"200 Cigarettes" Soundtrack Lyrics

"200 Cigarettes — Music From the Motion Picture" Soundtrack Description

Questions and Answers

Is there an official soundtrack album for 200 Cigarettes?

Yes — a Various Artists compilation titled 200 Cigarettes: Music From the Motion Picture, issued in early 1999. (according to AllMusic)

Who released it, and when?

Mercury/PolyGram released the album on CD; AllMusic lists February 2, 1999 as release date, while retail/shipping notices cite February 23, 1999.

What kind of music dominates the album?

Late-’70s/early-’80s New Wave, punk-adjacent pop/rock, and a few funk/disco staples that defined NYC nightlife of the era.

Does the album include only period recordings?

Mostly—but it also features contemporary ’90s covers that comment on the era (e.g., Harvey Danger covering “Save It for Later”). (as noted by AllMusic and coverage in 2024 retrospectives)

Is there an official scene-by-scene cue list with timestamps?

Not centrally published; public databases confirm the featured songs and clearances but rarely pin exact on-screen times for every cue.

Are Elvis Costello and Blondie actually on the album?

Yes. Elvis Costello appears (including “(What’s So Funny ’Bout) Peace, Love and Understanding?”) and Blondie contributes two entries including a medley. (as listed by Discogs/AllMusic)

Notes & Trivia

• The album clocks in around 54–55 minutes across 15 tracks in most editions. (according to AllMusic and Spotify)
• Label credits point to Mercury/PolyGram rather than Capitol; some fan write-ups misattribute the imprint.
• Harvey Danger’s “Save It for Later” updates The English Beat classic—one of the compilation’s deliberate “past-meets-present” gestures. (as discussed in 2024 retrospectives)
• Elvis Costello not only appears on the album but also cameos in the film—blurring soundtrack and screen presence. (per film credits)
• Clearances span major catalogs: Chrysalis/EMI (Blondie), Universal/PolyGram (Mercury), and others, typical for a period-needle-drop comedy. (see AllMusic/Discogs credits)

Overview

Why does a 1999 movie about New Year’s Eve 1981 feel like a mixtape you’d grab on the way to a downtown party? Because the soundtrack curates the city’s pulse—New Wave urgency, art-pop cool, and dance-floor relief—then sprinkles in a few ’90s nods that frame the past from the present.

The selections aren’t just wall décor. “Cruel to Be Kind” and “Just What I Needed” sketch the film’s rom-com cynicism; the Go-Go’s and Bow Wow Wow tag the youthful bite; Blondie bridges downtown glamour and grit. A couple of modern covers (Harvey Danger on “Save It for Later,” Girls Against Boys tackling “Boogie Wonderland”) turn nostalgia into commentary. The result is less jukebox, more conversation with 1981’s mood. (as stated by AllMusic; echoed by contemporary reviews)

Genres & Themes

• New Wave ↔ urban sparkle: Tight rhythms and synth sheen mirror the film’s fast-cut party crawl.
• Punk-adjacent pop ↔ messy romance: Short, catchy blasts match break-ups, make-ups, and taxi-cab reckonings.
• Funk/disco classics ↔ party oxygen: “Ladies Night,” “Boogie Wonderland”—the cues that actually move bodies when the plot stalls.

Key Tracks & Scenes

Note: We do not reproduce the full tracklist here. Instead, these are the placements fans most often ask about, with functional scene notes. Editions and cuts may vary.

“Cruel to Be Kind” — Nick Lowe
Where it plays: Early montage/meet-cutes, establishing the night’s rueful optimism (non-diegetic).
Why it matters: It’s the film’s opening handshake: sweet, a little bitter, perfectly on brand for NYE second chances. :contentReference[oaicite:0]{index=0}

“In the Flesh” — Blondie
Where it plays: Club/party-prep beats (non-diegetic).
Why it matters: Downtown glamour cut with wistfulness; the film keeps returning to Blondie as a downtown totem. :contentReference[oaicite:1]{index=1}

“Just What I Needed” — The Cars
Where it plays: Date-night cross-cuts; it punctures awkward flirtations with a grin (non-diegetic).
Why it matters: New Wave confidence for characters who definitely don’t have it. :contentReference[oaicite:2]{index=2}

“I Want Candy” — Bow Wow Wow
Where it plays: Party-floor bump; quick-hit energy around misadventures (non-diegetic).
Why it matters: The sugar rush that keeps the film’s pacing from sagging. :contentReference[oaicite:3]{index=3}

“Save It for Later” — Harvey Danger
Where it plays: Post-blowup cool-downs (non-diegetic).
Why it matters: A ’90s voice covering an ’80s staple—meta nostalgia that fits the film’s 1999 lens on 1981. (according to Tinnitist’s 2024 retrospective) :contentReference[oaicite:4]{index=4}

“(What’s So Funny ’Bout) Peace, Love and Understanding?” — Elvis Costello & The Attractions
Where it plays: Late-night resolve; the track underlines the movie’s soft landing (non-diegetic).
Why it matters: Costello’s cameo in the film makes the needle drop feel like a wink from the DJ booth. :contentReference[oaicite:5]{index=5}

Music–Story Links (characters & plot beats)

• Hope vs. hangover: Bright New Wave melodies (Lowe, Cars) keep optimism alive while the characters trip over old patterns.
• Downtown mythmaking: Blondie’s presence turns party shots into postcards from CBGB-era NYC—aspirational but slightly faded at the edges.
• Nostalgia with a wink: The ’90s covers act like commentary tracks—today’s voice reframing yesterday’s scene.

How It Was Made (supervision, score, behind-the-scenes)

Score & music editors: The film credits Mark and Bob Mothersbaugh on music—familiar names from Devo to film/TV scoring—while the album itself foregrounds licensed songs shaped in post to pace the ensemble story. (as reflected in IMDb’s soundtrack credits)

Licensing & curation: Mercury/PolyGram’s 1999 release pulls from major-label vaults (Chrysalis/EMI, Universal, Warner affiliates). The blend of era-authentic tracks and contemporary covers mirrors a late-’90s trend in period comedies: recognizable hooks first, then a few reinterpretations to keep things fresh. (per AllMusic credits and Discogs packaging)

Reception & Quotes

The film drew mixed reviews, but the song selection regularly earns praise in retrospectives for capturing the early-’80s New York vibe with radio-ready efficiency. (as stated on AllMusic and in later write-ups)

“What’s not to like about New Wave and pop classics… Bringing things up to date are Harvey Danger covering ‘Save It for Later’ and a Blondie medley.” (Tinnitist, 2024)

“A mixtape that feels like a night out: downtown glitter, uptown mess, and a cab ride home.” (summary of AllMusic’s framing and fan playlists)

Technical Info

• Title: 200 Cigarettes — Music From the Motion Picture
• Year: 1999
• Type: Various Artists (needle-drop compilation)
• Label: Mercury / PolyGram
• Release Dates: Feb 2, 1999 (AllMusic); shipping/retail notices around Feb 23, 1999
• Approx. Length: ~54–55 minutes (15 tracks, most editions)
• Notable inclusions: Nick Lowe, Blondie (two cuts incl. medley), The Cars, Bow Wow Wow, Go-Go’s, Joe Jackson, Roxy Music, Dire Straits, Elvis Costello; ’90s covers by Harvey Danger and Girls Against Boys
• Album availability: Streaming (Spotify) and physical CD (Mercury catalog). (as shown on AllMusic/Spotify)

Canonical Entities & Relations

Sources: AllMusic; Discogs (master/release pages); Spotify album page; IMDb soundtrack credits; Tinnitist (2024 retrospective); Wikipedia (film entry); SoundtrackINFO product listing; Official trailer on YouTube.

October, 22nd 2025