"Drive Angry" Soundtrack Lyrics

"Drive Angry (Original Motion Picture Score)" Soundtrack Description

Overview

Grindhouse revenge with a 3D grin needs a score that rumbles. Drive Angry leans on Michael Wandmacher’s guitar-forward, percussion-heavy cues for propulsion, then sprinkles in rowdy jukebox drops—bar-band covers, glam throwbacks, sleaze-pop—to grease the chaos. The official retail album is the score, not a song compilation, which is why your streamer shows 29 instrumental tracks rather than T. Rex or Peaches (Apple Music confirms label/date details; Discogs and SoundtrackCollector mirror the contents).

On-screen, though, the songs matter: a Trooper blast after the first fiery shootout, Peaches for Piper’s quit-the-job sprint, a motel firefight choreographed to The Raveonettes, and a swaggering UNKLE cue as our heroes push a dead Charger down the road. For placements and timestamps, WhatSong’s crowd-checked index is especially useful.

Questions & Answers

Is there an official soundtrack album?

Yes—the score only. Drive Angry (Original Motion Picture Score) by Michael Wandmacher, 29 tracks, released by Lakeshore Records in 2011 (digital/CD).

Are the movie’s rock songs on that album?

No. The retail album is instrumentals. The licensed songs (Peaches, T. Rex, April Wine, UNKLE, Everlast, etc.) are not compiled officially.

Who composed the score?

Michael Wandmacher. He previously worked with director Patrick Lussier and returns here with heavy, riff-led action cues.

What song plays when Piper quits her job?

“Fuck the Pain Away” — Peaches (around 00:08), with Piper singing along in her Charger (diegetic).

What’s blasting during the motel gunfight?

“You Want the Candy” — The Raveonettes (around 00:30), as bullets fly mid-tryst.

What’s the hymn-like piece in the cult church?

“All Things Bright And Beautiful” — credited here to Los Lobos (around 00:43), performed in-world by the followers.

End-credits song?

“Alive” — Mark Campbell (starts ~01:35), followed by “Drive Angry” — Weston Cage (second credits cut).

Notes & Trivia

• The score album lists 29 tracks and runs ~60 minutes; label: Lakeshore Records.
• Two different artists are credited for “The Answer” on listings (UNKLE; UNKLE & Big in Japan); both refer to the same sequence after the big chase.
• “That’s the Way (I Like It)” plays as a cover by Easy Action, not the KC & The Sunshine Band original.
• Weston Cage appears on the second credits song—yes, Nicolas Cage’s son.
• Trusted sources referenced here include Apple Music, WhatSong, Discogs, and SoundtrackCollector.

Genres & Themes

Heavily amplified action score. Wandmacher’s palette—overdriven bass, detuned guitars, pounding toms—equates torque with threat; chase rhythms double as character momentum.

Barroom/retro rock. April Wine, T. Rex, The Raveonettes, UNKLE, Everlast: swaggering textures signal grindhouse bravado, sleaze, and black humor.

Diegetic hymns & covers. Cult scenes bend familiar tunes into menace; the Accountant’s truck jam turns classic-disco into a deadpan joke.

Tracks & Scenes

“Raise a Little Hell” — Trooper
Where it plays: ~00:04, right after Milton’s opening carnage and car explosion; non-diegetic needle-drop.
Why it matters: Announces the film’s gleeful excess with a title-as-mission-statement.

“Fuck the Pain Away” — Peaches
Where it plays: ~00:08, Piper quits and sings along while driving; diegetic sing-along until the Charger coughs out.
Why it matters: Sets Piper’s agency and irreverence in one hook.

“Laser Love” — T. Rex
Where it plays: ~00:13, as Piper discovers Frank cheating; source in-room (implied).
Why it matters: Glam gleam vs. grim reality—ironic counterpoint.

“Tomorrow” — Nic Cester, Davey Lane & Kram
Where it plays: In-bar performance when Milton and Piper arrive; diegetic (onstage singer).
Why it matters: Establishes the bar as music space, not wallpaper.

“Sandman” — Robbyn Kirmsse
Where it plays: Same bar set—singer on mic; diegetic.
Why it matters: Lulls the room before the story tilts again.

“Don’t Want Love” — Jaydub Prince Of Da County
Where it plays: Bar performance continues; diegetic.
Why it matters: Threads a local-band grain through the slick mayhem.

“I Like to Rock” — April Wine
Where it plays: ~00:26, Milton in the motel with the waitress; source track in the room.
Why it matters: 70s swagger underscores a scene that turns mid-song into a ballistic gag.

“You Want the Candy” — The Raveonettes (& Sune Rose Wagner)
Where it plays: ~00:30, the infamous “still having sex while shooting everyone” sequence; needle-drop foregrounded.
Why it matters: Candy-sweet chorus vs. carnage—signature tonal clash.

“All Things Bright And Beautiful” — Los Lobos (credited)
Where it plays: ~00:43, cult church as Milton enters; diegetic congregational singing.
Why it matters: Hymn turned ominous; righteousness inverted.

“The Answer” — UNKLE (also listed as UNKLE & Big in Japan)
Where it plays: ~01:00, after the big road chase when the Charger dies and they push it.
Why it matters: Post-adrenaline comedown—beat-driven resolve.

“That’s the Way (I Like It)” — Easy Action (cover)
Where it plays: ~01:13, the Accountant plows a roadblock while nodding to the radio; diegetic in-truck.
Why it matters: Gallows humor—bubblegum disco as wrecking-ball cue.

“Stone in My Hand” — Everlast
Where it plays: ~01:16, Milton & Piper escape after the roadblock and drive off.
Why it matters: Outlaw blues for a cursed knight-errant.

“Alive” — Mark Campbell
Where it plays: ~01:35, first end-credits cue as Milton and the Accountant head… back to Hell.
Why it matters: An on-the-nose title that works as black-comic curtain.

“Drive Angry” — Weston Cage
Where it plays: ~01:39, second end-credits track.
Why it matters: Franchise-style badge song; a family Easter egg.

Music–Story Links

Milton’s world runs on volume: Trooper after the first massacre signals we’re here for excess. Piper’s Peaches sing-along pins her as co-driver, not passenger. The motel shootout’s sugary Raveonettes chorus makes a gag out of carnality and carnage. Hymn-singing in the church sharpens the cult’s threat by misusing comfort music. And when UNKLE kicks in after the chase, the film trades spectacle for stubborn forward motion—the heroes literally shoulder the plot.

How It Was Made

Composer: Michael Wandmacher. Label: Lakeshore Records. The album release carries 29 instrumental cues (~60 minutes). The film’s supervised needle-drops skew classic/glam/alt-rock and a few diegetic performances (bar singers), while the score supplies horsepower for pursuits and occult showdowns. Reviews from specialist score outlets note the blend of riffy action writing and quieter, texture-driven bridges in the middle reels.

Reception & Quotes

Critical response was mixed but often amused; several pieces call it a knowingly gaudy throwback where craft (including music) sells the joke.

“A grind house B movie so jaw-droppingly excessive… It succeeds. I can’t say I enjoyed it.” Roger Ebert

“Sharp 3D lensing and low-octane camp humor help rev up Drive Angry.” Variety

“Guilty pleasure… a supernatural boy-racer revenge horror.” The Guardian

Additional Info

• Album availability: The official release is the score (digital/CD; streaming); no official “songs” album.
• Cue names to note: “Full Frontal Shotgun,” “The Accountant,” “The Iron Godkiller,” “Road Raging.”
• Credits quirk: Two separate listings exist for UNKLE’s “The Answer.” Same scene, variant crediting.
• Cover surprise: “That’s the Way (I Like It)” is the Easy Action cover.
• Family tie-in: Weston Cage’s “Drive Angry” rolls over second credits.
• Where to verify tracks/times: WhatSong’s movie page logs placements with timestamps.

Technical Info

• Title: Drive Angry (Original Motion Picture Score)
• Film Year: 2011
• Album Type: Score (no official song compilation)
• Composer: Michael Wandmacher
• Label: Lakeshore Records
• Length: ~59–60 minutes; 29 tracks (score album)
• Notable licensed tracks in film: Trooper; Peaches; T. Rex; April Wine; The Raveonettes; UNKLE; Everlast; Easy Action
• Availability: Streaming (Apple Music/Spotify); CD release; widely cataloged on Discogs and SoundtrackCollector

Canonical Entities & Relations

Sources: Apple Music; WhatSong; Wikipedia; Variety; Roger Ebert; Discogs; SoundtrackCollector.

November, 09th 2025