"Charlie's Angels" Soundtrack Lyrics

"Charlie's Angels: Full Throttle (Music from the Motion Picture)" Soundtrack Description

Questions & Answers

Is there an official soundtrack album for the 2003 film?

Yes. Charlie’s Angels: Full Throttle (Music from the Motion Picture) was released June 24, 2003 by Columbia Records/Sony Music Soundtrax.

What’s the lead single?

P!nk’s “Feel Good Time” featuring William Orbit—issued ahead of the film and used as the main tie-in track.

Who composed the score?

Edward Shearmur scored the film.

Who supervised the music?

John Houlihan served as music supervisor.

Where can I stream the album?

The compilation is available on Apple Music and Spotify.

Does the album include every song heard in the movie?

No; some fan-favorite cues (e.g., Prodigy, Chemical Brothers, Dick Dale) are in the film but not on the retail album.

What plays over the end credits?

“Feel Good Time” rolls during the end credits.

Overview

How do you top a hit 2000s action-comedy? Full Throttle doubles down on needle-drops that strut. The 2003 sequel stitches glam, surf, classic rock, hip-hop, and club bangers into a wall-to-wall mixtape—then lets Edward Shearmur’s slick score thread the stunts and spy beats between them.

P!nk’s William Orbit–produced “Feel Good Time” leads the charge, while Columbia/Sony’s compilation pulls in Bowie, Journey, Bon Jovi, Loverboy and more. Meanwhile, several on-screen rippers (Prodigy, Chemical Brothers, Dick Dale) juice key set-pieces but sit outside the retail album—giving the movie a bigger sonic footprint than the disc alone suggests. (Apple Music; Discogs; IMDb)

Additional Info

• Album release: June 24, 2003; label credit: Columbia Records / Sony Music Soundtrax.
• “Feel Good Time” dropped as the lead single and later appeared on international editions of P!nk’s Try This.
• Music supervision: John Houlihan (also appears with director McG on the DVD’s “Full Throttle Jukebox” feature discussing song picks).
• Not every film cue made the album; several high-energy placements (e.g., The Prodigy, Chemical Brothers) are film-only.
• Streaming availability confirmed on Apple Music and Spotify.

Notes & Trivia

• The score is by Edward Shearmur; he scored both the 2000 and 2003 films in the series.
• The single “Feel Good Time” hit the UK Top 10 and served as the movie’s marquee promo track.
• A DVD bonus feature (“Full Throttle Jukebox”) breaks down why specific songs were chosen for scenes.
• Some soundtrack pressings note executive producers from the label side alongside the filmmakers, typical for early-2000s song-driven albums.

Genres & Themes

Glam/classic rock = cartoon swagger: Bowie’s strut and Journey’s arena sheen pitch the Angels as larger-than-life pop icons.

Electronica/big-beat = kinetic mayhem: The Prodigy and Chemical Brothers tracks supercharge motocross and brawl sequences with pogo-stick momentum.

Surf/retro pop = sun-kissed spoof: Dick Dale and The Beach Boys flip beach infiltrations into glossy, tongue-in-cheek set-pieces.

Tracks & Scenes

“Sleep Now in the Fire” — Rage Against the Machine
Where it plays: Opening Mongolia sequence as the Angels dive straight into a stunt-heavy rescue.
Why it matters: Explosive riff anchors the sequel’s “start at 11” ethos; sets a rebellious, anarchic tone out of the gate. (SoundtrackINFO; IMDb soundtrack list)

“Breathe” — The Prodigy
Where it plays: Motocross (“coal bowl”) race chaos; bodies and bikes fly as the Angels improvise mid-track.
Why it matters: Big-beat tension plus kick-snare whiplash mirror the jump-cuts and sand-spray carnage. (SoundtrackINFO community QA)

“Firestarter” — The Prodigy
Where it plays: First throw-down with Seamus’ crew after the ship/HALO-rings lead pays off.
Why it matters: Signature snarl gives the brawl a gleefully unhinged edge; pure 2000s adrenaline. (DVD “Jukebox” notes reported via fan QA)

“Misirlou” — Dick Dale & His Del-Tones
Where it plays: Surf-training/beach infiltration beats alongside quick comedic inserts.
Why it matters: Proto-punk surf guitar weaponizes the beach vibe; the Angels make spy-craft look like summer. (SoundtrackINFO)

“Surfer Girl” — The Beach Boys
Where it plays: A sweeter beach interlude during the coastal operation, contrasting with sharper surf cues.
Why it matters: Retro innocence buys a few seconds of sincerity before the next punchline. (SoundtrackCollector/SoundtrackINFO)

“Wild Thing” — Tone-Lōc
Where it plays: Mechanical-bull gag with Natalie (Diaz), blending flirty slapstick with swagger.
Why it matters: A cheeky, instantly recognizable hook turns the set-piece into a music-video wink. (SoundtrackINFO)

“U Can’t Touch This” — MC Hammer
Where it plays: Living-room dance burst as the trio cut loose—an in-house pep-rally before the next mission beat.
Why it matters: Joy first; plot second. The cue is a permission slip for the franchise’s sillier side. (Apple Music listing corroborates inclusion)

“A Girl Like You” — Edwyn Collins
Where it plays: Reveal pivot around Madison (Demi Moore) and the Angels’ investigation trail.
Why it matters: Velvet swagger underscores a villain’s entrance with knowing cool. (SoundtrackINFO QA)

“Feel Good Time” — P!nk feat. William Orbit
Where it plays: End credits.
Why it matters: Orbit’s glossy production and P!nk’s hook send audiences out on a victory lap—brand-new single for the film. (SoundtrackINFO; Wikipedia single entry)

Music–Story Links

McG and Houlihan use songs as punchlines and propulsion. Heavy riffs announce danger; sprinting breakbeats telegraph “we’re about to go big.” When the Angels swap disguises, the mix pivots too—surf and retro tracks sell the joke that world-class espionage can feel like a beach day. And when Madison struts in, the needle-drop flips allegiance—the playlist suddenly belongs to the villain.

How It Was Made

The compilation was assembled by Columbia/Sony Music Soundtrax in tandem with the studio, while music supervisor John Houlihan worked with director McG to place high-impact cues—documented on the disc’s Full Throttle Jukebox bonus feature. Shearmur’s score provided connective tissue, giving chase mechanics and spy texture space between the needle-drops.

The album skews “songs-first,” a common early-2000s strategy for studio tentpoles—lead with a radio single (here, P!nk/Orbit), then pack the disc with catalog crowd-pleasers and a few era-defining club cuts. (Apple Music; Metacritic credits; DVD feature documentation)

Reception & Quotes

“Director McG’s sequel is basically a music video that discovered plot—and it’s having fun about it.” Critical capsule, contemporary coverage

“Full Throttle Jukebox … explains the reasoning behind each song selection.” Home-video review note

Fans still debate which placements should’ve been on the retail disc; the streaming album remains a tight 14-track snapshot rather than a complete inventory.

Technical Info

• Title: Charlie’s Angels: Full Throttle (Music from the Motion Picture)
• Year: 2003
• Type: Movie (action/spy comedy)
• Score Composer: Edward Shearmur
• Music Supervision: John Houlihan
• Label / Release: Columbia Records / Sony Music Soundtrax — June 24, 2003
• Lead Single: “Feel Good Time” — P!nk feat. William Orbit
• Selected notable placements: Rage Against the Machine “Sleep Now in the Fire”; The Prodigy “Breathe” / “Firestarter”; Dick Dale “Misirlou”; The Beach Boys “Surfer Girl”; Tone-Lōc “Wild Thing”; MC Hammer “U Can’t Touch This”; Edwyn Collins “A Girl Like You”
• Availability: Streaming on Apple Music & Spotify; standard CD widely circulated in 2003

Canonical Entities & Relations

Sources: Apple Music; Discogs; IMDb; SoundtrackINFO; Metacritic credits.

October, 27th 2025