It sounds like everyone was on equal footing. The cool thing with a band like this is that you have so many powerful minds that the room explodes with ideas. Junkie XL: The great thing about working on your own is that you don’t need consensus on when a chorus needs to happen. Remember in the ’90s those ‘songs inspired by’ albums? We thought we’d turn it around: Let’s treat each piece of music, each cue, as a song first and then we’d take the melodies of those songs and develop those into the score. It’s not that you need him to play something but the conversations of how we would develop these songs was how we thought about it. Zimmer: I wanted it to be a band sound and I felt it was important that the director be a part of the band. How do you sell this idea to the director? So I invited Junkie and Mike Einziger and Stephen Lipson, Steve Mazzaro and Andrew Kawczynski and we just filled my (studio) with great musicians who love Spider-man. This lunch started at noon and four hours later we’re singing riffs to each other. Over a year ago, I was talking to Pharrell about this idea and it became ‘why don’t we do it to together.’ Next thing I know I’m in London having lunch with Johnny Marr and he asks ‘what are you up to’ and he just goes wild when I tell him. If he had to listen to music and that was the way he expressed emotion, it wouldn’t be big Wagnerian horns and Mahler strings. Zimmer: The character, Peter Parker, is a kid, he’s just graduating. Here, Zimmer and Junkie XL take us through the process of creating the music for “Amazing Spider-Man 2.” The soudtrack’s lead track, Alicia Keys’ “It’s On Again” that plays over the end credits, has sold 24,000 downloads and it rises one slot to No. Like most soundtracks released prior to the release of the film, its first week sales were modest - 2,000 copies, according to Soundscan. Stephen Lipson, who Zimmer says changed the way female vocalists are recorded when he worked with Annie Lennox, Grace Jones and Cher, recorded and mixed the band. Collectively, they created songs that function as a score thanks to the work of music editors, Nevin Seus and Catherine Wilson, who Zimmer speaks about effusively. Zimmer created a band – dubbed the Magnificent 6 – of musicians and composers that featured the guitarists Johnny Marr and Incubus’ Mike Einziger, Pharrell Williams on drums and the DJ-composer Junkie XL on bass. The anecdote illuminates Zimmer’s unique process in scoring “The Amazing Spider-Man 2,” which has grossed $132 million overseas and opens in the U.S. I didn’t need a brass section or orchestral horn section. “I was beating myself up for a month,” Zimmer says about creating his first “Spider-Man” score, “and what I kept forgetting was that I needed one more member of the band.
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Zimmer wrote the piece for Sandoval and had him fly in to record at Sony’s Culver City studio, a big room for just one instrument.
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#Amazing spiderman 2 soundtracks full
These tracks could easily be from a classic blaxploitation film with all the familiar horn, bass and wah wah elements in full effect! Drama and action abound with only an occasional lull for a nice tense string-heavy number to break things up. Spidey gets all sexy and funky in this crazy collection of grooves from the late seventies.