorers do, which is he is not just creating music that supports the images, he's adding a third thing to the movie. It becomes something new with his music in there that it didn't have with temp music."[75]
For the score, Giacchino felt no pressure to align his music with the style or tone of previous MCU films, and "in fact they encouraged me to go in my direction, so there were never any handcuffs put on me." In regards to the title character, Giacchino felt the key "was getting inside of him—not worrying so much about the magic stuff, more just thinking about who he was as a person, what he lost and then how that loss affected him. For me it's a very sad story, and a lot of the music has this very melancholy feel to it."[73] To particularly differentiate the score, and help create a "mystical mood", Giacchino used a harpsichord and an electric sitar.[76]
Guardians of the Galaxy Vol. 2
Bates was confirmed to be returning for the second Guardians film, Guardians of the Galaxy Vol. 2, in August 2015,[77] and began composing by that December for Gunn to once again film to.[78] On using this technique again on the sequel, Bates said, "We've gone even further down that road ... I would rather establish the DNA of our music prior to post-production when everything's so frenetic so that we can work on themes and establish melodies that are original to the film."[58] Bates reprises his theme for the Guardians.
Spider-Man: Homecoming
While promoting Doctor Strange in early November 2016, Feige accidentally revealed that Giacchino would be returning to compose the score for Spider-Man: Homecoming. Giacchino soon confirmed this himself.[79] Giacchino reprises Silvestri's Avengers theme.
Thor: Ragnarok
By August 2016, Mark Mothersbaugh was set to score the third Thor film.[80] Mothersbaugh reprises Patrick Doyle's themes from Thor and Brian Tyler's themes from Thor: The Dark World and Avengers: Age of Ultron, as well as Joe Harnell's "The Lonely Man" theme from The Incredible Hulk series.
Black Panther
Wanting to put a "personal stamp" on Black Panther and differentiate it from other MCU films, director Ryan Coogler looked to bring back several of his previous collaborators to work on the film, including composer Ludwig Göransson, whom he had worked with on Fruitvale Station and Creed.[81] The film's score would later go on to win the Academy Award for Best Original Score and the Grammy Award for Best Score Soundtrack for Visual Media.
Avengers: Infinity War
Silvestri announced in June 2016 that he would be returning to score Avengers: Infinity War.[82] Initially, Silvestri had reservations about writing the film's score, feeling it would be difficult to collaborate with two directors and work towards a single vision. During their first meeting, Silvestri discussed reprising themes from characters throughout the series; having last worked on The Avengers in 2012, many characters had received new themes and motifs since then. Ultimately, Silvestri and the Russo brothers opted not to reprise most of these themes, feeling it would make the score too distracting. Nevertheless, Silvestri reprised Göransson's theme for Black Panther when the Avengers head to Wakanda,[83] and went on to reprise numerous character themes in Endgame, including those for Captain America, Ant-Man, Doctor Strange and Captain Marvel.
Despite not reprising many themes, Silvestri does bring back several of his own original motifs. Perhaps the most notable is his Avengers theme, which was used extensively in the film's marketing. The theme is reused sparingly in the film, typically during major moments such as Captain America's return in "Help Arrives" and Thor's arrival in Wakanda in "Forge". Silvestri also reprised his theme for the Tesseract, which was used numerous times in Captain America: The First Avenger and The Avengers. In Infinity War, the Tesseract motif is repurposed into a theme for the Infinity Stones in general. Silvestri initially considered making separate themes for each stone, but repurposed the original theme instead. The theme returns numerous times in the score, such as in "No More Surprises", "Family Affairs", "A Small Price" and "Morning After". A brief statement of Silvestri's original Captain America theme is reprised at the end of "Field Trip".
Silvestri introduced several new themes for the film's score, most notably a theme for Thanos. Rather than create a bombastic, evil theme for Thanos, Silvestri instead composed a dark, brooding theme that's first introduced in "Travel Delays", and is woven through the rest of the score as a texture to establish Thanos's threat. The theme also bears slight semblance, perhaps in its instrumentation, to Loki's theme from The Avengers.[84]
Ant-Man and the Wasp
In June 2017, Reed confirmed that Beck would be returning to score Ant-Man and the Wasp.[85]
Captain Marvel
In June 2018, Pinar Toprak announced that she would score Captain Marvel, the first female composer for the MCU.[86] Toprak reprises Silvestri's Avengers theme.
Avengers: Endgame
Silvestri announced in June 2016 that he would be returning to score Avengers: Endgame.[82] The score for Endgame would become the first Avengers film to reprise the established themes for Doctor Strange, Captain Marvel, and Ant-Man. "More Problems", a track from Pinar Toprak's Captain Marvel score, was reprised for when Danvers destroys Thanos's ship. As he did with Infinity War, Silvestri reprised the Infinity Stones motif in "The How Works", "So Many Stairs", "In Plain Sight" and "Gotta Get Out". The thematic material in "No More Surprises" from Infinity War is reprised in "I Figured It Out" to depict the relationship between Tony and Morgan Stark. Silvestri reused significant parts of Infinity War tracks "A Small Price", "Even For You" and "Morning After" in Endgame tracks "Destiny Fulfilled", "Not Good" and "Gotta Get Out", respectively, to mirror Gamora and Black Widow's sacrifices. A dramatic variant of "Porch", the violin piece from the end of Infinity War, plays as Thor leaves Thanos's homestead to depict how Thanos's victory remains.[87]
In addition, Silvestri reprises various themes from The Avengers as well. Parts of "A Promise" are repurposed in "One Shot". The ending of "Don't Take My Stuff" is repurposed in "I Can't Risk This", when Future Cap fights Past Cap. Black Widow's motif, which debuted in tracks such as "Red Ledger", "Interrogation" and "A Little Help", is briefly reprised for the opening of "I Was Made For This" as the team mourns Black Widow. In addition, the opening of "I Was Made For This" is repurposed from "They Called It"; the motif first played when the Avengers mourned Phil Coulson, and returns when they mourn Black Widow. The ending of "I Got A Ride" is reprised in "Portals"; the track traditionally plays during a long take of the Avengers fighting. Parts of "Seeing, Not Believing" are reprised during the final battle in the track "Get This Thing Started". "The One", which plays when Iron Man takes the Infinity Stones, reprises the theme from "One Way Trip" when Iron Man releases the nuke in space. Another portion of "One Way Trip" is reused when Thanos's army disintegrates.
Silvestri reworked numerous tracks from Captain America: The First Avenger. The "Captain America Main Titles" are reprised in "Perfectly Not Confusing", when Tony returns Cap's shield. Parts of "Invasion" and "VitaRays" are reprised in "Tunnel Scape" and "I Can't Risk This". The ending of "Factory Inferno" plays when Cap grabs Mjolnir, and the first half of "Motorcycle Mayhem" plays when Cap wields Mjolnir against Thanos; both reprises are contained in the track "Worth It". Silvestri also reprised "This Is My Choice" when Cap passes on his shield and mantle to Sam Wilson.[88]
Spider-Man: Far From Home
In October 2018, Giacchino was confirmed to return to score Spider-Man: Far From Home.[89] As he did with Spider-Man: Homecoming, Giacchino reprises Silvestri's Avengers theme twice in the score. He also reprises the Homecoming Spider-Man theme, which has been modified to sound more heroic and represent his growth as a hero.[90] Giacchino also reprised his Iron Man theme during a conversation between Peter and Mysterio. This marks the second time that an Iron Man theme has been reprised in an MCU film – the first was in Avengers: Age of Ultron, when Brian Tyler reprised his Iron Man 3 theme.[91]
Giacchino wrote new themes for S.H.I.E.L.D. (which bears slight semblance to the Avengers theme), Mysterio, and the romance between Peter and MJ. Mysterio's theme bears semblance to the Doctor Strange theme, which Giacchino also wrote. The instrumentation of the theme is also similar.[92] The theme is reprised many times in the score in a heroic context, but eventually becomes more bombastic and malevolent after Mysterio's intentions unfold.
Phase Four
Title | U.S. release date | Length | Composer(s) | Label |
---|---|---|---|---|
Black Widow (Original Motion Picture Soundtrack) | July 9, 2021 | 1:19:53 | Lorne Balfe | Marvel Music
|
Shang-Chi and the Legend of the Ten Rings (Original Score)
|
September 1, 2021 | 1:08:19 | Joel P. West | |
Eternals (Original Motion Picture Soundtrack) | November 3, 2021 | 1:08:17 | Ramin Djawadi | |
Spider-Man: No Way Home (Original Motion Picture Soundtrack) | December 17, 2021 | 1:13:54 | Michael Giacchino | Sony Classical Records |
Doctor Strange in the Multiverse of Madness (Original Motion Picture Soundtrack) | May 4, 2022 | 1:01:25 | Danny Elfman | Hollywood Records Marvel Music |
Thor: Love and Thunder (Original Motion Picture Soundtrack) | July 6, 2022 | 59:03 | Michael Giacchino and Nami Melumad | |
Black Panther: Wakanda Forever (Original Score) | November 11, 2022 | 1:23:00 | Ludwig Göransson |
Black Widow
By May 2020, Lorne Balfe was scoring Black Widow, replacing the original composer Alexandre Desplat.[93][94] The film score was released on July 9, 2021.
Shang-Chi and the Legend of the Ten Rings
In June 2021, Joel P. West was revealed to be composing the score for Shang-Chi and the Legend of the Ten Rings. West has scored director Destin Daniel Cretton's previous films I Am Not a Hipster, Short Term 12, The Glass Castle and Just Mercy.[95] The film score was released on September 1, 2021.
Eternals
Ramin Djawadi composed the score for Eternals, marking his second time scoring an MCU film, after Iron Man.[96] The film score was released on November 3, 2021.
Spider-Man: No Way Home
By November 2020, Spider-Man composer Michael Giacchino was set to return for No Way Home.[97] The film score was released on December 17, 2021.[98] The soundtrack also features music from previous Spider-Man soundtracks by other film composers including Hans Zimmer, James Horner and Danny Elfman, as well as Giacchino's theme for Doctor Strange.
Doctor Strange in the Multiverse of Madness
By October 2019, original Doctor Strange composer Michael Giacchino was set to return for Multiverse of Madness.[99] However, following the departure of original director, Scott Derrickson in January 2020, with Sam Raimi being brought on in April 2020, it was announced that Danny Elfman was brought on board to replace Giacchino as composer for the film by February 2021.[100]
Thor: Love and Thunder
In December 2021, Michael Giacchino revealed he would scoring Thor: Love and Thunder, replacing Mark Mothersbaugh from Ragnarok.[101] Giacchino ultimately composed the score with Nami Melumad, with themes by Giacchino.[102]
Black Panther: Wakanda Forever
By September 2021, it was confirmed that original Black Panther composer Ludwig Göransson would return for Wakanda Forever.[103]
Phase Five
Title | U.S. release date | Length | Composer(s) | Label |
---|---|---|---|---|
Ant-Man and the Wasp: Quantumania (Original Motion Picture Soundtrack) | February 15, 2023 | 1:00:14 | Christophe Beck | Marvel Music
|
Guardians of the Galaxy Vol. 3 (Original Score)
|
May 3, 2023 | 1:03:02 | John Murphy | |
The Marvels (Original Motion Picture Soundtrack) | November 8, 2023 | 1:15:00 | Laura Karpman |
Ant-Man and the Wasp: Quantumania
By July 2022, it was confirmed that Ant-Man composer Christophe Beck would return for Ant-Man and the Wasp: Quantumania.[104]
Guardians of the Galaxy Vol. 3
In October 2021, John Murphy was revealed to be scoring the film, replacing Tyler Bates from previous Guardians films.[105] Murphy also composed the score to Gunn's film, The Suicide Squad.
The Marvels
By January 2022,
Deadpool & Wolverine
In July 2023, Rob Simonsen was revealed to be composing the score to Deadpool & Wolverine.[108] Simonsen previously scored Shawn Levy's film The Adam Project.
Television series
Marvel Television
Title | U.S. release date | Length | Composer(s) | Label |
---|---|---|---|---|
Daredevil (Original Soundtrack Album)
|
April 27, 2015 | 41:45 | John Paesano | Marvel Music
|
Marvel's Agents of S.H.I.E.L.D. (Original Soundtrack Album)
|
September 4, 2015 | 77:52 | Bear McCreary | |
Marvel's Agent Carter: Season 1 (Original Television Soundtrack)
|
December 11, 2015 | 65:31 | Christopher Lennertz | |
Jessica Jones (Original Soundtrack)
|
June 3, 2016 | 59:53 | Sean Callery | |
Daredevil: Season 2 (Original Soundtrack Album)
|
July 15, 2016 | 50:49 | John Paesano | |
Luke Cage (Original Soundtrack Album) | October 7, 2016 | 95:09 | Adrian Younge and Ali Shaheed Muhammad | |
Iron Fist (Original Soundtrack)
|
March 17, 2017 | 62:00 | Trevor Morris | |
The Defenders (Original Soundtrack Album)
|
August 17, 2017 | 49:15 | John Paesano | |
The Punisher (Original Soundtrack)
|
November 17, 2017 | 42:52 | Tyler Bates | |
Runaways (Original Score)
|
January 26, 2018 | 44:57 | Siddhartha Khosla
| |
Jessica Jones: Season 2 (Original Soundtrack)
|
March 16, 2018 | 51:75 | Sean Callery | |
Cloak & Dagger (Original Score)
|
June 8, 2018 | 41:25 | Mark Isham | |
Luke Cage: Season 2 (Original Soundtrack Album)
|
June 22, 2018 | 1:30:21 | Adrian Younge and Ali Shaheed Muhammad | |
Iron Fist: Season 2 (Original Soundtrack)
|
September 7, 2018 | 39:12 | Robert Lydecker | |
Daredevil: Season 3 (Original Soundtrack Album)
|
October 19, 2018 | 75:03 | John Paesano | |
The Punisher: Season 2 (Original Soundtrack)
|
January 18, 2019 | 51:52 | Tyler Bates | |
Cloak & Dagger: Season 2 (Original Score)
|
May 24, 2019 | 49:04 | Mark Isham | |
Jessica Jones: Season 3 (Original Soundtrack)
|
July 19, 2019 | 57:51 | Sean Callery |
Agents of S.H.I.E.L.D.
For Marvel's first
In addition to his orchestral music for the series, McCreary intertwined "these intricate symphonic layers ... with complex synthesizer programming, giving the score a modern edge."
McCreary saw his main theme for the series, which also represents the central team of agents, as primarily being a theme for Phil Coulson.[110][117] McCreary noted that "in one of the movies that would be inappropriate. You wouldn't do that for Coulson when Thor or Captain America are in the same story. But here Coulson is the hero ... It's all about him."[117] McCreary initially wrote the theme in F major, "giving it a very triumphant sound", with one instance in the pilot diminishing it to F minor. Executive producer Jed Whedon "astutely pointed out that the minor version was more satisfying than the major version", and so McCreary "tweaked" the theme permanently into F minor.[110] ABC and Marvel allowed McCreary to use a full symphonic orchestra for every episode, and so there is "a full section of brass that's pounding out his theme when he comes out in his heroic moments." McCreary had to work harder than usual to make the theme heard, given that the show does not have a traditional title sequence.[117] To accompany the main theme, McCreary wrote an ostinato "that doesn't draw as much attention to itself as a full-blown melody. I use this catchy little riff to build up steam before sweeping statements of the Main Theme."[110]
The episode "
McCreary created his own theme for the
Agent Carter
In June 2014, after
Daredevil
On returning for the series'
For his audition, Paesano created a demo which included a simple piano motif. Though this material would usually not be used in the final score, in this instance Paesano took the motif and converted it into a main theme for the series, which becomes the theme for Daredevil in the show.
Jessica Jones
At a San Diego Comic-Con panel in 2015, Sean Callery revealed that he would be composing the score for Jessica Jones.[135] The series' showrunner, Melissa Rosenberg, asked for Callery based on his work for Homeland, which she felt sounded like it could serve Jessica Jones well. However, Callery's music for the latter ultimately became "something so completely and wonderfully different" once he started exploring the tone and "color" of Jessica Jones. Callery found that the more intimate and organic his music, the more it "clicked with the series".[136] To match the series' psychological thriller and neo-noir tone, Callery used a "smaller ensemble, it's almost like a jazz score, but there's some very weird, gooey sound design elements that kind of come in". Callery was influenced by the style and works of Bill Evans for the score. Rosenberg often asked Callery to have the music "do less",[137] such as when he scored a fight sequence as a big, percussive superhero scene, and Rosenberg felt that even then the series should feel intimate; she suggested Callery just use a regular drum kit for the fights instead.[136] Callery's assistant Jamie Forsyth also contributed to the music for the series.[136][138]
Callery did not begin composing the series' main theme until after reading two or three scripts, and did not see the opening graphics until after the second episode, at which point he had "a framework for a theme that [he] hoped would work". At this time, Callery said he started "fooling around" with ideas for the theme, and eventually settled on one that he felt had a "sneaky and fun" quality, adding, Jessica Jones "has dry humor, a real edge to her. But there was something to this character that had a little whisker of playfulness in there, like a cat or something." After creating the theme, Callery expanded it, adding a "fun" rhythmic quality, and eventually fully orchestrating it to include a piano, which he played himself, as well as instruments such as the acoustic bass, and additional sound design. Regarding the electric guitar's entrance, Callery pointed out that it got "bigger there because as I looked at the graphics, the lights got a little more strobe-y. So that's when I decided the electric guitar might be a kind of neat add there so that the whole piece will arc a little more."[139]
Luke Cage
In April 2016, showrunner Cheo Hodari Coker revealed that Adrian Younge and Ali Shaheed Muhammad were composing the music for Luke Cage, with "a '90s hip-hop vibe".[141] Coker had contacted Younge and Muhammad separately, asking if they would like to work together on the series, not knowing that the pair were already working together on an album.[142] Younge and Muhammad composed the score as if they were creating 13 albums, one for each episode,[143] with the music inspired by Wu-Tang Clan, Ennio Morricone, and Muhammad's group A Tribe Called Quest.[144] Muhammad felt that the music was "about getting that hip-hop foundation and making sure those drums were as big as day",[145] while Younge said, "we wanted to make something great. Not just for black people or minorities, just something great that just happens to be based on our culture."[144] The duo composed around twenty minutes of music for each episode, composing the entire season's score in nine months.[142]
Younge and Muhammad looked at all of the different sounds of
Iron Fist
Trevor Morris was revealed to be composing the music for the first season of Iron Fist in late October 2016.[148] The producers of the series wanted a "modern" sounding score, so Morris focused on synthesizer sounds and made a rule that traditional orchestral instruments, such as strings and horns, would not be used for the series. He said that by "taking those heavy-hitters off the table, it leaves you to find a unique way to solve these problems. That sound is also very fashionable right now, which I think is great." Some of the synthesizer sounds were intended to acknowledge the title character's childhood iPod on which he listens to music from the 1990s. In terms of Asian influences on the score, Morris attempted to use several instruments to represent Asian culture, particularly for scenes set in a dojo or featuring Kung Fu, but "the producers didn't like it. They thought it was too traditional." He ultimately used some Japanese flutes throughout the show, but after they were "heavily affected" digitally.[149] Robert Lydecker replaced Morris as composer for the second season.[150]
The Defenders
In February 2017, Paesano was announced as returning to compose for the miniseries
Inhumans
At the 2017 San Diego Comic-Con, Loeb announced Sean Callery as the composer for Inhumans.[155] At the 2017 San Diego Comic-Con, Loeb announced Sean Callery as the composer for Inhumans, after he previously composed the score for Marvel's Jessica Jones.[156] Callery recorded his score for Inhumans with a 68-piece orchestra, the largest he had ever worked with for television. He called his score "the most thematic I've been with any show I've worked on. At its core, it's about a royal family, so there are some grand themes for the kingdom and the family. Callery wrote an "adventurous" main theme for the series that was featured in the IMAX release, with a "very, very abridged version" used in the television episodes. Callery tried to use the show's music to differentiate between scenes set on Earth and those on the Moon, and took four or five days to compose the music for each episode.
The Punisher
In April 2017, Tyler Bates was announced as the composer for The Punisher.[157]
Runaways
In May 2017,
Cloak & Dagger
Mark Isham announced in May 2017 that he would compose the music for Cloak & Dagger.[158]
Marvel Studios
Title | U.S. release date | Length | Composer(s) | Label |
---|---|---|---|---|
WandaVision: Episode 1 (Original Soundtrack)
|
January 22, 2021 | 9:14 | Christophe Beck, Kristen Anderson-Lopez, and Robert Lopez | Marvel Music
|
WandaVision: Episode 2 (Original Soundtrack)
|
7:37 | |||
WandaVision: Episode 3 (Original Soundtrack)
|
January 29, 2021 | 12:31 | ||
WandaVision: Episode 4 (Original Soundtrack)
|
February 5, 2021 | 18:13 | Christophe Beck | |
WandaVision: Episode 5 (Original Soundtrack)
|
February 12, 2021 | 16:19 | Christophe Beck, Kristen Anderson-Lopez, and Robert Lopez | |
WandaVision: Episode 6 (Original Soundtrack)
|
February 19, 2021 | 19:28 | ||
WandaVision: Episode 7 (Original Soundtrack)
|
February 23, 2021 | 18:43 | ||
WandaVision: Episode 8 (Original Soundtrack)
|
March 5, 2021 | 32:15 | Christophe Beck | |
WandaVision: Episode 9 (Original Soundtrack)
|
March 12, 2021 | 36:06 | ||
The Falcon and the Winter Soldier: Vol. 1 (Episodes 1–3) (Original Soundtrack)
|
April 9, 2021 | 58:54 | Henry Jackman | |
The Falcon and the Winter Soldier: Vol. 2 (Episodes 4–6) (Original Soundtrack)
|
April 30, 2021 | 1:00:33 | ||
Loki: Vol. 1 (Episodes 1–3) (Original Soundtrack)
|
July 2, 2021 | 49:33 | Natalie Holt | |
Loki: Vol. 2 (Episodes 4–6) (Original Soundtrack)
|
July 23, 2021 | 1:06:17 | ||
What If... Captain Carter Were the First Avenger? (Original Soundtrack)
|
August 13, 2021 | 23:48 | Laura Karpman | |
What If... T'Challa Became a Star-Lord? (Original Soundtrack)
|
August 23, 2021 | 22:35 | ||
What If...? (Episode 3) (Original Soundtrack)
|
August 27, 2021 | 25:02 | ||
What If...? (Episode 4) (Original Soundtrack)
|
September 3, 2021 | 30:09 | ||
What If...? (Episode 5) (Original Soundtrack)
|
September 10, 2021 | 24:47 | ||
What If...? (Episode 6) (Original Soundtrack)
|
September 17, 2021 | 20:49 | ||
What If...? (Episode 7) (Original Soundtrack)
|
September 24, 2021 | 21:40 | ||
What If...? (Episode 8) (Original Soundtrack)
|
October 1, 2021 | 21:14 | ||
What If...? (Episode 9) (Original Soundtrack)
|
October 8, 2021 | 30:09 | ||
Hawkeye: Vol. 1 (Episodes 1–3) (Original Soundtrack)
|
December 10, 2021 | 47:23 | Christophe Beck and Michael Paraskevas | |
Hawkeye: Vol. 2 (Episodes 4–6) (Original Soundtrack)
|
December 22, 2021 | 53:37 | ||
Moon Knight (Original Soundtrack)
|
April 27, 2022 | 1:25:22 | Hesham Nazih | |
Ms. Marvel: Vol. 1 (Episodes 1–3) (Original Soundtrack)
|
June 22, 2022 | 49:29 | Laura Karpman | |
Ms. Marvel: Vol. 2 (Episodes 4–6) (Original Soundtrack)
|
July 13, 2022 | 1:28:29 | ||
She-Hulk: Attorney at Law – Vol. 1 (Episodes 1–4) (Original Soundtrack)
|
September 16, 2022 | 52:17 | Amie Doherty | |
She-Hulk: Attorney at Law – Vol. 2 (Episodes 5–9) (Original Soundtrack)
|
October 18, 2022 | 1:02:35 | ||
Secret Invasion: Vol. 1 (Episodes 1–3) (Original Soundtrack)
|
July 12, 2023 | 46:59 | Kris Bowers | |
Secret Invasion: Vol. 2 (Episodes 4–6) (Original Soundtrack)
|
August 4, 2023 | 54:11 | ||
Loki: Season 2 – Vol. 1 (Episodes 1–3) (Original Soundtrack)
|
October 27, 2023 | 52:07 | Natalie Holt | |
Loki: Season 2 – Vol. 2 (Episodes 4–6) (Original Soundtrack)
|
November 17, 2023 | 69:34 | ||
What If... Happy Hogan Saved Christmas? (Season 2/Episode 3) (Original Soundtrack)
|
December 15, 2023 | 4:51 | Laura Karpman | |
What If...?: Season 2 (Original Soundtrack)
|
January 5, 2024 | 32:00 | ||
Echo (Original Soundtrack)
|
January 12, 2024 | 1:17:00 | Dave Porter |
WandaVision
In January 2020, Christophe Beck announced that he would score WandaVision.[159] Robert Lopez and Kristen Anderson-Lopez wrote theme songs for some of the series' episodes. They previously worked with Beck on the music for Disney's Frozen franchise.[160][161]
The Falcon and the Winter Soldier
In December 2020, it was reported that Henry Jackman will score The Falcon and the Winter Soldier.[162]
Loki
By January 2021, Natalie Holt was set to compose the score for Loki.[163]
What If...?
By October 2020, Laura Karpman was set to compose the score for What If...?.[164]
Hawkeye
In September 2021, it was revealed that Christophe Beck would be composing the score for Hawkeye.[165] Michael Paraskevas composes for the series as well.
Moon Knight
In March 2022, it was revealed that Egyptian composer Hesham Nazih was composing the score for Moon Knight, his first major English language project.[166]
Ms. Marvel
In May 2022, it was revealed that Laura Karpman would be composing the score for Ms. Marvel.[167]
She-Hulk: Attorney at Law
In July 2022, it was revealed that Amie Doherty would be composing the score for She-Hulk: Attorney at Law.[168]
Secret Invasion
In February 2023, it was revealed that Kris Bowers would be composing the score for Secret Invasion and was working on the score at the time of the announcement.[169]
Echo
By February 2023, Mato Wayuhi was composing the score for Echo,[170] but was no longer involved by the end of July. Dave Porter revealed in December that he composed the series.[171]
Agatha: Darkhold Diaries
In March 2023, Beck revealed that he would return to compose the score for
Short films
Marvel One-Shots
Marvel's first two
Item 47
The third One-Shot, Item 47, had a bigger scope and budget than the previous shorts. Marvel approached Christopher Lennertz to provide a "big and fun and funny" score; Lennertz described the One-Shots as "a little quirkier than the movies, in terms of making sure that they're fast and they usually have a little bit more of a comedic bent to it". Lennertz' score for the short is "rock-based", with a lot of electronics and guitars. For the opening bank robbery, "We had a big twangy low guitar theme, almost like a Jack White kind of a thing on guitar". At the end of the short, when money 'rains down', Lennertz paid homage to Ennio Morricone with vocals in a "classic spoofy" way.[174]
Agent Carter
Lennertz, who returned to score the One-Shot, and D'Esposito, the director, wanted a more traditional, orchestral score for Agent Carter,[174] with D'Esposito wanting to balance the period setting and modern Marvel superhero feel. D'Esposito referenced Johnny Rivers' "Secret Agent Man", "even though it was in the 60's" as inspiration. Lennertz felt D'Esposito "did a terrific job getting that [feeling with the One-Shot] and reaching that" while having "a James Bond secret agent sentiment to it too."[175] To create the score, Lennertz "put together a big band, combined it with an orchestra, and added modern electronic and dub-step elements", to represent the 40s setting, the Marvel feeling, and the advanced technology, respectively.[174]
All Hail the King
With
I Am Groot
Daniele Luppi composes the score for the I Am Groot, a series of shorts featuring the character Groot.[179]: 5–6
Television specials
Title | U.S. release date | Length | Composer(s) | Label |
---|---|---|---|---|
Marvel Studios' Werewolf by Night (Original Soundtrack) | October 7, 2022 | 41:25 | Michael Giacchino | Marvel Music
|
The Guardians of the Galaxy Holiday Special (Original Soundtrack) | November 23, 2022 | 22:44 | John Murphy |
Werewolf by Night
Michael Giacchino composed the score for Werewolf by Night in addition to serving as director.[180]
The Guardians of the Galaxy Holiday Special
The Guardians of the Galaxy Holiday Special was announced in December 2020.[181] John Murphy joined as composer in January 2022, while also helming Guardians of the Galaxy Vol. 3 as the special and film's productions were intertwined.[182]
Original songs
Films
"Baba Yaga Lullaby"
Ant-Man and the Wasp features an original song performed by David Dastmalchian, referencing the mythological figure Baba Yaga in Slavic folklore.[183]
"Guardians' Inferno"
Guardians of the Galaxy Vol. 2 features an original song in the film's credits. Co-written by the film's writer and director James Gunn and score composer Tyler Bates, it was "meant as a sort of Guardians take on Meco's disco Star Wars theme ["Star Wars Theme/Cantina Band"]."[184] David Hasselhoff was chosen as the vocalist because he is one of Peter Quill's childhood heroes, and Gunn was a fan of Hasselhoff when he starred on Knight Rider.[184][185]
"Make Way For Tomorrow, Today"
Iron Man 2 introduces the 1974
"Star Spangled Man"
Captain America: The First Avenger features a montage of the titular character and a
A modern-day arrangement of the song is used in "
"The Ice Cream Song"
Doctor Strange in the Multiverse of Madness features an original song entitled "The Ice Cream Song", performed by
"Theme from Caged Heat 1985"
For
WandaVision
"A Newlywed Couple"
The episode "
"WandaVision!"
The episode "Don't Touch That Dial" of WandaVision features an original theme song written by Kristen-Anderson Lopez and Robert Lopez. "WandaVision" is the only lyric in the song, as Anderson-Lopez and Lopez wanted to emulate the minimalist, repetitive, "cool jazz Bebop-inspired" theme songs of 1960s television series. They also gave "Mah Nà Mah Nà" by Piero Umiliani and the works of Dave Brubeck as influences.[197]
"We Got Something Cooking"
The episode "Now in Color" of WandaVision features an original theme song written by Kristen-Anderson Lopez and Robert Lopez. The composers of the song were proud of the lyrics for the episode's theme song, with Lopez feeling the lyrics "One plus one is more than two" and "One plus one is family" were "the dumbest and funniest and most TV-like lyric we've ever written". Anderson-Lopez pointed out that the second time was originally "One plus one is more than three" but was rewritten to "One plus one is family" because it was felt the original could have been a spoiler.[196] Anderson-Lopez was the main writer of this theme, choosing words that related to a pregnancy and setting up the complication of "what's happening here and then making it up as we go along. Also like it's us versus the world."[198]
"Sokovian Lullaby"
The episode "Now in Color" of WandaVision also features a lullaby written by showrunner Jac Schaeffer and translated into the fictional Sokovian language by the series' language coach Courtney Young. Performed by Elizabeth Olsen, Schaeffer said the song was just about a mother singing for her child rather than any of the series' larger mysteries, and described it as a "sincere version of a TV sitcom theme song".[199]
"Making It Up As We Go Along"
The episode "
"Let's Keep It Going"
The episode "All-New Halloween Spooktacular!" of WandaVision features an original theme song written by Kristen-Anderson Lopez and Robert Lopez and performed by Anderson-Lopez and riot grrrl artist Kathleen Hanna, which Anderson-Lopez felt having Hanna perform on the track added "this incredible authenticity" to it. The composers found the 1990s to be the most challenging era to write a theme song for due to them both being at college during that decade when they did not have a television.[197] The song went through three different sets of lyrics and was an alternative punk rock track that was similar to "Boss of Me" by They Might Be Giants, the theme song for Malcolm in the Middle, since a lot of theme songs in the 1990s were punk rock.[201][202] Since the episode shows things beginning to unravel for Wanda, the couple wanted the theme song to also have "an element of chaos, and unraveling, and a feeling of, sort of, alienation" to it.[202] The composers of the song found the 1990s to be the most challenging era to write a theme song for due to them both being at college during that decade when they did not have a television.[197][201][202]
"Agatha All Along"
The episode "
Other television series
"Bulletproof Love"
The first season of Luke Cage sees
"I Want Your Cray Cray"
In a flashback during the episode "
"Save the City"
The episode "
"Very Full"
The episode "
"Whatcha Gonna Do (It's Up to You)"
The Agent Carter episode "
Other
Marvel Studios fanfares
After Marvel Entertainment was bought by the
When approaching the fanfare, Tyler looked not just at the films, but "Marvel as a whole...going all the way back from The Human Torch through" the comics.[214] Because "there was very little time for the listener or the viewer to really hone in on what's there musically", Tyler "needed something that could be played a little bit more simply as a melody. Then all the orchestration—you know, I wrote these string lines that are actually, have kind of a fantastical, more complex nature to it. That just supports a melody that is more of a whistler." Marvel agreed with this approach and worked with Tyler to hone the orchestration; "as the graphics were being done we really wanted to hit little moments with some sparkly shimmer and get it more specific." The main melody remained unchanged from Tyler's initial composition.[53]
External videos | |
---|---|
Marvel Studios Logo Animation – Thor: Love and Thunder Edition presents the version of the Marvel Studios fanfare played in Thor: Love and Thunder, Perception 's channel |
In July 2016, Marvel introduced a new logo focusing on the film studio and featuring imagery from the MCU, rather than Marvel in general and its history in comic books. To accompany the new logo, first seen on Doctor Strange, Michael Giacchino, the composer for Doctor Strange, composed a new Marvel Studios fanfare.
Marvel Studios: Assembling a Universe
Tyler composed for Marvel Studios once again in March 2014, by providing the music for the television special
A Mini Marvel
In February 2016, a commercial for Coca-Cola mini cans starring Ant-Man and the Hulk aired during Super Bowl 50. It was created through a partnership with Marvel, and directed by the Russo brothers.[220][221] The ad was scored by Ant-Man composer Christophe Beck and Jeff Morrow, who had contributed additional material to Ant-Man.[64][222]
Disney Parks
The music for the Avengers Campus themed area at Disney California Adventure was composed by John Paesano, who referenced themes from the Avengers, Spider-Man, Doctor Strange, Guardians of the Galaxy, Ant-Man, Captain Marvel, and Black Panther films. A single entitled "Welcome Recruits" was digitally released by Hollywood Records and Marvel Music on April 22, 2022.[223]
The original cast album for Rogers: The Musical, with music by Christopher Lennertz, Jordan Peterson, and Alex Karukas, was released by Walt Disney Records on September 15, 2023.[224]
Other releases
Vinyl
In July 2016, Luke Cage showrunner Cheo Hodari Coker revealed plans for a vinyl soundtrack album for the series, to be produced by composers Adrian Younge and Ali Shaheed Muhammad.[225] The vinyl release was made available from Mondo on October 7, 2016, pressed on yellow vinyl and with collectible artwork by Matthew Woodson.[226][227] On October 8, Mondo announced that its entire initial pressing of the release had already been sold out, with further orders to begin shipping in late November.[228]
On November 7, vinyl releases for the soundtracks to Daredevil season one and Jessica Jones season one were announced by Mondo, pressed on red and purple vinyl, respectively. Each release was limited to 3000 copies, also comes with collectible artwork by Woodson, and was made available on November 9 both online and at the
Mondo released the Iron Fist season one soundtrack on both green and black vinyl on August 18, 2017. The release once again included original art by Woodson, which was additionally released as a poster.[231]
Leading up to the release of Avengers: Endgame, Mondo announced that they would be releasing vinyl copies for the soundtracks of all MCU films released up to that point, as well as Endgame. The first vinyl produced was for Ant-Man and The Wasp on April 24, 2019, featuring collectible artwork designed by Phantom City Creative and 14 previously unreleased bonus tracks, followed by Black Panther and Thor: Ragnarok.[232]
Singles
Title | U.S. release date | Length | Artist(s) | Label |
---|---|---|---|---|
"Live to Rise" | April 17, 2012 | 4:40 | Soundgarden | Marvel Music
|
"Watcha Gonna Do (It's Up to You)" | March 18, 2016 | 3:51 | Enver Gjokaj and Hayley Atwell | |
"Bulletproof Love" | September 30, 2016 | 2:12 | Adrian Younge, Ali Shaheed Muhammad and Method Man | |
"All the Stars" | January 4, 2018 | 3:56 | SZA
|
Interscope Records Top Dawg Entertainment Aftermath Entertainment |
"King's Dead" | January 11, 2018 | 3:50 | Jay Rock, Kendrick Lamar, Future, and James Blake | |
" Pray for Me "
|
February 2, 2018 | 3:31 | Kendrick Lamar and The Weeknd | |
"Family TV Night" | April 9, 2021 | 0:43 | Christophe Beck | Hollywood Records Marvel Music |
"Agatha All Along" | February 23, 2021 | 1:02 | Kristen Anderson-Lopez and Robert Lopez | |
" Louisiana Hero "
|
March 26, 2021 | 2:14 | Henry Jackman | |
" TVA "
|
June 10, 2021 | 2:28 | Natalie Holt | |
" Lazy Susan "
|
August 10, 2021 | 4:39 | 21 Savage and Rich Brian | Hollywood Records Marvel Music Interscope Records |
" Every Summertime "
|
3:36 | Niki | ||
"Run It" | August 13, 2021 | 2:43 | DJ Snake, Rick Ross, and Rich Brian | |
"In the Dark" | August 20, 2021 | 2:41 | Swae Lee and Jhené Aiko | |
"Across the Oceans of Time" | October 22, 2021 | 3:50 | Ramin Djawadi | Hollywood Records Marvel Music |
"Eternals Theme" | 3:47 | |||
" Save the City "
|
November 24, 2021 | 4:26 | Marc Shaiman and Scott Wittman | |
"Arachnoverture" | December 9, 2021 | 10:06 | Michael Giacchino | Sony Classical
|
"Exit Through the Lobby" | December 10, 2021 | 4:15 | ||
" Moon Knight "
|
March 30, 2022 | 2:08 | Hesham Nazih | Hollywood Records Marvel Music |
" Ms. Marvel Suite "
|
June 7, 2022 | 4:29 | Laura Karpman | |
"Mama's Got a Brand New Hammer" | June 30, 2022 | 6:10 | Michael Giacchino | |
"I Am Groot" | August 4, 2022 | 3:23 | Daniele Luppi | |
" She-Hulk: Attorney at Law "
|
August 18, 2022 | 2:25 | Amie Doherty | |
"Lift Me Up" | October 28, 2022 | 3:16 | Rihanna | Westbury Road Roc Nation Def Jam Recordings Hollywood Records |
"Theme from Quantumania" | February 12, 2023 | 2:32 | Christophe Beck | Hollywood Records Marvel Music |
" Nick Fury (Main Title Theme) "
|
June 20, 2023 | 2:03 | Kris Bowers |
Compilation albums
Title | U.S. release date | Length | Label |
---|---|---|---|
AC/DC: Iron Man 2
|
April 19, 2010 | 60:15 | Columbia Records |
Avengers Assemble (Music from and Inspired by the Motion Picture)
|
May 1, 2012 | 48:20 | Marvel Music
|
Iron Man 3: Heroes Fall (Music Inspired by the Motion Picture)
|
April 30, 2013 | 44:36 | |
Guardians of the Galaxy: Awesome Mix Vol. 1 (Original Motion Picture Soundtrack)
|
July 29, 2014 | 44:34 | |
Guardians of the Galaxy Vol. 2: Awesome Mix Vol. 2 (Original Motion Picture Soundtrack)
|
April 21, 2017 | 51:59 | |
Runaways (Original Soundtrack)
|
January 12, 2018 | 50:08 | |
Black Panther: The Album
|
February 9, 2018 | 49:12 | Interscope Records Top Dawg Entertainment Aftermath Entertainment |
Cloak & Dagger (Original Television Series Soundtrack)
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June 8, 2018 | 41:31 | Hollywood Records Marvel Music |
Shang-Chi and the Legend of the Ten Rings: The Album
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September 3, 2021 | 61:37 | Hollywood Records Marvel Music Interscope Records |
Wakanda Forever Prologue
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July 25, 2022 | 9:33 | Hollywood Records Marvel Music |
Black Panther: Wakanda Forever – Music from and Inspired By
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November 4, 2022 | 66:18 | Hollywood Records Roc Nation Def Jam Recordings |
Guardians of the Galaxy Vol. 3: Awesome Mix Vol. 3 (Original Motion Picture Soundtrack)
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May 3, 2023 | 65:13 | Hollywood Records Marvel Music |
AC/DC: Iron Man 2
Director Jon Favreau had used songs from hard rock band AC/DC in the first Iron Man film, and had been inspired at an AC/DC concert to introduce Iron Man in the sequel during a concert-like event. Favreau said on the band, "What's fun about them is they were the full-on real deal of heavy metal when I was in high school. They were as real deal as it got. They made some people nervous—people questioned whether they were devil worshipers or not. And now these days they put on the same show...and there's a sense of humor about the whole thing....there's even a strange gentleness to the music to me now, even though at the time it was as edgy as you get. It's celebrating immaturity and youth" in a similar way to the character of Tony Stark.[233] In January 2010, Marvel announced that AC/DC's music would be featured heavily in Iron Man 2 in a collaboration with Columbia Records, who released a soundtrack album for the film featuring 15 classic AC/DC songs.[234]
Guardians of the Galaxy: Awesome Mix Vol. 1
In February 2014, director James Gunn revealed that Guardians of the Galaxy would incorporate songs from the 1960s and 1970s, such as "Hooked on a Feeling", on a mixtape in protagonist Peter Quill's Walkman, which acts as a way for him to stay connected to the Earth, home, and family he lost.[235] When choosing the songs, Gunn read the Billboard charts for all of the top hits of the 1970s, downloading "a few hundred" songs that were "semi-familiar—ones you recognize but might not be able to name off the top of your head" and creating a playlist for all the songs that would fit the film tonally. Gunn then chose the songs for the film by listening to the playlist and being "inspired to create a scene around a song", or by having "a scene that needed music and I would listen through the playlist, visualizing various songs, figuring out which would work the best." Many of the chosen songs were played on set to help "the actors and the camera operators find the perfect groove for the shot", with David Bowie's "Moonage Daydream" the only song chosen and added during post-production.[236] In addition to the Awesome Mix Vol. 1 album, Hollywood Records released a cassette version of the soundtrack on November 28, 2014, as an exclusive to Record Store Day participants. The cassette was the first from Disney Music Group since 2003.[237]
Guardians of the Galaxy Vol. 2: Awesome Mix Vol. 2
Gunn said he felt "a little pressure" in creating the Awesome Mix Vol. 2 mixtape for Guardians of the Galaxy Vol. 2 "because so many people loved [the first film's soundtrack] and we went platinum and all that other stuff. But I feel like the soundtrack in the second one is better,"[238] with all of the songs chosen and built into the script by June 2015.[239] In January 2016, Gunn revealed that he had chosen an additional Bowie song to appear in the film, but had cut the original scene it was featured in. The inclusion would have made Bowie the only artist to be featured on both mixtapes. With Bowie's death that month, Gunn hoped to find a way to include the chosen song elsewhere in the film as a "fair and appropriate" way to honor him, as Bowie was one of Gunn's idols.[240] Gunn described the soundtrack as "more diverse" than that for the first Guardians, which had "a bunch of songs that maybe you heard but didn't know the name of the song–you didn't know the name of the singer. In this one, we have some really incredibly famous songs and then some songs that people have never heard."[241]
Black Panther: The Album
Kendrick Lamar produced the film's curated soundtrack, along with Top Dawg Entertainment founder Anthony Tiffith. It was the first MCU soundtrack to "integrate multiple original recordings created specifically for the film".[242] Black Panther: The Album was released on February 9, 2018.[243]
Shang-Chi and the Legend of the Ten Rings: The Album
An album featuring a variety of Asian artists from 88rising was released for Shang-Chi and the Legend of the Ten Rings. In the same vein as Black Panther: The Album, these recordings were created specifically for the film. The actor for Shang-Chi, Simu Liu, provides vocals for one of the tracks.[citation needed]
Wakanda Forever Prologue
Ahead of
Black Panther: Wakanda Forever – Music from and Inspired By
In October 2022, a compilation album for Black Panther: Wakanda Forever was announced, for release on November 4, 2022, with the lead single Lift by Rihanna being released on October 28, 2022.[245]
Reception
In October 2014, John Coggin looked back on the music of the Marvel Cinematic Universe so far for International Policy Digest. He felt that the music was a major failing of the shared universe, especially in comparison to other major franchises such as Star Wars and The Lord of the Rings, because of a lack of "strong fanfares" for the films' heroes and a lack of continuity between the different scores. He felt that Patrick Doyle's Thor was the best in terms of "thematic strength and unity", while other films did not develop their own musical themes in a memorable way, and found it "remarkable" that Brian Tyler completely discarded all of Doyle's themes. Coggin ended his piece by noting that the MCU was "still young", and "in time, Marvel can and should develop bolder themes for its individual heroes. It should establish some thematic continuity between films."
Christian Clemmenson of
At Flickering Myth, Simon Columb responded to a description of Tyler's scores for Iron Man 3 and Thor: The Dark World as "alright" with an opinion piece titled "The Forgettable Soundtrack to Marvel's Movies". He argued that film music is such a "core element" that the scores deserve more criticism than a dismissive "alright"; he felt that all MCU scores were "consistently below par ... the soundtracks have always felt unclear, confused and inconsistent." He also touched on the lack of continuity, lamenting the missed opportunity to "use the themes and music to carve out a consistent harmonic atmosphere".[251] /Film's Jacob Hall focused on the quality of the MCU's music, describing it as "the musical equivalent of vanilla pudding. No single MCU movie features identifiable music and that's a shame." Hall hoped that the hiring of Michael Giacchino, whom he called "one of the most talented and celebrated modern composers of music for film and television", and the rehiring of Silvestri, who he felt had composed the only memorable and recognizable theme with his "Captain America March", during Marvel's Phase Three slate of films would change this trend, particularly hoping that Giacchino could "bring some much-needed magic to the MCU".[249][252]
In September 2016, the YouTube channel Every Frame a Painting, which analyzes films and the filmmaking process, posted a video essay discussing the music of the MCU. The video also highlights the lack of memorability for general audience members compared to franchises such as Star Wars and James Bond, and proposes several reasons for why this is: the tendency for the music to be background noise, or to be "hidden" behind other sounds such as voiceovers; how it closely reflects the events on screen, and so does not stand out or surprise the audience; and how it is often similar to other music, which the video blames on the temp process and filmmakers editing the film to the temp music before bringing in the composer, or asking composers to imitate the temp tracks. Saying that the music is not bad, just "bland and inoffensive", the video states that Marvel could improve their music by simply taking more risks with it, like putting more emphasis on the music without any other sound effects, or mismatching it with the visuals—for example, playing "emotional" music during an otherwise "humorous" scene to give more impact to the underlying feelings of the characters rather than their surface actions.[253]
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