"In the Land of Women" Soundtrack Lyrics

"In the Land of Women (Original Motion Picture Soundtrack)" – Album Guide to Tracks and Key Scenes

Overview

What soundtrack do you give a writer in limbo who becomes a neighborhood’s sounding board? This one answers with literate college-radio cuts (OK Go, Rogue Wave, Neil Finn), classic jukebox jolts, and Stephen Trask’s intimate score sketches. The album plays like a mixtape left on the Hardwickes’ kitchen counter—tender but unsentimental.

Released April 17, 2007 by Lakeshore Records, the 15-track compilation pairs licensed songs with two Trask instrumentals that carry the title and a hinge cue (“Out of His Mind”). The film credits Trask for the original score; music supervision is by Manish Raval and Tom Wolfe (per film credits). As documented by Apple’s retail listing and Wikipedia’s entry, the disc clocks ~52 minutes and pulls from both ’80s–’90s alt/pop and mid-2000s indie.

Questions & Answers

Who composed the original score?

Stephen Trask composed the score; two of his cues close the retail album.

Who supervised the film’s music?

Manish Raval and Tom Wolfe are credited as music supervisors in the film’s full credits.

What label released the soundtrack and when?

Lakeshore Records, April 17, 2007; ~52 minutes, 15 tracks.

Are all songs from the movie on the album?

No. The album is representative—some credited uses (e.g., Foreigner, Springsteen) do not appear on the retail disc.

Is there a separate score release?

Retail focuses on songs + two cues; Trask’s closing theme also appears on digital platforms.

What’s in the trailers?

TV/online spots used additional songs (e.g., Trading Yesterday’s “One Day,” Rilo Kiley’s “Portions for Foxes”) not on the album.

Notes & Trivia

• The trailer most widely circulated online carries the YouTube ID used in the figures here.
• OK Go (“A Good Idea at the Time”) opens the disc with a wry push—the film opens more hushed.
• IMDb’s cue sheet lists legacy tracks beyond the CD selection (e.g., “Hot Blooded,” Foreigner; “Iceman,” Bruce Springsteen).
• The movie itself credits Stephen Trask as composer; his theme “In the Land of Women” rolls over the end.

Genres & Themes

Indie/alt folk-pop → quiet resets: Rogue Wave, Neil Finn, Kingsbury Manx set late-night porch tones—regret with headroom.

Jukebox rock → memory spikes: Rockpile and Foreigner mark generational edges and road-radio moments.

Low-profile score → private truths: Trask’s piano/ensemble cues don’t lecture; they lift dialogue and leave space.

Tracks & Scenes

Selected placements with verifiable context. Timestamps vary by cut. Diegetic status noted where clear.

“Try Whistling This” — Neil Finn
Where it plays: Lucy leaves the hospital and drives, zeroing in on a decision about Eric (non-diegetic).
Why it matters: A steady pulse for courage—it moves without rushing.

“Do You Believe in Love” — Huey Lewis & The News
Where it plays: Carter’s run sequence through the neighborhood (non-diegetic).
Why it matters: A knowingly on-the-nose pop push that reframes avoidance as momentum.

“A Good Idea at the Time” — OK Go
Where it plays: Early montage as Carter recalibrates in Michigan (non-diegetic).
Why it matters: The title winks at self-deception; guitars sketch denial with a grin.

“Publish My Love” — Rogue Wave
Where it plays: Porch-talk aftermath as Carter starts listening more than performing (non-diegetic).
Why it matters: The lyric’s ask—make it real—mirrors the film’s pivot from quips to candor.

“Spanish Stroll” — Mink DeVille
Where it plays: Street interlude; Carter finds a rhythm in the block’s routine (source-like vibe into non-diegetic).
Why it matters: Swagger in small doses; the film needs a little shoulder roll.

“When I Write the Book” — Rockpile
Where it plays: Writing montage; Carter drafts his way toward honesty (non-diegetic).
Why it matters: Metatext, obviously—and it lands.

“In the Land of Women” — Stephen Trask
Where it plays: End credits (non-diegetic).
Why it matters: The theme resolves the film without a thesis—just a tender cadence.

Trailer/marketing notes: Trading Yesterday’s “One Day” and Rilo Kiley’s “Portions for Foxes” appear in promos but not on the album.

Music–Story Links

Indie cues buy the characters time to think; jukebox cuts shove them into action. When Lucy makes a choice, a road song rolls in. When Carter listens, arrangements thin out and leave air for people to say the hard part. Trask’s theme returns at the end like a letter you finally send.

How It Was Made

Jonathan Kasdan’s feature leans on licensed songs for tone and uses short, connective score cues. Lakeshore packaged the set for release; Raval & Wolfe handled supervision/clearances. The mix keeps vocals intelligible over guitars, favoring dialogue-first scene building.

Reception & Quotes

Reviews were mixed on the film, but the album’s sequencing reads clean—no skits, minimal fades, and a closer that feels earned.

“Song choices do more than mood-set; they nudge characters into saying what they mean.” album roundups

“Trask’s theme is modest and memorable, exactly the film’s register.” critic notes

Additional Info

• Album runtime ~52 minutes; Lakeshore Records (CD/digital).
• Two Trask instrumentals bookend the compilation’s back third.
• Not all credited film songs appear on the disc (common licensing split).
• Trailer uploads vary; the ID used in figures is among the most cited.
• Score cue and title track are available on major streamers.

Technical Info

• Title: In the Land of Women (Original Motion Picture Soundtrack)
• Year: 2007
• Type: Film soundtrack (songs + score excerpts)
• Composer: Stephen Trask
• Music Supervisors: Manish Raval; Tom Wolfe
• Label: Lakeshore Records
• Release date/runtime: April 17, 2007; ~52 minutes
• Selected placements: Neil Finn “Try Whistling This” (hospital-to-mall drive), Huey Lewis “Do You Believe in Love” (Carter running), Trask “In the Land of Women” (end credits).

Canonical Entities & Relations

Sources: Apple Music album page; Wikipedia (film & soundtrack); IMDb (soundtrack & credits); SoundtrackINFO (track data + scene Q&A); YouTube trailers.

November, 11th 2025