The slowest and heaviest cue here: a 78 BPM D minor blues rock stomp built on distorted guitar riffing, thick bass, hard backbeat drums and handclaps, with wordless oohs and ahhs filling the gaps. The lumbering tempo gives it a swaggering, chest-out menace rather than urgency, landing on a solid full-band finish. Suits slow-motion entrances, heavyweight truck and motorcycle spots, and wrestling or fight-sport promos.
A 100 BPM E minor stomper that adds sound design textures to the album's core kit of distorted electric guitar, bass, hard drums, claps and background oohs and ahhs. The moderate groove and processed sweeps make it the grittiest, most modern-sounding cue on the record, building on attitude rather than speed. Works for streetwear and sneaker spots, desert road footage and stylised action trailers.
At 150 BPM in D minor this is a fast, driving blues rock burner — chunky distorted riffs, pounding drums, claps and gang oohs and ahhs pushed to a stadium-sized wall of sound. Short at 2:12 and relentless from the top, it plays as one sustained adrenaline surge to a hard ending. Good for chase sequences, race footage, bar-brawl scenes and energetic reality TV cutaways.
A 92 BPM G minor mid-tempo blues rock groove with dirty guitar riffs, fat bass, backbeat drums, claps and background vocal oohs and ahhs. The lower key and unhurried strut give it a hot, greasy roadhouse feel — cocky rather than frantic — and it closes on a firm band hit. Fits southern road-trip footage, food and hot-sauce branding, bar and honky-tonk scenes.
The fastest cue on the album at 168 BPM in E minor, a flat-out blues rock charge of distorted riffing, driving bass, hammering drums, claps and shouted-style oohs and ahhs. Its title-implied confrontation reads as a head-to-head build with no let-up across a tight 2:12, resolving on a hard stop. Built for showdown edits, extreme sports, race-day openers and competition-show reveals.