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The Cruella soundtrack is a memorable one compiling a range of hit 1960s and '70s British rock'n'roll, but the officially released Cruella soundtrack doesn't include all the music that's in the movie. Emma Stone gives an incredible performance as Cruella, which is perfectly accompanied by a compelling blend of rock, R&B, pop, and punk music. Cruella achieves a lot through the selection of music that soundtracks it, as more than 30 songs released throughout the 1960s and '70s feature in the movie. They range from classic funk to feminist power ballads, and the soundtrack is able to create a strong sense of time and place.

"Bloody Well Right," by Supertramp (1974). Cruella opens with a classic anti-establishment hit plucked straight from 1970s London. The steady backbeat of Supertramp's "Bloody Well Right" plays during a montage of Estella's early years at primary school, a.k.a. elementary school. Estella, like many artists and musicians of the time, chafed against the strict British school system, instead embracing her wild nature. Estella's rebellious attitude is reflected in the opening lyrics of the song, "So you think your schooling is phoney, I guess it's hard not to agree. You say 'It all depends on money and who is in your family tree.'"

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"Watch the Dog That Bring the Bone," by Sandy Gaye (1969). Cruella starts getting funky when Estella moves to London, with Gaye's soulful single creating a "nothing in life is free" vibe. The song is on the Cruella soundtrack when Estella flees from the police and makes a lasting connection with fellow street urchins Jasper and Horace and, as an added bonus, fits the movie's dog theme.

"She's A Rainbow," by The Rolling Stones (1967). Ten years later, a groovy, modern tune serves as the introduction to adult Estella, who is helping Jasper and Horace pull off complex cons by designing high-fashion disguises. Estella's artistic genius, shown onscreen in a colorful burst of outfits, is also reflected in the song lyrics, "She comes in colors everywhere. She combs her hair. She's like a rainbow."

"I Gotcha," Joe Tex (1972). Only a few short seconds of the funky and rhythmic Joe Tex song are used in Cruella. "I Gotcha" is used just before the Liberty Department Store scene where Horace sneaks in Estella's application so she can get hired, and when it's explained what types of women the Baroness has thrown out of her parties.

"Time of the Season," by The Zombies (1968). Estella's entry into the world of fashion through a renowned London department store is accompanied by this well-known psychedelic pop song... only to end in disappointment when the audience discovers she's been hired as a janitor.

"Five to One," by The Doors (1968). Another R&B song bordering on hard rock accompanies the entrance of the Baroness, the best fashion designer in London, who hires Estella on the spot before her chaotic escape from the police.

"Feeling Good," by Nina Simone (1965). The oft-covered jazz standard plays as Estella walks into the House of the Baroness, reflecting her visceral pleasure at making it big. The lyrics perfectly big-sounding horns of the song perfectly fit the scene's mood and sits well on the Cruella soundtrack.

"Whole Lotta Love," by Ike & Tina Turner (1975). The 1975 track is a cover of a 1969 Led Zeppelin song, and while the raunchy song might initially seem out of place in a Disney movie, it works surprisingly well. It's one of the coolest-sound rock songs ever with the iconic guitar riff and sits well on the Cruella soundtrack as it plays over Cruella's first proper appearance.

"Hush," by Deep Purple (1968). Cover of a 1967 Billy Joe Royal song. With its epic-sounding "na na na na na na na," "Hush" could make any scene in any movie look cool, and it especially works on the Cruella soundtrack. The song plays in one of the scenes that shows how great of a con artist Cruella is, as she steals the keys from the guard and throws them back to Horace.

"Boys Keep Swinging," by David Bowie (1979). A close examination of London's rock and roll scene wouldn't be complete without an homage to David Bowie, whose look seems to have inspired Artie's costumes. A Bowie song is one of the most appropriate entries on the Cruella soundtrack.

"One Way or Another," by Blondie (1978). As is frequently the case in movies, this power punk-pop song turns ominous as it plays to a montage of Cruella embarking on a mission to destroy the Baroness and take over the fashion world. As Blondie was one of the great female rock icons of the '70s, the Cruella soundtrack wouldn't have been complete without one of her songs;

"I Get Ideas (When We Are Dancing)," by Tony Martin (1951). A romantic ballad turns literal when the Baroness gets ideas and steals Cruella's dress design. The scene turns the Cruella soundtrack song on its head, making the "I get Ideas" part of the song way more sinister than how it was originally intended by Martin.

"Perhaps, Perhaps, Perhaps," by Doris Day (1965). The well-known English cover of a 1947 Spanish song plays as Jasper and Horace break into the House of the Baroness. The song was likely selected for the Cruella soundtrack more for the way it sounds than for its ambiguous lyrics.

"You're Such A Good Looking Woman," by Joe Dolan (1970). Surprisingly, the Joe Dolan hit was used for a scene focusing on not Cruella, but the Baroness, as she prepares for a fashion show. This choice for the Cruella soundtrack is the most on the nose, as the song's lyrics play over fashion show preparations, but its '70s melody and foreboding sound works perfectly.

"Smile," by Judy Garland (1963). Garland's sweeping cover of Nat King Cole's 1961 jazz classic provides a striking contrast to a scene where Cruella is near death. The song foreshadows John's rescue of Cruella after the Baroness sets fire to her home and leaves her to die. At Cruella's lowest point in the film, perhaps there are still seeds of hope.

"Nightmares," by The J. Geils Band (1974). The song plays during the prison break scene in London where Cruella disguises herself with a mustache and wreaks havoc in a truck. A more perfect '70s track couldn't have been chosen for the action sequence, as "Nightmares" is tribalistic-sounding with its relentless drum banging, crashing cymbals, raw lyrics, and non-stop echoes and reverb.

"Gettin' Out," The J. Geils Band (1974). The Cruella soundtrack moves from one The J. Geils Band song directly to another, only "Gettin' Out" is a much groovier toe-tapping rock song led by a jangly piano rhythm. The song continues Jasper and Horace's jailbreak, and the song's title couldn't be more appropriate.

"Eternelle," by Brigitte Fontaine (1968). Eternelle is one of the most perfect choices for the back end of the Cruella soundtrack, as it plays as Cruella seemingly becomes eternal after the Baroness attempts to murder her. The song is a playful boss nova-influenced track from a French pop girl-group too, which makes it even more fitting.

"Come Together," by Ike & Tina Turner (1970). The Cruella soundtrack continues to pay homage to the history of British rock n' roll with a cover of the lead-off track to The Beatles' famed 1969 album, Abbey Road. The song plays as Cruella and her friends literally come back together, regrouping for their final attack on the Baroness.

"Call Me Cruella," by Florence + the Machine (2021). The highly anticipated song by Florence + the Machine plays over the credits, ending Disney's live-action origin story with an original song for Cruella's title character. 006ab0faaa