"Flipped" Soundtrack Lyrics

"Flipped (Original Motion Picture Soundtrack)" Soundtrack Description

Overview

What does first love sound like when the calendar says 1963? This soundtrack answers with doo-wop sparkle, girl-group glow, and a tender original score. Period singles from The Chiffons, The Everly Brothers, The Miracles and more frame the midsummer jitter of Juli & Bryce, while Marc Shaiman’s orchestral writing brings the ache and air of big-sky innocence.

The album was released by WaterTower Music on August 3, 2010 and pairs a curated set of late-’50s/early-’60s hits with Shaiman’s “Flipped Suite.” WaterTower Music and Apple Music list the compilation and credits; IMDb confirms Shaiman as composer. The film itself leans on source songs to place us (radios, dances, hallways) and uses the score sparingly but decisively—most potently in end-of-act pivots and the final catharsis.

Trusted source mentions: WaterTower Music; Apple Music; IMDb; Wikipedia.

Questions & Answers

Who composed the original score?

Marc Shaiman, whose lyrical, Americana-tinged writing supplies the film’s gentle emotional lift.

Which label released the soundtrack?

WaterTower Music issued the compilation album in early August 2010.

Are the songs strictly from the era depicted?

Yes—late-’50s and early-’60s classics dominate to match the 1963 timeframe.

Do any cast or filmmakers perform on the album?

Yes. “What’s Your Name” is credited to Rob Reiner with Michael Christopher Bolten & Shane Harper.

Is there a standalone score album?

No dedicated score release; the album includes Shaiman’s “Flipped Suite.”

Is every needle-drop on the disc?

No. A few additional period cuts heard in the film didn’t make the retail album.

Notes & Trivia

• The album’s running time is ~30 minutes across 12 tracks, ending with “Flipped Suite.”
• Release timing aligned with the film’s U.S. theatrical rollout (August 2010).
• Song clearances lean heavily on girl-group and doo-wop staples to keep tone youthful.
• Rob Reiner’s name appears not only as director but also among credited performers on one cut.
• The film is set around 1963; the music choices track that pre-British-Invasion sweetness.

Genres & Themes

Girl-group pop & doo-wop (The Chiffons, The Drifters): puppy-love confidence on the surface; under it, the fragility of being seen. These tracks cue crushes, gossip and school-hall rituals.

Early soul & teen ballads (The Miracles, Everly Brothers): vulnerability and longing, often under dialogue. When characters weigh pride vs. tenderness, these sides win.

Instrumental rockers & organ grooves (The Ventures, Duane Eddy, Dave “Baby” Cortez): light capers and suburban mischief; they score comic beats without breaking the spell.

Tracks & Scenes

Approximate placements mirror publicly listed timestamps; “diegetic” indicates music heard as if in-world (radio/room) vs. background underscore.

“Pretty Little Angel Eyes” — Curtis Lee
Where it plays: ~1′, moving-day montage as Bryce’s family arrives; background, mostly non-diegetic.
Why it matters: Establishes the film’s warm, sock-hop palette and Juli’s instant fixation.

“One Fine Day” — The Chiffons
Where it plays: ~2′, early courtyard/classroom crush beats; non-diegetic.
Why it matters: Girl-group confidence frames Juli’s pursuit with sunshine rather than irony.

“He’s So Fine” — The Chiffons (Remastered)
Where it plays: ~4′, Juli’s first-person recollection of meeting Bryce; non-diegetic under narration.
Why it matters: Mirror-images the title’s pronoun to center her gaze.

“A Lover’s Question” — Clyde McPhatter
Where it plays: ~8′, Bryce vents about Juli and the sycamore; background, non-diegetic.
Why it matters: Crooner doubt underlines his resistance before the “flip.”

“Crying in the Rain” — The Everly Brothers
Where it plays: ~11′, after Chet shows the newspaper about Juli; background.
Why it matters: Melancholy shadows her tree loss and Bryce’s uneasy empathy.

“Walk, Don’t Run” — The Ventures
Where it plays: ~22′, Bryce and Garrett snoop around Juli’s yard (the rumored rooster); likely source-like, playful pacing.
Why it matters: Surf-guitar cool turns a guilty errand into a caper.

“Rebel Rouser” — Duane Eddy
Where it plays: ~25′, Bryce secretly trashes Juli’s egg deliveries; non-diegetic.
Why it matters: Twangy swagger makes a small betrayal feel huge.

“The Happy Organ” — Dave “Baby” Cortez
Where it plays: ~27′, Juli’s egg business ramps up; bouncy, likely diegetic-ish ambiance.
Why it matters: Buoyant organ matches her initiative and optimism.

“A Teenager in Love” — Dion & The Belmonts
Where it plays: ~35′, romantic second-thoughts swirl; background.
Why it matters: The lyric premise is the movie’s thesis in miniature.

“You’ve Really Got a Hold on Me” — The Miracles
Where it plays: ~39′, Bryce realizes he cares; background, non-diegetic.
Why it matters: Smokey’s ache = the flip.

“Devoted to You” — The Everly Brothers
Where it plays: ~43′, family-centric scene with Chet softens Juli’s view; background.
Why it matters: A modest promise song for modest, good people.

“Let It Be Me” — Phil Everly
Where it plays: End credits; non-diegetic.
Why it matters: A graceful curtain call after the sapling is planted and perspectives finally align.

Also heard (not on the retail album): additional late-’50s/early-’60s cuts (e.g., “Stand By Me,” “Da Doo Ron Ron”) surface as incidental period color in school and neighborhood scenes.

Music–Story Links

Juli’s certainty gets girl-group tailwinds; Bryce’s hedging gets crooner doubt. When humiliation strikes at the basket-boy auction, chart-era pop pulls the scene toward ritual and spectacle—teen politics in 2 minutes 30. The turn toward empathy (Chet’s influence) comes wrapped in Everly harmonies; by the time “You’ve Really Got a Hold on Me” slips under Bryce’s realization, the soundtrack has already flipped his bias.

How It Was Made

Shaiman’s score was recorded with a compact Hollywood Studio Symphony ensemble (strings/woodwinds/piano), conducted by Jeff Atmajian, with Frank Wolf mixing. The orchestra’s size keeps cues intimate, allowing licensed songs to lead identity while the score handles tenderness and perspective shifts.

Release logistics are straightforward: WaterTower Music handled the retail album; major DSPs mirrored it globally. The official listings align on credits and sequencing.

Reception & Quotes

Initial reviews were mixed-positive overall, but many singled out the movie’s sweetness and period texture; the soundtrack choices are central to that effect.

“A lovely movie about a girl who has adored a boy… In Reiner’s film, they flip and start running in the other direction.” Roger Ebert

“Young actors acquit themselves well… honest and unabashed performances.” The Hollywood Reporter

Additional Info

• Album status: single compilation (no separate score album was issued).
• “What’s Your Name” is credited to Rob Reiner with Michael Christopher Bolten & Shane Harper.
• Not all on-screen songs appear on the album; several era tracks function as scene texture only.
• Sequence on disc does not mirror film order; it’s a listenable arc rather than a cue-sheet map.
• Region availability: album streams widely; physical media exists as on-demand CD-R pressings.

Technical Info

• Title: Flipped (Original Motion Picture Soundtrack)
• Year: 2010 (album released Aug 3, 2010)
• Type: Compilation (various artists) + one score suite
• Composer: Marc Shaiman
• Label: WaterTower Music
• Selected notable placements: “Pretty Little Angel Eyes” (opening), “Crying in the Rain” (post-sycamore fallout), “You’ve Really Got a Hold on Me” (realization), “Let It Be Me” (end credits)
• Film context: Set around 1963; distribution by Warner Bros. Pictures (U.S. release August 6, 2010)
• Availability: Streaming on major DSPs; physical CD-R on demand in some markets

Canonical Entities & Relations

Sources: WaterTower Music; Apple Music; IMDb; Wikipedia; ScoringSessions.com; Spotify; Soundtrakd; MoviesOST; RogerEbert.com.

November, 09th 2025