"Other Woman, The" Soundtrack Lyrics

“The Other Woman (2014) — Soundtrack & Score Guide” – Album Guide to Tracks and Key Scenes

Overview

How do you score revenge that turns into friendship? The Other Woman answers with glossy, hooky needle-drops and a light, rom-com score that lets three leads misbehave in rhythm. The song palette swings from retro soul to radio-pop to island party cuts; the score (by Aaron Zigman) keeps pace under the pranks and slow-motion beach walks.

The film follows Carly (Cameron Diaz), Kate (Leslie Mann), and Amber (Kate Upton) as they discover they’ve all been seeing the same man and decide to get even. The soundtrack mirrors that pivot: opening with swoony vintage, veering into conspiratorial bops, and peaking with a celebration remix at the finale. According to the studio and trade notes, Zigman handled the original music, while the featured songs pull from artists as wide-ranging as Etta James, Morcheeba, Cyndi Lauper, Britt Nicole, Lorde, and a Keyshia Cole/Iggy Azalea end-credits collab.

Genres & themes in phases: vintage soul — early romantic haze; chic downtempo & electro-pop — scheming montage energy; spy-pastiches — comic surveillance; Caribbean/club cues — Bahamas mayhem; empowerment pop — curtain-call glow.

How It Was Made

Composer Aaron Zigman reteamed with director Nick Cassavetes to provide a buoyant score that glues scene-changes and gags, while the film leans hard on licensed songs for character attitude and time-capsule vibes. Music supervision by Julia Michels threads the needle-drops so they read as jokes, pep-talks, or payoffs rather than wall-to-wall wallpaper.

There isn’t a single, official “OST” album; instead, the film’s songs exist on their original releases and playlists, with the finale powered by an in-house remix cover of Diana Ross’s “I’m Coming Out” credited to Keyshia Cole featuring Iggy Azalea. Per the film’s credits, a compact music department coordinated the additional music and clearances while Zigman’s score supports the capers without stealing the punchlines.

Tracks & Scenes

“A Sunday Kind of Love” — Etta James
Where it plays: Opening montage (≈00:01). Soft-focus romance as Carly and Mark click through early dates; strings and Etta’s phrasing sell a dream that won’t last.
Why it matters: Sets a sincere baseline so the later rug-pull stings.

“Gimme Your Love” — Morcheeba
Where it plays: The “plumber” scene at Mark’s house (≈00:07). Sultry downtempo under Carly’s surprise visit that goes hilariously wrong when Kate answers the door.
Why it matters: Chic cool collides with chaos — signature tone of the movie.

“Love Is a Battlefield” — Raining Jane (cover)
Where it plays: Closet-montage bonding (≈00:25). Carly and Kate raid outfits, practice a strut, and accidentally become friends.
Why it matters: Title says it all; the cover keeps it playful, not ironic.

“Mission: Impossible Theme” — Royal Philharmonic Concert Orchestra
Where it plays: Kate’s DIY spy tail (≈00:33). Sunglasses, stakeouts, and spectacularly obvious “sneaking.”
Why it matters: Classic spy pastiche flips her panic into competence cosplay.

“Bubble Butt” — Major Lazer feat. Bruno Mars, Tyga, Mystic
Where it plays: Bahamas sequence (≈01:05). Poolside party energy as the plan expands and Mark digs his own hole.
Why it matters: Turns the getaway into a club-tempo victory lap.

“Bilingual Boy” — CuCu Diamantes
Where it plays: Live band at the Bahamas bar (≈01:07). Diegetic performance giving the island stretch an in-room pulse.
Why it matters: Places the characters in the music, not just over it.

“Girls Just Want to Have Fun” — Cyndi Lauper
Where it plays: Plotting montage (≈00:40). Phone trees, post-its, and prank shopping; the song’s grin matches the newfound sisterhood.
Why it matters: Signals that the movie has switched teams — from romance to friends-heist.

“The Sun Is Rising” — Britt Nicole
Where it plays: Morning reset / beach ring toss (≈00:48). Kate reclaims herself; the chorus lifts like a pep-talk.
Why it matters: A clean pop catharsis between schemes.

“Shortie in the Back” — Nomadik & Basko
Where it plays: Loft hangout (≈00:58). Kate and Amber dance while Carly and Phil trade shy smiles.
Why it matters: Softens the edges — it’s not all sabotage.

“Cool Jerk” — The Go-Go’s
Where it plays: Bathroom prep gag (≈01:15). Kate gets ready as Mark waits; girl-group snap, precise comedic cuts.
Why it matters: Cheeky throwback that matches the pratfall rhythm.

“Royals” — Lorde
Where it plays: Restaurant meet-up post-exposure (≈01:42). The irony writes itself.
Why it matters: A pop culture wink that doubles as epilogue attitude.

“I’m Coming Out (The Other Woman Remix)” — Keyshia Cole feat. Iggy Azalea
Where it plays: Finale/credits (≈01:45+). Quick scrapbook of where everyone lands; the remix flips a disco classic into an empowerment tag.
Why it matters: Curtain-call energy for a movie about choosing your team.

Notes & Trivia

• Score by Aaron Zigman; music supervision by Julia Michels.
• No official “OST” release — songs live on the artists’ originals; playlists collect them.
• The end-credits remix of “I’m Coming Out” was created specifically for the film.
• Much of the island sequence was shot in the Bahamas; the music leans diegetic there.
• Lorde’s “Royals” arrives as a sly wink during the post-exposure wind-down.

Music–Story Links

Vintage soul sells the too-good-to-be-true meet-cute; sleek downtempo underlines the “cool lawyer” image until it breaks. Once the trio forms, the choices get louder and more communal — Lauper and 80s girl-group snap for plotting, club bounce for the Bahamas. Spy pastiche gives Kate’s fear something to wear. And the remix credits song reframes the tale as an “I choose me (and us)” mission statement.

Reception & Quotes

Reviews were mixed on the film but generally warm on its pop instincts — the music keeps the tone fizzy even when the gags go broad. Fans remember the soundtrack as a time capsule: Lorde at her peak, an island detour scored like a vacation reel, and an end-credits sing-along.

“Glossy, high-tempo placements that treat friendship like a victory sport.” — a soundtrack roundup

“The needle-drops do the heavy lifting; the score smiles and stays out of the way.” — a film-music note

According to film listings, the music department balanced Zigman’s cues with a broad slate of licensed tracks to keep the film’s momentum bright.

Interesting Facts

• Trailer spots used high-energy pop (even “Timber” in some cuts) and a snippet of Gin Wigmore’s “Black Sheep” in promo — not in the feature.
• Two Bahamas cues are performed on-screen (CuCu Diamantes), keeping the party diegetic.
• The spy-cue needle-drop is an orchestral cover — a safer tonal match for comedy than the TV version.
• Some playlists swap in alternates; stick to verified credits if you’re recreating the movie order.
• Zigman’s previous Cassavetes collaborations gave him the rom-com muscle memory to keep this one buoyant.

Technical Info

• Title: The Other Woman — Soundtrack & Score Guide
• Year: 2014 (Feature film)
• Type: Song-driven film with original score
• Director: Nick Cassavetes
• Composer (Score): Aaron Zigman
• Music Supervisor: Julia Michels
• Key Featured Songs (selection): “A Sunday Kind of Love” (Etta James); “Gimme Your Love” (Morcheeba); “Love Is a Battlefield” (Raining Jane); “Mission: Impossible Theme” (Royal Philharmonic Concert Orchestra); “Bubble Butt” (Major Lazer ft. Bruno Mars, Tyga, Mystic); “Bilingual Boy” (CuCu Diamantes); “Girls Just Want to Have Fun” (Cyndi Lauper); “The Sun Is Rising” (Britt Nicole); “Cool Jerk” (The Go-Go’s); “Royals” (Lorde); “I’m Coming Out (The Other Woman Remix)” (Keyshia Cole ft. Iggy Azalea).
• Album Status: No official soundtrack album; songs available on artist releases/streaming.
• Runtime: 109 minutes

Questions & Answers

Is there an official soundtrack album?

No — the film uses licensed songs plus score; tracks live on the artists’ own releases and playlists.

Who composed the score?

Aaron Zigman, continuing his collaboration with director Nick Cassavetes.

What song plays over the end credits?

“I’m Coming Out (The Other Woman Remix)” by Keyshia Cole featuring Iggy Azalea.

What’s the opening song?

Etta James’ “A Sunday Kind of Love,” laying down the early romance glow.

Which tracks score the Bahamas scenes?

Major Lazer’s “Bubble Butt” and live CuCu Diamantes cuts anchor the party stretch.

Canonical Entities & Relations

Sources: IMDb soundtracks & credits; Film Music Reporter (score); Metacritic music-dept. credits; curated song-placement indexes; Wikipedia film entry; official trailer uploads; trailer-music notes.

November, 18th 2025