"Hangover, Part III" Soundtrack Lyrics

---

"The Hangover Part III (Original Motion Picture Soundtrack)" Soundtrack Description

Overview

Can a farewell soundtrack swing from saccharine boy-band cheer to Schubert at a funeral to doom-laden rap and still feel cohesive? This one does—mostly by weaponizing contrast. The Hangover Part III leans on knowingly ironic needle-drops while Christophe Beck’s score supplies the connective tissue and last-lap callbacks to the trilogy’s sound.

The official album (WaterTower Music) pares the movie’s cues to a sharp, punchline-forward set—Hanson’s “MMMBop,” Billy Joel’s “My Life,” Fletcher Sheridan’s straight-faced “Ave Maria,” Harry Nilsson’s “Everybody’s Talkin’,” The Coasters’ “Down in Mexico,” Ken Jeong’s karaoke bits, Danzig’s “Mother ’93,” A$AP Rocky’s “F**kin’ Problems,” and The Cramps’ “Fever.” The film itself features more songs—Black Sabbath, Kanye West, Phil Collins—used for scene gags and swagger beats. Trusted sources: WaterTower Music; IMDb; Wikipedia.

Questions & Answers

Who composed the score?

Christophe Beck returned for the trilogy’s closer, with a separate score program issued as part of The Hangover Trilogy (Original Score).

Who released the song compilation?

WaterTower Music released The Hangover Part III: Original Motion Picture Soundtrack in May 2013.

Are all in-film songs on the album?

No. Several placements—e.g., Kanye West’s “Dark Fantasy,” Black Sabbath’s “N.I.B.,” Phil Collins’s “In the Air Tonight,” Billy Joel’s “The Stranger”—appear in the film but not on the OST.

Does the movie really use “Ave Maria” straight?

Yes. “Ave Maria” (Fletcher Sheridan) scores Alan’s funeral performance gag; the sincerity is the joke.

What’s with Ken Jeong’s vocals?

Two short jokey tracks—“Hurt” and “I Believe I Can Fly”—are performed by Ken Jeong in-character as Chow; they’re on the album.

Where can I verify scene-by-scene placements?

SoundtrackRadar provides minute marks and scene notes; WaterTower lists the official album; IMDb/Wikipedia document broader usage.

Notes & Trivia

• The album is a tight 10 tracks; the film uses roughly double that number when you include non-album cues.
• “Dark Fantasy” (Kanye West) appears in-film late; it’s not on the OST.
• Two versions of “Hurt” surface: Chow’s karaoke (OST) and a Nine Inch Nails needle during an emotional beat.
• Danzig’s “Mother ’93” slots in during a road segment to Las Vegas.
• Beck’s trilogy score set includes a cue titled “End Credits – The Hangover Part III.”

Genres & Themes

Classic pop & soft rock as irony: “My Life,” “Everybody’s Talkin’,” and “The Stranger” are used against chaos, framing denial and delusion with smooth veneers.

Hard rock & alt-rap as threat display: Black Sabbath’s “N.I.B.” and A$AP Rocky’s “F**kin’ Problems” telegraph swagger, greed, and the film’s darker action tilt.

Schmaltz as punchline: “Ave Maria” and Ken Jeong’s karaoke cues sell the franchise’s mean streak with straight faces.

Score as glue: Beck’s motifs stitch the tonal lurches—trilogy themes resurface for closure and last-joke timing.

Tracks & Scenes

“MMMBop” — Hanson
Where it plays: ~00:04, freeway sequence with Alan and the ill-fated giraffe; non-diegetic.
Why it matters: candy-coated optimism used as shock setup.

“My Life” — Billy Joel
Where it plays: ~00:06, post-argument headphones moment; non-diegetic/source-adjacent.
Why it matters: stubborn self-anthem for a man who refuses to change.

“Ave Maria” — Fletcher Sheridan
Where it plays: ~00:07, Alan sings at his father’s funeral; diegetic performance.
Why it matters: sincerity weaponized—the scene’s discomfort is the joke.

“Everybody’s Talkin’” — Harry Nilsson
Where it plays: ~00:15, the drive toward the rehab facility; non-diegetic travel montage.
Why it matters: breezy denial en route to intervention.

“Evil Ways” — Santana
Where it plays: ~00:27, post-pharmacy road shot; non-diegetic.
Why it matters: vintage Latin-rock groove pushes the plot toward the caper.

“Down in Mexico” — The Coasters
Where it plays: ~00:28, montage as the Wolfpack heads south; non-diegetic.
Why it matters: location flavor with a wink.

“Hurt” — Johnny Cash (in-scene karaoke setup) / “Hurt” — Nine Inch Nails (later)
Where it plays: ~00:31, Mr. Chow karaoke; ~01:26, goodbye beat; mixed diegetic and non-diegetic uses.
Why it matters: same song in two guises—parody first, sting later.

“La Camioneta Gris” — Los Huracanes del Norte
Where it plays: ~00:32, post-karaoke table scene; diegetic background.
Why it matters: norteño texture, ground-level humor.

“Mother ’93” — Danzig
Where it plays: ~00:54, on the road to Vegas; non-diegetic.
Why it matters: muscle and menace for the trilogy’s darker tilt.

“F**kin’ Problems” — A$AP Rocky (feat. Drake, 2 Chainz, Kendrick Lamar)
Where it plays: ~01:08, rooftop prowl; non-diegetic.
Why it matters: swagger cue before the plan unravels.

“N.I.B.” — Black Sabbath
Where it plays: ~01:12, at a party while they hunt for Chow; non-diegetic.
Why it matters: blunt-force riffing to match reckless choices.

“I Believe I Can Fly” — Ken Jeong
Where it plays: ~01:15, Chow sings again; diegetic gag.
Why it matters: the franchise’s penchant for bad karaoke peaks.

“Dark Fantasy” — Kanye West
Where it plays: ~01:33, slow-motion farewell montage; non-diegetic.
Why it matters: mythic self-image undercut by consequences.

“Fever” — The Cramps” & “In the Air Tonight” — Phil Collins
Where it plays: ~01:36–end, credits block; non-diegetic.
Why it matters: sleaze then grandiosity to send the trilogy out.

Also heard (not on OST): Billy Joel’s “The Stranger,” Billy Strange’s “The Girl from Ipanema,” plus brief source snatches in Vegas-set scenes. Trusted source: SoundtrackRadar.

Music–Story Links

Cheerful pop (“MMMBop,” “My Life”) frames Alan’s denial; the movie then yanks the mask off with “Ave Maria”—played painfully straight—to expose the group’s dysfunction. As the heist plot kicks in, the palette hardens: Danzig, Sabbath, and A$AP Rocky sell danger and bravado while Beck’s motifs keep scenes legible amid tonal whiplash.

The final montage uses “Dark Fantasy” as self-mythologizing the Wolfpack can’t earn; the credits’ swing from The Cramps to Collins doubles the franchise thesis: excess is funny until it isn’t. Trusted sources: Wikipedia; WaterTower Music.

How It Was Made

Christophe Beck scored the film; the trilogy score set (The Hangover Trilogy: Original Score) bundles Part III cues such as “Theme – The Hangover Part III,” “Chowshank Redemption,” and “End Credits.” Music supervision credit includes Randall Poster for the film, with WaterTower handling the compilation release. Trusted sources: Beck’s project notes; Metacritic credits; Discogs (trilogy score).

Reception & Quotes

Coverage of the soundtrack noted the sharper, darker tone and the album’s lean, gag-centric selection versus the broader in-film playlist.

“An intentionally abrasive mixtape—saccharine to Sabbath—with Beck’s cues as the duct tape.” Album-press summaries

“The straight ‘Ave Maria’ bit lands because the film never winks.” Fan notes

Availability is steady on major streamers (album) and as a separate score bundle. Trusted source: Spotify.

Additional Info

• Album length: 10 cuts; several big in-film cues are omitted by design (clearance/tonal flow).
• Beck’s score set sequences Part III cues after Parts I–II for a through-line listen.
• “Hurt” appears twice in different guises (parody vs. original artist)—a running joke turned mirror.
• Sabbath and A$AP placements underline the third film’s shift toward action-thriller energy.
• Expect minor timestamp drift by edition (theatrical vs. broadcast/stream edits).

Technical Info

• Title: The Hangover Part III (Original Motion Picture Soundtrack)
• Year: 2013
• Type: Compilation (licensed songs + brief in-character vocals); separate score album for Beck’s cues
• Composer (score): Christophe Beck
• Label: WaterTower Music (song album); Varèse/WaterTower-related releases for the trilogy score set
• Selected notable placements: “MMMBop,” “My Life,” “Ave Maria,” “Everybody’s Talkin’,” “Evil Ways,” “Down in Mexico,” “Hurt” (Chow karaoke & Nine Inch Nails), “Mother ’93,” “F**kin’ Problems,” “N.I.B.,” “Dark Fantasy,” “Fever,” “In the Air Tonight.”
• Release context: Film released May 23, 2013; album the same week.
• Availability: Digital/CD for the OST; streaming for OST and trilogy score.

Canonical Entities & Relations

Subject	Relation	Object
Christophe Beck	composed	The Hangover Part III (film score)
WaterTower Music	released	The Hangover Part III: Original Motion Picture Soundtrack
Randall Poster	music supervision	The Hangover Part III (film)
Todd Phillips	directed	The Hangover Part III (2013)
Hanson	performed	“MMMBop” (opening sequence)
Billy Joel	performed	“My Life” (headphones cue)
Fletcher Sheridan	performed	“Ave Maria” (funeral)
Harry Nilsson	performed	“Everybody’s Talkin’” (road scene)
A$AP Rocky feat. Drake, 2 Chainz & Kendrick Lamar	performed	“F**kin’ Problems” (rooftop)
Black Sabbath	performed	“N.I.B.” (party search)

Sources: WaterTower Music; IMDb; Wikipedia; SoundtrackRadar; Christophe Beck’s project notes; Spotify.

November, 10th 2025

'The Hangover Part III' - Find info on Internet Movie Database, Wikipedia

---

A-Z Lyrics Universe

---