"Package" Soundtrack Lyrics

“The Package (2018) — Music from the Netflix Film” – Album Guide to Tracks and Key Scenes

Overview

What happens when a teen road movie swaps the sacred “ring” for something, uh, far more personal? The Package answers with a soundtrack that refuses to blush — brass-house bangers, 2000s rap, desert-psych guitar, and straight-faced pop anthems. The cues don’t gild the comedy; they escalate it, threading chaos through every bad decision.

The film’s music maps the journey: freewheeling party cuts for the campground mayhem; heavy riffage and classic rap for ill-advised detours; earnest pop for the hospital dash; and, finally, an original end-credits rap that shamelessly sings the plot back to you. Diegetic moments (camp singalongs, radios, store systems) keep the gags tactile — you hear what the characters hear.

Distinctives? A brassy “Get Busy” cover that kicks things off like a street parade; a snakebite scene scored with global pop; a gas-station chase punctured by metal thunder; and a credits ditty that rhymes with the title in ways your grandma shouldn’t hear. Genres shift as the mission mutates: party-hop (arrival), trap/EDM sprints (adaptation), stoner-metal and 90s rap (rebellion), then candy-pop catharsis (collapse → acceptance).

How It Was Made

Score: Composer Adam Schiff delivers a nimble, synth-forward comedy score — percussive stabs, cheeky pulses, and warm pads — designed to sit under loud needle-drops without getting drowned out. Schiff writes through the collective model associated with Bleeding Fingers; the cues stay modular so editors can swap joke timings without breaking musical logic (as noted in press and composer features).

Source & licensing: The movie leans hard on recognizable textures that read fast: DMX for rowdy momentum, The Sword for comic “epic,” Amadou & Mariam’s Santigold-laced cut for world-pop sparkle, and a chanted, scene-stealing “Oops!” gag that returns later as a soaring cover. According to critics, the end-credits original (“Miss My Dick”) lands the biggest laugh of the final reel by narrating the whole adventure like a 1980s movie theme — only ruder.

Tracks & Scenes

“Get Busy” — Too Many Zooz (Sean Paul cover)
Where it plays: Opening vibe/setup. A brass-house blast introduces the crew and their spring-break energy as plans are hatched and texts fly. Non-diegetic, swagger first, dialogue second.
Why it matters: Announces the movie’s joke: even the music is a horn-blaring emergency.

“Smoke on the Brain” — Chuck Preston
Where it plays: Early pre-trip meet-up as Sean and Donnie swing by Jeremy’s place; quick, jangly momentum while they load out. Non-diegetic.
Why it matters: A lightweight leitmotif for “bad ideas in motion.”

“Free Song” — Maria Taylor
Where it plays: Drive to the trailhead; Becky/Sean cross-chatter, Donnie’s not-so-helpful advice ping-pongs in the car. Non-diegetic, soft indie wash.
Why it matters: Quiet confidence before the storm; a breath you’ll miss later.

“Step It Up” — Tre Oh Fie feat. Big Mac
Where it plays: Gas-station beer run; Jeremy peacocks with a fake military ID. Non-diegetic sliding toward source as the clerk sizes him up (≈ 9’).
Why it matters: Comic bravado foreshadows the clerk’s payback chase.

“Dougou Badia (feat. Santigold) [Kennie Takahashi Alt Mix]” — Amadou & Mariam
Where it plays: Trailhead arrival & hike into the woods (≈ 10’). Non-diegetic; sun-lit, forward-leaning groove.
Why it matters: Injects joyful motion just before disaster strikes.

“Turn Down Fa What” — Poly Rob
Where it plays: Camp party ignition (≈ 16’); bottles, bravado, bonfire posturing. Non-diegetic.
Why it matters: Loud confidence → poor choices; the fuse is lit.

“Oops!... I Did It Again” — Cast (impromptu singalong)
Where it plays: Medevac wait after the accident (≈ 24’). Diegetic: a delirious Jeremy starts the Britney chorus; everyone joins, half-panicked, half-comforting.
Why it matters: Black-comedy catharsis; pop sugar over absolute chaos.

“Kings & Queens” — ChinChin
Where it plays: Hiking to the ranger station for ice (≈ 32’). Non-diegetic, mid-tempo stride.
Why it matters: Mission-music for a truly ridiculous mission.

“Ruff Ryders’ Anthem” — DMX
Where it plays: Boat run toward the parking lot (≈ 47’). Sean blasts it on the stereo; diegetic, chest-thumping hook bouncing off the water.
Why it matters: Turns panic into parade — a perfect, cocky counterpoint.

“Acheron / Unearthing the Orb” — The Sword
Where it plays: Gas-station chase when the clerk realizes the “soldier” ruse (≈ 53’). Non-diegetic; sludgy guitars + comic doom.
Why it matters: Metal as punchline — the stakes feel mythic, the situation… not.

“Symphony No. 40 in G minor, K. 550: I. Molto Allegro” — Mozart (library recording)
Where it plays: Clerk’s meticulous “cleaning” job at the counter; a prim classical needle-drop under the most undignified task imaginable.
Why it matters: Ironic polish; the joke writes itself.

“Oops!... I Did It Again” — Peter Seibert (cover)
Where it plays: Hospital sprint (≈ 1h18’); the crew barrels through corridors to fix their latest mix-up. Non-diegetic, earnest and huge.
Why it matters: The movie dares you not to cheer a power-ballad Britney cover.

“2 Dope 2 Die” — YULTRON
Where it plays: Airport dash pickup (≈ 1h23’); Becky, Sarah, Jeremy screech up to grab Sean. Non-diegetic, EDM shove.
Why it matters: Late-game NOS for the rom-com engine.

“Bad Ones (feat. Tegan and Sara)” — Matthew Dear
Where it plays: End-credits kiss (≈ 1h26’); Becky & Sean finally exhale while friends look on. Non-diegetic.
Why it matters: Tender but sly — exactly the film’s tone when the dust settles.

“Miss My Dick” — Eduardo Franco
Where it plays: Credits song (≈ 1h27–1h28’); the film’s own theme, rapped/sung by the actor who plays Jeremy, recounting the plot.
Why it matters: A victory-lap novelty number that leaves you laughing on the way out.

Notes & Trivia

• The score is credited to Adam Schiff; he’s part of the Bleeding Fingers composer collective.
• Yes, that’s a brass-house “Get Busy” up top — a horn-driven cover that sets the film’s anything-goes mood.
• Two different “Oops!” moments: a delirious cast singalong and a later, earnest cover by Peter Seibert.
• The metal chase cue by The Sword works as a parody of “epic quest” music — in a gas station.
• The end-credits original (“Miss My Dick”) is performed by cast member Eduardo Franco.

Music–Story Links

When Sean cranks “Ruff Ryders’ Anthem” on the boat, bravado papers over terror — the hook grants the crew a swagger they haven’t earned. The “Oops!” singalong reframes panic as care: a pop classic becomes triage lullaby, then returns as a heroic cover when the group finally commits to fixing their mess. The Sword’s doom-riff lampoons their fake military posture, while the Mozart sting makes the clerk’s “surgery” feel perversely formal. And that credits rap? It canonizes the adventure as legend — a very specific kind.

Reception & Quotes

Reviews were mixed on the film but singled out the audacity of the gags — and the cheeky credits song. The soundtrack never settles; it keeps leaning into the joke without winking too hard. A major critic even called out the end-credits number as the film’s last, best gag.

“The end credits bless you with an old-fashioned theme song… a club-ready rap titled ‘Miss My Dick.’” — RogerEbert.com

“One continuous dirty joke with an outrageously absurd premise.” — The Hollywood Reporter (summary)

Interesting Facts

• No unified OST: There’s no official various-artists album; songs live on artist releases and streaming playlists.
• Composer credit: “Music by Adam Schiff” appears in primary listings; he’s a Bleeding Fingers composer.
• Two Britneys, two tones: delirious camp singalong vs. big-hearted cover for the hospital dash.
• Global pop splash: Amadou & Mariam’s Santigold collab energizes the hike sequence.
• Metal as comedy: The Sword cue weaponizes heaviness for a convenience-store chase.
• Rap legacy needle-drop: DMX’s anthem turns a lake crossing into a music video.
• Diegetic texture: Several cues are heard “in-world” (stereo, singalong, store system), anchoring the jokes.

Technical Info

• Title: The Package — Music from the Netflix Film
• Year: 2018 (Released on Netflix: August 10, 2018)
• Type: Licensed songs + original score (no single official VA album)
• Composer (score): Adam Schiff
• Music supervision: Documented credits include industry music-supervision roles; production used a mix of library and commercial tracks.
• Key placements (selection): “Get Busy” (brass cover; opening vibe) • “Dougou Badia” (trailhead) • “Ruff Ryders’ Anthem” (boat run) • “Acheron/Unearthing the Orb” (gas-station chase) • “Oops!... I Did It Again” (singalong & hospital cover) • “Bad Ones” (end-credits kiss) • “Miss My Dick” (credits rap).
• Availability: Songs on major DSPs via original artists; score cues appear within the film; fan playlists aggregate the selection.

Questions & Answers

Who composed the original score?

Adam Schiff. He’s part of the Bleeding Fingers composer collective.

Is there an official soundtrack album?

No single VA album. Tracks are sourced; the score lives in-film. Fan playlists gather the cues.

What’s the song blasting on the boat?

DMX’s “Ruff Ryders’ Anthem,” played diegetically on the stereo.

Why are there two “Oops!... I Did It Again” moments?

First as a chaotic singalong at the medevac wait; later as a rousing cover during the hospital sprint.

Who performs the credits rap?

Actor Eduardo Franco (“Jeremy”) performs the original song “Miss My Dick.”

Canonical Entities & Relations

Sources: IMDb Soundtracks & Full Credits; Wikipedia (film entry & credits); Soundtrakd scene-by-scene listings; WhatSong & SeriesTrack aggregations; RogerEbert.com review; official Bleeding Fingers/artist pages.

November, 18th 2025