"Zookeeper" Soundtrack Lyrics

"Zookeeper (Original Songs & Score Guide)" – Album Guide to Tracks and Key Scenes

Review

How do you score a rom-com where the advice columnists are lions, bears, and a very opinionated monkey? Zookeeper answers with a jukebox of FM-radio classics, a dash of radio-era pop-rap, and a playful, family-friendly score from Rupert Gregson-Williams. The licensed songs do most of the comedic lifting — ironic counterpoint, era gags, and dance-floor energy — while the score stitches together pratfalls, animal banter, and Griffin’s late-blooming sincerity.

The music’s trick is contrast: Boston guitar heroics to puff up slapstick; Barry White and Commodores to turn awkward courtship into loungey wink; Mötley Crüe and Quiet Riot when the film wants to goose momentum. Gregson-Williams sits beneath with light, percussive cues that never elbow the jokes. Is it subtle? Not at all; that’s the point — the soundtrack is an on-the-nose crowd-pleaser built for big rooms and bigger grins.

Genres & themes, in phases: ’70s/’80s classic rock — bravado and montage swagger; disco & soul — comic romance and party scenes; 2000s pop-rap — broad-strokes “cool”; orchestral light-comedy score — connective tissue for heart beats.

How It Was Made

Director Frank Coraci tapped Rupert Gregson-Williams for a nimble comedic score. Music supervision was led by Michael Dilbeck (with additional supervision credits), who filled the film with recognizable catalog hits — Boston, Kansas, Exile, KC & The Sunshine Band, Earth, Wind & Fire, Meat Loaf, Flo Rida, and more. There was no commercial “various artists” album at release; the score was used in-film and promotional suites circulated online, while the licensed cuts remain available on their original releases/compilations.

Editorially, the soundtrack leans hard on recognizable hooks that can set a mood in seconds — crucial when a scene turns on a visual gag or smash-cut. End credits keep the bit going with a singalong flourish that ties songs and comedy into one last wink.

Tracks & Scenes

“I’ll Supply the Love” (Toto)

Where it plays:

About six minutes in, after Griffin rescues a cat and the zoo staff gathers for Dave and Robin’s engagement party. The song powers the upbeat reset as guests mingle and we meet key players (≈0:06). Non-diegetic.

Why it matters:

Sets a breezy, classic-rock tone before the animals start meddling.

“Carry On Wayward Son” (Kansas)

Where it plays:

Roughly ten minutes in, over Griffin’s party speech as he tries to look unflappable around his ex. The guitars sell bravado he doesn’t quite have (≈0:10). Non-diegetic.

Why it matters:

Irony 101 — arena-rock confidence for a deeply awkward man.

“Smokin’” (Boston)

Where it plays:

At ~0:38 during a kinetic beat where Griffin improvises a tricycle chase. The Hammond/guitar push adds comic propulsion. Non-diegetic.

Why it matters:

Turbo-charges slapstick with classic-rock swagger.

“Low (feat. T-Pain)” (Flo Rida)

Where it plays:

About 44 minutes in as Griffin sneaks the monkey out of the zoo for a night on the town; the track rolls into bar shenanigans (≈0:44). Source-like club feel.

Why it matters:

Modern gloss to contrast the FM oldies elsewhere — and a broad crowd-pleaser.

“Unbelievable” (EMF)

Where it plays:

Evening montage with Griffin and the monkey out and about (≈0:47). Non-diegetic.

Why it matters:

’90s alt-pop bounce to frame the odd-couple bonding gag.

“Two Out of Three Ain’t Bad” (Meat Loaf)

Where it plays:

Right after, as the bar turns a little sentimental and even the animals get in on the mood (≈0:48). Non-diegetic with diegetic vibes.

Why it matters:

Power-ballad cheese plays up the film’s sweet spot between parody and sincerity.

“Kickstart My Heart” (Mötley Crüe)

Where it plays:

As Griffin picks up Kate; the car scene leans into pure adrenaline (≈0:52). Source in-car that bleeds into non-diegetic.

Why it matters:

Gives the rom-com detour action-comedy juice.

“Boogie Wonderland” (Earth, Wind & Fire)

Where it plays:

The engagement party dance floor as Griffin tries the jealousy play with Kate (≈0:53). Source music.

Why it matters:

Disco sparkle amplifies the social farce.

“You’re the First, the Last, My Everything” (Barry White)

Where it plays:

Stephanie and her new boyfriend swirl in smug slow-dance mode (≈0:54). Source.

Why it matters:

Luxurious strings as comic needle — the scene’s smugness gets a theme song.

“Easy” (Commodores)

Where it plays:

Griffin and Kate share a calmer turn on the floor (≈0:58). Source.

Why it matters:

Lets their chemistry breathe between pratfalls.

“Ball of Confusion (That’s What the World Is Today)” (Love and Rockets)

Where it plays:

Griffin torpedoes a conversation with Samantha; the lyric hook underlines the social chaos (≈1:02). Non-diegetic.

Why it matters:

Titles the moment — confused man, confused plan.

“(Shake, Shake, Shake) Shake Your Booty” (KC & The Sunshine Band)

Where it plays:

Stephanie’s boyfriend needles Griffin as the party winds down and the pair leave (≈1:03). Source.

Why it matters:

A cheeky, literal soundtrack to getting shown the door.

“In the Car Crash” (Swayzak)

Where it plays:

Club sequence on Griffin and Samantha’s night out (≈1:07). Source/ambient.

Why it matters:

Cool, minimal electronics to offset the broader comedy.

“Yoga Music” (Ana Brett, Ravi Singh, Tom Carden)

Where it plays:

At ~1:18 as Samantha flows through yoga while Griffin clocks the day’s damage. Diegetic within scene.

Why it matters:

Diegetic texture that also jokes about lifestyle contrast.

“Cum On Feel the Noize” (Quiet Riot)

Where it plays:

Griffin finally stands up to Shane — a loud catharsis beat (≈1:24). Non-diegetic.

Why it matters:

Big hair, bigger attitude — the movie’s “enough is enough” riff.

“Kiss You All Over” (Exile)

Where it plays:

Rom-com sway moments around the mid-film courtship misfires. Non-diegetic (exact needle varies by cut/TV airings).

Why it matters:

’70s soft-rock flirtation for a very PG comedy.

End-credit coda: “More Than a Feeling” (Boston)

Where it plays:

Climactic feel-good and into credits (~1:29), including bloopers and a singalong from the animals during the first minutes of the credits. Non-diegetic → gag-diegetic.

Why it matters:

Buttons the film with a meta-musical bow.

Score highlights (Rupert Gregson-Williams)

Where it plays:

Light, rhythmic cues under banter, zoo hijinks, and Griffin/Kate’s reconciliations; occasional brass and percussion stings for chases and “hero” beats.

Why it matters:

Keeps energy high without stepping on dialogue — a classic “invisible” comedy score.

Notes & Trivia

• Composer: Rupert Gregson-Williams scored the film; his involvement was announced during production.
• Music supervision: Michael Dilbeck served as music supervisor (with additional supervision credits listed on the film).
• No VA album: There was no official “songs” compilation at release; licensed tracks come from original albums/compilations, and the score was not issued as a standalone commercial album.
• End-credits gag: Early credits feature animal bloopers and a “More Than a Feeling” singalong.

Reception & Quotes

Reviews were mixed-to-negative overall, but several noted the movie’s broad, familiar music choices as part of its easygoing, family-aimed tone. Audience polling (CinemaScore) was friendlier than critics.

“A pleasant summer entertainment… The creatures in this zoo all have the excellent taste to be in 2D.” — Chicago Sun-Times

“A marketing pitch in search of a movie.” — Variety

Interesting Facts

• Era spread: The syncs span ’70s rock to late-2000s pop-rap — a family four-quadrant playlist on purpose.
• Source vs. score: Many cues are diegetic (party/club/radio), letting jokes play in-world while score stays light.
• Arena irony: Kansas/Boston tracks repeatedly score moments where Griffin wishes he was cooler.
• Dance-floor diplomacy: Disco/soul cuts soften the film’s pricklier social scenes.
• Credit comedy: The animals’ end-credit “singing” is part of the film’s last big musical gag.

Technical Info

• Type: Feature film soundtrack (licensed songs) + original score
• Title: Zookeeper
• Year: 2011
• Composer: Rupert Gregson-Williams
• Music supervision: Michael Dilbeck (additional supervision also credited)
• Selected notable placements: Toto — “I’ll Supply the Love”; Kansas — “Carry On Wayward Son”; Boston — “Smokin’,” “More Than a Feeling”; Flo Rida feat. T-Pain — “Low”; EMF — “Unbelievable”; Meat Loaf — “Two Out of Three Ain’t Bad”; Mötley Crüe — “Kickstart My Heart”; Earth, Wind & Fire — “Boogie Wonderland”; Barry White — “You’re the First, the Last, My Everything”; Love and Rockets — “Ball of Confusion”; KC & The Sunshine Band — “(Shake, Shake, Shake) Shake Your Booty”; Swayzak — “In the Car Crash”; Quiet Riot — “Cum On Feel the Noize”; Exile — “Kiss You All Over”.
• Album status: No official various-artists compilation; score not released as a commercial album.
• Trailer ID (YouTube): pNJxxRi7AeE

Questions & Answers

Who composed the score?

Rupert Gregson-Williams wrote the original score for Zookeeper.

Is there an official “songs” soundtrack album?

No — the film uses licensed tracks from various artists; there wasn’t a single VA album at release.

What song plays over the end credits?

Boston’s “More Than a Feeling,” including a blooper/singalong gag early in the credits.

Where does “Low” by Flo Rida appear?

During Griffin’s night-out misadventure when he sneaks the monkey out of the zoo (around the 44-minute mark).

Who supervised the music?

Michael Dilbeck is credited as music supervisor (with additional supervision also listed).

Key Contributors

Sources: Wikipedia (film & music sections); SoundtrackRadar (timestamps & scenes); IMDb (Soundtracks & Full Credits); Film Music Reporter (composer); The Numbers/TV Guide (credits context); Rotten Tomatoes listing; official trailers.

November, 22nd 2025