Singer Songwriter Series Pete Berwick

Distorted electric guitar, bass and drums under a raspy male lead vocal, with feedback edges giving it a bar-band swagger. The longest of the up-tempo cuts here at nearly four minutes, it carries a seedy motel/roadside connotation that suits sleazy-cool rather than wholesome country-rock.

Fast electric-and-acoustic country rock with a gravelly male vocal and a wry, good-times swing despite the grim title. Short and punchy at under three minutes, it leans into good-ol'-boy chase-scene humour.

A warmer, mid-paced Americana song built on acoustic and electric guitar with piano cushioning the male lead vocal. Over four minutes it moves from regret toward something hopeful and uplifting, making it a good reconciliation or redemption cue.

Moody, sad Americana with dobro colouring the acoustic and electric guitars and piano behind a plainspoken male vocal. A four-minute downward arc about decline and addiction, suited to bleak small-town footage.

Brisk, cheerful honky-tonk rock with harmonica riding over acoustic guitar, bass and drums and a playful male vocal. Under three minutes and built for a rowdy, comic drinking-song feel.

The darkest cue on the album: brooding electric and acoustic guitars over bass and drums, haunting and unresolved in tone even with a vocal present. Its slow menace works for investigative and noir sequences.

The shortest of the driving rockers alongside a piano-boosted band arrangement, upbeat and celebratory with an energetic male vocal. Under three minutes, it hits fast and is easy to cut to picture.

Feel-good country rock with piano alongside acoustic and electric guitar, bass and drums under a cheerful male lead. Mid-length and straightforwardly fun, a workhorse cue for good-times footage.

A short, snappy love song in a driving country-rock frame — electric and acoustic guitar, bass, drums and an easygoing male vocal. At 2:40 it is the tightest romantic-comedy option on the record.

Harmonica-led southern rock with a rowdy narrative title and a playful, cheerful male vocal over full band. A little longer than the album's other party cuts, giving room for verse-chorus dialogue-free cutting.

The album's briefest cut at 2:27, a fast, freedom-flavoured country rocker on electric and acoustic guitar, bass and drums with an upbeat male vocal. Ideal when you need momentum and a clean ending inside a short spot.

A mellow, relaxed Americana ballad with harmonica over acoustic guitar and a soft-edged male vocal, gently backed by bass and drums. Short for a ballad at 2:34 and openly romantic and pleading.

Energetic, sports-ready country rock with an anticipatory title, driving electric and acoustic guitars over bass and drums with a confident male vocal. Just under three minutes and geared to pre-game or arrival scenes.

Dark-humoured, up-tempo country rock — full band with electric and acoustic guitar and a wry male vocal. The blackly comic title makes it a natural for gallows-humour highway and small-town gags.

A longer, moodier mid-tempo Americana song with harmonica over acoustic and electric guitar and a weathered male vocal. Its leaving-for-good sentiment plays over departures, empty houses and closing chapters.

Rowdy, happy country rock with harmonica cutting across the guitars and a grinning male vocal. Its crude title and cheerful bounce suit broad romantic-comedy and blooper-style comedy cuts.

At nearly five minutes this is the album's longest driving cue, an anthemic feel-good country rocker on electric and acoustic guitar, bass and drums with a determined male vocal. Length makes it useful for extended sports or documentary sequences that need one continuous bed.

The album's closing-style ballad: piano and harmonica alongside acoustic and electric guitar, bass and drums under a reflective, careworn male vocal. Almost five minutes of struggle turning inspirational, built for a final-act emotional payoff.