"Laws of Attraction" Soundtrack Lyrics

"Laws of Attraction (Original Motion Picture Soundtrack)" – Album Guide to Tracks and Key Scenes

Overview

Can a rom-com about divorce run on swooning orchestral writing and still land its jokes? Laws of Attraction answers with a polished Edward Shearmur score that threads Gershwin-like city sparkle through Celtic-tinged Irish interludes. The music sells the opposites-at-tract premise: elegant, clipped woodwinds for Audrey’s rigor; warmer strings and brushed percussion for Daniel’s looseness.

The commercial soundtrack pairs Shearmur’s cues with a handful of source cuts—including a vintage Elton John cover and a pop soft-rock entry—so the album plays like the film does: urbane, then suddenly pub-fiddle rowdy, then unabashedly sentimental. According to label notes and specialist reviews, the London Metropolitan Orchestra gives the cues a plush sheen, which helps the film’s brisk cutting feel like dance rather than combat.

Questions & Answers

Who composed the score, and what’s the dominant sound?

Edward Shearmur wrote a light, melodic orchestral score—New-York jazz touches up front, Celtic colors for the Irish detour.

Is there a notable end-credits song?

Yes. Elton John’s cover of “Signed, Sealed, Delivered (I’m Yours)” plays over the closing credits.

Which pop song is most associated with the film’s marketing/album?

Gavin DeGraw’s “Follow Through” appears on the film’s song roster and is commonly tied to the movie’s romantic branding.

Does the album include purely orchestral cues?

Mostly. The release is built around Shearmur’s cues (“Main Title,” “A Kiss in the Rain,” “A Trip to Ireland,” etc.) with a few source tracks.

Who handled music supervision?

Karen Elliott is credited as music supervisor.

Orchestra and recording base?

Performed by the London Metropolitan Orchestra; sessions tied to London studios typical of Shearmur’s 2004 slate.

Is there an official CD release?

Yes, a 2004 album release; catalogue listings show a U.S. release via La-La Land/retail distribution that year.

Notes & Trivia

• Shearmur scored director Peter Howitt’s prior film Johnny English; the playful orchestration DNA carries over.
• The album opens with “Maybe” by Dana Glover, a pop curtain-raiser before the orchestral suite settles in.
• Irish traditional reels (“The Spirits of Wine” / “Madame Bonaparte”) anchor the castle/festival energy during the Ireland stretch.
• “Cafecito Cubano” drops a Latin pulse into otherwise Manhattan-smooth needle-drops.
• The cue titles (“A Kiss in the Rain,” “A Trip to Ireland”) map neatly to on-screen beats—useful for scene-spotting.

Genres & Themes

• Orchestral rom-com jazz → urbane banter, courtroom wit, New York pace.
• Celtic folk colors → Irish location shift, community warmth, loosening of Audrey’s guardedness.
• Soft-rock/pop song → montages and reconciliations, signaling sincerity after the quips.
• Vintage soul cover → celebratory end-titles optimism (“we ended up okay”).

Tracks & Scenes

"Main Title" — Edward Shearmur
Scene: Opening credits (~00:00–00:02). Non-diegetic. Breezy reeds and pizzicato strings glide over quick graphic wipes, setting a light Manhattan tempo. The instrumentation sketches Audrey’s precision with a playful edge.
Why it matters: Establishes tone early—comedy with adult polish—so later needle-drops land against a stable orchestral palette.

"A Kiss in the Rain" — Edward Shearmur
Scene: Rain-soaked rapprochement (~mid-film; ~1–2 min). Non-diegetic. Strings swell into a lyrical statement as verbal fencing softens into vulnerability; woodwind replies keep it buoyant rather than syrupy.
Why it matters: It’s the score’s emotional fulcrum; restraint keeps the rom-com beat from tipping into melodrama.

"A Trip to Ireland" — Edward Shearmur
Scene: Travel and arrival montage (~00:40). Non-diegetic. Fiddle figures and penny-whistle colors usher in the castle/hamlet textures and broaden the film’s sonic world beyond Manhattan.
Why it matters: The shift to folk timbre mirrors the script pivot from procedural sparring to community and chance.

"The Spirits of Wine / Madame Bonaparte Reels" — John Doherty (trad., performance)
Scene: Ceilidh/castle-gathering moments in Ireland (~second act). Diegetic: musicians on screen; crowd energy swells and ebbs with the reels.
Why it matters: Diegetic folk tunes embed the leads in a communal rhythm; their rivalry relaxes because the room does.

"Cafecito Cubano" — Jesús Alejandro “El Niño”
Scene: New York social/party backdrop (early act). Diegetic/source. Percussive groove and tres-like figures add a cosmopolitan note to the city canvas.
Why it matters: A brief palate-shift that underlines the film’s broader, non-Anglo club soundtrack of NYC.

"Follow Through" — Gavin DeGraw
Scene: Romantic montage/transition placement (source use within the feature; album-linked to the film’s marketing period). Non-diegetic/source.
Why it matters: Soft-rock earnestness functions as a sincerity signal after sparring scenes; it’s the pop spine of the album’s non-score material.

"Signed, Sealed, Delivered (I’m Yours)" — Elton John (cover; writers: Stevie Wonder, Lee Garrett, Lula Mae Hardaway, Syreeta Wright)
Scene: End credits (~01:27:00–end). Non-diegetic. Upbeat horns and organ-driven soul close the film on celebration rather than sarcasm.
Why it matters: A classic, familiar hook lets the audience leave on a grin; the cover’s vintage texture keeps it classy, not karaoke.

Trailer music: The official trailer mixes Shearmur’s light-jazz main-title textures with editorial stings; retail uploads from the timeframe show no bespoke trailer cue credited on-screen.

Music–Story Links

• When Audrey and Daniel’s professional façades crack, Shearmur moves from percussive woodwinds to lyrical strings; the shift is audible across “A Kiss in the Rain.”
• Irish reels function like social proof: the characters stop performing for court and start matching the room’s tempo.
• End-credits soul (“Signed, Sealed, Delivered”) reframes the adversarial premise as a dance—signed papers, sealed vows, delivered feelings.

How It Was Made

Edward Shearmur composed, conducted, and co-produced the score, continuing his collaboration with director Peter Howitt. The London Metropolitan Orchestra performed, with sessions tied to London studios that year. Karen Elliott served as music supervisor, clearing a compact set of source tracks (Latin club, pop-rock, Irish traditional) to complement the orchestral backbone.

Label notes describe the score as “Gershwin-esque, Celtic-tinged,” which matches the film’s New-York-to-Ireland geography. The 2004 album release presented the core cues plus a handful of songs to provide a self-contained listen.

Reception & Quotes

“Shearmur’s light, urbane writing gives the film grace notes it doesn’t always earn.” — Film music review outlet

“A charming orchestral score… Celtic-tinged and playful.” — Label blurb

“Original score, melodic and functional; album a tidy 40-minute set.” — Album database capsule

“The main title glides—jazz lightness over bright, sliding credits.” — Title-sequence archive

Additional Info

• Album runtime listed around 41 minutes across retail/database entries.
• Recording/production names appearing across credits: Steve McLaughlin (co-production), London studio teams, standard for the composer’s early-2000s projects.
• The Elton John “Signed, Sealed, Delivered” is from his late-’60s/’70 covers period; the film uses it as a tidy end-title cap.
• “Follow Through” tied to the film’s 2004 cycle in listings; the track later had an extended single push in 2005.
• Irish reels credited to fiddler John Doherty place authentic trad into the castle scenes rather than generic “Celtic library” beds.

Technical Info

• Title: Laws of Attraction (Original Motion Picture Soundtrack)
• Year: 2004
• Type: Feature film soundtrack (score with selected songs)
• Composer: Edward Shearmur
• Orchestra: London Metropolitan Orchestra
• Music Supervision: Karen Elliott
• Notable placements: “Signed, Sealed, Delivered (I’m Yours)” (Elton John) – end credits; “Follow Through” (Gavin DeGraw) – featured source; “Cafecito Cubano” – NYC party scene; Irish reels (John Doherty) – castle/ceilidh scenes
• Release context: U.S. theatrical April 30, 2004; album issued 2004 (catalogued by label/retailers)
• Label / Album status: 2004 retail album; catalogue entries reference La-La Land release for the score program
• Availability/Charts: Widely catalogued on music databases and retailers; niche score, not a chart-driver

Canonical Entities & Relations

Sources: IMDb Soundtracks; AllMusic album page; Filmtracks review; La-La Land Records album notes; Moviemusic catalog; Discogs release; RingoStrack song index; Title-sequence archive; Plex credits.

November, 12th 2025