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The Amazing Spider-Man 2
Album Cover Art
Regular Edition
Deluxe Edition
Album 2 Cover Art
Co-Composed and Co-Produced by:

Co-Composed by:
Pharrell Williams
Johnny Marr
Tom Holkenborg
Mike Einzinger
Steve Mazzaro
Andrew Kawczynski

Additional Music by:
Arturo Sandoval
Czarina Russell
Andy Page
Adam Peters
Ann Marie Simpson

Conducted by:
Nick Glennie-Smith

Orchestrated by:
Bruce Fowler
Walter Fowler
Kevin Kaska
Suzette Moriarty
Rhea Fowler

Co-Produced by:
Stephen Lipson
Labels Icon
Columbia Records
(All Albums)
(April 22nd, 2014)
Availability Icon
Both the Regular and Deluxe Editions are standard commercial releases available on CD and digital download.
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   Availability | Viewer Ratings | Comments | Audio & Track Listings | Notes
Buy it... if you accept the Hans Zimmer vision of alternately gloomy and aggressive, overstated and simplistic constructs and renderings in the superhero genre, with all subtlety lost in the creative process.

Avoid it... if you expect either the elegance or the heart of Danny Elfman and James Horner's music for this concept, Zimmer and his eleven other writers incapable of striking the appropriate emotional chord in this disappointing entry.
Review Icon
WRITTEN 5/10/14
The Amazing Spider-Man 2: (Hans Zimmer/Various) As obnoxious as franchise reboots can be, the seemingly unnecessary but nevertheless profitable 2012 resurrection of the "Spider-Man" concept with a new cast and crew proved to be a surprising artistic success. Even before the triumphs of director Marc Webb's The Amazing Spider-Man, Marvel and Columbia envisioned a renewed series of sequels and spin-offs, and the first of these continued fiscal powerhouses is 2014's The Amazing Spider-Man 2. Not as satisfying in its narrative is this entry, some of its Oscorp and Green Goblin concepts competing unfavorably with the renditions of that storyline in the prior decade's "Spider-Man." The star of the show, however, is Jamie Foxx in the role as the sympathetic villain (aren't most of them?), Electro, whose haphazardly uncontrolled capabilities with electricity provide this tale's main challenge. Young Peter Parker, still searching for his true identity, a sense of family, and his romantic future, once again cannot resist the urge to save New York, where, for the first time, an entire "Spider-Man" movie was shot. Despite the carryover of most of the primary cast and crew, composer James Horner did not return for The Amazing Spider-Man 2. This franchise has been blessed with music from many of the great composers of the 1990's, including Horner, Danny Elfman, John Debney, and Christopher Young, and it is perhaps only fitting that another star ascendant during that decade, Hans Zimmer, received his crack at the concept for the 2014 film. Now the composer of choice for blockbuster superhero films due to his marketability, Zimmer has conquered the realm of "Batman" with varying, debatable degrees of success while offering completely misguided music for the 2013 reboot of the "Superman" character. Not surprisingly, the shift from Horner to Zimmer for The Amazing Spider-Man 2 brings a completely different procedural and emotional dynamic to the table, tossing aside traditional methodology for Zimmer's super-hyped collaborative process of creation. Not to waste any such opportunity, Zimmer collected six primary artists (Pharrell Williams, Johnny Marr, Tom Holkenborg, Mike Einzinger, Andrew Kawczynski and Steve Mazzaro) and five ghostwriters to ultimately form a dozen minds alike for this project, the former group termed the "Magnificent Six" while the latter toiling in the shadows like usual Remote Control ghostwriters.

Comparisons to the Elfman and Horner legacies in this franchise are inevitable. Both composers wrote highly effective themes for the title character and wrapped them in a tasteful blend of symphonic heart and synthetic intrigue. When Horner stepped on stage to accept the Max Steiner Award at the 2013 Film Music Festival Hollywood in Vienna, the orchestra performed a rousing arrangement of the composer's main identity for The Amazing Spider-Man that easily confirmed its place among the top five scores of 2012. The most important achievement by Elfman and Horner (and continued by Debney and Young to a limited degree) for this concept was the vital balance between coolness and loneliness, the geek of Peter Parker defining Spider-Man rather than the fantasy of the costume defining the heart of the wayward young man. The Elfman and Horner scores emphasized the awesomeness of Spider-Man from the perspective of a character mutated out of a nerd. Parker's center of gravity always returns to his lack of belonging, the absence of family, and the awkwardness of his communication. For all the soaring themes with trumpets, cooing choirs, and nimble electronic accompaniment, the music for this concept has the irresistible urge to return to the basic familial piano and the heartfelt expressions of loss that accompany it. Elfman and Horner resisted the urge to provide music that suggested either technological prowess for the character or a bloated sense of bravado, their scores usually emphasizing the treble ranges in an effort to remind audiences that Spider-Man isn't a big man wearing a heavy black suit and riding around in 5-ton vehicles. This hero is a spider, soaring effortlessly and using his airy genetic capabilities and nerdy demeanor to reluctantly accomplish his mission. There are many parallels between Parker and Clark Kent, both hopelessly awkward in their personal lives, lacking a feeling of belonging and family, struggling for a normal love life. It should come as no surprise, after all of these basic facts are considered, that a composer like the contemporary incarnation of Hans Zimmer would have difficulty addressing the heart of either character. And, just as Zimmer completely failed to capture the spirit of Kent in Man of Steel, he has become the first composer in the "Spider-Man" franchise to completely fail to capture the spirit of Parker in The Amazing Spider-Man 2. It is painful to hear a composer strive to innovate and yet miss the mark so badly on something so basic as the heart of the primary character.

Ratings Icon
Average: 2.25 Stars
***** 120 5 Stars
**** 170 4 Stars
*** 231 3 Stars
** 314 2 Stars
* 569 1 Stars
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(Comment Deleted by Poster)   Expand >>
Mitchell Kyler Martin - December 13, 2016, at 10:42 a.m.
2 comments  (868 views)
Newest: February 5, 2017, at 5:50 p.m. by
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Mitchell Kyler Martin - December 13, 2016, at 10:30 a.m.
1 comment  (388 views)
Dear Lord Satan, answer our Hans Zimmer prayers!   Expand >>
Valar Morghulis - May 8, 2016, at 8:08 p.m.
2 comments  (1797 views)
Newest: May 22, 2016, at 8:49 p.m. by
Mitchell Kyler Martin
(Comment Deleted by Poster)
Mitchell Kyler Martin - March 28, 2016, at 9:48 a.m.
1 comment  (524 views)
The Amazing Spider-Man 2 (Recording Sessions)   Expand >>
TDK - September 12, 2015, at 9:50 p.m.
2 comments  (2479 views)
Newest: April 30, 2016, at 12:57 p.m. by
Mitchell Kyler Martin
Hans finally wrote the Man of Steel Score
Matt - November 1, 2014, at 6:39 a.m.
1 comment  (1610 views)

Track Listings Icon
Audio Samples   ▼
Regular Edition Tracks   ▼Total Time: 65:57
• 1. I'm Electro (0:46)
• 2. There He Is (2:54)
• 3. I'm Spider-Man (1:04)
• 4. My Enemy (8:17)
• 5. Ground Rules (1:11)
• 6. Look at Me (3:10)
• 7. You Need Me (3:17)
• 8. So Much Anger (2:12)
• 9. I Need to Know (5:00)
• 10. Sum Total (2:51)
• 11. I Chose You (1:34)
• 12. We're Best Friends (2:17)
• 13. Still Crazy (2:42)
• 14. You're That Spider Guy (5:29)
• 15. It's On Again - performed by Alicia Keys and Kendrick Lamar (3:50)
• 16. Song for Zula - performed by Phosphorescent (6:09)
• 17. That's My Man - performed by Liz (3:47)
• 18. Here - performed by Pharrell Williams (4:38)
• 19. Honest - performed by The Neighbourhood (3:57)
• 20. Electro Remix - performed by Alvin Risk (3:27)
Deluxe Edition Tracks   ▼Total Time: 115:02

Notes Icon
The inserts include a note from the director about the score. The packaging of the Deluxe Edition is abnormally sized in portrait orientation and its cardboard structure makes it difficult to remove the CDs without potentially scratching them. Who designs such impractical nonsense?
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