"Drive Me Crazy" Soundtrack Lyrics

"Drive Me Crazy (Original Motion Picture Soundtrack)" Soundtrack Description

Overview

How does a teen rom-com turn into a time capsule in under 50 minutes? By programming late-’90s radio dominance—Britney, Backstreet Boys, Barenaked Ladies—alongside mall-pop, ska-punk, and a punk-girl cameo by The Donnas. The album Drive Me Crazy (Original Motion Picture Soundtrack) arrived on Jive Records shortly before release, and the film was ultimately retitled after Britney Spears’ “(You Drive Me) Crazy (The Stop Remix!).”

On screen, most cues are diegetic: house-party stereos, car radios, a live band at the school’s Centennial dance. The pop picks signal crowd energy and social currency; the deeper cuts—Plumb’s “Stranded,” Phantom Planet’s makeover track—carry character beats. The score by Greg Kendall stays mostly under the hood. (Trusted sources: Wikipedia, Discogs, AllMusic.)

Questions & Answers

Is there an official soundtrack album?

Yes. Drive Me Crazy (Original Motion Picture Soundtrack) was released on September 28, 1999 by Jive Records.

Who composed the original score?

Greg Kendall is credited as composer; no widely released standalone score album.

Who handled music supervision?

Tom Wolfe and Manish Raval are credited as music supervisors.

Which Britney Spears version is used/promoted?

“(You Drive Me) Crazy (The Stop Remix!)” — the remix tied to the movie and its retitled name.

What song plays when Nicole and Chase walk into the big house party?

Britney Spears’ “(You Drive Me) Crazy” plays as they enter; the remix also appears in the end credits.

What’s the band at the Centennial dance?

The Donnas appear in the film; their “Get Rid of That Girl” and “Keep On Loving You” feature at the dance.

Is Backstreet Boys in the movie or only on the album?

In the movie and on the album: “I Want It That Way” (Jack D. Elliot remix) underscores party fallout.

Notes & Trivia

• The film’s original working title (“Next to You”) was changed after Britney’s single aligned with marketing.
• The Donnas both appear on screen and contribute multiple tracks; a textbook late-’90s synergy play.
• Some songs heard in the film are not on the retail album (e.g., “Turbo-Teen,” “Run Baby Run,” “Wig-Wam Bam”).
• Backstreet Boys appear via a club-friendly remix; the original hit version is not what the scene uses.
• Trusted sources referenced: WhatSong, Wikipedia, Discogs, AllMusic.

Genres & Themes

Teen-pop & dance-pop — social status and spectacle. Britney’s hook announces who’s “in,” and the club-mix polish mirrors the film’s obsession with appearances.

Pop-punk / ska-punk — rebellion with a grin. Less Than Jake, Diesel Boy, and The Donnas score the “outsider” clique and mischief beats.

Adult-contemporary pop-rock — emotional reset. Barenaked Ladies and Plumb step in when the hangover hits and feelings surface.

Tracks & Scenes

“(You Drive Me) Crazy (The Stop Remix!)” — Britney Spears
Where it plays: Entrance to the pre-Centennial house party; the hook also rolls in the end credits. Diegetic at the party; non-diegetic over credits.
Why it matters: Title-track synergy; the remix branded the movie and its marketing.

“I Want It That Way (Jack D. Elliot Remix)” — Backstreet Boys
Where it plays: At the party when Chase gets drunk and calls “Designated Dave” for a ride. Diegetic (party stereo).
Why it matters: An “everyone knows this” chorus used ironically, mid-meltdown.

“It’s All Been Done” — Barenaked Ladies
Where it plays: Daytime lake picnic with the combined cliques. Likely diegetic (portable stereo vibe).
Why it matters: Breezy chorus papers over awkward, shifting alliances.

“Stranded” — Plumb
Where it plays: Just before the Centennial, after the “fake dating” pact collapses. Non-diegetic transition to introspection.
Why it matters: Lets the film breathe; a straight shot of late-’90s pop-melancholy.

“Is This Really Happening to Me?” — Phantom Planet
Where it plays: Makeover montage as Nicole takes Chase shopping to refit his look. Diegetic (store/PA feel).
Why it matters: Signals a temporary truce—and the rom-com gear shift.

“Let’s Live It Up” — The Brian Setzer Orchestra
Where it plays: At a party where Ray twirls Nicole on the floor. Diegetic (dance PA).
Why it matters: Retro swing = Ray’s extrovert charisma; the social triangle tilts.

“Keep On Loving You” — The Donnas (cover) & REO Speedwagon (original)
Where it plays: The Donnas’ version spins on Chase’s car radio and later at the dance; the REO original pops up in Chase’s car after the big game. Diegetic (radio/band).
Why it matters: A power-ballad refrain recurs as ironic glue between teen bravado and real feeling.

“Get Rid of That Girl” — The Donnas
Where it plays: Live at the Centennial dance (on-screen band). Fully diegetic.
Why it matters: Needle-drop becomes performance; The Donnas embody the film’s “cool” for a night.

“Unforgetful You” — Jars of Clay
Where it plays: Late-act reflection beat (album staple heard in the film mix). Likely non-diegetic.
Why it matters: Softens edges before the finale.

“Help Save the Youth of America from Exploding” — Less Than Jake
Where it plays: High-energy corridor/party material (scene-use cataloged by fan indexes). Diegetic.
Why it matters: Ska brass = chaos; perfect teen-party punctuation.

“Real Good Time” — Alda
Where it plays: As Nicole heads out to a party. Diegetic (car/PA).
Why it matters: Bubblegum confidence for a queen-bee stride.

“Turbo-Teen” — Sugar High
Where it plays: Opening school sequence, parallel intros to Nicole and Chase. Diegetic-feeling montage.
Why it matters: Establishes parallel worlds before the plot pairs them.

“Run Baby Run” — Deadstar
Where it plays: Club scene early on (not on the album). Diegetic (venue system).
Why it matters: Urban-club sheen vs. suburban drama.

“Wig-Wam Bam” — The Sweet
Where it plays: End-of-film tag (not on the album). Non-diegetic.
Why it matters: A glam nod to close the loop—sugar high to the very end.

Music–Story Links

Pop anthems map the cool-kid economy: Britney at the party declares social arrival; the Backstreet Boys remix soundtracks the cost of playing along. Makeover beats get bright, store-floor pop; the lake picnic’s feel-good rock hides new fractures. The Donnas’ live set at the Centennial gives Nicole and Chase a stage to finally choose each other in public. A last glam wink in the credits (“Wig-Wam Bam”) reminds us the whole thing is a dress-up fantasy—until the feelings stick.

How It Was Made

Composer Greg Kendall (credited on the film) supplies connective score, but the identity is the licensed material. Music supervision is credited to Tom Wolfe and Manish Raval, who steer the balance between teen-pop dominance and credible band cuts. The album (Jive Records) front-loads radio magnets and folds in remixes tailored to on-screen energy.

Reception & Quotes

Reaction at the time: mixed on story, warm on charm and the pop gloss. The soundtrack’s single drove most awareness.

“Slight and sweet… not a great high school movie but kinda nice.” Roger Ebert

“A moving violation… helps steer the teen-movie gravy train.” Variety

Trusted mentions in coverage: People (25th anniversary retrospectives), Entertainment Weekly’s Britney-in-movies roundup.

Additional Info

• Album label/date: Jive Records; September 28, 1999.
• Remix note: The album uses the Jack D. Elliot remix of “I Want It That Way.”
• Not-on-album in-film tracks: “Turbo-Teen,” “Run Baby Run,” “Wig-Wam Bam.”
• Band cameo: The Donnas appear as the Centennial dance band.
• Availability: The compilation streams widely (cataloged on Spotify/AllMusic/Discogs); score release not widely issued.

Technical Info

• Title: Drive Me Crazy (Original Motion Picture Soundtrack)
• Film Year: 1999
• Type: Various-artists compilation; original score by Greg Kendall (no separate commercial release widely available)
• Composers: Greg Kendall (score); various artists (songs)
• Music Supervision: Tom Wolfe; Manish Raval
• Label: Jive Records
• Release context: Album released days before the film; movie title aligned with Britney’s single and video push
• Selected notable placements: “(You Drive Me) Crazy” (party/credits), “I Want It That Way” (party crisis), “It’s All Been Done” (lake picnic), The Donnas’ cuts (Centennial dance)

Canonical Entities & Relations

Sources: Wikipedia; WhatSong; Discogs; AllMusic; The Numbers; Variety; Roger Ebert; People; Entertainment Weekly.

November, 09th 2025