"Expendables 3, The " Soundtrack Lyrics

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"The Expendables 3: Original Motion Picture Soundtrack" Soundtrack Description

Overview

How do you make a third victory lap feel fresh? Brian Tyler answers with a bigger, glossier version of the franchise’s hybrid sound—brass fanfares, string ostinatos, and hard-hitting percussion—then threads in character-specific writing (a wiry piano idea for the villain Stonebanks) and a few knowingly cheeky source cues. The licensed songs aren’t constant, but when they arrive—Little Steven in the cargo hold, Beethoven at a Moscow gala, Neil Young at karaoke—they tilt the film from steel to wink.

The score album (60:09) landed August 12, 2014 on Lionsgate Records, with La-La Land handling physical release; regional digital editions also appear under Silva Screen licensing on storefronts. Wikipedia and Apple Music confirm the release specs; Discogs documents CD details and personnel. Variety’s review credits Selena Arizanovic as music supervisor.

Questions & Answers

Who composed the score and who supervised music?

Brian Tyler composed; Selena Arizanovic served as music supervisor on the film.

When did the album release and on which labels?

August 12, 2014; Lionsgate Records (digital) with La-La Land Records issuing the physical album; some regions list Silva Screen licensing on DSPs.

How does Part 3’s score differ from the first two?

Same core “Expendables” motif, but with a Morricone/Leone tint and a character waltz-like piano thread for Stonebanks.

Are the oldies back?

Fewer than Part 2, but the film uses pointed source cues—Beethoven at a gala; a Neil Young bar singalong; several contemporary tracks in recruitment scenes.

Is the score album pure score or a mix?

Pure score. The licensed songs are not on the Brian Tyler album.

Which song dominated marketing?

KONGOS’ “Come With Me Now” was heavily used in trailers and also appears in-film.

Notes & Trivia

• Tyler recorded with the Slovakia National Symphony Orchestra; he and Frank Wolf handled the mix.
• Stonebanks’ motif is intentionally “against type”: a spare piano etude instead of villain bombast.
• Beethoven’s String Quartet No. 13, Op.130: II. Presto appears diegetically at a black-tie gala.
• “Old Man” turns into a diegetic karaoke scene—an on-the-nose, funny meta-comment on the franchise’s “passing the torch.”
• Trusted source: Variety credits list Arizanovic as music supervisor; Discogs corroborates release credits; Apple Music shows region-specific ℗ notes.

Genres & Themes

Hybrid orchestral action (brass + strings + heavy drums): competence, force projection, “team entrance” swagger.

Spaghetti-western color (subtle Morricone tint): myth-of-the-gunslinger fun around Booker/Stonebanks standoffs.

Classic/roots and modern rock/EDM source cues: human, place-specific texture—barrooms, galas, gyms, clubs—offsetting the steel-and-kerosene score with character beats.

Tracks & Scenes

Timestamps are approximate and vary slightly by cut/edition; placements consolidated from credits and scene-ID trackers.

“Come for Me” — Steven Van Zandt (Little Steven & the Lost Boys)
Where it plays: First act inside the plane—cargo hold banter (~0:07). Likely source/low-mix diegetic.
Why it matters: Sets a blue-collar, lived-in texture before the opening mission heats up.

“String Quartet No. 13 in B♭, Op.130: II. Presto” — Ludwig van Beethoven (arr. Timo Elliston & Brian Jones)
Where it plays: Black-tie gala in Moscow (~0:29). Diegetic performance/background.
Why it matters: Elegance as camouflage—old-world polish just before things go sideways.

“Baptized in Dirty Water” — Chris Thomas King
Where it plays: Rusty’s bar meet-up (~29:59 Blu-ray). Diegetic jukebox/bar source.
Why it matters: Swamp-blues grit grounds the team’s regroup; a tonal reset between operations.

“Delirium” — Euphoria (Ken Ramm)
Where it plays: Thorn’s mountain-climb recruitment (~0:35). Non-diegetic placement over scenic action.
Why it matters: Cinematic chillout that sells the “new blood”—cool, capable, unflappable.

“Meteor” — Eric Vasquez, Spencer Blair & Simon Curtis
Where it plays: New York club while recruiting Luna. Diegetic club source.
Why it matters: Lights, bodies, attitude—introduces Luna’s poise and power in one sweep.

“Come With Me Now” — KONGOS
Where it plays: Las Vegas sequence with Bonaparte; also a key trailer cut. Mostly non-diegetic in-film.
Why it matters: Accordion-stomp bravado that brands the campaign and sells momentum.

“A Light That Never Comes (Rick Rubin Reboot)” — Linkin Park & Steve Aoki
Where it plays: U.S. training/gym/military-base beats introducing the new recruit set (~0:41). Non-diegetic montage-style.
Why it matters: EDM/rap-rock surge that frames the “next-gen” pitch.

“Calle Callejero” — Wisin & Yandel
Where it plays: Skyline-to-party sequence leading to Luna’s dust-up (~0:37). Diegetic party source.
Why it matters: Switches language and rhythm to place the scene, then punctures it with a fight gag.

“Old Man” — Neil Young
Where it plays: Final bar celebration; the rookies sing it as karaoke. Diegetic, on-camera.
Why it matters: The most on-the-nose needle-drop in the trilogy—and it works. A torch-passing joke with genuine warmth.

Also noted in promos/brief cues: Aloe Blacc’s “Ticking Bomb” (marketing tie-ins) and Taddy Porter’s “Fire in the Streets” (brief background, reported by trackers).

Music–Story Links

• Villain psychology via piano: Stonebanks’ spare, almost waltzing motif humanizes and chills at once—brains over brawn.
• Recruitment chapters get distinct grooves: EDM/rock for gyms and NYC nightlife; Americana and blues for bars and road talk.
• Meta-commentary in plain sight: “Old Man” turns a victory beer into a thesis about legacy and aging heroes.
• Classical as cover: Beethoven at the gala performs “respectability” while the heist gears up behind the scenes.

How It Was Made

Tyler returned to the series with a brief to keep the signature motif but vary color: thicker low brass, tighter drum batteries, and that Morricone-flavored shade around certain standoffs. He layered guitars and piano into the orchestral bed and kept the Slovakia National Symphony Orchestra as the engine. Music supervision stitched the needle-drops to locations (gala, bars, clubs) without cluttering the album, which stays purely score. Apple Music, Discogs, and Wikipedia line up on dates/labels; Variety backs the supervisor credit.

Reception & Quotes

Critical response to the album was mixed-to-positive, with some noting repetition from earlier entries and others praising the energy. Fans generally embraced the wry song choices in the film.

“Enjoyable album… some less interesting passages; best parts echo the previous scores.” Movie Wave

“As much a disappointment as the film, lacking the personality of the original.” Filmtracks

“Music supervisor: Selena Arizanovic.” Variety

Availability is wide on major DSPs; La-La Land’s physical edition covers the same 19 cues.

Additional Info

• Album length: 60:09; 19 cues; pure score (no licensed tracks).
• Regional metadata varies: some DSPs list ℗ Lions Gate Records (US/CA), others show licensing to Silva Screen (EU/NZ).
• “Come With Me Now” is both a trailer pillar and an in-film needle-drop.
• Beethoven Op.130: II appears as an arranged recording for the gala.
• Diegetic karaoke of Neil Young’s “Old Man” is in the final bar scene (Extended Cut retains the beat).
• Score personnel include arrangers Robert Lydecker, Evan Duffy, Matthew Llewellyn, Tony Morales.
• Physical CD credits list the Slovakia National Symphony Orchestra as performers.

Technical Info

• Title: The Expendables 3: Original Motion Picture Soundtrack
• Year: 2014
• Type: Film score (album); film also uses licensed songs
• Composer/Producer: Brian Tyler (co-produced with Matthew Llewellyn)
• Orchestra: Slovakia National Symphony Orchestra
• Music Supervision (film): Selena Arizanovic
• Labels: Lionsgate Records (digital), La-La Land Records (physical); regional licenses via Silva Screen on some DSPs
• Selected notable placements (film): “Come for Me” (plane), Beethoven Op.130: II (Moscow gala), “Baptized in Dirty Water” (Rusty’s bar), “Delirium” (Thorn recruitment), “Meteor” (Luna club), “Come With Me Now” (Las Vegas), “A Light That Never Comes – Rick Rubin Reboot” (recruits montage), “Calle Callejero” (party), “Old Man” (final karaoke)
• Availability: Streaming (Apple Music/Spotify) and physical CD

Canonical Entities & Relations

Subject	Verb	Object
Brian Tyler	composed	The Expendables 3 (score)
Slovakia National Symphony Orchestra	performed	The Expendables 3 score
Lionsgate Records	released	Digital score album
La-La Land Records	released	Physical score album
Selena Arizanovic	supervised music	The Expendables 3
KONGOS	performed	“Come With Me Now”
Chris Thomas King	performed	“Baptized in Dirty Water”
Neil Young	performed	“Old Man”
Linkin Park & Steve Aoki	performed	“A Light That Never Comes (Rick Rubin Reboot)”
Ludwig van Beethoven	wrote	String Quartet No.13, Op.130: II. Presto

Sources: Wikipedia; Variety; Apple Music; Discogs; Spotify; PopApostle; SoundtrackRadar; Movie Wave; Filmtracks.

This action movie contains all the tough guys of the world cinema. Remember anyone from Hollywood stars of the screen – and he will be in this film. Sylvester Stallone is at the head of this khanate of elderly celebrities. In addition to the explosions and fire, there is room for sentimentality on the screen, and ends it all with gatherings in the bar that is not very clear to the viewer. Well, be that as it may, the action movie should not claim to be full of philosophical thoughts, thin as the edge of book pages. The collection includes 19 basic and 11 additional tracks. A mixture of genres of musical accompaniment is a motley gathering. There you meet instrumental-guitar rock, ethno–trance (Euphoria), bits of rock from Linkin Park , as well as catchy tunes in the style of techno–rap–reggae like Calle Callejero . In addition, the collection also includes classical compositions, country, classic rock and ballads. If you listen to the entire collection at once, there is a bright mix of styles and genres of music. Each song gives its mood, which can be completely changed by following composition. In this connection, two words to describe the style and mood of the collection will fail. However, the songs included here, worthy of listening to fans and different, and, above all, good music.

November, 09th 2025

'The Expendables 3': IMDb, Wikipedia

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