"Paul Blart: Mall Cop 2" Soundtrack Lyrics

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“Paul Blart: Mall Cop 2 — Original Motion Picture Soundtrack (2015)” – Album Guide to Tracks and Key Scenes

Overview

How do you soundtrack a gentle goofball tossed into a Vegas heist? By turning the Strip into a jukebox — bright choruses, poolside pop, and one very self-serious riff machine. Paul Blart: Mall Cop 2 doubles down on the first film’s gag: oversized, recognizable hooks inflate tiny, dorky victories until they feel arena-sized.

Paul (Kevin James) heads to a security expo at the Wynn, drifts into a crush, and stumbles into an art-theft plot. The music keeps him buoyant: sunny alt-pop for good intentions, party beats for Vegas chaos, novelty cues and diegetic performances for the mall-cop-turned-resort-guest awkwardness. When the heist snaps shut, guitar-forward score cues shift tempo and keep the slapstick chases coherent.

What makes this sequel’s sound distinct is its Las Vegas-ness. Pool bangers, showroom pieces, and party-floor viral pop rub shoulders with classic-rock swagger. Across the arc — arrival → temptation → stumble → scramble → reset — styles map to meaning: indie-pop uplift = optimism; EDM-tinted chill = false security; radio-rap novelty = comic ego; classic rock = borrowed bravado; contemporary R&B/alt = warm, rom-com heartbeat.

How It Was Made

Composer: Rupert Gregson-Williams supplies a clean, guitar-and-percussion led score that clips along with the PG stuntwork. His cues are less wall-to-wall than guide rails: brisk setups into punchlines, mini-fanfares for pratfalls, and sturdy action beds for the late-stage chase inside Wynn’s glitz.

Music supervision & placements: A studio-forward needle-drop strategy leans on easily recognized chart tracks and a few Vegas-specific cues — notably an Overture from “Le Rêve.” It’s a playlist logic: quick-read emotions that play as jokes, then sincerity, sometimes both inside a single beat. The result is popcorn-efficient, and very “Vegas floor.”

Tracks & Scenes

“Best Day of My Life” — American Authors
Where it plays: Early montage energy as Paul tells Maya about the Vegas invite and gears up for the trip. The cut uses the handclap bounce to underline their pre-flight optimism. Non-diegetic.
Why it matters: Sets the sequel’s sunnier baseline before the heist intrudes.

“Da’ Dip” — Freak Nasty
Where it plays: Paul and Maya roll into the hotel; later, Maya and Lane riff on it as a joking duet at the restaurant. Diegetic bits embedded in resort ambience.
Why it matters: Establishes a looser, vacation mood — and a father–daughter rhythm the plot will stress-test.

“Wrap It Up” — Kim Wilson
Where it plays: On the expo floor, Paul and a cluster of guards browse tech; the track gives a roadhouse snap to sales-pitch show-and-tell. Non-diegetic, quick source-like cut.
Why it matters: A sly joke: tough-blues swagger for foam-dart weapons and net guns.

“Waves (Robin Schulz Radio Edit)” — Mr. Probz
Where it plays: Poolside sequence; Maya’s first date with Lane while Paul patrols nearby. Sunlit slow-motion, floating synths, cutaways to water and the Strip glow. Non-diegetic.
Why it matters: Paints the oasis; contrasts with the coming indoor, high-polish heist.

“Here I Am” — Eric Genuis
Where it plays: ~1:09:00 — just before Paul’s speech, he seeks calm in a garden… and is dive-bombed by a bird. Non-diegetic to diegetic-feeling gag as the serenity breaks.
Why it matters: A tonal pivot: faux-noble calm detonated by slapstick.

“Rush” — SoMo
Where it plays: Party sequence; lights, selfies, and missed calls. Maya notices Paul has phoned five times. Non-diegetic club energy rolling under dialogue.
Why it matters: Youthful pulse that highlights the parent–teen friction.

“Bad Boys (Theme from Cops)” — Inner Circle
Where it plays: ~1:15:00 — after the speech applause, and later as Paul’s enforcement mojo spikes during the scramble. Diegetic-feeling gag needle-drop.
Why it matters: A cheeky law-and-order anthem rebranded for the gentlest of “bad boys.”

“Just Girly Things” — Dawin
Where it plays: At the party when Maya and Lane are nabbed — a candy-coated pop hook abruptly cut by danger. Non-diegetic.
Why it matters: Bubblegum mood whiplashes into stakes, underlining how fast Vegas fun turns.

“Overture (from ‘Le Rêve’, Las Vegas USA)” — Benoît Jutras
Where it plays: Showroom/ballet-style performance inside the resort; Paul flees Ramos through backstage corridors as the performance swells. Partially diegetic (onstage) bleeding into score.
Why it matters: A uniquely Vegas cue — the resort itself becomes an instrument.

“Frankenstein” — The Edgar Winter Group
Where it plays: Paul psychs up to grab Vincent; later tailing a henchman across the marble lobby. Guitar/kit hits synch with pratfalls. Non-diegetic rock punch.
Why it matters: Classic-rock bravado grafted onto slapstick — the franchise’s signature joke returns.

“Fly (Version 2)” — Steve Azar
Where it plays: Ending stretch and credits: Paul supports Maya’s UCLA leap, then bee-lines toward a mounted cop crush — promptly eating a hoof into a car. Non-diegetic into credits.
Why it matters: Earnest country-rock optimism to land the father–daughter arc.

“Make Her Mine” — Mayer Hawthorne
Where it plays: Romantic-beat connective tissue around expo social moments; a brief, silky throwback vibe. Non-diegetic.
Why it matters: Retro-soul polish signals Paul’s soft-focus hopes — and the film’s PG aims.

Also heard: Charlene’s “I’ve Never Been to Me” (comedic contrast cue); The Parlour Society’s “Love Came Right On Time”; Brooks + Forte’s “Good Time”; Inaky Garcia’s “Stay With Me (feat. Sandy Soul)” and a club-mix variant. Trailer cuts also lean on bright, percussive pop to sell Vegas scale.

Notes & Trivia

• Rupert Gregson-Williams’s score favors chugging guitars and toms over big orchestral statements — a cleaner fit for PG chases.
• Vegas-specific placement: an Overture from the “Le Rêve” show — a neat location flex.
• Music supervision credit goes to Spring Aspers; the drop choices skew radio-familiar for quick emotional legibility.
• Soundtrack sources online list 12–18 commercial songs; several do not appear on any official retail OST.
• Yes, “Frankenstein” returns — the series’ comedic rock-god fantasy in three licks.

Music–Story Links

“Best Day of My Life” frames Vegas as possibility — so when “Just Girly Things” sugar-rushes into a kidnapping, the tonal rug-pull stings. The Le Rêve Overture turns spectacle into literal cover for Paul’s retreat, making stagecraft a plot tool. And every time classic rock muscles in — “Frankenstein,” especially — the movie lets Paul borrow a hero pose he hasn’t quite earned. It’s his inner mixtape doing the heavy lifting.

Reception & Quotes

The film took a critical bruising but still did business. Reviewers knocked the sequel’s tone and gags; fans of the first film turned out anyway. The soundtrack’s readability — big hooks, simple moods — got nods even in pans.

“Painfully unfunny… you’ll be cheering for the villains.” — Frank Scheck, The Hollywood Reporter

“Bathed in flop sweat… uniformly unfunny results.” — Rotten Tomatoes critics consensus

“A tacky, numbingly inane sequel.” — Justin Chang, Variety

Interesting Facts

• Showroom sound: The Le Rêve cue is licensed from Franco Dragone’s Vegas production — unusually specific sourcing for a broad comedy.
• Pool-pop timing: “Waves (Robin Schulz Radio Edit)” became a global hit just before release; smart sync, easy vibe match.
• Party-pop as plot: “Just Girly Things” sugarcoats the kidnapping beat, making the cut to danger punch harder.
• Supervisor stamp: Spring Aspers’s Sony-era projects often lean radio-forward; this one’s a textbook example.
• Availability: No standard studio OST; multiple fan playlists mirror the film’s cues.

Technical Info

• Title: Paul Blart: Mall Cop 2 — Soundtrack & Score Notes
• Year / Type: 2015 / Movie
• Composer: Rupert Gregson-Williams
• Music Supervision: Spring Aspers
• Notable licensed songs: “Best Day of My Life,” “Da’ Dip,” “Wrap It Up,” “Waves (Robin Schulz Radio Edit),” “Here I Am,” “Rush,” “Bad Boys,” “Just Girly Things,” “Overture (from ‘Le Rêve’),” “Frankenstein,” “Fly (Version 2),” “Make Her Mine,” “I’ve Never Been to Me,” “Love Came Right On Time,” “Good Time,” “Stay With Me (feat. Sandy Soul).”
• Release context: Opened April 2015; filmed in and around Wynn Las Vegas; box office ~$107M worldwide.
• Album status: No widely released official OST album; tracks available individually on streaming; fan-curated playlists fill the gap.
• Label/rights notes: Includes show licensing (Le Rêve) and standard major-label clearances; several diegetic uses at parties/pool.

Questions & Answers

Who composed the sequel’s score?

Rupert Gregson-Williams, bringing a punchy, guitar-driven comedy/action palette.

Is the Le Rêve music really in the movie?

Yes — an “Overture” from the Las Vegas show appears during an on-site performance that doubles as a chase cover.

Which song plays at the pool date?

Mr. Probz’s “Waves (Robin Schulz Radio Edit)” underscores the laid-back poolside vibe before the plot tightens.

Does “Frankenstein” show up again like in the first film?

It does — used to pump up Paul’s pursuit and parody his borrowed heroism.

Is there an official soundtrack album?

No traditional OST; streaming playlists and individual tracks replicate the film’s needle-drops.

Canonical Entities & Relations

Subject	Relation	Object
Andy Fickman	directed	Paul Blart: Mall Cop 2 (2015)
Rupert Gregson-Williams	composed score for	Paul Blart: Mall Cop 2 (2015)
Spring Aspers	music supervised	Paul Blart: Mall Cop 2 (2015)
Kevin James	starred in	Paul Blart: Mall Cop 2 (2015)
Wynn Las Vegas	hosted location for	Paul Blart: Mall Cop 2 (2015)
Benoît Jutras	composed	“Overture (from ‘Le Rêve’)”
Inner Circle	performed	“Bad Boys (Theme from Cops)”
Mr. Probz	performed	“Waves (Robin Schulz Radio Edit)”
American Authors	performed	“Best Day of My Life”
The Edgar Winter Group	performed	“Frankenstein”

Sources: Wikipedia; Film Music Reporter; Rotten Tomatoes; The Hollywood Reporter; SoundtrackRadar; FilmSoundtrack.net; Metacritic credits; fan-curated streaming playlists.

A comedy with Kevin James, this fatty of Hollywood. As many other screen fatties, he really got big from the last movie. The movie itself is absurd and ridiculous. Let us leave aside the question of why it is impossible to film something as funny as The Dumb and Dumber, where you laugh, but don’t start to neigh because of the absurdity of clutter situations on a screen. Soundtrack is great, fun, carefree. To play it and not to think of about anything while doing your daily activities. Notable by its representatives like Best Day Of My Life and Waves . There are different trends and genres included, from rap (Eric Henry Timmons) and rock to most beautiful, classical instrumental inspiring song (by Eric Genius, in a beautiful and melodic female voice version) in the style of Disney cartoons about princesses. Here you’ll find reggae too ( Bad Boys , in its original performance by Inner Circle, the best among all the other versions of this song). Besides the already mentioned music styles, the collection also has a bit of rock, techno-bit, soporific ballad in the style of Spartans, and pop in the style of America of late 60's and even the Christmas music. Typically, such a motley assemblage of music suggests that music producers of the film have done their work somewhere on 80%, just marginally worked after their money, not bothering by notable unique face of musical soundtrack to the movie nor working on the quality of their future resumes. Well, let it be on their conscience. We can only recommend you to listen to some compositions, several of which are pretty good in this collection – you just have to pick one your like from this mash up of kinds. No one forces you to listen to the entire collection because it has very large number of different styles and genres, which means that there are not so many fans of such a wide range of genres in the world.

November, 18th 2025

See movie profile and read user reviews on IMDb, Rotten Tomatoes

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