"St. Vincent" Soundtrack Lyrics

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"St. Vincent (Original Motion Picture Soundtrack)" – Album Guide to Tracks and Key Scenes

Overview

What if the neighbor from hell played you a mixtape that made him make sense? St. Vincent arrives with a cranky shuffle, adapts as an unlikely friendship forms, rebels against easy sentiment, and collapses into one of the gentlest end-credit gags of the 2010s.

The soundtrack tracks that arc: a modern indie spine (The National; Tweedy) sits beside crate-dug AM rock, a Jefferson Airplane classic, and a few cheeky hip-hop drops. Theodore Shapiro’s score stitches the moods — tender piano patterns, small ensemble warmth — while the song album leans into character: stubborn, scruffy, surprisingly sweet. According to label listings, there are two official releases: a 12-track songs compilation and a separate 20-cue score album by Shapiro.

Genres & themes in phases: 60s/70s rock — Vincent’s stubborn groove; alt-indie melancholia — private reckoning; classic pop euphoria — small wins; spare score cues — grace notes between the jokes.

How It Was Made

Director Theodore Melfi pairs Shapiro’s intimate score with a carefully cleared set of needle-drops. Jeff Tweedy contributes new cuts under his Tweedy banner; The National’s “Start a War” becomes the movie’s heaviest wallop; and Bob Dylan’s “Shelter from the Storm” is both a scene-stealing backyard moment and an end-credits wink — capped by Bill Murray’s own sing-along performance. The Weinstein Company licensed the compilation to Sony Music, while Shapiro’s score arrived via Sony Classical.

Tracks & Scenes

“Everyone Hides” — Tweedy
Where it plays: Early in the film as Oliver’s routine begins to tangle with Vincent’s; the song threads a school-day reset. Non-diegetic.
Why it matters: Sets the film’s indie register — guarded, tuneful, open to kindness.

“Try Loving Me” — The Webs
Where it plays: Background jukebox/AM-radio flavor at the bar; Vincent sizes up his dwindling cash and mounting problems. Diegetic source.
Why it matters: A dusty plea that mirrors Vincent’s brusque, needy exterior.

“Somebody to Love” — Jefferson Airplane
Where it plays: A small classic: Vincent dances alone, half-stoned, half-free, the world briefly falling into rhythm. Non-diegetic with on-screen playback.
Why it matters: Lets us like him without excuses — the groove is his soft spot.

“Further On” — Bronze Radio Return
Where it plays: ~00:47 — Vincent and Oliver place a bet and, for once, the day breaks their way. Non-diegetic.
Why it matters: A bounce of hope; tempo lifts as the improvised duo starts to click.

“Start a War” — The National
Where it plays: ~01:01 — after Vincent raids Oliver’s account, the track sinks in over a brutal, quiet gambling loss. Non-diegetic.
Why it matters: The film’s gut punch: resignation voiced as a march to consequence.

“One Toke Over the Line” — Brewer & Shipley
Where it plays: Vincent’s homebound haze; the gag lands, the melody lingers. Diegetic/non-diegetic blend.
Why it matters: Dark chuckle that rounds off the character’s vices without endorsing them.

“Hard to Find” — JD & The Straight Shot
Where it plays: A quieter interlude while Oliver observes Vincent’s routines. Non-diegetic.
Why it matters: Country-tinged sigh underscores observation without judgment.

“Stripper Pole” — Nyzzy Nyce
Where it plays: A chaotic detour with Daka; quick cuts, sharp beats. Diegetic club/source.
Why it matters: World-building — Vincent’s edges aren’t rounded off for us.

“Molodaya Luna” — Vechyaslav Samarin
Where it plays: A left-field needle drop over one of Vincent’s odder errands. Source music.
Why it matters: Offbeat texture that keeps the film’s palette lived-in.

“Shelter from the Storm” — Bob Dylan
Where it plays: ~01:37 — Vincent, headphones on in the backyard, sings along while watering a dead plant and sneaking a smoke; the song also rolls over the credits, capped with a Bill Murray sing-along video button. Diegetic + non-diegetic reprise.
Why it matters: The character distilled: weary, defiant, oddly tender — a joke with a lump in the throat.

Score spotlight — Theodore Shapiro
Where it plays: “Long Walk Home,” “Life of Vin,” “Oliver’s Project” and more cue school assemblies, hospital visits, and the final tribute.
Why it matters: Small-ensemble cues carry the film between bangers — never showy, always humane.

Notes & Trivia

• Yes, that’s Jeff Tweedy (of Wilco) — he contributes two new tracks under the Tweedy name.
• The National’s “Start a War” wasn’t written for the film but lands at its bleakest turn.
• Two official albums shipped: a Various Artists song set and Shapiro’s standalone score.
• Bill Murray’s “Shelter from the Storm” sing-along became the film’s viral promo clip.
• Licensing leans eclectic on purpose: radio gold, indie staples, and a couple of playful club cues.

Music–Story Links

Vincent’s private rituals are scored by yesterday — AM radio and Dylan — while Oliver’s arrival drifts in with present-tense indie. When the money goes missing, “Start a War” doesn’t comment; it judges — steady drums like a sentence being read. Small wins (“Further On”) get shiny pop, but the assembly scene and the final tribute recenter on piano and strings so the comedy can afford a little grace. The last joke — a man mumbling Dylan while trying to keep a plant alive — is scored like a benediction.

Reception & Quotes

“A warm, carefully sequenced mixtape — The National bruise, Dylan heals, Tweedy hums in between.” — an album capsule

“Start a War” lands like a confession; the rest of the soundtrack forgives him.” — a film-music note

“The Murray/Dylan coda is the rare end-credits scene you’ll replay later.” — a features piece

The compilation drew press for its Tweedy contributions and that Dylan coda, while the score earned quiet praise for staying out of the way. The songs album and the score both released in October 2014, with wide streaming availability.

Interesting Facts

• The songs compilation lists 12 tracks; the score album carries 20 cues (~35 minutes).
• Shapiro’s score released under Sony Classical; the songs album under Sony Music/Weinstein license.
• Several source cues in the film go beyond the retail tracklist (typical of modern comps).
• The end-credits sing-along was used in marketing clips — essentially a bonus music video.
• “Somebody to Love” is the movie’s stealth character study: a crank loosening his grip for three goofy minutes.

Technical Info

• Title: St. Vincent (Original Motion Picture Soundtrack) — songs; St. Vincent (Original Score Soundtrack) — Theodore Shapiro
• Year: 2014
• Type: Film soundtrack (songs) + separate score album
• Composer: Theodore Shapiro
• Key songs: “Everyone Hides” & “Why Why Why” (Tweedy); “Somebody to Love” (Jefferson Airplane); “Start a War” (The National); “Hard to Find” (JD & The Straight Shot); “Further On” (Bronze Radio Return); “One Toke Over the Line” (Brewer & Shipley); “Stripper Pole” (Nyzzy Nyce); “Shelter from the Storm” (Bob Dylan).
• Label/album: Songs — Sony Music (license from The Weinstein Company); Score — Sony Classical.
• Release window: October 2014 (songs and score issued the week of U.S. theatrical roll-out).
• Signature placements: “Further On” (~00:47, betting win); “Start a War” (~01:01, gambling loss); “Shelter from the Storm” (~01:37 + credits, sing-along gag).

Questions & Answers

Is there both a song album and a score album?

Yes — the Various Artists compilation and Theodore Shapiro’s 20-track score released separately in October 2014.

Who contributes original songs?

Jeff Tweedy (as Tweedy) provides “Everyone Hides” and “Why Why Why,” cut specifically for the film’s soundtrack.

What’s the sad song under the big loss?

“Start a War” by The National — it underscores Vincent’s gambling crash.

What’s the Bill Murray/Dylan moment everyone mentions?

Murray sings along to Bob Dylan’s “Shelter from the Storm” in a backyard scene; a playful performance also caps the end credits.

Where can I stream the music?

Both the songs compilation and the score are on major services; the songs album carries 12 tracks, the score has 20 cues.

Canonical Entities & Relations

Subject	Relation	Object
Theodore Melfi	directed	St. Vincent (2014)
Theodore Shapiro	composed	St. Vincent original score
Jeff Tweedy (as Tweedy)	wrote & performed	“Everyone Hides,” “Why Why Why”
The National	performed	“Start a War” (placement in gambling-loss sequence)
Bob Dylan	wrote & performed	“Shelter from the Storm” (diegetic scene & credits)
Sony Music / Sony Classical	released	song compilation / score album, respectively
The Weinstein Company	licensed to	Sony Music (songs compilation)
Bill Murray (as Vincent)	performs to	“Shelter from the Storm” in backyard/credits gag

Sources: Apple Music & Spotify album listings; Discogs release notes; IMDb Soundtracks; press features on Tweedy’s contributions and the Murray/Dylan credits clip; scene-placement guides.

The music presented only in three songs. Further On sang by Bronze Radio Return is a high-quality rock-n-roll. Norman Greenbaum performed Spirit In The Sky – a great rock. And the song Inner Ninja – this is the third direction, R’n’B, in this collection of three songs. Just like all holy trinity is gathered here. What exactly is such an incredible huge concourse has been collected to? The film is the average comedy and drama, which is made to laugh a little and to be sad a little in the evening in the theater, not being afraid to miss some another life lesson. Youth goes to such films mainly to kiss in the back rows. Bill Murray has aged very much, still trying to keep his shape with movies like that. But in spite of the above, the plot of the film is very good. It has a story, where there are plenty of morality, eternal truths, such as mutual support and assistance. Many tears can be shed in some of its scenes. Trailer not discloses even a quarter of the plot, which awaits the viewer. The film won five different awards and obtained 16 more nominations (and one it expects now, so that the result can change to 6/15, if lucky). The film has collected four times more money than were spent on its production. In addition to the already mentioned songs that are part of the soundtrack of the film, it has another formal musical score, written by Theodore Shapiro. He produced music in the classical genre, the collection of which was released by Sony Classical Records in October 2014 – almost a year after the contract with Shapiro was concluded. Critics praised as the film itself, as well as music to it, despite some ordinaries in the plot.

November, 27th 2025

More info on IMDb, Wikipedia

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