00:00 00:00
freakshow
LC 12350
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2000-01-07
:
2022-11-07
Our aural report on the dangers of drugs Good for Comedy, Holidays
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VH001801
1:05
Upbeat, perky music that would accompany a vaselined, all-ferret trapeze act. Circus-like music that features a limber-lipped whistler, accordion, marching band percussion, hand claps and organ. Several snare drum rolls throughout (examples @ :00, :14, :24 and :55) allow you to build intermittent pieces of tension - like watching a blind chainsaw juggler. @:30, the happiness meter goes into overdrive with an even peppier movement. Great for entertainment, comedies or attracting flocks of lonely swallows.
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VH001802
1:05
Remember when ransom notes for the kid you trapped in your car trunk had to be written by typewriter instead of emailed? Pizzicato strings, woodwinds, a Royal 1939 'Office-Mate' (with retractable paper feed) and a rare custom 1962 Smith-Corona 'LetterLux' model all combine to create a bouncy, peppy bed featuring the two typewriters as lead instruments and as rhythmic devices. Spiced with various typewriter solos (@:30 and :42), this cut works for any piece about office politics, word processing, and William Burroughs: Unplugged.
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VH001803
1:22
Want retro? How about Renaissance music and Ska together for the first (and last) time! As good of an idea as beef ice cream or 'Nerf' crutches, this odd hybrid takes a lilting medieval tune, played with authentic flutes from the era and adds ska-ish distorted guitar, bass and drums and surprisingly, makes a driving, catchy (like the Black Plague) tune that will suit sports, jousting matches, floggings and entertainment spots. Starts light and friendly, but punk/ska influences sneak in @:07 so by :52, the guitars have won and then the flutes are hanging on for dear life.
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VH001804
1:03
This happy, catchy 1930's Hawaiian slack-key slide guitar piece is great for travelogues, 2-part Brady Bunch episodes and when cartoon characters get nailed with anvils. Featuring a Dopyera Brothers resophonic biscuit-plate guitar, ukulele, acoustic bass, various percussion and some weird-ass 70s retro Hawaiian vocal samples (starting @:09), this cut breaks into a sparer ukulele solo @:30 and then returns to the full mix @:45.
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VH001805
1:24
Doesn't anybody tie people to train tracks anymore? And what about handlebar moustaches? An homage to the silent film scores of the 1920's, with piano, violin, bandolin, cello and cymbal hits sonically describing the perils of Maiden Alice ("Someone help me!"), as she's pursued by the evil Dr. Nasty ("I went to Dental School for THIS?"). Periodic cymbals accentuate the ebb and flow of the piece, but overall, the cut remains dramatic and tense until the heroic theme starts @:53, when Lance Goodguy rushes in and saves the day - but fails to save Maiden Alice, who is crushed by the 4:50 express. Good for sepia toned footage, chase scenes, parodies, cartoon-like drama and almost every Match.com date I've had.
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VH001806
1:23
Heavy, pounding, not-at-all-pretty version of Verdi's 'Anvil Chorus' from 'Il Trovatore.' Starting with a straight version of the piece, featuring 'blahs' as lyrics (translated from Italian: 'blah') and a processed drum loop, the cut gets more punk/hard rock @:31, with the addition of driving distorted bass, electric guitar and delayed orchestral hits. Repeated poundings @:55 bring the piece to a violent, stuttering, kind of end that will leave you breathless as Verdi is currently. Good for sports, violent operas and anything light that needs an 'edge.'
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VH001807
1:06
Trying to kill someone with an anvil? An out-of-tune, off-kilter cartoony 50's family sitcom theme. Orchestra, featuring piano, glockenspiel and various (now broken) metal items as percussion, creates a perky, lilting ditty that gets more crazy, dissonant and hit-laden @:43 as we build towards the final bang @:59. Good for sports bloopers, animated violence, real violence (as long as it involves frying pans, giant slingshots or dynamite) and footage of former US President Ford.
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VH001808
1:07
Everybody skate! Really warped, skipping, crackly 78 record with peppy, circusy Wurlitzer Organ music that reminds me of the days of my youth at the local roller rink where I tried to talk to girls and they, in return, spent the time creating creative, new, painful nicknames for me. Periodic slow-downs to stops (especially @:27 and 1:04), skips (@:43 to :47) and various sonic imperfections add to the comedy value of this cut, making it great for sports - and dating - bloopers.
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VH001809
1:15
A happy, bouncy tribute to 1930's cartoon music. Laden with plenty of cartoony sfx throughout, the piece features clarinet, bassoon, oboes, violin, acoustic guitar, muted trumpet, trombone, upright bass, orchestra snare and percussion. Comically lumbering in the beginning, it gets moving @:09. @:54, the violin lead gets progressively more out of tune to the end, signifying that Stan Laurel has been stabbed to death by wilding youths. Good for comedy, nostalgia, and background music for highly inept magicians.
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VH001810
1:07
Exotic, tropical, lounge-y cut perfect for Mai Tai afternoons and Jungle Room nights. Starts like a Hawaiian breeze with bowed saw (that's right, saw) lead, guiro, conch shells, marimba and background bird calls. The guitar takes over @:14, then not wanting to piss off the saw, allows the saw to come back in @:24. Loosely translated, "Kalamela Pa" means either "caramel rhythm" or "please don't lock me in here with that guy who puts tuna in his pants." Good for kitschy spots.
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VH001811
1:09
Goofy, happy, cartoony and just plain weird - this combination of high pitched synths, walking synth bass, random computer-esque 'blips,' laser zaps and a chorus of sampled 'Martian' voices gives you the impression that if there's intelligent life on Mars - it's going to sue our asses for slander. Bed like with tons of movement and hits, this cut builds in strength and drive until :29. @:31, strains of vocoded 'Take Me To Your Leader' can be heard as the song grows more out of control (adding more zaps, Martians and weird synth noises) to the end. Good for children's spots and cartoony video game footage.
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VH001812
1:07
Jangly country guitars, edgy synths and weird gurgly drum loops make this not-too-serious cut perfect for comedies, technology mishaps, tractor pulls, or any sport pitting man against rabid badger. Kicks in @:09 and @:31, a lighter drums/percussion mix starts, gets weird @:45, then kicks back into main theme @:51.
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VH001813
1:05
A light, slapstick comedy-ish cut using a kazoo - and an entire kitchen full of utensils, appliances and produce - to create a cut that aurally details the creation (up to :29) of a meal - until :30, when the dinner bell rings and the sounds of eating, scraping - and very few bodily functions - take you through the eating of the meal. @:47, the cleanup begins, replete with water flowing, garbage disposal running and everyone unbuttoning their pants and falling asleep in the couch. Good for comedies, food spots and those awkward moments of cannibalism.
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VH001814
1:05
Soap opera music from the 1950's - when nobody was trying to kill each other or threatening to freeze entire cities with death rays. Organ - just organ - works as background when parodying soaps, with tons of swooping glissandoes and chord stabs to keep it interesting. @:30 it gets slightly more romantic, building until it returns to the main theme/tag @:56. Good for love stories, mating pandas and reaalllly slow baseball games.
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VH001815
1:02
Shootout in the local saloon? Detuned player piano with a faulty motor plays a ragtime medley that sadly never came to prominence ('The Incontinence Rag' + 'The Where are My Teeth Rag' ). This track conveys the feeling of being in a country western saloon in the 1800's - made more ridiculous with the inclusion of hip hop drum loops (faster jungle loops @:19) in the first :30 with tons of comedy techno sfx. The motor starts acting up during the second :30, with the piano varying between slow and fast speeds (slows @:38, :43, :48) until it speeds up unnaturally fast @:53 and hurdles towards the last note @ 1:00.
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VH001816
1:08
Queasy, salty, ballad o' the sea. Tuba, accordion, flute and three guys gargling evoke a seasick atmosphere perfect for kid's stories, hijinks on the seas, or mouthwash commercials. This cut wavers slightly in pitch throughout, making easily sickened listeners feel like they've rewatched Angelina Jolie and her brother make out repeatedly at the Oscars. Takes a canine-sounding turn @:37 with an oom-pah-like bridge, ending with a wave mercifully washing our seasick singers overboard.
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VH001817
1:13
Circus music of the 1890s. Calliope, trumpets, tuba, detuned synths, glockenspiel, and orchestral percussion all combine to recreate the sound of the mechanical music wagons that used to provide music for carousels and circuses - just a bit more demented than usual. Starts out slightly circus-y - but then takes a turn for the atonal @:19. Up/down glissandos on the bells and organ give you the feeling that the entire circus is comprised of clumsy, flammable, drunk clowns, who are trying to perform a triple-bypass @:32 until :46. Good for carnivals gone wrong, children's programs and makes a good news theme if your anchor is part anaconda.
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VH001818
1:07
Angry, driving, noisy piece. Sportsy surf guitars, guitar noises, thrashing drums, bass, and multiple layers of distorted screaming vary between edgy surf music and ever-practicing guitarists being beaten by angry Guitar Center staff. @:30 a guitar arpeggio starts some slightly demented surf music - starting a horrendously noisy build @:50 that culminates in a gut-wrenching scream @1:01.
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VH001819
1:21
Amped-up Mexican Mariachi and hardcore punk get together for a drink and then feel awkward the next morning. Starting out as traditional Mexican party music with trumpets, acoustic guitars and castanets, @:04 punk elements start squeezing in: electric guitars, gunshots and a seizure-prone drummer create a fast-paced atmosphere perfect for sports, bullfights and any event that ends up in bloodshed, like a barfight or phlebotomy. @1:03 we suddenly break for a moment - only to be destroyed @1:09 by the most brutal punk ending ever recorded.
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VH001820
1:12
Inspired by avant noise-bands, this piece is guaranteed to a) upset you, b) confuse you, c) make you want to kill the composer or d) all the above. Opening with two different twisted carnival pieces playing at once, fractured by nasty guitar punches and tone breaks, this "piece" kicks in @:09 with offensive guitars, mangled vocals and start/stop mayhem like you're stuck on the worst ride in county fair history ('Daddy's Drunken Binge'). Slows to a half-time churn @:32 and from :42 to :55 is the most sickening break filled with noise guitars, enraged yelling, shattered glass, and 1kHz tone. Good for riot footage, weapons of mass destruction or "extreme" anything.
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VH001821
1:16
What losing your mind sounds like. Disorienting and just plain-old evil sounding, this track was recorded by only our voices using the talkback microphone on our studio's mixer. By manipulating feedback and using tons of processing (delays, backwards reverb and distortion) we managed to create a noisy, medium-tempo, techno-dance track that starts with a weird "One, two, ready, go", and then builds in tone and pitch until :30. The piece really gets moving @1:00, building to the last hit @1:10. Good for the 'evils of technology' approach or when you want absolutely nobody to hum along with your spots.
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VH001822
1:24
The college fight song of a school in need of a better English department. A punk, thrashy, guitar-laden, drum-and-cymbal-smashing violence-fest that can only be described as "Pppppfsh" by my two month old niece, followed by drool and minor flatulence. Great for sped-up footage of sports, soccer riots and frightening executive producers when used in a station's image promo. Maintaining the same frenetic, harried pace throughout, the spot features screams of "Fight! Fight! Fight!" and "Go!" at random intervals (vocal-free @:30 to 51) and has proven impossible to dance to without resulting in sterility.
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VH001823
1:12
Grinding guitars, slow pounding drums, analog synths and of course that "weee-oooo-weee-oooo" theremin evoke danger and excitement among the galaxies, or at least the set of "Plan 342 from Outer Space". Littered with laser blast hits, metal screeches and slowly growing in tension from :01 to :29. The second :30 is dark and even more evil-sounding. This piece is somewhere between kitsch, irony, really cool and stupid. Useful for sci-fi, retro 50's horror, or scaring your neighbor's dog.
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VH001824
1:25
Dark, slightly funky but still dangerous entry into the world of distortion - from distorted drum loops to distorted self image about our chubby thighs. Pounding, grating high-end distortion starts almost as a high-frequency alarm, then @:09 starts in with a steady mid-tempo rhythm that gets more brutal @:19. After :30, the piece takes several breaks and moves farther away from conventional music and becomes a headache with a tempo throughout, replete with filter sweeps, returning to the main - uh - theme @1:08. Good for technology-gone-wrong pieces, investigations and alienating any audience members over 45.
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VH001825
1:05
Bleeping, blorting bits of pure sine waves and white noise fill the air like musical pollen. Abstractly based on the 70s kung fu films, this piece is a struggle between two enemies: white noise (static) and the sine wave (pure sound). Starts with a rhythmic noise collage formed of white noise that is joined in battle by a deep sine wave bass @:14, after a ludicrous break. After :29 rampant formant shifting creates pulses that provide a neutral inhuman feel. @:41 another "cell" composed of gated white noise and sub (220Hz) padding sets up another round of the fight. Why does any of this matter? It doesn't. Except it sounds really cool. Useful for technology stories, internet security stories or impressing undergrad music majors.
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VH001826
1:21
Useful bed for technology stories and medium to hard news stories. Created almost entirely of tuned percussion: marimba, a variety of xylophones, glockenspiel, shakers, toms - but spiced up with tons of processed sounds (whooshes, blips and a sound similar to an effect from the 'Defender' video game of yore). Starting sparse, but gets fuller @:12. The second half is a lighter, percussive remix, not returning to the full mix until 1:00.
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VH001827
1:08
Once-real (now distorted and ugly) acoustic drums, plastic buckets and a synth bass create a techno/hard rock atmosphere that could accompany sports, investigations or when the 'Emergency Broadcast System Test' isn't a test. Mid tempo, straight ahead drum beats provide a good bed for gritty footage - with plenty of breaks. @:31 a beddier mix provides a little more sonic room for voice-over.
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VH001828
1:18
Garage-surf and jungle hybrid as broadcast back to earth by aliens through the speaker at a 1950's drive-in, announcing their imminent invasion. Filled with static, weird drop outs, traffic jams and fragmented radio transmissions, this painful cut alone would probably guarantee our submission to the incoming robot hordes. Fades in with spacey, distorted beats until main guitar theme-like statement comes in @:06, only to kind of fade out and in @:09, :14, and :19. The action picks up @:32, with a tense rhythmic approach, until a blastoff break @:43 takes us back to the theme. Useful for sci-fi movies, comedic space chases, or if "Rosie" from the Jetsons goes on a homicidal rampage.
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VH001829
1:06
Twangy, goofy American 50's country. Mid-to-fast tempoed brush drums, acoustic bass, electric guitars, slide pedal steel, whip cracks, gun shots and - we're serious - yodeling (@:15 and :45) and meowing (@:31) set a mood for cattle rustling or just realizing that someone has replaced your family with prairie dogs. The first :30 is a light, straight ahead country track, good for road trips. @:31, a more dramatic percussive ho-down feel hits as meowing, foot stamps and clapping signal that someone's grabbing their partner. @:45 we return to the yodeling theme and take it home. Good for comedies, parodies, shots of the American West and road trips.
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VH001830
1:11
60s country at its best - and worst. The closing credits for a film as a cowboy and his horse ride off into the sunset. Simple acoustic guitar, banjo, drums, bass and, @:16, whistling and 'ooh'ing background singers that will make anything that can hear slightly nauseous. You can almost see the plains filled with foxes, prairie dogs and cattle swaying back and forth singing backup (at least the non-SAG/AFTRA livestock will). Good for stereotypical cowboy movie endings (happy ones - not 'Shane') or when a bit of cheesiness is necessary.
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VH001831
1:08
Fast, cartoony and frenetic, pedal steel, drums, bass, mouth harp and percussion combine jazz and hillbilly styles ('Jazzabilly', or with beer, 'Jazzabillycarter'). 'Train' drumming gives this cut a feel of movement that makes it a natural for 'on-the-road' pieces, rodeos and comedies. 'Boinging' mouth harp noises (starting @:14) give the music the sound of a malfunctioning machine from the 'Jetsons ' throughout.
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VH001832
1:37
4th of July coming up? A USA Olympian win an event - or at least pass the drug test? A collection of American themes hybridized orchestral arrangements with Goo Goo Dolls-esque guitars and drums take us through this tour of American-themed classics. Starting with a guitar chugging, 'America The Beautiful' we then move into 'Stars and Stripes Forever' @:30. @:47 we take a brief trip into 'Yankee Doodle' (replete with fife and electric guitar lead) and then finish with a true American theme: Rossini's The William Tell Overture @:55 which starts orchestral, but electric guitars enter @1:20 and drive it to a Red, White and Blue finish.
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VH001833
1:08
50's country music straight from an old 45. Slow (then faster) middle-America guitar-based rag. Starting out slow and measured, a slapback-echoed thumb-picked Gretch stride guitar, upright bass, and brush drums begin the first :30 with the quiet, slow feeling of a small country town, with its very own tumbleweeds and people named 'Otis.' @:31, the pace doubles as we hop on a passing freight train, riding towards the local fishin' hole, which recently had it's final 'g' replaced with an apostrophe. Good for 50's period pieces and Americana.
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VH001834
1:05
The musical equivalent of flag burning, we take America's National Anthem and give it a jungle beat, techno arrangement and pile on more pulsing, gurgling and blippy synths. The first :30 is a full dance mix, followed @:31 by a baseball-stadium-appropriate organ leading a smaller mix, with arpeggiated synths and sparer drums (getting fuller @:48).
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VH001835
1:16
In 1910, 1,000-piece "Mandolin Orchestras" were the craze and here's our version - with 99.4% less Mandolins! Great for nostalgia, Strom Thurmond's 45th birthday party footage and light humor, this piece uses three mandolins, tenor mandola, mando-cello, mando-bass, Barry Mando-low, Nelson Mandela-lin, guitar and various percussion. @:31 a slightly tense collection of tremoloed mandolins build slowly and then return to the main theme @:37, which is given extra drive by the players stamping/tapping their feet.
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VH001836
1:06
Fast, flitty, light guitar piece that flies around your head like a gnat but doesn't get caught in your ear. Using a Les Paul solidbody electric guitar, bass and brushed drums, this cut constantly bounces between gnat-like arpeggios and straightforward 50's country travelling music. The second half features a little faster arpeggiation, the longest stretch lasting from :31 to :44. Good for sped-up footage, dream sequences, muscle spasms - or when you need a sense of busy-ness and confusion that all works itself out.
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VH001837
1:29
Dangerous. Ballsy. Christmasy. If Tchaikovsky had co-written the 'Dance of the Sugar Plum Fairy' with a metal band, the 'Nutcracker' ballet might have been more interesting - like an all-swan cage match. Featuring metal-sounding guitars, xylophone, heavy drums and bass, this cut starts heavy and stays there - with tons of hits and really kicks in @:20 as more guitars pile into the mix. @:30 bells and guitar create a hit-filled interlude that @:39, starts building to a climax as arpeggiating harp, bells and 80s-ish metal hammer-on guitars build to the main theme's return @:55. The theme gets REALLY heavy @1:14, as all Hell breaks loose. Good for violent sports and when ballerinas start kicking ass.
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VH001838
1:33
First :30 is a pretty, straight-ahead, orchestral version of this holiday standard featuring piano, orchestral strings, bells and percussion. The second - and really frightening - half will have you hiding under the covers praying that Santa won't come this year and brutally pummel you because he's lactose intolerant. @:34, disaster comes as a big hit and ominous drones in the wrong key crash in, continuing with string scrapes from :49 on. This truly evil cut is good for holidays-gone-wrong, evil Santas or just plain freaking out your annoying neighbor's kids at night.
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VH001839
1:03
It's "We Wish You a Slam-Dancing, Body-Pierced, Angry-At-the-World-and-All-of-Its-Misery-Christmas" as we destroy the classics. Chugging dropped-D (that means "ROCK") guitars slowly get noisier, especially @:20. The voices of angels get a word in from :31 to :38 but are snuffed out by a vicious break of yelling, angry drums and a missile dive-bomb. Shows them. Useful for teen holiday specials, when you need X-mas music that rocks, or just throwing people off in the middle of July.
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VH001840
1:14
Yes we know it's not freaky, but this straight, folksy version definitely elicits the "I'm-having-an-attack-of-rage-in-a-department-store-because-this-damn- Muzak-is-annoying-the-hell-out-of-me" feeling we all get during the holiday season. This flute and acoustic guitar-based version is perfect for aging hippies who just can't bring themselves to break down and buy the Kenny G X-mas album. The whole piece is sprinkled with lots of silvery instruments like glockenspiel, tubular bells, sleigh bell and triangle just because we like silvery instruments.
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VH001841
1:09
Middle of the Road take on "Jingle Bells". Leslie guitars, straight rock drums, and light background organ evoke an All-American holiday season. Second :30 repeats the melody an octave higher, quotes "Joy to the World" @ :50, then returns to the main theme. Simple and useful.
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VH001842
1:06
Your basic rock version of The First Noel. Starts pretty until :09 when the drums and electric guitar kick in, though never overpowering the cut. Starting @:31 is a neat twist on the "Israel" notes leading to a slightly more energetic restatement of the theme @:42. Useful when basic holiday tracks are too boring, but you don't want your audience to start moshing under the tree.
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VH001844
1:13
Old Lang Syne performed wasted. Lumbering piano, out-of-time humming, bad guitar playing and off-key noise-maker flutes tell you it's time to call several cabs and get everybody home. Punctuated by hiccups @:42 and :48. @1:02 the piano player falls asleep on the keys.
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VH001845
1:11
An experiment in 'method recording,' this cut was recorded drunk. Drunken-cabaret-meets-European-circus-music recalls when we all found out that the Flying Wallendas, in fact, could not fly. At all. Accordion, mandolin, acoustic bass, organ grinder, clarinet and a roomful of drunk yelping/clapping people impart a circus mood, watching a tightrope walker with an BAC level that would kill Jan Michael Vincent, stumble along, narrowly avoiding death - especially @:30, when a clarinet and vocal cheers detail every narrowly-missed death stumble. Has a slight Mediterranean/Italian feel to it - good for Mafia Family reunions, drunk athletes, or comedy spots.
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VH001846
1:07
Grainy, proud newsreel music from the 1930-40's that would have accompanied B/W footage of soldiers marching victoriously, sped-up baseball players and yet more shots of J Edgar Hoover in bikinis. Starting proud, the orchestra plays a Sousa-like march that turns into Hollywood news @:15, only to return to the war effort @:22 . By :30 light, playful, almost 50's game-show-y music lilts by as we see footage of Mickey Rooney's 17th marriage, but then return to the main march theme @:47. Good for newsreel parodies or war footage.
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VH001847
1:22
This 12-tone orchestral work captures all the drama, hatred, tension and man/ape love cinema has to offer. Starts out in the middle of a chase and continues through to :29, when everything calms down and we are left alone in a dangerous, mysterious ape-strewn landscape. The hunt is on again @:59 until the end when our hero pulls out several bunches of bananas, thereby ensuring his escape. Good for action movies, ape movies or ape/action hybrids.
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VH001848
1:07
Mafia/Mob Music. This catholic (in both senses) cut begins with a musical plea for mercy: "Please, no. I have a wife and kids and just finished all the payments on my Cadillac." @:24 our friend is wacked to the death knell of a church bell, @:27 the camera pans out over the dead body, and @:31 it goes and gets some linguini with clams. Serious and decidedly Old World with strings, 10-string tenor guitar, accordion, tuba, tympani, bells, harpsichord and Marlon Brando as the bass drum.
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VH001849
1:10
The true American contribution to music: porn soundtracks of the 70s. This track utilizes wah-wahed guitar, strings, horns, clavinet, drums, bongos and Rhodes piano. This cut kicks in @:09 and horns and strings bring the moment of excitement in @:19. After :30, there's a longer, more subtle bed of wahed guitars and piano - followed by a return to the theme @:50. If you hear this music playing - and you're not being chased by the police - chances are, you're going to be gettin' some soon.
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VH001850
1:09
Fast, driving, percussion cut created entirely from loops we made while recording street drummers on our way home from work in Manhattan. Instruments include: plastic caulking containers, paint cans, one seriously damaged trap drum kit, metal building scaffolding, impatient horn-happy car drivers and several really vocal - and arrhythmic - drunk, homeless people. Tons of movement with breaks throughout (@:09, :14, :19 - etc). Good for sports, fast cuts, urban activity and conveying the feeling that there's a tremendous amount of action going on and you're the designated driver.
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VH001851
1:10
An action cut that hybridizes both Middle Eastern and East Indian musical styles. Starting with tablas, mizmar, guitar, strings, drums, sitar and oud, the cut paints a scene of a busy Arabian/Mumbai-located market where intrigue builds until :16 when drums enter signaling a chase through the streets. @:30, a game of hide and seek begins, getting more tense @:46 when the mix gets muted with processed drums - only to have the main theme return @:53 and end big @1:07. Good for Middle Eastern intrigue, failed peace talks and when Cokie Roberts is caught smuggling halal meats.
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VH001852
1:07
The music you heard every time the Love Boat docked at Puerta Vallarta. Mexican Mariachi music suited for both sunny getaways, Mexican Wrestling and - well - Mexican Wrestling movies. Five acoustic guitars (tuned by ear - next time we'll use our hands), trumpets, violin, marimba, castanets, handclaps and several shots of tequila. @:19, the piece gets slightly faster and builds towards the climax @:29. @:40, brief nylon acoustic guitar solos add tension which resolve into a positive, happy feel @:45 until the end. Good for bullfights, vacations, carefree cavorting or playful comedy.
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VH001853
1:09
The question "What would an musical piece played mainly on glass sound like?" is one of man's oldest mysteries. Second oldest: If you attempt to fail and then succeed to fail, what just happened? Using wineglasses, glass bowls, glass vases, and Philip Glass, we create a neutral, driving, slightly mysterious rhythmic bed that is extremely versatile. Picks up @:19 with gong and drum hits sprinkled throughout. @:30 a percussive roll up builds to a faster (starts @:36) and more driving feel with Japanese Taiko-like drums added for drama. Useful for Asian-tinged mysteries, investigations and unsolved murder cases.
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VH001854
1:16
High pitched, fast paced, repetitive and almost childlike bed. Bells, sped-up chanting, East Indian percussion, mouth harp, synth squeals and drum machines create a topsy-turvy environment that would work for shows on ADD, those wacky aliens abducting more Midwesterners, or anything trying to impart a sense of disorder and craziness. @:31 a simpler bed featuring tablas and drum machines slowly grows (in mix and pitch) into the full mix @:50.
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VH001855
1:17
You wanted a jazzy walking upright bass line? Well, here it is - with occasional piano chord stabs, fingersnaps, (in @:06), hi hats (in @:30) and smacking the once-expensive acoustic bass for percussive accents. The first half is spare - but after :30, the piano fleshes out more of the melody - but still giving you plenty of naked upright bass. Good for image spots only if your on-air talent lurks in corners - otherwise it works for investigations, lost 'Frasier' episodes and comedic stuff.
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VH001856
1:13
Spy music meets modern jazz. Acoustic bass, piano, drums, vibraphone flugelhorns and trumpet impart the sense that you're being followed down dark alleys by a mysterious stranger, with polyrhythmic stabs and hits accenting the various prop garbage cans you stumble into. @:29 a brief trumpet solo opens into a lounge-ish groove @:35, as the stranger reveals himself to be Merv Griffin. Returns to the sneaking theme @:54 to come to a dissonant conclusion @1:11.
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VH001857
1:12
This cut is classic strip tease music: wahed trumpets, piano, implied nudity, drums, saxes and acoustic bass. The first half is early burlesque at its best - getting more jazzy and swing-oriented after :31, when the tempo picks up (@:41) and the piece almost becomes a slapstick-esque chase cut. Good for chases through dressing rooms, fully nude newscasts and comedies.
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VH001858
1:00
Espionage music topped with wild sax, trombone and trumpet squawks processed to sound like dance loops. Takes a freeze frame-prefect break @:19 and comes back with more hits than Cheech Marin at a hemp festival. You get just squawks and subdued loops from :31 until :46 , when the band comes back in full force. Perfect for spy movie trailers, action generics or when you don't want to take Pierce Brosnan too seriously.
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VH001859
1:44
Cinematic, epic voodoo/orchestral hybrid. Starts with voodoo chanting and tribal drums joined by a horn crescendo @:06 and the whole orchestra @:16. Tremoloed voices and filtered breaks provide eerie accents. @:31, strings and drums foretell bad things happening. The action really steps up @:55 with a drum break followed @:59 with accordion and heavier drums. Good for a Mardi Gras gone bad (you get beads for keeping your shirt on), Haitian disasters or supernatural investigations.
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VH001860
2:21
Atmospheric, creepy rendition of 'Brahms' Lullaby.' Starts out with simple glockenspiel and children 'la-laaing' their way through the piece. The mood takes a dark turn @:19, when a metallic hit heralds a distorted, nightmarish version with low pads and the feeling that Snuggles the fabric softener bear is armed and hopped-up on Methamphetamines. @:36, the distortion is cranked up - and we add creaking metal, detuned piano, a pounding heart-beat-like rhythm and evil choir build to a climax @1:03. @1:09, we hear the children's voices again which grow more washed out and irresolute, with only an ominous synth pad beneath them.