"Here Comes The Boom" Soundtrack Lyrics

"Here Comes the Boom (Music from the Motion Picture)" Soundtrack Description

Overview

What saves a school music program in a fight comedy? A playlist that punches above its weight. Here Comes the Boom (2012) blends arena-rock anthems, classic pop, and UFC-ready stompers with a sturdy original score by Rupert Gregson-Williams. The film’s title nods to P.O.D.’s “Boom,” and the needle-drops are cut to ringside rhythms—Wolfmother, Godsmack, Refused, Journey—while the story keeps a generous ear for choir room moments and a student soloist.

There isn’t a single official “song album” release; instead the film licenses well-known tracks and relies on Gregson-Williams’s score. Public reference listings match the composer credit and the prominent song placements (Neil Diamond/Charice “Holly Holy,” A-Teens, Wolfmother, P.O.D., Refused, Journey, Stemm).

Questions & Answers

Who composed the score?

Rupert Gregson-Williams.

Is there a commercial soundtrack album?

No full retail song album; tracks appear on their original artist releases. Score cues are not widely issued as a standalone album.

Which songs define the film’s sound?

“Boom” (P.O.D.), “Joker & the Thief” (Wolfmother), “I Stand Alone” (Godsmack), “New Noise” (Refused), “Faithfully” (Journey), “Face the Pain” (Stemm), and “Holly Holy” (Neil Diamond; also a student performance version).

Does the movie use UFC themes?

Yes—Stemm’s “Face the Pain” appears, tying fight scenes to real-world MMA sonics.

Who sings in the classroom sequences?

Student Malia (played by Charice, now Jake Zyrus) delivers “Holly Holy,” contrasted with Neil Diamond’s original used elsewhere.

What’s the trailer ID for images?

YouTube trailer ID: M4L6ruTF5qE.

Notes & Trivia

• Composer credit: Rupert Gregson-Williams (corroborated in film and production listings).
• The title references P.O.D.’s “Boom,” a staple in sports arenas in the 2000s.
• Both Neil Diamond’s original “Holly Holy” and a diegetic performance by Charice (Jake Zyrus) appear—one of the film’s key emotional contrasts.
• UFC-associated cue “Face the Pain” (Stemm) anchors fight hype segments.

Genres & Themes

Alt/arena rock → Adrenaline & bravado: Wolfmother, Godsmack, Refused, and P.O.D. supply swagger and forward drive for training and cage sequences.

Classic pop & power ballad → Heart on the sleeve: Journey’s “Faithfully” and Neil Diamond’s “Holly Holy” cushion the film’s mentor-student and faculty-room beats.

Source-music realism → School + sports worlds: A-Teens bubblegum, disco-funk (Jimmy “Bo” Horne), and fight-promo staples place us credibly in gyms, cafeterias, and arenas.

Tracks & Scenes

“Boom” — P.O.D.
Where it plays: Fight-promotion and hype moments; referenced by the film’s title (non-diegetic needle-drop).
Why it matters: Instant crowd electricity; defines the sports-entertainment tone.

“Joker & the Thief” — Wolfmother
Where it plays: Entrance/fight-prep montage (non-diegetic).
Why it matters: Fuzzy riff + stomp tempo = swagger for an underdog who finally swings back.

“Face the Pain” — Stemm
Where it plays: UFC-style hype/audio branding inside arenas (source/needle-drop).
Why it matters: Links the fictional bouts to real MMA culture.

“I Stand Alone” — Godsmack
Where it plays: Training grind and mid-film setbacks (needle-drop).
Why it matters: Tough-minded riff for a teacher fighting past ridicule.

“New Noise” — Refused
Where it plays: Late-film gear-up; the quiet intro detonates into hardcore energy (needle-drop).
Why it matters: The song’s dynamic switch mirrors Scott’s flip from doubt to commitment.

“Holly Holy” — Neil Diamond
Where it plays: Emotional uplifts around the school community (needle-drop).
Why it matters: Old-school spiritual pop that frames the “save the program” stakes.

“Holly Holy” — Charice (onscreen performance)
Where it plays: Student showcase/recital (diegetic).
Why it matters: The movie’s heart; singing turns the financial problem into a human one.

“Faithfully” — Journey
Where it plays: Quiet personal beat between faculty/mentors (needle-drop).
Why it matters: Earnestness without irony—rare in a brawler comedy.

“Bouncing Off the Ceiling (Upside Down)” — A-Teens
Where it plays: Light campus/social interludes (source).
Why it matters: Pop-sugar contrast to bruising fights.

“Spank (’80 Remix)” — Jimmy “Bo” Horne
Where it plays: Locker-room / gym transitional moments (source).
Why it matters: Funk groove that keeps momentum between beats.

“James Brown Is Dead” — L.A. Style
Where it plays: Club-like bumps under montage cuts (needle-drop).
Why it matters: Early-90s rave DNA used as modern hype motor.

“Doin’ It Right (Delta Mix)” — Steve Azar
Where it plays: Road-to-venue connective scenes (needle-drop).
Why it matters: Country-rock change-up that keeps the film from one-texture fatigue.

Trusted references for song presence and identity: Wikipedia’s film/soundtrack section, scene-indexed listings (Soundtrakd), and widely cited playlists for the film.

Music–Story Links

Rock bangers sell Scott’s swagger, but the movie hinges on a choir. By pairing arena cues (“Boom,” “Face the Pain”) with an in-story student performance (“Holly Holy”), the soundtrack keeps the school’s stakes audible: it’s not about a fighter’s ego; it’s about funding a room where that voice can exist. Ballads then soften the edges so the crowds don’t drown out the kids.

How It Was Made

Composer: Rupert Gregson-Williams scored the film for director Frank Coraci (one of several Coraci–RGW collaborations). The music department clears a wide mix of licensed tracks—from classic pop to hardcore—so fights feel big-league while school scenes keep a human pulse. Public listings credit both Neil Diamond’s “Holly Holy” and the on-camera student version by Charice, alongside staples like Wolfmother’s “Joker & the Thief,” Refused’s “New Noise,” Godsmack’s “I Stand Alone,” and P.O.D.’s “Boom.”

Reception & Quotes

Reviews were mixed on the film, but the high-octane song picks were consistently noted as doing heavy lifting around the fight sequences and underdog beats.

“Music: Rupert Gregson-Williams.” Production credits summary

“The film’s title is taken from P.O.D.’s ‘Boom’.” Reference overview

Availability: Songs are available on original artist releases/streaming; no official “various artists” OST was issued for retail.

Additional Info

• Trailer IDs commonly used by studios: M4L6ruTF5qE (US), with regional variants.
• Expect regional playlist differences on streaming “unofficial” compilations; rely on film credits for canonical usage.
• Score cues by RGW underscore classroom and mentorship scenes where needle-drops would overpower performance.
• Some fan playlists also list “Shipping Up to Boston” et al.; those are not verified in the film’s official cue lists.

Technical Info

• Title: Here Comes the Boom (Music from the Motion Picture)
• Year: 2012
• Type: Licensed songs + original score (no retail song OST)
• Composer: Rupert Gregson-Williams
• Selected notable placements: “Boom” (P.O.D.); “Joker & the Thief” (Wolfmother); “I Stand Alone” (Godsmack); “New Noise” (Refused); “Face the Pain” (Stemm); “Holly Holy” (Neil Diamond & onscreen performance by Charice); “Faithfully” (Journey); “Bouncing Off the Ceiling (Upside Down)” (A-Teens); “Spank” (Jimmy “Bo” Horne); “James Brown Is Dead” (L.A. Style); “Doin’ It Right (Delta Mix)” (Steve Azar).
• Trailer ID used in figures: M4L6ruTF5qE

Canonical Entities & Relations

Sources: Wikipedia (film page & music list); Soundtrakd (song credits list incl. “Face the Pain,” “Boom,” “Holly Holy,” etc.); widely circulated trailer (YouTube, Sony Pictures).

November, 10th 2025