Music in games usually sits in the background. It’s there to set a mood or cue you that a boss fight is starting. But the Guardians of the Galaxy game soundtrack does something completely different. It’s basically a character in the room with you. If you’ve played Eidos-Montréal’s 2021 action-adventure, you know exactly what I mean. You aren't just listening to 80s hits; you're living inside Peter Quill’s walkman. It’s messy, loud, and weirdly emotional.
Honestly, licensed music can be a lazy shortcut. Usually, a developer just throws in a recognizable song to get a cheap hit of nostalgia. Not here. Every track feels like it was picked because it actually says something about the scene or the character. It’s the difference between a random playlist and a curated mixtape from a friend who knows you’re going through a rough time.
The weird brilliance of Star-Lord (the band)
Here is the thing most people don't realize: the best part of the Guardians of the Galaxy game soundtrack isn’t even real.
Well, it’s real music, but the band doesn't exist. Steve Szczepkowski, the game's Senior Creative Director, basically decided that if Peter Quill calls himself Star-Lord after a rock band, that band needs to have an entire album. So, Steve went out and actually wrote and recorded a full-scale 80s metal album. He provided the vocals himself. It’s called Space Rider.
It’s legitimately good. Like, 1984 hair-metal good.
Most games would have just mentioned the band in a lore log. Maybe a 30-second clip of a chorus. Eidos-Montréal gave us ten full tracks. When you’re walking through the Milano and you hear "Zero to Hero" or "Ghost," it doesn't feel like a corporate asset. It feels like Peter’s actual history. It grounds the fiction in a way that licensed tracks alone couldn't do. The "Star-Lord" band tracks bridge the gap between our world and the game’s cosmic setting.
It’s meta. It’s over the top. It’s exactly what the Guardians are.
How the Huddle mechanic changes everything
You’re in the middle of a massive fight. Drax is yelling, Rocket is blowing things up, and you’re about to get overwhelmed. You trigger the Huddle.
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This is where the Guardians of the Galaxy game soundtrack becomes a gameplay mechanic. Peter pulls the team together, gives a pep talk based on how they’re acting, and then clicks 'Play' on his cassette player. Suddenly, "The Final Countdown" or "Wake Me Up Before You Go-Go" starts blasting while you tear through enemies.
It’s hilarious. It’s also incredibly effective.
The tonal dissonance of fighting terrifying alien monsters to the beat of Wham! is the soul of this game. But there’s a nuance here. If you mess up the pep talk, only Peter gets the stat boost. If you nail it, the whole team goes into a frenzy. The music is the reward. You aren't just fighting for survival; you’re fighting for the right to keep the beat going.
The heavy hitters: A tracklist that actually makes sense
A lot of people compare this to the James Gunn movies. Fair enough. But the game’s selection is arguably broader. We’re talking about 30 licensed tracks.
Take a look at some of the standouts:
- "Take On Me" by a-ha
- "I’ll Tumble 4 Ya" by Culture Club
- "We Built This City" by Starship
- "Kickstart My Heart" by Mötley Crüe
- "Relax" by Frankie Goes to Hollywood
It isn't just a "Best of the 80s" CD you'd find at a gas station. It includes New Wave, Hair Metal, and straight-up Pop. It captures that specific era of Peter Quill’s childhood—the mid-80s—right before he was taken from Earth. It feels frozen in time. When "The Warrior" by Scandal starts playing during a high-stakes escape, it isn't just a cool song. It’s a piece of Peter's identity that he’s clinging to while light-years away from home.
The technical side of the soundscape
Richard Jacques deserves a lot of credit here too. While the licensed stuff gets the headlines, his orchestral score is what holds the narrative together.
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The transition between the licensed pop and the sweeping cinematic score is seamless. That’s hard to do. Usually, jumping from a synth-heavy pop song to a 90-piece orchestra feels jarring. It breaks the immersion. In Guardians, the transitions are handled through a "tape deck" aesthetic. You hear the click of the buttons. You hear the slight hiss of the tape.
This keeps the player grounded in Peter’s perspective. Everything we hear, he is hearing through those headphones.
Why the "Streamer Mode" is a tragedy
If you’re a content creator, you probably turned on the "Licensed Music Off" toggle to avoid DMCA strikes.
Honestly? You missed half the game.
The replacement tracks are fine, but they don't have the same emotional weight. The game was choreographed to these specific songs. The beats of the cinematic moments often line up with the percussion of the licensed tracks. If you haven't played it with the full Guardians of the Galaxy game soundtrack enabled, you haven't really experienced the story the way the developers intended. If you can, play it offline or just take the copyright hit for the experience. It’s worth it.
Addressing the "Guardians" identity crisis
There’s a misconception that this game is just a knock-off of the MCU. It’s not.
The music proves it. The MCU movies lean heavily into the 60s and 70s—the music of Peter’s mother. The game leans into the 80s—the music Peter himself loved as a kid. It’s a subtle shift, but it changes the vibe. The game feels more energetic, more rebellious, and a bit more "teenage bedroom" than the movies.
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This choice was intentional. It separates this version of the characters from Chris Pratt and company. By the time you’ve spent ten hours listening to Rick Astley while shooting ice blasts at space cultists, you’ve forgotten all about the movies. These are your Guardians.
Making the most of the music
If you’re jumping into the game for the first time or going back for a New Game+ run, don't rush.
The Milano (your ship) is basically a giant jukebox. Between missions, you can wander around and just let the music play. There are unique character interactions that only happen if you’re hanging out while a certain song is on. It’s one of the few games that encourages you to just sit still and listen.
Most modern titles are so obsessed with "player engagement" and "activity loops" that they forget to let the world breathe. Guardians uses its soundtrack to force those breathing moments. It’s where the best character development happens.
Actionable insights for your next playthrough
To truly appreciate the work put into this audio design, try these specific things:
- Read the lyrics to the Star-Lord band songs. They actually foreshadow parts of the plot regarding Peter’s father and his feelings of isolation.
- Don't skip the Huddle. Even if you don't need the buff, the way the music kicks in is the peak of the game's "feel-good" energy.
- Check the radio in the Milano. The tracklist changes as you progress, and characters will comment on the music based on their current mood or the events of the last mission.
- Listen to the background chatter. Sometimes the licensed music is playing muffled through Peter's headphones while other characters are talking. It’s a brilliant bit of spatial audio.
The Guardians of the Galaxy game soundtrack is more than just a collection of songs. It’s a masterclass in how to use licensed media to enhance a narrative rather than just decorate it. It’s loud, it’s proud, and it’s arguably the best use of 80s pop in the history of the medium.
If you want to experience it outside the game, the official "Star-Lord" album is available on most streaming platforms. Listening to it without the chaos of combat gives you a whole new appreciation for the production quality Steve Szczepkowski and his team brought to a fictional 80s metal band. It’s a rare case of a game soundtrack having a life of its own long after the credits roll.