The cd has 15 tracks. 14 Elfman tracks and one track (also the last track on the album) featuring the "Raindrops Keep Fallin' On My Head" song that was also in a key scene in the film. I'm going to talk about all the Elfman tracks on the album and put up the scenes that were replaced by the temp music that were on the album. Basically I'm going to put up the scene with the music Elfman intended for it and give my thoughts on 'em. But I'm only posting the ones that were on the album. I will provide a link where you can see most of the scenes with the cues Elfman originally composed.
"Spider-Man 2 Main Title" is similar to the first except with slight tweaks. There's also less synthesisers used than in the main title in Sp1. It's also shorter. It features the Doc Ock theme in the middle. With all three of Doc Ock's themes combined. When I first saw the film I thought the main title music was the same as the first with only the Doc Ock theme added. When I listened to the main title for the first time on the album I did notice slight differences from the Sp1 main title. I decided to use the YT video of the actual main titles (instead of one with just the music and a Sp2 poster or photo) I think Elfman's music and Ross' beautiful paintings compliment each other nicely.
"MJ's New Life/Spidus Interruptus " (which is actually called "Spotting MJ" on Elfman's cue sheet) is the track where Peter is standing across from MJ outside of the theater where her play took place. And he sees MJ with another man. In this case her boyfriend. I love the way it starts off. The MJ theme is really beautiful and touching. It captures everything Peter is feeling in that moment. He's shocked and heartbroken to see MJ with somebody else. But then realises he has a responsibilty to fulfill the moment he sees police sirens passing by him. He runs to his destiny that he so wants to put behind him instead of his personal life. The music really gets powerful as Peter becomes Spider-man. Which is wher "Spidus Interruptus" begins. The music becomes triumphant, heroic and epic. And thankfully that part made it in the film. Eventhough the chorus (during the shirt rip) was dialed out on the album. In the film the "MJ's New Life" cue was tracked in with the cue 'Getting Through" from Sp1 (the music during MJ and Peter's conversation at the hospital). Funny thing on the commentary Raimi praised Elfman's score for that particular part. LOL. Here's "Spotting MJ/Spidus Interruptus":
They forgot to put the title of the second track that plays after both "Spotting MJ/Spidus Interruptus". It's actually called "Not Back Yet" and was actually replaced (in the film) with the Spider-man "Main Title" with snippets of the music during the bridge scene in Sp1 towards the end of the cue. This cue ("Not Back Yet") made real good use of the Spider-man motif. The scene this cue was originally written for was when Peter tried to get his powers back and jumps over the roof and yells "I'm back!" Then realises he's not and pulls one of the funniest stunts put to film. Which isn't surprising with Raimi behind the camera. Elfman plays it straight. And it captures everything Peters feeling and wants. It almost feels as if the music is rooting for Peter to suceed. It doesn't feel overly dramatic. It's perfect so I don't know why they replaced it with the "Main Title" from Sp1. I'll post a YT video clip of the actual scene up later of the "Not Back Yet" cue b/c it plays after the "Aunt May Packs" scene in the film. They have the clip with that cue also. So I'll post it when I get to the "Aunt May Packs" track. Here's the "Not Back Yet" cue without the scene. Though the album is edited a few seconds but this is the full version.
"Doc Ock Is Born" is the track that plays during the surgery room scene. Where the doctors try to remove the tentacles off his back. Elfman actually wrote music for the tentacles attacking the doctors but was dialed out of the film. Probably b/c it was scarier without it. Personally I think it works fine with or without the music. When Ock awakens and realises that he's trapped with the mechanical arms for the rest of his. As well as the mayhem the tentacles inflicted on the doctors while he was asleep. An in classic Raimi fashion yells "NOOOOOOOOOOO!" The music is perfect on that part and really captures the fear that Octavius has that he's now become a monster that can't be cured. That part was edited out on the album (the music palying during the "NOOOOOOOOOO!" part. When Ock awakens his main theme was used. But when he escapes out of the hospital a second theme was used. He always uses that as Ock's escaping or leaving in the film. I don't know what to call it really. B theme ? The cue is really well written and captures the tragedy the character's going through and what he's now become. The track I'm posting is in it's complete form and not the album edit.
I'm also posting the cue where Ock reveals his tentalcles and fusion reactor. As well as the mayhem that occurs after and the surgery scene. Chris Young rescored the whole scene. And wrote something more in the vein of Hellraiser. Which almost took me completely out of the scene b/c of how distracting it was. It felt like a horror movie and didn't belong in a movie like Sp2, imo. Totally out of place. This bugged me when I first saw Sp2 in the theater. I think Elfman's is easily the better cue and more appropriate. I love the way Elfman scores the scene where Spidey saves Harry. Very dramatic. I also love how he scored Spidey trying to pull the plug before Ock almost gets electrocuted to death and before the reactor almost blews up half the city. Once again I don't know what Raimi was thinking.
"Angry Arms" is the track during the scene where Ock (who is feeling sorry for himself) is at a condemned pier or whatever. Which will become his new lair. The music starts off sad. It sounds like it feels sorry for Ock and his situation. Then becomes more menacing. The cue really gets inside Ocks head and captures what the tentacles are saying to him. I like how menacing the theme gets in the track. I love it.
The sceond half of the track is "Rebuilding" and it plays during the scene where Doc Ock is building the machine and lits and smokes a cigar as his tentacles continue building and working. The film tracked in the last few seconds of "Angry Arms" I guess b/c it sounded more evil and sinister than what elfman originally wrote. Like cue the supervillain theme b/c the supervillain plot is unfolding. And Peter is having difficulties being Spidey and may not be able to stop him b/c of it. I like what Elfman wrote better b/c it captured what Ock was feeling like while his tentacles are putting his fusion reactor together and doing other various things at once. He could just sit back and puff a cigar. I love how calm Elfman's music is there. The track they used in the film made it sound cliche.
I'll post a YT video of the "Rebuilding" scene but it's the last few seconds that plays after the "Spiderfall" scene ( after Peter throws the newspaper in his bedroom). The "Spiderfall" cue is not on the album. I'm going to post it anyway b/c the "Rebuilding" scene is attached to it. Therefore the cue actually follows closely after "Spiderfall'. I guess the people that put the album togther thought "Rebuilding" flowed better with "Angry Arms"
The first part of "Spiderfall" ( Where Peter takes a photo of MJ and her fiancee after being slapped by Harry. That then fades into Spidey swinging peacefully above NY only for his powers to fail on him again) is badly butchered in the film.
Elfman really captures Peters heartbreak and turmoil over MJ marrying another man (which happens to be his boss' son) and that Peter is losing his friendship with Harry. His personal life is crumbling b/c of his responsibitites as Spider-man. I think Elfman excellently captures what Peter is feeling in that scene. As well as Spidey's swing through NY. It really captures what Peter is feeling as Spiderman inside and the action that's happening on screen at the same time. His freedom from his personal problems. He looks for trouble to get his mind off of MJ and Harry eventhough he probably is thinking about both in some form or another. Then the music interrupts Spidey's peaceful swing and shows that even Spidey can't have a break or time to enjoy himself. And is now about to have more problems only this time with his powers. The rest of the cue was intact. But I don't know why Raimi and co. replaced what Elfman originally wrote. Don't wanna know either.
"A Phone Call" is a touching track where Peter tries to tell MJ he's Spider-man on a pay phone. Though his phone call was disconnected. So MJ wouldn't hear him anyways. Elfman let's the Spidey theme carry most of the cue but then ends it with Parker's theme. The music really captures what Peter wants to tell MJ but can't and it reverts back to the Parker theme. Like back to his continuing journey of problems and difficulties with balancing his and Spidey's responsibilities. Excellent cue. This version is the film version. The album version starts off a bit differently. But otherwise the rest of it's the same.
"The Wrong Kiss" is the cue where MJ experiments the upside down kiss with her fiancee. But realises that their kiss lacks the same punch or spark or whatever that her's and Peter/Spidey's had. And begins to realise that she doesn't really love John. But is still in love with Peter. I love how Parker's theme wraps up the cue. The cue captures what MJ is feeling and thinking perfectly, imo.
"Peter's Birthday" is the cue that plays where Peter comes to Aunt May's house after a rough day. And is thrown a surprise B-day party with Harry and MJ both attending. I love how Elfman used the MJ theme. He scores it like an old love that he still has passion for but can't show it b/c of his responsibility as Spider-man. It ends kind of dark and like the party has been pooped when Harry mentions Spider-man. Great cue that was also replaced in the film.
"The Bank/Saving May" Are two tracks that were edited together on album. With few micro edits. "The Bank" deals with (of course) Spidey's and Doc Ock's first encounter at the bank with Aunt May caught in the middle. I love how the track starts off. It's kind of like the music feels sorry and comforts Peter and May for their troubles, but soon gets menacing and over the top as Doc Ock's third theme (which is eight notes that reflects Ock's eight arms) plays and captures Ock's evil deed as he robs a bank. The whole cue is fun and action packed. I love it when the music builds as Spidey sneaks up behind Ock. Eventhough Ock knows someone's behind him. Then Ock begins throwing coins at Spidey (as he dodges them) with his tentacles. Both themes are competing with each other. It's great cue.
That keeps getting better (as does the actual scene) when Ock kidnaps May and uses her as a hostage. In "Saving May" I love the music that builds up to Ock's theme (when the secretary or whatever looks for what's causing the noise that's going on outside and around the building) as his tentacles break through the brickwalls. The eight note theme (which is the tentacles theme) really goes crazy and over the top. Like a King Kong or 50s monster movie. The track is very chaotic that captures the chaos between Spidey's and Ock's fighting . I love the music that builds up when Spidey shoots webs and uses them to make him float at a long distance (Idk know what they call that) so he could stop Ock from killing May. The music was very powerful when Spidey saves May. The chorus in that part was epic. I love how Ock's theme plays as he escapes. It's almost like the music is capturing what Ock is thinking and feeling like "Next time Spider-man!". The music from after he lands with May and swings away. Was heroic and peaceful like May's is no longer in danger and Ock is gone for now. The last few seconds was probably one of the best exits (film and music) for a superhero ever, imo. The music reflects that Spidey got May's approval and he saved the day. Real awesome way to end the track and scene.
BTW, both tracks were edited on the album. The one above the paragraph above ("The Bank")and below this sentence ("Saving May"). Both videos are the full versions of both tracks.
"The Mugging" (which is actually called "A Mugging" on Elfman's cue sheet. Yeah I know big difference.) is the track where a powerless Peter sees a guy getting beat down and mugged. But Peter chooses to walk away from his responsibility, b/c he thinks it's not his responsibilty anymore. Elfman mirrors that scene perfectly with his music and makes good use Parker's theme. It's tragic and dark b/c Peter made a tough choice that some may not have agreed with. Then it segues into May's theme. And captures Peters guilt and responsibility which is right in front of him in that scene. And the reason he became a crimefighter in the first place but no longer is. The music also captures the turmoil and guilt Peter feels for not telling May that Ben's death was his fault and he could've prevented it from happening. I love the way May's theme's written in this cue. Can't get enough of it. I also like how Parker's theme wraps up the cue. It plays to Peter's stepping up and telling May the truth about Ben's death. Elfman doesn't interfere with Peter's confession to May. Which was good b/c other composers would've wrote some sappy and cliche dramatic music. Which Elfman avoided. This track is actually two tracks in one on the album. The first 18 seconds is "A Mugging" the rest of it is "Spider-Gone" (scene after the mugging dealing with May and Pete) according to Elfman's cue sheet.
The sceond half of the track on the album is "Peter's Turmoil" which was replaced by John Debney's not as impressive "Cake Girl" track in the film. Elfman's is definitely better b/c it really get's in Peter's head, struggles and of course turmoil. With his battle of trying to be normal and putting his responsibiltes as Spiderman behind him. But at the same time realises that he may have to sacrifice his responsibilities of having a normal life. It's a very sweet and touching track. It captures the cheering up Peter needed in that scene.t goes from sad to cheerful in less than two minutes. So I don't know why Raimi replaced it with Debney's cue. Which I didn't care much for to begin with.
I'll also post the scene wth Elfman's original music which also includes "The Fire" scene as well since it takes place after that. I won't say much about what Elfman wrote for "The Fire" cue since it wasn't on the album. But I will say what was Raimi thinking using the music from the fire scene in the first film? Oh b/c they both deal with the hero going into a burning building.
Really out of place. And takes me completely out of the scene everytime.
To be continued...