"Planet 51" Soundtrack Lyrics

“Planet 51 (Original Motion Picture Soundtrack, 2009)” – Album Guide to Tracks and Key Scenes

Overview

What happens when a bubble-gum jukebox meets a straight-faced alien invasion? Arrival — adaptation — rebellion — collapse: Planet 51 lands in a 1950s-style suburb (on another world), scrambles when human astronaut Chuck is branded the monster, then rights itself through friendship, a rover with personality, and one last dash to the ship.

The official soundtrack is twofold: a compact, radio-ready compilation of retro covers (think drive-in rock & doo-wop) and a finale cut — “Planet 51 Orchestral Suite” — that teases the film’s sweeping score by James (Seymour) Brett. The album runs a tidy 12 songs plus the suite, issued by Decca Label Group, and plays like the planet’s diegetic playlist with a curtain-call of symphonic adventure.

Style map: malt-shop pop (innocence) → sock-hop rockers (panic with a grin) → dreamy standards (romance & pause) → space-age novelty (wink) → orchestral adventure (escape). As retail listings and composer notes suggest, the film itself leans harder on orchestral storytelling; the album gives you the period flavor plus one big score sample.

How It Was Made

The film credits James Brett as composer; he recorded a large-canvas orchestral score (London Metropolitan Orchestra) while the music department cleared period-styled songs for source cues in homes, arcades, and town squares. The commercial release — Planet 51 (Original Motion Picture Soundtrack) — arrived via Decca as a “various artists” set, recorded at Abbey Road, and capped by Brett’s Planet 51 Orchestral Suite conducted for the LMO. The film’s complete score remains unreleased; the suite is the official taste.

Tracks & Scenes

“Lollipop” — Sophie Green
Where it plays: Early small-town ambience in the 1950s-styled alien suburb — store-front radios and family chatter under a sunny day-in-the-life montage. Diegetic/background.
Why it matters: Establishes the candy-colored normal that Chuck will soon upend.

“Long Tall Sally” — John Sloman
Where it plays: Youth hang-out energy — cruising, comic-shop chatter, the town’s teen rhythm before the “alien panic” loudspeakers kick in. Diegetic/background.
Why it matters: Signals a lively, carefree culture; the chase will distort this groove.

“Tried to Save the World” — Tom Cawte
Where it plays: Montage flavor as Lem and Chuck improvise a plan; the lyric winks at the plot while guitars keep the pace up.
Why it matters: A meta-pop comment on a buddy rescue — the album’s most on-title gag.

“Ding Ding a Boom Boom” — Keith Murrell
Where it plays: Broadcasts and town-square hustle escalate; the title mirrors clattering sirens and pratfall comedy as the military crowds in.
Why it matters: Comic propulsion during rising stakes.

“Gonna Be a Star” — Tom Cawte
Where it plays: Lem’s tiny, accidental hero moments — a jaunty bed for his awkward optimism.
Why it matters: Character color: earnest, a little naive, quietly brave.

“Be-Bop-A-Lula” — Chris Cawte
Where it plays: Drive-in/streetscape swagger cut — chrome, fins, and hop-step swagger, alien-style.
Why it matters: Locks the film’s setting into a grease-era vibe despite the green skin.

“Greased Lightnin’” — Lance Ellington
Where it plays: Garage gags and souped-up hover-rides; a wink to gear-head culture.
Why it matters: The clearest bridge between 1950s car lore and Planet 51’s retro-future.

“Unchained Melody” — Keith Murrell
Where it plays: Slow-dance glow — Lem and Neera’s gentler beats as the plot breathes.
Why it matters: Gives the movie a soft center; it’s not all chase and military bluster.

“Mr. Sandman” — Peter Gosling
Where it plays: Night-time street scene and Rover’s curious wanderings — lullaby-bright, just a touch uncanny.
Why it matters: Sweetness with side-eye; the perfect tone for “Retroville… but alien.”

“Stick It to the Man” — Tom Cawte & the Electric Hearts
Where it plays: Rebellion montage as the gang stops hiding and starts acting; amps up the underdog tilt.
Why it matters: Teen-spirit punctuation before the final run.

“Space Oddity” — Keith Murrell
Where it plays: A cheeky pre-finale nod as the “human from the stars” image flips; the lyric jokes against the wholesome setting.
Why it matters: The album’s most literal space wink.

“Planet 51 Orchestral Suite” — London Metropolitan Orchestra
Where it plays: Album-only curtain call; an energetic suite that hits adventure motifs and heroic brass in classic family-film style.
Why it matters: The lone official taste of James Brett’s full score — big-screen scope in one track.

Notes & Trivia

• The album contains 12 songs plus a closing orchestral suite; it’s officially released as a Various Artists compilation by Decca Label Group.
• The suite is performed by the London Metropolitan Orchestra; film score composed by James (Seymour) Brett.
• Recording took place at Abbey Road Studios for both the songs and the orchestral suite.
• The film’s complete score was not issued commercially; the suite is the formally released excerpt.
• The retro selections mirror the movie’s 1950s pastiche world — soda fountains, fins, and drive-ins… on another planet.

Music–Story Links

When Chuck “invades,” the town’s jukebox doesn’t stop — that’s the joke. Cheerful doo-wop and rockabilly carry on as the military panics, so the songs become a sonic alibi: everything here looks normal. When Lem and Neera share quiet time, slow-dance standards cushion their nerves; when the gang fights back, a bratty guitar cue sells courage. The orchestral suite reframes the comedy as adventure — brass for heroism, busy strings for chase logic, and percussion for last-minute gambits.

Reception & Quotes

Critics were mixed on the film, warmer on the soundtrack’s concept — a playful jukebox that doesn’t drown out the adventure. The compilation plays clean on its own, but fans of film music still wish Brett’s full score had seen daylight.

“A breezy jukebox with one big, rousing taste of the score.” as one capsule review summed up

“The suite proves the movie’s heart is orchestral.” album coverage often noted

Interesting Facts

• Label & runtime: Decca Label Group issued the album; typical listings show 12 songs (~35–40 min) plus the suite.
• LMO credit: The London Metropolitan Orchestra closes the album; on film, Brett’s score uses full adventure-film forces.
• Single-album strategy: No separate “score album” was released — unusual for a wide U.S. theatrical animated film in 2009.
• Period pastiche: Several tracks are brand-new recordings in period style rather than original 1950s masters.
• Game tie-in: Some of Tom Cawte’s tracks also appeared around the same time in materials for the tie-in video game.

Technical Info

• Title: Planet 51 (Original Motion Picture Soundtrack)
• Year: 2009
• Type: Compilation soundtrack (songs) + orchestral suite
• Composer (film score): James (Seymour) Brett
• Suite performer: London Metropolitan Orchestra
• Label: Decca Label Group
• Recording: Abbey Road Studios (songs & suite)
• Album configuration: 12 songs + “Planet 51 Orchestral Suite”
• Notable songs (album): “Lollipop,” “Long Tall Sally,” “Tried to Save the World,” “Ding Ding a Boom Boom,” “Gonna Be a Star,” “Be-Bop-A-Lula,” “Greased Lightnin’,” “Unchained Melody,” “Mr. Sandman,” “Stick It to the Man,” “Space Oddity.”

Questions & Answers

Who composed the actual film score, and is it on the album?

James (Seymour) Brett composed the score. Only a suite from it appears on the commercial album; the full score hasn’t been released commercially.

Who performs the orchestral suite?

The London Metropolitan Orchestra; the film’s music team recorded at Abbey Road.

Is this mostly a “songs” album?

Yes — it’s a period-flavored songs compilation built to match the movie’s 1950s pastiche, capped by one orchestral suite.

What label released it?

Decca Label Group handled the release as a Various Artists set.

Are the rock & doo-wop tracks originals or covers?

They’re newly recorded performances in classic styles (with familiar titles) to fit the world’s retro vibe.

Canonical Entities & Relations

Sources: album pages and label listings; composer/site notes; library and retail metadata; film page and credits; soundtrack databases.

November, 19th 2025