"How to Lose a Guy in 10 Days" Soundtrack Lyrics

"How to Lose a Guy in 10 Days (Music From the Motion Picture)" – Album Guide to Tracks and Key Scenes

Overview

Can a glossy rom-com use classic pop, country radio, and soft-alt in one breath without losing tone? This soundtrack does. The album gathers early-2000s radio anchors—Keith Urban, Gin Blossoms, Sixpence None the Richer—alongside evergreen staples from Al Green and Carly Simon, while David Newman’s score threads between the needle-drops. The music keeps pace with Andie’s “lose him” antics and Ben’s “win her” bet, then softens for their Staten Island truce.

The commercial compilation landed in late January 2003 on Virgin Records (11 tracks, ~42 minutes). The film itself (released Feb 7, 2003) credits composer David Newman; music supervision is credited to Dana Millman. The album doesn’t chase completeness; it spotlights marquee moments and a few scene-defining cues while other on-screen songs remain film-only.

Questions & Answers

Who composed the score?

David Newman, whose light, rhythmic cues sit between the big needle-drops.

Who supervised the music?

Dana Millman is credited as music supervisor; Jojo Villanueva served as music coordinator on the film.

What label issued the songs album?

Virgin Records America. The retail album contains 11 tracks and clocks around 42 minutes.

Is every movie song on the OST?

No. Several placements appear only in the film (e.g., Gorillaz “19-2000 (Soulchild Remix)”, Santana/Macy Gray “Amore (Sexo)”).

Which legacy track became the movie’s signature scene?

Carly Simon’s “You’re So Vain” — used for the bar-karaoke face-off, later over the album sequence.

What’s the opening song?

“Catch Me If You Can” by The Beu Sisters under early credits/setup.

Notes & Trivia

• The compilation’s headline cuts include Keith Urban’s “Somebody Like You” (a special mix was prepared for the film/album).
• Carly Simon personally okayed the use of “You’re So Vain” for the karaoke confrontation (as reported in oral-history features).
• Newman’s score cue titles circulate on fan uploads, but no official score album was widely released.
• Two Chantal Kreviazuk tracks bookend tender scenes: “Feels Like Home” and “Weight of the World.”

Genres & Themes

Adult-alt / singer-songwriter → vulnerability breaks through the bit (Kreviazuk, Fisher). These cues handle apologies and quiet resets.

Classic soul & 70s pop → effortless charm and irony (Al Green; Carly Simon). Old hits undercut new games.

Country-pop & 90s–00s alt → forward motion (Keith Urban; Gin Blossoms). Guitars keep montages moving and flirtation buoyant.

Tracks & Scenes

Guide: diegetic = heard by the characters. Scene timing can vary by edition; placements below synthesize film credits, retail listings, and long-running fan logs.

“Catch Me If You Can” — The Beu Sisters
Where it plays: Early credits and setup; non-diegetic.
Scene: Manhattan intros and magazine bustle establish Andie’s beat. Quick cuts match the bubblegum sprint of the track.
Why it matters: Announces the movie’s speed and tone before schemes start.

“Somebody Like You” (edit) — Keith Urban
Where it plays: Outdoor ride/transition from Ben’s parents’ home; non-diegetic montage punch-in.
Scene: The couple’s chemistry finally plays without games—road breeze, laughter, stolen glances.
Why it matters: Country-pop warmth telegraphs authentic connection beneath the wagers.

“Feels Like Home” — Chantal Kreviazuk
Where it plays: Post-ride intimacy at the parents’ house; non-diegetic.
Scene: Soft lighting and steam; joking gives way to tenderness.
Why it matters: The lyric reframes “the bet” as a risk worth taking.

“You’re So Vain” — Carly Simon
Where it plays: Bar karaoke showdown; largely diegetic, with the mix swelling into non-diegetic emphasis.
Scene: Andie weaponizes the lyrics; Ben counter-sings. Friends cringe; the crowd roars.
Why it matters: It’s the movie’s thesis in a hook—ego vs. honesty—played as comedy and revelation.

“Let’s Stay Together” — Al Green
Where it plays: Date-night glide into a calmer groove; non-diegetic.
Scene: After a stretch of sabotage, an adult song for a grown-up pause.
Why it matters: Classic soul suggests what the couple could be without the bit.

“Follow You Down” — Gin Blossoms
Where it plays: City-on-wheels montage; non-diegetic.
Scene: Taxi doors, Knicks colors, late-night sidewalks—dialogue snips over the jangle.
Why it matters: 90s-hangover alt-pop keeps scenes buoyant while stakes climb.

“Who Do You Love?” — George Thorogood & The Destroyers
Where it plays: Party/poker-night energy; non-diegetic with room bleed.
Scene: Andie crashes “boys’ night,” pushes buttons; the swaggering shuffle fits the chaos.
Why it matters: Blues-rock bravado underlines the collision of personas.

“Kiss Me” — Sixpence None the Richer
Where it plays: A sweeter beat in mid-film; non-diegetic.
Scene: The rom-com float where schemes briefly fade and sincerity peeks through.
Why it matters: Sugar in measured dose—useful contrast to the barbed gags.

“Weight of the World” — Chantal Kreviazuk
Where it plays: Late-film reflection; non-diegetic.
Scene: After the gala blow-up, quieter faces replace quips.
Why it matters: Names the cost of the games and sets up the bridge-chase payoff.

Also heard (film-only / not standard on OST): Gorillaz “19-2000 (Soulchild Remix)”; Santana & Macy Gray “Amore (Sexo)”.

Music–Story Links

• Old hits, new games: Classic catalog (“You’re So Vain,” “Let’s Stay Together”) comments on behavior without stopping the comedy.
• Country-pop honesty: “Somebody Like You” scores the Staten Island warmth—Ben’s family scenes crack both leads’ defenses.
• Ballads as truth serum: Kreviazuk’s tracks absorb fallout, letting the performances land quietly.

How It Was Made

Director Donald Petrie leans on recognizable catalog to keep tone light while Newman's score smooths scene transitions. Dana Millman handled music supervision; Jojo Villanueva is credited as music coordinator. The album release hit retail in late January 2003 through Virgin, with a film-mixed edit of Keith Urban’s “Somebody Like You” folded in.

Reception & Quotes

The movie opened at #1 and grew into a cable/streaming staple. The soundtrack’s sing-along centerpiece continues to resurface in pop culture.

“Music: David Newman.” — trade credit listings

“That karaoke showdown works because the song is the punchline and the diagnosis.” — soundtrack watchers

“The yellow-dress gala and its musical callbacks locked this rom-com into the icon file.” — oral-history retrospectives

Additional Info

• Album runtime: ~42 minutes (11 tracks).
• Signature moment: Bar-karaoke “You’re So Vain,” now a recurring reunion gag at fan events and social clips.
• Edits: Minor TV/airline versions can nudge placements; album order remains constant across major DSPs.
• Unreleased score: Select Newman cues circulate via promo or fan compilations; no wide official score album.

Technical Info

• Title: How to Lose a Guy in 10 Days (Music From the Motion Picture)
• Year / Type: 2003 / Various-artists soundtrack (songs; score by David Newman in-film)
• Composer: David Newman
• Music Supervision: Dana Millman (music coordinator: Jojo Villanueva)
• Label / Release: Virgin Records America — Jan 28, 2003 (album sequence widely listed on DSPs)
• Selected notable placements: Carly Simon “You’re So Vain”; Keith Urban “Somebody Like You” (edit); Chantal Kreviazuk “Feels Like Home” & “Weight of the World”; Al Green “Let’s Stay Together”; Gin Blossoms “Follow You Down”
• Film: Directed by Donald Petrie; U.S. theatrical release Feb 7, 2003; distributor Paramount Pictures
• Availability: Digital album on major platforms; some on-screen songs appear only in the film

Canonical Entities & Relations

Sources: studio/retail album listings; film credits (composer, supervision); soundtrack databases and long-running scene logs; oral-history features discussing the karaoke sequence; official trailer listing for video ID.

November, 10th 2025