"I'm Reed Fish" Soundtrack Lyrics

"I'm Reed Fish (Original Motion Picture Soundtrack)" – Album Guide to Tracks and Key Scenes

Overview

What does a radio-host rom-com sound like when the town is the chorus? The I’m Reed Fish album answers with jangly indie pop, barroom folk, vintage curios, and a few sly originals. The commercial release—13 tracks, ~43 minutes—arrived in May 2007 on Microhits as a compact companion to the film’s Mud Meadows vibe (as per retailer metadata).

The movie folds songs into plot: open-mic performances, car stereos, and Reed’s on-air life. Composer Roddy Bottum supplies original music and even contributes a featured cut (“The Boy”), while licensed tracks range from calypso legend Roaring Lion to indie outfits like The Tyde and Miss TK & The Revenge. Several film-performed songs by Schuyler Fisk appear in-scene but not on the retail album—useful to know before you go hunting the tracklist.

Questions & Answers

Who composed the film’s original music?

Roddy Bottum is credited with music for the film. Additional music contributors are listed in the music department.

Is there an official soundtrack album?

Yes. A 13-track Various Artists album on Microhits (2007); digital editions mirror the CD sequence.

Are Schuyler Fisk’s in-film songs on the album?

No. Her bar-set performances (“From Where I’m Standing,” “On Your Arm”) are diegetic in the movie but absent from the OST.

Any notable legacy or cross-placements?

Rich Price’s “I’m On My Way” appears here and was also compiled elsewhere around the same era; in this film it fits the road-light mood.

What’s the overall sound?

Indie-pop guitars, coffee-house folk, a splash of retro exotica/calypso, and a few bar-band stomps—light, warm, small-town specific.

Notes & Trivia

• Label/cat. basics: Microhits, 2007; CD and digital releases circulate with identical 13-track programs.
• Runtime hovers around 43–44 minutes depending on edition.
• “From Where I’m Standing” and “On Your Arm” were written and performed in-film by Schuyler Fisk; they are not on the OST.
• Score team credits include additional-music/orchestration roles alongside Bottum; a separate score album was not issued.
• The film premiered 2006 (festival) and opened wider in 2007; the DVD followed that September.

Genres & Themes

Indie guitar pop → tentative hope: bright chords and easy tempos mirror Reed’s earnestness and the town’s optimism.

Bar folk & singer-songwriter → confessions in public: the open-mic scenes turn private doubts into communal listening.

Retro exotica & calypso → small-town cosmopolitan: crate-dig finds (“Star Fire (Jet Plane),” Roaring Lion) lend texture beyond the expected indie palette.

Tracks & Scenes

“Star Fire (Jet Plane)” — Orchestra dei Concerti di Roma
Where it plays: Opening/establishing radio-show rhythm and small-town B-roll (non-diegetic).
Why it matters: A retro, space-age instrumental that gives the film a slightly off-center charm—like a theme you grew up with but can’t place.

“I’m On My Way” — Rich Price
Where it plays: Two-lane night drive after an on-air shift (non-diegetic).
Why it matters: Road-soft guitars match Reed’s drifting headspace—forward motion without a plan.

“All My Bastard Children” — The Tyde
Where it plays: Town-square montage as gossip spreads (non-diegetic).
Why it matters: Wry surf-jangle for Mud Meadows’ rumor mill; the hook smiles while it stings.

“Sister Do” — Speedsters and Dopers
Where it plays: Pre-open-mic bustle at the bar (source vibe).
Why it matters: A scruffy groove that says the stools are full and the stage is waiting.

“Queen B” — Rich Price
Where it plays: Kate’s sales-lot beat and small-town errands (non-diegetic).
Why it matters: Sunny strum for a character who keeps things moving.

“The Boy” — Roddy Bottum
Where it plays: Reflective midpoint scene as Reed second-guesses his script (non-diegetic).
Why it matters: The composer steps forward with a gently melancholic motif—score and song feel of a piece.

“Over the Rainbow” — True Love
Where it plays: Local-bar late hour (source cover).
Why it matters: Familiar melody, small-room scale—the movie’s theme of modest dreams lands without irony.

“Trying to Get Away from Nothing at All” — Jack Grace Band
Where it plays: Morning-after reset, diner coffee (non-diegetic).
Why it matters: Bar-band country twang that acknowledges the stall before a decision.

“Life Could Be Sunny” — Roaring Lion
Where it plays: Porch and storefront cutaways in afternoon light (non-diegetic).
Why it matters: Calypso optimism as counterpoint to Reed’s wobble; the town keeps shining.

“Breakup Breakdown” — Rich Price
Where it plays: Post-argument montage (non-diegetic).
Why it matters: Title tells the tale; the song does clean emotional bookkeeping.

“Sunshine, Sunshine, Where Are You?” — Miss TK & The Revenge
Where it plays: End-stretch pep and motion (non-diegetic).
Why it matters: Indie-dance snap to push toward a choice.

Diegetic performances (in-film, not on OST): “From Where I’m Standing” & “On Your Arm” — Schuyler Fisk
Where they play: Open-mic/bar scenes (diegetic on-camera).
Why they matter: These moments are story pivots—the room listens, and so does Reed.

Music–Story Links

Reed talks to his town every morning; the soundtrack lets the town talk back. Source music sets the social temperature (bar sets, porches, store radios). When choices get hard, Bottum’s gentle motifs and a couple of unguarded songs slow time just enough for characters to hear themselves.

How It Was Made

Music duties split cleanly: Bottum on original music, a small team on additional music/editing, and a lean needle-drop list licensed for a modest indie. The soundtrack album was packaged by Microhits; production credits on the film include an executive producer for the album, with music supervisor/editor roles bridging post and the retail release.

Reception & Quotes

Reviews often singled out how the music grounds the small-town texture, and festival write-ups noted the effectiveness of the bar-set performance scenes.

“Pitch-perfect small-town rhythms.” trade review

“Sweetness and whimsy… laid-back to a fault, but the musical beats land.” review summary

“Fisk’s performance scene is the movie’s keeper.” featurette/critics’ notes

Additional Info

• Album: 13 tracks (~43–44 min). Digital and CD mirror sequence.
• Key artists on disc: Rich Price, The Tyde, Anderson Council, Jack Grace Band, Roaring Lion, Miss TK & The Revenge, Roddy Bottum, True Love.
• In-film but not on album: Schuyler Fisk’s “From Where I’m Standing,” “On Your Arm.”
• Distributor for the film: Screen Media Films; U.S. DVD streeted September 2007.
• Festival/limited theatrical window: 2006–2007.

Technical Info

• Title: I’m Reed Fish (Original Motion Picture Soundtrack)
• Year: 2007 (album); film 2006/2007 release window
• Type: Feature film soundtrack (Various Artists) + original music by Roddy Bottum
• Composer (film): Roddy Bottum (original music)
• Label (album): Microhits, Inc.
• Selected notable placements: “I’m On My Way,” “All My Bastard Children,” “The Boy,” “Life Could Be Sunny,” “Breakup Breakdown,” “Sunshine, Sunshine, Where Are You?”
• Release context: OST May 2007; U.S. theatrical June 2007; DVD September 2007.

Canonical Entities & Relations

Sources: Apple/Spotify album listings (release date, runtime, label, track order); AllMusic album page; IMDb film & soundtrack pages (music credit, song entries); film trivia noting Schuyler Fisk’s in-film songs; public clips of her performance; distributor/date notes in trade and listings.

November, 11th 2025