"Heartbreak Kid, The" Soundtrack Lyrics

"The Heartbreak Kid (Music From the Motion Picture)" Soundtrack Description

Overview

Can a breakup farce feel like a sunny road playlist and still sting? The 2007 Farrelly Brothers remake leans on a pop-forward song album—Plan R Soundtracks’ Music From the Motion Picture—plus a small, scene-to-scene score by brothers Brendan Ryan & Bill “Billy” Ryan. The needle-drops do the charm work; the score does the stitching.

The compilation mixes alt-pop staples and left-field picks: The Flaming Lips open with a wry original, David Bowie delivers two catalog punches, The Weepies supply indie glow, and Julieta Venegas adds Spanish-language sweetness for the Mexico stretch. The official track list and label are consistent across retail and platform pages; IMDb’s soundtrack page and Spotify’s compilation listing align on most inclusions. Wikipedia confirms the Ryans as credited composers on the film.

Questions & Answers

Who composed the film’s score?

Brendan Ryan and Bill (Billy) Ryan, credited as the film’s composers.

Is there an official songs album?

Yes. The Heartbreak Kid: Music From the Motion Picture (Plan R Soundtracks, catalog 08674) — 14 tracks, released October 2, 2007.

What label issued the soundtrack?

Plan R Soundtracks (an EMI/Capitol family imprint for this title).

Who supervised the music?

Tom Wolfe and Manish Raval are credited as music supervisors on the project.

Are all film songs on the album?

No. A few cues appear in the movie but not on the CD (e.g., Miami Sound Machine’s “Conga,” Billy Goodrum’s “Finished”).

Is Bowie really on the disc?

Yes—two cuts: “Ashes to Ashes” and “Suffragette City.”

Notes & Trivia

• The album’s catalog number is Plan R 08674; multiple retailers show the same UPC (5099950867424).
• Spotify lists the compilation with the (P) 2007 Plan R Soundtracks credit; Discogs pages document US/EU pressings.
• The Weepies’ “Painting by Chagall” is licensed from Say I Am You (2006), a frequent screen sync favorite.
• Two Bowie tracks in one rom-com is rare; here they bracket character whiplash with swagger and nostalgia.

Genres & Themes

Alt-pop optimism (World Party, The Weepies, Buva) scores courtship and “maybe-we-fit” beats. Heritage glam/new wave (Bowie; Human League–adjacent sensibility via covers) punctures the sweetness with attitude. Latino pop/rock (Julieta Venegas) localizes the Los Cabos passages without caricature.

The Ryans’ score is compact and functional—light guitars, small percussion, warm keys—designed to button scenes between song cues. IMDb and Spotify both reflect the compilation-first strategy; Wikipedia confirms the composer credits on the main feature.

Tracks & Scenes

“The Tale of the Horny Frog” — The Flaming Lips
Where it plays: Opening/title energy; non-diegetic over early set-up (widely cited as the intro cue).
Why it matters: A knowingly cheeky tone-setter; signals that romance here comes with an eyebrow raise.

“She Makes Me Fall Down” — Buva
Where it plays: Dating montage across cafés, vineyard, BBQ, hospital; non-diegetic. (Approx. 0:15–0:16 in several releases.)
Why it matters: The courtship glue; a gentle acoustic hook that sells the whirlwind decision to marry.

“Put the Message in the Box” — World Party
Where it plays: Early optimism beats as Eddie rationalizes his choices; non-diegetic.
Why it matters: Upbeat 90s classic used as emotional tailwind.

“Painting by Chagall” — The Weepies
Where it plays: Reflective interlude as Eddie weighs new feelings; non-diegetic.
Why it matters: Indie-pop hush that softens a looming moral mess.

“Canciones de Amor” — Julieta Venegas
Where it plays: Los Cabos sequences; non-diegetic/local color.
Why it matters: Spanish-language lift that locates the story without novelty gags.

“Ashes to Ashes” — David Bowie
Where it plays: Mid-film pivot where the façade cracks; non-diegetic.
Why it matters: Glossy unease; nostalgia with doubt mirrors Eddie’s second thoughts.

“Suffragette City” — David Bowie
Where it plays: Later momentum as the plot accelerates; non-diegetic.
Why it matters: A brash kick that fuels the farce mechanics.

“Different Drum” — Matthew Sweet & Susanna Hoffs (Michael Nesmith cover)
Where it plays: Ironic commentary needle-drop on mismatched expectations; non-diegetic.
Why it matters: Lyrical subtext (“you and I travel to the beat of a different drum”) lands the joke.

“After Party” — Ozomatli
Where it plays: Nightlife/celebration slice; non-diegetic.
Why it matters: Brass-and-perc bounce to keep vacation scenes lively.

Not on the album but in the film: “Conga” — Miami Sound Machine (diegetic party energy); “Finished” — Billy Goodrum (a recurring source/credit cue). These appear in film or cue sheets but are omitted from the CD.

Music–Story Links

Sweet indie cuts sell the speed of Eddie and Lila’s romance; when reality intrudes, the soundtrack swaps to sharper-edged catalog (Bowie) to underline denial turning to panic. Latin pop in Mexico acts as place-setting, then the Ryans’ brief score buttons scenes so the film can jump between disasters without emotional whiplash. The closing beats rely on recognizable songs rather than grand orchestral catharsis—appropriate for a story about mixed signals and mixed tapes.

How It Was Made

Plan R packaged a 14-track retail CD timed to the U.S. release (Oct 2, 2007). The Farrelly Brothers continued their compilation-first approach, with Tom Wolfe and Manish Raval handling supervision and clearances. Brendan & Billy Ryan—musicians known for band work and screen composing—delivered the light-touch score cues that bridge the licensed tracks.

Reception & Quotes

While critical reaction to the film was mixed, the soundtrack’s easy-play sequencing drew steady catalog interest. Retail pages and fan guides highlight the Flaming Lips opener and dual-Bowie swing as selling points.

“Catalog punches from Bowie and lift from The Weepies give the set surprising replay value.” Album review summary

Availability: CD/digital via Plan R Soundtracks; the compilation streams widely. (Discogs, Spotify, IMDb provide reliable track and credit references.)

Additional Info

• Official album: 14 tracks; common UPC 5099950867424; catalog Plan R 08674.
• Key inclusions: The Flaming Lips (2 tracks), David Bowie (2 tracks), World Party, The Weepies, Julieta Venegas, Ozomatli, Buva, Matthew Sweet & Susanna Hoffs.
• “Conga” (Miami Sound Machine) and Billy Goodrum’s “Finished” are film-used but omitted from the retail album.
• Song-to-scene timing for the Buva montage is documented by third-party cue guides.
• Trusted sources for this page: IMDb, Spotify, Discogs, Wikipedia, retail/label listings.

Technical Info

• Title: The Heartbreak Kid — Music From the Motion Picture
• Year / Type: 2007 — Various-artists song compilation + original score (unreleased separately)
• Composers (score): Brendan Ryan; Bill (Billy) Ryan
• Music Supervision: Tom Wolfe; Manish Raval
• Label: Plan R Soundtracks (catalog 08674)
• Notable placements: “The Tale of the Horny Frog,” “She Makes Me Fall Down,” “Painting by Chagall,” “Canciones de Amor,” “Ashes to Ashes,” “Suffragette City,” “Different Drum,” “After Party”
• Trailer ID (YouTube): ON1-SohDqDg

Canonical Entities & Relations

Sources: IMDb; Spotify; Discogs; Wikipedia; SoundtrackINFO; MovieMusic/MovieXclusive retail pages.

November, 10th 2025