"Jerry & Marge Go Large" Soundtrack Lyrics

"Jerry & Marge Go Large (Original Motion Picture Soundtrack/Score Guide)" – Album Guide to Tracks and Key Scenes

Overview

What does a feel-good caper about arithmetic luck sound like? Here, it’s classic-rock confidence rubbing shoulders with indie warmth and porch-light Americana. The song choices keep the film’s heartland optimism front and center while Jake Monaco’s score threads gentle momentum through road miles, math, and marriage.

The needle-drops are purposeful: 60s pop for devotion, 70s/80s rock for hustle, a modern indie pulse for collegiate rivalry, and a festival cameo that literalizes the town’s revival. Composer credit (Jake Monaco) is documented in production listings, and the music supervision is attributed to Julia Michels (as per Metacritic credits). Release and premiere details (Tribeca, Paramount+) match public records (as per Wikipedia/Variety).

Questions & Answers

Who composed the score?

Jake Monaco.

Is there an official score album?

No official score release has been issued to date.

Who handled music supervision?

Julia Michels is credited as music supervisor.

Which song opens the film?

“Keep On Running” by The Spencer Davis Group accompanies the opening setup.

Is there an on-screen musical performance?

Yes. Tori Kelly appears as herself, performing “Dream a Little Dream of Me” at the revived Jazz Fest.

What’s the trailer song?

Macklemore & Ryan Lewis feat. Ray Dalton’s “Can’t Hold Us” is used in trailer promotion.

Does the film lean more on diegetic or background tracks?

Both; intimate scenes and the festival use source music, while montages lean on non-diegetic classics.

Notes & Trivia

• Tori Kelly is credited as herself and performs in-story at the Jazz Fest.
• Song placements skew uplifting: Springsteen and The Who power the “we can do this” montages.
• Two versions of “Dream a Little Dream of Me” appear: The Mamas & The Papas on record and Tori Kelly live.
• “Baba O’Riley” underscores the ticket-printing bender as boxes stack in the garage.
• Trailer marketing used “Can’t Hold Us,” not heard in the film proper.

Genres & Themes

Classic rock (Springsteen, The Who, The Kinks) → industrious grit, forward motion, and “blue-collar audacity.” ’60s pop standards → marital tenderness and ritual (anniversary dancing, second-chances). Indie/alt (Sports, Night Shop, Izaak Opatz) → brainy, collegiate counterpoint during Harvard sequences and road interludes. Funk/soul (Ohio Players) → comic flourish and victory strut for supporting characters. Vintage Americana (“Missouri Waltz”) → main-street nostalgia to anchor the community thread.

Diegetic cues (radio, PA, stage) mark community spaces—kitchen, gym, festival—while non-diegetic hooks scale up the heist-math momentum. It’s feel-good music with pragmatic legs.

Tracks & Scenes

"Keep On Running" – The Spencer Davis Group
Where it plays: Opening stretch as Jerry’s routine, town rhythms, and the first stirrings of a new plan click into place; non-diegetic.
Why it matters: Establishes pace and a can-do motor from minute one.

"Glory Days" – Bruce Springsteen
Where it plays: ~00:26:00 Marge packs for the first big trip; they hit the road; non-diegetic montage.
Why it matters: Road energy for a late-life adventure, without cynicism.

"Get a Good Look" – Sports
Where it plays: ~00:32:00 Harvard dorm/lecture montage as a student models the lottery; non-diegetic.
Why it matters: Sleek indie texture for analytical bravado and campus swagger.

"Baba O’Riley" – The Who
Where it plays: ~00:43:00 Garage fills with boxed tickets; success becomes tangible; non-diegetic.
Why it matters: Teen-heart surge repurposed as “math-rush” anthem; stakes expand.

"Wolves" – Scott Hirsch
Where it plays: ~00:51:00 Bill’s shop beat: a quick, grounded slice of local life; non-diegetic.
Why it matters: Earthy Americana grounds the side characters the scheme sustains.

"Dream a Little Dream of Me" – The Mamas & The Papas
Where it plays: ~00:55:00 Anniversary at home: champagne, a gentle sway; likely diegetic (on player). Repeats ~00:58:00 after the students leave.
Why it matters: Marriage first, money second—this is the film’s emotional thesis.

"Fire" – Ohio Players
Where it plays: ~01:00:00 Steve rolls up in his shiny Corvette; non-diegetic flourish.
Why it matters: Comic punctuation for newfound cash-flow confidence.

"You Really Got Me" – The Kinks
Where it plays: ~01:10:00 Decision beat as Marge pushes Jerry toward the Massachusetts run; non-diegetic.
Why it matters: Hooky shove toward the next chapter.

"Missouri Waltz" – The Fontane Sisters
Where it plays: ~01:21:00 Country Creamery stop; small pleasures return; likely diegetic (store/PA).
Why it matters: Nostalgia anchoring the “why” behind the scheme.

"Dream a Little Dream of Me" – Tori Kelly (live)
Where it plays: ~01:28:00 Jazz Fest performance on stage; diegetic.
Why it matters: The revived festival—and community—gets a literal voice.

"One Way or Another" – Izaak Opatz
Where it plays: Mid-film travel/work stretch; non-diegetic.
Why it matters: A wry, rootsy wink at persistence.

"Spirits" – Scott Hirsch
Where it plays: Late-act connective scene(s) around town; non-diegetic.
Why it matters: Keeps the Americana thread humming under reconciliations.

"Road to Carolina" – Night Shop
Where it plays: Transitional highway and logistics beats; non-diegetic.
Why it matters: Hands-on, mile-marker realism over easy wish-fulfillment.

"Let It Be Easy" – Bear Hare
Where it plays: Gentle exhale toward resolution; non-diegetic.
Why it matters: Final cadence that fits the film’s modest scale.

Trailer cue: "Can't Hold Us" – Macklemore & Ryan Lewis feat. Ray Dalton
Where it plays: Marketing trailers; not in the feature itself.
Why it matters: Sells momentum and uplift in two minutes flat.

Also heard: “Blue Eyes and Bar Fights” (Jim Dixie), “It Happened One Night” (Gordon Goodwin), “Beach Day” (John Marek), “Make It with Me” (John Moran).

Music–Story Links

Jerry and Marge’s marriage is scored like a contract renewed: the ’60s standard becomes their private ritual and, later, the town’s public anthem via the festival set. The rock cuts drive logistics—road miles, garage stacks, count-and-bundle monotony—without turning the caper into swagger porn.

Indie cues shadow the students’ confidence and the couple’s calculation sprints, keeping intellect buoyant rather than icy. The festival performance lands as proof of concept: the money didn’t just circulate; it amplified culture.

How It Was Made

Score: Jake Monaco shaped a light, melodic score that favors propulsion over pomp. Orchestral leadership included additional conducting support (e.g., Matt Dunkley), and a staffed music department coordinated editing, prep, and clearances (as per Metacritic credits).

Supervision & licensing: Music supervision credited to Julia Michels; placements lean licensed catalog (Springsteen, The Who) balanced with Americana/indie. Tori Kelly’s cameo folds a live performance into the narrative—a diegetic capstone to the town-revival arc.

Reception & Quotes

• “Assisted by a lively score from Jake Monaco… consistently appealing.” A.V. Club

• “A fable of winning… fun; it allows us to coast.” Variety

• “Those… are preferable to Jake Monaco’s sappy score.” The Hollywood Reporter

• “Wholesome… somewhat flat despite Monaco’s jaunty score.” Next Best Picture

Availability: streaming on Paramount+; no official score album currently available.

Additional Info

• Premiere: Tribeca Film Festival — June 15, 2022; streaming release: June 17, 2022.
• Composer: Jake Monaco; cameo vocalist: Tori Kelly (Jazz Fest performance).
• Music supervisor credit: Julia Michels; department includes music editors and clearance staff.
• Key placements by era: 60s (“Dream a Little Dream,” “Keep On Running”), 70s/80s rock (“Glory Days,” “Baba O’Riley,” “You Really Got Me”).
• Americana/indie axis: Scott Hirsch, Night Shop, Izaak Opatz, Sports.
• Trailer used “Can’t Hold Us,” not featured in-film.
• No official score OST to date; select score suites circulate in promo form only.
• Runtime ~96 minutes; music balances montages with a few source-music set-pieces.

Technical Info

• Title: Jerry & Marge Go Large
• Year: 2022
• Type: Feature film; narrative comedy-drama; song-score hybrid
• Composer: Jake Monaco
• Music Supervision: Julia Michels
• Selected notable placements: “Keep On Running,” “Glory Days,” “Baba O’Riley,” “You Really Got Me,” “Dream a Little Dream of Me” (record + live), “Missouri Waltz”
• Release context: Tribeca premiere (2022-06-15); Paramount+ release (2022-06-17)
• Label/album status: No official score/songs album announced
• Trailer cue: “Can’t Hold Us” (Macklemore & Ryan Lewis feat. Ray Dalton)
• Where to watch: Paramount+

Canonical Entities & Relations

Sources: Wikipedia; Variety; AV Club; Metacritic (credits); Soundtracki; RingoStrack; Paramount (trailer); Tori Kelly (Wikipedia).

November, 12th 2025