Patrick Stump may be best known as the lead singer of the rock band Fall Out Boy, but he's also an accomplished composer in his own right. And now he's added Marvel's Spidey and His Amazing Friends, premiering August 6 on Disney Junior, to his resume. The story revolves around "Team Spidey" - composed of Peter Parker, Miles Morales, and Gwen Stacy - and the heroes they team up with to help protect their community.

Stump was so inspired by the concept that he wrote the theme before his first meeting for the series. The Grammy-nominated artist was then given the honor of composing the music that would introduce not only Team Spidey but also their new friends such as Ms. Marvel and Black Panther. While it may seem a far cry from the songs that made him famous, his work with Fall Out Boy actually paved the way for scoring all manner of stories.

Related: The 10 Best Episodes Of Spider-Man And His Amazing Friends (1981)

Stump spoke to Screen Rant about his collaboration with Disney and lifelong love of Marvel heroes, as well as how composing rock songs compares to scoring Spidey scenes. Check out the theme song, and then read his responses below:

Screen Rant: I'm excited for Marvel's Spidey and His Amazing Friends because there are many four-year-olds in my life who will love it. I know you're a lifelong Marvel fan as well. How did that begin, and what speaks to you about Marvel superheroes?

Patrick Stump: This is silly, but I was always kind of this shrimpy guy, and I really latched on to Wolverine when I was a kid. Because before Hugh Jackman came along, Wolverine was this crabby little guy - and I really related to that. And Chicago isn't Canada, but it's kind of the Frozen North. So I was like, "Okay, I think I get Wolverine." Then Wolverine would interact with other X-Men and Avengers and things like that, so I kind of dove into the whole thing.

Once I was in, the thing that grabbed me about Marvel was how cohesive it all was. So many of the writers and artists were on the same wavelength: you have the Jack Kirby stuff, which has this grand cosmic thing to it, but then you have Chris Claremont with X-Men. It all tied together, and I really love the episodic nature of it. And the fact that every comic you read, you'd have a little footnote that this happened in Avengers #32. "Darn, I gotta get that one now." It ties the whole thing together, and I think that's what I liked about it.

And then, obviously, there was Spidey. When I was a kid, Spidey was the perfect superhero for me.

Definitely. He's a hero that speaks to anyone who feels like an outcast in some way.

Patrick Stump: It's one of those things, like how people watch a Shakespeare play and are like, "It's fine, but there's so many cliches."

Spidey's been around for so long and has had such an impact on the greater pop culture that I think it's easy to forget that before Spider-Man, superheroes were these untouchable gods. In some cases, literally. They weren't really normal people: Superman is a totally invulnerable alien, and Batman is a billionaire. Peter is this broke nerd from Queens, and most of the stories are either him getting bullied at school or him trying to figure out a way to raise money for Aunt May's present.

I think that was so relatable, and he's also such a smart-aleck. That is something I related to - because I think when you're anxious or awkward, and you're confronted with something really fantastic or really crazy, your response is sarcasm.

How were you first approached to work on this specific project?

Patrick Stump: I've been basically begging my friends at Disney to have a chance to do something for years. The first time I ever did anything with them was probably over a decade [ago] when the band did a re-recording of a song for Nightmare Before Christmas. Basically, as soon as I got anyone's ear over there, I was like, "I want to score. I really want to score film or TV, anything!" And I got an email one day that was like, "I think I have something you can try out for. You should give it a shot."

The morning of the meeting, I got an email just letting me know what the show was going to be, what it was going to be about, and what the characters were. I was kind of taking it slow, so I was still in my pajamas. I opened up my phone, I looked at this, and I got so excited. I wrote the song pretty much in 10 minutes in my head, just reading the thing, I was like, "It should sound like this!" And then I'm scrambling to put on real clothes and drive over to the studio, humming guitar parts into my voice notes at the stoplight.

Basically, by the time I got to the meeting, I had a fully recorded song. And this is the first time they're meeting me, this was the "get to know you" thing. I was like, "I have something," and it ended up being one of those magic things that doesn't happen that often. But sometimes as a creative person, every so often you have one of those things where it just is exactly right. Your first thought is exactly right. So, I played them the song that I wrote that morning, and it's pretty much what you hear in the show now.

Gwen Stacy, Peter Parker, and Miles Morales in Spidey and His Amazing Friends

I love how the series features more than just the Spider family. When you're composing for the whole piece, how do you approach other members of the crew? Like Ms. Marvel, for example, who is one of my favorite characters.

Patrick Stump: Pretty much for all the other heroes, I wanted to play up their individuality and who they are. But Ms. Marvel was a big one for me because I haven't heard a score for her yet. So, that was a lot of responsibility. But then I'm also in the context of Spidey, and in the context of a younger audience.

Ms. Marvel is one of the only characters that gets her own full-blown fanfare. It's a little bit different. There's some fun to it, but I wanted her to stand out in a heroic way because we haven't seen her yet. Or at least, we haven't seen a movie with her yet - so a lot of audiences aren't familiar with her yet. I wanted to be like, "Hey, this is somebody. Pay attention to her, you know."

And then with Hulk, he has had so many iterations. I actually already wrote one when I scored the Hulk ride at Universal - but there was no way I could use that theme, and it wouldn't fit anyway. You're coming up with this different version because this Hulk is more of a teddy bear. He's different than a lot of the other Hulks, so I wanted to play that up. He's got his own kind of percussive thing.

I think maybe my favorite one to write was Black Panther because I love that score from the film. And it was such a neat challenge to go, "Okay if you were to write something inspired by this or inspired by the things that inspired that score - because I know I you know, I know that [Ludwig Göransson] went to Africa - what would you do?"

I can pull from what I know, and I did all this work to put in maybe 10 seconds of music. You don't really hear all that much, but it's so exciting to put all that into it. Because I feel like that is the point of Marvel. They really do put all that effort in, and so I wanted to make sure that read even in the context of this little kids' show.

I have loved Fall Out Boy for many years, and I cannot believe it has been nearly two decades since Take This To Your Grave.

Patrick Stump: I know, it's really weird. Someone the other day was talking about growing up with our music, and they mentioned Big Hero 6. And I'm like, "No, that just happened. You can't have grown up with that. Didn't we just do that?"

Looking back, how do you keep things fresh for yourself as an artist while maintaining that same band image?

Patrick Stump: It's kind of been a blessing and a curse, but I just can't seem to do the “character.” Some artists are really good at being the superhero or being the character. I can kind of do it on stage where, for an hour and a half, I'm not this desperately anxious nerd. I can do it for just that long, and then I'm done as soon as I'm offstage. I've never really had to contrive the thing, in a way, and I think I would suck at it if I had to.

In Fall Out Boy, I'm writing the music, but I've always been an interpreter. I'm interpreting Pete's lyrics. I think that really primed me for score work because you're helping somebody else tell their story. You're using your music to help somebody else tell the story, and that's something that I'm naturally drawn to and want to do.

Even though, musically, a lot of the things that I do when scoring - whether it's this show or a horror movie or a romantic comedy - sound completely different than Fall Out Boy, it's still the same motivation. Somebody else has a story they want to tell that needs music. And I'm the guy; I'm here to help.

MARVEL'S SPIDEY AND HIS AMAZING FRIENDS - Patrick Stump, composer

I never would have thought composing a song is like scoring a film, but it makes so much sense.

Patrick Stump: Yeah. it really is. Pete's words can be so evocative and so descriptive, and then I have to find a way to make that have a beat. It's not that different than scoring, really.

Peter and Gwen and Miles appear the most together, and they have to web up Green Goblin or something. I have to land that beat in the same way that I have to land a lyric. It really tracks, and it really feels very natural to me.

I love movie and television soundtracks, especially musical cues or songs that are intrinsically tied to certain moments. In the world of Spider-Man, I will forever think of Dashboard Confessional's "Vindicated" and now Post Malone & Swae Lee's "Sunflower." How does it feel to be the driving force behind ingraining Spidey in a new generation's mind?

Patrick Stump: It's the coolest thing ever, and it's one of the things that drew me in. I have all this Spider-Man and all this Marvel in my head from being a nerd for 37 years, and I get to distill that into a bite-sized version for a four-year-old.

For example, writing the Spidey and His Amazing Friends theme: I'm looking at the paper and I'm like, "Well, okay." Right away, I know that I have an attachment to the surfy 60s theme from the old cartoon. But then there's the Danny Elfman score that I also really love, and then there's the Michael Giacchino score, which I think has a different spin on it. And there's [the] 90s show, which had this metal feeling.

There's all these things in a blender, and I want to make a kind of postcard or calling card; an introduction to what Spider-Man can be. "I know you're a little kid, but as you grow with Spider-Man and Marvel..." It's just something that I'm passionate about it. I want to share it with people. If someone asks me about Chicago pizza, I want you to love it as much as I do.

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Marvel's Spidey and His Amazing Friends premieres on August 6 on Disney Junior.