"This Is The End" Soundtrack Lyrics

“This Is the End — Original Motion Picture Soundtrack” – Album Guide to Tracks and Key Scenes

Review

Can the end of the world be scored like a house party? This Is the End thinks so — and it mostly works because the soundtrack leans into the joke while Henry Jackman’s thunderous score pretends it’s The Omen. Pop sugar meets choral doom; the contrast makes the gags land harder.

The album stitches together boy-band bliss, vintage funk, blunt-force hip-hop, and one immortal power ballad. In the film, source music anchors the friends’ pre-Rapture oblivion — the party, the hang, the in-jokes — before the score ramps to “biblical.” By the time the Backstreet Boys show up in heaven, the musical arc has traveled from irony to earnest catharsis — a goofy victory lap that doubles as a curtain call.

Genres & themes in phases — crate-dug funk & hip-hop: denial-as-good-time; synth-pop & novelty bangers: meme humor; classic rock & sacred-leaning anthems: apocalypse with a wink; choral-horror score: the cosmic punchline that makes the comedy feel bigger.

How It Was Made

Jackman’s score (with additional music by Dominic Lewis and Matthew Margeson; conducted by Nick Glennie-Smith) plays the apocalypse straight, precisely because the straighter it plays, the funnier the movie gets. The compilation album — released by RCA — corrals clearance-friendly favorites and new cuts, including Craig Robinson’s diegetic croon and a radio edit of the Backstreet Boys’ finale cue.

Tracks & Scenes

“Everybody (Backstreet’s Back)” — Radio Edit (Backstreet Boys)

Where it plays:

First turns up early as the guys get high; returns for the full-on heaven dance sequence in the finale, complete with the band appearing in white and the survivors breaking into choreography. Non-diegetic at first, then on-screen performance in heaven.

Why it matters:

The cameo is the movie’s catharsis — an unabashed, communal pop blowout after two hours of panic and pettiness.

“She Got That Too” (Craig Robinson)

Where it plays:

Early at James Franco’s house party, Craig Robinson performs on keys while celebs drift through the living room; a playful serenade that tees up the anything-goes vibe. Diegetic performance.

Why it matters:

Introduces music as a character beat — Craig’s persona, the party’s looseness — before the sky falls.

“A Joyful Process” (Funkadelic)

Where it plays:

Among the first cues inside Franco’s place; a low-slung groove riding over walk-and-talks and room-to-room introductions. Non-diegetic.

Why it matters:

Funkadelic’s swagger sets the party’s baseline: cool, careless, primed for whiplash when chaos hits.

“Step Into a World (Rapture’s Delight)” (KRS-One)

Where it plays:

As Seth and Jay taxi to Franco’s housewarming — title gag fully intended once the Rapture arrives. Non-diegetic.

Why it matters:

A cheeky pre-echo: hip-hop classic foreshadowing cosmic paperwork.

“Take Yo Panties Off” (Snoop Dogg & Craig Robinson)

Where it plays:

The soundtrack single spins off Craig’s party performance. In-film, Craig riffs a seductive hook at the keyboard; the album version pairs him with Snoop Dogg. Diegetic (on screen) → soundtrack expansion.

Why it matters:

Meta-joke: a goofy serenade becomes a real single on the album, blurring diegesis and release strategy.

“I Will Always Love You” (Whitney Houston)

Where it plays:

Used as one of the movie’s sentimental-ironic stingers, contrasting saccharine devotion with apocalyptic mayhem. Non-diegetic placement; also included on the album.

Why it matters:

Peak tonal whiplash: pop grand romance against biblical-scale disaster.

“Spirit in the Sky” (Norman Greenbaum)

Where it plays:

Deployed for a winkingly on-the-nose beat tied to afterlife talk and survival plotting. Non-diegetic.

Why it matters:

Classic needle-drop that turns theology into a punchline.

“End of the Beginning” / “War Pigs” (Black Sabbath)

Where it plays:

Metal cues surface late — heavy guitars underscoring endgame chaos and last-stand bravado. Non-diegetic.

Why it matters:

Gives the comedy fangs — apocalypse earns a doom-metal crown.

“Paper Planes” (M.I.A.)

Where it plays:

A recognizable drop that tags party culture and Los Angeles excess before the lights go out. Non-diegetic; not on the OST album.

Why it matters:

Era-defining hook used as shorthand for pre-Rapture normal.

Other needle-drops (not on the album): “Gangnam Style” (PSY); “Hole in the Earth” (Deftones); “Disco 2000” (Pulp); “The Next Episode” (Dr. Dre)

Where they play:

Peppered through party and panic beats — wall-to-wall culture crash as the ground literally opens. Non-diegetic.

Why it matters:

Collectively sketch the 2013 zeitgeist; the jokes age into time-capsule charm.

Notes & Trivia

• RCA released the 12-track album (digital/physical) on June 11, 2013 — timed to U.S. theatrical opening week.
• Jackman’s score intentionally chases “serious” horror grammar so the comedic beats pop harder.
• The Backstreet Boys cameo was built to be a last-minute sugar rush; the film uses a radio edit on the album.
• Several recognizable cues in the film aren’t on the album (Black Sabbath, M.I.A., Pulp, Deftones, PSY).
• A promotional score album surfaced later; Jackman’s This Is the End/The Interview score bundle eventually hit digital storefronts.

Reception & Quotes

Reviews called the compilation “lively” and “goofy fun,” matching the movie’s self-aware tone. Critics noted how the pop-leaning OST and the thunderous score play off each other — candy and brimstone.

“A lively soundtrack.” Variety

“More about goofy fun… if you’ve got to go out in an extinction-level event, you might as well do it in style.” AllMusic

“Diverse and exceedingly appropriate.” Dread Central

Interesting Facts

• Score strategy: Jackman cited The Omen as a tonal compass; chanting and orchestra sell “epic” so the jokes don’t have to.
• Diegetic to single: Craig Robinson’s flirtatious performance morphed into an official OST track with Snoop Dogg.
• Finale flex: The Backstreet Boys’ heaven set turns a disaster movie into a pop concert curtain call.
• Album ≠ film: Several fan-favorite movie cues are missing on the OST — a classic licensing reality.
• Time capsule: From PSY to M.I.A., the film freezes the 2013 party playlist right before the lights go out.

Technical Info

• Type: Original Motion Picture Soundtrack (various artists + original score elements)
• Title: This Is the End — Original Motion Picture Soundtrack
• Year: 2013 (album streeted June 11, 2013)
• Film: This Is the End (2013), dirs. Seth Rogen & Evan Goldberg
• Composer (score): Henry Jackman (additional music: Dominic Lewis, Matthew Margeson; conductor: Nick Glennie-Smith)
• Music Supervision: Jonathan Karp
• Label: RCA Records (Sony Music Entertainment)
• Selected notable placements: Backstreet Boys “Everybody” (finale); Craig Robinson performance (“She Got That Too” / “Take Yo Panties Off”); KRS-One “Step Into a World” (arrival); Funkadelic “A Joyful Process” (party opener); Norman Greenbaum “Spirit in the Sky” (afterlife wink); Black Sabbath (“End of the Beginning,” “War Pigs”) in late-film mayhem; M.I.A. “Paper Planes” (pre-Rapture vibe).
• Availability: Streaming (Apple Music/Spotify) and digital retail; select physical CD editions.

Questions & Answers

Who composed the score?

Henry Jackman — leaning into choral-horror writing so the comedy reads bigger.

Which song plays during the heaven finale?

Backstreet Boys’ “Everybody (Backstreet’s Back)” — presented as an on-screen performance.

Is every movie song on the official album?

No. Several cues heard in the film (e.g., Black Sabbath, M.I.A., Pulp, Deftones, PSY) aren’t on the RCA soundtrack.

Does Craig Robinson really perform in the party scene?

Yes — his on-camera serenade is diegetic; the OST includes a studio version featuring Snoop Dogg.

What label released the soundtrack?

RCA Records (Sony Music Entertainment) released the album on June 11, 2013.

Key Contributors

Sources: Wikipedia (film & soundtrack); Apple Music (album page); Spotify (album page); Soundtrakd scene notes; Soundtrack.net (score news); Variety/AllMusic/Dread Central (reception); YouTube trailer & scene clips.

November, 29th 2025