"Let's Be Cops" Soundtrack Lyrics

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"Let’s Be Cops (Original Motion Picture Soundtrack)" – Album Guide to Tracks and Key Scenes

Overview

Can karaoke, club bangers, and classic radio staples glue a sham-cop farce together? This soundtrack says yes. The film threads crowd-pleasers (“I Want It That Way,” “Rock You Like a Hurricane”) with blog-era EDM/hip-hop cuts (Diplo, Cypress Hill & Rusko) and a short score suite to steer the mayhem between parties, patrols, and showdowns.

The commercial album (Lakeshore Records) arrived digitally in December 2014 with 11 tracks and a score coda by Christophe Beck & Jake Monaco. Scene-to-scene usage skews diegetic—karaoke, clubs, car stereos—so needle-drops punch like jokes and alibis. As reported in label notes and trade coverage, Beck/Monaco handled the score; longtime music supervisor John Houlihan wrangled the song placements.

Questions & Answers

Who composed the score?

Christophe Beck and Jake Monaco composed the original score; the album includes a short score suite.

Who supervised the songs?

John Houlihan served as music supervisor, pairing radio classics with contemporary EDM/hip-hop cuts.

Which label released the album, and when?

Lakeshore Records, digital release on December 9, 2014; 11 tracks (songs + score suite).

How “diegetic” is the soundtrack?

Predominantly diegetic—numbers play in-world (karaoke, club systems, car stereos), with montage cues bridging set pieces.

What’s the standout recurring song gag?

Backstreet Boys’ “I Want It That Way” opens on karaoke and returns at the end.

Is there a physical CD?

Select regions list a physical edition; the primary release was digital via Lakeshore/UMG platforms.

Notes & Trivia

• Album cut “Suite from Let’s Be Cops” is the only score piece on the commercial release; most cues stayed off-album.
• The movie leans on music-as-prop comedy: fake cops weaponize karaoke bravado and club DJ hype.
• Song clearances span legacy pop (Backstreet Boys; Scorpions) and festival-era EDM remixes.
• The opening karaoke and the end tag mirror each other musically—same song, different status.

Genres & Themes

Turn-of-2010s EDM/hip-hop → TWRK/Whiiite remixes, Diplo/ETC!ETC!/Brillz and Cypress Hill & Rusko drive club/glow-stick energy into gag setups.

Radio-nostalgia anchors → Max-Martin pop and arena rock land quick crowd recognition; jokes hit faster when the room already knows the hook.

Score as glue → Beck/Monaco’s suite gives brief harmonic connective tissue between loud set pieces.

Tracks & Scenes

"I Want It That Way" – Backstreet Boys
Scene: Cold-open karaoke (≈0:00–1:37) with Ryan going all-in; reprise over the closing beat. Diegetic; mic-in-hand bravado.
Why it matters: Establishes the movie’s gag engine—confidence via borrowed pop stardom. (Time per on-screen cue as listed.)

"Rock You Like a Hurricane" – Scorpions
Scene: Early montage (≈0:05). Ryan plays pickup football with neighborhood kids; riff hits like a self-mythologizing entrance. Diegetic/onscreen environment feel.
Why it matters: Classic-rock swagger for a man who really shouldn’t be swaggering.

"Bueller" (feat. Chuck Inglish) – ETC!ETC!, Brillz & Diplo
Scene: Costumed “cops” arrive at a party (≈0:07). Strobe, handheld, chant-style hook. Diegetic club system.
Why it matters: The first “they actually think we’re cops” escalation cue.

"This Magic Moment" – Lou Reed
Scene: Post-party street strut (≈0:11) still in uniform. Diegetic street playback vibe.
Why it matters: Irony in velvet—tender classic underscoring dumb bravado.

"Be Easy" – Ghostface Killah
Scene: First fake-patrol routine (≈0:13); Ryan “confiscates” a joint. Diegetic car stereo/ambient.
Why it matters: Hard-edged beat sells their cosplay as something real.

"Biggie Bounce" (TWRK Remix) – Diplo feat. Angger Dimas & Travis Porter
Scene: Ryan watches police clips while ironing; then browses an old squad car (≈0:20). Source track.
Why it matters: Meme-era EDM energy bleeds into the “training” montage.

"Shots Go Off" (Whiiite Remix) – Cypress Hill & Rusko
Scene: Back to the party as the duo double-down (≈0:23). Diegetic club blast.
Why it matters: Title does the thematic heavy lifting—make-believe brushes danger.

"Cross My Heart" – Richard Myhill
Scene: Dance-floor swagger (≈0:23) while the uniforms carry them. Diegetic.
Why it matters: Vintage library pop adds wink amid modern beats.

"Big Banana" (feat. R3hab, Prophet) – Havana Brown
Scene: Party dare turns into mock strip routine (≈0:25). Diegetic stage track.
Why it matters: Embarrassment comedy via unabashed Euro-club gloss.

"Hello" – Martin Solveig & Dragonette
Scene: Wild scuffle—Justin versus two women (≈0:30) while Ryan spectates. Diegetic club PA.
Why it matters: Bouncy indietronica undercuts a chaotic beat-’em-up.

"Wrecking Ball" – Gaby Borromeo
Scene: Slapstick rescue (≈0:38): Justin pinned under a naked burglar; melodrama cover sells the absurdity. Source cue.
Why it matters: Pop-ballad sincerity as punchline.

"Stuck in the Middle With You" – Lazlo Bane
Scene: Improvised “interrogation” (≈0:57) with ill-advised waterboarding bit. Source track.
Why it matters: Tarantino-coded song choice turns the joke darker.

"My Superman" – Santigold
Scene: Undercover party entry (≈1:03). Diegetic; groove-first cool as Justin blends in.
Why it matters: Indie-pop stealth for a non-stealthy plan.

"I Am Legend / Out for Blood" – Arch Enemy
Scene: Party melee (≈1:10). Diegetic heavy-metal hit while Justin KOs a bruiser.
Why it matters: Comic ultraviolence lands harder against melodeath guitars.

"The Funeral" – Band of Horses
Scene: Post-climax exhale (≈1:33). Non-diegetic montage calm after chaos.
Why it matters: Earnest indie catharsis resets tone before the epilogue.

"The Perfect Life" (feat. Wayne Coyne) – Moby
Scene: Ending montage (≈1:36): career wins and consequences. Non-diegetic uplift.
Why it matters: Ties the bow with a neon-optimist hymn.

Music–Story Links

• Imposter syndrome set to pop: familiar hooks—Backstreet Boys to Scorpions—loan the leads fake confidence in public spaces.
• EDM = escalation: every return to the club pushes stakes and bravado; remixes mark each “level up.”
• Tone whiplash on purpose: jokey source cues pivot into indie-earnest closers to reset audience empathy.

How It Was Made

Director Luke Greenfield. Score by Christophe Beck & Jake Monaco; music supervision by John Houlihan. Album issued by Lakeshore Records with ten licensed songs plus a score suite. According to label and trade notes, the mix of legacy pop and contemporary EDM/hip-hop was intentional—instant recognition for jokes, festival-era energy for action.

Reception & Quotes

Reviews leaned mixed-to-negative on the film but often singled out the leads’ chemistry and trailer-ready bits. The soundtrack’s big-tent selections did what they were hired to do—keep the crowd hyped while the plot sprints.

“The mix of funny business and rough stuff isn’t always smooth, but the target audience likely will be amused.” Variety

“Too little edge… wacky over witty.” RogerEbert.com

Additional Info

• Album highlights edition: 11 tracks; digital release December 9, 2014 (worldwide timing varies by store).
• Not all featured film songs made the album (common for multi-label clearances).
• Trailer cues stick to in-film songs; the first official trailers are widely available on studio channels.
• The opening karaoke bit returns as a closing music button—same hook, different consequences.
• Score credits on the album roll up under a single “Suite” track.

Technical Info

• Title: Let’s Be Cops (Original Motion Picture Soundtrack)
• Year: 2014
• Type: Film soundtrack (songs + score suite)
• Composer(s): Christophe Beck; Jake Monaco
• Music Supervisor: John Houlihan
• Label: Lakeshore Records (digital)
• Selected notable placements: “I Want It That Way” (karaoke/open & tag); “Rock You Like a Hurricane” (kids’ football); “Stuck in the Middle With You” (interrogation gag); “The Perfect Life” (final montage)

Canonical Entities & Relations

Subject	Relation	Object
Let’s Be Cops (2014 film)	directed by	Luke Greenfield
Let’s Be Cops (soundtrack)	released by	Lakeshore Records (Dec 2014)
Christophe Beck; Jake Monaco	composed	Let’s Be Cops (original score)
John Houlihan	music supervision for	Let’s Be Cops (film)
Backstreet Boys – “I Want It That Way”	appears in	Opening karaoke & closing tag
Scorpions – “Rock You Like a Hurricane”	appears in	Early neighborhood football scene
Moby – “The Perfect Life”	appears in	Ending montage

Sources: Soundtrack Radar (scene placements & timestamps); IMDb (soundtrack items & music supervisor credit); Film Music Reporter/Lakeshore (album announcement, tracklist, score credits); Apple Music/Spotify (release metadata); Variety & RogerEbert.com (reviews).

American cinematography is good with its constancy. The majority of the inhabitants immediately have an association with so-called"dumb comedies"when mentioning a typical American movie, in which a second-rate humor is the main thing. But even after this second sort, talented comedians and directors can become a very first-class ones. This comedy is a new example of classic American humor. Actors performing major and some minor roles are professional comedians, and most of the dialogues they come up with themselves. According to data obtained from the studio – these jokes are 80% improvisation. If this is true, than we have to shake the hands of resourceful artists. As for the accompanying music – about half of the songs are instrumental ones. It's just an acoustic addition to what is happening on the screen. Since substantially all of the scenes in the movie are funny, so the music should be same funny, reasonably unobtrusive and light. Lazlo Bane took part in the album creation, which is known for his long-term cooperation with the comedy serial movie named Scrubs. For the film, he performed the composition Stuck In The Middle With You. Band Of Horses also took part in the recording. Their song The Funeral got into the top ranks of this collection. Another interesting composition is a track called Pensando em Voce . In general, the album can be divided into two parts – one where there composition remain in the style of rap and hip-hop, and another part, where there will be all others.

November, 12th 2025

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