"The Fall Guy" Soundtrack Lyrics

"The Fall Guy (Original Motion Picture Soundtrack)" – Album Guide to Tracks and Key Scenes

Overview

What does a love letter to stunt work sound like? The Fall Guy mixes turbo-charged needle-drops with a grin and a bruise: KISS swagger sliding into a glossy cover, arena bangers for cannon-roll heroics, and a bruised pop heart right when feelings blindside Colt. Dominic Lewis’s score plays it like a showman — 70s/80s-flavored set-pieces, synth brass grin, and a theme that keeps winking at a certain KISS groove.

On the surface it’s jukebox fireworks; underneath, the score keeps time with a romance. The songs score the spectacle and in-jokes — karaoke, training montages, studio chaos — while Lewis’s cues thread Colt and Jody’s push-pull. The film taps the original TV DNA too: a brand-new take on “Unknown Stuntman” blasts the doors open, and the credits glide out on big-screen big feelings.

Genres & themes, in phases: classic rock & glam — bravado and camp; pop & Y2K radio — irony and flirt; power ballad — wounded sincerity; stadium rock — victory laps; modern hybrid score — neon swagger with romance underneath.

How It Was Made

Composer: Dominic Lewis. Back Lot Music released the 24-track album (mostly score, three songs) on May 3, 2024; a double-LP “explosion” vinyl followed that summer. Music supervision was led by Rachel Levy. Director David Leitch wanted needle-drops that felt both “camp and cool,” so KISS’s “I Was Made for Lovin’ You” became the soundtrack’s heartbeat — woven into Lewis’s thematic writing and covered for the film by Yungblud. The production also licensed Taylor Swift’s “All Too Well (Taylor’s Version)” for Colt’s tear-stained sing-along gag, and commissioned a new version of the TV theme “Unknown Stuntman,” performed by Blake Shelton.

Tracks & Scenes

“Unknown Stuntman (Fall Guy Theme)” (Blake Shelton)

Where it plays:

Opening titles and early identity beats (approx. 00:02). The series theme reborn as a swaggering country-rock intro while Colt’s stunt world spins up.

Why it matters:

Signals heritage — TV roots intact, but with a movie-muscle polish.

“I Was Made for Lovin’ You” (KISS) → “I Was Made for Lovin’ You” (Yungblud)

Where it plays:

Motif and needle-drop across multiple sequences (early rehearsal beats; mid-film ramp-up; finale callbacks). The Yungblud cover hits as the relationship/stunt plotlines fuse (around mid-to-late act).

Why it matters:

Becomes the film’s musical spine — equal parts camp and cool, quoted in the score and then belted outright.

“All Too Well (Taylor’s Version)” (Taylor Swift) — diegetic sing-along

Where it plays:

Car sequence after Colt sees Jody; he ugly-cries and sings along (roughly early Act II, around 00:40–00:50). Comic pathos, on the nose in the best way.

Why it matters:

A blockbuster pauses for a meme-ready heartbreak — character in a chorus.

“Thunderstruck” (AC/DC)

Where it plays:

High-octane montage while Colt preps and the production machine roars (early Act II). Engines, rigs, and a click-track of pyros.

Why it matters:

Pure octane — the movie’s “let’s light the fuse” needle-drop.

“Any Way You Want It” (Journey)

Where it plays:

Trailer anthem; appears as a crowd-pleasing cue in-film during set-chaos beats.

Why it matters:

Marketing tone-setter — a wink that the movie’s here to entertain.

“All I Do Is Win” (DJ Khaled feat. T-Pain, Ludacris, Snoop Dogg & Rick Ross)

Where it plays:

A victory-lap gag on set (mid-film), speakers thumping as egos orbit the camera truck.

Why it matters:

Hip-hop bravado as industry satire — the show within the show.

“I Believe in a Thing Called Love” (The Darkness)

Where it plays:

Flamboyant montage bites and a bar-energy lift (late Act II).

Why it matters:

Falsetto as emotional bait — romance and ridiculousness align.

“Genie in a Bottle” (Christina Aguilera)

Where it plays:

Party/crew-hang beats (mid-film), used as a playful needle-drop while the stunt unit blows off steam.

Why it matters:

Y2K gloss in a hard-hat world — tonal contrast for laughs.

“Against All Odds (Take a Look at Me Now)” (Phil Collins — 2016 remaster)

Where it plays:

Late-act yearning while Colt and Jody’s arc crests (≈01:15). A sincere, slow-motion slice inside the fireworks.

Why it matters:

Power ballad as meta-movie romance — straight from the 80s playbook the film adores.

“Looks That Kill” (Mötley Crüe)

Where it plays:

Antagonist-strut / weapons-room business (late Act II). Leather-jacket menace in four chords.

Why it matters:

Glam-metal sneer to sharpen the stakes.

“A Man Without Love” (Engelbert Humperdinck)

Where it plays:

Comic needle-drop in a quiet space (early Act II), undercutting macho mood with crooner velvet.

Why it matters:

Leitch’s tonal trick — schmaltz as punchline.

“I Hate Myself for Loving You” (Joan Jett & The Blackhearts)

Where it plays:

Bar-brawl pregame vibe / training yard (mid-film).

Why it matters:

Hooks with a grimace — exactly Colt’s mood when love complicates the day job.

Score highlights (Dominic Lewis)

Key cues to notice:

“Thumbs Up,” “Metalstorm,” and “Third Degree Burns” punch set-pieces with 70s/80s color; the love-ballad-styled end credits button shows off Lewis’s melodic side. Listen for sly quotes that echo the KISS groove woven into the film’s DNA.

Why it matters:

It’s a stunt movie that actually scores stunts — with humor, propulsion, and just enough romance to matter.

Trailer songs

What you hear:

Cutdowns leaned on arena-rock staples — e.g., an epic cover of Bon Jovi’s “You Give Love a Bad Name” — alongside Journey’s “Any Way You Want It.”

Why it matters:

The trailers telegraph tone: big, breezy, proudly old-school.

Notes & Trivia

• Back Lot Music issued the 24-track album day-and-date with the film; vinyl followed with liner notes from David Leitch.
• Blake Shelton performs the new “Unknown Stuntman,” replacing an early idea for Gosling to sing it.
• Lewis began writing from the script stage; the first piece he finished was the end-credits love ballad.
• The production secured Swift’s “All Too Well (Taylor’s Version)” early; the car cry-along became a signature scene.
• KISS’s “I Was Made for Lovin’ You” was cleared and also deconstructed into Lewis’s score, plus a commissioned Yungblud cover.

Reception & Quotes

Reviewers called the soundtrack “high-octane” and “energetic,” with a score that knowingly nods to retro action while landing modern laughs and feels.

“High-octane… a gleeful mix of hard-charging needle-drops and punchy score.” — The New Yorker

“Energetic… a romantic, stunt-filled delight.” — Vulture

“An enjoyable soundtrack” that matches the movie’s stunt-crew valentine. — Los Angeles Times

Availability: Score album (digital/streaming) via Back Lot Music; official playlist collects the major licensed tracks. Trailer covers and the Yungblud single are available separately.

Interesting Facts

• Stunt first: The film set a Guinness World Record for cannon rolls — the soundtrack leans into that swagger.
• TV DNA: The new “Unknown Stuntman” keeps the 80s TV lineage audible in a 2024 mix.
• Swift science: The “All Too Well” scene tested through the roof; it stayed, mascara tears and all.
• Score craft: Recorded at Abbey Road and AIR Studios; mixed at The Village in Los Angeles.
• Playlist policy: Back Lot Music’s official playlist mirrors the film’s needle-drops even though most aren’t on the score album.

Technical Info

• Title: The Fall Guy (Original Motion Picture Soundtrack)
• Year: 2024
• Type: Film soundtrack — original score (Dominic Lewis) + licensed songs in film
• Composer: Dominic Lewis
• Music supervision: Rachel Levy
• Label: Back Lot Music (digital/streaming); 2×LP vinyl issued subsequently
• Selected notable placements (songs): “Unknown Stuntman” (opener); “I Was Made for Lovin’ You” (recurring motif; Yungblud cover); “All Too Well (Taylor’s Version)” (car cry-along); “Thunderstruck” (prep montage); “Any Way You Want It” (set chaos / trailer); “All I Do Is Win” (set victory gag); “I Believe in a Thing Called Love,” “Genie in a Bottle,” “Against All Odds,” “Looks That Kill,” “I Hate Myself for Loving You,” “A Man Without Love.”
• Release context: Film released May 3, 2024; OST released same day.

Questions & Answers

Who composed the score?

Dominic Lewis — his album (24 tracks) was released by Back Lot Music alongside the film.

Is there a separate “songs” album?

No. The official album is mostly score; Back Lot’s curated playlist collects the major licensed tracks.

What’s the car sing-along song?

Taylor Swift’s “All Too Well (Taylor’s Version),” used diegetically for a comedic-heartbreak beat.

What trailer songs did people clock?

Journey’s “Any Way You Want It” and epic covers of Bon Jovi’s “You Give Love a Bad Name.”

Who performs the new “Unknown Stuntman”?

Blake Shelton — a fresh spin on the TV theme that opens the movie.

Key Contributors

Sources: Apple Music & Spotify OST pages; Back Lot Music official playlist; Wikipedia soundtrack & film entries; Variety feature on licensing KISS & Swift; NME & RadioTimes song lists; ScreenRant “when each song plays” guide; IMDb Soundtracks; YouTube (official trailer; Yungblud single; trailer cover cues); Entertainment Voice/New Yorker/Vulture/LA Times reviews.

November, 28th 2025