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Copyrighted Production Music
Road Rock

VH086    Number of tracks:67 Track(s)

Introduction:A collection of gritty, bluesy, classic southern-tinged, swagger-filled rock tracks. Whoever said the guitar is dead? Not this sweaty, beard-sporting album! Good for action, sports, and aggressive fun.

Label Name:VH-VideoHelper  

Album tracklist
  • 1.
    Eat Dirt-Main Track-Full Length
    Party Harder! Attention-getting bar band Rock that mixes chest-thumping attitude with an overbearing sense of fun. Starting with gritty drums and a stop/start electric guitar/bass hook, the cut explodes into a propulsive, brass-section-driven celebration @:16 that makes it perfect for sports, car/pickup truck ads, suggesting a lack of discretion and running down the street naked, covered in clam dip. @:29 a solo sax over drums adds a bit of Funk and a touch of a playful "What's Happenin'" vibe before returning to the main driving, brass-driven theme @:46 that builds from small to a hugely triumphant climax.
  • 2.
    Ultimate Swag-Main Track-Full Length
    Mixing attitudinal grit and positive confidence, this blistering, rough-sounding Rock cut starts with drum hits accenting a melody of electric guitar/bass riffs that explodes into a driving whirlwind of drums, guitars and soaring "whoa"ing vocals @:11, suggesting triumph, forward progress or when someone's horse just refuses to stop. @:29, the cut settles into a series of smaller, pulsing beds accented by vocal/drum hits until the cut returns to the main theme @1:05, with the mix getting larger and more propulsive. Good for sports, aggressive sales tapes, image spots and fashion.
  • 3.
    Backyard Traveler-Main Track-Full Length
    Happy, attitudinal acoustic guitar-driven Blues Rock that transports you to a porch in the American South, which is better than taking a Greyhound, as it will most likely break down miles between habitable cities and you'll be forced to eat the other passengers to survive. Uptempo, fast-fingered acoustic guitars, acoustic bass, clapping and tambourines bring to mind driving down dusty country roads, pickup truck commercials, sports, hunting/fishing, poker, road trips, taking a bath with Johnny Cash, suggesting stereotypical toughness/virility and will have you wondering why you turned to cannibalism when you discover the bus had merely stopped at a red light and hadn't broken down. Mandolin @:55 and vocal grunts/crowd sounds bring a sense of playfulness and freedom.
  • 4.
    Live Fast-Main Track-Full Length
    Octopus slapfight! Unrelenting forward motion that's like a freight train, smashing through everything in its way: stalled vehicles, random cows and crowded shopping malls (though the developer later agreed that installing train tracks in a mall was a bad idea). Uptempo aggressive Garage-y Indie Rock that uses propulsive drums, driving electric guitars and insistent electric bass to create a hit-filled escapade that suggests some kind of lighthearted, yet determined, spree. The sense of hectic gleefulness is amplified @1:05 with a rollicking brass section. Good for sports, fast action, conveying a sense of time running out, spies/espionage and a reminder to always look before crossing metaphorical train tracks, as this cut might be coming.
  • 5.
    Aggressive Repressive-Main Track-Full Length
    Comedy with edge. Hectic, propulsive, saxophone-based lighthearted romp that gives the impression of madcap antics, my parents trying to assemble furniture, or being chased by an accident-prone angry mob. And don't worry about the parents joke. I'm not being ageist, it's funny because my parents are dead. This cartoon-like Swing/Rock hybrid starts with a honking baritone sax over a four-on-the-floor electronic kick drum that explodes into a fast, driving stumble down a metaphorical staircase of excitement, with drum machines, hand claps and the feeling of just being on the verge of out of control. @:31 a pulsing bass line with sax hits provides a loopable intro as we build back to the main mix (after a fake-out drop @1:03). Good for entertainment, fun sports, comedy, children's programming or watching my parents waterski.
  • 6.
    Road Ready-Main Track-Full Length
    Rollicking, sloppy fun that takes Country, Blues and Rock and places them in a drunken three-way that they later regret and pretend never happened. Starts with attitudinal electric slide guitars that explode into action @:14 by adding busy, driving, batacuda-like drum corps, synth bass, kick drum and male vocal "yeahs" that suggest lots of partying - a bro-down, if you will. The cut provides a bunch of loopable mix outs starting @:32, including a drums-only break @:46. A series of hits starting @1:05 ushers back a full mix that suggests road trips, barroom revelry, rodeos, bullfights and sports that involve getting dirty.
  • 7.
    Snake Boots-Main Track-Full Length
    Slinky, attitude-filled, cocky Blues Rock that is seductive, boastful and just dangerous/tough-sounding enough to suggest it might actually have a life-sized tattoo of itself on itself. Stamps/hand claps, synth bass and a lead electric guitar melody start the cut with a tough edge, getting more propulsive @:08 and @:18 with tambourine, drums, organ and silky female vocals creating an attitudinal track that accompanies strutting or swaggering, perfect for sports, fashion, standoffs, building excitement or expectation. @:35 the mood gets a little more sultry with "ooh"ing vocals and pulsing bass/synths that provide several ways of building up back to the main theme (like a climbing organ swell @:56).
  • 8.
    Freedom Rock-Main Track-Full Length
    70s Classic Rock road trip music that recalls the days when men's chest hair had its own sideburns. This optimistic, mid-tempo, forward-moving, guitar-driven track starts with strummed acoustic guitar, electric bass that progressively builds until @:16 where it bursts into a full-on celebration of the open road with busy drums, electric guitar lead and anthemic feel, making it good for sports, corporate feel-good stuff, self-discovery, exploring rural America and enjoying the beauty of the world around you, unless you're traveling with my first grade teacher, Mrs. McKeever, who's now dead. The cut takes a left turn @:32 with a piano break that's half Southern Rock and half Schroeder from Peanuts, returning to the propulsive theme @1:02.
  • 9.
    Beat Street Boogie-Main Track-Full Length
    Southern-fried Texas Blues Rock that suggests aggressive fun, attitudinal bravado, adventure and imminent death in a helicopter crash. Starting with an attention-getting, palette-cleansing electric guitar intro, @:03 a tough-sounding electric guitar- and bass-driven riff begins, repeats throughout and gets augmented by drums, more guitars and bourbon. Littered with fills, breaks and various surprises, the cut breaks for a drum- and bass-fueled bed @:32 that explodes back into the main theme @:56. Good for extreme sports, barroom riots, wearing bolo ties, fast/rough action and to commemorate the recent death of Blues guitarist Jim "Deaf Fingers" Lemon, who can no longer start every song with "I woke up this mornin'."
  • 10.
    Trouble Boiler-Main Track-Full Length
    Uptempo and propulsive pounding Indie Rock that feels like a modern take on 70s Cop Show theme music, if those cops were the most aggressively sneaky cops ever. Starts with a solo electric bass playing a catchy hook that explodes @:05 into a fast, electric guitar/drum-driven, tough-sounding cut good for sports, action, chases, or a chest-beating show of dominance (your own chest, please). A mysterious, haunting break @:33 lets the cut build up from four-on-the-floor kick drum and atmospheric guitar effects into an organ riff and drum- propelled crescendo that resolves into a fake-out @:56, bringing back the main riff/theme @:57. Good for building tension/suspense, chasing blindingly-obvious bad guys down alleyways or just sounding like you're up to something sneaky but don't care.
  • 11.
    Talk Hard-Main Track-Full Length
    Tough fun. Perfect music to accentuate your victory dance, pride-inflated swagger or awkward pants-around-the-ankles struggle to get more toilet paper. Fun, playful, smart-ass strutting Indie Rock built around a syncopated synth figure that seems to exude confidence, cockiness and what smells like a week-old dead tuna stuffed with other dead tunas. Perky electronic drum machines, buzzy synths and acoustic drums create a bouncy, carefree bed that percolates beneath a lighthearted electric guitar melody that starts @:11. The cut starts again @:34, taking a longer time to build back up to the main mix @:52. A synth-only break @1:03 provides a dramatic change in mood before returning to lightheartedness several seconds later. Good for corporate fun (if that even exists), comedy, sports, light bravado and suggesting a combination of determination and flirtatious frivolity.
  • 12.
    Drill It Down-Main Track-Full Length
    Something big, threatening and ready to kill you for the fat-shaming joke you made about it in third grade. Lumbering, threatening Blues Rock that starts with fuzzed-out electric guitars playing a slow, growling riff over a simple kick/snare figure. @:14, the drums and guitars get bigger with a tidal wave of atmospherics, suggesting that the moment of judgment has arrived and you're sentenced to being beaten to death, which is a pretty harsh penalty for a parking ticket. An atmospheric, gritty foreboding middle section starting @:37 gives the impression of isolation and impending conflict, which conveniently arrives @1:12 with bursts of drums and guitars, resolving into the full mix. Good for investigations, combat, sports, imminent violence and a reminder to park carefully.
  • 13.
    Lil Cute Swagger-Main Track-Full Length
    The musical equivalent of getting trampled by a herd of toddlers. Madcap, fast, playful and lighthearted without being goofy, this Blues Rock remix starts with a lively solo harmonica, propelled by kick drum and hand claps that @:12 bursts into a galloping, busy, frenetic and happy blitz of delayed acoustic guitars, drum machines, brass accents and synth bass, suggesting tons of activity, road trips, travelogues, sports bloopers, sped-up footage of children, NASCAR and rodeo clowns. The central section provides a variety of loopable expectant beds starting @:30. The full harmonica-fueled mix returns @1:10.
  • 14.
    Roadhog-Main Track-Full Length
    Time to hop on your bike, hear those pipes roar, gun the engine and then lose EVERY FUCKING GAME of Mario Kart to your 12-year old cousin. Gritty, unwashed and matter-of-fact toughness that's appropriate for road trips, shows of machismo and letting people know that you have, indeed, seen several episodes of "Sons of Anarchy." Built around simple, basic Rock distorted electric guitar riffs and indefatigable acoustic drums, this cut adds electric bass and even more guitars @:15 creating a mid-tempo, attitudinal wall of leather-wearing ruffian music. After a brief drums-only break @:31, the cut progressively builds up again until a full, muttonchop-wearing mix returns @1:19. Good for sports, suggesting resolve/determination and having your lunch money stolen.
  • 15.
    Lust For Fun-Main Track-Full Length
    Vodka commercial or party/nightclub scene, at least before people get too drunk and think the bartender's garnishes are an all-you-can-eat fruit bar. Fun, sexy, uptempo Latin-tinged Funk/Pop built around busy percussion (agogos/cowbells, shakers), a perky electric bassline and suggestively seductive woman's wordless vocals (suggesting she's a little iffy on the lyrics or eating a really good sandwich). The piece gets bigger and adds more movement @:14, making the cut applicable for small-scale celebrations, nightlife and sleek entertainment spots. The cut breaks down to a series of smaller, loopable mixes @:30, ranging from a four-on-the-floor kick drum and playful electric guitar to a bass/drum break @:47 with hand claps, finger snaps and happy percussion. A full, driving mix returns @1:17.
  • 16.
    Punk Out-Main Track-Full Length
    Hey-ho, let's go! Rollicking, fast, propulsive, chaos-causing, school-skipping Pop-infused Punk Rock that's rebellious but misunderstood, probably due to the fact that it only says "whoa-oh-oh" for which, according to Google translate, the closest approximation is "Bo ox ox" which in Belarusian means "during oh oh." Clangorous electric guitars strum their way through the cut, with drums slamming in @:07, and electric bass and "whoa"ing male vocals following close behind @:15 suggesting aggressive sports, vacations, road trips and that odd emotional place where fun and anger intersect. A pulsing electric bass-driven bed @:29 generates excitement and suspense until a drum break @1:01 ushers in the full, bar-trashing mix. Guaranteed to confuse TV watchers in Belarus.
  • 17.
    Mother Humbucker-Main Track-Full Length
    Swaggering, take-charge, leather-wearing, attitudinal 70s Rock-tinged track that if personified, would probably be dressed like a pirate due to my own personal fantasies. Gritty and egotistical, this cut struts its way with fuzzed electric guitars, basses and synths, driven by acoustic drums and woodblock, all getting bigger @:12, loudly announcing its dominance with lead guitar and a cymbal-loving drummer. An expectant middle section uses simple guitar ostinatos and drums to suggest tension building, then resolves @:54 with the electric guitar melody reintroduced, followed by a crashing, unrepentant full mix @1:07. Good for messy sports, road trips, motorcycle gangs or sports that are no longer legal, like bare-knuckled boxing, infant high-diving and worseminton (it's like badminton, but, well, you know).
  • 18.
    Bounty Hunting Losers With Beards-Main Track-Full Length
    This modern take on 70s Rock is so tough that it can gain energy from a mechanism without fuel or photon consumption! Okay, sure, not that intimidating to most, but my scientist friends are pretty impressed. Loud, overdriven and attention-demanding electric guitars growl over mid-tempo acoustic drums and synth/electric bass to create hit-filled musical carnage, with episodic stabs of wailing guitars and multiple mood changes/breaks. A loopable bed @:34 takes away everything but a simple synth bass and breathing/panting that explodes into a series of guitar hits @:44 followed by a smarmy-sounding "nose-thumbing" processed guitar solo @:55. But regardless of what happens, all roads lead back to the main mix @1:04, laden with episodic dramatic stabs of guitar and regret. Good for dirt-covered sports, egotistical acts of self-importance, shows of poor sportsmanship, radical insensitivity to the suffering of others and getting beaten up by a bear before he eats you.
  • 19.
    Concrete Lights-Main Track-Full Length
    Dark, fight-instigating egomania. Stately, measured drums, stabs of distorted organ and a "hoo hoo"-ing male vocal hook that all suggest a confident swagger, exaggerated pride and the feeling that the world is your oyster, which can make you seem a little shellfish. Yes, it's a Dad joke. Go shuck yourself. Slow, threatening acoustic drums, alarm-like synth/organ drones, synth bass and repeating loops create the feeling of an evil army of adolescent, immature guys from college slowly, step-by-step, trying to "mussel" their way into your life/house. Oh God. Seriously. Please fucking kill me. The cut is centered around the processed, taunting vocals that start @:05 and only stop briefly @:31, mocking you as they return seconds later. Good for poor sportsmanship, overconfidence (or haunting reminders of failure) and apparently for making bivalve jokes.
  • 20.
    Command Respect-Main Track-Full Length
    Confident, fun-loving but soft-spoken swagger that suggests you're determined, but might fall a little short due to the mind-numbing amount of ingested edibles. Attitudinal Indie Rock/Ska/Reggae Rock that's built around lilting electric guitars, loping acoustic/electronic drums, pulsing bass, the occasional spontaneous vocal "whee!" and fun, sampled brass stabs (starting @:17) that suggest friendly sports/competition, working tirelessly on a common goal, image spots, vacation footage and beach scenes. After a huge wind-up that starts @:55, a male vocal hook enters and continues through until the end, suggesting a sports team chant, a show of unity or suggesting polite toughness.
  • 21.
    Thems Fightin Words-Main Track-Full Length
    Fun, attitudinal and rough, pounding Arena Rock with a happy-go-lucky melody provided by a large group of inebriated people whistling. Imagine being challenged to a fight to the death by the Seven Dwarves. Or maybe just having a bad Andy Griffith/"Bridge Over the River Kwai" flashback. Driving beds of gritty-sounding acoustic kicks/toms provide a propulsive bed for lighthearted whistling, baritone/tenor saxes and grinding, overdriven synth bass starting @:09, giving the piece an Industrial Rock feel with various vocal grunts and call/answer crowd cheers to suggest sports, tribal warfare, aggressive Disney employees, showdowns, building excitement and karaoke-ing to the death. A cut that mixes the "upbeat" with the "beat up."
  • 22.
    Rage Incarnate-Main Track-Full Length
    Imagine your world crumbling in spastic, uncontrolled bursts, like emotional ulcerative colitis or a cow with lactose intolerance. This episodic, attention-grabbing Industrial Alt Rock cut starts with flashes of percussive violence, suggesting fast montages of disturbing images or flashes of life-changingly-bad events erupting like bursts of machine gun fire which feature electric guitar, electric bass, percussive strikes and electronic drums. Interspersed between these heart attack-like seizures are Casio-keyboard-like cheesy percussion (starting @:06) and gritty, unfocused beds of noise like the radio-like noise @:33 or the growing cacophonous rise that starts @1:11, suggesting the world's angriest alarm clock, the end of the world or a car crash in slow motion.
  • 23.
    Wheels Off-Main Track-Full Length
    Hey-ho, let's go! Rollicking, fast, propulsive, chaos-causing, school-skipping Pop-infused Punk Rock that's rebellious but misunderstood, but definitely familiar because I've used this exact sentence in another description already. Attitudinal, but happy, guitar-driven Punk Rock at its most repetitive, simplest, hit-filled and most repetitive. Overdriven electric guitars play a hook over and over while acoustic drums build the tension until @:08, an electric bass, drums and the feeling of déjà  vu explodes into a tambourine-assisted driving bed of mischievous derring-do with multiple breaks, fills and an expectant hand-clapping/shaker break @:31 that builds back to the main theme @:51, getting progressively bigger towards the end. Good for sports, attacks of irresponsibility, juvenile comedy, acts of vandalism, road trips and vacations.
  • 24.
    Six Pack Savior-Main Track-Full Length
    Straight-from-central-casting tough, Country-tinged Blues Rock that would work for advertising a pickup truck, beers or promoting a show where a flannel-shirt-wearing protagonist solves backwoods crimes until he gets eaten by a bear. A soft-spoken porch-sitting slide dobro/acoustic guitar and hand clapping intro bursts into an electric guitar-propelled theme @:11 that adds electric bass, drums, organ and background vocals, getting bigger, revealing more chest hair @:22. A more laid-back bass- and drum-driven interlude with @:30 suggests mystery, as in "why is the guitar player in pieces and there are claw marks on the amplifiers?" The mood intensifies @:56 as the main theme/mix muscles its way back, suggesting that either justice is being served or more delicious human meat. Good for man-against-nature shows, sports, getting muddy, suggesting machismo or being eaten by a bear.
  • 25.
    Dress Code Violation-Main Track-Full Length
    The musical score to a night of raucous drinking. Strutting, self-confident and partially blind due to the running manscara, this glitzy, fun, irreverent, guitar-driven Glam Rock track creates a propulsive, uptempo blitz that starts with pulsing electric bass, adds drums @:06 and explodes into an attitudinal fuzz-guitar-fest @:12. @:30 we return to a pulsing underscore-like feel creating a moving, expectant bed of anticipation that builds back up to a series of call/answer hits starting @:58, then back to the main mix/theme @1:12. Good for sports, chaotic mischief, image spots, celebrations, nightlife, the power of alcohol and probably getting eaten by a bear.
  • 26.
    Eat Dirt-Alternative Version-Full Length
    Still hard-partying Rock/Funk, but features an attention-seeking saxophone @:16 when the main theme enters, giving the cut a more Saturday Night Live/Late Night Talk Show feel. Still celebratory and attitudinal and appropriate for sports, aggressive alcohol/beer/deodorant advertising, grabbing attention and being rowdy, loud and in need of Ritalin.
  • 27.
    Eat Dirt-Underscore-
    Par-tay. This attitudinal Rock cut is basically challenging you to a fight with stripped-down drums and stop/start gritty electric guitars/bass that get progressively more tough-sounding until a Funk-tinged brass melody enters, suggesting any differences can be worked out through a choreographed flashmob dance number. Basically a collection of loopable MAIN version submixes, including the main explosively positive main theme @:43 and @1:58, both featuring an attention-seeking saxophone player. Good for sports, entertainment news, fashion and celebrating one's ability to drink to excess.
  • 28.
    Ultimate Swag-Instrumental-Full Length
    Gritty, thrumming, propulsive guitar-driven Rock, but this time without the vocals. Still good for sports, aggressive marketing and suggesting a stereotypical, unwashed swagger that would definitely challenge itself to a bar fight. And lose.
  • 29.
    Ultimate Swag-Underscore-
    Aggressive, driving Rock that provides an excellent way to build suspense, excitement and drive to succeed. A series of extended, loopable beds taken from the MAIN version that range from repeated, strident strummed guitar at the top to waves of electric guitar @:20, to a gritty, overdriven guitar melody @:45, to an expectant four-on-the-floor kick drum, claps and chiming guitar section @1:08, an all-vocal break @1:47 back to the main version/mix @1:58. Good for announcing important events, suggesting determination, progress or overcoming adversity.
  • 30.
    Ultimate Swag-Instrumental-
    Remember the cut right before this one? It's exactly the same but this one removed all the vocals, leaving a big, empty drums-only break @1:48 where the vocals used to be. I kind of miss them. God, I'm so lonely.
  • 31.
    Backyard Traveler-Underscore-
    More percussion-driven version of the MAIN track, providing kick drum, claps, vocal grunting hits, tambourine and much simpler acoustic guitars, providing mostly rhythmic, non-intrusive accompaniment giving the cut forward momentum for any road trip, fishing expedition, nature special, drinking marathon and/or pursuit that usually involves some kind of written apology afterwards. The acoustic guitars return @1:49 for a brief guitar-filled jamboree-like ending.
  • 32.
    Live Fast-Underscore-
    Fast, fun, Garage-y Indie Rock that uses electric guitars/bass, drums and a brass section @1:57 to lighten the mood. Basically a longer version of the MAIN version with extended, loopable mixdowns providing a variety of variations, including the soloed electric bass @1:04 that incrementally builds back to the main mix @1:45. Good for action, sports, entertainment and anything that moves fast.
  • 33.
    Aggressive Repressive-Underscore-
    Madcap. Riotous. Fun. A veritable orgy of metaphorical irresponsibility. A combination of Swing and Rock, this track features baritone saxophones, electric bass, drum machines and hand claps that provide a series of propulsive, driving and lighthearted mixouts from the MAIN version that are appropriate for children's shows, cartoon-like action, sports bloopers, frenetic cutting and lighthearted entertainment.
  • 34.
    Road Ready-Underscore-
    Freewheeling, drunken drive down back roads, tight paths and dirt trails, that unfortunately just makes this description sound more and more like immature euphemisms. Fun, sloppy slide guitar-driven Country Blues Rock that varies between twangy guitar-filled breaks and batacuda-esque/drum corps-like percussive interludes. Good for sports, rodeos, barroom revelry, road trips, falling off the wagon (literally and figuratively) and what I like to call "burying the bacon," which, I know is a strange name for playing checkers, especially when everyone seems to think it's something sexual.
  • 35.
    Road Ready-Alternative Version-
    Painful, forlorn loss. Contemplative, isolated and almost mournful Dobro against subtle synth pads and bowed acoustic bass suggest a painful loss, the death of someone close or that you're taking the discontinuation of the McRib sandwich way too hard. Winner of the "Most Different Alternate Version that Sounds Nothing Like the MAIN Version" award, this track works for funerals, ecological disasters and providing the sense of expansive beauty.
  • 36.
    Snake Boots-Underscore-
    Time passes, but does it with coolness and self-confidence, as my third wife just left me for it. Slick, greasy Blues Rock sensuality that, compared to the MAIN version, is kind of like a more positive, straightforward bed of attitude that suggests time passing, life on "the streets," the struggle for human existence and someone, somewhere, is having the sex that you should be having. Gritty electric guitars, stamps/hand claps, sultry women's vocals and drums provide loopable extended mix-outs for intros/beds. Good for product announcements, sports, corporate muscle-flexing, fashion catwalks and exploring hip neighborhoods. I miss you, Rhonda.
  • 37.
    Freedom Rock-Underscore-
    Fun, positive and grittily inspirational road-trip-ready 70s guitar Rock, suggesting feelings of exploration, discovery and independence. Starts with friendly strummed acoustic guitars and electric bass that explodes into an electric guitar-filled, drum-driven explosion @:21. This version offers extended and loopable mix-outs from the MAIN that give you plenty of room for intros/beds, making it perfect for sports, travelogues, happy vacations and heeding the call of the open road: buying a motorcycle, getting into an accident and later selling it while you hope you can regrow two new legs from stem cells. A Southern Rock-esque acoustic piano break @:57 suggests personal/emotional growth just before the main, guitar-propelled theme returns @1:37.
  • 38.
    Beat Street Boogie-Underscore-
    A solid, driving and slightly repetitive Rock drum/bass bed. This attitudinal and gritty drums/electric bass bed from the MAIN that removes the lead electric guitar riff until the very end where a full, loud mix explodes out of the blue @1:33, most likely killing the weak-hearted and causing manatees to hump you mercilessly. Tremoloed electric guitar hits starting @:58 provide slightly dramatic moments, but basically it's a good bed for sports, confrontation, investigations, building suspense and suggesting toughness or competition. Warning: do not play at Sea World.
  • 39.
    Trouble Boiler-Underscore-
    Attitudinal, tough-sounding version of 70s Cop Show Rock with a modern edge (it has its own Instagram page and sense of entitlement) that gives the impression of something menacing lurking in the shadows, ready to jump out and do something inappropriate. Starting with a brief, mysterious/spacey atmospheric bed of guitar effects, this stripped-down version of the MAIN is primarily built around the cut's hook, played on electric bass, accompanied by a four-on-the-floor kick drum which is good for building anticipation and suspense. A buildup to the main mix starts @1:23 with organ and electric guitar, getting biggest (but not as big as the MAIN version) @2:02. Good for investigations, sports, suggesting strength/persistence and willingness to commit violent acts.
  • 40.
    Talk Hard-Underscore-
    Fun tech-friendly, smartass Indie Rock. Attitudinal, fun and swagger-filled extended mix-outs from the MAIN version, providing space-filling backgrounds that offer both lead-melody-free beds and melody-driven ones (starting @1:15). Good for comedy, sports bravado, lighthearted conflict and suggesting that things are getting done even though there have been a few fires and several unexplainable deaths.
  • 41.
    Drill It Down-Underscore-
    Slow, threatening, gritty Blues Rock that signals that someone is going to get a pretty severe beatdown and hopefully it will be the guy who wrote this cut, as he made five different versions to write descriptions for. This version is an extended version of the MAIN, with longer beds of fuzzed guitars, simple drums and atmospheric pads alternately providing dramatic crescendos and beds of dark foreboding suspense. The cut gets most dramatic @1:53 with isolated hits that coalesce into a full, the end-is-here mix @2:23. Good for tension, the threat of violence/actual violence and impending disaster.
  • 42.
    Drill It Down-Alternative Version-
    Pulsing, threatening washes of gritty distortion that build in intensity against a heartbeat-like kick drum and synthetic throbbing that grows more electric-like and immediate, eventually growing in size, tenor and density @:40 as it adds an undercurrent of ostinato synths and synthetic pads that rise in pitch, climaxing together in one big pile of sound. Good for tense standoffs, slow motion violence, situations that are getting out of hand and shark attacks.
  • 43.
    Drill It Down-Alternative Version-
    The more sound-design-ish version. Tense bed becomes a suspenseful rise. I'm not sure what separates this version from the previous one, but I'm sure there's something. Still offers the pulsing waves of gritty distortion that build towards the end and adds a synth pad that rises in pitch until a messy, disorganized climax. But does it without the musical elements. Good for building a sense of impending disaster/doom and makes an excellent game of "what's missing" for audiologists.
  • 44.
    Drill It Down-Alternative Version-20s
    Slightly "off" bed of organic/synthetic string-like pads that waver in and out of tune, suggesting a tense beginning, disorder, or the world's worst orchestra trying to tune.
  • 45.
    Lil Cute Swagger-Underscore-
    Waiting for something fun to happen? Fun and propulsive bed of synth bass, kick drum, tambourine and hand claps with guest appearances by muted electric guitar (@:26) and rhythmic gasps of Blues Rock-tinged harmonica (@:52) make this a fast, uplifting and light way to build excitement or just fill in time with the sense of movement. Good for entertainment spots, celebrations, time passing, and getting people excited.
  • 46.
    More distorted motorcycle-riding 70s-era Rock appropriate for roadtrips: unleashing the hog, revving the guns, dodging the bears, splitting the lanes, double boiling the béarnaise sauce and realizing too late that I know nothing about motorcycle slang. This homage features electric guitars driven by acoustic drums and the sense that this cut hasn't changed its clothes since "Easy Rider" first came out. Extended mixouts of the MAIN, with a longer section of loopable determined toughness, good for sports, suggesting endurance and unpolished grit.
  • 47.
    Lust For Fun-Instrumental-Full Length
    The same fun, Latin-tinged nightlife/party track with playful electric guitars, electric bass and enough bouncy, percolating percussion to kill Tito Puente's mother, but this version magically gets rid of the female vocals. Well, not magically. She's in a closet. We told her it was the elevator. Great for happy entertainment, light human interest pieces and celebrating an overabundance of percussion.
  • 48.
    Lust For Fun-Underscore-
    Expensive-sounding advertising track for alcohol, cars, fashion or cat-polishing service (if it were pricey enough). Percolating, uplifting and suggesting a sleek, nightlife-friendly evening on the town, with dim lights, good-looking people and cleavage, but not ass-cleavage. Nobody needs that. Extended mixes of the MAIN version, revolving around bouncy Latin-tinged percussion (hand claps, finger snaps, agogos, shakers and tambourines) that collectively range from kid-friendly percussion fiestas at the top, to seductive (by adding "mmm"ing woman's vocals) @:24, to hipper-than-thou four-on-the-floor kick-driven beds of finger snapping and perky bass @1:10.
  • 49.
    Lust For Fun-Instrumental-
    Smart, perky, fun and voiceover-friendly version of the BACKGROUND, but slightly less sexy due to the fact that we've removed the woman's vocals. In case you're worried, the vocalist is fine. She's now at a farm upstate spending the rest of her days playing with other vocalists.
  • 50.
    Lust For Fun-Alternative Version-Full Length
    Still fun, sexy and toe-tappingly driving with tons of percussion and rhythmic elements, but this cut takes the MAIN version a step farther and adds a little fast Flamenco-like clapping at parts.
  • 51.
    Punk Out-Instrumental-Full Length
    Music for wrecking things. Pop Punk Rock that mixes anger, ennui and the feeling of being on the cusp of out of control, just like four bowls of "Cap'n Crunch Magic Squares" (which are just sugar cubes). An army of overdriven electric guitars, fast drums and electric bass propel you through adolescence faster than cable-scrambled Cinemax ever could. Sure, it's just the MAIN version without the vocals, but this track will make any sport, road trip, blooper reel, fast-cut montage and attitudinal, chest-thumping image spot get attention.
  • 52.
    Punk Out-Underscore-
    Expectant tension-building explodes into a guitar-driven attitudinal onslaught. Various loopable mix-outs from the MAIN version provide a metaphorical salad bar of sections that you can string together to create either a movement-filled backdrop for voice-over or an escalating build to the main mix @2:25. Great for building suspense, announcements, suggesting fast-paced action, investigations, small-scale riots and causing trouble.
  • 53.
    Punk Out-Instrumental-
    This is the same as the BACKGROUND version, but without the vocals. You know how you can tell? Probably by the giant, incredibly-conspicuous empty hole of silence @2:01 where the vocal break used to be. Maybe it's a mime solo. Or a herd of giraffes. Or a brief message from our psychic friends. Sigh.
  • 54.
    Mother Humbucker-Underscore-
    Swaggering, strutting and attitudinal way of suggesting that metaphorically, your shit doesn't stink. If it literally doesn't, and you'd like a roommate, let me know. Gritty, dirty and electric guitar-driven 70s Rock creates multiple builds (@:15 and @1:38), beds, breaks and riff-propelled extended sections from the MAIN version that work well for sports, image spots, investigations, suggesting toughness or a lack of personal hygiene.
  • 55.
    Bounty Hunting Losers With Beards-Underscore-
    Various musical precursors to violence, followed by various musical episodes of violence, followed, oddly, by a tambourine solo (@1:45), then more violence. Grubby, unwashed and probably Manwich-eating 70s-tinged Rock that uses overpowering, dirty electric guitars that slide, scream and hog the blankets while acoustic drums, electric bass, drum machines and a panting Doberman (@:39) provide multiple ways to suggest that a beatdown is coming, a biker gang is going to give you an internal search, or Netflix's "The Crown" has just taken an unexpected turn.
  • 56.
    Concrete Lights-Underscore-
    A dark and kind of dystopian way of suggesting triumph or dominance. Low, gritty synths provide a constant, foreboding pad of noise beneath drums (@:31) and a "hoo hoo"-ing male vocal hook that sounds like either an overconfident mating call or a taunting, belittling reminder of an opponent's inadequacies, like the St Louis Cardinals, who after an Amazon-based costume ordering misunderstanding, now have a mascot dressed in velvet robes that blesses people. @1:03 a simple synth bass pad and looped, gritty alarm-like figure create a synthetic and uncomfortable bed for the drums and vocal hook, suggesting technological failure and cyber security issues.
  • 57.
    Command Respect-Instrumental-Full Length
    The laid-back confidence of the MAIN version but this time without the vocal chants at the end. Still feels fun and tough, without being too threatening, like a unicorn-themed motorcycle. Good for casualty-free sports, vacations and suggesting determination and forward movement.
  • 58.
    Command Respect-Underscore-
    Laid-back self-confidence presented in a non-scary, lilting, slow-to-mid-tempo combination of Ska, Reggae and Indie Rock. Syncopated electric guitars, electric bass, attitudinal drums and sampled brass suggest a tough (but still sensitive), attitudinal track that provides tons of breaks, loopable sections applicable for intros and, as in the case of the drums-only section @1:26, surprisingly abundant options for editing this track to fit your needs. Chant-like male vocals make a brief appearance @2:28. Great for suggesting time-passing, image spots, training montages and indefatigable determination.
  • 59.
    Thems Fightin Words-Alternative Version-Full Length
    The no whistling version. Rowdy Alternative/Industrial Arena Rock that takes gritty, badly-recorded acoustic kicks/toms, sprinkles it with vocal yells, crowd calls/answers and then inserts a driving, distorted lead synth bass to suggest toughness, aggressive sports, or just having a boot firmly placed up one's ass (which, hopefully will remain a euphemism for getting beaten up and not become a fashion trend in the future).
  • 60.
    Thems Fightin Words-Underscore-
    Arena Rock track with driving drums that were accidentally recorded on an iPhone that someone said "hey, I bet we could use these in a cut!" That someone was wrong and was summarily fired. This attitudinal Swagger Rock cut takes pounding drums, processed football stadium chant call/answers and vocal snippets creating a bed of propulsive movement, eventually adding a distorted, angry-sounding synth bass lead @1:02 and a disturbingly happy group of people whistling a lead melody @1:47 that suggests that your city is being attacked by Disney employees showing you "A Whole New World (of Hurt)". Good for sports (hockey, football, futbol), suggesting toughness and determination.
  • 61.
    Rage Incarnate-Underscore-
    The "I think I'm having a seizure" of production music cuts. Don't let the Casio-esque cheesy percussion at the top fool you, this cut is a nightmarish series of episodic violent blasts of percussive hits that vary in size, but let you know that something is definitely wrong with the world or you, neurologically. Starting with a building bed of four-on-the-floor kick drum, deceptively-silly electronic blips and rhythmic electric guitars, the mood grows darker with a series of progressively threatening spasms of percussion, electric bass and ugly sounds. A rising bed of gurgling pads, droning bass and the occasional dramatic blast starts @1:23 and increases in intensity until the main episodic percussive theme returns @1:47. Great for intense conflicts, internet crises, cyber security breaches and the feeling that reality is slowly crumbling around you.
  • 62.
    Wheels Off-Underscore-
    Need to generate excitement? This uptempo and happy Pop Punk cut takes the MAIN version and provides longer mix-outs of various sections, like the soloed electric bass at the top, that progressively adds hand claps, acoustic drums and electric guitars, finally getting to the repetitious riff from the MAIN version @1:07. Good for vacations, comedy, irreverent travelogues, sports, road trips and any activity that will end up on Instagram and prevent you from ever running for office, adopting a pet or even buying a plant. Yes, it was quite a picture.
  • 63.
    Wheels Off-Alternative Version-
    Want rollicking? Here it is! Want to know what rollicking means? Me too! Right after I figure out what "nougat" is. Catchy, repetitive and fun-loving guitar-driven Pop Punk that is a less background-y background than the BACKGROUND. Straightforward, happy-feeling, riff-driven track that features muscular electric guitar riffs, electric guitar, tambourine and acoustic drums that provide a rollicking, swing-like solo break @:47 (adding hand claps @:57) that feels like someone is having fun, letting loose or breaking some kind of law (but not "thou shall not covet thy neighbor's wife," because my neighbor is a widower and after my 20 years of marriage that seems kind of nice). Focusing on a different riff than the MAIN version, this can be combined with it just in case Ken Burns ever decides to document the History of Punk.
  • 64.
    Six Pack Savior-Underscore-
    Rough, muscular and ready-for-rasslin' guitar-driven Blues Rock (with a tinge of Country) suggests the machismo of a truck commercial, the rawness of bare knuckled boxing and the unexpected surprise of being eaten by a bear (Smokey, Yogi or Gryllis). Longer beds of acoustic slide guitar, dobro, hand claps and stamps slowly become louder, more authoritative and eager to mansplain as a lead electric guitar enters @:45. Various mix-outs throughout provide loopable beds (like the stamps/claps-only part @1:17 or the drum and bass break @1:43), returning to the full mix @1:56. Good for sports, wearing flannel (unless they're pajamas), roughing it or just exploring the harsh, dusty plains of the American Midwest.
  • 65.
    Dress Code Violation-Underscore-
    Upbeat, fun and the Glammiest Glam Rock you'll find this side of rehab. Driving electric bass, fuzzed-out electric guitar riffs, drums, hand claps and tambourine provide a series of extended beds appropriate for a night on the town, sports, celebrations/parties, getting drunk, making bad decisions and eating an entire campsite of sleeping people, if you were a bear.
  • 66.
    Concrete Lights-Instrumental-Full Length
    Self-confident and no-bullshit martial-sounding drums create a measured beat driving a bed of synth bass, atmospheric pads and a chainsaw-like droning that would scare the crap out of me if I heard it while I was alone in the woods. A version of the MAIN without the vocals, creating a darker, more haunting track appropriate for cyber terror, investigations, "CSI: Anything," and if your neighbor is cutting down a copse of trees. I just wanted to use the word "copse."
  • 67.
    Concrete Lights-Instrumental-
    Please refer to the description I wrote for CONCRETE LIGHT (MAIN INSTRUMENTAL). This is a lot like that - except longer and slightly better for backgrounds and bear attacks.