"She's All That" Soundtrack Lyrics

“She’s All That — Soundtrack & Score Guide (Film, 1999)” – Album Guide to Tracks and Key Scenes

Overview

What if one late-’90s earworm could sell an entire love story? She’s All That uses a single shimmering pop song to frame its most indelible moments, then packs the rest with clubland bangers, retro funk, and sly alt-rock. The result: a soundtrack that doubles as a time capsule and a prom playlist — earnest, fizzy, and very 1999.

Police drummer-turned-film-composer Stewart Copeland supplies kinetic, percussion-forward score stingers while the movie leans hard on licensed tracks for character beats: a makeover in slow motion, a choreographed prom surprise, a reality-TV clown humiliating himself at a house party. Pop and big-beat keep the teen comedy buoyant; the score flickers in to nudge tension and sincerity.

Arrival → adaptation → rebellion → collapse: the music maps it cleanly. Early cues flirt with campus swagger; mid-film numbers get clubby and chaotic; the finale swings back to starry-eyed pop. Style-to-theme phases: Brit-big-beat — communal release; alt/indie pop — vulnerability; classic funk — ego on parade; percussion score — heartbeat under banter.

How It Was Made

Director Robert Iscove wanted a prom sequence that felt like a full-on musical gag, so choreographer Adam Shankman drilled the cast for a surprise dance to a club hit, with Usher (who plays the campus DJ) bridging the bit in-character. Meanwhile, the production tapped Stewart Copeland for score — his crisp, rhythmic sensibility complements the film’s MTV-era needle-drops.

As reported in anniversary pieces and studio notes, Sixpence None the Richer’s “Kiss Me” became the de facto theme: it underscores the staircase makeover reveal and functions as the film’s romantic signature, boosting the song’s own chart run afterward. The licensed songs span UK big beat, alt-pop, and vintage funk to keep scenes banging from quad to prom.

Tracks & Scenes

“Kiss Me” — Sixpence None the Richer
Where it plays: The makeover staircase reveal — Laney descends in the red dress as Zack sees her with new eyes; later reprises toward the romantic endgame (non-diegetic).
Why it matters: It’s the movie’s heartbeat — tender, weightless; the cue that turned a scene into an era touchstone.

“The Rockafeller Skank” — Fatboy Slim
Where it plays: Prom dance sequence. Usher, as the school DJ, cues the crowd — “Right about now…” — and the entire gym erupts into a choreographed routine (non-diegetic over PA).
Why it matters: Big-beat euphoria + fourth-wall-ish choreography = the film’s gleeful, most-quoted set-piece.

“Give It to Me Baby” — Rick James
Where it plays: House party showcase for reality-show jerk Brock Hudson; he peacocks and grinds while Taylor cringes (diegetic party track).
Why it matters: Weaponized funk: the groove exposes Brock’s clownish self-regard and punctures Taylor’s cool.

“Sugar” — Stretch Princess
Where it plays: Beach day / volleyball hangout — sun, sand, and flirty chaos (source track on location speakers).
Why it matters: Buoyant pop that pins the SoCal teen-summer vibe and nudges Zack–Laney proximity.

“Baby Got Going” — Liz Phair
Where it plays: Early campus/corridor beats as social circles re-mesh post-spring break (needle-drop montage texture).
Why it matters: Sets the teen-romcom stride — wry, brisk, a little sly.

“Ooh La La” — The Wiseguys
Where it plays: Prep-for-prom antics and party transitions, cut with crowd chatter and locker-room ribbing.
Why it matters: Breakbeat swagger that keeps everything feeling like a music-video between scenes.

“Prophecy” — Remy Zero
Where it plays: Early mood-setter around campus intros; guitars haze in as Zack recalibrates after the breakup.
Why it matters: Alt-rock shimmer that grounds the movie’s heart beneath the gloss.

Score by Stewart Copeland — select moments
Where it plays: Transitional cues, hallway nerves, and prom-floor reversals; tight drum programming and percussive pulses keep the rom-com pace.
Why it matters: The score stitches the needle-drops, giving the film bounce without losing tenderness.

Notes & Trivia

• Composer credit goes to Stewart Copeland — yes, the drummer from The Police — whose film work leans rhythmic and lean.
• The prom dance wasn’t in the original script; Adam Shankman was brought in to choreograph, and Usher’s DJ lines were added to set it up in-story.
• “Kiss Me” became the movie’s signature and a chart rocket, peaking at No. 2 on the Billboard Hot 100 after the film hit.
• Stretch Princess’s “Sugar” sweetens the beach-volleyball scene — a blink-and-grin placement fans still cite.
• There was no widely released official “songs from the film” compilation at the time; tracks live across artist albums and playlists.

Music–Story Links

When Laney steps onto the staircase, “Kiss Me” doesn’t just score attraction; it reframes Zack’s gaze — from project to person. Brock’s grotesque party strut to “Give It to Me Baby” weaponizes diegetic music against him; the room sees what Taylor refuses to admit. And at prom, the communal jolt of “The Rockafeller Skank” snaps rival cliques into one moving organism — a winking, musical-number payoff to a movie about image and reinvention.

Reception & Quotes

Critics were mixed on the film but widely agree the soundtrack moments became cultural shorthand — especially that staircase and that prom. Entertainment press later traced how “Kiss Me” became inseparable from the movie’s identity.

“Set unforgettably to Fatboy Slim’s ‘The Rockafeller Skank,’ the prom dance… lives rent-free in our heads.” PopSugar

“‘Kiss Me’ was the soundtrack to Laney’s metamorphosis — and then a chart phenomenon.” Entertainment Weekly

Availability: The film’s songs were not compiled on a mainstream CD in 1999; official releases are the artists’ own albums/singles. Copeland’s score cues are embedded in the film; curated digital playlists collect the movie’s tracks.

Interesting Facts

• Usher’s cameo as campus DJ is more than stunt casting — his lines were added in reshoots to motivate the prom routine.
• Matthew Lillard’s Brock dance is forever linked to Rick James; outlets still reshare that clip on anniversaries.
• “Kiss Me” also landed on the Dawson’s Creek soundtrack the same year, multiplying its teen-pop footprint.
• Big-beat breakbeats (Wiseguys, Fatboy Slim) make the prom feel like a club, not a gym.
• Stretch Princess’s “Sugar” has a second 1999 teen-media cameo (Passport to Paris), cementing its bubblegum-summer rep.

Technical Info

• Title: She’s All That — Soundtrack & Score Guide
• Year: 1999 (theatrical release)
• Type: Film soundtrack overview (licensed songs + original score)
• Composer (score): Stewart Copeland
• Notable placements (licensed): “Kiss Me” (Sixpence None the Richer); “The Rockafeller Skank” (Fatboy Slim); “Give It to Me Baby” (Rick James); “Sugar” (Stretch Princess); “Baby Got Going” (Liz Phair); “Ooh La La” (The Wiseguys); “Prophecy” (Remy Zero).
• Prom sequence: Choreographed by Adam Shankman; motivated on-screen by Usher as school DJ.
• Album status: No official, comprehensive “songs from the film” album; tracks available on artist releases/streaming.

Questions & Answers

Who composed the score for She’s All That?

Stewart Copeland — his punchy percussion cues stitch the needle-drops together.

What song plays during the makeover staircase reveal?

“Kiss Me” by Sixpence None the Richer — the film’s signature musical moment.

What’s the prom dance song?

Fatboy Slim’s “The Rockafeller Skank,” with Usher’s DJ character cueing the routine.

Where does “Give It to Me Baby” appear?

At a house party where Brock Hudson showboats — the scene everyone still quotes.

Is there an official soundtrack album of all the songs?

No single mainstream release collected them in 1999; fans use playlists and artist albums.

Canonical Entities & Relations

Sources: Entertainment Weekly; IMDb Soundtracks; PopSugar; Wikipedia; Rotten Tomatoes video clips; Ringostrack; Stretch Princess discography.

November, 27th 2025