"Bleed for This" Soundtrack Lyrics

---

"Bleed For This (Original Motion Picture Soundtrack)" Soundtrack Description

Questions and Answers

Is there an official soundtrack album?

Yes. Milan Records released an official album featuring Julia Holter’s score plus songs by Willis Earl Beal, George Michael, Billy Squier, Bad Company and more (according to Milan Records).

Who composed the score for Bleed for This?

American composer and recording artist Julia Holter composed the original score (as reported by Film Music Reporter).

Does the movie use classic arena-rock?

Absolutely. ‘80s glam/arena rock like Billy Squier and Bad Company punch up training and swagger moments (as noted by Pitchfork’s soundtrack coverage).

Is there a standout original song used multiple times?

Willis Earl Beal’s “Too Dry to Cry” and “Burning Bridges” bookend emotional beats around Vinny’s setbacks and grit (per the official album listing).

Who handled music supervision?

Susan Jacobs is credited with music supervision on the film (per FilmMusic.com’s credits summary).

Can I stream the soundtrack?

Yes—the album is available on major platforms (per the album’s Apple Music/Spotify listings).

Notes & Trivia

• The official OST dropped digitally in mid-November 2016 with a CD the following week—timed to the U.S. theatrical run (as reported by Film Music Reporter).
• Julia Holter’s score cues sit alongside needle-drops from George Michael (“Monkey”), Billy Squier, Bad Company, and AC/DC—an intentionally eclectic mix (according to Milan Records).
• Willis Earl Beal contributes three songs; his raw, lo-fi grain contrasts the sheen of the ‘80s rock staples (per Pitchfork’s write-up).
• Music supervision by Susan Jacobs helped clear a handful of legacy rock anthems that instantly telegraph bravado.
• The album artwork and track order frame the film’s arc—from swaggering ascent to a bruised, methodical comeback.

Overview

Why pair airy art-pop textures with chest-beating ‘80s rock? Because Vinny Pazienza’s story is both dreamlike and defiant. The soundtrack for Bleed for This sets that paradox: Julia Holter’s glassy strings and synth pads sketch the fog of pain and doubt, while Bad Company, Billy Squier, and AC/DC slam the door open with bravado and muscle.

That push-pull mirrors the film’s rhythm—big entrances and louder comebacks punctured by quiet stretches where doubt creeps in. Willis Earl Beal’s gravelly cuts act like a conscience: bruised, minimal, and dead-honest, they tether the myth of the comeback to a human pulse. It’s a mix that shouldn’t hang together, yet it maps neatly onto rounds, rehabs, and tiny private victories (as noticed by Pitchfork).

Genres & Themes

• Indie/ambient score → interiority: Holter’s cue writing leans suspended and breath-held, signaling the mental grind between public spectacles.
• ‘80s glam/arena rock → swagger & spectacle: Billy Squier/Bad Company/AC-DC cues juice entrances, gym sequences, and showmanship.
• Lo-fi soul/blues → resilience without romance: Willis Earl Beal’s songs strip away polish, matching the ugly-work phase of recovery.

Key Tracks & Scenes

“Too Dry to Cry” — Willis Earl Beal
Where it plays: Used around personal low-ebb beats to underline isolation and grit.
Why it matters: Sets the film’s emotional ground zero; Beal’s minimalism keeps the myth-making in check.

“Monkey” — George Michael
Where it plays: A kinetic, pop-slick moment underscoring Vinny’s fast-living, pre-injury confidence.
Why it matters: The shiny, radio-ready veneer contrasts sharply with later, quieter recovery passages.

“Emotions in Motion” — Billy Squier
Where it plays: Gym/training energy; a classic strut cut that makes the room feel bigger.
Why it matters: Turns routine reps into a performance—swagger as armor.

“Rock Steady” — Bad Company
Where it plays: Pre-fight ramp or montage connective tissue.
Why it matters: Title says it—pacing the comeback into steady, repeatable bursts.

“Burning Bridges” — Willis Earl Beal
Where it plays: Late-act resolve; moving on from old patterns.
Why it matters: A goodbye song for self-doubt—spare, final, cathartic.

“Top Billin’” — Audio Two
Where it plays: Early swagger beats, pre-injury Vinny peacocking.
Why it matters: A hip-hop flex that matches the Pazmanian Devil persona.

Track–Moment Index	Scene/Moment	Diegesis	Approx. Placement
“Too Dry to Cry” — Willis Earl Beal	Alone-aftershock reflection sequences	Non-diegetic	Early–Mid
“Monkey” — George Michael	Fast-lane montage capturing peak swagger	Non-diegetic	Early
“Emotions in Motion” — Billy Squier	Training grind in the gym	Source/Non-diegetic blend	Mid
“Rock Steady” — Bad Company	Pre-fight gearing-up	Non-diegetic	Late
“Burning Bridges” — Willis Earl Beal	Resolve & reset, post-trial	Non-diegetic	Late

Note: Exact minute-marks vary by cut/territory; placements above reflect how the official album and coverage frame their narrative use (according to Film Music Reporter and Milan Records).

Music–Story Links (characters & plot beats as connected to songs)

• Persona vs. person: “Top Billin’” paints Vinny’s showman shell; Holter’s hushed cues then strip it back to the person carrying pain.
• Velocity vs. recovery: “Monkey” captures fast-forward living; Holter’s ambient interludes slow time, matching brace-bound rehabilitation.
• Grit ritualized: Arena-rock staples ritualize the grind—every mitt pop feels bigger, every step a drum fill.
• Letting go: “Burning Bridges” signals a psychological pivot—no more bargaining with fear; just rounds to finish.

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

Ben Younger’s film taps Julia Holter for an atypical boxing score—more vapor and memory than brass and bombast. That design leaves room for familiar rock cuts to kick doors down when needed (as noted by Pitchfork). Susan Jacobs steers music supervision, a big factor in clearing legacy tracks that instantly read as “victory music” (per FilmMusic.com’s credit roll). The released album balances Holter’s cues with three contributions by Willis Earl Beal to anchor the film’s bruised soul (according to Milan Records).

Reception & Quotes

Critical reaction to the album singled out the unusual blend—some loved the contrast; others found it patchwork. That conversation mirrors the movie’s balance of mythic highs and private lows.

“Ten original Holter pieces swirl amid ’80s glam and Willis Earl Beal’s raw laments—a mix that can feel disjointed yet haunting.” Pitchfork review

“The needle-drops do the heavy lifting for swagger; Holter handles everything unsaid.” Soundtrack press materials

Availability: Digital release aligned with the U.S. theatrical bow in November 2016; the CD followed a week later (as reported by Film Music Reporter). Streaming is widely available (per Apple Music/Spotify listings).

Technical Info

• Title: Bleed For This (Original Motion Picture Soundtrack)
• Year: 2016
• Type: Movie soundtrack (compilation + original score)
• Composer (score): Julia Holter
• Music Supervision: Susan Jacobs
• Selected notable placements: “Monkey” (George Michael); “Emotions in Motion” (Billy Squier); “Rock Steady” (Bad Company); “Top Billin’” (Audio Two); “Too Dry to Cry” / “Burning Bridges” (Willis Earl Beal)
• Label: Milan Records
• Release context: Digital release mid-Nov 2016; CD the following week
• Album status: Official OST available on major streaming/download services

Canonical Entities & Relations

Subject	Relation	Object
Ben Younger	directed	Bleed for This (2016 film)
Julia Holter	composed score for	Bleed for This
Susan Jacobs	music supervised	Bleed for This
Milan Records	released	Bleed For This (Original Motion Picture Soundtrack)
Willis Earl Beal	contributed songs to	OST album
George Michael	song featured	“Monkey”
Billy Squier	songs featured	“Emotions in Motion”, “The Stroke”
Bad Company	song featured	“Rock Steady”
AC/DC	song featured	“Rock and Roll Ain’t Noise Pollution”

Sources: Pitchfork; Film Music Reporter; Milan Records; FilmMusic.com; Apple Music/Spotify listings; IMDb soundtrack page.

Somehow, it seems to us that this film is not so interesting as the real life of the boxer, which has based the motion picture. The film briefly describes his life: he was a starting boxer, he won his first serious title and soon after it, he was in the car accident, which totally blown his mind off – he broke his neck and couldn’t not only fight, as you understand, but even walk. Doctors were skeptical about he will ever walk again, but one of them made a fantastic surgery, which allowed him to feel his body again, and 13 month after the accident, to go on the ring and to hold a victory! Later several wins – and he received the champion’s belt! Isn’t it fantastic? Yes, it is, but the life of this boxer didn’t finish with this fight (as it was in the movie) – he was holding 5 different belts in the middleweight before the retirement and had a great personal challenging result – 50 wins (30 KOs)/10 losses in 60 fights. The music was considered thoroughly – the official music-maker was Julia Holter, who did the most part of the tracks, though amongst the list of items having lyrics, she is represented poorly. That is because only one or two songs of her authorship are with lyrics, but the rest are emotional underlining for a mood of moments. The next goes Willis Earl Beal – the rising star, a voice of the streets, a person who literally was a bum but he was an educated man, so he gave birth to many sophisticated pieces (starting with Burning Bridges and Disintegrating, ending with Too Dry to Cry) but still shies to sing in front of the crowd. The whole thing (as for soundtrack) is mostly experimental, not in the way of the genre of the entire music, but in the touch of souls of their makers – they are young, bald and trying to reach the shiny heights, through constant trying of something new.

October, 24th 2025

More info on Wikipedia, IMDb

---

A-Z Lyrics Universe

---