00:00 00:00
popzilla
LC 12350
:
2002-06-01
:
2023-07-25
Upbeat cuts for presentations, sports and porn
Good For: Sports, Pop, Rock, Entertainment
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VH002301
1:09
The musical equivalent of a urologist with cold hands, this cut grabs attention quickly, although it doesn't use the word "testicles" in sentences. Twisty guitars build atmospheric tension to :07, then explode into a bed of Techno-tinged electronic drums, filtered guitars, synths and more twangy electric guitars that suggest action and cleavage. The mix builds @:19 and pauses @:29 - building again during the second half, although featuring more arpeggiating synths and cleavage. This cut was made for coming attractions, image spots and cleavage. 158 bpm (Amaj)
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VH002302
1:06
Shiny, bright song reminds us of suntans, pool parties and remembering to apply sunscreen to the tops of your feet. Starts fun, gets funner, and @:19 even more funner. Summertime ska-skank driven by horns, dance beats and a sun-kissed organ. Starts over @:40 with just guitar and beats, adding in more parts one-by-one until the big payoff @1:02. 130 bpm (Amaj)
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VH002303
1:15
Emotional, mid-to-fast paced, driving acoustic/electric guitar pop. Positive/dramatic, this cut starts with pounding drums, electric bass and acoustic guitars, which build steadily until :22 when a wall of tremoloed guitars enter and threaten to get rough. @:29 the cut takes a turn for the melodramatic as Mellotron strings provide a slightly less driving bed, until :47 when the dramatic, pounding feeling returns until the end. Great for lite sports, awkward growth spurts, relationship issues and/or any angsty teen issue. 131 bpm (Dmaj)
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VH002304
1:23
This cut adds class to any spot with delayed, sampled 20s opera phrases mixed with gurgling synths, reversed Mellotron, processed drum loops and French horns. Delicate and wistful, this cut works for emotional reflections, sad and proud moments - especially @:48 when emotional piano enters for additional poignancy. Good for commercials for expensive items, all-poodle dog sled teams and when Old Yeller has to get 'put down.'; 100 bpm; (Gbmaj)
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VH002305
1:13
Funky - but not like "That smells funky." Heavily edited electric slap bass/record scratching/drums. Uptempo track littered with breaks, stops and turnarounds, this cut is useful for sports, sports bloopers, human interest, comedy and the theme for the all-pimp news channel. Straightforward until a drum break @:29 brings in an electric guitar riff, making this cut extra dirty, especially @:41. 65 bpm (Emin)
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VH002306
1:12
What could be better than a proud, fast-paced, beat-driven cut for presentations? Not having to cut the presentations, I guess. Hair not growing out of my nose/ears would be nice, too. Ultra-fast Electronica with four-on-the-floor electronic drums, filtered bells, Mellotron choir/string swells, the occasional French horn and delayed piano. Starting with gentle delayed piano stabs, the beat enters @:09. @:31 the mood gets a little more mysterious and pensive, building back to pride/strength @:43. Good for coming attractions, image spots and musically saying that a lot of things are happening. 156 bpm (Emaj)
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VH002307
1:03
Moody, adolescent grunge. Atmospheric cut that opens with delayed, chunky electric guitars, bass and drums to make a pulsing newsy/light drama bed that relaxes slightly @:16, returning to the drama @:24. The second half is more driving, with a huge unison guitar/bass part @:32 that suggests drama and action, which works for sports and angry teens/anyone whose parents just don't understand them. 120 bpm (Dmaj)
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VH002308
1:05
Featuring more scratching than the chicken pox ward at St. Vincent's and backed by simple breakbeats, this DJ smack attack is good for anything needing an urban edge or with the word turntablist in it. Second :30 adds bass, muted trumpet and organ accents for an old-school (shouldn't that phrase itself actually be old school by now?) vibe. 120 bpm (Emin)
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VH002309
1:12
Light, almost child-like marimbas dance playfully over drums, "ticking" wooden percussion, bells, electric bass and processed slide guitar licks, making this cut suitable as a neutral bed for news, imparting a sense of movement, and/or time passing. After :30 the mix thins, returning to a fuller mix @:40. Good for suburban exploration and lifestyle shows that need just a hint of light tension. Monkeys are funny. 100 bpm (Dmin)
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VH002310
1:11
Positive, uptempo retro-remix 60s Stax-flavored Soul, just the ingredient to add an element of hipness. Starting with an electric piano riff, drums (acoustic and electronic) enter @:06 and the piece steams ahead until a break @:31, when a more bass-centric/hit-laden version begins. Hits and breaks throughout, this cut works for sports, cooler-than-thou clothing spots and car commercials. 135 bpm (Dmaj)
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VH002311
1:11
Indie-tinged pastiche-rock. One giant energy build from :00 to :30, this one reminds me of my drunk friend Phil slowly becoming more and more inebriated until he eventually passes out after dry-humping my old girlfriend's stuffed animal collection. Juvenile beats, Stax-ish licks, distorted guitar & drums and a goofy bassline set a mood of dynamic fun. Lots of cool stutter breaks @:12, :28, :31 and :51 provide visual opportunities. Becomes more spare and 60s influenced after :30. Good for comedies, entertainment, non-lethal sports or not-so-dangerous contests like "Survivor: Long Island". 136 bpm (Amaj)
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VH002312
1:13
Snotty pop-punk. Starting with fast electric guitars, electric bass and drums (in @:05) this cut works for sports, ads for "PowerSteroid 2000" and anything with tattoos (minus Ricardo Montalban). The first half is straight-out rock and roll, but @:31, the guitars get trippy while the drummer and bassist pound away, giving you a dream-like bed that still moves and builds when the mix returns to full throttle @:49. For the 16-year old boy in all of us. 105 bpm (Gmaj)
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VH002313
1:10
Puts the "unk" in funk. Fun, modern, retro-funkadelia inspired by contemporary heist movies. One giant groove martini with equal parts horns, bass, drums, organ, bongos, flute trills and chicken-scratch guitar. @:33 becomes the perfect sneaking in the dark music until :49 when the lights come on and you discover that the bank vault is really a movie set filled with models & booze and the party begins. 120 bpm (Amin)
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VH002314
1:16
Need to sound busy but yet cool? Hyperkinetic be-bop/jazz/ acoustic Electronica that feels as if you're in the middle of a busy street dressed as a turnip. Heavily edited horn samples (recorded while being fast-forwarded on a CD player), delayed organ, bongos, ride cymbal, drum machines and synth bass take you on a journey through the sizzling brain of an over-amped robot jazz player. A little unnerving right from the first note, the crazed pace is unrelenting, with the exception of minor breaks (@:28, :42 and :46). Great for sped-up footage and hyperglycemia. 152 bpm (Cmin)
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VH002315
1:06
Soulful women's choir backed by emotive space rock. Begins with choir and celestial organ, guitars and drums make dramatic entrances @:11 and :14 respectively. Becomes more emotional after :30 when the choir drops out and a tastefully psychedelic guitar line heightens the drama. The women come back in @:47 lending an air of wonder. Useful for stories on overcoming adversity, Women's issues, PSA's and playing in planetariums for a Nacho-craving audience. 100 bpm (Amaj)
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VH002316
1:06
The musical equivalent of the little black dress with a plunging neckline: simple but effective. Uses driving beats, fluid bass, a pinch of chauvinism and not much else. Useful for investigations, news and image spots -"News 35 takes your problems and kicks the shit out of them". Has a section @:40 that would also be a good intro. 136 bpm (Dmin)
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VH002317
1:28
Ah, childhood memories - provided you weren't abducted and sacrificed to Gorthok, Lord of All Things Spongy. Sad but comfortable country/rock acoustic guitar-driven cut that sounds like 70s truckers watching "Old Yeller" and having a good cry. Mellow acoustic guitars, acoustic drums, B3 organ, shakers (in @:19) and atmospheric plaintive electric guitar build throughout the first :30. The second :30 is a mellower, more spare version that builds more slowly, hitting its emotional climax @1:13. Good for goodbyes, tearful reunions and lonely nights on the prairie. 94 bpm (Emaj)
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VH002318
1:05
Soulful R&B with an ever-so-slight hint of Latin and random punctuation. Inquisitive and tentative, this cut uses halting nylon-string guitar, harp, dry wah-wahed electric guitar, drum machines and a Rhodes electric piano to create a neutral stop/start cut that would work for news or investigations - but also has a soft sensitive feel (especially when the harp arpeggios become constant @:20) that would work for slightly sad subjects. The second half is just a more spare remix of the first :30. 105 bpm (Dmin)
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VH002319
1:06
Ah, 1967. The Summer of Love. The Winter of Awkward Break-up. Avant-oldie pop replete with tape damage, vintage amps/mics and one very stoned engineer. Begins like a true 60s cut with electric guitar chords, delayed organ, drums - which is instantly updated @:07 with synth bass and current-sounding drums, becoming a hybrid 60s/lo-fi 2000 pop. A feedback hit @:29 leads into a more spare, break-laden mix in the second half, returning to the full mix @:54. Good for entertainment looks back at the 60s/70s and "Just Say Maybe" PSAs. 125 bpm (Fmaj)
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VH002320
1:05
High-energy neutrally-toned cut that sounds as if we took an 80s synth pop cut, played it twice as fast, added a wall of distorted electric guitars and beefed up the drums, resulting in this versatile Electronica. Synth heavy and constantly moving, this cut feels newsy and important, while still maintaining a sense of lightness. Full drums enter @:19. After :30, the cut gets beddy again, building to a great drum break @:51. Great for presentations, car commercials, fast sports, news and image spots. 75 bpm (Abmaj)
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VH002321
1:07
Finally! A song that 'Rerun' from "What's Happening" can dance to! Updated light/humorous, mid-tempo 70s funk. Synths, wah-wahed electric bass, filtered guitars, drum machines, various hits and electronic percussion. @:30 the cut becomes more subdued with a wah-wahed synth bed. Works for entertainment, anything pimp-related or when "Fat Albert" becomes a movie [NOTE FROM THE FUTURE: THIS (SADLY) HAPPENED.]. 110 bpm (Emin)
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VH002322
1:07
Lighthearted, quirky rockabilly guitar cut. A variety of amped electric guitars (mostly from the 50s and 60s), upright bass, drums and loops (in @:15) combine to make this cut an updated telecasting experience - with nimble-fingered guitar picking that jumps genres/styles throughout, like the upright bass/drum loop break @:31. Great for entertainment and sports - like rodeos and extreme milking. 132 bpm (Emin)
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VH002323
1:19
Driving European dance cut, with an air of mystery, like "Why am I wearing leiderhosen?" Vintage delayed analog synths, analog synth bass and drum machines create a four-on-the-floor beat (in @:07) that continues through the first :30. @:29 the beat pauses as a filtered delayed synth line slowly evolves, with the beat returning @:44. Great for presentations, opens and testing the bass response of your speakers. 130 bpm (Dmin)
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VH002324
1:15
Positive, image-conscious cut that starts pretty and dreamily, then kicks in @:10 with driving electric guitars and drums ratcheting up the "look at my exposed navel and psyche" quotient. Drums take a break @:34 and @:43 the guitars come back in and build all the way to the end. Great for image spots, adolescent dramas, any Gilmore girl or RomCom references. 100 bpm (Emaj)
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VH002325
1:23
Doing on-location shoots from heaven? Atmospheric, dream-like cut that uses piano, brushed drums, Rhodes electric piano, flute and women's choral "ha's" to evoke a lilting, soft Lifetime/WE cut that would work for angels, book clubs or when you and your mom are discussing personal freshness. Starts light with naked "ha's" and electric piano, but builds very subtly allowing bass and drums to enter @:11, with more elements added until the climax @:29. More pauses in the second half (@:42 and :53, specifically). Great for dream sequences, out-of-focus footage, Oxygen (the network, not the gas) and babies, babies, babies. 90 bpm (Dmaj)
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VH002326
1:14
Have to cut a sales tape, upfront or year-ender? Boy, does your job suck or what? Well, here's the ultimate presentation score: positive, uplifting, active and beat-driven Big Beat/Electronica that feels like something important is being announced - or Paul from accounting is setting up turntables in the break room. Synth bass, synth pads, filtered electronic percussion and edited drum loops provide a simple, effective bed that kicks in @:14 and takes a brief percussive break @:32. Nothing says "Our cable channel has more Chuck Norris hostage films than any other!" better than this cut. Great for presentations, image spots and show opens. 135 bpm (G#min)
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VH002327
1:10
Need a morning show open? Exploring a sensitive topic? Need to convince your audience that they shouldn't kill themselves? Use this cut - because nothing says "I'm sensitive" like nylon-string guitar, light rubberband-sounding percussion, cowbells, shakers, drums, high noise floor, electric bass and an ever-so-understanding atmospheric rhythm/lead electric guitar melody (in @:10). After a short break @:30, the melody returns @:40. If CBS were an adjective, this cut says it - good for human interest, reunions or when your news anchor feels the need to hug everybody. If this cut doesn't work, other ways to say you're sensitive include: rashes, welts, mild itching, tearing, renal failure, mucous discharge or watery stool, according to WebMD. 95 bpm (Dmaj)
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VH002328
1:20
90s angsty empowerment Rock. Starts pensive with a delayed drum loop and acoustic guitar, while @:10 a more aggressive drum beat enters and by :19, heavier electric guitars crash in, letting you know that the protagonist of the piece has somehow overcome whatever was repressing them. The second half builds the same way, with organ and synths added - kicking into the climactic ending starting @:54. Great for stories of overcoming adversity, teen crises or mild bloating and cramping. 97 bpm (Gmaj)
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VH002329
1:07
Laid back, mysterious, but playful due to incredibly high levels of THC in its bloodstream, this Reggae/Club/Dancehall hybrid owes its roots to Kingston's most herbal export. Subsonic bass, reverbed drum machines, electric surf guitar and delayed digital synths (in @:10) create a slower groove that works for investigations, beach scenes or when Matlock turns to his "special glaucoma medication."; 95 bpm; (Amin)
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VH002330
1:10
Part Gospel revival, part roots rock, part Electronica and part Lutheran (on its Mom's side). This rollicking traveling music cut takes you through the South, where "rollicking" is illegal, with amped harmonica, crappy piano, upright bass, human percussion (claps, stamping), tambourine, synth bass and drums (live and electronic). The first half remains almost entirely acoustic until :29, when drum machine kicks and subsonic bass drags you into the 21st Century. Great for sports, rodeos or religious zealotry. 98 bpm (Gmin)
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VH002331
1:08
Happy, midtempo 60s Bubblegum Rock - literally. The percussion on this track is the sound of bubblegum - being chewed, popped, snapped and pissing off schoolteachers everywhere. Farfisa organ, electric guitar/bass and heavily edited live drums create a tone puts you back in 1969. @:30 check out the all-bubblegum drum break. Takes a Doors-like turn @:37, with the theme returning @:52. Useful for kids stuff, blooper reels, painfully happy events and stories about TMJ. 135 bpm (Bbmaj)
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VH002332
1:13
Surprisingly optimistic Power Pop. Uptempo electric open-tuned guitar, synth bass and drums are filtered until :07, when the full mix comes in and pounds its way all the end. A tambourine enters @:13, propelling the cut ahead, but also lending to the cut's light, almost positive tone. Big surprise: Pauses @:29 and :43, but returns like a feral badger 6 seconds later from both. Great for triumphant moments, sports and news anchors that say "dude" a lot. 72 bpm (Amaj)
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VH002333
1:07
X-asperated by X-aggerated X-clamations of X-treme anything that X-patiate X-pansively until you want to X-pectorate? Us too. And the "Ex-Games" could be a lot more entertaining: "If you answer this question incorrectly, custody of Timmy goes to Rachael" or "It's not you, it's me. I hate you." Or the XXX-Games. Need we say more than "Pole Vault?" Simple, driving, and authoritative. Aggressive filtered guitars, bass and beats give your production attitude without being negative. Starts basic and adds layers as it goes, becoming most positive @:21. 90 bpm (Amin)
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VH002334
1:13
Pounding, arena sports rock. Electric guitar-heavy, knuckle-dragging drums, electric bass, drum loops, metal shelving, hand percussion and three six packs all create a cut that works for sports, wrestling and way-too-aggressive strippers. Starts with stomping guitars and drums, adding electronic drum loops @:08, with the guitars coming in full force @:24. A smaller/"sneakier" mix starts @:30, with the guitars and drums crashing in @:46. 125 bpm (Amin)
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VH002335
1:21
Positive, light, driving 80s synth-rock. Electric piano, delayed acoustic piano, reverbed slide guitar, acoustic guitar, Mellotron strings, glockenspiel and drum machines galore create a good track for presentations and proud moments. Filtered, delayed metallic drums and a lighter mix @:30 create a element of mystery, but build back to the positive vibe by 1:01. 125 bpm (Ebmaj)
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VH002336
1:17
Lighter alt-rock cut. Straight-ahead electric guitars, electric bass and drums build up to :15, when the mood gets brighter, with more electric guitars filling out the mix. @:32 a more dramatic reverbed guitar begins the build again, with more happy guitars entering @:46 and @:54, the theme returns and everyone's head-bobbing again. Great for entertainment spots, sports and teen dramas. 120 bpm (Emaj)
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VH002337
1:10
Laid back Country/Folk rock/Americana. Opens with acoustic guitar strumming and acoustic slide guitar, giving you the feeling that you're in a pickup driving down a country road without a care in the world, with drums entering @:04 with bouncy, delayed light organ accents reminding you of the freedom of the open road and that America's great plains are more than a natural wonder -?they're also an incredibly convenient urinal. Great for travelogues, exploring the wonders of America's flatlands, suggesting peace of mind and appreciating nature's beauty. 92 bpm (Dmaj)
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VH002338
1:14
Simple, R&B cut whose single vocal, a sampled, delayed "bop" suggests pretty limited languistic skills. Light and positive, this cut suggests a night on the town - provided the town isn't one of those Amish places. Sampled synth chords, organ, square-wave synth bass, delayed monosyllabic vocal samples, and drum machines keep the same vibe throughout - but alter the mix slightly, showcasing each instrument (for example, the drums @:31, the organ @:47, etc). Great for entertainment and giving the impression of laid-back fun. 89 bpm (Cmin)
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VH002339
1:12
Percolating synths mix with Pop-sensibility electric guitars/bass, piano, drums and organ create a great bed for human interest pieces, morning shows, light news or even background music for an infomercial on how "You (yes, YOU) can make money at home. Yes! PRINT money! Sure, it's dangerous, with the FBI having guns and all, but I did it and look at me now!" The first half builds up to a positive resolution starting @:24, while the second half is a slightly more questioning bed, more useful for morning news. 120 bpm (Cmaj)
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VH002340
1:19
Have a fashion show, award show, or any other damn show we can't get into? This cheerful Euro Neo-Disco/Trance cut uses wah electric guitar, Rhodes electric piano, fretless electric bass, delayed sine-wave synths and chiffy. Steady four on the floor kick drum enters @:08 and doesn't leave until the weird AM-radio sounding break @:54, but comes back @1:01. Simple but annoyingly catchy melody enters @:15. Works for hair-care ads, entertainment or even futuristic Weather Channel 5-day forecasts. 125 bpm (Cmaj)
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VH002341
1:09
Bare-bones uptempo Alt-Punk that's admirably stupid. Pounding drums and electric guitars explode into action @:09 and don't give up until :29, where they finish their beer and crash back into the song three seconds later. The guitar break @:41 makes a great intro, returning to the sobriety-challenged theme @:53. Great for sports (like surfing, skating), entertainment (like a punky sitcom theme) or other similes. 82 bpm (Dmaj)
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VH002342
1:10
60s Surf/Spy music, but intentionally cheesy. Twangy guitars, Farfisa organ (distorted and clean), sampled sax, trippy electric guitar effects and kit drums provide a perfect hit-laden bed for sports, faux 60s show themes, inept spies and anytime your staff wants to do "The Monkey" ("do The Monkey" is not a sexual euphemism). @:30 the sparer spy variation of the theme starts, with the surf version returning @:57. 146 bpm (F#min)
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VH002343
1:19
Positive, sunny Electronica. Straightforward four-on-the-floor beat that really kicks in @:07, and a simple melody in @:19. Filtered percolating synths provide movement while acoustic guitar, synth bass, synth pads and drum machines create a swirling, pulsing m?lange of sound that works for image spots, presentations and sped-up footage. The second half is more bed-like, a very thick, complex mass of delayed synths, held together by the insistent pulse of the electronic kick and bass. 136 bpm (Dmaj)
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VH002344
1:19
Want something that other libraries don't do? How about all-haiku descriptions like: "Guitars strum like rain/Good acoustic bed for news/Gets weird in part two." Or how about: "First half jangly pop/after thirty weird ass strings/I have to pee now." Strumming acoustic guitars, simple drums, electric bass, jangly electric guitars and delayed whalesong-like guitar slides - at least until :30, when, out of nowhere, a crackly recording of strings/Mellotron stops the song cold for a moment of sad remembrance (getting very 60s @:42 with Mellotron flutes). It then builds back to happier, fuller, guitar-driven main theme @:58. Good for morning show stuff and happy events that get sad, then happy, then sad again. 120 bpm (Emaj)
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VH002345
1:03
1900s Americana meets stoner bluegrass-ish jam band. Starting with a funky acoustic guitar riff, more instruments start coming in (fiddle, mandolin, tambourine), until :17, when the cut takes off into a happy jaunt across America in the 1900s when the land was unsettled and before people could afford to be in Technicolor. Banjo, upright bass and drums add movement until a pause @:29 when a solo banjo arpeggio calms the mood down, only to have the theme build up again, getting into full swing @:52. Great for trips across America, black and white footage and spontaneous hoe-downs. 116 bpm (Amaj)
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VH002346
1:04
Light in mix and mood, this playful flute-driven uptempo cut feels right for morning shows, entertainment spots, mid 70s cooking shows and sitcoms like "The Clumsy Neurosurgeon." Fluttering flute samples, congas, drum loops (in @:06), Rhodes electric piano and electric bass give the impression of a room full of beret-wearing steroid-laden beat poets who insist on speed-reading poetry aloud. 130 bpm (Cmaj)
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VH002347
1:21
Like, when you breakup with someone and they're like... and you're like...? Like, depress-o teen drama groove (with a bit of, like, hope) with acoustic guitar, depressed Rhodes (electric pianos always take it worst), synth bass, piano, heavily edited drums (live and electronic) and like other stuff that's good for stuff like where really good looking dudes and women get it on but then like don't. Starts out really spare (duh) with acoustic guitar and electronic drums, getting slightly bigger @:17, but never gets too nuts, you know?; 83 bpm; (Amin)
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VH002348
1:12
Pounding, driving, angry-guy-with-long-hair rock. Electric guitars, electric bass, drums and a case of Old Milwaukee starts out with AM radio eq then blows up into full head-banging grunge @:12. @:36 chugging guitars provide a steady bed for equidistant cuts as a synthy whoosh swells underneath, building to the climax @1:03. Good for violent sports, fistfights and when Lemmy hosts "Hardball."; 160 bpm; (Dmin)
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VH002349
1:05
Pop-oriented folksy rock. First half is more emotionally neutral, with 12-string guitar, acoustic 6-string guitar, electric bass, drums (acoustic/electronic) and breathy vocal percussion that would work for morning show/lite news while @:31, the cut feels more mysterious with acoustic guitar and swelling synth pads until :45, when the more positive theme returns. Good for cross-country car trips, unless you take it with a camel, which tends to smell, take up a lot of the legroom and dumps poo all over the place. 104 bpm (Cmaj)
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VH002350
1:16
Pop-friendly stalker music. Chugging electric guitars, electric bass, B3 organ, acoustic drums and creepy synth pads slowly build to give you the feeling that a knife-wielding maniac is watching your every move. @:19, a "Psycho"-like screeching, heavy synths and a general sense of chaos signals that he catches you and starts stabbing you with abandon, which hurts far less than being stabbed with, say, a knife. The second half is similar, except from :30 to :49 where the music is less threatening and more positive, which provides a greater contrast when the stabbing begins @:49. 105 bpm (Amaj)
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VH002351
1:07
Barely legal punk-by-numbers. Bratty, immature guitars, bass and drums will have you vomiting your Jagermeister and hating your parents in no time. Has obligatory dramatic section from :31 to :41. Good for sports, entertainment and really sticking it to those corporate conformists whose labels subsidize your music. Rrrreeooowwwww. 91 bpm (Emaj)
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VH002352
1:21
Edgy, angry AggroRock. Tons of attitude-laden electric guitars, drums, wild synth effects, electric bass and the old standby: an anvil. After a brief guitar-heavy intro, the action starts @:05 with intensity-building guitar licks trading off with anvil hits, which provide a nice back-and-forth for even-spaced edits. @:31 the cut pauses for a tender moment with arpeggiated clean electric guitars, bass and synth then hurtles back to angst @:48. Good for sports, violent events and moments of gentle emotion followed by inhumane brutality. 110 bpm (Dmin)
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VH002353
1:19
Mid-tempo attitude-driven track that likes to think it was born in Brooklyn (instead of Short Hills, NJ). Organ, distorted electric bass, acoustic bass, processed drum machines and every 70s horn/string hit we could dredge up to make a drama/spy theme with a streetwise touch that would be useful for investigations, sports or stories of urban decay. Another possible start point: the halting hit-fest @:38. 100 bpm (Gmin)
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VH002354
1:13
Yeeeeah, slow, sexy Urban sex/porn music. You and your sexy lady spending the evening at home, listening to grooves while you sex her up? Me neither. Pizza, Sliders' reruns and scrambled porn? Yeah, me too. Rhodes electric piano, drum machines, delayed guitar, cheesy organ, synth bass, sax and synth pads get me all in the mood, for, well, me. Subtle and smokey, the mood is punctuated by synthy orchestra hits throughout. The mood gets lighter/playful @:31 as staccato piano and sax give you a needed pause in the lovemaking, but it's back to work @:38. Good for setting a mood for love/meaningless sex. 140 bpm (Bmin)
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VH002355
1:09
Aggressive bass-driven big beat. Aside from a solo bass intro, the craziness starts @:02 and doesn't let up, gnawing on your sensibilities like a rabid squirrel. Distorted bass, drum machines, processed live drum loops, analog synths and record scratches bring on a fast-paced chase through a crowded city street. There's two brief respites from the carnage: @:29 fed-back delay provides a bridge into more craziness and @:47 the mix simplifies into just the bass and electronic kick, with the full mix returning @:54. Good for sports, presentations and anything with 'kick-ass' in the title. 136 bpm (Emin)
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VH002356
1:19
Neo-traditional alt-folk/rock. Steadily strumming acoustic guitar and driving drums set a tone of resolute determination to ironically wear 70s Unicorn T's, smoke American Spirits and get $5 haircuts. Has a delicate, drumless section from :47 to :57. Useful for younger dramas and ventures to learn deeper truths about America, like why we're all so damn fat. 113 bpm (Dmaj)
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VH002357
1:09
Somewhere between sad and hopeful, like Screech on a date, this cut builds emotionally all the way to :30, then becomes more spiritual and ethereal until :54 when the electric guitar comes back in for the payoff. Geek note: the drum sound came from covering the drum heads with T-shirts. 85 bpm (Amaj)
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VH002358
1:01
Aggro-idiot rock. Uptempo, punk-tainted cut features guitars with a collective IQ of 40, a syphylitic fill-loving drummer, an electric bassist with four brain cells - and they all have hot girlfriends. Go figure. Starts off with electric guitar alarm-clock impression, getting us ready for the carnage @:11 that can only be described as "not anywhere close to Bach" - except that Bach hasn't showered in years and is unemployed. Steady stream of hits starting @:17 create a build to climax @:27. Good for sports, violence and senseless beatings. 85 bpm (Bbmin)
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VH002359
1:14
Ultra-modern Latin Salsa/Bossa Nova cut that takes traditional rhythms/melodic elements and gives them a stylistic purple-nurple. Piano, nylon-string guitar (as percussion and melodic), fretless bass, horn hits, vocal stabs, percussion meets heavily-edited electronic drums and loops. West coast-sounding synth added @:20 to give it a bit more of a "street" feel as mix gets more dense. Second half is more spare, with a piano break @:46, leading back to a hit-fest starting @:54. 95 bpm (Emin)
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VH002360
1:04
Heavily remixed/regenerated Cuban groove. Attitude-laden, midtempo filtered electronic percussion mixed with sampled Latin percussion, videogame synth bass, delayed trombone (in @:09), drum loops (in @:21) and horn stabs create a cut that is both laid back and action-packed at the same time. Kind of like competitive siesta, if siesta was a sport. 102 bpm (Cmin)
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VH002361
1:10
Straightforward action-oriented Latin cut with timbales, percussive 70s horn hits, electric surf guitar (in @:16), congas, guiros, cowbells, live/machine drum loops and electric bass that sounds like artists who look far better in leather pants than I do. With plenty of hits and action, this cut works for sports, entertainment and happy excitement. Horn-free percussion/guitar bed starts @:29, but ends with an exploding horn line @:41. Great for car dealerships, opens, vacations and presentations. 120 bpm (Dmin)
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VH002362
1:04
South Floridian amalgam of Cuban, Puerto Rican and Caribbean rhythms. Tons of percussion (like timbale, congas, drums, shakers etc.), seductive piano, and nylon/tremolo'd electric guitars are thrown in for good measure. Positive and sexy, but not overly festive or stereotypical. Settles in for sexual tension building after :30 with a dynamic break @:48. Good for positive drama with a Latin flair, entertainment spots, and anything using the phrase "...a burning passion that would lead them to danger."; 110 bpm; (Amin)
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VH002363
1:05
One hell of a fun cut. Salsa/Samba-soaked Latin dance music that is full of surprises - like finding a finger in your taco but realizing it's your own. Happy, horn-heavy open/presentation cut that just makes you want to dance or just travel more. Piano, guiros, cuicas, congas, processed horns, synth bass, nylon guitar and lead digital synths create a bouncy cut great for parties, celebrations, car sales and entertainment. Starts big through the first :30, gets beddy @:29, then gets loco again @:46. 132 bpm (F#min)
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VH002364
1:13
Happy Latin party music that feels like you should be dancing on your chair which, let's face it, never ends well. What can only be described as the most violent, hit-laden Latin cut ever, this cut uses massive drums, trumpets, trombone, toy piano, electric guitars, timbales and a collection of drum machines/loops to give you the sound of overly flared silk trousers. The first :30 is straight-ahead party, while @:34 the cut takes a turn towards the spy/surf, returning to the main theme @:47. Great for sports, fast cutting and entertainment. 145 bpm (Dmin)