"Stuck On You" Soundtrack Lyrics

"Stuck on You (Original Motion Picture Soundtrack — Film Songs & Score)" – Album Guide to Tracks and Key Scenes

Overview

How do you soundtrack a comedy about inseparable brothers who want different futures? The Farrelly brothers answer with crate-dug singles, a few perfectly on-the-nose classics, and a quietly supportive score. Stuck on You (2003) uses music as a mood shifter — from Vineyard diner hustle to Hollywood dream-chasing — while letting the needle-drops wink at fame, image, and togetherness.

The film folds in Kings of Leon’s scrappy early cuts, Pixies punch, soft-focus standards (“Moon River”), and a Cher end-credits one-off, plus a Pete Yorn cover recorded specifically for the movie. A light-touch score (credited to Michael Andrews and Charlie Gartner) glues it together, favoring warm, pop-adjacent textures. Genres come in phases: college-bar alt-rock — hustle and bravado; retro lounge and standards — romance with a side of irony; sunny SoCal guitar-pop — the big move and the machine of Hollywood; restrained score — the brothers’ private decisions.

How It Was Made

Music supervision paired broad-appeal catalog with early-2000s indie/alt. The credits list Manish Raval and Tom Wolfe steering the mix of placements and clearances, while the score credit is shared by Michael Andrews and Charlie Gartner — a split that tracks with the film’s blend of contemporary songs and gentle, character-first underscoring.

There was no commercial U.S. soundtrack album — unusual for the Farrellys — although an overseas promo in Germany circulated Cher’s movie track. Several featured recordings (notably Pete Yorn’s cover of “It Never Rains in Southern California”) were cut expressly for the film but never issued as retail singles.

Tracks & Scenes

Selected placements with scene context. (Diegetic = heard by the characters.)

“Welcome Home” (Morten Abel)

Where it plays:

~00:08 at a bar early in the film. It’s background source as the brothers navigate small-town social life and set up their dynamic. Diegetic.

Why it matters:

Announces the film’s everyday groove before Hollywood upends it; a local’s-eye warm-up cue.

“Here Comes Your Man” (Pixies)

Where it plays:

During an upbeat LA stretch as the brothers chase auditions and meetings; the cue surfaces as montage energy in the industry hustle. Non-diegetic.

Why it matters:

Jangly alt-rock with a grin — a sonic postcard for “we’ve arrived,” puncturing big-city anxiety with swagger.

“California Waiting” (Kings of Leon)

Where it plays:

Licensing-friendly club/party ambiance in the LA chapters, bridging quick-cut scenes of agents, sets, and new friends. Semi-diegetic (source in venues) then rides the cut as score-adjacent.

Why it matters:

Young-band grit mirrors the brothers’ rookie status in the industry — loud rooms, louder dreams.

“Molly’s Chambers” (Kings of Leon)

Where it plays:

Another LA nightlife pass, typically as energetic source in bars and clubs while Walt networks and Bob endures it. Diegetic.

Why it matters:

Push-tempo track that sells Walt’s extroversion — the crowd is his oxygen.

“Holy Roller Novocaine” (Kings of Leon)

Where it plays:

Low-lit interiors and transitional city driving; a moodier companion to the film’s “we’re really doing this” middle third. Non-diegetic.

Why it matters:

A dirt-road hymn to risk — the moment you realize success may cost something.

“It Never Rains in Southern California” (Pete Yorn — Albert Hammond cover)

Where it plays:

Used as an editorial cue around the move-to-LA arc and expectation-vs-reality beats; recorded specially for the film but not commercially released. Non-diegetic.

Why it matters:

Lyric irony becomes thematic: sunshine myth vs. the grind behind it.

“Moon River” (Andy Williams)

Where it plays:

A romantic, tongue-in-cheek needle-drop under a sweet-natured scene; a classic waltz that momentarily slows the chaos. Non-diegetic.

Why it matters:

Old Hollywood glow for a couple who need gentleness more than hype.

“Summertime” (Greg Kinnear — after Billy Stewart)

Where it plays:

A showpiece moment tied to Walt’s performer identity; arranged like the Billy Stewart hit version. Partly diegetic (performed in-story).

Why it matters:

Lets Walt be the lead, musically and emotionally, while Bob literally supports him — the film’s premise in song form.

“Human” (Cher)

Where it plays:

In-club source during a Hollywood night out, and again over end credits. The recording remained unreleased in the U.S.; a German promo surfaced.

Why it matters:

Meta fun — Cher plays “Cher,” and her track frames the fame machine that briefly sweeps Walt along.

“The Fear of Being Alone” (George Schappell, credited as Reba)

Where it plays:

Over the closing credits. Non-diegetic.

Why it matters:

A wry, tender nod to the film’s core idea: independence has a price; closeness, a comfort.

Notes & Trivia

• No official U.S. soundtrack album — a first for a Farrelly feature; a German promo (“Unzertrennlich”) circulated Cher’s “Human.”
• Pete Yorn tracked “It Never Rains in Southern California” for the film — a hotel-room recording with producer Ken Andrews.
• Three Kings of Leon songs from their early era appear: “California Waiting,” “Molly’s Chambers,” “Holy Roller Novocaine.”
• “Welcome Home” (Morten Abel) is heard roughly eight minutes in, at a bar.
• Greg Kinnear’s “Summertime” follows the Billy Stewart arrangement almost verbatim.

Music–Story Links

When Walt chases screen time, the soundtrack turns up — Kings of Leon and Pixies as extrovert fuel. Bob’s gentler beats bring crooner romance and quieter score cues, marking his discomfort with LA noise. Cher’s “Human” makes the satire explicit: brand first, person later. And the closing-country tag underlines the brothers’ choice — separate lives that still echo together.

Reception & Quotes

Critically, the film landed in the “sweet and charming” lane, with audiences grading it solidly. Music-wise, reviewers often singled out the playful placements and the Cher cameo as part of the film’s affectionate Hollywood ribbing.

“An unusually sweet and charming comedy by the Farrelly brothers.” — Rotten Tomatoes consensus

“No official soundtrack, but the mix of catalog cuts and cameos fits the movie’s big-hearted joke.” — Guide notes

Interesting Facts

• No retail OST: rights and one-off recordings (Cher; Yorn) stayed off stores/streaming.
• German promo: the track “Human” appeared on a regional promotional CD tied to the film.
• Early KOL: all three Kings of Leon cuts hail from their debut era/EP cycle.
• Standards with a wink: “Moon River” softens the chaos with old-Hollywood glow.
• Diegetic highlight: Walt’s “Summertime” lets the movie stage its theme as performance.

Technical Info

• Title: Stuck on You — Film Songs & Score
• Year: 2003 (U.S. theatrical release December 12, 2003)
• Type: Feature film — comedy
• Composers (score): Michael Andrews; Charlie Gartner
• Music supervision: Manish Raval; Tom Wolfe
• Label/Album status: No official U.S. soundtrack album; German promo featured Cher’s “Human.”
• Notable placements (selected): “Here Comes Your Man” (Pixies); “California Waiting,” “Molly’s Chambers,” “Holy Roller Novocaine” (Kings of Leon); “It Never Rains in Southern California” (Pete Yorn, cover); “Moon River” (Andy Williams); “Welcome Home” (Morten Abel); “Human” (Cher); “The Fear of Being Alone” (George Schappell, as Reba).
• Distributor: 20th Century Fox

Questions & Answers

Was there an official soundtrack album?

No — the film is a rare Farrelly feature without a retail OST. A German promo tied to the film included Cher’s “Human.”

Who composed the score?

Michael Andrews and Charlie Gartner share score credit.

What song plays about eight minutes in at the bar?

“Welcome Home” by Morten Abel — used as bar source.

Which Kings of Leon songs are used?

“California Waiting,” “Molly’s Chambers,” and “Holy Roller Novocaine.”

Did Pete Yorn record something just for the film?

Yes — a cover of “It Never Rains in Southern California,” tracked for the movie and not commercially released.

Key Contributors

Sources: Wikipedia (film & music section), Metacritic credits (music supervisors), Ringostrack song index, Flood Magazine (Pete Yorn on recording the cover), Moviefone/IMDb credits snapshots, YouTube trailer listings.

November, 27th 2025