It was never going to be easy following up on a diamond-certified cultural reset. Honestly, the first Awesome Mix didn't just sell records; it changed how Hollywood viewed the "needle drop" as a narrative tool. But when James Gunn dropped the Guardians of the Galaxy Soundtrack 2 (officially Awesome Mix Vol. 2), the vibe shifted. It wasn't just a collection of catchy 70s hits anymore. It was a calculated, deeply emotional dive into the psyche of a talking raccoon, a celestial ego-maniac, and a guy from Missouri who just really missed his mom.
Peter Quill’s second tape is weird. It’s braver than the first. You’ve got ELO kicking things off with "Mr. Blue Sky" while a baby tree dances in the foreground of a life-or-death battle, and suddenly, you realize this isn't just background noise. It’s the heartbeat of the film.
The Risky Business of Choosing "The Chain"
If you ask any casual fan about the Guardians of the Galaxy Soundtrack 2, they’re going to mention Fleetwood Mac. Most people don't realize how hard it was to get those rights. James Gunn has been vocal about the fact that "The Chain" wasn't just a song he liked; it was the literal backbone of the movie's climax. The song, born out of the fractured relationships within Fleetwood Mac during the Rumours sessions, mirrors the breaking and reforming of the Guardians themselves.
The bass line kicks in right when Peter finds his inner strength. It's visceral.
Some critics at the time thought the tracklist was a bit too "on the nose," but that’s missing the point. When you hear Looking Glass’s "Brandy (You’re a Fine Girl)," it’s not just a sea shanty. It’s a thematic trap. Kurt Russell’s Ego uses the lyrics to justify his sociopathic abandonment of Peter’s mother. That is a level of lyrical integration you just don't see in standard superhero fare. The music is a character with its own dialogue.
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Why George Harrison Made the Cut
"My Sweet Lord" is another heavy hitter on the Guardians of the Galaxy Soundtrack 2. Its inclusion was a massive win for the production team. It plays as the team arrives at Ego’s planet—a place that looks like a literal paradise. The song’s spiritual yearning and lush production values perfectly mask the underlying rot of the setting. It’s beautiful and unsettling all at once.
Gunn actually spent a huge chunk of the budget on these licenses. We aren't talking about bargain bin tracks here. We are talking about the "Quiet Riot" and "Cheap Trick" level of recognizable anthems that define an entire generation's childhood.
Beyond the Radio Hits: The Deep Cuts
Everyone knows "Wham Bam Shang-A-Lang" now, but before this movie? Silver was basically a footnote in 70s pop history. This is where the Guardians of the Galaxy Soundtrack 2 truly excels—it resurrects the forgotten.
Take "Surrender" by Cheap Trick. It’s a power-pop masterpiece that fits the rebellious, "parents just don't understand" energy of the Ravagers. Or "Lake Shore Drive" by Aliotta Haynes Jeremiah. It’s a hyper-specific regional hit from Chicago that somehow feels universal when played against the backdrop of intergalactic space travel.
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The pacing of the album is erratic in the best way. You go from the high-energy "Fox on the Run" (which was actually only in the trailer but became synonymous with the film) to the soul-crushing "Father and Son" by Cat Stevens. That final sequence, the Ravager funeral, wouldn't work without Yusuf/Cat Stevens. It just wouldn't. The lyrics "Look at me, I am old, but I'm happy" playing over Yondu’s sacrifice? It's a gut punch. I’ve seen grown men lose it in the theater during that scene. Every single time.
The David Hasselhoff Factor
We have to talk about "Guardians Inferno." It’s the only original song on the Guardians of the Galaxy Soundtrack 2, co-written by Gunn and score composer Tyler Bates. Bringing in David Hasselhoff for a disco-rap track was a stroke of genius/insanity. It leans into the 80s kitsch that Peter Quill obsesses over, serving as a meta-commentary on Peter's idealized (and ultimately false) image of his father.
It’s camp. It’s ridiculous. But it’s also incredibly catchy.
How to Listen Like a Pro
If you really want to experience the Guardians of the Galaxy Soundtrack 2, you have to stop shuffling it on Spotify. The tracklist order actually matters. It’s a journey through Peter’s grief and acceptance.
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- Listen on Vinyl: The analog warmth does wonders for tracks like "Bring It On Home To Me" by Sam Cooke. You can hear the crackle of the soul.
- Watch the Lyrics: Pay attention to how "Southern Nights" by Glen Campbell plays during the forest trap scene. The breezy, relaxed tempo contrasts with the high-tech weaponry being used.
- Research the B-Sides: Look into why Gunn chose "Wham Bam" over other disco tracks. He reportedly spent years listening to thousands of songs to find the ones that felt like "Earth" to a guy who hasn't been there since 1988.
The legacy of this soundtrack isn't just in the sales numbers. It’s in the way it gave a new generation permission to love their parents' record collections. It made "dad rock" cool again by stripping away the irony and leaning into the raw emotion of a good melody.
Actionable Steps for Music Lovers
To get the most out of this era of music, start by exploring the full discographies of the artists featured. Don't stop at "The Chain." Go listen to Tusk. Don't just play "Mr. Blue Sky." Dive into Out of the Blue.
If you're a filmmaker or creator, study how these songs are edited. Notice how the action beats often sync with the percussion in the Guardians of the Galaxy Soundtrack 2. It’s a masterclass in rhythmic editing.
Lastly, check out the "Score" by Tyler Bates as well. While the pop songs get the glory, the orchestral themes provide the glue that keeps the whole thing from falling apart into a glorified music video. Mixing 70s pop with a 100-piece orchestra is a delicate balancing act, and Bates nails it.
Go find a high-quality pair of headphones, turn off your notifications, and let the "Awesome Mix" do exactly what it was designed to do: take you somewhere else.