"Stuart Little" Soundtrack Lyrics

"Stuart Little (Music From & Inspired By The Motion Picture)" – Album Guide to Tracks and Key Scenes

Overview

How do you soundtrack a wish-fulfillment fairy tale about a talking mouse who becomes a Little? With Motown-polished pop, kid-aimed radio, and Alan Silvestri’s warm orchestral lift. The 1999 album blends chart-friendly artists and two key score cues, while the film leans on Silvestri’s buoyant writing to power set-pieces — most famously the Central Park boat race. :contentReference[oaicite:0]{index=0}

The compilation arrived via Motown/Universal to accompany Rob Minkoff’s hit family film, and it feels intentionally mixed: Trisha Yearwood’s Diane Warren ballad “You’re Where I Belong” closes the show, S Club 7 and Lou Bega bring bright edges, Lyle Lovett sneaks in a wry Bacharach/Rice tune, and Silvestri contributes “The Boat Race” and “I’m Gonna Miss You.” It’s part album-for-kids, part souvenir for parents, and it works because the movie’s heart is big enough for both. :contentReference[oaicite:1]{index=1}

How It Was Made

Silvestri scored the feature, giving Minkoff’s live-action debut a classic, family-film sweep. The commercial soundtrack — released late 1999 — collects licensed songs + two Silvestri cues; label credits list Motown/UMG. IMDB’s music department notes underscore the studio polish (orchestrators like Conrad Pope; music supervisor Elliot Lurie). :contentReference[oaicite:2]{index=2}

Tracks & Scenes

“The Boat Race” (Alan Silvestri)

Where it plays:

The Central Park regatta sequence — Stuart jumps into George’s model sailboat to steer it himself, dodging crashes and winning to a triumphant orchestral swell.

Why it matters:

Signature cue. It’s the movie’s “we’re a family now” moment and Silvestri scores it like the end of a sports film. :contentReference[oaicite:3]{index=3}

“You’re Where I Belong” (Trisha Yearwood — written by Diane Warren)

Where it plays:

End credits — the track appears as the second credits song, after the final story beat resolves.

Why it matters:

A big-hearted, radio-ready closer that thematically nails the adoption-as-home idea — and became the album’s lead single. :contentReference[oaicite:4]{index=4}

“The Two of Us” (S Club 7)

Where it plays:

Album feature and family-friendly promo cut; used to mirror Stuart and George’s gradual bond outside the score’s bigger moments.

Why it matters:

Upbeat, obvious — the kind of early-00s gloss that sells montage smiles. :contentReference[oaicite:5]{index=5}

“1+1=2” (Lou Bega)

Where it plays:

Used in-film over a playful credits sequence that many viewers misremember as “Mambo No. 5.”

Why it matters:

Instant party vibe, tidy for family audiences — and a fun mini Mandela-effect footnote around the movie. :contentReference[oaicite:6]{index=6}

“Walking Tall” (Lyle Lovett — Bacharach/Tim Rice)

Where it plays:

Mid-film needle-drop, used as a wry, good-natured palate cleanser amid family shenanigans.

Why it matters:

Lovett’s deadpan warmth and Bacharach’s melodic ease give the film a grown-up wink without breaking tone. :contentReference[oaicite:7]{index=7}

“If You Can’t Rock Me” (The Brian Setzer Orchestra)

Where it plays:

Album cut lined up with kinetic Little-house hijinks; a swing-revival blast that pairs neatly with Stuart-scale physical comedy.

Why it matters:

Big-band energy that flatters the film’s Looney-Tunes DNA. :contentReference[oaicite:8]{index=8}

“Home” (Brian McKnight)

Where it plays:

Album’s softest center — used sparingly to underline the adoption-as-belonging thread.

Why it matters:

Adult-contemporary warmth that echoes the film’s title theme without repeating the score. :contentReference[oaicite:9]{index=9}

“I’m Gonna Miss You” (Alan Silvestri)

Where it plays:

A reflective score cue tied to a separation beat late in the film — strings first, then a gentle cadence as hope returns.

Why it matters:

Shows how often the movie lets music carry subtext so the jokes can stay light. :contentReference[oaicite:10]{index=10}

Notes & Trivia

• The album compiles 14 tracks (songs + two Silvestri cues) and runs ~49 minutes; label credit: Motown/UMG. :contentReference[oaicite:11]{index=11}
• “You’re Where I Belong” was the second end-credits song — its placement made it ineligible for a Best Original Song nomination. :contentReference[oaicite:12]{index=12}
• IMDB’s soundtrack page confirms several in-film needles, including Lovett’s “Walking Tall.” :contentReference[oaicite:13]{index=13}
• Silvestri’s “Boat Race” cue is the album’s longest cut and a fan-favorite on streaming. :contentReference[oaicite:14]{index=14}

Music–Story Links

• When Stuart proves himself at the regatta, “The Boat Race” lifts the scene from cute to cathartic — music makes the win feel earned. :contentReference[oaicite:15]{index=15}
• Credits singles (“1+1=2,” then “You’re Where I Belong”) turn the send-off into a two-step: first party, then heart. :contentReference[oaicite:16]{index=16}
• Between gags, Silvestri’s lyrical interludes (“I’m Gonna Miss You”) let the adoption story breathe without slowing the comedy. :contentReference[oaicite:17]{index=17}

Reception & Quotes

The film was a box-office success, and the soundtrack has lasted as a nostalgia piece — parents recognize the label names, kids remember the race music and the bouncy credits. :contentReference[oaicite:18]{index=18}

“A family film that soars on charm — and a score that knows when to cheer.” — summary of contemporary reviews

Availability: The album streams on major platforms; the CD was issued in late 1999 by Motown/UMG. :contentReference[oaicite:19]{index=19}

Interesting Facts

• The Lou Bega song many remember at the end isn’t “Mambo No. 5” — it’s “1+1=2,” a similar-groove deep cut. :contentReference[oaicite:20]{index=20}
• Lyle Lovett’s “Walking Tall” pairs Burt Bacharach’s songwriting with Tim Rice’s lyrics — a stealth A-list combo on a kids’ film. :contentReference[oaicite:21]{index=21}
• Silvestri’s score suite for the film is a small cult favorite on YouTube among soundtrack fans. :contentReference[oaicite:22]{index=22}
• The soundtrack’s label lineage (Motown/UMG) gave it unusual pop heft for a family title of the era. :contentReference[oaicite:23]{index=23}
• Two score cues (“The Boat Race,” “I’m Gonna Miss You”) sit alongside 12 songs — a tidy preview of the full score’s tone. :contentReference[oaicite:24]{index=24}

Technical Info

• Title: Stuart Little — Music From & Inspired By The Motion Picture
• Year: 1999 (film & album)
• Type: Songs compilation with selected score cues
• Composer: Alan Silvestri (feature score) :contentReference[oaicite:25]{index=25}
• Label: Motown / Universal Music Group (compilation) :contentReference[oaicite:26]{index=26}
• Signature placements: “The Boat Race” (regatta set-piece); “1+1=2” (end-credit party energy); “You’re Where I Belong” (second end-credits ballad); “Walking Tall” (mid-film needle-drop). :contentReference[oaicite:27]{index=27}

Questions & Answers

Who composed the score for Stuart Little?

Alan Silvestri — his orchestral writing carries the film’s big set-pieces and heartbeats. :contentReference[oaicite:28]{index=28}

Is “You’re Where I Belong” the ending song?

Yes — it plays second in the end-credits block; a Lou Bega cut precedes it. :contentReference[oaicite:29]{index=29}

Which track scores the model-boat regatta?

Silvestri’s “The Boat Race.” It’s also on the commercial album. :contentReference[oaicite:30]{index=30}

Is the soundtrack just for kids?

Not really — it’s family-aimed, but with adult ringers (Bacharach/Rice, Lovett) and a robust orchestral score. :contentReference[oaicite:31]{index=31}

Where can I stream the album?

On major platforms like Spotify and Apple Music; the original CD was issued by Motown/UMG. :contentReference[oaicite:32]{index=32}

Key Contributors

Sources: Wikipedia (film & soundtrack sections); Apple Music & Spotify album pages; Discogs release credits; IMDb soundtrack & full credits; official trailers and scene clips; articles on Trisha Yearwood’s single and its end-credits placement.

November, 27th 2025