Burning Daylight

A 130bpm B-flat rocker built on riffing guitar, bass, drums and barrelhouse piano, with male and female lead vocals trading off for a sassy, flirtatious call-and-response feel. Short and punchy at 2:40, it stays bright and good-humoured rather than heavy, landing on a clean full-band finish. Suits scenes where two characters spar playfully.

The fastest cue on the set at 152bpm in E, a lean guitar-bass-drums burner with a raunchy male lead and no keys to soften it. Two and a half minutes of forward-driving 70s riff rock, ideal for anything accelerating or breaking the rules.

A swaggering mid-tempo 110bpm groove in A with piano thickening the guitar riff under a cocky male vocal. The car-title connotation and loose, strutting feel make it a natural for chrome, open highway and vintage Americana imagery.

The album's slow ballad: 80bpm in D, the longest cue at 3:52, with piano and clean guitar under male and female vocals sharing a nostalgic, wistful lyric. Reflective and romantic rather than raunchy, it builds through the band arrangement to a heartfelt close.

A 92bpm A-major stomp for guitar, bass and drums with a gritty male vocal and unmistakable biker-mythology title. Slow enough to swagger, short at 2:22, and blunt in its instrumentation — no keys, just riff and backbeat.

Uptempo 130bpm rock in A, guitar-bass-drums only, with a defiant male lead and a title that points straight at long-haul highway footage. Cousin to the album's other 130bpm cut but grittier and keyboard-free, running a tight 2:39.

A 96bpm E-major mid-slow cut with piano under the guitars and a moody, romantic male vocal — the invitation song rather than the party song. Reflective and nostalgic across three minutes, warmer and more intimate than the album's raunchier riff tracks.

A 120bpm E rocker with a bare guitar-bass-drums lineup and a sneering, venomous male vocal to match the title. Steady and mean in the pocket at 2:51, useful when footage needs threat with a grin.

The title track, a loose 82bpm A-major groove for guitar, bass, drums and male vocal — the slowest of the feel-good cuts, all swagger and no rush. At 3:07 it has room to sit under sunset and last-light imagery while keeping a raunchy, unhurried edge.

The only minor-key cue here: 126bpm in A minor, guitar-bass-drums with a confident male vocal, giving it a darker edge than its feel-good siblings. Driving and assured across 2:54, it suits a turning point or a decision made under pressure.