"Hit & Run" Soundtrack Lyrics

"Hit & Run (Original Motion Picture Soundtrack)" Soundtrack Description

Overview

What happens when a lovers-on-the-lam chase comedy is scored like a crate-digger’s road mixtape? Hit & Run answers with a blend of 1970s/’80s soul-funk staples, soft-rock curveballs, and a few tender originals that cut through the tire smoke. Lakeshore’s album focuses on needle-drops and character-sung pieces, while the film itself credits Robert Mervak and Julian Wass with the score—two tonal poles the movie keeps ping-ponging between.

The commercial soundtrack leans into vibe: Ishmael Jingo’s Afro-funk “Fever,” Kool & the Gang’s slow-motion “Summer Madness,” the Dazz Band’s party-starting “Let It Whip,” Allen Toussaint and John Martyn for rootsy melancholy, capped by Pete Townshend’s “Let My Love Open the Door.” Around these, Mervak’s performances (solo and with The Motor City Horns) give the film its romantic through-line. AllMusic and Apple Music list a concise 12-track, 44-minute set; Film Music Reporter logged the digital drop on August 21, 2012, physical on September 25, 2012.

Questions & Answers

Who’s credited for the score?

Robert Mervak and Julian Wass are credited with music/score on the feature; the retail album compiles songs and Mervak-performed cues.

Who handled music supervision?

Industry listings and reviews credit Jason Altshuler and Laurence Freedman as music supervisors.

When did the soundtrack release?

Digitally on August 21, 2012; the CD followed on September 25, 2012 (Lakeshore Records).

Are there notable songs used in the film but not on the album?

Yes. The film uses “Sweet Emotion” (Aerosmith), “Voodoo Child (Slight Return)” (The Jimi Hendrix Experience), and Glenn Medeiros’s “Nothing’s Gonna Change My Love for You,” which are not on the retail album.

What’s the track that often closes Hollywood comedies and appears here too?

Pete Townshend’s “Let My Love Open the Door,” used as an anthemic closer.

Label and catalog?

Lakeshore Records; commonly indexed under catalog LKS 34290 for the CD.

Album length and focus?

~44:52. Heavy on soul/funk selections and a few Mervak performances; it’s a curated vibe piece rather than a full score presentation.

Notes & Trivia

• The film was originally titled Outrun during production; Open Road retitled it before release.
• “Pure Imagination” appears as Lou Rawls’s suave cover, a cheeky echo of Willy Wonka’s innocence inside a not-so-innocent chase.
• “Summer Madness” is the same hypnotic Kool & the Gang instrumental sampled across hip-hop and R&B—here it scores reflective breathers.
• Motor City DNA: Mervak’s “Waltz of Hate” features The Motor City Horns, tying the movie’s car love to Detroit-bred players.
• Townshend’s “Let My Love Open the Door” has a long pop-culture résumé; Hit & Run taps that instant-feelgood closure.

Genres & Themes

70s/80s soul & quiet-storm — romance and second chances. The silky textures (“You’ll Never Find…,” “Summer Madness”) soften the film’s hard edges and sell Charlie/Annie’s bond.

Funk & boogie — momentum and bravado. Dazz Band’s “Let It Whip” and Highlighters’ “Funky 16 Corners” punch up cross-town dashes and playful one-upmanship.

Singer-songwriter/Americana — consequence and regret. John Martyn and Allen Toussaint color the come-clean stretches where past choices surface.

Classic-rock signatures — outlaw swagger. Off-album uses of Aerosmith and Hendrix frame the “ex-getaway driver” mythos without turning the film into a jukebox.

Tracks & Scenes

Note: placements reflect the film and reliable release notes; exact timestamps vary by cut/territory.

“Fever” — Ishmael Jingo
Where it plays: Early-film groove establishing Charlie and Annie’s easy rapport during small-town routines; non-diegetic, partial use.
Why it matters: Afro-funk swagger tees up the film’s confident, DIY car-chase attitude.

“You’ll Never Find Another Love Like Me” — Glitter Ball
Where it plays: A light, wink-to-camera romantic needle-drop underscoring Annie’s pull toward Charlie despite red flags; non-diegetic.
Why it matters: Cheesy-sweet charm that the film knowingly leans into.

“Pure Imagination” — Lou Rawls
Where it plays: A dreamy interlude when the couple’s plans stretch beyond their small town; non-diegetic.
Why it matters: Child-like wonder reframed by Rawls’s velvet tone—aspiration with a wink.

“Funky 16 Corners” — The Highlighters
Where it plays: Quick-cut transitions between pit stops and phone-tagging pursuers; non-diegetic montage cue.
Why it matters: Brass stabs and drum breaks add kinetic punctuation without drowning dialogue.

“Waltz of Hate” — Bob Mervak & The Motor City Horns
Where it plays: A character-centric sequence where feelings and fallout blur; diegetic-adjacent tone piece.
Why it matters: Gives the score a signature color—romance laced with ruefulness.

“Summer Madness” — Kool & the Gang
Where it plays: Dusk-hour lull in the chase—sun low, tempers lower; non-diegetic, extended excerpt.
Why it matters: The synth-wash cools adrenaline, letting the leads actually talk.

“You Feel Like Home” — Bob Mervak & Isabel
Where it plays: Intimate beat between confessions; may be partially diegetic in-world.
Why it matters: The film’s romantic thesis in song form.

“Let It Whip” — Dazz Band
Where it plays: A victorious, comic surge after a clean getaway; non-diegetic, chorus-heavy use.
Why it matters: Pure momentum—wheels up, smiles up.

“Knockin’ on Heaven’s Door” — Bob Mervak
Where it plays: Reflective aftermath of a close call; non-diegetic cover anchoring a somber beat.
Why it matters: Familiar melody, gentler delivery—keeps the film on its human rails.

“Over the Hill” — John Martyn
Where it plays: Late-film honesty moment as past deeds catch up; non-diegetic.
Why it matters: Martyn’s ache mirrors the risk of coming clean.

“Last Train” — Allen Toussaint
Where it plays: A reset montage as plans shift west; non-diegetic cue bridging scenes.
Why it matters: Toussaint’s shuffle carries the plot forward without fuss.

“Let My Love Open the Door” — Pete Townshend
Where it plays: Closing/emotional payoff through end credits; non-diegetic (promo edit appears in album materials).
Why it matters: Crowd-pleasing closer; the genre’s go-to curtain call used smartly here.

Also heard in the film (not on the retail OST)
“Sweet Emotion” — Aerosmith; “Voodoo Child (Slight Return)” — The Jimi Hendrix Experience; “Nothing’s Gonna Change My Love for You” — Glenn Medeiros.
Why it matters: These classic-rock and soft-pop cues sharpen character contrast and era-agnostic road-movie appeal.

Music–Story Links

Charlie’s outlaw cool is mostly performed by other people’s records. Funk and boogie cover the bravado; soul ballads expose the soft center he tries to hide. When “Summer Madness” fades up, the script gives him space to tell the truth. When “Let It Whip” hits, he’s in motion again—fix first, feel later. Annie’s romantic frame gets the last word: Townshend’s chorus doubles as the couple’s thesis—love as a key, not a muzzle.

How It Was Made

Dax Shepard co-directed and wrote the film with a small budget and practical driving, so the soundtrack does heavy lifting. Lakeshore Records assembled a compact album; reviews and trade listings credit Julian Wass alongside Robert Mervak on music, with Jason Altshuler and Laurence Freedman supervising clearances and placements. The result: a song-forward sound that keeps dialogue legible while telegraphing tone shifts fast.

Reception & Quotes

Critical response was mixed overall, but several reviews singled out the easygoing tone and music choices.

“Ever so much better than a film titled ‘Hit & Run’ has any right to be.” Roger Ebert

“An enjoyable ride… the filmmakers push some gags close to the breaking point.” The Hollywood Reporter

Retail availability and release timing are consistent across label and retailer listings.

Additional Info

• Label: Lakeshore Records; digital release August 21, 2012; CD in late September 2012.
• Album runtime ~44:52; 12 tracks.
• Promotional audio previews circulated via Lakeshore channels around release week.
• The widely used Townshend closer appears here in a concise “promo edit” for marketing.
• Film’s original working title: Outrun; trailer rolled out May 2012.
• Not-on-album cues (Aerosmith, Hendrix, Medeiros) are documented in film references and cue lists.

Technical Info

• Title: Hit & Run (Original Motion Picture Soundtrack)
• Year: 2012
• Type: Compilation soundtrack with limited in-film performances; select score contributions credited to Robert Mervak & Julian Wass
• Music supervision: Jason Altshuler; Laurence Freedman
• Label: Lakeshore Records (digital & CD)
• Selected placements: “Fever”; “Summer Madness”; “Let It Whip”; “Let My Love Open the Door”; “Over the Hill”; “Last Train”; “Pure Imagination” (Lou Rawls)
• Release context: U.S. theatrical August 22, 2012; soundtrack digital August 21, 2012
• Availability: Commonly available on major digital storefronts/streamers; CD catalogued by specialty retailers

Canonical Entities & Relations

Sources: AllMusic; Apple Music; Film Music Reporter; Variety; The Hollywood Reporter; Wikipedia (film & soundtrack section); MovieMusic.com.

November, 10th 2025