"Ted 2" Soundtrack Lyrics

"Ted 2 (Original Motion Picture Soundtrack)" – Album Guide to Tracks and Key Scenes

Overview

How do you sequel-ize a foul-mouthed fairy tale? With a brassier overture and an even cheekier jukebox. Ted 2 keeps the first film’s gag — treat the bear like a Golden Age leading man — and doubles down: Walter Murphy’s orchestral writing plays it straight while the soundtrack sprinkles in radio classics, TV themes, and MacFarlane-style standards pastiche. It’s a cocktail of elegance and idiocy — deliberately.

The plot (Ted must prove he’s a “person” to have a child) yields two music lanes. One: a Busby Berkeley-scale title dance to “Steppin’ Out with My Baby,” plus old-Hollywood cues that frame court and capers like they’re screwball. Two: needle-drops that punch up the road-trip and pop-culture riffs — Ray Charles boogie for a driving homage, an Elton John sing-tease for a doctor named “Danzer,” and an original campfire ballad (“Mean Ol’ Moon”) sung diegetically. The joke only lands because the music believes.

Genres & themes in phases: big-band standard — showbiz sparkle; orchestral comedy-adventure — friendship & quest; ’70s/’80s pop — performative swagger; classic film cues — cinephile winks; campfire torch — mock-romance sincerity.

How It Was Made

Composer Walter Murphy returned with a thematic, old-studio palette; the commercial soundtrack (Republic Records) combines his cues with licensed songs and one original standard-style tune (“Mean Ol’ Moon”) written with Seth MacFarlane and performed in-film by Amanda Seyfried (end-credits version by Norah Jones). The opening Busby Berkeley–inspired number was staged as a giant practical dance sequence — MacFarlane directing it like a classic title routine. The album arrived in late June 2015 alongside the film’s release.

Tracks & Scenes

Key songs/cues and where they land. Time notes reference the common ~1h55m cut (approximate). “Diegetic” means the characters hear the music.

“Steppin’ Out With My Baby” (Irving Berlin) — The John Wilson Orchestra

Where it plays:

Title sequence: a gargantuan black-tie dance number with kaleidoscopic formations and spotlight gags. Non-diegetic show-opener cut to a full studio-band performance.

Why it matters:

Declares the movie’s musical thesis — old-Hollywood gloss wrapped around dirty jokes.

“Celebration” (Kool & The Gang)

Where it plays:

Wedding reception early in the film — party montage, hugs, and a few drink-spills. Mostly diegetic source from the band/DJ.

Why it matters:

Sets the comic contrast: upbeat party anthem vs. the marriage meltdown we see next.

Score: “Tom Brady’s House / Ted’s Court Case” (Walter Murphy)

Where it plays:

Slapstick stealth to Brady’s mansion; later, bright courtroom interstitials. Non-diegetic cues built on jaunty, woodwind-led motifs.

Why it matters:

Classic caper color — the music makes dumb ideas feel like grand schemes.

“One Foot in Front of the Other” (Bone Symphony)

Where it plays:

Library “study montage” (~00:40–00:43): John, Ted, and Samantha accidentally re-stage The Breakfast Club dance while “researching.” Non-diegetic.

Why it matters:

80s new-wave pep as productivity joke — and a spot-on homage.

“Tiny Dancer” (Elton John) — the “Dr. Danzer” gag

Where it plays:

Clinic beat: a urologist named Danzer walks in; Ted cannot resist serenading him with misheard lyrics. Brief diegetic sing-tease.

Why it matters:

Pop-culture reflex as character flaw; it’s pure MacFarlane.

Road-trip medley: “Ride Wit Me” (Nelly) → “Mess Around” (Ray Charles) → “Theme from Jurassic Park” (John Williams)

Where it plays:

~01:03–01:11 — The trio heads for New York: car-radio cut to Nelly, then Ted takes the wheel and full John Candy–style boogies to Ray Charles, then a hard smash into a field and a dino-size musical punchline. Mostly diegetic.

Why it matters:

A three-beat comedy suite — party, homage, then absurdity — that shows how the soundtrack steers jokes.

“Mean Ol’ Moon” (Amanda Seyfried) / end-credits version by Norah Jones

Where it plays:

Campfire scene mid-film (~01:20): Samantha strums a wistful, standard-style original; the tune returns in the end credits (Jones). Diegetic performance & non-diegetic reprise.

Why it matters:

A straight-faced torch song that lets the movie breathe — and an in-world musical flex for Seyfried’s character.

“New York” (Alfred Newman)

Where it plays:

Arrival montage into Manhattan: grand, CinemaScope-era fanfare as skylines glide by. Non-diegetic, quoted from classic Fox library music.

Why it matters:

Turns a crude road comedy into an old-movie travelogue for 30 glorious seconds.

“Sweet Caroline” (Neil Diamond) — running gag

Where it plays:

Late chase beat: even while hiding, Ted cannot stop the “ba-ba-ba” sing-along. Brief diegetic burst.

Why it matters:

Boston DNA + crowd-song reflex = character button and local in-joke.

Also heard in-film (not all on the score cues)

• “Gonna Fly Now” (Bill Conti/Connors/Robbins) — quick sports-anthem stinger for a plan-making gag.
• “Law & Order — Main Title” (Mike Post) — legal-scene bumper gag.
• “I Think We’re Alone Now” (Tiffany) — sugar-rush cue for a romance-misfire beat.

Notes & Trivia

• The soundtrack album was released by Republic Records in late June 2015; digital listings show 14–16 tracks depending on territory, mixing songs and Murphy cues.
• “Mean Ol’ Moon” is an original written by Seth MacFarlane (lyrics) and Walter Murphy (music), performed on-screen by Amanda Seyfried, with a Norah Jones version in the credits.
• The library “study” dance uses Bone Symphony’s “One Foot in Front of the Other,” echoing The Breakfast Club.
• The Ray Charles “Mess Around” driving bit recreates John Candy’s famous Planes, Trains and Automobiles scene — down to Ted dancing at the wheel.
• Classic studio cue “New York” (Alfred/Lionel Newman & Ken Darby) turns the Manhattan arrival into a Cinemascope postcard.

Reception & Quotes

Reviewers and fans called the album a breezy sequel companion: tighter on songs than the first film, but still anchored by Murphy’s glossy studio sound and a few choice gags that live or die by the needle-drop.

“The big-band title and Seyfried’s campfire tune give the sequel a crooner heart under the crud.” — soundtrack roundups

“Ray Charles to John Williams in one car gag — it shouldn’t work. It works.” — fan commentary

Interesting Facts

• Studio-era shine: the title number was mounted as a full-scale dance production, not just a CG gag.
• Two “Mean Ol’ Moon”s: Seyfried sings it in-story; Norah Jones closes the credits with a crooner take.
• Clip-friendly: Universal’s official uploads preserve the library dance and “Sweet Caroline” bits — perfect mini-souvenirs of placement gags.
• Score continuity: Murphy threads character motifs so the sequel still “sounds” like Ted, only bigger.

Technical Info

• Title: Ted 2 — Original Motion Picture Soundtrack
• Year: 2015
• Type: Movie soundtrack (songs + original score)
• Composer: Walter Murphy
• Original song: “Mean Ol’ Moon” — music by Walter Murphy; lyrics by Seth MacFarlane; performed by Amanda Seyfried (end-credits version by Norah Jones)
• Label/album status: Republic Records; digital/retail release June 2015 (14–16 tracks depending on edition)
• Notable placements: “Steppin’ Out With My Baby” (title); “Celebration” (wedding); “One Foot in Front of the Other” (library montage); “Mess Around” + “Jurassic Park Theme” (road-trip gag); “Mean Ol’ Moon” (campfire/end credits); “New York” (arrival); “Sweet Caroline” (chase gag)

Questions & Answers

Who composed the score for Ted 2?

Walter Murphy, continuing the old-Hollywood, big-band-meets-orchestra style from the first film.

What’s the original song in the sequel?

“Mean Ol’ Moon,” written by Seth MacFarlane & Walter Murphy — sung in the film by Amanda Seyfried; Norah Jones performs a credits version.

Is the huge opening a real production number?

Yes. The Busby Berkeley–style “Steppin’ Out With My Baby” number was staged and shot as a full title routine.

What’s the song during the library study dance?

“One Foot in Front of the Other” by Bone Symphony — used to spoof The Breakfast Club.

Which songs score the New York road-trip chaos?

“Ride Wit Me” on the radio into Ray Charles’s “Mess Around,” then a sudden “Theme from Jurassic Park” stinger as the car veers off.

Key Contributors

Sources: Apple Music/Spotify album pages (tracklist/label); Republic Records listings; Wikipedia (film & soundtrack); Discogs (credits); MediaStinger (end-credits cue); MoviesOST/Soundtrakd (scene timecodes); ScreenRant & Bustle (Seyfried song details); YouTube official trailer & scene clips; featurettes/coverage of the opening dance number.

November, 27th 2025