"Super Size Me" Soundtrack Lyrics

“Super Size Me (Original Motion Picture Soundtrack) — 2004” – Album Guide to Tracks and Key Scenes

Overview

What does fast food sound like? In Super Size Me, it’s a cheeky jukebox — novelty doo-wop, outsider rock anthems, fife-and-drum blues — wrapped around a spry original score. The mix plays like a dare and a diagnosis: sugary hooks to make you laugh, then cues that whisper, “This might hurt.”

Morgan Spurlock’s 30-day McDonald’s diet experiment needs levity to go down; the soundtrack supplies it. Steve Horowitz’s compact cues (“Morgan’s Happy Eating Theme,” interstitial stingers) thread through a crate-digger compilation: Wesley Willis’s “Rock N Roll McDonald’s,” Hayseed Dixie’s bluegrass “Fat Bottomed Girls,” Slim Gaillard food-fetish goofs, even a swanky “Blue Danube” for irony. It’s junk-culture pop meeting documentary rigor — catchy, pointed, and weirdly tender.

Genres & themes in phases: outsider rock & novelty R&B — satire and shock; fife-and-drum blues — tradition vs. industry; bluegrass/glam pastiche — spectacle; light score motifs — the human cost beneath the gag. Sugar rush → crash → consequences.

How It Was Made

The film is directed by Morgan Spurlock; the original score is by Steve Horowitz. The commercial soundtrack arrived in June 2004, with U.S. copies circulating via Kinkysour Recordings and European issues on Normal/Con-Artist Records. The album stitches Horowitz’s cues between licensed cuts that underline the film’s running gags and grim reveals.

Beyond the 2004 CD, Horowitz revisited the material for a 10th-anniversary digital release, tightening the score set into a short, biting listen that mirrors the doc’s brisk pace.

Tracks & Scenes

“Rock N Roll McDonald’s” (Wesley Willis)

Where it plays:

A signature montage needle-drop early in the film, blitzing the screen with golden arches, wrappers, and the experiment’s giddy first bites. The deadpan chant becomes the movie’s ironic chorus as the novelty wears off.

Why it matters:

It names the premise out loud — catchy, ridiculous, and accusatory. The hook lingers even when the stomach turns.

“Shimmy She Wobble” (Otha Turner & the Afrossippi Allstars)

Where it plays:

Rhythmic connective tissue for travel and transition — highways, drive-thrus, the trance of routine. The fife-and-drum groove turns repetition into ritual.

Why it matters:

Roots music rubbing against mass-produced meals — the film’s culture clash in miniature.

“Fat Bottomed Girls” (Hayseed Dixie)

Where it plays:

A twangy, tongue-in-cheek burst over a comic sequence of caloric bravado and challenge-accepted edits. The bluegrass cover lets the movie wink at classic-rock excess without paying for the original master.

Why it matters:

Parody cover as commentary — the song’s grin keeps the critique friendly while the numbers climb.

“Rubber Biscuit” (The Chips)

Where it plays:

Cutaway laughs: bite-size gags, fast-cut factoids, junk-food slapstick. The nonsense syllables match the movie’s pop-essay tone.

Why it matters:

Whimsy as lubricant — easing viewers into harder data just ahead.

“Blue Danube Waltz” (Bratislava Radio Symphony Orchestra)

Where it plays:

Ironically deployed under medical or slow-motion food imagery — an elegant waltz against messy outcomes. White coats, ultrasound screens, and a politely horrified chuckle.

Why it matters:

Classical polish as sarcasm; the gulf between ideal and intake.

“Yummy Yummy Yummy” (1910 Fruitgum Company)

Where it plays:

Sugar-rush montage — bright packaging, bright smiles, crash incoming. It often bridges upbeat marketing clips with the next physiological check-in.

Why it matters:

Advertising logic in three minutes — irresistible hook, regrettable aftermath.

“Fat” (Violent Femmes)

Where it plays:

Over candid self-assessment beats as Spurlock’s mood swings and belt notches change. A quick, caustic interlude that punctures denial.

Why it matters:

Blunt title, bitter laugh — the film’s gallows humor, distilled.

“Chicken Rhythm” / “Potatoe Chips” (Slim Gaillard)

Where it plays:

Vintage novelty cuts pepper the lighter sections — grocery aisles, greasy counters, and the jazz of snack-speak.

Why it matters:

Food as pop culture, not just product — the doc keeps things playful even as numbers spike.

“Station Blues” (Otha Turner)

Where it plays:

Late-film connective shots and night drives. The earthy drone steadies the pace before the next doctor’s verdict.

Why it matters:

Grounds the experiment in a broader American sound — appetite, work, routine.

“Super Size Me” (Toothpick)

Where it plays:

Heard in the film’s later stretch and on the album; a cheeky title tune that leans into the catchphrase as brand and warning. Often tied to closing momentum or credits use in some editions/airings.

Why it matters:

Meta-theme song; the slogan becomes pop, then becomes critique again.

Score picks (Steve Horowitz)

“Morgan’s Happy Eating Theme” and interstitial cues

Short, buoyant motifs between chapters — meal to meal, check-up to check-up. Cheerful on purpose, so the next lab number lands harder.

Notes & Trivia

• Composer Steve Horowitz wrote the original score; he later issued a 10th-anniversary digital edition focusing on his cues.
• The 2004 CD mixes songs and score and shipped in late June 2004; AllMusic lists a June 8 U.S. release date.
• Multiple labels handled distribution in different territories/pressings (Kinkysour in the U.S.; Normal/Con-Artist in Europe; a Japanese catalog exists as well).
• Wesley Willis’s “Rock N Roll McDonald’s” became the doc’s unofficial anthem — deadpan praise that curdles into critique.
• Several tracks are vintage food novelties (Slim Gaillard’s snack odes; “Rubber Biscuit”), keeping the tone wry while the health data worsens.

Music–Story Links

When the experiment still feels like a joke, novelty and party cuts (“Yummy Yummy Yummy,” “Rubber Biscuit”) make us complicit — we’re tapping our feet. As the doctor visits stack up, Horowitz’s perky bumpers keep returning, each one a little less funny. “Rock N Roll McDonald’s” crowns the media montage, selling the myth before the numbers break it. And the classical wink (“Blue Danube”) dresses up queasy images — the soundtrack’s way of saying, “Look how civilized this looks while it messes you up.”

Reception & Quotes

The film’s score and song choices were frequently singled out as a tonal life raft — levity without undercutting the thesis.

“Original music by Steve Horowitz, plus inspired popular choices — consistent, upbeat, with clouds on the horizon.” Album/track listings & reviews round-ups

“A crate-digging set that makes the medicine go down.” Soundtrack retail notes

“Hooky cues, then the bill comes due.” Critic shorthand, 2004

Interesting Facts

• Outsider classic: Wesley Willis’s “Rock N Roll McDonald’s” predates the film by a decade; here it’s weaponized as commentary.
• Cover wisdom: Using Hayseed Dixie’s cover of “Fat Bottomed Girls” brings the joke and sidesteps pricier licensing.
• Score spin-off: Horowitz also released a 2007 mini-album tied to the film’s world (and the Don Gorske short).
• Global pressings: U.S., German, and Japanese editions circulate with small packaging/credit differences.
• Trailer culture: Online trailers lean heavily on the hookiest cuts to sell the premise quickly.

Technical Info

• Title: Super Size Me (Original Motion Picture Soundtrack)
• Year: 2004 (film and album)
• Type: Documentary — compilation + original score
• Composer: Steve Horowitz
• Key placements (album selections): “Rock N Roll McDonald’s” (Wesley Willis); “Shimmy She Wobble” / “Station Blues” (Otha Turner & the Afrossippi Allstars); “Fat Bottomed Girls” (Hayseed Dixie); “Rubber Biscuit” (The Chips); “Blue Danube Waltz” (Bratislava Radio Symphony Orchestra); “Yummy Yummy Yummy” (1910 Fruitgum Company); “Fat” (Violent Femmes); “Super Size Me” (Toothpick)
• Label/pressings: Kinkysour Recordings (U.S.); Normal / Con-Artist Records (EU); shipping late June 2004
• Availability: CD widely in circulation on secondary markets; Horowitz’s score selections available digitally (later releases)

Questions & Answers

Who composed the film’s original score?

Steve Horowitz — his cues act as jaunty bumpers between the doc’s chapters and medical check-ins.

Is there a standalone score album?

Yes — Horowitz later issued a 10th-anniversary digital set highlighting his music from the film.

Which song became the doc’s calling card?

Wesley Willis’s “Rock N Roll McDonald’s,” used as a wry anthem for the film’s media montage.

What label released the 2004 CD?

U.S. copies came via Kinkysour Recordings; European pressings appeared on Normal/Con-Artist Records.

Does the movie use the original Queen recording of “Fat Bottomed Girls”?

No — the soundtrack uses Hayseed Dixie’s bluegrass cover to keep the tone playful (and rights manageable).

Key Contributors

Sources: MovieMusic tracklist & ship date; AllMusic release data; SoundtrackCollector label entries; Discogs label/country variants; Apple Music listings for Toothpick and Horowitz releases; Spotify/Apple entries for Wesley Willis; official/archived trailers.

November, 27th 2025