ALBUM REVIEW: Awesome Mix Vol.2

In the interest of discussing the music in the way that it is used there are, in this review, some references to plot points in The Guardians of the Galaxy Vol.2

With Guardians of the Galaxy Vol.2 exceeding its precursors opening weekend box office takings by around 162 per cent, 2017 will see the release of Marvel fans’ most anticipated compilation album since Awesome Mix Vol.1 – and arguably the most anticipated compilation album of the year. The first film took superhero movie soundtracks in a new direction. Pioneering the music as part of the story, subtly connoting track selection to dramatic sequence and using the music to add emotional depth to the character experience as opposed to just the audiences. The first album managed to assemble a dozen well-known songs whilst never for a moment seeming overplayed or cliché. Most would be elated to hear that this is once again, in large, the case for the sequel which boasts two additional tracks edging this instalment a little closer to the hour mark.

Vol.2 opens with Mr.Blue Sky, the track to arguably have the most cinematic exposure out of any of the entries on this album. Though some would argue that this song is now more than overused in the film; without giving too much away, this song is used ironically and very much in contrast to the events unfolding on screen. Its addition is more in line with the song’s usage in Shaun of the Dead as an off-the-cuff surprise, rather than utilising it for its positive overtones. British glam rock band Sweet lend their 1975 hit Fox On The Run to the second Awesome Mix lineup, continuing the upbeat mood set by Mr Blue Sky with a somewhat edgier disposition.

Lakeshore Drive and Fleetwood Mac’s The Chain respectively continue and amplify the pace of the soundtrack whilst serving as almost intergalactic road trip music in the film. This driving milieu delightfully compliments the adventure throughout the film, as it should; the audience is being taken on a journey after all. Looking Glass continues this soft rock musical aesthetic later in the compilation with a 1972 release, Brandy. Lyrically speaking this track draws attention to just how much dedication went into the musical selection for this screenplay. Brandy beautifully tells the story of Quill’s parents’ relationship. Combining its narrative depth with relaxed, melodic horns and strings makes this entry an absolute treasure on this album.

With the majority of the entries being some variation on rock or country music, two entries that really stand out are Sam Cooke’s Bring It On Home To Me and Parliament’s Flashlight. A flashlight is an upbeat funk composition and more than at home with the pace set by the rest of the album. However, Sam Cooke’s soulful voice offers a relaxed and necessary reprieve from the otherwise constant energy whilst listening. With further additions coming from George Harrison’s My Sweet Lord, and Cat Stevens Father And Son this album is as much an homage to early 1970s folk rock as it is to country and rock music generally from the sixties and seventies.

In summary, Awesome Mix Vol.2 has an arguably more restricted pallet than its antecedent, however, this should by no means be viewed as a drawback. With a movie soundtrack, there is always the risk that the songs will not compliment each other in the way they are used to compliment their attributed scene.  The tighter focus genres at play here make the album as much of a delight to listen to as the film was to watch, listening to it makes one feel a part of the journey whilst being given a lesson in classic rock. Having said this, the film leaves viewers with the potential for greater musical exploration in its already confirmed third instalment with Quill’s newly acquired, three-hundred-song capacity Zune.