Appaloosa ending song Continue A B C E G G I J K L N N N P Q R S T U V V X Y Z Appaloosa (2008) Format: CD UPC: 78016340432 Label: Lakeshore Records Label Number: 34043 Duration: 52m37s Delivery date: October 28, 2008 Original Score by Jeff Beal Buy Appaloosa Soundtrack CD Today from The MovieMusic Store. 1. Main name 2. New City Marshall 3. Bragg's theme 4. Allison French 5. Alli teases vergil ... Watch the full tracklist Q: What is the first song playing in the ultimate cast? (from a lab in Miami, Florida) In: Song Scare easily by Tom Petty & Mudcrutch. This is one of the best parts. (smile) (thanks to Heather, almost heaven) add more information Q: Who sings Riding Off at the end of the movie?... from Bruce to tucson, aZ (answer to Bruce's question) • Email this page to anyone. • Ask questions about the music in this movie. • Add information about the music heard in the film, but not listed on the CD with the soundtrack. • Add other information not mentioned above (trivial anecdotes, press quotes, recording anomalies, etc.). • Fixed bugs listed above (incorrect track lists, product codes, typo, etc.). Scare EasySingle MudcrutchVide album MudcrutchA-sideScare EasyRel released2008Written2007GenreRockLabelReprise RecordsSongwriter(s)Tom PettyProducer(s)Tom Petty, Mike Campbell, Ryan UlyateMudcrutch track listing Shadow Grove Scare Easily Orphan Storm Six days on the road Crystal River O Maria It's a good street The wrong thing to do The Queen of Go- Go Girls June Apple Lover bayou Topanga Cowgirl Bootleg Flyer House of Stone Scare Easy - a song written and sung by Tom Petty. It was featured on the rock band Mudcrutch's debut album featuring Petty and Mike Campbell. The song was used in a 2008 commercial for My Name is Earl. [1] Scare Easy was described as full of tones and lyrics from the mid-1970s, but rigid harmonies come from musicians who are ripe. [2] The song can also be heard over the final credits of Appaloosa (2008), a Western director and starring Ei Harris and starring Viggo Mortensen and Renee Zellveger. However, Scare Easy does not appear on Jeff Beal's official soundtrack for the film. Staff Mike Campbell – guitar, Mandolin Tom Livon – guitar, vocals randall Marsh – drums Tom Petty – bass, vocals Benmont Tench – keyboards, vocal references to ^ Archival copy. Archived from the original on 2008-12-10. Quoted 2008-11-22.CS1 maint: archive copy as title (link) ^ Official links Official video on YouTube - From the official mudcrutch website YouTube Channel Extract from As if that weren't enough that Ed Harris co-wrote, directed and stars in the new western Appaloosa Watching the interview with him here), he also co-wrote a country ditty called You'll Never Leave My Heart with composer Jeff Beal that he sings over the film's closing credits. Listen to yourself to see how he sounds, then read on to find out how the four-time Oscar nominee became a crooner. EW.com: It's kind of shocking how much you sound like Johnny Cash. What's that about? Ed Harris: [laughs] I don't know, I was in a low mind that day, I guess. I've always liked Cashman. I was going to sing the octave above, but it just felt appropriate, you know. I was really going to try to sing his octaves below, but I couldn't get that low. What reactions did you get from friends and family when you played it for them? It's hysterics. When I first played it for my wife [Amy Madigan] because she's a pretty big fan of music, I started playing and the first couple of lines came out and she had that face on it. I looked and it goes: Ed, you know, I hate that kind of music. I said, Thank you very much. As I'm sure you know, with the academy's new rules, the song has a better chance of getting nominated if it's actually part of the film, not just over closing credits. Have you ever considered putting it in a movie? No, I didn't write it until we were near the end of the [production] post. I wrote this thing and I played it on stage mixing, and the mixer and one of the producers were there, and they went: Ed, Ed, you've got to put that in the movie. So it was a popular demand for the mixing stage. You've never sung on a movie before, right? I don't think I ever have any. I like singing, but I never do it publicly. So is singing now a secret second career for you? Not at all. The room was quite big and comfortable. It was just really for fun. Johnathan Broxton's original review of Traditional, an old-fashioned western based on Robert Parker's novel, Appaloos is the story of tough Marshal Virgile Cole and his deputy Everett Hitch, two friends hired to defend the lawless wild western city of the 1880s from a ruthless rancher who terrorizes citizens. The film has an absolutely amazing cast - Ed Harris, Viggo Mortensen, Jeremy Irons, Renee Zellveger, Timothy Spall, Lance Henriksen - and also directed harris, in his second outing behind the lens after his 2000 debut, Pollack. According to the score, Harris once again turned to the composer Jeff Beal, who also scored for Pollack. Jeff Beal has quietly worked his way into the Hollywood mainstream in recent years. He's a jazz man by trade, and a trumpeter virtuoso, and since making his film music debut in the early 1990s he has written scores for numerous TV projects, notably Carnivàle, Nightmares and Dreamscapes, Rome, Monk and Ugly Betty. He also nominated for 8 Emmy Awards, winning three times, including the last 2 years, for Nightmares and Dreams: Battleground and The Company. Appaloosa is already his highest profile cinematic score to date, and may well lead him to a bigger big-screen career. Beal's main theme from Appaloosa, first heard in Main Title, is a remarkable piece of work – a lonely, spacious pipe theme with a catchy section of percussion, string guitars, lush string accompaniment and even harmonica. You can imagine Harris and Mortensen's lawmen purposefully driving across the storefront plain, or into a dusty border town, to the strains of this evolutionary music. The theme appears at various stages of deconstruction in several signals afterwards – as a cello-led muscle theme at New City Marshal, on a playful solo violin at Allison French, on guitars of pizzicats and greasy brass in the second half of Bragg is Captured, with an expansive sweep in the gorgeous Hitch Rides, led by Spanish guitars at Riding in Rio Seco, a rounded feeling, with a sense of self-identity. It's an unusual subject, not something that could be heard in a Western ball, and it vaguely resembles the Randy Newman theme from the 1994 maverick film, but somehow it fits into Harris's slightly skewed vision of the old west. Of course, Beal has explored this territory before, with his circus music-meets-Aaron Copland score for Carnivàle. Many appalooses are clearly inspired by Ennio Morricone's music; Sometimes it's rather abstract, in others, wonderfully expressive, and often drenched in a hint of jazz, as one might expect given Beal's musical background. That's not to say the score is anachronistic anyway - instead, the jazz element goes through how Beal uses the phrases of his solo instruments to effect: a solo trumpet here, a more catchy stand-up bass there. More abstract signals are Kiss, or Horse Trade, for example – a pit of lower-case stringed instruments against Forlorn guitars and scraping metallic percussion, sobbing harmonicas, or bullish and tribal shakers, leading to some unusual, high-attmost moments. Action music, in signals such as Bragg is Captured and The Indian Attack, is tense enough to be sharp and sparse enough, relying on great metallic percussion alongside a traditional orchestral ensemble. There are also a number of stylistic references to the grossly underrated Western score Mychael Danna Ride With the Devil, especially in the way Beal includes traditional violins in the orchestra. Signals such as Dawn in Appaloosa, Apologies Taken and Readin' and Writin' are good examples of this, especially when it accompanies them with warm strings of harmonies, and anyone who, like me, this account will enjoy these parts immensely. Also, and somewhat surprisingly, there's a lot of ease in the score. Signals such as the aforementioned Allison French, or the romantic, vague Mariachi-esque Ballad of Rio Seco, lie down otherwise with the film's rather serious nature, and make its protagonists more human. Best of all, the incredibly flameidian End Credits have all sorts of flirty violins solo, piano scales, cracked whip, hoofed harmonicas and trumpet improvisations, dancing around extrapolating the main theme, in what is a thoroughly excellent finale. Finally, the song Ed Harris co-wrote and performed You'll Never Leave My Heart is quite brilliant. It has all the musical seriousness of Demetrius Timkin's classic ballad, but with (not)deliberately hilarious lyrics. The first time I heard Harris, in his gravelly bass voice, sing the lines every bastard fraudster who takes you to his bed / Too bad he kept his briquettes when he's lyin's full lead' I almost bust the gut laugh. I hope this song will get an Oscar nomination next year. I can imagine Appaloosa appealing to people who appreciate Morricone's stylistic take on the Western genre, or Marco Beltrami's similar sound Oscar-nominated score from 3:10 to Yuma last year.