"Kingsman: The Secret Service" Soundtrack Lyrics

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"Kingsman: The Secret Service (Original Motion Picture Score)" – Album Guide to Tracks and Key Scenes

Overview

What if a gentleman-spy romp wore a punk grin? Matthew Vaughn’s Kingsman: The Secret Service pairs a propulsive orchestral score by Henry Jackman and Matthew Margeson with swaggering needle drops that wink as often as they thrill. The album—issued as an orchestral score release—delivers the brass, strings, and rhythmic electronics that carry Eggsy from street kid to bespoke operative, while the film itself spices the ride with Dire Straits, Lynyrd Skynyrd, Dizzee Rascal, and more.

The score’s identity is clean: sharply drawn motifs (“Manners Maketh Man,” “To Become a Kingsman”), stealth-tech pulses for training and surveillance, and muscular, guitar-tinged action for mayhem. Around it, the song placements weaponize irony—Elgar at apocalypse, disco at mass panic, tender sophisti-pop at a decidedly un-tender punch line. According to label and credit listings, the physical CD landed in February 2015 on La-La Land Records; a digital edition circulated alongside the film’s wide release.

Questions & Answers

Is the official album songs or score?

Score. The commercial album is the orchestral score by Henry Jackman & Matthew Margeson; the movie also features several licensed songs.

Who supervised the music?

Ian Neil is credited as music supervisor in published credits.

What plays in the church fight?

Lynyrd Skynyrd’s “Free Bird” (remixed for the sequence) — a deliberate long-solo choice for choreography.

What’s the end-credits pop track?

“Get Ready for It” by Take That rolls in the credits; promotional cuts also used Iggy Azalea feat. Ellie Goulding’s “Heavy Crown.”

Is Elgar really used for exploding heads?

Yes. An arrangement of “Pomp and Circumstance” underscores the technicolor head-burst montage, dialed for satire.

Any tracks placed inside Valentine’s lair?

“Give It Up” (KC & The Sunshine Band) pipes through as his plan kicks off — a brazen, upbeat contrast.

Notes & Trivia

• The CD edition (La-La Land) adds cues not on some digital editions (“Kentucky Christians,” “Out of Options,” “Original Valentine Ideas (Demo Suite)”).
• Vaughn originally tested “November Rain” for the church but pivoted to “Free Bird” for its marathon solo arc.
• Dire Straits’ “Money for Nothing” blasts over the prologue and titles as debris forms the logo.
• “Heavy Crown” was promoted in trailer materials; “Get Ready for It” anchors the theatrical end credits.

Genres & Themes

Spy-orchestral with modern drive → Competence and craft. Tight brass lines and ticking percussion sell method over chaos; Eggsy’s growth is “heard” as thematic clarity.

Classic-rock heroics → Operatic spectacle. The church set-piece turns guitar-solo sprawl into balletic violence; the music makes a moral joke without saying a word.

UK club & grime energy → Youth and attitude. Dizzee’s “Bonkers” and Rudimental’s “Feel the Love” stamp Eggsy’s pre-tailor life with reckless speed.

Tracks & Scenes

“Money for Nothing” — Dire Straits
Scene: 1997 raid prologue: helicopter assault, a door charge, then shrapnel flips into the Kingsman logo during titles. Non-diegetic; opening minutes.
Why it matters: Sets an irreverent tone — luxury tailoring, meet blunt-force rock.

“Bonkers” — Dizzee Rascal & Armand Van Helden
Scene: Eggsy nicks a car, parkours from chav pursuers, and barrels into trouble. Non-diegetic; early chase (~14').
Why it matters: Youthful recklessness in audio form; the cut telegraphs raw speed before manners are “maketh.”

“Feel the Love” — Rudimental feat. John Newman
Scene: Nightclub beat as candidates blow off steam; loyalties and rivalries flicker under strobes. Non-diegetic; mid-training (~1h).
Why it matters: A social pressure-valve: camaraderie for some, ammunition for others.

“Free Bird” — Lynyrd Skynyrd
Scene: The church massacre: Harry, triggered, fights the entire congregation in an unbroken delirium of cuts. Non-diegetic; centerpiece (~1h19').
Why it matters: The solo’s build lets choreography escalate from shock to ghastly grace; the cue became synonymous with the scene.

“Pomp and Circumstance (Land of Hope and Glory)” — Edward Elgar
Scene: Global fireworks of heads as the failsafe detonates, staged like a triumphant pageant. Non-diegetic; late act.
Why it matters: National pomp repurposed as apocalypse joke — the satire lands because the music smiles while the world pops.

“Give It Up” — KC & The Sunshine Band
Scene: In Valentine’s bunker, the V-Day signal pulses; hench and VIPs groove as chaos begins. Source/ambient in lair; late act (~1h51').
Why it matters: Earnest disco against mass violence — Vaughn’s tone distilled.

“Slave to Love” — Bryan Ferry
Scene: After the finale, Eggsy returns with champagne to a certain very grateful princess. Non-diegetic tag (~1h58').
Why it matters: Sophisti-pop as punchline: suave strings, very impolite joke.

“Get Ready for It” — Take That
Scene: End credits rock-pop lift; curtain call momentum.
Why it matters: Sends the audience out on triumph, not trauma.

Promo/Trailer cue — “Heavy Crown” — Iggy Azalea feat. Ellie Goulding
Scene: Featured in studio marketing and trailer copy; not part of the score album. Non-diegetic (marketing).
Why it matters: A contemporary pop edge for campaign targeting, separate from the orchestral identity.

Music–Story Links

Harry’s world sounds classical-orderly — brass-led themes, crisp counterlines — until external tracks smash the frame. Eggsy’s sound tilts club-forward early, then absorbs the Kingsman motif as he earns it. The villain’s palette? Cheerfully tasteless. When disco hits as bodies fall, the joke isn’t just visual; it’s musical snark about power and parties.

How It Was Made

Composers Henry Jackman and Matthew Margeson sketched clean thematic hooks, then layered modern percussion and guitar color for fight geometry. Ian Neil handled music supervision, while additional music contributors provided action glue between big set-pieces. The label release differed slightly across formats; the CD edition added a few cues beyond typical digital listings (as noted by specialist score coverage).

Reception & Quotes

Fans embraced the score’s swagger and the film’s audacious needle drops; critics frequently singled out the church sequence as a music-driven showstopper.

“A greatly enjoyable, undemanding listen… works wonderfully well in the film.” Movie Music UK

“‘Free Bird’ turns a brawl into opera.” feature coverage

Additional Info

• Label/format: Score album on La-La Land Records (CD); digital via composer channels and services.
• Regional promos: Trailer spots highlighted “Heavy Crown” alongside score cues.
• Credits quirk: Three CD-only cues expand the score narrative (“Kentucky Christians,” “Out of Options,” demo suite).
• Source music spread: Rock anthems, UK club, disco, and Elgar’s march are used for tonal contrast rather than period realism.
• Cue sheets: Public listings consistently include “Money for Nothing,” “Bonkers,” “Feel the Love,” “Free Bird,” “Give It Up,” “Slave to Love,” “Get Ready for It.”

Technical Info

• Title: Kingsman: The Secret Service (Original Motion Picture Score)
• Year / Type: 2015 / Film score (with prominent licensed songs in-film)
• Composers: Henry Jackman, Matthew Margeson
• Music supervision: Ian Neil
• Label (CD): La-La Land Records
• Selected notable placements: “Money for Nothing” (Dire Straits), “Bonkers” (Dizzee Rascal & Armand Van Helden), “Feel the Love” (Rudimental feat. John Newman), “Free Bird” (Lynyrd Skynyrd), “Pomp and Circumstance” (Elgar), “Give It Up” (KC & The Sunshine Band), “Slave to Love” (Bryan Ferry), “Get Ready for It” (Take That)
• Release context: Wide release February 2015; score album issued mid-February
• Availability: CD (La-La Land); digital via major platforms and composer storefront

Canonical Entities & Relations

Subject	Relation	Object
Film “Kingsman: The Secret Service” (2015)	Original music by	Henry Jackman; Matthew Margeson
Album “Kingsman: The Secret Service (Original Score)”	Record label	La-La Land Records
Production	Music supervisor	Ian Neil
Scene “Church fight”	Uses	“Free Bird” — Lynyrd Skynyrd
End credits	Song	“Get Ready for It” — Take That
Marketing (Trailer 2)	Song	“Heavy Crown” — Iggy Azalea feat. Ellie Goulding

Sources: label/album listings; published credits; soundtrack/song databases; composer storefront; studio trailers.

An exciting spy movie in which everything is beautiful – actors' play, costumes, movements, speeches of the main characters, other dialogues, and music. In the musical accompaniment, you will find dance melodies, as well as pop, rock, and blues. The music was collected with taste. Well, maybe, one song would have to, perhaps, be excluded from such a beautiful compilation – Heavy Crown. It is though a pop, but with large embodiments of rap, but it is not suitable for such an exquisite film considered here. A lot of popular artists, such as Dire Straits and The Doors, are represented in this collection. However, it should be noted that they do not sing their best songs. There are mainly two areas of music here – pop & rock. Character of all songs is calm and steady, there are no extremes, except of the first song in the collection, but it may not be considered, you just throw it away from your head. As for the number, 11 songs are quite enough for any normal film if it is not of dance film. This spy film is not like this. Free Bird is a very serious piece of music that will live more, at least, as much as it already lives. Money For Nothing is a mega-bright melody with a very, very good guitar solo, which made not only this song famous, but also the artists themselves. One of the best of their hits, in fact. To evaluate the overall quality of all selections, we give it 80 on a scale from 0 to 100. This estimation is for a good average level, which it fully deserves. Of course, if you throw Heavy Crown out, because it is obviously has no place among these genres here. Even music producers of good films sometimes face minor incidents.

November, 12th 2025

More about "Kingsman: The Secret Service" on the Web: IMDb, Wikipedia

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