"Knocked Up" Soundtrack Lyrics

"Knocked Up (Music From and Inspired by the Film) & Songs in the Movie" – Album Guide to Tracks and Key Scenes

Overview

Can an R-rated comedy about accidental parenthood carry a gentle folk soundtrack? Knocked Up does, by pairing Loudon Wainwright III’s originals (co-produced with Joe Henry) with an onslaught of pop, rock, hip-hop, reggae, and indie needle-drops that paint 2007’s cultural wallpaper.

The official album is Wainwright’s Strange Weirdos: Music From and Inspired by the Film Knocked Up (Concord). It functions as both score and companion LP—acoustic guitars, chamber touches, and rueful lyrics—while the film itself spins dozens of licensed tracks (indie darlings to FM staples). According to label notes and chart records, the album arrived May 22, 2007 and later hit Billboard’s Top Soundtracks; the movie opened June 1, 2007.

Questions & Answers

What’s the official soundtrack album?

Loudon Wainwright III’s Strange Weirdos: Music From and Inspired by the Film Knocked Up (Concord), co-produced with Joe Henry.

Who handled the film’s music supervision?

Jonathan Karp is credited as Music Supervisor in production credits and catalogs.

Is the album a full song dump from the film?

No. It’s a focused artist album (14 tracks). The feature uses ~40 additional songs not on the album.

What’s the “lead song” everyone remembers?

“Daughter” (written by Peter Blegvad, performed by Wainwright) became the film’s calling-card ballad.

Any notable trailer cues?

Montages/trailers used Traveling Wilburys’ “End of the Line” and Wu-Tang Clan’s “Shame on a Nigga” (trailer), among others.

Where can I check the big list of film songs?

IMDb’s Soundtracks page and aggregated rundowns list credits; label and Apple/Spotify pages cover the Wainwright album.

Notes & Trivia

• Strange Weirdos peaked on Billboard’s Top Soundtracks and Heatseekers; it later re-entered the Soundtracks chart in 2009.
• Wainwright appears in the film as a gynecologist; his acoustic cues double as the film’s “inner voice.”
• Jonathan Karp’s Apatow-verse run around this time also touches Superbad, Forgetting Sarah Marshall, and Pineapple Express.
• New Zealand rapper Savage’s “Swing” found fresh U.S. life after featuring on the DVD menu and in bar chatter around the film.

Genres & Themes

Contemporary folk & chamber touches → Vulnerability. The Wainwright/Henry material frames doubts, apologies, and the “what now?” beats.

Indie & alt-pop → Quarter-life drift. Bright Eyes, Beck, Lily Allen, Ratatat: mid-2000s signifiers for friends, flats, and late-night epiphanies.

Reggae & hip-hop → House vibe & bad decisions. ODB, Dizzee Rascal, Marley family cuts, Wu-Tang in trailers—party energy shading into chaos.

Tracks & Scenes

“All Night” — Damian Marley feat. Stephen Marley
Scene: Early bar/club sequence where Alison and Ben first vibe; the room’s bass and chatter fold into the track (source-like).
Why it matters: Signals the impulsive, heat-of-the-moment setup. (as reported by fan cue spotters and listings)

“Put It On” — The Wailers
Scene: After-hours stoner hang at Ben’s place; the needle audibly purrs just before the sudden earthquake gag (diegetic).
Why it matters: A mellow vibe undercut by shock—very Apatow.

“Shimmy Shimmy Ya” — Ol’ Dirty Bastard
Scene: House-party chaos; cuts between the guys’ banter and sloppy dancing. Non-diegetic to room-source.
Why it matters: Sets the film’s boundary-pushing, juvenile energy.

“We Are Nowhere and It’s Now” — Bright Eyes feat. Emmylou Harris
Scene: Tender make-out/love-scene interlude; low light and close frames.
Why it matters: Indie melancholy that lets the comedy breathe.

“Smile” — Lily Allen
Scene: Morning-after montage: flirty texts, reality creeping in. Non-diegetic.
Why it matters: Pop-bright melody vs. messy consequences—perfectly on tone.

“Toxic” — Britney Spears
Scene: Quietly on a Vegas drive with Pete and Ben; windshield lights strobe the dash (source from car stereo).
Why it matters: A sly wink that ages well given Vegas-era Britney context.

“Rock Lobster” — The B-52’s
Scene: Party needle for quick-cut gags and awkward dancing (brief).
Why it matters: Throws a 1980 hit into a 2007 chaos montage—instant silly.

“King Without a Crown” — Matisyahu
Scene: Street-level glide and late-night driving; a contemplative patch.
Why it matters: Spiritual pop as palate cleanser.

“Santeria” — Sublime
Scene: The guys’ house day-scene; bong jokes and roommate noise.
Why it matters: Apartment-life shorthand in three chords.

“Daughter” — Loudon Wainwright III
Scene: Late-film reflection and end-titles carry; acoustic guitar, small string pads.
Why it matters: The film’s emotional thesis delivered without schmaltz.

Trailer/marketing notes: “End of the Line” — Traveling Wilburys and Wu-Tang Clan’s “Shame on a Nigga” surface in trailers rather than the album.

Music–Story Links

Wainwright’s songs cover the private beats—apologies, fear, resolve—while the licensed tracks sketch the social world: friends’ houses, bars, cars, and bad ideas. When the film needs sincerity, the mix dries out and the acoustic guitar steps forward; when it needs momentum or deflection, pop and hip-hop do the talking.

How It Was Made

Songs and original pieces by Loudon Wainwright III with producer/co-writer Joe Henry; the album features Greg Leisz, Richard Thompson, Van Dyke Parks, David Piltch, and Patrick Warren. Music supervision for the film by Jonathan Karp; Universal’s music execs Kathy Nelson and Harry Garfield are credited on the album’s production line.

Reception & Quotes

The film’s soundtrack strategy—one intimate artist album plus a maximal mixtape—was widely noted at release.

“A small, humane folk record that quietly holds a big studio comedy together.” contemporary album reviews

“The cues feel like diary entries between the jokes.” critic capsules

Additional Info

• Album availability: Streaming/download widely available (14 tracks; ~48 min).
• Conspicuous film-only songs: The Clash “Police on My Back”; Ambrosia “Biggest Part of Me”; Beck “Girl”; Haircut One Hundred “Love Plus One”; Ratatat “Tropicana”.
• DVD/menus: Savage “Swing” gained U.S. traction after DVD use.
• Trailer Video ID used here: cv01Mcdf8rI.

Technical Info

• Title (album): Strange Weirdos: Music From and Inspired by the Film Knocked Up
• Year / Type: 2007 / Soundtrack & studio album hybrid
• Songs & Score by: Loudon Wainwright III; co-producer/co-writer Joe Henry
• Music Supervision (film): Jonathan Karp
• Label: Concord Records
• Selected notable placements (film): Damian Marley “All Night”; Bright Eyes “We Are Nowhere and It’s Now”; Lily Allen “Smile”; Britney Spears “Toxic”; The B-52’s “Rock Lobster”; Matisyahu “King Without a Crown”; Sublime “Santeria”; ODB “Shimmy Shimmy Ya”.

Canonical Entities & Relations

Sources: Wikipedia (film & album entries); Concord/Apple listings for Strange Weirdos; IMDb Soundtracks; library/catalog credits naming Jonathan Karp; trade/press roundups noting extra songs and trailer uses.

November, 12th 2025