"Fifty Shades of Black" Soundtrack Lyrics

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"Fifty Shades of Black (Original Motion Picture Soundtrack)" Soundtrack Description

Overview

Does a parody need a prestige soundtrack? Here the joke is the mix. The film leans on clubby placements and small-label cuts, then punctures them with a few purposely fancy classical drops. Side by side with that is a short, punchy original score by Jim Dooley that keeps punchlines moving.

There are two official releases: the 10-track Fifty Shades of Black (Original Motion Picture Soundtrack) from IM Global Music (≈33 minutes) and a compact Original Score album (≈18 minutes). Both are widely streamable. Trusted sources: Apple Music; Spotify.

Questions & Answers

Is there an official song compilation?

Yes. IM Global Music issued a 10-track Original Motion Picture Soundtrack in January 2016. Trusted source: Apple Music.

Is there a separate score album?

Yes. Jim Dooley’s Original Score (15 cues, ~18 min) released the same month. Trusted source: Apple Music.

What song opens the movie?

Chris Brown’s “Back to Sleep” plays first over the opening, per the film’s co-writer/producer Rick Alvarez. Trusted source: producer interview.

What plays over the end credits?

“Swaggaback” (Mr. Classic), plus bits of Dooley’s score; documented by end-credits trackers. Trusted source: Mediastinger.

Who supervised the music?

David Schulhof and Trygge Toven are credited as music supervisors; Jim Dooley composed the score. Trusted source: Metacritic credits; Wikipedia.

Any classical needle-drops?

Yes—Handel’s “Lascia ch’io pianga” appears (performance credit varies across listings). Trusted source: IMDb Soundtracks / catalog sites.

Notes & Trivia

• The soundtrack album is a compact club-leaning mixtape; the separate score album runs under 20 minutes.
• Opening music cue: Chris Brown’s “Back to Sleep,” confirmed by the film’s producer in a release-week interview.
• End-credits stinger uses “Swaggaback” (Mr. Classic) alongside snippets of the score.
• Music supervisors: David Schulhof and Trygge Toven.
• Handel’s “Lascia ch’io pianga” is logged among the film’s classical needle-drops on soundtrack listings.

Genres & Themes

Club/urban pop → turns set-piece jokes into coded “party” moments; short, hook-first cues sell quick cuts.

Comedy score mini-cues → percussive stabs and quick motifs to underline gags without lingering.

Classical pastiche → mock-grandeur (e.g., Handel aria) for “this is very important” irony in romantic send-ups.

Tracks & Scenes

“Back to Sleep” — Chris Brown
Where it plays: first song heard in the film (opening), per producer Rick Alvarez; non-diegetic over the intro sequence.
Why it matters: sets the spoof’s sensual tone by borrowing contemporary R&B polish and undercutting it with the next joke.

“Swaggaback” — Mr. Classic
Where it plays: end credits (main song).
Why it matters: high-energy walk-out track; pairs with short score tags to send the audience out on a grin.

“End Credit Suite” — Jim Dooley
Where it plays: shares the end-credits bed with “Swaggaback.”
Why it matters: ties the film’s recurring comic motifs together in a single cue.

“Shake It Like a Doggy (Mayeda Remix)” — Skrilla Jones feat. Icy Black
Where it plays: featured on the OST; used as uptempo source music in promo cuts and party-energy sequences (exact in-film timestamp not publicly documented).
Why it matters: the album’s most obvious “club” texture—hooks built for quick montage beats.

“Alive” — Jordyn Kane
Where it plays: appears on the OST; scene placement not formally published in studio notes.
Why it matters: brighter pop color that offsets the darker R&B choices elsewhere.

“Under Your Spell” — Leo Soul
Where it plays: included on the OST; public scene documentation is limited.
Why it matters: sultry mid-tempo palette used throughout the film’s courtship beats.

“Shake It Up” — gorgeous george
Where it plays: on the OST; commonly tagged by viewers as bar/club-style source (no timestamp confirmed).
Why it matters: another rhythm-forward cut that fits the film’s quick-cut party grammar.

“B.A.M.” — Chief Wakil
Where it plays: on the OST; placement details not published in primary credits.
Why it matters: swagger accent—often laid under visual punchlines.

“Lascia ch’io pianga” — G. F. Handel (performance credit varies)
Where it plays: classical needle-drop inside a romantic send-up; listings confirm inclusion though timestamps are not public.
Why it matters: high-culture contrast for a low-blow gag—the film likes that juxtaposition.

Also logged in film/credits databases: “Corelli Concerto” (Daniele Luppi); “If I Could See the World Through Your Eyes” (Ronnie Gesser). Public scene/timestamp notes are sparse; album inclusions and end-credit cards verify usage.

Music–Story Links

Open with a smooth R&B slow-jam, then break it with slapstick—that rhythm is the blueprint. Pop/club cues telegraph “date-night” or “party” instantly, so the film can spend more time on visual punchlines. When classical drops enter, they inflate the moment on purpose—the better to pop it a beat later.

How It Was Made

Composer: Jim Dooley (score). Music supervision: David Schulhof and Trygge Toven. The OST (10 tracks) and the score album (15 cues) both streeted in late January 2016 under the IM Global Music banner. Trusted sources: Metacritic credits; Apple Music; Spotify.

Reception & Quotes

Critics panned the movie but the music choices fit the parody brief—fast, catchy, and easy to flip for jokes.

“Club-ready cues and a short, punchy score—exactly what a gag-driven spoof needs.” Album-guide roundup

“End-credit bounce (‘Swaggaback’) lands better than some of the sketches.” Fan summary

Additional Info

• Albums: Original Motion Picture Soundtrack (10 tracks, ≈33:14); Original Score (15 cues, ≈18:00).
• Opening cut: “Back to Sleep” (Chris Brown) confirmed by the film’s producer.
• End credits: “Swaggaback” (Mr. Classic) + Dooley’s “End Credit Suite.”
• Label: IM Global Music (℗ 2016).
• Availability: Streaming and digital purchase in multiple regions.
• Classical note: Handel’s “Lascia ch’io pianga” appears in listings; performance credit varies by database.

Technical Info

• Title: Fifty Shades of Black — Original Motion Picture Soundtrack / Original Score
• Year: 2016
• Type: Various-artists compilation + separate score album
• Composer: Jim Dooley (score)
• Music Supervision: David Schulhof; Trygge Toven
• Label: IM Global Music
• Selected notable placements: “Back to Sleep” (opening); “Swaggaback” & “End Credit Suite” (end credits); classical needle-drop “Lascia ch’io pianga.”
• Release context: The film opened January 2016; the albums released the same week.
• Availability/Notes: OST ≈33 min; Score ≈18 min; wide DSP coverage.

Canonical Entities & Relations

Entity	Relation	Object
Michael Tiddes	directed	Fifty Shades of Black (film)
Jim Dooley	composed	Fifty Shades of Black (Original Score)
IM Global Music	released	Fifty Shades of Black (Original Motion Picture Soundtrack)
Mr. Classic	performed	“Swaggaback” (end-credits song)
Chris Brown	performed	“Back to Sleep” (opening song)
David Schulhof; Trygge Toven	music supervised	Fifty Shades of Black (film)
G. F. Handel	music appears	“Lascia ch’io pianga” (classical needle-drop)

Sources: Apple Music; Spotify; Wikipedia; IMDb Soundtracks; Mediastinger (credits cue); Producer interview (Rick Alvarez).

Marlon Wayans has a very youthful appearance & we can even suspect that he is a kind of reincarnation of Benjamin Button – because he is now 43 years old, but he looks the same as he did 20 years ago, when played in his first hit motion picture, Don't Be a Menace to South Central… (i.e., Marlon was then 23). Three years later, in an exciting youth comedy Senseless, which for some reasons was not much appreciated, not allowing it to pay off, he looked again as young as he is now. Either he knows the secret of immortality, or he simply possess truly excellent beautician & dietician, and we want to have the same ones. In this film, he is back to his main role of a little idiot, as it was in the mega-hit Scary Movie, which with budget of 19 million brought its creators 278, and to actors of main roles – a broad international fame (Marlon Wayans and Anna Faris) – successful franchise with often mooncalf lyrics, which made net profit of 700 million. This film with a budget of USD 5 million, has already paid for itself twice – in just 2 weeks of rentals. Martin Van Lectro and Chief waKil define the main areas of dance in the soundtrack to present motion picture. Unraveled and Alive – two melodies, which are on opposite poles. The first – sensual and tender, the second – rhythmic & dance, allowing to diversify the collection by style, genre & quality. Probably the most unusual melody in this collection is Under Your Spell, falling in several genres – R’n’B, rap & dance, filled with night energy & is consistent with the spirit of this music collection. Despite the film's parody style, the soundtrack made boldly & seriously. Even pop melodies seem organic, resting close to disco compositions. Even instrumental End Credit Suite not causes internal resistance, listening to the rest of the song with lyrics.

November, 09th 2025

Find more about "Fifty Shades of Black" on IMDb and Wikipedia

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