"Fate of the Furious" Soundtrack Lyrics

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"The Fate of the Furious: The Album" Soundtrack Description

Overview

How do you score a franchise that trades in nitrous, found family, and physics-defying set pieces? The eighth film answers with a two-track approach: a hard-charging compilation of hip hop, Latin pop, and EDM for the streets, plus Brian Tyler’s orchestral muscle for the drama. The songs album—released alongside the film—leans into big choruses and engine-rev rhythms; the score threads continuity through Dom’s heel-turn and Cipher’s mind games.

Havana, New York, and the Arctic set the palette. Spanish/English crossover singles bring sun-baked swagger to the Cuban opener; trap and bassweight fuel the New York “zombie cars” chaos; then Tyler’s brass and low strings take the wheel for the ice-lake finale. Entertainment Weekly, Pitchfork, and Wikipedia all document how the film’s music was promoted with multiple singles, videos, and a separate score release.

Questions & Answers

Is there an official songs album?

Yes: The Fate of the Furious: The Album (Artist Partner Group/Atlantic), released April 14, 2017.

Is there an official score album?

Yes: The Fate of the Furious (Original Motion Picture Score) by Brian Tyler, released April 28, 2017 (Back Lot Music).

What song is tied to the opening in Cuba?

“La Habana” (Pinto “Wahin” & DJ Ricky Luna feat. El Taiger) is used in the Havana race sequence; Calvin Harris’s instrumental “C.U.B.A.” is also credited for that stretch. The “Hey Ma” videos (Spanish/English) were cut with opening-scene footage.

What plays over the end credits?

“Good Life” (G-Eazy & Kehlani) starts the credits; “Go Off” (Lil Uzi Vert, Quavo & Travis Scott) and other soundtrack cuts follow.

Which track powers the trailers?

Bassnectar’s “Speakerbox (F8 Remix)” is the headline trailer cue, paired to the franchise’s stunt montage style.

Who composed the film’s score cues?

Brian Tyler returned (after 3, 4, 5, and 7) with a large orchestra and percussion-forward action writing.

Where can I stream the album?

On major services (e.g., Spotify/Apple Music); the album charted internationally and later won a Japan Gold Disc Award.

Notes & Trivia

• The songs album and the score were issued two weeks apart to separate the franchise’s “song drops” from Tyler’s orchestral material.
• “Hey Ma” exists in Spanish and English versions; both videos interpolate footage from the Havana opener.
• End credits open with “Good Life,” then roll into other compilation tracks—fitting the series’ celebratory curtain call.
• “Speakerbox (F8 Remix)” became the calling-card trailer cue for marketing beats and later appeared in the film’s music credits.
• “C.U.B.A.” and Orishas’ “Cuba Isla Bella” are both credited, anchoring the production’s rare on-location Cuba shoot.

Genres & Themes

Latin pop & reggaetón in the opener telegraph community pride and street-level ritual—music as neighborhood pulse before the “Cuban Mile.” Trap/EDM hybrids underline high-tech chaos in New York (hacker vs. horsepower), while pop-rap anthems score victory-lap credits about survival and loyalty. Tyler’s orchestral-percussion score handles betrayal, sacrifice, and the “family” motif with darker brass, low ostinatos, and taiko-like hits.

Tracks & Scenes

Note: Time stamps vary slightly by cut/territory; placements below reflect theatrical/TV versions documented in credits and industry guides.

“La Habana” — Pinto “Wahin” & DJ Ricky Luna feat. El Taiger
Scene: The Havana street race (“Cuban Mile”) builds from revs to full sprint; non-diegetic track layered with crowd and engine SFX. Early minutes, ~3–5 minutes of use.
Why it matters: Brings local cadence and Spanish-language swagger to a rare studio set-piece filmed in Cuba.

“C.U.B.A.” — Calvin Harris
Scene: Kick-off energy as the Cuban race launches; non-diegetic, punctuating gear shifts and overtakes. Brief but punchy.
Why it matters: A bright, percussive instrumental that meshes cleanly with engine transients.

“Hey Ma” (Spanish/English) — Pitbull & J Balvin feat. Camila Cabello
Scene: Tied to the opening Cuba imagery via the official videos; heard in-film across the Cuba section in some cuts and promos; non-diegetic.
Why it matters: Bilingual hook mirrors the film’s cross-border bravado and car-culture pageantry.

“Speakerbox (F8 Remix)” — Bassnectar feat. Ohana Bam & Lafa Taylor
Scene: Featured as the headline trailer cue; appears in film credits; associated sonically with the “zombie cars” chaos in New York; non-diegetic.
Why it matters: Sub-heavy drops sync perfectly with impact edits and glass-shower visuals.

“Good Life” — G-Eazy & Kehlani
Scene: First end-credits song (immediately after the final toast); non-diegetic.
Why it matters: A victory-lap anthem that reframes bruised characters as survivors—family intact.

“Go Off” — Lil Uzi Vert, Quavo & Travis Scott
Scene: Rolls during the end-credits block after “Good Life”; non-diegetic.
Why it matters: High-octane braggadocio that keeps the RPMs up as names scroll.

“Gang Up” — Young Thug, 2 Chainz, Wiz Khalifa & PnB Rock
Scene: Credited in the film; widely used across promos and credits rotations; non-diegetic.
Why it matters: Lyrical emphasis on crew solidarity mirrors the franchise’s central motif.

“Cuba Isla Bella” — Orishas
Scene: Brief Havana street ambience/needle-drop; non-diegetic.
Why it matters: A cultural nod reinforcing place authenticity around the opener.

“Mamacita” — Lil Yachty feat. Rico Nasty
Scene: Credited; heard in background/credits rotation; non-diegetic.
Why it matters: Colorful ad-libs lighten tone between heavy action beats.

Score cues — Brian Tyler
Where it plays: Prison breakout (Hobbs/Shaw), NY convoy hijack, and the ice-lake submarine chase; non-diegetic score.
Why it matters: Percussion + brass chassis underpins betrayals and tactical shifts, giving the movie its dramatic spine.

Music–Story Links

In Havana, Spanish-language vocals set up community ritual before Dom’s “one last ride” choice—music paints belonging before betrayal. In New York, bass-forward tracks echo Cipher’s digital swarm tactics: rhythm as “DDoS.” The end-credits flip to celebratory pop-rap once Dom names his son, reasserting the franchise’s optimism after a morally gray chapter.

How It Was Made

Composer Brian Tyler returned, conducting a large Hollywood Studio Symphony ensemble and layering aggressive drums against low brass for action but keeping a lyrical “family” motif for the rooftop toasts. Supervising music editor Paul Rabjohns and a team of editors wrangled stems to let licensed songs punch without masking engine and tire effects. Billboard profiled El Taiger’s feature on “La Habana,” and trade coverage highlighted how the trailer campaign centered Bassnectar’s remix to brand the film’s sonic identity.

Reception & Quotes

Press and fans embraced the bilingual pop and trap cuts, while long-timers praised Tyler’s consistency on the score side. The singles roll-out (six tracks) kept the album visible before and after release.

“The video for ‘Go Off’ doubles down on pyrotechnics, sports cars, and movie clips.” Pitchfork

“Pitbull, Camila Cabello debut [the] English ‘Hey Ma’ with opening-scene Cuba footage.” Entertainment Weekly

“The film ends sans post-credits tag, closing instead on a family-first beat.” Thrillist

Trusted sources referenced in-text: Entertainment Weekly, Pitchfork, Motion Picture Association, Wikipedia.

Additional Info

• Album singles (in order): “Go Off,” “Hey Ma,” “Good Life,” “Gang Up,” “Horses,” “Candy Paint.”
• Score album dropped two weeks after the songs album to spotlight Tyler’s cues separately.
• The album later received a Japan Gold Disc Award (“Soundtrack Album of the Year”).
• “Speakerbox (F8 Remix)” credit appears alongside a special “Hybrid Mix” tag in film music credits.
• “Candy Paint” was issued as a later single tied to the album’s after-run campaign.
• The movie has no post-credits scene; music leads the audience out instead.
• Havana location shoot helped justify the soundtrack’s Cuban/Latin emphasis in the opener.

Technical Info

• Title: The Fate of the Furious: The Album (songs); The Fate of the Furious (Original Motion Picture Score)
• Year: 2017
• Type: Motion picture soundtrack (various artists) + original score
• Composer (score): Brian Tyler
• Key songs/singles: “Good Life,” “Go Off,” “Hey Ma,” “Gang Up,” “Horses,” “Candy Paint”
• Labels: Artist Partner Group / Atlantic (songs); Back Lot Music (score)
• Notable placements: Havana opener (“La Habana,” “C.U.B.A.”), trailer (“Speakerbox” F8 Remix), end credits (“Good Life,” “Go Off”)
• Release context: Film US release Apr 14, 2017; score release Apr 28, 2017
• Availability/Charts: Streaming widely; multi-country charting; Japan Gold Disc Award

Canonical Entities & Relations

Entity	Relation	Entity
The Fate of the Furious (film)	features soundtrack	The Fate of the Furious: The Album
The Fate of the Furious (film)	music by	Brian Tyler
Brian Tyler	composed	The Fate of the Furious (Original Motion Picture Score)
G-Eazy & Kehlani	performed	“Good Life”
Lil Uzi Vert, Quavo & Travis Scott	performed	“Go Off”
Pitbull & J Balvin feat. Camila Cabello	performed	“Hey Ma”
Pinto “Wahin” & DJ Ricky Luna feat. El Taiger	performed	“La Habana”
Bassnectar feat. Ohana Bam & Lafa Taylor	performed	“Speakerbox (F8 Remix)”
Universal Pictures	distributed	The Fate of the Furious (film)
Artist Partner Group / Atlantic	released	The Fate of the Furious: The Album
Back Lot Music	released	The Fate of the Furious (Original Motion Picture Score)

Sources: Wikipedia; Entertainment Weekly; Pitchfork; Motion Picture Association; ScoringSessions.com; Discogs; The Fast Saga/Universal trailer listing; Mediastinger; Fast & Furious Wiki credits pages.

Whaaaa? It is the first reaction to what’s gonna evolve in front of your eyes already in the trailer. It’s gonna roll very-very soon, in April now, and this will blow your head off and smash it on every surface of your room including ceiling, floor, and the walls. In addition to well-known team of super machos like Vin Diesel, Dwayne Johnson, Jason Statham, and Kurt Russell (Vin Diesel is also a producer, and he acts like the one with every latest film of this seems as if never-ending franchise), we meet here also a chick with the hardest balls ever Michelle Rodriguez and deadly charming Charlize Theron plus the veteran of movie scaffoldings Helen Mirren. By the way, there is another action movie is going to be with Charlize Theron just a few months later – don’t miss ‘Atomic Blonde’ in the midst of July 2017. There are more fantastic eyesight and mind-blowing stunts and all kinds of tricks, plenty enchanting girls that swing their bulky sirloins from side to side and lots of masculinity emanated by every single person, even chicks, that we have seen in the last part of F&F. The music to this on-screen insanity just couldn’t be bad and so they’ve collected Pitbull and Bassnectar amongst the headliners. There is some instrumental stuff with no lyrics like ‘Candy Paint’ or ‘Gang Up’ but the most part still is with lyrics. ‘Speakerbox’ is the most vivid dance item in the collection and it is hard to tell why no more bright names were included in a collection to THIS BIG film, anticipated largely from the 2015th latest #7 film that grossed over 1.5 billion dollars worldwide thanks to the death of one of the main heroes, who were still in the final part, Paul Walker. Unfortunately, Cody Walker would not be returning to the franchise, the same as Jordana Brewster.

November, 09th 2025

Read more about this movie on IMDb and Wikipedia

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