"Rocky Horror Picture Show Event" Soundtrack Lyrics

---

"The Rocky Horror Picture Show: Let’s Do the Time Warp Again (Original Television Soundtrack)" – Album Guide to Tracks and Key Scenes

Overview

What changes when a midnight movie becomes a primetime “event”? The 2016 television remake reframes Rocky Horror as a glam pageant you can drop into without losing the cult DNA. Arrival → adaptation → rebellion → collapse: the soundtrack walks Brad and Janet from wholesome vows to corseted chaos, then hushes for the comedown — with arrangements polished for TV but still winking at the grindhouse.

The album leans on a new cast: Laverne Cox (Frank-N-Furter) vamps with theatrical bite, Victoria Justice (Janet) and Ryan McCartan (Brad) carry the sweet-to-steamy arc, Reeve Carney (Riff Raff) and Christina Milian (Magenta) sharpen the house vibe, while Adam Lambert drops in like a motorcycle through a wall. Producer Cisco Adler keeps the grooves bright and radio-cut tight — a pop-forward coat of lacquer on Richard O’Brien’s rock’n’roll showtunes.

Genres by phase: doo-wop nostalgia and B-movie croon (threshold) → glam stomp and synth shine (initiation) → revue power numbers (awakening) → ballad and elegy (reckoning). As one profile put it, the brief was simple: revive the songs without EDM bloat, honor the hooks, and let the cast sell the story.

How It Was Made

Production & score. Directed/choreographed by Kenny Ortega, the TV film sticks to the original text while reimagining visuals (audience-participation wraparounds; a cinema-within-the-show). Music was overseen and produced by Cisco Adler under the Ode/Columbia umbrella — punchier rhythm beds, stacked harmonies, and a cleaner broadcast mix.

Album. The soundtrack landed with 20 tracks and a ~52-minute runtime, credited to “2016 Fox TV Cast.” Apple’s album card pins an October 21, 2016 release and label tag “Ode Sounds & Visuals.” A couple of singles (“Touch Me”; “Over at the Frankenstein Place”) teased the drop ahead of the broadcast, a modern rollout for a very old-school cult.

Tracks & Scenes

“Science Fiction/Double Feature” — Ivy Levan (Trixie)
Where it plays: House curtain-raiser inside a real cinema: Trixie (in usherette glam) croons in close-up as the audience files in and the marquee glows. A camera glide past popcorn and posters turns the prologue into a ritual.
Why it matters: Signals the frame — this remake includes the midnight crowd. Glossy vocal, torchy tempo.

“Dammit Janet” — Ryan McCartan & Victoria Justice
Where it plays: Cemetery proposal done as storybook pop — bright guitars, clean harmonies, buttoned with a picture-perfect kiss that weather refuses to bless.
Why it matters: Sets “normal” at bubblegum levels so the castle can puncture it.

“Over at the Frankenstein Place” — Justice, McCartan & Reeve Carney
Where it plays: Rain, fog, a hill, and a chorus line of lightning. Riff Raff’s counterline slithers in from a window as Brad/Janet search for shelter.
Why it matters: The first delicious clash of optimism vs. dread — the arrangement leans brighter than ’75, but the subtext still grins.

“The Time Warp” — Reeve Carney, Christina Milian, Annaleigh Ashford & Company
Where it plays: Ballroom induction with glossy choreography; the lyrics double as stage directions for the TV audience and the cinema crowd watching within the film.
Why it matters: Participation anthem, now framed as a meta watch-party.

“Sweet Transvestite” — Laverne Cox
Where it plays: Elevator reveal to runway cabaret; Cox prowls the lab with a vampier swing and elastic phrasing, toggling between sultry and imperious.
Why it matters: New star, same coup d’état — a re-voiced entrance that respects the wordplay and updates the attitude.

“I Can Make You a Man” (+ Reprise) — Laverne Cox & Company
Where it plays: Gym-set tableau around freshly minted Rocky (Staz Nair). Barbell props, satin banners, camera cranes — the whole self-myth machine.
Why it matters: Muscle as camp; the 2016 mix adds sheen without losing the joke.

“Hot Patootie — Bless My Soul” — Adam Lambert
Where it plays: Eddie blows in on a bike and detonates a 50s rave inside a glam opera. The cut’s built for Lambert’s belt and grin; sax punches, crowd claps, chaos.
Why it matters: Rock’n’roll memory barges in, then pays the price — same story beat, fresh vocal fireworks.

“Touch-A, Touch-A, Touch Me” — Victoria Justice
Where it plays: Lab-closet seduction lit like a perfume ad; Justice leans into the breathy hook and comic asides as Rocky learns fast.
Why it matters: Repression melts on contact; this version plays flirty and radio-ready.

“Planet Schmanet, Janet (Wise Up, Janet Weiss)” — Company
Where it plays: The lab becomes a tribunal; spotlights slice the smoke as the narrative tightens the screws on Janet and the squares.
Why it matters: Sleek blocking, snappy tempo — the TV cut keeps momentum high.

“Rose Tint My World” → “Fanfare/Don’t Dream It, Be It” → “Wild and Untamed Thing” — Ensemble
Where it plays: Floor show under a glitter proscenium; corsets, boas, confession, chaos. The camera whips like a spotlight chaser.
Why it matters: The ecstatic center — abandon as awakening, with Cox and Carney trading power in the coda.

“I’m Going Home” — Laverne Cox
Where it plays: The mask drops; a straight, almost traditional ballad reading after all the camp. Strings settle; the room breathes.
Why it matters: The sincerity lands — a heart under the sequins.

“Super Heroes” — Ryan McCartan & Victoria Justice
Where it plays: The quiet walkout; a spare melody over dawn’s mess. (Restored in the extended TV version.)
Why it matters: Emotional epilogue; the remake keeps the elegy in circulation.

“Science Fiction/Double Feature (Reprise)” — Ivy Levan & Company
Where it plays: The cinema within the film empties; the tune returns as the marquee powers down.
Why it matters: Full circle — the event bows to the cult.

Music–Story Links

Trixie’s opener turns the TV audience into the midnight chorus — an on-ramp disguised as a torch song. “Dammit Janet” over-sweetens the frame so “Sweet Transvestite” can steamroll it; Cox’s phrasing flips the power dynamic in a single verse. “Hot Patootie” is engineered as a show-within-the-show detour (Lambert the chaos agent), and the floor-show suite binds the character pivots into one glittering confession. Keeping “Super Heroes” (and the reprise) preserves the elegy the original often lost in U.S. prints.

Notes & Trivia

• The TV film was marketed as The Rocky Horror Picture Show: Let’s Do the Time Warp Again and also billed on-screen as a “special event.”
• Lou Adler returned as executive producer; his son, Cisco Adler, produced the soundtrack.
• Tim Curry appears as the Criminologist/Narrator — his first time singing on a Rocky recording as a character other than Frank.
• Two singles (“Touch Me,” “Over at the Frankenstein Place”) dropped ahead of the album to prime broadcast night.
• The extended cut restores extra material (including “Once in a While” for Brad) that wasn’t in the FOX broadcast.

Reception & Quotes

Reviews were mixed-to-cool on the telefilm; praise clustered around Cox’s star turn and Lambert’s rocker cameo, while some critics wanted a live broadcast’s messier energy. The soundtrack, however, plays clean and crowd-pleasing — a gateway listen for newcomers.

“Steroids? Yes. EDM? No. The songs got shine, not a genre transplant.” producer interview

“Cox is fabulous, a high-gloss ringmaster who sells the mission: don’t dream it, be it.” feature profile

Interesting Facts

• The soundtrack runs 20 tracks (~52 minutes) under the Ode Sounds & Visuals/Columbia banner.
• Annaleigh Ashford (Columbia) also adds backing vocals to “Science Fiction/Double Feature.”
• Casa Loma in Toronto doubled as both Frank’s castle and the interior cinema used for the meta audience scenes.
• Broadcast premiere: October 20, 2016 on FOX; soundtrack released the next day.
• Viewership on premiere night: just under five million — solid for a cult remake in a competitive slot.

Technical Info

• Title: The Rocky Horror Picture Show: Let’s Do the Time Warp Again — Original Television Soundtrack
• Year / Type: 2016 — TV movie / musical
• Director/Choreographer: Kenny Ortega
• Songs by: Richard O’Brien (arrangements lineage via Richard Hartley)
• Music Production: Cisco Adler (producer)
• Key Performers (album): Laverne Cox • Victoria Justice • Ryan McCartan • Reeve Carney • Christina Milian • Annaleigh Ashford • Adam Lambert • Staz Nair • Ivy Levan • Tim Curry • Ben Vereen
• Label / Release: Ode Sounds & Visuals (Columbia) — October 21, 2016; 20 tracks; ~52:00
• Venue note: Filmed primarily at Toronto’s Casa Loma; the soundtrack mirrors the TV cut and extended version inclusions.
• Trailer ID (figures): YouTube — YkYPkO0ckdU

Questions & Answers

Is this a straight re-record of the 1975 film?

No. It’s a new TV production with fresh vocals/arrangements by the 2016 cast, produced to feel modern while sticking to the original text.

Who produced the soundtrack?

Cisco Adler; Lou Adler executive-produced the telefilm. The approach favored shiny band mixes over EDM makeovers.

Which numbers changed most in feel?

“Sweet Transvestite” (vampy swagger for Cox), “Hot Patootie” (built around Lambert’s belt), and the floor-show suite (slicker tempo, big TV chorus).

Does Tim Curry sing on this album?

Yes — as the Criminologist/Narrator, a first for any Rocky recording after his iconic turn as Frank in earlier eras.

Album length and label?

About 52 minutes across 20 tracks, on Ode Sounds & Visuals (via Columbia).

Canonical Entities & Relations

Subject	Relation	Object
Kenny Ortega	directs & choreographs	The Rocky Horror Picture Show: Let’s Do the Time Warp Again (2016)
Lou Adler	executive produces	2016 TV film
Cisco Adler	produces soundtrack for	2016 TV film
Laverne Cox	portrays & sings as	Dr. Frank-N-Furter
Victoria Justice	portrays & sings as	Janet Weiss
Ryan McCartan	portrays & sings as	Brad Majors
Reeve Carney	portrays & sings as	Riff Raff
Christina Milian	portrays & sings as	Magenta
Annaleigh Ashford	portrays & sings as	Columbia
Adam Lambert	portrays & sings as	Eddie
Staz Nair	portrays	Rocky Horror
Tim Curry	portrays & narrates as	Criminologist
Ode Sounds & Visuals / Columbia	release	2016 soundtrack album
Casa Loma (Toronto)	used as location for	Frank’s castle and meta-cinema scenes

Sources: Apple Music album card; Wikipedia entries for the 2016 TV film and soundtrack; Discogs release metadata; IMDb credits; Los Angeles Times and Billboard interviews with the Adlers; Vanity Fair feature on Laverne Cox.

This is a FOX show, starring Laverne Cox as the main singer, dancer and protagonist of this old-fashioned (vintage) show, which main action occurs in the dark castle in the gothic style. Some of you may know Mrs. Cox from the Zombie Prom musical and short half-an-hour film following it of the same name, where she depicted a school’s principal. This is one of those films that are featured on TV and never – on the big screen, as they are too low-budget for this issue. The first 25 minutes of the movie have already seen the light on 2016 Diego’s Comic Con, but the full-fledged premiere will be in November 2016 only. There is no much difference between version of 1975 and this remake. The same story is preserved: a pair – he and she – comes to some wacky crazy gothic castle, where they are met by the same remarkable inhabitants, who incline them to various genital adventures and pleasures, which they eventually meet with drastic desire, after several beseeches. The soundtrack is full of pop and rock songs, approximately 50/50. Victoria Justice and Laverne Cox are main two female protagonists, singing the majority of songs. Wild and Untamed Thing with Touch-A Touch-A Touch-A Touch Me – are two brightest examples of extremely indecent desires. In lyrics, they say of moments when women want intimacy so much, that if you entered their premises in this moment, you would definitely not leave them for hours. Or maybe even for days. They are an example of horniest creatures in these songs. Yet another thing in this direction is Sweet Transvestite, in the lyrics of which is told about various kind of pleasure that a transvestite from Transylvania can give you. Basically, this musical is for lovers of intimacy extremes.

November, 19th 2025

Rocky Horror Picture Show Event on IMDb, Wikipedia

---

A-Z Lyrics Universe

---