Despite all the interaction between the songs and original score in The Fall Guy, Lewis manages to coordinate a far more consistent tone throughout his work compared to Bullet Train. The wildly frenetic rock-oriented style may not convey an overtly intact narrative until its final cues, but the score's overbearing attitude is really all it needs to remain cohesive. That demeanor is clearly tongue-in-cheek, with 1980's electronic zingers and cheesy vocals reminding that Harold Faltermeyer was one of the composer's inspirations in early iterations of the score. The dominant personality of the score comes from its synthetic and rock band ingredients, loads of drum kit, bass, and guitar present throughout. The orchestra comes in at "Metalstorm" and turns soft for a moment at "Oner of a Lonely Heart," but it takes until the final third of the work before that ensemble really tackles the movie's action. Some location or genre-specific parody employment does exist, ranging from the orchestral and female vocal presence that asserts a distinctive vibe in "Miami Grilled Cheese" to the whistling and other Western influences in "High Noon at the End of the Universe." While most of the press about the soundtrack for The Fall Guy will involve either the needle-dropped songs or vocalizations of "I Was Made for Lovin' You," Lewis' adaptation of the Kiss song into his original material is handled admirably. Both the A and B phrases of the song are explored separately, and its underlying riff develops into the score's recurring action motif. During the process of that interpretation, Lewis also conjures an original primary theme that is very similarly structured to aspects of "I Was Made for Lovin' You," utilizing chords and progressions that seem like a natural extension of the song that allows these main pieces to mingle interchangeably. This original theme slowly emerges over the score and is smartly integrated into the middle of romantically dominant orchestral version of "I Was Made for Lovin' You." Aggressive vocals carry the original melody in "Thumbs Up" against rowdy thrashing while pieces of the actual song are sprinkled throughout "Ball Biter" with action flair. Another nicely executed interpolation comes with the more stylish rendition teasing lines of the theme's intact phrasing in "Post-It Party." Similar material extends to very slight exploration late in the suspense of "Ducking Autocorrect."

An important turning point for the narrative of the score for The Fall Guy comes in "Miami Grilled Cheese," in which the original main theme becomes prominently resolute in the middle of the cue. The Kiss melodic lines, meanwhile, are afforded a really attractive adaptation for rock and orchestral instruments in "I Was Made for Lovin' You (Orchestral Version)," the orchestrations proving once again that damn near any song can be made magnificently grandiose with the help of a full ensemble. The themes briefly supply some keyboarded warmth early in "Chef's Kiss" while brass take the main theme vaguely heroic over most of "High Noon at the End of the Universe." This action stance continues with the song melodies against forceful drum kit in "Pyro Prep," and they inform the bloated, vocal-laced throbs of action in "Wire Straits" with a grand conclusion. The themes culminate in "The Fall Guy" with a little more obvious posturing for the original main theme, though performances of that idea at the climax are somewhat fleeting. Still, the orchestral and rock combination matures really well in this highlight cue. The accompanying riff is a rhythmic movement common to the action cues and is based upon the song's bassline. This action riff introduces itself with some restraint in "Thumbs Up," nimbly taps late in "Miami Grilled Cheese," slows in "High Noon at the End of the Universe," lets loose in "Wire Straits," and opens "The Fall Guy." With no separate song compilation album for The Fall Guy, a moderate amount of Lewis' score mixes with a handful of songs to create a hybrid product. English singer Yungblud performs with perfect inflection both the straight cover and instrumental versions of "I Was Made for Lovin' You," the latter recording featuring his wordless vocals as well. That track better achieves the proper tone of its film than Balfe's somewhat awkward adaptation of The Beatles' "Now and Then" in the preceding Argylle in the same genre. With the tongue still firmly rooted in the cheek, Blake Shelton offers an amusing cover of "Unknown Stuntman," the concept's television show theme from early 1980's. Three other songs round out the album without much interest. In the end, the duo of "I Was Made for Lovin' You (Orchestral Version)" and "The Fall Guy" will form a superb 10-minute suite of the best music from The Fall Guy for film music collectors. The remainder, while accomplishing its task well and proving Lewis as a master of comedy action style, is a bigger parody challenge outside of context.   @Amazon.com: CD or Download