"Boss Baby" Soundtrack Lyrics

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"The Boss Baby (Music from the Motion Picture)" Soundtrack Description

Questions and Answers

Is there an official soundtrack album?

Yes. The Boss Baby (Music from the Motion Picture) was released in March 2017 by Back Lot Music and features the original score by Hans Zimmer and Steve Mazzaro.

Who composed the score?

Hans Zimmer and Steve Mazzaro co-composed the film’s score.

Does the film use any famous pre-existing songs?

Yes—most notably The Beatles’ “Blackbird” as Tim’s bedtime song, and a new end-credits cover of “What the World Needs Now Is Love” performed by Missi Hale.

Is the end-credits “What the World Needs Now Is Love” on the album?

Yes. Missi Hale’s rendition is included on the official album alongside the score cues.

What label released the album and in what formats?

Back Lot Music released the album digitally and on CD in 2017.

Is trailer music on the album?

Some trailer cues—like Flo Rida’s “My House”—promoted the film but are not part of the core score album.

Notes & Trivia

• Back Lot Music issued the album the week of the film’s U.S. release (late March 2017); physical CDs followed through retail partners.
• Zimmer and Mazzaro’s cue titles wink at the film’s comedy (“Super Colossal Big Fat Boss Baby,” “Barfmitzvah,” “Toodaloo Toilet-Head!”) — you’ll see the full list on Apple Music.
• “Blackbird” threads through the story as Tim’s lullaby—an unusually delicate Beatles placement for a family comedy (as noted by Wikipedia’s film entry).
• End credits feature a newly recorded “What the World Needs Now Is Love” by Missi Hale, produced under Zimmer’s music department; it’s included on the OST (per Apple Music).
• Back Lot’s CD uses UPC 851147006819 and rolled out March 31, 2017 (retailer metadata corroborates the date).

Overview

How do you score a sibling rivalry that’s half corporate satire, half bedtime story? Zimmer and Mazzaro split the difference: swaggering “mini-noir” grooves for the briefcase-baby persona, then lullaby-soft textures for Tim’s imagination. The album flows like a cartoon caper that keeps stumbling into heart—horns and drums when the baby means business, strings and piano when big brother needs reassurance.

Back Lot Music’s release plays cleanly as a front-to-back listen. Cue names telegraph the jokes, yet the writing stays tight—motifs recur, action cuts land on rhythmic stingers, and the finale folds in Missi Hale’s warm take on “What the World Needs Now Is Love.” (as listed on Apple Music). The out-of-universe needle-drop you’ll remember is The Beatles’ “Blackbird,” which the film treats with uncommon gentleness (as stated in the film’s music section on Wikipedia).

Genres & Themes

• Brassy caper scoring → the “executive baby” persona; bold stabs, chase rhythms, and cartoon-slick snare rolls.
• Lullaby folk & chamber strings → Tim’s point-of-view; innocence, safety, and family ritual.
• 60s/70s pop references → familiarity as comedy fuel (end-credits Bacharach/David; selective library cues).
• Corporate-march pastiche → Baby Corp’s mock-serious mission statements; precision as punchline.

Key Tracks & Scenes

“Blackbird” — The Beatles
Where it plays: Tim’s bedtime/lullaby motif recurs at key family moments.
Why it matters: Gives the story a fragile emotional anchor—you hear home, not hype.

“Survival of the Fittest” — Hans Zimmer & Steve Mazzaro
Where it plays: Opening mission posture; the “corporate” baby is introduced with swaggering propulsion.
Why it matters: Establishes the caper grammar and the Boss’s straight-faced bravado.

“Welcome to Baby Corp” — Hans Zimmer & Steve Mazzaro
Where it plays: Orientation to the gleaming infant conglomerate.
Why it matters: March-like motifs and playful sound design sell the satire.

“What the World Needs Now Is Love” — Missi Hale
Where it plays: End credits; newly recorded cover produced within the film’s music team.
Why it matters: A sincere, gently modernized curtain call that leaves the audience buoyant.

“Puppy Co.” — Hans Zimmer & Steve Mazzaro
Where it plays: Antagonist-HQ shenanigans and infiltration beats.
Why it matters: Spy-lite color and rhythmic mischief—danger, but kid-friendly.

Track–Moment Index (select cues)

Track	Scene / Moment	Approx. placement	Diegetic?	Notes
Blackbird (The Beatles)	Tim’s bedtime theme	Early & reprise	Yes/No	Used tenderly as a recurring comfort motif.
Survival of the Fittest	Boss Baby’s “arrival” posture / mission tone	Opening act	No	Propulsive, brass-led caper energy.
Welcome to Baby Corp	Orientation to the company	Early-mid	No	Corporate march pastiche.
Puppy Co.	Heist/spy shenanigans	Mid	No	Sneaky pulses and playful groove.
What the World Needs Now Is Love (Missi Hale)	End credits	Final	No	New cover tracked for the film; included on OST.

Cross-check placements and album details via Apple Music and IMDb’s soundtrack list; MOVIE MUSIC UK provides a cue-by-cue review of the score.

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

• Lullaby ↔ loyalty: “Blackbird” frames the siblings’ conflict inside a bedtime ritual—music as family contract.
• Marches ↔ make-believe management: Baby Corp cues treat pretend bureaucracy like a mission briefing, echoing Tim’s imaginative POV.
• Caper rhythm ↔ cooperation: As the brothers team up, the score swaps prickly stingers for flowing, major-key momentum.
• End-credits balm: “What the World Needs Now Is Love” resets the room after the last gag—empathy as takeaway.

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

Zimmer and Mazzaro tracked the score with their Remote Control team, building cartoon-sharp motifs and comic percussion around a small set of recognizable themes. The album sequencing keeps momentum high—short action cues, character motifs, and big set-piece tracks like “Super Colossal Big Fat Boss Baby.” (as summed up by MOVIE MUSIC UK’s review).

Back Lot Music handled distribution; retailer metadata pegs the CD street date to March 31, 2017, aligned with the film’s U.S. opening. Missi Hale recorded the end-credits cover of “What the World Needs Now Is Love,” with production under Zimmer’s music wing (as credited by the vocalist’s official site and the soundtrack listing).

Reception & Quotes

Family-film press singled out the unexpectedly tender use of “Blackbird,” while score watchers enjoyed the caper-comedy color and zippy cue titles. The OST found a steady streaming audience alongside the movie’s success.

“Zimmer and Mazzaro deliver a bright, cleverly structured caper score for a family comedy.” —MOVIE MUSIC UK (capsule summary)

“‘Blackbird’ as the bedtime song gives the film its soft heart.” —(widely noted in coverage of the film’s music)

Technical Info

• Title: The Boss Baby (Music from the Motion Picture)
• Year: 2017
• Type: Movie soundtrack (score + select songs)
• Composers: Hans Zimmer; Steve Mazzaro
• Key featured songs: “Blackbird” (The Beatles); “What the World Needs Now Is Love” (Missi Hale)
• Label: Back Lot Music
• Release: March 2017 (digital & CD)
• Selected notable cues (not full list): “Survival of the Fittest,” “Welcome to Baby Corp,” “Super Colossal Big Fat Boss Baby,” “Puppy Co.,” “What the World Needs Now Is Love.”
• Trailer note: “My House” (Flo Rida) appears in marketing, not on the core score album.
• Availability: Streaming on major platforms; CD issued with digipak packaging.

Canonical Entities & Relations

Subject	Relation	Object
The Boss Baby (2017 film)	music by	Hans Zimmer; Steve Mazzaro
The Boss Baby (Music from the Motion Picture)	released by	Back Lot Music
“What the World Needs Now Is Love”	performed by	Missi Hale (end credits version)
“Blackbird”	written by	John Lennon; Paul McCartney
Back Lot Music	released	The Boss Baby (Music from the Motion Picture)

Sources: Apple Music; Spotify; IMDb Soundtracks; Wikipedia (film/music sections); MOVIE MUSIC UK; retail metadata (Tower/CC Music); Missi Hale official site.

Well, it is hard to resist to a team comprising of Alec Baldwin, Steve Buscemi, Jimmy Kimmel, Lisa Kudrow, and Tobey Maguire. Alec Baldwin voices the baby boss, Tobey Maguire – his older brother, and Lisa Kudrow – their mother. In this video, you may see as the main actors aged. Much. Especially Phoebe. From Friends. She is not a delightful chubby giglet anymore. Now she is a very rational mother of own children. A pity, in a word. The sound job done by these people is delightful. They all are remarkable, especially Alec Baldwin that voices the antagonist. The thing is why this kid acts as an adult is that because he drinks some special formula time to time that helps him to stay as if an adult. If he misses it once, he turns to a regular baby. This is the brave explanation for a very old voice of his. The second thing, besides voicing job, is the fairly nice soundtrack. It has collected The Beatles and Elvis Presley as the soundtrack’s stars. The main message that this soundtrack brings us is the sensation of lightness and airiness, whether these would be rock and roll (‘Viva Las Vegas’ or ‘See See Rider’) or rock (‘Blackbird’). These are pieces not having lyrics (‘The Planets Op 32 – Mars’ and a ‘Theme from S.W.A.T’) when other lyrics are even on the Spanish though the main line here is the English (‘Alla en El Rancho Grande’). It is hard to tell whether that’ll become a huge hit, as the theater run just started 2 weeks ago, but the thing is that this managed to succeed its budget (USD 125 million) and leap over a little. Though, it is hard to tell on what exactly such big money was spent – no remarkable computer graphics was organized nor the outstanding idea exploited. Rotten Tomatoes has stressed up the general consensus saying its doody jokes make a contrast to the imaginative inventiveness.

October, 25th 2025

'The Boss Baby': find more on Wikipedia.org and IMDb.com

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