00:00 00:00
sugar town
LC 12350
:
2020-07-27
:
2022-11-07
A collection of optimistic, upbeat, Pop, Rock and Dance tracks with enough positive vibes to make your teeth hurt. Perfect for summer fun, entertainment, sports and image spots.
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VH008901
1:41
This glitzy, glamorous, hit-filled and attention-demanding R&B/Pop track is the musical equivalent of wearing an all-sequined jumpsuit. Starts with a mid-tempo, expectant bed of vintage-sounding string hits and drum machines/loop that grows in tenor and excitement. @:08 a sped-up, almost cartoonish string melody enters along with a four-on-the-floor kick drum and climbing synth bass, eventually bursting into a flashier hand clap-driven feel @:17. A drum breakdown @:30 with synth hits and bass provides a loopable bed, but returns to the main, Hollywood-like theme @:48. Good for image spots, entertainment, fashion, suggesting dazzling nightlife and sequins. Lots of sequins.
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VH008902
1:48
Celebratory, glad-to-be-alive, morning show Electro Pop that is so irritatingly positive and innocently optimistic that it's impossible to use because nothing on this planet is THIS happy. Perky piano, muted Funk-tinged electric guitars, acoustic drums and drum machines start the cut with expectancy and promise, exploding into a driving, uplifting party @:11 as the drums, electric bass and a catchy synth lead smash in, suggesting this cut is living a far better life than you, has a great job and it has no problem finding a bathing suit. @:28 the cut takes a break, letting a four-on-the-floor kick run through a variety of loopable beds that progressively build back up to the main mix/theme @1:09. Good for image spots, show opens, game shows, video game-like bounciness, generating excitement and.. oh God, it's got me! Can't stop nodding my head! Please! Kill me!
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VH008903
1:38
Fun, free-spirited retro 60s Funk that brings to mind cruising up and down the sunny coastline, feeling the wind in your face and wishing you had a car, as the Segway and matching helmet don't seem to be attracting the ladies. This vintage-sounding cut is driven by a mid tempo bouncy electric bass line, muted electric guitar, handclaps and tambourines, all suggesting swagger, confidence and mellow happiness. @:19 the track explodes into activity, adding busy drums, a peppy horn section and scooping women's vocals. The cut pares down to a smaller, expectant mix @:29, building back up to the full horn melody-driven mix @1:11. Good for letting people know you're cool/self-assured, surfing, on a beach vacation/road trip or possibly an international spy. On a Segway.
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VH008904
1:22
Get up and move! Because trust me, even the comatose will stand up and do everything in their power to turn this cut off, as it is slightly irritating after repeated listenings. This excited-sounding synthetic ElectroPop/House leotard-wearing, frenetic, percolating and pounding cut is great for generating excitement, but also sounds like a popcorn popper plugged into the wrong voltage. Starting with a fast drum machine-driven beat, low sine-wave synth bass, reverbed breath-like sound design and mouth pops, this cut bursts into action @:08 with a stuttering laser-like synth motif, 80s Simmons drums and a Funk-tinged brass line that gives the cut both a tough, attitudinal feel as well as a sexy, confident brashness. A club-like synth riser builds to climaxes both @:28 and @1:16, building anticipation and energy. Good for active (but glitzy) nightlife, motivating people to exercise, suggesting fast-paced cityscapes, technological goofiness and being aerobicized to death.
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VH008905
1:28
Aggressive, street-wise and fun, like a tough-brawling cop with a heart of gold, who realizes too late that it's not a metaphor and dies while trying to swim. Attitudinal mystery combines with snarky confidence in this mix of Blues Rock, Funk and Indie Pop that's useful for sports, chases, action scenes, competition and chaotic (but chic) nightlife. Built around a processed breath-like vocal loop and piano that feels dark and ominous, the cut bursts into activity @:06 with breakbeat-like drums loops, synth bass, organ, electric guitar and a brash attention-grabbing trombone-led brass section that lets the cut build excitement, feeling like a remixed 70s cop show theme. After a series of breakdowns starting @:29, the cut offers a variety of loopable beds leading back to the main bass/drum-driven theme/mix @1:01, but with more activity and giving the impression of being out of control.
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VH008906
1:47
Gritty toughness meets manic, crazed fun. 80s-tinged Disco/Rock aerobic music that I find ultra-positive and empowering, regardless of the fact that when I wear spandex, I look like a balloon animal. Edgy electric guitars create a driving ostinato of pelvic thrusts, while a four-on-the-floor kick drum, vocal grunts/"whoo hoos" and hi-hats create propulsive squat-thrusting that @:12 explodes into a brass-accented flurry of enthusiasm, motivation and a confusing mix of metaphors. The cut starts again @:35, but this time the guitar-driven gruffness remains aggressive and rough-sounding longer, appropriate for sports bravado, overconfidence and image spots. The full, celebratory mix returns @1:28 with driving drums and extra Latin percussion.
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VH008907
1:53
Perky, innocent-sounding and bouncy 80s SynthPop which reminds us that during a movie, we shouldn't use our cell phones, talk loudly or yell "fire," because someone with a gun might take it literally. Intensely useful should pastels become fashionable again, this optimistic cut features friendly, percolating, Reggae-like tuned percussion-like synths, muted electric guitars, synth drums, synth bass and a lead synth melody that just screams "be happy" (as screaming "fire" is illegal as previously mentioned). A pulsing, driving bed @:29 helps build up excitement before a fake-out @:53 brings us back to the main theme/mix, this time with sampled hand claps and a pair of acid-washed jeans. This cut is great for family vacations, children's programming, arcade-like simplicity, playful satire and for promoting any John Hughes film.
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VH008908
1:27
Buttoned-up, sweetly-tinged, playful innocent fun that suggests clumsy toddlers learning to walk, drunk parents on their sixth glasses of wine or a time lapse of what happens when both situations occur concurrently, ending in a comically sped-up raid by Child Protective Services and for some reason, a truckload of greased pigs. A woman's "bop"ing vocal sample bounces throughout, accompanied by a string quartet that starts dignified and stately, but turns lighthearted and fun @:15 with pizzicato strings, perky piano, drums, tambourine and unnaturally high-pitched vocals adding a slightly comic sensibility. A brief bass and piano break @:30 lets the mood calm down, but the cut cycles through loopable variations on the mix (drums and vocals @:46, drums, piano and vocal @:54, etc) until the full, happy and celebratory mix returns @1:09. Good for childlike frolicking, suggesting the passing of time, indecisive travelogues, time lapse footage or being slapped around by kittens.
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VH008909
1:32
Seductive, mysterious and Noir-esque Indie Rock varies between sensual temptation and "honey, can you take out the garbage?" A sly, alluring loop of men's and women's hushed, reverbed vocals over metallic ticking, hi-hat, acoustic kick drum and electric guitar creates an open that promises some kind of intimate rendezvous and titillation. @:11 driving electric bass, drums, synth and a distorted male lead vocal "whoo hoo"s all over the place and provides a catchy melodic hook. (Before we get complaints, please note: "whoo hoo" is not a sexual euphemism..) The cut returns to sexytown @:31 and then the full, significantly less flirty mix/hook returns @1:07. Good for mysteries, unbalanced marriages, nights out on the town, sultry nightlife and when your wife's Facebook relationship status changes to "it's complicated."
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VH008910
1:43
Cartoony Electro/IndiePop craziness becomes attitudinal, celebratory craziness. Starting almost goofy and comical with electronic kick and a lead melody played on what sounds like a rattling tin can, the cut explodes into a boisterous handclap-driven extravaganza @:12 with Gospel organs, pounding drum machines, electric piano, an air horn and an onslaught of buzzy, dizzy-sounding synths that still suggest fun and kid-friendliness, but also with a serious amount of swagger and unreasonable amounts of self-confidence. The cut pares down to a tough-sounding bed of kick drum, electric piano and handclaps @:31, returning to the tin can-driven theme @:51. Good for sports, carnival-like frivolity, putting a fun face on rounding your citizens up for extermination and image spots if your organization is run by tattooed, bat-wielding clowns.
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VH008911
1:34
Fun, frantic and almost cartoonish musical example of what your heart feels like when someone else uses your computer and they trigger the "most recent searches" in your browser. Ultra-fast JazzTronica cut that features sped-up tenor sax and electric guitar performances, combining them with pulsing synth/acoustic bass and rattling metallic percussion which get more driving @:11 with drum machines, handclaps, tambourines and meowing synths. A hit-filled break @:31 feels like a pulsing Electronica bed of synth bass and drums, giving you a few seconds to catch your breath until the furiously fast guitar returns @:48. Comically fast and unsettling, this cut would work for suggesting chaotic frenzy, an all-clown wrestling match and timelapse footage.
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VH008912
1:31
From the composer: "I wanted it to feel like a party with a combination of Latin Folk with a hint of Modern Dance but with a Scooby Doo vibe." Nailed it. Starting with a sneaking-like electric bassline, staccato Farfisa organ chords and accordion establish a playful, but slightly expectant mysterious feel that explodes into a more driving, fun and positive track @:11 with drums, muted electric guitars and synths, suggesting that Scooby and Shaggy have discovered the euphoric results of some Scooby snack/marijuana hybrid and are dancing like they're in a Tarantino film. The mix returns to the soloed electric bass @:30 with a guitar/accordion/snare drum break @:44 that returns to the full mix @1:01. A celebratory, freewheeling cut that works to suggest a generically international flair (as we're discovering very few people can identify nationalities/genres of ethnic music, even when it's their own country), parties, days at the beach, carnivals, a life of travel or any on-air talent that's wearing a babushka.
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VH008913
1:46
JauntRock. If there ever was a piece of music that could be described as "jaunty," it's this catchy, guitar-driven Pop Rock cut that jaunts its way into your heart and hopefully displaces the heartworms I seem to have caught from a poodle in Thailand. Built around a fun, friendly, bouncy four-chord electric guitar riff, the cut adds drum machines and handclaps. But the party really starts @:14, when more guitars, synth bass, baritone sax and synths create a positive, celebratory atmosphere. A series of drum-driven breaks starting @:32 feature edit-friendly guitar hits as the mix returns to the full happy theme @1:24 but this time adding a soaring synth melody. Good for sports, travelogues/road trips, vacations and suggesting that someone got a visit from the jaunty fairy.
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VH008914
1:36
Retro fun. A vintage 70s cop show theme gets remixed, reorganized and regurgitated into something light and digestible, much like mother birds do when they chew up worms and spit them into their chicks' mouths, which is why when I say I "eat like a bird" most people are wholly unprepared. Starting with a series of horn hits, @:06 a Funk/RetroPop/Disco track featuring a brass section, electric guitar/bass, vibes and drums is cut up and reimagined with synth bass, drum machines, synth pads and an aggressive synth lead, suggesting positivity and swagger/bravado. @:30 the cut takes a Lounge-esque turn with a flugelhorn solo that returns to the hit-filled main vibe @:46. This cut is good for suggesting action, glitzy nightlife, fashion, tongue-in-cheek confidence, sports rivalries, and a nod back to when cops drove cool cars and even their mustaches had perms.
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VH008915
1:54
Lighthearted, bouncy cartoon-level ElectroPop happiness, evoking the image of a friendly dance-off between arcade characters, eventually ruined when SubZero executes a finishing move on Yoshi, ripping his adorable head off. Starts with an expectant bed of uptempo synth keyboards, four-on-the-floor kick drum and vocoded rhythmic (and unintelligible) vocals that bursts into a celebratory, party-like atmosphere @:15 with synth bass driving drum machines and joyful-sounding keyboards creating a happy explosion of optimism, just like the beginning of any multi level marketing scheme just before you realize that all your friends suck as employees. A break @:32 provides a variety of loopable sections that linearly build back to the propulsive, body-moving mix @1:35. Good for innocent exuberance, aerobics/exercise, kid's programming, summertime vacations, beach fun and technological mayhem.
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VH008916
1:40
Softer-edged but irrepressibly happy Indie Pop/Rock positivity appropriate for sales on kidswear, a Lowes/Home Depot Lumber-Fest or emphasizing how the euthanasia lobby has really changed their message. Driving, fast electric bass and tambourine open the cut, joined by a simple ostinato electric guitar melody @:08, soon reinforced by piano, handclaps, tuned wooden percussion and synths as the drums kick in @:16, making the cut a celebration of being alive (unless you're dating Tracii Gordinn, my high school girlfriend), enjoying nature's beauty or revisiting happy memories, like before you met Tracii. A sweet and emotionally-touching break @:35 repeats the plucked melody with autoharp and electric piano, progressively building back the main mix @1:16 with "ahh"ing vocals and the feeling that all will be okay, even though your lungs have given out. Good for morning show brightness, innocent joyfulness, vacations, road trips, and inspiring excitement.
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VH008917
1:40
Fun, attitudinal and sassy Electro Pop/Funk hybrid featuring a woman's vocalese lead that brings to mind women's empowerment, sports/competition and thanks to Alexa, I've learned that I mumble, as I've just received a copy of "The Diarrhea of Anne Frank" from Amazon. Starting with lighthearted percolating synths, muted electric guitars, a drum machine kick, sampled handclaps and a brazen vocal from a woman who will cut you if you ever call her "baby" or steal her lunch from the company fridge, the cut explodes @:12 with a slapped electric bass, drum machines and synth pads, giving the impression of aggressive positivity or proud determination. A smaller but still cocky-sounding bed @:28 provides a short respite from both the vocal and the awful book I got in the mail, which HAS PICTURES. The main, propulsive mix returns @1:08 with 70s-era strings and extra synths that just make the cut feel happier and more celebratory. Great for sports bravado, show opens, promoting exciting events and also trying to muster enthusiasm for the movie I also accidentally ordered: "Allen vs Predator."
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VH008918
1:42
Celebratory meets mysterious, which is the kind of thing that happens on Tinder, especially when mysterious refuses to post a photo. Uptempo, bewitching and babushka-wearing Slavic Folk music that brings to mind black and white footage of people crossing the Steppe in their horse-drawn carriages, made more difficult because the horses were horrible artists ("why all the oat holders?"). This vintage-sounding mix features acoustic upright bass and acoustic/electric guitars strumming and bouncily plucking their way on a happy trajectory, while garbled, distorted vocals @:06 and dark-sounding distorted organ combine to create a haunting, almost foreboding melody. A background-friendly middle section uses the guitars to create a spirited bed of forward-moving activity, returning to the vocal-driven full mix @1:03, this time adding castanets and mandolin, making this cut perfect for Eastern European travelogues, fortune tellers, Master Chef: Goulash Edition and the Bohemian lifestyle.