"Switch,The" Soundtrack Lyrics

"The Switch (Music from the Motion Picture)" – Album Guide to Tracks and Key Scenes

Overview

What does an offbeat rom-com about one fateful “switch” sound like? This album answers with a downtown collage: shiny disco, neo-soul struts, wistful indies, and a gentle guitar-led score that keeps the heart beating under the banter. The cues do two jobs at once — they throw a cheeky party during the insemination set-piece, then soften into reflective textures as Wally and Kassie circle the truth.

Alex Wurman’s score bookends that arc with acoustic warmth and small ensemble color, while the songs draw personality: Bar-Kays and Nu Shooz juice the early chaos; Jamiroquai, Quantic Soul Orchestra and Fat Larry’s Band give New York a groove; Mojave 3, Jaymay and Eels handle the vulnerability. Function over flash — the music never winks too hard, it just nudges the story where it needs to go.

Genres in phases: disco/boogie — social churn and comic mess; acid-jazz & funk revival — city confidence; dream-pop/indie folk — confession and connection; electronica-folk (Bibio) — tender epilogue; acoustic score — the film’s moral baseline.

How It Was Made

Composer Alex Wurman recorded a light, intimate score (two cues appear on the album: the opener and “Lice”). Music supervision was handled by Steven Baker, who balanced recognizable catalog (Dan Hartman, Bar-Kays, Nu Shooz, Jamiroquai) with cult-favorite cuts (Lavender Diamond, Jaymay, Mojave 3). The compilation — issued via Rhino — mixes songs with a few score moments to mirror the film’s emotional edit rather than a strict diegesis map.

Tracks & Scenes

“Instant Replay” (Dan Hartman)

Where it plays:

At ~00:10, first song at Kassie’s party. Debbie dances, then chats with Wally as guests mill around. Non-diegetic needle-drop; bright, disco lights everywhere.

Why it matters:

Establishes a fizzy, over-socialized tone right before everything gets messy — a sonic wink at the “replay” Wally will crave.

“Freakshow on the Dance Floor” (The Bar-Kays)

Where it plays:

~00:11, second party cue. The room heats up; Wally tries (and fails) to keep composure while Kassie’s courtiers hover. Non-diegetic.

Why it matters:

Title says it: orderly plans unravel while the camera scans a circus of intentions.

“I Can’t Wait” (Nu Shooz) — edited version

Where it plays:

~00:13, third party cue. Wally cranks the stereo, then spars in conversation with Declan. Non-diegetic; dance-floor energy.

Why it matters:

Antsy groove mirrors the impatience baked into the film’s premise.

“The Bomb! (These Sounds Fall Into My Mind)” (Sunrider — Pop Radio Mix)

Where it plays:

~00:17, the “I’m pregnant” celebration turns into a soundtrack flex as Wally floats in and out of the room. Non-diegetic, montage-ish coverage.

Why it matters:

Four-on-the-floor = Wally’s wobble; the song’s cut-up repetition matches his blurring memory.

“Little L” (Jamiroquai)

Where it plays:

~00:18, second cue at the pregnancy party; Wally chats with Debbie as the camera rides a suave bassline. Non-diegetic.

Why it matters:

Velvet-funk cool against Wally’s nerves — a classic LA/NY lounge crossover feel.

“Pushin’ On” (The Quantic Soul Orchestra feat. Alice Russell)

Where it plays:

~00:20. Kassie sits at the window; Wally fumbles his feelings but manages practical advice. Non-diegetic, intimate mix.

Why it matters:

The lyric idea — keep pushing — foreshadows Wally’s slow, adult pivot.

“Here Comes the Sun” (Fat Larry’s Band)

Where it plays:

~00:24 while Wally hunts for the bathroom at the party. Non-diegetic; cheeky juxtaposition considering what happens next.

Why it matters:

Sunny boogie over an… ill-advised detour. Irony lands without snark.

“Bluebird of Happiness (Ulrich Schnauss Short Version)” (Mojave 3)

Where it plays:

~00:31. Wally stares out his office window; hard cut to “seven years later.” Non-diegetic; dream-pop haze smooths the time jump.

Why it matters:

The remix’s glow sells wistful passage — a miniature time machine.

“Open Your Heart” (Lavender Diamond)

Where it plays:

~00:34. Phone call: Wally and Kassie set a dinner plan. Non-diegetic, tender.

Why it matters:

Title becomes direction — both literally and emotionally.

“Sick of Being Love Today” (Justement)

Where it plays:

~00:42 in the library while Wally and Kassie search for Sebastian. Non-diegetic, low in the mix.

Why it matters:

Dry humor as background color — grown-up errands scored like a shrug.

“More Bad Luck” (Albert King)

Where it plays:

~01:06 at the bar: Wally and Roland trade beers and subtext. Non-diegetic blues.

Why it matters:

Old-school bitter with a smile — a gentlemanly duel under the neon.

“All the Beautiful Things” (Eels)

Where it plays:

~01:20 as the stakes rise: Roland moves in; Wally sprints through rain; treadmill reflection. Non-diegetic montage.

Why it matters:

Eels’ weary tenderness reframes the rom-com tempo as something lived-in.

“Numbered Days” (Eels)

Where it plays:

~01:30 when Wally finally tells Kassie the truth. Non-diegetic, focused.

Why it matters:

Title stings. Time’s up for deflection; honesty or bust.

“Lovers’ Carvings” (Bibio)

Where it plays:

~01:36 during the end credits — the film’s first credit song. Non-diegetic; bright, bittersweet.

Why it matters:

A gentle coda about names and permanence — perfect for a story about claiming your people.

Score cues — “Opening Titles” & “Lice” (Alex Wurman)

Where it plays:

Acoustic-led miniatures that tie the film’s bookends and small, interior beats.

Why it matters:

They’re the film’s steady breath — uncluttered, humane, and close.

Notes & Trivia

• Two Eels tracks make the cut, bracketing late-act revelations with bruised sweetness.
• Rhino issued the album a few days before theatrical release; the CD and digital editions share a 15-track roster.
• End-credits earworm: Bibio’s “Lovers’ Carvings.”
• Music supervisor Steven Baker balanced recognizable floor-fillers with indie sleepers (Jaymay, Lavender Diamond).
• Jamiroquai’s “Little L” brings a velvet-funk wink to the party sequence.

Music–Story Links

At the insemination party, a run of crowd-pleasers (“Instant Replay,” “Freakshow…,” “I Can’t Wait,” then Sunrider’s “The Bomb!”) turns the scene into a pressure cooker — buoyant beats pushing Wally toward the mistake. After the time jump, dream-pop and indie folk (Mojave 3, Jaymay, Lavender Diamond) chart the grown-up, slower reconnection. When Wally owns the truth, Eels step in — first a montage of restless consequence, then “Numbered Days” for the confession. The credits’ “Lovers’ Carvings” offers a gently hopeful aftertaste.

Reception & Quotes

As a listen, the album reads like a tidy city playlist — a little crate-digging, a little comfort food — and it landed well with soundtrack collectors who prefer scene-mirroring compilations to wall-to-wall score.

“A 15-song collection with two Wurman cues, mixing catalog boogie and modern indie.” Rhino press

“Eclectic, party-to-pensive flow; Eels x2, Jamiroquai, Mojave 3, Bibio.” Release round-up

“Wurman’s gentle, acoustic-tinged reveries echo the movie’s easygoing vibe.” Retail capsule

Interesting Facts

• Label note: Credited to Baster Productions, LLC under exclusive license to Rhino (Warner Music Group).
• Time-jump glue: Ulrich Schnauss’ remix of “Bluebird of Happiness” elegantly bridges the seven-year cut.
• Party sequence map: Four consecutive dance cuts frame the movie’s pivotal bathroom misstep.
• End-credits ID: Media trackers list “Lovers’ Carvings” as the first credit cue.
• Library dig: The album includes two of Wurman’s cues; the rest of his score lives on screen only.

Technical Info

• Title: The Switch (Music from the Motion Picture)
• Year: 2010
• Type: Film soundtrack — various artists + score selections
• Composer: Alex Wurman
• Music Supervision: Steven Baker
• Label/Release: Rhino; released August 17, 2010 (CD & digital)
• Selected inclusions: Dan Hartman, The Bar-Kays, Nu Shooz, Sunrider, Jamiroquai, Quantic Soul Orchestra feat. Alice Russell, Fat Larry’s Band, Mojave 3 (Ulrich Schnauss remix), Lavender Diamond, Jaymay, Eels, Bibio.
• Availability: Streaming/download widely; original CD listed under Reprise/Warner distribution.

Questions & Answers

What song plays over the end credits?

Bibio’s “Lovers’ Carvings” — a light, hopeful outro after the emotional reveal.

Which song scores the party chaos?

A run of disco/boogie: “Instant Replay,” “Freakshow on the Dance Floor,” “I Can’t Wait,” and Sunrider’s “The Bomb!”

Who composed the score?

Alex Wurman, whose acoustic-led cues (“Opening Titles,” “Lice”) soften the film’s edges.

Is everything on the album used on screen?

Yes — the compilation mirrors on-screen songs and includes two score cues; some film-heard cuts don’t appear on the album.

Who cleared the music?

Music supervisor Steven Baker.

Key Contributors

Sources: Rhino press release; Apple Music album page; Spotify album page; AllMusic release page; soundtrackradar (scene timestamps); MediaStinger (end-credits cue); film credits (music supervisor); FilmMusicReporter (score session note); Wikipedia (film overview for baseline credits).

November, 27th 2025