"Just A Kiss" Soundtrack Lyrics

"Just a Kiss (Original Motion Picture Soundtrack)" – Album Guide to Tracks and Key Scenes

Overview

What does a chain-reaction romance sound like? This soundtrack leans into sleek downtempo, trip-hop, nu-jazz and lounge—music for bars, airports and late-night bad ideas. The compilation folds in licensed cuts (The Dum Dum Project, Supreme Beings of Leisure, Les Nubians, Jocelyn Enriquez, DJ Rodriguez, Bossa Nostra) with brief score cues that label scenes outright (“Airport Ride,” “Hospital,” “Funeral Organ Solo”).

The album was issued by Milan Records in 2002, clocking ~68 minutes across 23 tracks; composer/producer credit goes to Sean Dinsmore, with the retail CD and later streaming editions keeping the same spine. Contemporary listings also tie the film’s music identity to Fisher Stevens’s visually stylized, rotoscoped dark comedy.

Questions & Answers

Who’s credited with the film’s music?

Sean Dinsmore. He anchors the album with short score cues and curates the licensed cuts.

What label released the soundtrack and when?

Milan Records, September 2002 (U.S. CD); streaming reissues reflect the same 23-track program.

Is it songs only, or score too?

Both. It’s a hybrid: scene-titled mini-cues plus full songs from electronic/nu-jazz/alt-lounge artists.

Any recognizable singles?

Club staple “A Little Bit of Ecstasy” by Jocelyn Enriquez; Supreme Beings of Leisure’s “Never the Same.”

Does the music mirror the plot structure?

Yes—cue titles telegraph locations and beats (airport, airplane, hospital, funeral), which the film visits as affairs snowball.

How would you pitch the album’s sound in one line?

After-hours cosmopolitan: sleek beats, soft brass, sly vocals, plus scene-to-scene connective score.

Notes & Trivia

• Milan catalog: 35996 (CD); running time ≈68:26; later digital editions credit Milan Entertainment.
• Licensed cuts span U.S., Europe and Latin America—e.g., Les Nubians (“Demain”), Bossa Nostra (“Jackie”).
• The CD sequence places a four-part “Hospital” run ahead of “Funeral Organ Solo/Funeral Music,” mirroring mid-film events.
• Genevieve Waïte’s vintage “Love Is Coming Back” closes the album on a wryly romantic note.

Genres & Themes

Trip-hop/downtempo → temptation and detours: brushed drums, sub-bass and Rhodes keys frame impulsive choices as “inevitable.”

Nu-jazz/Latin lounge → flirtation as theatre: bossa chords and vibraphone lines sell surface charm over messy motives.

Scene-label score cues → cause-and-effect: short instrumental buttons mark consequences—airport → airplane → hospital → funeral.

Tracks & Scenes

“Jackson Heist” — The Dum Dum Project
Where it plays: Early urban-night montage/establishing stretch around Manhattan (album opener; non-diegetic).
Why it matters: Tabla-tinged electronica sets a cosmopolitan pulse and frames the film’s kaleidoscopic POV.

“A Little Bit of Ecstasy” — Jocelyn Enriquez
Where it plays: Club/bar sequence as flirtations escalate (non-diegetic; mid-film).
Why it matters: A late-’90s/early-’00s dance hit that reads as reckless confidence—perfect for a bad decision in progress.

“Never the Same” — Supreme Beings of Leisure
Where it plays: Lounge interlude after a relationship rupture; city-at-night visuals (non-diegetic).
Why it matters: Silk-smooth trip-pop that turns regret into a vibe, underlining shifts no one admits out loud.

“Bitches & Friends” — DJ Rodriguez
Where it plays: Party/gathering beat bridging two trysts; non-diegetic, used like a source needle-drop.
Why it matters: Jazzy breakbeat that keeps the ensemble plates spinning.

“Jackie” — Bossa Nostra feat. Bruna Lopez
Where it plays: Stylish bar/airport-lounge sequence as new partners orbit (non-diegetic).
Why it matters: Latin-jazz glide for the film’s aspirational surfaces.

“Airport Ride / Airplane Music” — Sean Dinsmore (score cues)
Where it plays: Taxi to JFK and in-flight scenes tied to a mid-plot entanglement; non-diegetic bridging cues.
Why it matters: Beat-clock travel music that literally moves the story into its next mistake.

“Hospital” (cue set) — Sean Dinsmore
Where it plays: Wild hospital run after a botched scheme; three short cues cluster the chaos (non-diegetic).
Why it matters: Percussive stabs and drones sell panic—brief, punchy edits match the film’s visual style.

“Funeral Organ Solo / Funeral Music” — Sean Dinsmore
Where it plays: Memorial service and aftermath; non-diegetic with diegetic organ color.
Why it matters: The sound of consequences—quiet, unsentimental.

“Divided” — Tara MacLean
Where it plays: Post-fallout reflection; non-diegetic song over montage.
Why it matters: Title does the talking; tenderness with an edge.

“Demain” — Les Nubians
Where it plays: Cosmopolitan interlude as threads cross again; non-diegetic.
Why it matters: Francophone neo-soul that gives the film a worldly shrug.

“Love Is Coming Back” — Genevieve Waïte
Where it plays: End-credits coda; non-diegetic, vintage pop.
Why it matters: An ironic curtain—romance as a recurring habit, not a resolution.

Note: Precise SMPTE timestamps were not published; scene placements draw on the album’s explicit cue titles, widely circulated retail track lists, and the film’s documented locations/sequences.

Music–Story Links

Because scenes play like ricochets—airport → airplane → hospital → funeral—the score uses short, labeled cues to click each event into place. The licensed songs then “decorate” the bad choices: glossy club cuts for temptation; stylish lounge for denial; softer ballads for aftermath. You feel the cause-and-effect without the film pointing at it.

How It Was Made

Music supervision and production orbit Sean Dinsmore, with Milan issuing the album as a hybrid score-plus-songs set. The film itself—Fisher Stevens’s feature directorial debut—integrates rotoscoped accents with live action; the slick, cosmopolitan track selection mirrors that aesthetic. (As per label and film credits.)

Reception & Quotes

The movie divided critics, but notes on the soundtrack often praised its cohesive after-hours mood and smart crate-digging across electronic and nu-jazz corners.

“A heady, club-beat cocktail for a Manhattan tangle.” —album blurb

“The cues are tiny scene labels—you can read the plot off the track list.” —soundtrack note

Additional Info

• CD catalog: Milan 35996; shipping date late September 2002; length ≈68:26.
• Digital/streaming: 23-track edition credited to Milan; some platforms tag it under Various Artists or Sean Dinsmore.
• Key licensed artists on album: The Dum Dum Project; Jocelyn Enriquez; Supreme Beings of Leisure; DJ Rodriguez; Bossa Nostra; Tara MacLean; Les Nubians; Genevieve Waïte.
• Film basics: U.S. dark comedy; dir. Fisher Stevens; music credit Sean Dinsmore; Paramount Classics/Lakeshore handled distribution internationally.

Technical Info

• Title: Just a Kiss (Original Motion Picture Soundtrack)
• Year / Type: 2002; Hybrid (songs + short score cues)
• Composer / Producer: Sean Dinsmore
• Label: Milan Records (Milan Entertainment)
• Selected notable placements: “A Little Bit of Ecstasy” (club sequence); “Airport Ride/Airplane Music” (travel beats); “Hospital” cues (hospital chaos); “Funeral Organ Solo/Funeral Music” (memorial sequence); “Love Is Coming Back” (credits)
• Runtime: ≈68 minutes; 23 tracks

Canonical Entities & Relations

Sources: Retail track listings and label/catalog data; film entry confirming music credit; streaming editions mirroring the 23-track Milan release; publicly available trailer upload.

November, 12th 2025