"Stealth" Soundtrack Lyrics

"Stealth (Music From the Motion Picture) + Original Score" – Album Guide to Tracks and Key Scenes

Overview

What happens when a 2000s action film asks its soundtrack to be both swagger and soul? Stealth answers with a two-disc identity: a radio-leaning compilation (Incubus, David Bowie with BT, Kasabian, Dredg, Institute, The Fray) and an electronic-orchestral score by BT (Brian Transeau) that plays the AI jet’s conscience. The songs handle nightclubs, quarters, and credits; the score powers dogfights, rescues, and that sudden pang of empathy from a machine.

Three brand-new Incubus cuts headline the album — arena-ready rock threaded through character beats. Bowie’s one-off with BT gives the bar scene its pulse. Elsewhere: gliding post-Britpop and alt-rock for downtime, plus a reimagined classic (“Nights in White Satin”) for a loft hang. The BT score — granular synth design smashed into modern action brass — turns vents and vapor into melody. Together they sell Rob Cohen’s jet-age fever dream: speed, signal, and surprise.

Style phases → meaning: alt-rock anthems — bravado and brand; electro-club — flirt and danger; post-Brit indie — study & prep; cinematic electronica — EDI’s interior; elegiac ambient — sacrifice and aftermath.

How It Was Made

Director Rob Cohen wanted a contemporary mixtape on top of a propulsive score. Epic Soundtrax issued the 13-track song album on July 12, 2005, led by three original Incubus songs (their first time writing specifically for a film). David Bowie collaborated with BT on “(She Can) Do That,” cut in New York with Tony Visconti and finished by BT in L.A. BT’s Original Motion Picture Score arrived separately (28 cues), showcasing hybrid electronics and muscular action writing.

Tracks & Scenes

“Make a Move” (Incubus)

Where it plays:

High-energy cut threaded through promos and in-film hype moments — the movie’s go-signal for swagger and speed.

Why it matters:

Announces the soundtrack’s center of gravity: modern rock built for jet-engine montage.

“Admiration” (Incubus)

Where it plays:

Downshift for quarters and quiet prep beats — reflective verses over low light and humming hardware.

Why it matters:

Softens the film’s steel; reminds us there are people under the helmets.

“Neither of Us Can See” (Incubus feat. Chrissie Hynde)

Where it plays:

End-credits catharsis after the final rescue — a duet that floats over closing images before handing off to the exit track.

Why it matters:

Incubus’s first duet — Hynde’s tone adds ache and perspective to the finale.

“(She Can) Do That” (David Bowie & BT)

Where it plays:

The nightclub/bar sequence — strobes, bodies, and quick cuts while the pilots unwind and one proves he’s a magnet for attention.

Why it matters:

Bowie’s vocal over BT’s engine-sleek production nails the film’s chrome-and-skin mood.

“Bullet-Proof Skin” (Institute)

Where it plays:

Multiple EDI “rebellion” beats — including Alaska/refuel chaos and the chopper/impact aftermath — guitar grit under bad decisions.

Why it matters:

On-the-nose lyric becomes a running gag about invincibility — until it isn’t.

“L.S.F. (Lost Souls Forever)” (Kasabian)

Where it plays:

Quarters-study montage as the pilots research EDI — earbuds in, eyes on the screen, tempo steadying the prep.

Why it matters:

Brit-indie pulse that turns cramming into swagger.

“Bug Eyes” (Dredg)

Where it plays:

Credits rotation after the duet — a widescreen alt-rock wash as the film exhales.

Why it matters:

Keeps the runway feeling epic even as the lights come up.

“Over My Head (Cable Car)” (The Fray)

Where it plays:

Casual diegetic/background needle-drop in quarters scenes — domestic contrast to the military kit.

Why it matters:

Pairs everyday FM radio with extraordinary jobs — a tonal palate cleanser.

“Nights in White Satin” (Glenn Hughes/Chad Smith/John Frusciante)

Where it plays:

Orbit’s loft vibe — a cover that hangs like incense while the team debriefs and recalibrates.

Why it matters:

Classic melody, new grain — the film’s classiest needle-drop.

“Aqueous Transmission” (Incubus) and Score cue “Thailand” (BT)

Where it plays:

Thailand waterfall/holiday interlude — widely cited with the Incubus track on the album; on screen many viewers identify BT’s cue “Thailand” carrying the moment.

Why it matters:

Either way, it’s water music — the film’s rare breath of calm between sorties.

Score: “EDI’s Arrival,” “Thailand,” “EDI’s Sacrifice” (BT)

Where it plays:

Machine POV and mission escalations; “Thailand” under travel/ritual images; “EDI’s Sacrifice” for the climactic rescue hit.

Why it matters:

The score humanizes the machine — granular synths and mournful strings where a conscience might live.

Notes & Trivia

• The song album (Epic Soundtrax) landed July 12, 2005; the separate BT score album runs 28 tracks (~63 minutes).
• Incubus wrote/recorded three originals for the film: “Make a Move,” “Admiration,” “Neither of Us Can See” (duet with Chrissie Hynde).
• Bowie’s “(She Can) Do That” was co-created with BT specifically for the movie and is used in the nightclub scene.
• Institute’s “Bullet-Proof Skin” recurs over EDI’s most reckless moments (refueling disaster, Alaskan sequence).
• Kasabian’s “L.S.F.” is the study-montage earworm; Dredg’s “Bug Eyes” rides the late credits.

Music–Story Links

Human soundtrack vs. machine score: that’s the film’s trick. The pilots’ world gets songs — club bangers, locker-room anthems, and wistful indie — because their lives are social and messy. EDI gets themes — “Arrival,” “Sacrifice,” “Thailand” — because the film treats the AI like a mind coming online. When diegetic tracks play (bar, quarters), we’re inside their culture; when BT’s motifs surge, we’re inside EDI’s logic, then its conscience.

Reception & Quotes

The movie stumbled at the box office, but the soundtrack pairing drew interest — especially the novelty of new Incubus songs and Bowie’s BT team-up. Fans still hunt the specific cue placements (club, waterfall, refuel) and debate where the score or album versions were used.

“Three new Incubus cuts lead a surprisingly radio-savvy action compilation.” Trade coverage

“BT’s score gives the drone a soul — granular synths with blockbuster bones.” Album/score write-ups

Interesting Facts

• Label split: songs via Epic Soundtrax; score issued separately (Madison Gate licensing noted on digital).
• Unusual cover: the “Nights in White Satin” version on the album pairs Glenn Hughes with Red Hot Chili Peppers’ Chad Smith and John Frusciante.
• Trailer music: advertising used bespoke trailer cues (RipTide tracks), not found on the retail album.
• Score bench: BT is primary composer; additional hands contributed arrangements/cues across the album’s 28 tracks.
• Placement debate: the Thailand waterfall scene is often misattributed to Incubus’s “Aqueous Transmission”; many viewers identify BT’s “Thailand” as the on-screen cue.

Technical Info

• Title: Stealth — Music From the Motion Picture (songs) / Stealth — Original Motion Picture Score (BT)
• Year: 2005 (film and both albums)
• Director: Rob Cohen
• Composer: BT (Brian Transeau)
• Labels: Epic Soundtrax (song compilation); digital score via Madison Gate/Columbia licensing
• Key songs (album): Incubus — “Make a Move,” “Admiration,” “Neither of Us Can See” (feat. Chrissie Hynde); David Bowie & BT — “(She Can) Do That”; Institute — “Bullet-Proof Skin”; Kasabian — “L.S.F.”; Dredg — “Bug Eyes”; The Fray — “Over My Head (Cable Car)”; Trading Yesterday — “One Day”; Acceptance — “Different”; Glenn Hughes/Chad Smith/John Frusciante — “Nights in White Satin”; Incubus — “Aqueous Transmission.”
• Selected score cues: “Stealth Main Title,” “EDI’s Arrival,” “War Machine,” “Thailand,” “EDI’s Sacrifice.”
• Release notes: Song album streeted July 12, 2005; score album released separately later that summer.

Questions & Answers

Who composed the score?

BT (Brian Transeau) — a hybrid electronic/orchestral score released as a standalone 28-track album.

Which songs did Incubus write for the film?

“Make a Move,” “Admiration,” and “Neither of Us Can See” (the last is a duet with Chrissie Hynde).

What’s the club track in the bar sequence?

“(She Can) Do That” by David Bowie & BT.

What plays over the end credits?

“Neither of Us Can See” leads; “Bug Eyes” by Dredg follows in the credits roll.

What’s the music in the Thailand waterfall scene?

The album includes Incubus’s “Aqueous Transmission,” but many viewers cite BT’s score cue “Thailand” as the audio heard in the scene.

Key Contributors

Sources: album listings & credits (Epic/Apple/Spotify/Discogs); film page & production notes; track placement Q&A confirming club/credits/Thailand cues; coverage/interviews noting Incubus’s originals and the Chrissie Hynde duet; Bowie/BT collaboration notes; BT score release pages.

November, 27th 2025