"Dukes of Hazzard" Soundtrack Lyrics

"The Dukes of Hazzard (Music from the Motion Picture)" Soundtrack Description

Overview

Big-engine comedy needs big-engine music: Southern rock standards, bar-blues, outlaw country, and a few blasts of hard rock. The 2005 film’s companion album—The Dukes of Hazzard (Music from the Motion Picture)—collects marquee cuts (“One Way Out,” “Pride and Joy,” “Call Me the Breeze,” “Flirtin’ With Disaster”) alongside new covers led by Jessica Simpson’s hit “These Boots Are Made for Walkin’.” Apple Music lists the release as July 19, 2005 on Sony BMG; Spotify logs ~48 minutes across 15 tracks. Trusted sources: Apple Music; Spotify; Discogs.

Nathan Barr provides the twangy score, while the movie leans on needle-drops to drive chases and gags. Notably, two versions of “Black Betty” appear in the film (Ram Jam and Spiderbait), and AC/DC punches through key set-pieces. IMDb’s soundtrack page and the album’s credits confirm the heavy rotation of Southern staples, with Nic Harcourt credited as music supervisor on the commercial album. Trusted sources: IMDb; Discogs; Wikipedia (film & song entries).

Questions & Answers

Is there an official soundtrack album?

Yes. The Dukes of Hazzard (Music from the Motion Picture)—Sony BMG; released July 19, 2005; 15 tracks.

Who composed the score?

Nathan Barr composed the original score for the film.

Is there a separate score release?

A promo/limited score album of Barr’s cues circulated in 2005; collectors and Discogs listings document it.

Who supervised the music?

Nic Harcourt is credited as music supervisor on the commercial album; the film’s full credits list music-department leadership on IMDb.

What’s the big single from the movie?

Jessica Simpson’s “These Boots Are Made for Walkin’,” which charted widely and doubled as Daisy Duke’s signature moment.

Are the TV show’s theme and classics used?

Yes—“Good Ol’ Boys” (in multiple forms) and staples like “Pride and Joy,” “Flirtin’ With Disaster,” and “La Grange” appear.

Notes & Trivia

• Album label credit shows Sony BMG; Apple lists the date as July 19, 2005.
• Two versions of “Black Betty” are used in-film (Ram Jam; Spiderbait).
• AC/DC’s “If You Want Blood (You’ve Got It)” and “Shoot to Thrill” are heard in action beats.
• Willie Nelson appears on the album with a short spoken bit and sings “Good Ol’ Boys” in the film’s coda.
• Trusted sources cited in text: Apple Music; Spotify; Discogs; IMDb; Wikipedia; WhatSong.

Genres & Themes

Southern rock & blues-rock: Allmans, Skynyrd, ZZ Top, SRV—swagger for chase physics and county-fair bravado.

Outlaw/country radio: Charlie Daniels Band and Montgomery Gentry stitch Hazzard’s honky-tonk texture.

Hard-rock punctuation: AC/DC acts like turbo—short blasts that signal “floor it.”

Tracks & Scenes

“Good Ol’ Boys (Theme from The Dukes of Hazzard)” — Waylon Jennings
Where it plays: Opening narration/monologue variants at the top; theme callbacks later. Non-diegetic / meta-diegetic.
Why it matters: Bridges TV heritage to the feature’s tone.

“Pride and Joy” — Stevie Ray Vaughan & Double Trouble
Where it plays: Early police-station/walk-in gag with Enos; source-adjacent vibe.
Why it matters: Texas blues strut for a broad comic beat.

“One Way Out” (live) — The Allman Brothers Band
Where it plays: Early run-ups to rally prep and road scuffles; non-diegetic.
Why it matters: Slide-guitar urgency fits car-chase grammar.

“Funk #49” — James Gang
Where it plays: Luke and Uncle Jesse T-bone a patrol car in Boss Hogg’s Cadillac. Non-diegetic.
Why it matters: Percussive riff = punchline timing.

“Flirtin’ With Disaster” — Molly Hatchet
Where it plays: Bo enters the Hazzard Rally; race montage. Non-diegetic.
Why it matters: Southern-metal adrenaline for the film’s centerpiece.

“La Grange” — ZZ Top
Where it plays: Bo & Luke escape custody and recover the General Lee. Non-diegetic.
Why it matters: Bar-boogie groove as jailbreak swagger.

“The South’s Gonna Do It Again” — The Charlie Daniels Band
Where it plays: Atlanta traffic detour with trucker banter. Diegetic (radio-in-vehicle).
Why it matters: FM-radio Americana to set locale and pace.

“Hillbilly Shoes” — Montgomery Gentry
Where it plays: Atlanta van-in-traffic beats. Diegetic (car stereo).
Why it matters: Modern country texture amid the classics.

“Black Betty” — Ram Jam
Where it plays: Hazzard Rally sequences; non-diegetic.
Why it matters: Kick-drum stomp matches quick-cut editing.

“Dueling Banjos” — Eric Weissberg & Steve Mandell
Where it plays: Rural-quirk interludes; non-diegetic source-feel.
Why it matters: Rural wink that the franchise has always worn proudly.

“These Boots Are Made for Walkin’” — Jessica Simpson
Where it plays: Daisy lures cops away so Cooter can move the cars; reprises over end credits. Diegetic setup then non-diegetic outro.
Why it matters: The film’s pop moment and hit single; ties character to marketing.

“Good Ol’ Boys” — Willie Nelson
Where it plays: Closing coda; Uncle Jesse sings in-world. Diegetic performance.
Why it matters: Sends the audience out on brand.

Note: Scene placements cross-checked against IMDb Soundtracks and WhatSong; exact minute-marks vary by cut.

Music–Story Links

• Classic Southern cuts frame Hazzard as a place you can hear: bar bands, pickup stereos, and rally PAs stand in for “town voice.”
• Hard-rock bursts cue acceleration—the edit leans on downbeats to sell every leap of the General Lee.
• “Boots” flips the gaze: the soundtrack’s biggest pop single is also Daisy’s agency play inside the plot.

How It Was Made

Composer: Nathan Barr (score). Album supervision: Nic Harcourt (credit on the commercial soundtrack). Barr’s score circulated as a promo/limited release for press/collectors; fan archiving captures cue titles. Music clearances channel Sony for the album and Warner Bros. for the film.

Reception & Quotes

Film reviews skewed negative; the soundtrack’s familiar catalog found fans who came for cars and guitars. “These Boots Are Made for Walkin’” won Favorite Song from a Movie at the 2006 People’s Choice Awards.

“A comedy that knows just how smart to be about just how dumb it is.” Entertainment Weekly

“Lame-brained, outdated wheeze.” RogerEbert.com

Additional Info

• The commercial album includes short Willie Nelson spoken bits and multiple heritage tracks; runtime on streaming ~48 minutes.
• Spiderbait’s “Black Betty” appears in the film; Ram Jam’s version anchors the retail album.
• AC/DC cues (“If You Want Blood…,” “Shoot to Thrill”) are in-film only; they do not appear on the retail album.
• Jessica Simpson’s “Boots” single and EP were marketed in tandem with the film and the Brett Ratner-directed video.
• Score cue titles include “Welcome to Hazzard,” “Boss Hogg,” “The Safe,” “Safe Drag,” among others (promo track sheets).

Technical Info

• Title: The Dukes of Hazzard (Music from the Motion Picture)
• Year: 2005 (album & film)
• Type: Various-artists compilation; original score by Nathan Barr
• Composer: Nathan Barr
• Music Supervision (album): Nic Harcourt
• Label: Sony BMG / Sony Music Soundtrax
• Selected placements: “Pride and Joy” (police-station beat); “Flirtin’ With Disaster” (rally); “La Grange” (escape); “Funk #49” (T-bone gag); “These Boots Are Made for Walkin’” (Daisy diversion; credits)
• Release context: Warner Bros. feature; U.S. theatrical Aug 5, 2005

Canonical Entities & Relations

Sources: Apple Music; Spotify; Discogs; IMDb (Soundtracks & Full Credits); Wikipedia (film & song pages); WhatSong.

November, 09th 2025