"Jackass Number Two" Soundtrack Lyrics

"Jackass Number Two (Music From the Motion Picture)" – Album Guide to Tracks and Key Scenes

Overview

How do you score a movie that’s equal parts rodeo, prank, and musical curtain call? Jackass Number Two answers by welding punk, metal, garage, 80s pop, and showtunes into a single blast—always the wrong song in the right moment. The album’s center of gravity is kinetic irony: sweet pop over gross-out, high-drama cues over low-brow chaos, and a finale that turns the cast into a chorus line.

The soundtrack is a compilation with a few originals and cast recordings. It leans on recognizable catalog (Elvis, The Replacements, Ennio Morricone) alongside cult staples (The Vandals, Turbonegro, The Datsuns) and a staged cast rendition of “The Best of Times.” The result feels more like a mixtape engineered for whiplash than a conventional score—on purpose. According to Wikipedia, the commercial album dropped the film’s breakout single “Joker & the Thief” despite using it in promotion, which only adds to the series’ trollish streak.

Questions & Answers

What plays over the opening before the Jackass theme?

Ennio Morricone’s “The Ecstasy of Gold” leads into Minutemen’s “Corona” (the Jackass theme) for the title burst.

Which song scores the “Beehive Limo” gag?

Elvis Presley’s “A Little Less Conversation.” The brisk shuffle undercuts the panic as the door locks and the bees pour in.

What’s the track in the “Anaconda Ball Pit” segment?

Josie Cotton’s “Johnny, Are You Queer?”—glossy new-wave over bright plastic balls and a very real snake.

What song backs Knoxville’s “Old Man Balls” bit?

Peaches’ “Fuck the Pain Away.” The deadpan lip-sync is as important as the prosthetics.

Who handled music supervision and original cues?

Music supervision is credited to Manish Raval and Tom Wolfe; original cues come from Sam Spiegel (aka Squeak E. Clean).

Why isn’t “Joker & the Thief” on the retail album?

It was used in the film’s marketing and had a tie-in video with the cast; the commercial soundtrack omitted it.

What closes out the credits after the musical finale?

The Replacements’ “Treatment Bound,” a perfect, ragged sign-off that isn’t on the album.

Notes & Trivia

• The retail album released four days after the film’s U.S. opening.
• There’s an edited retail variant that removes explicit tracks (“Fuck the Pain Away,” “Gettin’ F***ed Up”).
• “Joker & the Thief” became the film’s calling card in marketing; its video features the cast.
• The cast performs “The Best of Times” from La Cage aux Folles for the finale.
• End credits cycle through multiple songs; the last is The Replacements’ “Treatment Bound.”

Genres & Themes

• Spaghetti-western grandeur → mock-heroism: Morricone’s operatic swell frames suburbia as an arena.
• Punk/garage → velocity & defiance: Turbonegro, The Datsuns, The Vandals drive quick-hit set pieces.
• 80s new-wave & bubblegum → sugar-coated menace: Josie Cotton and Elvis tracks brighten scenes that get painful fast.
• Metal → dread & escalation: Slayer cues ramp up danger beats and bull business.
• Showtune finale → camaraderie over carnage: “The Best of Times” reframes bruises as a curtain call.

Tracks & Scenes

“The Ecstasy of Gold” — Ennio Morricone
Scene: Opening prologue (00:00–~00:30 of the film’s intro). The camera treats the cul-de-sac like a Sergio Leone set before chaos erupts. Non-diegetic. Moment length ~30–45s.
Why it matters: Sets up a mock-epic tone; the joke lands harder when reality intrudes.

“Corona” — Minutemen
Scene: Kicks in as the Jackass theme immediately after the Morricone swell, over the title run-through. Non-diegetic. Moment length ~1–2 min.
Why it matters: Signature riff = brand identity; the whole series snaps into focus.

“A Little Less Conversation” — Elvis Presley
Scene: Beehive Limo set-piece. As the doors lock and bees rain from the sunroof, the track’s loungey strut needles the panic. Non-diegetic. Approx. segment length ~2 min.
Why it matters: The cool, clipped vocal underlines the gag’s “no escape” punchline.

“Johnny, Are You Queer?” — Josie Cotton
Scene: Anaconda Ball Pit. Bubblegum new-wave chirps while Dunn, Knoxville, and Wee Man wade through plastic balls hunting a giant snake. Non-diegetic. ~2–3 min.
Why it matters: Pleasant bounce vs. primal fear—classic Jackass dissonance.

“Fuck the Pain Away” — Peaches
Scene: Old Man Balls (and reprised as an unrated “90-Year-Old Music Video”). Deadpan lip-syncing sells the absurdity. Non-diegetic. Clip runs ~2 min.
Why it matters: A knowing, filthy wink—the lyric is the bit.

“MF from Hell” — The Datsuns
Scene: Fire Hose Rodeo. The garage-rock churn matches the hydraulic bucking and wipeouts. Non-diegetic. Segment ~2–3 min.
Why it matters: Raw guitars equal raw falls—tempo mirrors torque.

“Spill the Blood” — Slayer
Scene: Used to amplify one of the film’s heavier, bull-adjacent danger beats. Non-diegetic. Short burst.
Why it matters: Mood-setter: tension first, punchline second.

“The Best of Times” — Cast of Jackass
Scene: Big finale musical number; the crew sings and pratfalls through a Busby Berkeley pastiche. Diegetic-as-performance. ~2–3 min.
Why it matters: After the punishment, a literal chorus of “we made it.” Curtain up, then down.

(Trailer/marketing) “Joker & the Thief” — Wolfmother
Where it plays: Ubiquitous in trailers/marketing; tie-in music video features the Jackass crew. Not on the retail album. Non-diegetic in promos.
Why it matters: Became the public’s earworm association with the sequel.

“Treatment Bound” — The Replacements
Scene: Late end-credits capper. Non-diegetic. Short final fade.
Why it matters: Loose bar-band energy is the right last word.

Music–Story Links

• Morricone’s operatic swell crowns suburban slapstick—setup as solemn myth, payoff as stampede.
• Elvis’s breezy command (“a little less conversation…”) mocks the trapped limo crew; the lyric reads like a taunt from the prank’s designers.
• Peaches’ chant becomes a metatextual anthem for “we hurt ourselves for laughs,” turning a gross-out into a sing-along.
• Cotton’s candy-coated hook makes the ball pit a neon nightmare; innocence lacquered over adrenaline spikes.
• Cast-sung “The Best of Times” reframes bruises as bonding; the joke is that it lands sincerely.

How It Was Made

Original cues are by Sam Spiegel (Squeak E. Clean). Music supervision is credited to Manish Raval and Tom Wolfe, while Ralph Sall handled the soundtrack album production. Clearances span legacy catalogs (Elvis Presley) to indie stalwarts (SST/Minutemen) and contemporary garage/metal. The cast’s “The Best of Times” was staged and recorded as a full in-film performance. Per Metacritic’s credits, the supervision split ensured quick licensing decisions as stunts evolved in editorial.

Marketing leaned on Wolfmother’s “Joker & the Thief” with a cameo-packed video; the track’s omission from the album is one of those classic soundtrack curveballs.

Reception & Quotes

Critics were warmer than expected for a sequel to a TV stunt show. According to Rotten Tomatoes, the consensus dared you not to laugh.

“Debased, infantile and reckless… yet cathartic comedy.” Nathan Lee, The New York Times (Critic’s Pick)

“It’s hard to like Jackass… but impossible to hate it.” Andrew Pulver, The Guardian

“Some movies shouldn’t be seen sober or alone.” AV Club

Availability: the album exists in multiple configurations (explicit/edited), with later digital versions reflecting different rights holders.

Additional Info

• Retail album release: late September 2006; digital reissues appeared later under different imprints.
• Edited retail edition omits “Fuck the Pain Away” and “Gettin’ F***ed Up.”
• “Corona” is the series theme; a later film used a Squeak E. Clean remix.
• Album-exclusive cuts include Karen O & Peaches’ “Backass.”
• Cast track “The Best of Times” is included on the album; it’s staged on-screen as well.
• “Joker & the Thief” tie-in video features the crew; the track isn’t on the retail OST.
• Closing credits rotate through multiple cues; the final button is The Replacements.

Technical Info

• Title: Jackass Number Two (Music From the Motion Picture)
• Year / Type: 2006 / Film soundtrack (compilation)
• Original music: Sam Spiegel (Squeak E. Clean)
• Music supervision: Manish Raval; Tom Wolfe
• Soundtrack album production: Ralph Sall
• Label (original CD): BulletProof Music
• Notable placements (selected): “The Ecstasy of Gold,” “Corona,” “A Little Less Conversation,” “Johnny, Are You Queer?,” “Fuck the Pain Away,” “The Best of Times,” “Treatment Bound.”
• Film release: September 22, 2006 (U.S.)
• Album release: September 2006 (CD); later digital variants issued under different rights holders
• Notes: Edited album version available; some promo tracks used in trailers are not on the OST.

Canonical Entities & Relations

Sources: Wikipedia (film & album); IMDb Soundtracks; Metacritic credits; Rotten Tomatoes; SoundtrackINFO; Apple Music; Spotify; AV Club; Official trailer & studio clips.

November, 12th 2025