"Flushed Away" Soundtrack Lyrics

"Flushed Away (Music from the Motion Picture)" Soundtrack Description

Overview

How do you make a sewer sparkle? With a jukebox of Britpop, new wave, Tom Jones swagger, and a choir of shrieking slugs. The Flushed Away soundtrack mixes radio classics with original gags so the jokes land on beat and the chases feel turbocharged.

The album—issued by Astralwerks on October 31, 2006—collects needle-drops (“Dancing with Myself,” “Are You Gonna Be My Girl”), Tom Jones showpieces, slug choruses, and a handful of score cues by Harry Gregson-Williams. Much of the music is diegetic: characters sing, a boombox blares, and the slugs function as a comic Greek chorus. Trusted source mentions: Apple Music; Spotify; SoundtrackCollector.

Questions & Answers

Who composed the score?

Harry Gregson-Williams wrote the original score; a few cues appear on the album.

Who handled music supervision?

Robert Houston is credited as music supervisor.

Which label released the soundtrack?

Astralwerks (catalog ASW 79285), released October 31, 2006.

Is most of the film’s music diegetic?

Yes. Many cues are performed in-world (boombox, club, slug choruses), with score supporting action and emotion.

Are all film songs on the album?

No. A few brief cues used in the film (e.g., “Sailing”) aren’t on the Astralwerks compilation.

What about the trailers?

Marketing featured “Wonderful Night” (Fatboy Slim) alongside custom trailer cuts.

Does Hugh Jackman actually sing?

Yes—he leads the comic number “Ice Cold Rita,” backed by the slugs.

Notes & Trivia

• The opening dance is cut to Billy Idol’s “Dancing with Myself,” played from Roddy’s own boombox—fully diegetic.
• Slug interludes quote pop evergreens (“Don’t Worry, Be Happy,” “Mr. Lonely”) in micro-cues that double as punchlines.
• Tom Jones appears twice on the album—“She’s a Lady” (in-story singalong) and “What’s New Pussycat?” (early end credits).
• The album mixes hits with micro-cues; it’s not a complete score release.
• Astralwerks distributed multiple regional editions; cassette issues appeared in some markets.

Genres & Themes

New wave & Brit-rock energy → momentum and satire: Idol, Jet, and The Dandy Warhols push chase scenes like a metronome for slapstick. The tempos keep edits tight and jokes crisp.

Showband & crooner swagger → character comedy: Tom Jones numbers let Roddy peacock (and flop) in front of Rita’s clan, exposing his class bubble.

Comic chorale (the slugs) → audience cueing: Tiny doo-wops and one-liners act as laugh tracks and emotional signposts without breaking pace.

Tracks & Scenes

Key moments; diegetic unless noted. Timestamps are approximate where cited from documented clips.

“Dancing with Myself” — Billy Idol
Where it plays: Opening montage in Roddy’s Kensington flat as he parties solo; he presses play on his stereo (boombox). ~Start of film.
Why it matters: Defines Roddy as a pampered loner and sets the film’s pop-savvy tone.

“Are You Gonna Be My Girl” — Jet
Where it plays: Rat-mobile/boat pursuit with Spike and Whitey harrying the Jammy Dodger (mid-film). Non-diegetic needle-drop over action.
Why it matters: Kick drum and guitar stabs lock to cutting rhythm, adding propulsion.

“Bohemian Like You” — The Dandy Warhols
Where it plays: Sewer chase through Ratropolis—boats, scooters, near-misses (mid-film). Non-diegetic.
Why it matters: Crunchy guitars and handclaps give the chase a cheeky Britpop sheen.

“Ice Cold Rita” — Hugh Jackman & The Slugs
Where it plays: Roddy tries to charm/apologize to Rita; slugs back him up as a doo-wop chorus (~00:41:03). Diegetic serenade.
Why it matters: Shows Roddy’s performative poshness cracking; the slug chorus turns pathos into a gag.

“She’s a Lady” — Tom Jones (sung by Roddy in-scene)
Where it plays: At Rita’s home, Roddy hams it up for the Malone family; communal singalong. Diegetic.
Why it matters: A fish-out-of-water anthem that highlights class contrast and budding chemistry.

“Mr. Lonely” — The Slugs
Where it plays: Brief lament by slugs in a corridor as plans go sideways (~01:04:09). Diegetic micro-cue.
Why it matters: Punchline timing: a two-line quote reframes the setback as farce.

“Don’t Worry, Be Happy” — Bobby McFerrin (with Slugs intro)
Where it plays: Slugs deliver a knowingly ironic snippet to undercut Roddy’s panic. Diegetic micro-cue.
Why it matters: Self-aware reassurance that invites the audience to stay playful.

“Yakety Sax” — Boots Randolph
Where it plays: Comic chase montage accent; classic slapstick association. Non-diegetic sting.
Why it matters: Signals sped-up chaos; a time-tested chase signifier.

“Proud Mary” — Tina Turner
Where it plays: Finale/celebration sequence sliding into end-credits; call-and-response energy. Non-diegetic.
Why it matters: “Rolling on the river” lands as a literal sewer-river wink—and a joyful send-off.

“What’s New Pussycat?” — Tom Jones
Where it plays: Early end credits button; a tongue-in-cheek Tom Jones reprise.
Why it matters: Keeps the curtain call in the film’s playful, retro-crooner pocket.

Trailer watch: Marketing spots prominently used “Wonderful Night” (Fatboy Slim) alongside custom trailer beds.

Also heard in-film but not on the core OST (brief needle-drops): “Sailing” — Christopher Cross.

Music–Story Links

Roddy’s boombox dance (“Dancing with Myself”) literalizes his isolation; by the time he’s singing “She’s a Lady” at Rita’s table, the same impulse—performing—turns communal. Slug choruses puncture melodrama so plot beats never curdle: “Mr. Lonely” marks a low point without slowing the caper. High-BPM rock tracks (“Are You Gonna Be My Girl,” “Bohemian Like You”) do the heavy lifting in chase geography, letting the score concentrate on stakes and tenderness.

How It Was Made

Composer: Harry Gregson-Williams blends percussive action cues with warm, lyrical interiors. Short score cues on the album (“Life in the Sewer,” etc.) act as anchors between songs.

Music supervision: Robert Houston coordinated needle-drops and diegetic gags (notably the slug choir), with orchestrations led by Ladd McIntosh. The Astralwerks release folds these elements into a compact, family-friendly listen.

Reception & Quotes

Reviews repeatedly singled out the film’s musical wit and the slug choruses.

“It is a relief to encounter such exuberant and infectious silliness.” A.O. Scott, The New York Times

“This year’s wittiest animated adventure saga.” Claudia Puig, USA Today

“Most of the fun is in the deft characterizations, the zippy banter, and the joyous sight gags.” Tasha Robinson, The A.V. Club

Additional Info

• The album combines hits, novelty interludes, and select score cuts; there is no separate, full score album.
• Regional physical formats include CD (widespread) and cassette in select markets.
• “Ice Cold Rita” is performed by Hugh Jackman with the studio “Slugs” chorus.
• “What’s New Pussycat?” opens the credits; “Proud Mary” powers the closing celebration.
• Trailer campaigns leaned on Fatboy Slim’s “Wonderful Night.”

Technical Info

• Title: Flushed Away (Music from the Motion Picture)
• Year: 2006 (album release Oct 31, 2006)
• Type: Film soundtrack (compilation with select original score)
• Composers: Harry Gregson-Williams (original score)
• Music supervision: Robert Houston
• Label: Astralwerks (ASW 79285) / Aardman partnership
• Selected notable placements: Billy Idol “Dancing with Myself” (opening); Jet “Are You Gonna Be My Girl” (pursuit); The Dandy Warhols “Bohemian Like You” (chase); Tom Jones “She’s a Lady” (family scene); slug interludes including “Mr. Lonely” and “Don’t Worry, Be Happy”; Tina Turner “Proud Mary” (finale/credits); Tom Jones “What’s New Pussycat?” (credits).
• Release context (film): Theatrical release November 3, 2006 (US).
• Availability: Digital/streaming; physical CD; regional cassette issues. No standalone full score release as of today.

Canonical Entities & Relations

Sources: Apple Music; Spotify; SoundtrackCollector; Discogs; IMDb; Wikipedia; Wikidata; Rotten Tomatoes; Metacritic; Adtunes forum; Movieclips/official clips.

November, 09th 2025