James Gunn had a problem. How do you follow up a record-breaking, platinum-certified mixtape that basically redefined how Marvel movies use music? You don't just pick more "good" songs. You dig deeper into the bin. The Guardians of the Galaxy Awesome Mix Vol 2 soundtrack isn't just a collection of 70s hits; it’s a narrative script disguised as a playlist. While the first movie used music as an entry point for Peter Quill to connect with his mother, the sequel uses it as a scalpel to dissect his relationship with his father, Ego.
It's personal.
People forget how risky this tracklist felt back in 2017. Everyone expected "Stayin' Alive" or something equally massive. Instead, we got "Lake Shore Drive." We got "Wham Bam Shang-A-Lang." It felt like Gunn was raiding a very specific, slightly dusty vinyl collection from a Midwest basement.
The Emotional Architecture of Awesome Mix Vol 2
The opening is iconic. Most directors would use "Mr. Blue Sky" for a high-octane space battle. Gunn used it for a baby tree dancing while a terrifying monster tried to eat his friends in the background. It’s a tonal masterstroke. ELO’s Jeff Lynne famously took a long time to approve the use of the song, and Gunn has mentioned in interviews that it was the hardest track to secure for the film. It sets a precedent: the music is the foreground, the action is the wallpaper.
But the real heart? That’s "Brandy (You're a Fine Girl)" by Looking Glass.
If you look at the Guardians of the Galaxy Awesome Mix Vol 2 soundtrack as a story, "Brandy" is the prologue and the climax. It’s not just a catchy soft-rock tune from 1972. It is a literal metaphor for Ego’s character. He is the sailor; the galaxy is his sea. He loves Peter’s mother, sure, but his "life, his lover, his lady" is his purpose—his expansion. Hearing Kurt Russell recite those lyrics is chilling because it strips away the "cool retro" vibe and reveals the song's inherent loneliness.
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Then you have "The Chain" by Fleetwood Mac. Honestly, is there a better use of a bass line in cinematic history? Probably not. The song appears twice, echoing the fracturing and eventual reuniting of the Guardians. It’s the only track on the album that feels like it’s screaming. Most of the Vol 2 songs are breezy, but "The Chain" is the grit in the gears.
Digging into the Deep Cuts
A lot of people think soundtracks are just about the hits. They aren't. They’re about the vibe. Take "Southern Nights" by Glen Campbell. It plays during the forest ambush scene where Rocket is setting traps. It’s whimsical, strange, and slightly frantic. It highlights Rocket’s isolation—he’s a genius, but he’s a jerk because he’s scared. The song's stuttering rhythm matches his manic energy perfectly.
And what about "Lake Shore Drive" by Aliotta Haynes Jeremiah? It’s a regional classic from Chicago. Most people outside the Midwest hadn't heard it in decades. Yet, it fits the "space travel" aesthetic perfectly. It’s about a road trip. The movie is a road trip. It works.
- "Mr. Blue Sky" (Electric Light Orchestra): The ultimate "feel good" irony.
- "Fox on the Run" (Sweet): Used heavily in trailers, but actually barely in the movie—yet it defined the marketing.
- "Surrender" (Cheap Trick): A nod to the kids listening to their parents' music, which is the entire theme of the franchise.
- "Flash Light" (Parliament): Bringing the funk into a sci-fi setting where it feels surprisingly at home.
The inclusion of George Harrison’s "My Sweet Lord" is another layer of genius. It plays as they arrive on Ego’s planet. It’s ethereal. It’s religious. It frames Ego as a god before we realize he’s a monster. The Guardians of the Galaxy Awesome Mix Vol 2 soundtrack uses these lyrical cues to do the heavy lifting that dialogue sometimes can't.
Why the "Father and Son" Ending Still Hits
You can’t talk about this album without talking about Cat Stevens. "Father and Son" plays during the final moments, and if you didn't cry, you might be a robot. The song was originally written for a project about the Russian Revolution, but in Guardians 2, it becomes the definitive statement on Peter and Yondu.
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Peter is finally listening to the music on a Zune—an upgrade from his Walkman—given to him by his "real" dad. The song choice is literal, but the emotional weight is earned. It’s a song about a failure to communicate, released in an era where men didn't talk about their feelings. By the time the credits roll with "Guardians Inferno" (featuring David Hasselhoff, because why not?), you’ve gone through a genuine emotional ringer.
The "Guardians Inferno" track is the only original song on the mix, co-written by Gunn and score composer Tyler Bates. It’s a disco throwback that serves as a wink to the audience. It reminds us that while the movie is a tragedy in many ways, it’s still a comic book movie about a talking raccoon.
The Technical Impact on the Music Industry
When the Guardians of the Galaxy Awesome Mix Vol 2 soundtrack dropped, it didn't just sell well. It revitalized interest in analog media. Sales of cassettes spiked. It hit number one on the Billboard 200. This is an album of songs that were already 40 years old.
Think about that.
A Disney-owned superhero movie made "Wham Bam Shang-A-Lang" a household phrase again. Silver’s 1976 hit was a one-hit wonder that had largely been forgotten. Gunn’s superpower is his ability to find these "forgotten" gems and give them a permanent home in the cultural zeitgeist.
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Some critics argued the second soundtrack felt "too on the nose" compared to the first. They’re wrong. The first was a discovery; the second is a confrontation. The tracks are weirder. They're more melancholic. They reflect a sequel that is more interested in character trauma than the first film's "ragtag group comes together" trope.
How to Experience the Soundtrack Today
If you're just streaming this on Spotify, you're getting the songs, but you're missing the "mix." The order matters. The transitions matter. To really get why the Guardians of the Galaxy Awesome Mix Vol 2 soundtrack works, you have to look at how the songs contrast.
- Listen for the lyrical parallels. Don't just hum along to "Bring It On Home To Me" by Sam Cooke. Listen to it while thinking about Peter and Gamora’s "unspoken thing."
- Watch the lyrics during the Ego scenes. Specifically "Brandy." It changes the entire context of the film’s villain.
- Compare it to Vol 1. Notice how the second album is much more focused on "Soft Rock" and "Power Pop" compared to the soul-heavy first volume. This reflects Peter’s growth and his shift toward his father’s "cosmic" side.
To truly appreciate the curation, hunt down the vinyl or the cassette. There is something about the physical limitation of those formats that fits the tactile, "used future" aesthetic of the Guardians universe.
The Guardians of the Galaxy Awesome Mix Vol 2 soundtrack stands as a testament to the idea that blockbuster movies don't need generic orchestral swells to feel "big." Sometimes, all you need is a 1970s radio hit and a director who knows exactly when to hit 'play.' It’s more than a tie-in product; it’s the heartbeat of the story.
Actionable Ways to Explore the Mix
- Analyze the Lyrics: Re-watch the "Brandy" scene but pay attention to the specific lines Ego quotes. It's the most effective "villain monologue" in the MCU because it's delivered via a pop song.
- Create a "Bridge" Playlist: Search for songs James Gunn considered but cut (like "She’s Gone" by Hall & Oates) to see the "alternate" version of the film's emotional landscape.
- Study the Sequencing: Play the album from "Mr. Blue Sky" to "Guardians Inferno" without skipping. Notice the descent from high-energy pop into deeper, more acoustic "dad rock" before the final disco explosion.
- Check the Credits: Look into the "Sneepers"—the fictional band name for the David Hasselhoff track. The name comes from a race of aliens Marvel lawyers originally told Gunn he couldn't use because the name sounded too much like a Swedish word for "clitoris." He fought for it, and won. That's the level of detail behind this record.