"Hall Pass" Soundtrack Lyrics

"Hall Pass (2011) – Soundtrack Description"

Overview

Can a midlife crisis sound like a mixtape? Hall Pass stitches bar-band rock, indie pop, and radio classics around Rolfe Kent’s sly score. The needle-drops do the heavy lifting—mock-heroic walk-ups, hungover epiphanies, club euphoria—while the score nudges the jokes and panic beats.

There was no single, official commercial soundtrack album on release; instead, the film licenses a wide sweep (Deer Tick, Ellis Paul, Empire of the Sun, Röyksopp, Cypress Hill, Styx, Paul & Linda McCartney). Credits and placements below are compiled from studio listings and scene-by-scene breakdowns curated by soundtrack databases. Trusted sources referenced in-text: IMDb, Wikipedia, Movie Insider.

Questions & Answers

Was an official soundtrack album released?

No dedicated OST/CD at the time; the film uses licensed songs plus Rolfe Kent’s score cues.

Who composed the score?

Rolfe Kent.

Who supervised the music?

Manish Raval and Tom Wolfe are credited as music supervisors; Ronald J. Webb handled music editing; Jonathan Leahy is listed for music coordination/clearances.

What’s the most-asked-about cue?

“Monkberry Moon Delight” (Paul & Linda McCartney) during the slow-motion Applebee’s walk-in.

Are the party sequences built on contemporary electro-pop?

Yes—Empire of the Sun (“We Are The People,” “Walking on a Dream”), plus Röyksopp and others.

Does the movie favor diegetic or non-diegetic songs?

Mostly non-diegetic needle-drops that comment on the action; a few TV/radio diegetic moments.

Notes & Trivia

• Multiple Deer Tick and Ellis Paul tracks recur—an intentional “bar-band vs. troubadour” contrast.
• Clearance stack spans legacy catalogs (Beach Boys, McCartney) and 2010s blog-era indie.
• Fans often mistake a few cues for a non-existent retail album; playlists fill the gap.
• Party scenes lean Australian synth-pop (Empire of the Sun) for instant lift.

Genres & Themes

Indie/garage & bar-rock → bravado for guys’-night posturing; scruffy guitars sell “we still got it” delusion.

Synth-pop / electro → social-scene gloss; dancefloor confidence papering over midlife awkwardness.

Legacy pop & classic rock → comic juxtaposition: iconic anthems score deeply un-iconic behavior.

Tracks & Scenes

“Monkberry Moon Delight” — Paul & Linda McCartney
Where it plays: Day 1, slow-motion entrance to Applebee’s (non-diegetic).
Why it matters: Overblown glam applied to a chain-restaurant walk-in—perfect comedic contrast.

“Waiting for the Sun” — Billy (William) Goodrum
Where it plays: Applebee’s table talk about where to meet women (non-diegetic/ambient in-venue).
Why it matters: Easy-listening sheen under clueless strategy talk.

“Hits from the Bong” — Cypress Hill
Where it plays: Golf course high; body-wash debate (non-diegetic).
Why it matters: On-the-nose stoner needle-drop that undercuts their “mission.”

“Way That I Creep” — Gordon Gano & The Ryans
Where it plays: Leaving the golf course on the cart (non-diegetic).
Why it matters: Title jokes with the characters’ not-so-smooth vibe.

“We Are the People” — Empire of the Sun
Where it plays: Coakley’s party (first big cue); non-diegetic.
Why it matters: Shimmering synth-pop recasts suburbia as a festival set.

“Walking on a Dream” — Empire of the Sun
Where it plays: Same party/credits tag; non-diegetic.
Why it matters: Euphoric veneer over poor choices—textbook Farrelly irony.

“This Must Be It” — Röyksopp
Where it plays: Party connective tissue; non-diegetic.
Why it matters: Pulsing synths = momentum montage.

“When They Fight, They Fight” — Generationals
Where it plays: Domestic tension beat; non-diegetic.
Why it matters: Sunny melody, tart subtext—fits the film’s nice-surface/awkward-core tone.

“Quiet Little Voices” — We Were Promised Jetpacks
Where it plays: Rick stares at the wedding photo at the party (timestamp ~1:19 noted by fans); non-diegetic.
Why it matters: Indie drive for a real pang of doubt.

“The Best of Times” — Styx
Where it plays: A busted husband gets arrested outside his house (stinger at ~0:29 in listings); non-diegetic.
Why it matters: Power-ballad nostalgia weaponized as punchline.

“Cheapskate” — Supergrass
Where it plays: Energetic intercut in the mid-film shenanigans; non-diegetic.
Why it matters: Brit-pop snap to goose pacing.

“Everyone Is Guilty” — Akron/Family
Where it plays: Early montage flavor; non-diegetic.
Why it matters: Loose-limbed psych-folk to set the “free week” premise.

“Druganaut” — Black Mountain
Where it plays: Rougher rock texture for escalation; non-diegetic.
Why it matters: Fuzz guitars sell overconfidence.

“Wouldn’t It Be Nice” — The Beach Boys
Where it plays: Ironically placed around grown-up longing; non-diegetic.
Why it matters: Pristine harmonies vs. messy reality.

“Bad Man” — Pete Yorn
Where it plays: Late-act connective cue; non-diegetic.
Why it matters: Turns the braggadocio into mild regret.

Music–Story Links

Big, anthemic picks inflate trivial victories—slow-mo cues make the guys feel like rock stars in a strip mall. As the week slides, indie selections with nervy guitars and brittle drums creep in; the swagger cracks. By the hospital/come-to-Jesus beats, the film dials down the needle-drops and leans on quieter cues, letting the punchlines land as comeuppance.

How It Was Made

Composer: Rolfe Kent. Music supervision: Manish Raval and Tom Wolfe. Music editor: Ronald J. Webb. Coordination/clearances support: Jonathan Leahy and team. The Farrelly brothers favor recognizable cuts that can punch up visual gags; Raval/Wolfe’s brief mixes cult/indie bands with catalog giants to keep the tone light, a little ridiculous, and occasionally sincere.

Reception & Quotes

The film drew mixed reviews but the song choices quickly spawned fan playlists because there was no commercial OST.

“There are 50-plus songs in Hall Pass—no single album, so fans crowd-source the list.” Soundtrack round-ups

“Trailer and TV spots pushed the needle-drop energy as much as the stars.” Trade coverage

Additional Info

• No retail soundtrack in 2011—expect regional streaming gaps for a few catalog tracks.
• Applebee’s slow-mo cue (“Monkberry Moon Delight”) is one of the most-searched placements from the film.
• Party run uses at least two Empire of the Sun songs; Röyksopp appears in the same stretch.
• Several Ellis Paul songs appear across softer connective scenes (e.g., “Heaven’s Wherever You Are”).
• Black Mountain and Akron/Family provide the heavier guitar colors early on.

Technical Info

• Title: Hall Pass
• Year: 2011 (theatrical)
• Type: Feature film; no single official soundtrack album on release
• Score Composer: Rolfe Kent
• Music Supervision: Manish Raval; Tom Wolfe
• Music Editing: Ronald J. Webb
• Studios/Release: New Line Cinema / Warner Bros. Pictures (US theatrical)
• Selected song placements noted: Paul & Linda McCartney (“Monkberry Moon Delight”); Empire of the Sun (“We Are the People,” “Walking on a Dream”); Röyksopp (“This Must Be It”); Cypress Hill (“Hits from the Bong”); Styx (“The Best of Times”); We Were Promised Jetpacks (“Quiet Little Voices”); Deer Tick & Ellis Paul multiples.

Canonical Entities & Relations

Sources: IMDb; Wikipedia; Movie Insider; crowd-sourced soundtrack databases (scene-timed lists).

November, 10th 2025