"Delivery Man" Soundtrack Lyrics

"Delivery Man" Soundtrack Description

Overview

How do you score a comedy about discovering 533 kids without turning it into a sitcom? Delivery Man (2013) answers with a warm, melodic score by Jon Brion and a lean set of needle-drops that tag the story’s mini-adventures—basketball games, hospital vigils, and awkward reconnections. It’s music that nudges more than it winks.

The licensed songs skew feel-good and familiar (The Strokes, AC/DC, Eels), while Brion’s cues quietly handle the heavy lifting: modest tempo, light textures, and “button” endings that let jokes breathe. There isn’t a big commercial soundtrack album; most viewers found the songs through scene-listing sites and platform playlists. (Trusted sources referenced here include Variety, The Wrap, Film Music Reporter, FilmMusic.com, Soundtrackradar, Ringostrack, TCM, and Wikipedia.)

Questions & Answers

Is there an official soundtrack album?

No widely released compilation or score album is on record; the film uses licensed tracks plus Jon Brion’s original score.

Who composed the score?

Jon Brion composed the original score.

Which recognizable songs appear in the movie?

Standouts include “Someday” (The Strokes), “Thunderstruck” (AC/DC), Eels’ “Wonderful, Glorious,” Matt Pond’s “Love to Get Used,” and DeVotchKa’s “100 Other Lovers.”

What plays over the opening?

The Strokes’ “Someday” rolls over the opening credits.

What song is used at the basketball game?

AC/DC’s “Thunderstruck.”

Who handled music supervision?

Music supervision credits include Dana Sano and Jonathan Karp.

Can I stream the songs?

Yes—most placements are available on major services via third-party playlists; there’s no official multi-artist album.

Notes & Trivia

• The film is a U.S. remake of Starbuck (2011) with new music; the tone leans gentler than a typical Vince Vaughn comedy.
• Jon Brion joined the project mid-2013; trade coverage flagged his hiring ahead of release.
• Multiple sources list 12–15 commercial tracks used, but not all appear in end credits.
• Several cues heard in-film never surfaced as a commercial score release.
• The basketball “power anthem” choice (“Thunderstruck”) is one of the movie’s most-searched placements.

Genres & Themes

Indie/alt & modern rock: The Strokes, Eels, Matt Pond PA—used to humanize David’s small wins and failures, and to stamp early-2010s urban texture.

Adrenaline classic rock: AC/DC’s “Thunderstruck” functions as comic hype music and parental pride track in a single hit.

Soft-hearted score: Brion’s chamber-leaning palette (piano, light guitars, woodwinds) keeps scenes buoyant while letting emotion peek through, not pour.

Tracks & Scenes

"Someday" — The Strokes
Where it plays: ~0:01, opening credits. Non-diegetic.
Why it matters: Establishes breezy momentum as David’s life is about to tilt; a hopeful shrug of a song.

"Thunderstruck" — AC/DC
Where it plays: ~0:16 at a basketball game featuring David’s son. Source-like arena blast.
Why it matters: Comic overkill that sells parental hype and the film’s big-hearted tone.

"Wonderful, Glorious" — Eels
Where it plays: ~0:34 as David embarks on meeting his children. Non-diegetic montage energy.
Why it matters: A resilient groove that reframes the premise from panic to possibility.

"Love to Get Used" — Matt Pond
Where it plays: ~0:45 as David tails his son into a Starbucks. Ambient/source feel.
Why it matters: Modern, lightly bittersweet color for a father trying to connect without pushing.

"Strike It Up" — Black Box
Where it plays: ~0:56 while David ferries Viggo to practice. Source vibe.
Why it matters: Euro-dance pep signals “coach-driver” mode as the story hits a groove.

"100 Other Lovers" — DeVotchKa
Where it plays: ~1:01 during the camp-visit montage. Non-diegetic.
Why it matters: Wistful, cinematic sweep—an “I can’t meet everyone, but I’ll try” feeling.

"Little Hands" — Inland Sky
Where it plays: ~1:38 at the hospital meet-up. Non-diegetic tenderness.
Why it matters: A hush of indie uplift to land the film’s emotional apex.

"Light of Love" — T. Rex
Where it plays: ~1:40 into the credits. Non-diegetic send-off.
Why it matters: Glam warmth for a movie that chooses love over logistics.

"Real Real Gone" — Van Morrison
Where it plays: Heard briefly as connective background (party/gathering ambience). Source.
Why it matters: Classic-soul sunshine that relaxes the film’s middle stretch.

"So Shy" — Richard Myhill
Where it plays: Background source cue in a transitional beat.
Why it matters: Library-pop sheen that keeps the pacing light.

"Into the Pool" — Mark Revell
Where it plays: Short scene-turn transition.
Why it matters: A practical, rhythmic bridge between story beats.

"Friday Night Forever" — Dan Gautreau & Wolfgang Black
Where it plays: Party-energy background during a social scene.
Why it matters: Generic-but-effective pop gloss that says “weekend optimism.”

Music–Story Links

• Open road vs. responsibility: “Someday” frames David as drifting; later cues nudge him toward showing up.
• Comic spectacle as armor: “Thunderstruck” inflates a small parental moment into an epic, matching David’s outsized circumstances.
• Montage empathy: “Wonderful, Glorious” and “100 Other Lovers” turn a legal premise into human snapshots—faces over facts.
• Quiet choices land quietly: Brion’s cues avoid grandstanding; when decisions matter, the music softens rather than swells.

How It Was Made

Composer: Jon Brion (announced mid-2013) shaped a restrained, lyrical score supporting dialogue-first comedy. Music supervision: industry credits list Dana Sano and Jonathan Karp. Trade interviews around Brion also touched on the challenges of temp-track attachment in studio comedies—a relevant context for this film’s understated approach.

Reception & Quotes

“A heartfelt celebration of the act of parenthood…with the notable addition of Chris Pratt in his funniest supporting performance yet.” —Variety (Peter Debruge)

“Comedy and sentimentality in equal doses… the would-be heart-tuggery is mostly embarrassing.” —The Wrap (Alonso Duralde)

Reviews were mixed, but the music drew little controversy—doing its job without calling attention to itself. (See: Variety, The Wrap, Wikipedia.)

Additional Info

• No official multi-artist soundtrack or Brion score album is documented; placements are verified via cue sheets and scene-listing sites.
• Opening credits (+ The Strokes), sports scene (+ AC/DC), and hospital sequence (+ Inland Sky) are the most-searched IDs.
• Eels’ placement acts as a “pivot” cue—tonally re-centers the movie after early chaos.
• Library/production tracks (e.g., Dan Gautreau & Wolfgang Black) fill background spaces economically.
• As a remake of Starbuck, this version opts for a cleaner, more American pop/indie palette.

Technical Info

• Title: Delivery Man — Soundtrack & Score
• Year: 2013
• Type: Movie
• Composer: Jon Brion
• Music Supervision: Dana Sano; Jonathan Karp
• Selected notable placements: The Strokes — “Someday”; AC/DC — “Thunderstruck”; Eels — “Wonderful, Glorious”; Matt Pond — “Love to Get Used”; DeVotchKa — “100 Other Lovers”; T. Rex — “Light of Love”
• Release context: U.S. theatrical release November 22, 2013
• Album status: No official score or “songs” album confirmed; individual tracks streamable.
• Studios/Labels involved (recordings): Various artist labels for licensed tracks; no unified label release.

Canonical Entities & Relations

Sources: Variety; The Wrap; Film Music Reporter; FilmMusic.com; Soundtrackradar; Ringostrack; TCM; Wikipedia.

November, 04th 2025