"Logan Lucky" Soundtrack Lyrics

---

"Logan Lucky (Original Motion Picture Soundtrack, 2017)" – Album Guide to Tracks and Key Scenes

Overview

Blue-collar heist, sun-baked Americana, and a jukebox that refuses to grandstand—Logan Lucky uses songs the way its characters use tools: specific, worn-in, effective. The 16-track album (Milan Records) mixes crate-diggers (The Groundhogs, The Monks), deep-cut country (John Denver’s “Some Days Are Diamonds”), swampy R&B (Dr. John), and David Holmes’s lean score medley. A live rendition of “America the Beautiful” by LeAnn Rimes lands as a diegetic flex on race day, keeping the movie’s NASCAR setting central.

The film’s signature emotional motif is John Denver. “Take Me Home, Country Roads” threads through Jimmy and his daughter Sadie; it reappears as a pageant performance and, earlier, as comfort music in the truck. Around that spine, Soderbergh and Holmes favor grit over gloss—guitars recorded like garage doors, rhythm sections that lope instead of strut. As reported by Milan Records and trade listings, the album streeted August 18, 2017, day-and-date with the U.S. release.

Questions & Answers

Who composed the score?

David Holmes. The album includes an “Original Score Medley” that encapsulates his motifs.

Who handled music supervision?

Season Kent is credited as Music Supervisor on industry credits; Leah Harrison handled music coordination.

Which label released the soundtrack?

Milan Records, on August 18, 2017 (digital and CD configurations).

Is “America the Beautiful” in the movie as a performance?

Yes—LeAnn Rimes performs it diegetically at the race, and that live take is on the album.

What role does John Denver’s catalog play?

Two cuts anchor character beats: “Some Days Are Diamonds” (opening texture) and “Take Me Home, Country Roads” (Sadie/Jimmy bond).

Any noteworthy crate-digging picks?

Plenty: The Groundhogs’ “3744 James Road,” John Fahey’s “Revolt of the Dyke Brigade,” Screaming Lord Sutch’s “Flashing Lights,” The Monks’ “We Do Wie Du.”

Notes & Trivia

• The album combines licensed songs with one compact Holmes score suite; no full score release surfaced contemporaneously.
• Rimes’s anthem is captured live; in the film she appears on camera at Charlotte Motor Speedway.
• Holmes and Soderbergh reunited after Out of Sight and the Ocean’s trilogy; the feel here is intentionally “anti-glam.”
• Crate-digging highlights come from British and American underground catalogs (Groundhogs, Monks, Fahey).

Genres & Themes

Alt-country & outlaw country = working-class interiority; songs that hum like idling engines. Garage/psych & proto-punk (Monks, Lord Sutch) = comic menace during the heist’s rougher edges. Blues-rock & boogie (Groundhogs, Dr. John) = momentum for planning and getaway. Score minimalism (Holmes) = pulse, not polish—short cells, dry drums, and bass that pushes scenes without announcing itself.

Tracks & Scenes

Placements align to published album/credit notes and widely reported scene descriptions; exact minute:second varies by cut.

“Some Days Are Diamonds (Some Days Are Stone)” — John Denver
Scene: Early in the film, Jimmy works his truck and swallows bad news; Denver’s reflective drawl sets a weathered tone. Non-diegetic, opening passages.
Why it matters: Establishes the movie’s country heart before any heist mechanics appear.

“Take Me Home, Country Roads” — Farrah Mackenzie (as Sadie)
Scene: Beauty-pageant performance; after prepping “Umbrella,” Sadie pivots to her dad’s song. Diegetic on-stage vocal; the crowd joins in.
Why it matters: The film’s emotional apex—music as family shorthand and forgiveness.

“Take Me Home, Country Roads” — John Denver (needle-drop)
Scene: Jimmy plays it alone in his truck, post-setback. Diegetic in-car playback.
Why it matters: Mirrors the pageant scene; same melody, different ache.

“America the Beautiful” (live) — LeAnn Rimes
Scene: Sung at the Speedway before the race. Diegetic performance, crowd and broadcast sound.
Why it matters: Stakes and setting in one cue; also underlines the film’s Southern civic frame.

“3744 James Road” — The Groundhogs
Scene: Planning/drive sequences as the Logans sketch the pipe-and-tunnel scheme. Non-diegetic; mid-film.
Why it matters: Six-minute boogie that feels like a machine warming up.

“Revolt of the Dyke Brigade” — John Fahey
Scene: Transitional montage between problem-solving beats. Non-diegetic; mid-film.
Why it matters: Angular, percussive guitar = clever hands at work.

“We Do Wie Du” — The Monks
Scene: Quick-cut mischief around the Bang brothers; abrasive snare and chant. Non-diegetic; mid-late.
Why it matters: Gives the film its oddball grin without winking.

“Flashing Lights” — Screaming Lord Sutch
Scene: Late-film momentum as the plan tilts toward chaos. Non-diegetic; late.
Why it matters: Garage-rock absurdity perfectly matches the movie’s deadpan tone.

“Original Score Medley” — David Holmes
Scene: Heist mechanics: duct-tape fixes, tube-bank timing, jail-break business. Non-diegetic underscoring throughout; album condenses themes.
Why it matters: A blueprint in bass and drums—keeps tension honest and unglossy.

Music–Story Links

Denver’s catalog does the character work: it’s Jimmy’s interior monologue and Sadie’s love letter. The crate-digging rock pulls the story out of “slick caper” mode and into busted-knuckle ingenuity. Holmes’s medley ties it together—low, dry, pragmatic—so the needle-drops can be punchlines or prayers on cue.

How It Was Made

Steven Soderbergh directs; David Holmes returns as composer. Milan Records packaged the mix of licensed tracks and a score medley; the album arrived August 18, 2017 alongside the theatrical release (per label notes/press). Industry credits list Season Kent as Music Supervisor with Leah Harrison as Music Coordinator, aligning the film’s Americana palette with Soderbergh’s “anti-glam Ocean’s” brief.

Reception & Quotes

“An entertaining romp… smart script, strong performances, and great direction.” ScreenRant

“Soderbergh’s return to movies is a blast.” Rolling recap of opening-week reviews

“The pageant scene with ‘Country Roads’ is the film’s beating heart.” Review capsule

Additional Info

• Retail album runs 16 tracks; digital/CD metadata credits Milan Records and lists Holmes’s medley as the sole score cut.
• Several tracks come via library/production sources (e.g., Sammy Burdson’s “News Background A”).
• The NASCAR locale is literal in sound design—crowd PA, anthem, and broadcast intercuts sit over songs during race beats.
• No expanded score album has been officially issued as of this writing.
• Casting/setting: Charlotte Motor Speedway sequences frame multiple musical cues in-world.

Technical Info

• Title: Logan Lucky — Original Motion Picture Soundtrack
• Year: 2017
• Type: Various Artists soundtrack + score medley
• Composer: David Holmes
• Music Supervision: Season Kent
• Label: Milan Records (release: Aug 18, 2017)
• Notable placements: John Denver (“Some Days Are Diamonds”; “Take Me Home, Country Roads”), LeAnn Rimes (“America the Beautiful” live), The Groundhogs (“3744 James Road”), John Fahey (“Revolt of the Dyke Brigade”), Screaming Lord Sutch (“Flashing Lights”), The Monks (“We Do Wie Du”).
• Release context: The film opened Aug 18, 2017 in the U.S.; album streeted the same day.

Canonical Entities & Relations

Subject	Verb	Object
Logan Lucky (2017 film)	directed by	Steven Soderbergh
Logan Lucky (soundtrack)	released by	Milan Records
David Holmes	composed	Original score
Season Kent	credited as	Music Supervisor
LeAnn Rimes	performs	“America the Beautiful” (live in film)
Farrah Mackenzie	performs (in-character)	“Take Me Home, Country Roads” (pageant scene)

Sources: label/retail listings; soundtrack press; film/credits databases; reputable reviews and scene notes.

The artistic ensemble of people starring in this movie is good. Daniel Craig is playing an unusual role for him: comedy. The trailer promises us to have more than several funny moments and we are sure that not all of them are included in the trailer (as it often happens with the modern taped-shot films and animated films). The plot is rather simple but inspiring and promising us to have lots of hilarious moments. Channing Tatum is all the same macho fellow that kicks faces to the right and to the left and is kicked out of his job for being a jerk. After this, he comes up with an idea to rob a bank and even releases a specialist in robbing banks (Daniel Craig) from the prison. He helps them in this task. So watch for the end of the story – it is promising. As for the music in the soundtrack, it has been collected pretty wisely. The old style is fit for a movie. ‘America the Beautiful’ looks like the mockery in the contest of a movie because it bulges out the greatness of America while a film is about breaking rules in America. ‘Bottle Up and Go’ is a mockery of common sense. While John Denver delivers really fascinating lyrics in both of his songs, ‘Some Days Are Diamonds’, and ‘Take Me Home, Country Roads’. His voice and thoroughbred lyrics emphasize what’s going on in our lives. He tells the truth: that some days are more fortunate than the others are and that every person is longing for a place where he has family, friends or heart. Bo Diddley is really a gem of this collection (while we also love John Denver and consider him one of the greatest singers ever, of all time). This man was a birth-giver to pop, rock-n-roll, and hip hop genres of nowadays. He triggered the shifting from very popular blues to rock-and-roll and influenced (and inspired) so many famous performers like Elvis Presley, The Who, and many others – read Wiki to know more about this prominent person.

November, 13th 2025

Visit 'Logan Lucky' profiles and read user reviews on Internet Movie Database and Rotten Tomatoes

---

A-Z Lyrics Universe

---