"Fast Five" Soundtrack Lyrics

"Fast Five (Original Motion Picture Soundtrack)" Soundtrack Description

Overview

Heist film, beach city, muscle cars—so the music leans hard into Rio textures and engine-block rhythm. The commercial album (ABKCO) folds reggaetón, funk carioca, and hip-hop into a brisk 36–51 minutes depending on edition; the score album (Brian Tyler) runs ~78 minutes and carries the kinetic set-pieces (train robbery, vault drag) with orchestra + guitars + metalwork percussion.

The songs set was issued late April/early May 2011, outside the U.S. retitled Fast & Furious 5: Rio Heist. Key crowd-pleasers—Don Omar & Lucenzo’s “Danza Kuduro,” Marcelo D2’s “Desabafo/Deixa Eu Dizer,” MV Bill’s “L. Gelada-3 Da Madrugada”—paint locale, while Tyler’s suite (“Train Heist,” “Dom vs Hobbs,” “The Vault Heist”) supplies torque. Trusted sources: Apple Music, Wikipedia, Discogs.

Questions & Answers

Is there an official songs album?

Yes. Fast Five (Original Motion Picture Soundtrack) on ABKCO; outside the U.S.: Fast & Furious 5: Rio Heist. (Apple Music / Wikipedia)

Is there a separate score album?

Yes. Fast Five (Original Motion Picture Score) by Brian Tyler—CD via Varèse Sarabande; digital via Back Lot Music. (Apple Music / Discogs)

What plays when the vault gets opened and the crew’s epilogue montage starts?

“Danza Kuduro” — Don Omar & Lucenzo.

What’s the end-credits song before the stinger?

“How We Roll (Fast Five Remix)” — Don Omar with Busta Rhymes, Reek Da Villian & J-Doe.

What’s after the credits?

“Furiously Dangerous” — Ludacris feat. Slaughterhouse & Claret Jai.

Which track scores the cop-car drag race?

“Million Dollar Race” — Edu K & Hybrid.

Who supervised the music?

Rachel Levy (music supervisor credit). (Metacritic credits)

Notes & Trivia

• The songs album bundles three Brian Tyler cues (“Assembling the Team,” “Mad Skills,” “Fast Five Suite”) alongside Latin/hip-hop placements.
• The score album charted on the Billboard 200 and Top Soundtracks, unusual for a fifth-entry action score.
• Outside the U.S., the album title carries the Rio Heist tag to foreground the setting.
• Don Omar’s “Taboo” and library tracks like Euphon’s “OA”/“Slim” appear in-film though not always on the retail album.
• Brian Tyler’s action palette here—rhythmic ostinatos + low brass + processed percussion—became a template for later entries.

Genres & Themes

Reggaetón & funk carioca: community, swagger, and the heat shimmer of Rio. These cues score street-level spaces—beaches, garages, open-air parties.

Hip-hop: crew bravado and victory laps; end-credits cuts (“How We Roll,” “Furiously Dangerous”) bookend the heist’s payoff.

Hybrid orchestral score: tightly metered drums, chugging celli, and metallic hits telegraph logistics, weight, and momentum—train to vault.

Tracks & Scenes

“Batalha” — ObandO
Where it plays: Opening stretch in Rio; scene-setting groove as the crew regroups (non-diegetic).
Why it matters: Establishes Brazilian color before the plot turns mechanical.

“OA” — Euphon
Where it plays: Early comms/walkie-talkie background bed (source ambience).
Why it matters: Low-key texture; one of several library cues peppered through ops moments.

“Carlito Marrón” — Carlinhos Brown
Where it plays: Negotiation beats with local intermediaries; street ambience (source).
Why it matters: Keeps the city in earshot during dialogue-heavy planning.

“How We Roll (Fast Five Remix)” — Don Omar with Busta Rhymes, Reek Da Villian & J-Doe
Where it plays: End credits before the stinger; also heard over a cars-testing montage earlier (non-diegetic).
Why it matters: Franchise-grade victory lap; lyrical flex after the score’s heavy lift.

“L. Gelada-3 Da Madrugada” — MV Bill
Where it plays: Beach sequence while Gisele and Han work to get Reyes’s handprint (~1:07:00; source).
Why it matters: Stylish misdirection; music sells the “casual” approach to a risky lift.

“Desabafo / Deixa Eu Dizer” — Marcelo D2 feat. Claudia
Where it plays: Follow-on at the beachfront/approach to Reyes for the handprint (~1:09:00; source).
Why it matters: Smooth, unhurried groove that masks a surgical objective.

“Han Drifting” — Hybrid
Where it plays: Surveillance-camera montage as Han tests handling (~1:18:00; non-diegetic).
Why it matters: Techno-cinematic pulse matches the crew’s systems-thinking.

“Million Dollar Race” — Edu K & Hybrid
Where it plays: The stolen-cop-car drag race (~1:20:00; non-diegetic banger).
Why it matters: Treats a team-bonding bet like a mini-set-piece; swagger before the real job.

“Big City” — Doug Simpson feat. Slim
Where it plays: Backyard/garage barbecue reunion (source).
Why it matters: Domestic warmth—family motif without leaning on melodrama.

“Taboo” — Don Omar
Where it plays: Brief in-film background use (source); also promoted with movie-clip video tie-ins.
Why it matters: Cross-promo that kept the franchise sound on Latin charts.

“Danza Kuduro” — Don Omar & Lucenzo
Where it plays: Vault opened → cash-out montage and epilogue (~1:55:00; non-diegetic).
Why it matters: The joyous exhale; the song most associated with Fast Five.

“Furiously Dangerous” — Ludacris feat. Slaughterhouse & Claret Jai
Where it plays: Post-credits button (non-diegetic).
Why it matters: Cast member on mic; tease-energy rolling into the next chapter.

Music–Story Links

Locale as signal: Brazilian cuts (“Carlito Marrón,” “Desabafo,” “L. Gelada…”) authenticate the con spaces where smiles hide the steal.

Family vs. force: Source cues warm the crew-as-family scenes; Tyler’s percussion and brass frame the Hobbs confrontations and the vault’s literal drag.

Earned celebration: After a score that sweats the details, “Danza Kuduro” feels like the champagne spray—sound as catharsis.

How It Was Made

Composer & sessions. Brian Tyler returned, recording at the Newman Scoring Stage and Eastwood Scoring Stage; the Hollywood Studio Symphony performed. The CD release came via Varèse Sarabande; the digital via Back Lot Music.

Supervision & curation. Rachel Levy oversaw music for Universal; ABKCO handled the songs album. The song lineup blends regional heavy-hitters (Don Omar, MV Bill) with Hybrid’s club-leaning cuts to bridge into Tyler’s cues.

Reception & Quotes

“Beat-heavy music and gruff Latin rapping accomplish the brief.” AllMusic (via Wikipedia summary)

“Tyler’s propulsive score undergirds the train and vault set-pieces.” Review round-ups

Both albums remain widely available on Apple Music and Spotify; the score’s chart appearance underlines how central it is to the film’s identity.

Additional Info

• Songs album: iTunes (Apr 25, 2011) → CD (May 3, 2011). Regional title: Fast & Furious 5: Rio Heist.
• Score album: 25 cues, ~78 minutes; later issued digitally by Back Lot Music.
• “Danza Kuduro” was a major multi-territory hit before/after the film; the association boosted its global spread.
• “Taboo” video features film clips and cast cameos, doubling as promo.
• In-film extras include library/source beds (“OA,” “Slim,” “Big City”) beyond the retail album.
• The franchise’s later Fast X trailers explicitly flash back to Fast Five’s vault heist—musically and thematically.

Technical Info

• Title: Fast Five (Original Motion Picture Soundtrack) / Fast Five (Original Motion Picture Score)
• Year: 2011
• Type: Various-artists songs album (ABKCO); original score by Brian Tyler (Varèse Sarabande / Back Lot Music)
• Composer: Brian Tyler
• Music Supervision: Rachel Levy
• Selected placements: “Danza Kuduro” (vault open/epilogue), “How We Roll (Fast Five Remix)” (end credits), “Furiously Dangerous” (post-credits), “L. Gelada-3 Da Madrugada” & “Desabafo/Deixa Eu Dizer” (handprint con), “Million Dollar Race” (cop-car drag), “Han Drifting” (surveillance test)
• Release context: World premiere April 15, 2011 (Rio); U.S. release April 29, 2011
• Availability: Apple Music/Spotify; CD/vinyl variants via ABKCO/Varèse in some markets

Canonical Entities & Relations

Sources: Apple Music; Wikipedia; Discogs; Metacritic credits; IMDb Soundtracks; Reelsoundtrack blog.

November, 09th 2025