Returning to Los Angeles in the early s, he cut his breakthrough single " Loser ", which became a worldwide hit inand released his first major album, Mellow Goldthe same year. Odelayreleased intopped critic polls and won several awards. He released the country-influenced, twangy Mutations inand the funk-infused Midnite Vultures in The soft-acoustic Sea Change in showcased a more serious Beck, and 's Guero returned to Odelay ' s sample -based production.
The Information in was inspired by electro-funk, hip hop, and psychedelia; 's Modern Guilt was inspired by '60s pop music; and 's folk-infused Morning Phase won Album of the Year at the 57th Grammy Awards. His fourteenth studio album, Hyperspacewas released on November 22, With a pop art collage of musical styles, oblique and ironic lyrics, and postmodern arrangements incorporating samplesdrum machineslive instrumentation and sound effects, Beck has been hailed by critics and the public throughout his musical career as being among the most idiosyncratically creative musicians of s and s alternative rock.
Two of Beck's most popular and acclaimed recordings are Odelay and Sea Changeboth of which were ranked on Rolling Stone 's list of the greatest albums of all time. The four-time platinum artist has collaborated with several artists and has made several contributions to soundtracks. Beck began life in a rooming house near downtown Los Angeles.
As a child, he lived in a declining neighborhood near Hollywood Boulevard. After his parents separated when he was 10,  Beck stayed with his mother and brother Channing in Los Angeles, where he was influenced by the city's diverse musical offerings—everything from hip hop to Latin music and his mother's art scene—all of which would later reappear in his work. Feeling like "a total outcast", Beck dropped out of school after junior high. He hung out at the Los Angeles City Collegeperusing records, books and old sheet music in its library.
He used a fake ID to sit in on classes there, and he also befriended a literature instructor and his poet wife. Beck began as a folk musician, switching between country bluesDelta bluesand more traditional rural folk music in his teenage years.
Some drunk would start yelling at me, calling me Axl Rose. So I'd start singing about Axl Rose and the levee and bus passes and strychnine, mixing the whole thing up," he later recalled. You could go up onstage and say anything, and you wouldn't feel weird or feel any pressure.
Everyone on the scene got sick of me. Back in Los Angeles, Beck began to work at a video store in the Silver Lake neighborhood, "doing things like alphabetizing the pornography section". So maybe out of desperation or boredom, or the audience's boredom, I'd make up these ridiculous songs just to see if people were listening," he later remarked. The result—the slide - sampling hip hop track " Loser "—was a one-off experiment that Beck set aside, going back to his folk songs, making his home tapes such as Golden Feelingsand releasing several independent singles.
ByBeck was living in a rat-infested shed near a Los Angeles alleyway with little money. Beck's newfound position of attention led to his characterization as the "King of Slackers", as the media dubbed him the center of the new so-called "slacker" movement. I mean, I never had any slack. That slacker stuff is for people who have the time to be depressed about everything. Feeling as though he was "constantly trying to prove myself",  Beck suffered a backlash, with skeptics denouncing him as a self-indulgent fake and the latest marketing opportunity.
At other concerts, crowds were treated to twenty minutes of reggae or Miles Davis or jazz-punk iterations of "Loser". The drummer set fire to his cymbals; the lead guitarist "played" his guitar with the strings faced towards his body; and Beck changed the words to "Loser" so that nobody could sing along.
Beck blends country, blues, rap, jazz and rock on Odelaythe result of a year and half of feverish "cutting, pasting, layering, dubbing, and, of course, sampling". Odelay was released on June 18,to commercial success and critical acclaim. The combined buzz gave Odelay a second wind, leading to an expanded fan base and additional exposure  Beck enjoyed but, like several executives at Geffen, was bewildered by the success of Odelay.
He would often get recognized in public, which made him feel strange. It doesn't feel right. It doesn't feel natural to me. I don't think I was made for that. I was never good at that," he later told Pitchfork. During this time, he contributed the song " Deadweight " to the soundtrack of the film A Life Less Ordinary Having not been in a proper studio since "Deadweight", Beck felt anxious to "go in and just do some stuff real quick", and compiled several songs he had had for years.
The litigation went on for years and it remains unclear to this day if it has ever been completely resolved. Midnite VulturesBeck's next studio effort, was originally recorded as a double album, and more than 25 nearly completed songs were left behind. Kellyin order to embrace and incorporate those influences in the way Al Green and Stax records had done in previous decades.
The musicians held communal meals and mountain-bike rides on dusty trails nearby, but remained focused on Beck's instructions: to make an up-tempo album that would be fun to play on tour night after night. For Beck, it was a return to the high-energy performances that had been his trademark as far back as Lollapalooza.
The live stage set included a red bed that descended from the ceiling for the song " Debra ", and the touring band was complemented by a brass section. Eventually, however, he decided the songs spoke to a common experience a relationship breakupand that it would not seem self-indulgent to record them. Retailers initially predicted that the album would not receive much radio support, but they also believed that Beck's maverick reputation and critical acclaim, in addition to the possibility of multiple Grammy nominations, might offset Sea Change' s noncommercial sound.
This is his Blood on the Tracks. Sea Change yielded a low-key, theater-based acoustic tour, as well as a larger tour with The Flaming Lips as Beck's opening and backing band.
Following the release of Sea ChangeBeck felt newer compositions were sketches for something more evolved in the same direction, and wrote nearly 35 more songs in the coming months, keeping demos of them on tapes in a suitcase.
It was disheartening to the musician, who felt the two years of songwriting represented something more technically complex. As a result, Beck took a break and wrote no original compositions in Nearly half of the songs had existed since the s.
GueroBeck's eighth studio album, was recorded over the span of nine months during which several significant events occurred in his life: his girlfriend, Marissa Ribisi, became pregnant; they were married; their son, Cosimo, was born; and they moved out of Silver Lake.
It sounded too good, that was the problem. Guero debuted at number two on the Billboardsellingcopies, an all-time sales high. The InformationBeck's ninth studio album, began production around the same time as Gueroin Working with producer Nigel Godrich, Beck built a studio in his garden, where they wrote many of the tracks.
The duo knocked out two tracks in two days, but the notion that the album would be finished in a timely fashion soon evaporated. Still, the musicians were surprised at how well they got along. Modern Guilt was the final release in Beck's contract with Geffen Records.
Beck, then 38, had held the contract since his early 20s. Song Readera project Beck released in Decemberis 20 songs presented only as sheet music, in the hopes that enterprising musicians will record their own versions.
He aimed to keep the arrangements as open as possible, to re-create the simplicity of the standards, and became preoccupied with creating only pieces that could fit within the Great American Songbook. In the summer ofBeck was reported to be working on two new studio albums: one a more self-contained acoustic disc in the vein of One Foot in the Grave and another described as a "proper follow-up" to Modern Guilt. In OctoberBeck signed to Capitol Records.
On January 20,Beck released the track " Blue Moon ", which was to be the lead single for his twelfth studio album, Morning Phase. In the time after Morning Phase 's release and general critical success, Beck mentioned that he had been working on another album at around the same time, but that the new album would be more of a pop record.
Shortly after Morning Phase 's Grammy wins, on June 15,Beck released the first single titled " Dreams " off this upcoming thirteenth studio album. On June 2,almost a year after the initial release of "Dreams", Beck released a new single titled " Wow ", along with a lyric video of the song and an announcement that his still untitled album would be released on October 21, It's probably in a few months.
It was recorded at co-executive producer Greg Kurstin's Los Angeles studio, with Beck and Kurstin playing nearly every instrument themselves. On April 15,Beck released a single co-produced with Pharrell Williams titled " Saw Lightning " from his fourteenth studio album, titled Hyperspace. The album, Dimension Mixreleased inwas a benefit for Cure Autism Now that was produced by Ross Harrisan early collaborator who designed the artwork for Mellow Gold.
On June 20,Beck announced that he was starting an experiment called Record Clubin which he and other musicians would record cover versions of entire albums in one day. Starting on June 18, the club began posting covers of songs from the album on Thursday evenings, each with its own video. The first song, "Little Hands", was posted on Beck's website on November 12, Soon after, on July 7, Beck announced that his website would be featuring "extended informal conversations with musicians, artists, filmmakers, and other various persons" in a section called Irrelevant Topics.
Then, on July 12, he added a section called Videotheque, which he said would contain "promotional videos from each album, as well as live clips, TV show appearances and other rarities". Beck wrote the music, co-wrote the lyrics, and produced and mixed the album. Tobacco revealed that in making the album, Beck sent the vocal parts to him, and that they had never actually met. In Octoberit was widely reported that Beck and producer Hector Castillo were collaborating with American composer Philip Glass to produce a remix album of the composer's works in honor of his 75th birthday.
InBeck collaborated with former Fun. He also collaborated with electronic dance music duo The Chemical Brothers on their most recent album Born in the Echoesproviding lead vocals and also credited in writing for the track "Wide Open", released in July. He was also featured on "Tiny Cities" by Flume. He recorded "14 Rivers, 14 Floods" backed by a full gospel choir, live onto the first electrical sound recording system from the s.
As for festival stages the artist was inter alia part of the Newport Folk Festival in July. Beck's musical style has been considered alternative  and indie. He has been known to synthesize several musical elements together in his music, including folkpsychedeliaelectroniccountryLatin musichip hopfunksoulbluesnoise musicjazzand many types of rock. Beck's nine-year relationship with designer Leigh Limon and their subsequent breakup is said to have inspired his album, Sea Change.
Beck has described himself as both Jewish  and a Scientologist. My father has been a Scientologist for about 35 years, so I grew up in and around it. I'm not a Scientologist. When Infant Eyes was released inDoug Carn still regarded the album as a demo. Despite that, it was well received by critics and hailed as a groundbreaking album.
It was a similar case with the other two albums Doug Carn released for the label. That was no surprise given the quality of the three albums he released. The first was Infant Eyes. Initially the arrangement is intense and almost frenetic before the band lock into a groove. By then, the scat disappears as unleashes an impassioned vocal. On Moon Child Doug Carn switches to piano, and his playing is moody and melancholy. Meanwhile, the horns add an atmospheric backdrop during this eight minute epic which is an emotional roller coaster.
Horns are to the fore as the organ sweeps and swirls and join with the cymbals in playing a crucial role in the sound and success of the track.
However, six years later Doug Carn added lyrics and his wife Jean takes charge of the vocal. Doug Carn added new lyrics full of social comment which are delivered by Jean. She plays a leading role in the success of breathtaking, powerful and poignant take on a familiar track from the late, great jazz pianist. Despite that, it was the most successful album that Black Jazz Records released that year.
Infant Eyes was very different to old school jazz and was new type of jazz album. It featured everything from avant-garde and even elements of free jazz, funk, fusion, soul, soul-jazz and spiritual jazz.
These genres were combined by Doug Carn and Jean Carn who unleashed her five octave vocal on Infant Eyes which introduced the pair to the record buying public across America. This was just the first chapter in the Doug and Jean Carn story. Infant Eyes was the first of four LP acclaimed albums that Doug Carn released between and These albums are now regarded as cult classics, and amongst the best that Black Jazz Records released during the five years it was in business.
And nothing elsewhere in the infinite universe like them either. Peter will ask, you know: "Have you dug 'Faces in the Jazzmatazz'? And which person are you in "Flibbity-Jib'? But the thing he is probably best loved for is a series of albums released in the late Fifties on Dot Records called Word Jazz.
The four albums, recorded between andhave been anthologized several times over the course of their history including a vinyl collection on Blue Thumb and a CD on Rhinobut they have never before been made available on CD in their entirety.
In all, 27 tracks make their CD debut. Needless to say, Ken has also written some notes, and has provided some rare photos for the set. The Charlie Parker Dial MastersThe Judy Garland Decca MastersThe Machito Columbia Masters —the titles assume a certain form: the imperious definite article, the name of the artist, the recording company, and, at the end, that masterful word, masters.
But he did not define his era, and it did not define him. He is a performing artist of indeterminate medium, all but unknown to the general public and not well-known among musicians either. Most of his career has been in television and radio, where he lent his dark, agile bassvoice to numberless commercials.
His album Colors was originally a series of radio spots for the Fuller Paint Company. The accompaniment is not always jazz, nor is it exactly accompaniment. The absence of any clear boundary between music and sound, or sound and voice, might spark the thought that word jazz has more to do with Cagean compositionin sound than any bongos-and-angst record.
But Nordine raises this possibility with the lightest touch, for he can be very funny, and this is maybe why his albums have aged so well. The twenty-page insert booklet includes appreciationsby Laurie Anderson and Tom Waits, reminiscences by Nordine and Cunningham, all the original cover art and liner notes, and a new poem by Nordine.
The only shortcoming of this album is its stingy run of five thousand copies, which are intermittently hard to find. So if you see a copy, snap it up while you can. Bass — Emmet Frazier tracks:toHarold Gaylor tracks: Album)Jimmy Bond tracks: toJohn Frigo tracks: to, Drums — Bob Frazier tracks:toJerome Slosberg tracks: to,Red Holt tracks: to Engineer — Jim Cunningham tracks: toto, Mason Coppinger tracks: toto Woodwind — Ken Soderbloom tracks:toPaul Horn tracks: to Tracks taken from Next!
Track 20 recorded circa No re-channeled stereo was employed in this recording. The Fairchild stereophonic disc mastering was use in transferring the original masters from tape to disc.
Posted by Jillem on Friday, October 01, Sometimes I'm in the mood for hip music and nothing else will do. He is now highly recognized as one of the foremost exponents of a sophisticated style of largely instrumental music that combines elements of lounge music and jazz with Latin flavors. They're of such a similar qualitative standard that none can be singled out as definitive, or even recommended above the others.
The 20 tracks are drawn from RCA releases spanning toincluding both original compositions and oddball versions of standards like "Harlem Nocturne," "Night and Day," "Malaguena," and "Take the 'A' Train. Kansas City. Posted by Jillem on Thursday, September 30, Essential for all Prince Buster fans. One of the best from the man himself, worth every penny, now that it has been deleted.
Get it if you can. Very rare and amazing selection from the Prince's rarest sides; great sound, great artwork, pure ska and rocksteady masterpieces. Including the best whistling tune ever: "rock and shake", and "Dance Cleopatra", a total scorcher which was a minor hit in Holland in The Prince's recording plethoric recording output still begs for a proper reissue job.
Until then, true enthusiasts will carry on an almost archeological quest for scratchy elusive Blue Beat singles. Most of these tunes are worth five or ten times the price of this CD on 45, and not without reason. Get this while you can - its availability in Europe has been patchy to say the least. Possibly because he was part of a postwar, post-colonial social revolution, Prince Buster seems like some sort of ghetto supe- pioneer: a boxer, soundsystem operator, DJ, producer, live performer, humouristsocial and political commentator, owner of a record shop-label-and-jukebox empire, sharp dresser and all round coolest guy in Kingston, and therefore Jamaica, and therefore quite possibly the world at the time.
All his activities complemented and were complemented by the main event, which was his completely unique and inimitable voice, delivery and lyrics. He pronounced himself Prince, the Voice of the People, and made sure he lived up to his claims by being the best. Just as he apparently made sure he would win every boxing match, he made damn sure he only used the cream of Jamaican musicians, on the hottest and hardest rhythms for his backing tracks and productions.
When the time eventually came that he could no longer achieve that, I admire the fact that he largely quit the studio: nothing less than the best was ever going to be good enough for Prince Buster, and that ensured that his incredible output remains undiluted and in tact to this day.
He continued with the occasional live appearance, some of LP I saw and which were always of the highest possible standard.
I was lucky enough to travel with him to one gig and he really exuded the true meaning of cool a word which has become greatly abused now.
It was funny to watch. That ghetto humour was at the heart of a lot of his lyrics and a huge part of his popularity in Jamaica. It could be brutal, as could the ghetto morality that went hand in hand with it in his lyrics. On the stage when THAT voice was given free rein, it remained completely unspoiled — like his legacy — and came out exactly the same as ever.
He had always mixed singing and speaking so seamlessly and tunefully that at times it is almost impossible to say which of those two things he is doing. You would be very hard pressed to find anyone who has ever mixed those two things together better. He was the first real ambassador of Jamaican music worldwide, he was a voice of the third world — luckily for us, speaking in English, and that made him accessible to anyone in the rest of the world who spoke English and was willing to listen.
At first he was picked up in this country largely by working-class kids who could probably relate to the subject matter. Initially ska and reggae was mainly ignored or ridiculed by the mainstream and rock critics — maybe that was partly because Prince Buster was at the forefront of Jamaican lyricists, blatantly and unashamedly covering subject matter that was more or less unheard of in either Europe or America.
From ghetto violence and crime, to sex in detailfrom black power and black pride, to commenting on social injustice and poverty, from advocating freedom from colonialism and solidarity with Africa, to other important matters like ridiculing his musical rivals or consigning them to the boneyard, or describing the music on his own record itself and how good that was — nothing was off limits.
In that way lyrically he influenced hip-hop and a lot that was to follow the world over. Buster and some of his Jamaican peers were liberating the sort of real language and subject matter years before it would eventually become commonplace not just in music, but in mainstream TV drama and comedy. The theme features a bass C notewith string glissandos up an octave and then back down to the original note. This score while employing much guitar and more contemporary elements, it is also much bigger and darker in tone and scope.
They are different scores with different results. 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".
Debney called Iron Man 2 "odd in that there were not a lot of places where a true superhero theme could be played. What was ultimately chosen "was less thematic. It was sort of a groove with a little bit of French horn. Maybe that was the right choice, but it was a difficult decision. It was difficult to find the areas in the movie where we could let Tony be a superhero. It's a different kind of movie because they kiss and then all of a sudden the mood is broken.
It's just the nature of this character. However, Debney did not feel the same about his music for the villain, Ivan Vankowhich he described as a personal "joy".
He said that Favreau "gave me a great opportunity to get into [the opening] scene and learn [Vanko]'s circumstances and to play sincerely sad music for him and the relationship he had with his father. Jon gave me the opportunity to morph that and turn it into something really dark and twisted. For me that was the most satisfactory part of the score and the film".
Director Kenneth Branagh 's frequent composing collaborator Patrick Doyle called Thor "the most commercially high profile film I have done since Frankenstein ", and noted that " Marvel Studios have a brand in Thor. Their interest, like mine, was for strong thematic material that would capture the essence of that brand.
He was keen, as indeed I was, that the grand images were not in any way hyperbolized, and that there would be a balance between playing with, and against the images. Doyle took inspiration for the score from his own Celtic background, which he described as "very intertwined" with the Norse mythology that Thor is based on, as well as the works of Richard Wagner.
He found the main challenge of the score to be composing a "superhero theme" for the titular character, and a second main theme representing Asgard, the latter of which Doyle wanted "to come across as an old folk song from a Celtic world". He noted that the Asgard theme develops throughout the film to also represent traveling, action, and fighting. Of the other themes he composed for the film, Doyle also noted a theme for Jotunheimanother world visited in the film. On specific instrumentation for the character of Thor, Doyle jokingly noted that a piccolo would be inappropriate, and that a character with such a big personality and physicality required "a slightly more robust set of musical instruments: horns, low brass, slow strings etc.
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. 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. On the Red Skull himself, Silvestri looked to take the character seriously and "play him as bad", but allowed for more compassion for the character when he talks about his tortured past. In NovemberMarvel announced that Silvestri would return to compose the score for the crossover film Marvel's The Avengers.
Silvestri found it helpful LP 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". He called Silvestri "letter perfect for this movie because he can give you the heightened emotion 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. 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.
So I stayed away from all of that. With Iron Man 3 featuring a post- Avengers Tony Stark, Marvel and incoming director Shane Black wanted to move away from the rock sound of the previous Iron Man films,  and towards "a score that echoed the classics of super hero film history",  for which they approached Brian Tylera Marvel fan whose previous music had often been used in temp scores for other films by the studio.
Tyler stated that Marvel was interested in him for his more thematic work from the likes of The Greatest Game Ever PlayedAnnapolisand Partitionrather than his "modern" action music such as that for The Fast and the Furious films and Battle: Los Angelesand wanted him to combine the energy of the latter with the sensibilities of the former. In addition to the classic orchestra, Tyler recorded metallic sounds such as anvils being hit to add an element of "iron" to the score.
As a nod to the previous Iron Man composer's use of guitars, Tyler added instances of the orchestra performing Black Sabbath -like riffs throughout the film. 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 reboot. To create a "bigger and grander" sound than the previous Iron Man scores, Tyler took influence from the works of John Williams, Alex Northand John Barryamong others.
Tyler composed the new theme on piano, but always intended it to be a "march and anthem" with a large brass component. Tyler also used the same theme played on a harp to represent Stark's sad emotional state after he is stranded without the Iron Man suit,  and created a "wild s style" arrangement of it for the film's main titles which had reminded Tyler of a typical police series from that era. The idea of spirituality also extends to the Mandarin 's theme; Tyler noted the ambiguity of the character in terms of ethnicity and culture, and how he appears in the film as a "be-all" terrorist, as well as his role as a fanatical, "quasi-religious leader" comparable to Jim Jones.
Branagh chose not to return for the sequel to Thor and was replaced as director by Alan Taylor. Tyler was chosen by Marvel to replace Burwell based on the positive experience the company had working with him on Iron Man 3.
On differentiating his scores for Iron Man 3 and The Dark WorldTyler 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. Yet they live in the same universe. 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. Tyler also introduced a new theme for post- Avengers Loki to reflect his increasingly complicated personality and storyline,  performed on a harp to play against expectations.
When Henry Jackman was in the running to score Captain America: The First Avengerhe 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".
Jackman first created three pieces of music for directors Anthony and Joe Russo : a modern Captain America theme; a six-to-seven minute suite for the Winter Soldier; and a track representing Hydra. The one note Feige gave Jackman on the score was asking him to embrace "those moments that are emotional or historical or nostalgic", such as when the character visits his own Smithsonian exhibit.
For those, Jackman took some inspiration from the works of Aaron Copland. It is violent—it's got screaming and banging and it's dystopian and dysfunctional. Much closer to a modern electronic thing than anything orchestral. He also tried to give the piece an arc, where the human elements get more "revealed toward the end of the film" as Captain America and the audience come to learn who the Winter Soldier is and care about him.
As he did on his previous films, director James Gunn brought his composer Tyler Bates onto Guardians of the Galaxy in pre-production so Bates could write music ahead of time for Gunn to film to. Music is often an afterthought in film, but never for us. Bates found the score to be his "most demanding", and explained that "at least half the cues in the movie have more than tracks of audio", consisting of multiple orchestral passes, choirs, overdubs, and other instrumentation.
It exists more, not only to be propulsive in the action sequences and to set up some of the comedic moments, but really to underscore the emotional depth of the characters.
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.
Bates said that he would have infused the score with more of those electronic elements if it was not for the "frenetic working process" on the film. But also, it needed to all fit together and hang together seamlessly, and that was something we worked really hard on doing. He gave Hulk's farewell to Black Widow, Quicksilver 's sacrifice, and the time spent at Hawkeye 's farm as examples of this.
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". 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. Tyler composed several other new themes for the film, to represent the titular villain Ultron ; the relationship that develops between Black Widow and the Hulk; and the new Avenger Vision.
The melody is simple so that it is easy to remember, but starts flat by one note to make the theme sound slightly "off", is played on two pianos with one of them out of tune, and when the main phrase is repeated the last note is played "ahead by a beat" the second time; "not only out of tune, but out of time. And so that melody, that had to be almost like a lullaby, but broken.
Steven Price was announced as the composer for Ant-Man by director Edgar Wrightwho he had previously worked with, in February but they both left the film that March. Feige asked that they instead take "the classic symphonic approach with big themes and bold brass",  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.
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 James Bond sound. Reed wanted it to have more of a sense of fun, and Beck eventually wrote a piece evoking the "classic guitar surf music", but with the orchestra rather than a guitar.
The family theme represents the film's two father-daughter relationships, between Scott Lang and his daughter Cassie Langand between Hank Pym and his daughter Hope van Dyne. Additionally, the villainous Yellowjacket has "a more traditional theme, presented in traditional fashion, but augmented with processed electronics to convey the crazed and obsessed nature of the character".
Of the many ant species featured in the film, Reed and Beck felt that the bullet ants deserved their "own identity"; since the species is primarily indigenous to South America, Beck used ancient Aztec drums and tribal flutes to give them a "regional flavor". This culminates in the final fight between Captain America, Winter Soldier, and Iron Man, the music for which Jackman described as "somewhat operatic and 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",  and "a narrative theme toward which all the characters can gravitate.
It wrapped them all up and it helped to bind the movie together rather than do endless disparate themes. It consists of a flute motif tied to the Winter Soldier's Russian handlers and a rising adagio that represents Zemo's twisted determination, and was inspired by the works of Jerry Goldsmith.
Captain America's theme could not be too prominent or heroic, as that would suggest that he was the hero of the film when the Russos were trying to create an ambiguity surrounding the main conflict—this does change throughout the film though, becoming more heroic when Captain America "turns out to be right all along".
For the Winter Soldier, Jackman took a "rising string rhyme" that was buried underneath "the chaos and the industrial stuff" in the end of the character's suite from The Winter Soldierand developed that into a much more symphonic theme for the character, in keeping with his much more human portrayal in this film.
Jackman LP wrote motifs for the major characters introduced in the film: Spider-ManBlack Pantherand Zemo. Zemo's personal theme was performed on "a lot of these rather unusual tuned bells" that gave him an "otherly sound", as well as a cimbalon to represent his Eastern European roots.
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 StrangeGiacchino 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. It becomes something new with his music in there that it didn't have with temp music. 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. For me it's a very sad story, and a lot of the music has this very melancholy feel to it.
Bates was confirmed to be returning for the second Guardians film, Guardians of the Galaxy Vol. While promoting Doctor Strange in early NovemberFeige accidentally revealed that Giacchino would be returning to compose the score for Spider-Man: Homecoming.
Giacchino soon confirmed this himself. By AugustMark Mothersbaugh was set to score the third Thor film. Silvestri announced in June that he would be returning to score Avengers: Infinity War.
During their first meeting, Silvestri discussed reprising themes from characters throughout the series; having last worked on The Avengers inmany 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. 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 initially considered making separate themes for each stone, but repurposed the original theme instead. 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.
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