"Get Him to the Greek" Lyrics

"Get Him to the Greek (Original Motion Picture Soundtrack)" Soundtrack Description

Overview

Can a soundtrack be both parody and playlist? Get Him to the Greek aims for that sweet spot: a mock-rock album credited to the film’s fictional band Infant Sorrow (fronted by Russell Brand’s Aldous Snow) plus sharp, scene-targeted needle-drops (The Clash, Sex Pistols, New York Dolls). The result feels like a romping rock memoir with punchlines—and hooks.

Composer Lyle Workman stitches the film’s chaos together while the “band” supplies the anthems: “Furry Walls,” “Bangers, Beans and Mash,” and the notorious “African Child (Trapped in Me).” Music supervisor Jonathan Karp funnels real-world writers (Jarvis Cocker, Carl Barât, Dan Bern, Mike Viola) into a believable pastiche of Brit-rock swagger. For baseline facts and credits, see Variety and the film’s album pages on Apple Music and Spotify.

Questions & Answers

Who composed the film score?

Lyle Workman composed the score; his brief cues sit between the many songs.

Who supervised the music and song curation?

Jonathan Karp served as music supervisor, coordinating original songs and clearances.

Is the “band” real?

No. Infant Sorrow is fictional; Russell Brand performs the vocals as Aldous Snow. The soundtrack was marketed like a real studio album.

Who wrote the songs?

A writers’ room of real musicians contributed—Jarvis Cocker, Carl Barât, Dan Bern, Mike Viola—alongside Workman and Jason Segel.

Is there an official album?

Yes. Get Him to the Greek was released June 1, 2010 (Universal Republic/Mercury), with a deluxe edition including Jackie Q tracks.

Which non-Infant Sorrow songs appear?

Key placements include The Clash’s “London Calling,” New York Dolls’ “Personality Crisis,” Goldfrapp’s “Strict Machine,” and Sex Pistols’ “Anarchy in the U.K.”

Does the movie reuse “Inside of You” from Forgetting Sarah Marshall?

Yes, it appears in-world, though it’s tied to the earlier film’s soundtrack release.

Notes & Trivia

• The film treats the soundtrack as a debut “studio album” by Infant Sorrow rather than a typical compilation.
• “African Child” is the plot catalyst: a disastrous charity single that tanks Aldous Snow’s career.
• Real-world punk and glam (Sex Pistols, New York Dolls, T. Rex) frame Aldous as a chaotic heir to 1970s excess.
• “Blind Medicine,” a Workman cue, doubles as the theme to Kristen Bell’s in-universe TV drama.
• Jackie Q (Rose Byrne) gets her own pop vapors—parody videos surface inside the film and on promo channels.

Genres & Themes

Brit-rock pastiche & glam swagger → mock-heroic anthems for Aldous’s ego; when the act cracks, the same style turns knowingly silly.

Punk & proto-punk needle-drops → velocity and chaos for airport scrambles, club benders, and TV-appearance sprints.

Electro-pop & Euro-club → hedonist glitter for Vegas and late-night detours.

Compact score motifs → Workman’s bridges keep the comedy snapping between set-pieces.

Tracks & Scenes

“African Child (Trapped in Me)” — Infant Sorrow
Where it plays: 00:01, opening as Aldous’s ill-advised charity video rolls.
Why it matters: the career-killing nadir that sets the comeback arc in motion. (WhatSong)

“Gang of Lust” — Infant Sorrow
Where it plays: ~00:05 over tabloids and TV as Aldous relapses; later reprises inside Sergio’s office hype.
Why it matters: establishes the hedonist persona the film must deconstruct. (WhatSong)

“Just Say Yes” — Infant Sorrow
Where it plays: ~00:08 while Aaron drives to work in the opening stretch.
Why it matters: ironic pep for a cautious intern about to meet chaos. (WhatSong)

“Inside of You” — Russell Brand / Infant Sorrow
Where it plays: early in the film on office monitors as Sergio screens Aldous; meta-callback to Forgetting Sarah Marshall.
Why it matters: anchors the shared universe; signals the label’s nostalgia play. (WhatSong)

“And Ghosted Pouts (Take the Veil Cerpin Taxt)” — The Mars Volta
Where it plays: ~00:15 as Aaron plays the track for Daphne to “explain” the band.
Why it matters: a sincere needle-drop that sketches Aaron’s actual taste. (WhatSong)

“London Calling” — The Clash
Where it plays: 00:23 as Aaron lands in London to retrieve Aldous.
Why it matters: instantly telegraphs locale and attitude; classic placement logic. (WhatSong)

“Another Girl, Another Planet” — The Only Ones
Where it plays: ~00:25 at pub lunch and into the club sequence (Tom Felton cameo).
Why it matters: bittersweet romantic buzz while responsibilities slip away. (WhatSong)

“Strict Machine” — Goldfrapp
Where it plays: ~00:26 at a bar as Aaron tries—and fails—to extract Aldous.
Why it matters: chrome-slick pulse for seduction and distraction. (WhatSong)

“Anarchy in the U.K.” — Sex Pistols
Where it plays: ~00:28 over a hard-charging montage as Aaron parties with Aldous; later reprises across travel chaos.
Why it matters: pure propulsion; the movie’s jet fuel. (WhatSong)

“Personality Crisis” — New York Dolls
Where it plays: arrival in New York for The Today Show slot.
Why it matters: glam-punk chaos announcing the U.S. media gauntlet. (WhatSong)

“Love Today” — MIKA
Where it plays: ~00:41 during a coked-up jog sequence.
Why it matters: bubble-rush pop for a chemically cheerful meltdown. (WhatSong)

“Licky (Work It Out)” — Larry Tee & Princess Superstar
Where it plays: ~00:46 in the club when Aaron accidentally calls Daphne mid-flirtation.
Why it matters: glossy Euro-club sheen under a personal implosion. (WhatSong)

“Cretin Hop” — Ramones
Where it plays: ~00:50 in the limo to the airport before Aldous dives out for a “pretzel.”
Why it matters: slapstick momentum for a very R-rated detour. (WhatSong)

“Stop Drop and Roll” — Foxboro Hottubs
Where it plays: ~00:57 in Las Vegas as Sergio’s “solution” causes more trouble.
Why it matters: garage-rock sprint for the film’s wildest set-piece. (WhatSong)

“Can’t We Be Friends” — Pete Jolly Trio
Where it plays: ~01:04 in the Vegas apartment as Sergio barks orders and Destiny enters.
Why it matters: lounge-cool irony while boundaries vanish. (WhatSong)

Trailer cue note: Marketing spots mix in classic-rock and library cues that don’t map 1:1 to the album—common for comedies of the era.

Music–Story Links

“African Child” is the setup and the scar—the song that broke Aldous’s image; every later tune either rehabilitates him (“Furry Walls”) or reveals the brand as costume (“Bangers, Beans and Mash”). Punk classics (“Anarchy…,” “Personality Crisis”) act like chapter headers for travel legs: London → New York → Vegas. The club/electro cues mark temptation beats—moments where Aaron risks career, relationship, or both to keep the mission alive.

How It Was Made

Workman’s brief, connective score lets the songs drive character beats. Karp’s supervision gathered a small army of writers (Jarvis Cocker, Carl Barât, Dan Bern, Mike Viola, Jason Segel) to craft tunes that sound plausibly “big” yet comedically pointed. The album strategy: release Infant Sorrow as if it were a real band record, not a miscellaneous soundtrack.

Production notes and interviews underline that the music department treated this like a major-label project—studio sessions, fully voiced arrangements, and a marketing plan that mirrored a rock rollout.

Reception & Quotes

Reviews were broadly positive on the film and mixed-positive on the album’s standalone replay value. A few snapshots:

“Delivers a number of moments almost worthy of The Hangover.” Variety

“Under the cover of slapstick… fundamentally a sound movie.” Roger Ebert

“Less fun to pick out targets… standout gags still land.” Pitchfork on the OST

Availability: the Infant Sorrow album streams widely and charted modestly (Billboard 200, Top Rock, and Soundtrack tallies). Vinyl/CD pressings exist through Universal/Mercury.

Additional Info

• The album peaked at No. 76 on the Billboard 200 and No. 8 on Top Soundtracks.
• Deluxe edition adds Jackie Q tracks and extra Infant Sorrow cuts.
• “Inside of You” is tied to the earlier film’s OST but appears in-world here.
• Several big-name punk/glam placements help “sell” Aldous’s lineage without breaking tone.
• Workman’s “Blind Medicine” is an in-universe TV theme and a meta-joke for fans tracking both films.

Technical Info

• Title: Get Him to the Greek (Original Motion Picture Soundtrack) — credited to Infant Sorrow
• Year: 2010 (album June 1; film U.S. release June 4)
• Type: Fictional-band studio album + film soundtrack with additional needle-drops
• Composer (score): Lyle Workman
• Music Supervision: Jonathan Karp
• Label: Universal Republic / Mercury (digital & physical)
• Selected notable placements: The Clash — “London Calling”; Sex Pistols — “Anarchy in the U.K.”; New York Dolls — “Personality Crisis”; Goldfrapp — “Strict Machine”
• Chart notes: U.S. Billboard 200 #76; Top Rock #21; Top Soundtracks #8; UK Soundtrack Albums #12

Canonical Entities & Relations

Sources: Variety; WhatSong; IMDb; Pitchfork; Wikipedia; Apple Music.

November, 09th 2025