36 cues
The outlier on the album: a 185bpm indie-rock burner in E minor driven by fuzzed, distorted electric guitar, claps and shouted vocal samples rather than the horn-and-breakbeat funk of its neighbours. At just over two minutes it is a flat-out sprint with no let-up, built for fast cuts.
The fastest track here at 180bpm in A, adding strummed acoustic guitar to the electric guitar, bass and drums for a restless, near-punk gallop with shouted background vocals. Urgent and wild, it barely pauses across its 2:33.
The shortest and punchiest of the funk-rock lounge cuts at 130bpm in E minor, with electric guitar, horns and Hammond over a tight rhythm section. The minor key keeps it slinky rather than sunny, and 2:01 makes it an efficient cutdown bed. Suits ad edits, retro title sequences and any scene needing groove with a wink.
The fastest and most energetic cue at 128bpm in C minor, pushing a driving 4/4 kick, arpeggiated synths, electric guitar and chopped vocal hooks. Compact at 2:22 and built for peak-moment cutting — festival crowds, sports highlights, or the payoff section of a launch film.
The fastest-feeling of the guitar-band cues at 170 BPM in C, built on a driving drum kit, busy bass and bright electric guitar with no keyboards to soften it. Sunny, teen-coded and relentlessly forward-moving across 2:45, suited to surf, skate and summer road footage.
The outlier: a bright 138bpm indie-corporate track in F# built on strummed acoustic guitar, bass and drums with male lead and group backing vocals, no strings or dobro. Short, punchy and advertising-shaped, positive from the first bar and clean to a hard end.
The album's fastest cut, a 130bpm breakbeat in C minor built on hard-hitting drums, layered percussion and a low drone with pulsing undercurrent, chopped vocal FX peppered across the groove. Cold, slightly eerie edge to the funk — more night-drive than sunshine — and long enough at nearly four minutes to carry a full sequence.
A 130bpm electronic mash-up in A minor built on driving beats, electric guitar riffs, chopped vocal samples and stabbing horns, with a wide-open frontier swagger to match the title. The energy is immediate and comedic rather than menacing, and at under two minutes it works as a short, punchy montage bed for chase gags, road trips or competitive reality edits.
At 104 BPM this is the most laid-back groove in the collection, a marching-band-flavoured mix of drums, claps and percussion that struts at walking pace. Its 1:42 length and lack of melody make it a dependable rhythmic underlay for talking heads and titles.
Brighter, more commercial rock at 140bpm in B flat, with claps alongside guitars, bass and drums instead of heavy distortion — closer to an ad-friendly indie stomp than the album's harder cuts. Cheerful and slightly comedic, good for feel-good lifestyle spots and light dramedy montage.
The most rhythmically playful cue here: 120bpm in G with mandolin, handclaps and a four-on-the-floor kick under acoustic guitar, brass, male vocals and choir. It reads as celebratory and forward-marching from the first bar and lands on a big triumphant chorus, ideal for crowd-driven, cause-led footage.
A fast 182bpm punk-flavoured rock romp in C with driving electric guitar, bass, drums and claps, offset by vibraphone and organ for a playful wink. Under two minutes, it's the shortest and one of the most hyperactive cues here, ideal for quick-cut comedy.
A fast 180bpm shuffle in E minor with a twangy, feel-good edge — snapping drums, walking bass and bright electric guitar keeping a constant forward roll. The most upbeat and least aggressive of the set, cheerful rather than confrontational across 2:39.
Bright indie folk built on strummed mandolin, piano and strings over a driving 130 BPM four-on-the-floor kick, with wordless oohs lifting the choruses. Sits in a warm, unclouded G major and grows from a light picked opening to a full, hands-in-the-air finish. Suits family-brand advertising and hopeful lifestyle montages.
Mid-tempo surf-flavoured pop rock at 92 BPM in A minor, built on electric guitar and drums with wordless female vocal hooks. The minor key gives it a cooler, moodier swagger than the sunnier cues here, resolving cleanly inside a 1:48 commercial length.
Pitchless percussion cue at a mid-tempo 94 BPM, built from kit drums, hand claps and layered percussion with shouted vocal samples and FX punctuating the groove. Struts rather than sprints, so it sits under narration without fighting it, and the chant-style vocal hits give it a locker-room swagger.
124bpm breakbeat in C minor with a northern-soul nod in the title, driven by drums over drone with vocal samples and sound FX and no separate percussion layer — direct, stripped and dancefloor-facing. At 3:11 it's a compact, loop-friendly groove for cutting to picture.
The fastest cue here at 112bpm in C, pairing ukulele and acoustic guitar with claps, shaker and kick plus a whistled top line that carries the melody. Sociable and party-warm as the title suggests, with a steady four-on-the-floor push and a clear finish. Good for friends-gathering footage, food and drink brands and hipster lifestyle content.
Country rock at 153bpm in G, with fiddle riding over electric guitar, bass, drums, claps and synth for a quirky, comedic western swagger. Lively and tongue-in-cheek throughout, it works best where humour and rural Americana meet.
The fastest of the synthpop cues at 144 BPM, pairing bright synth arpeggios and piano with claps, a steady 4/4 kick and airy backing oohs. C major keeps it innocent and unclouded, matching the nostalgic title, and the energy stays high and celebratory throughout.
160bpm in E and driven hard by drums, bass and strummed acoustic guitar with electric guitar and choir carrying the peak; no lead vocal, so the energy is instrumental and propulsive. Joyful and euphoric rather than epic, it works best where the picture is already moving fast.
The only cue here with synth alongside the electric guitar, bass and drums, giving 128 BPM in C a slightly glossier, more modern pop-rock sheen. Its 2:14 length and optimistic "you can have it all" lift make it the most advertising-ready option for retail and lifestyle cutdowns.
A fast 130bpm breakbeat in C minor with drums, percussion, drone and chopped vocal samples, and no sound-design layer listed — the leanest of the high-tempo cuts. The title's urgency suits countdown edits and time-pressure sequences over its 3:20 run.
The most relaxed tempo on the album at 116bpm in G, blending country, pop and rock with electric guitar, bass, drums, claps and synth. At 2:36 it's also the longest cue, giving room for a gradual, sunny build and a resolved finish.
A relaxed 90bpm in A with ukulele and acoustic guitar over bass, claps, piano and drums, sweetened by xylophone. Friendly and unhurried, the slower tempo making it the most conversational of the happy cues. Ideal for care and healthcare messaging, pet or baby content and warm testimonial edits.
The album's title cue and its fastest: 130 BPM in A major with strummed acoustic guitar, mandolin, electric guitar and strings over an energetic live kit. Openly joyful and celebratory from the start, with a clean finish. Fits summer festival footage, youth-brand advertising and upbeat end-of-season recaps.
Feel-good synthpop at 140 BPM in F, with synth and piano over claps-free but insistent 4/4 kick and drums, and oohs lifting the top end. The carefree title matches a bright, unhurried-but-fast lift that works for holiday and weekend footage.