A mid-tempo Western blues stomp in G built on distorted harmonica, gritty electric guitar, bass and drums with growled male vocals. The mood is dusty and suspenseful rather than celebratory — swagger with a threat behind it. Suits an outlaw's entrance, a desert highway drive or a saloon standoff.
Slightly faster and more percussive than its neighbours at 123bpm in A, driven by claps and stomps under electric and acoustic guitar, bass, drums and dirty male vocals. The handclap-and-boot groove gives it a gang-chant swagger that carries a scene forward without heavy melody. Works for a heist crew assembling, a bar-fight build or a sports promo.
A 117bpm groove in D leaning on the seductive, bad-boy side of the album — harmonica, electric and acoustic guitars, bass, drums and smoky male vocals. The pace is a confident strut rather than a run, with a sultry undercurrent. Good for a slow-motion entrance, a neon roadhouse scene or a sensual character reveal.
The title cue: a 225bpm gallop in D with harmonica, driving electric guitar, bass, drums, claps and hollered male vocals. Wild and fun rather than menacing, and at 1:29 it has room to build where the shorter 227bpm cut does not. Built for a horseback chase, a getaway or a raucous credit roll.
A somber mid-tempo instrumental in C at 118bpm, carried by electric and acoustic guitar over restrained bass and drums, with no vocal line. Pensive and introspective while still moving — grief with forward motion. The absence of vocals leaves it usable under dialogue or narration.
Slow and heavy-hearted at 78bpm in C, an instrumental blues built from electric and acoustic guitar with sparse bass and drums. Mournful and spacious, the tempo giving each phrase room to hang. Fits a loss scene, a ruined landscape or a quiet confession under voiceover.
A solo acoustic guitar 12-bar blues at 78bpm in C, the sparsest cue on the album — no drums, bass or vocals. Playful and loose rather than mournful, like a porch-step picker passing time. Ideal as a lone-instrument transition, a rural establishing shot or a bed under interview audio.
A slow 81bpm lament in D with harmonica over acoustic and electric guitar, bass, drums and weary male vocals. Rootless and somber, the harmonica giving it a drifter's ache the other slow cues lack. Suits a homeless or displaced storyline, a departure scene or a wandering road sequence.
A loping 107bpm blues in D — the slowest of the tense mid-tempo group — with harmonica, dirty electric guitar, bass, drums and gruff male vocals. Menacing and unhurried, more stalking than chasing. Good for a crime narrative, a dark backstory reveal or a slow build toward violence.
At 117bpm in A, this one adds banjo to the harmonica-and-fuzz-guitar lineup, giving it a more rootsy Americana bite alongside the bass, drums and grimy male vocals. Dusty and dramatic with a rolling forward momentum, and the longest cue on the album at 2:11. Fits a rail-yard sequence, a manhunt or a Southern gothic drama.