How to license songs by Lory Kohn & The Milkmen (and why you'd want to!)
Pick a song or songs from our Silo of Hits that'll be perfect for your purpose, then use this site's Contact tab to get in touch with us. The songs are already pre-cleared. There are no other publishers or record companies to negotiate with. Brief descriptions of all licensable tunes follow the Intro.
Now that the entire Milkmen catalog has been made available for sync licensing, the same "flaw" which conspired against commercial success for Lory Kohn & The Milkmen back in the day—too much versatility, as in an unwillingness to remain constrained to any one particular genre—has turned into the band's greatest asset 37 years later. With so many moods, in so many styles, a world of exploitation possibilities has opened up.
What sort of music supervisor would be drawn to the 40 years of original Milkmen recordings?
- The tasteful yet thrifty sort who would ideally like to license huge hits by bands in the VIP wing of the Rock 'N Roll Hall of Fame, but maybe doesn't quite have the budget to do it, yet still desires to acquire material which demonstrates the same degree of passion.
- The sort who's more inclined to choose an original lesser-known song over a quickie remake of a well-known tune.
- Someone who believes undiscovered is not unworthy and gets a kick out of unearthing worthwhile tunes that haven't been synced before.
- Someone less influenced by a band's popularity than whether or not a particular song works for a particular purpose.
With The Milkmen, a supe gets a precise, purposeful, and inventive act who went toe-to-toe with the giants of Classic Rock in the A-room studios of the 80's, who aimed as high as they did, and hit the target as often as they did even if they did it in relative anonymity. Most bands just go away if they don't hit the big time. Instead, The Milkmen never stopped recording for the sheer love of it. They continued honing their craft, achieving a timeless quality in the process, largely because they weren't tethered to the past or to other peoples' expectations.
For anyone who cares about such things, there is ample evidence that the largely undiscovered Milkmen have more great songs in their vaunted Silo of Hits than numerous artists elected to the Rock 'N Roll Hall of Fame, the Country Music Hall of Fame, and the Songwriters Hall of Fame have in their catalogs. Nonetheless, the sales competition did not go The Milkmen's way. The artistic competition is another story altogether.
That said, neither imaginary artistic comparisons or identifying who has the most great songs is the name of the game here; finding really useful songs to enliven your project is.
Our trove of evocative material can be accessed by clicking the Silo Of Hits tab which brings up a drop-down menu listing all the collections.
Descriptions follow for all the available Kohn and Kohn/Solomon songs. If anything captures your fancy, shoot us an email via the Contact tab.
So, we have ...
The timeless quality I've referred to is vividly displayed in this collection. Some of the songs have a retro feel since we took a few tunes from the past and updated them; but whenever there was a choice, we opted for timelessness.
"Coulda Woulda Shoulda" Reminiscent of The Cars. Catchy pop rock concoction. Can't afford to license "Just What I Needed?" Here is your remedy. People will be humming it on their way out of the theater.
"Earth Girl" Classic songwriting combines with polished techno elements in this fantasy tale of an alien scout scouring the galaxies for hot chicks. There's a lot going on lyrically and musically. Great for any film about aliens. Or any film that could use a dance number. "You're amorous and your arms are warm ... I'm amorphous and I'll model your life form."
"Fell Into You" This romantic amalgam of pop and Americana starts off, "standing by the last juke box left in this town ... watching the old 45s spin round and round" ... making it perfect for a period set piece where the hero and heroine are coming around to each other.
"Gunslinger" Kind of country arena rock which would work in all sorts of western settings whether we're talking about the 1800s or the present. "You need to clean up your town ... well I'm the fastest gun around." A rollicking good time for all.
***I'm gonna stop there for a moment. Notice how I just listed the first four songs and none of them are anywhere near the same genre? Um, that would be an example of the versatility I was talking about!***
"Halfway To Paradise" A romantic duet with sort of a retro slow dance vibe. Usually, when a song is borderline retro, we opt for timelessness over retro ... this one wanted to stay retro. Think the Everly Brothers.
"Head and Heart" Maybe the most accessible Milkmen song of all. Possibly the most timeless as well. This one has so many licensing possibilities it would be hard to list them. Melodic, nicely orchestrated, universal theme, etc. It was a finalist for Best Song in the 2018 New Mexico Music Awards. Didn't win, which is a shame because we won Best Song in Colorado in ... 1981. That would have meant we won reasonably big deal songwriting contests 37 years apart! Alas it wasn't meant to be—which doesn't detract from the fact this is simply a great song.
"Hideaway" Classic rock all the way with a kinky aspect that separates it from the pack. Playful lyrically, it really, really rocks.
"Hurts To Think" Ever have difficulty turning off your brain? Well so does everyone else. Which is why this one has such broad appeal. Elements of rock combine with elements of rap and hip hop which chronologically older white guys don't often attempt.
"Light and Stars" Songlab is envisioned as an orbiting recording station from where life on earth and whatever may lurk in the vastness of space can be observed. Here the vastness of space takes precedence. Earthy elements like acoustic guitars combine with spacey elements like Theremins and surging synths in this sublime celestial concoction. A unique one for sure at home in any drama centered around humans' infatuation with space.
"Long For You" As if you hadn't already discovered all sorts of moods within the first 10 songs, here we have one with a gypsy theme featuring nylon guitars, gypsy violin, and mandolins—not to mention some exemplary backup singing. The super-romantic theme makes it a natural for all sorts of romantic films and shows.
"Making The Rounds" Over the years, The Milkmen have churned out no less than three theme songs: "Late Night Delivery," the first, "Dairy Aire," the last, and this, the middle one. Can't honestly say this one has huge commercial possibilities as it's all about life on an idyllic dairy farm in addition to offering glimpses of life as a working milkman. You never know!
"Marian From Kazistan" Aha—what could be more current than Russian-themed songs, especially as there aren't many of them and it would really take some doing to rival this one. It's all about Russian Wives dating sites. The verses are taken verbatim from the women as told to their translators. Here, something indescribable is gained during the translations. Very evocative! Arguably the best Milkmen production ever. Nothing like this. A real gem. It's also a nod to The Beatles' "Being For The Benefit Of Mr. Kite" which borrowed lyrics verbatim from a circus poster.
"Meteor Shower" A super-vibey instrumental recalling the best instrumentals from the 50s and 60s, "Telstar," "Apache," "Sleepwalk" and so on. An instant mood setter for all sorts of films or shows set in that era. And it would probably work in many films set in just about any era since it has such a romantic, uplifting feel.
"On The Dunes" Yes, The Milkmen have written and produced a bossa nova tune! Don't want to feature "The Girl From Ipanema" for the 4,000th time? Here ya go! Great performances all around with colorful instrumentation including vibes and tenor sax.
"River and Trains" A really tasty slice of Americana about a guy recalling his first romance which blossomed in a rural setting where trains follow a river. "We had it all, but this song's all that remains ... haunting sad refrains, arranged by river and trains." Great for setting a down-home vibe.
"Someday Came Too Soon" Another really romantic tune, this one with sparse instrumentation—just a single acoustic guitar in a trio with bass and drums—which allows the classic songwriting to shine through. There's a million romantic movies waiting to be filmed. Quite a few of them would benefit from having this song in it.
"That's Not The Way" Really current with all the focus on womens' rights and the suppression of women. This is going to be a big issue for years to come. It's kind of a country rock tune with some awesome slide work by Mark Muller who played and recorded in Shania Twain's band when she ruled the planet for a decade 1995-2005. Really ripe for licensing.
"The Only Game In Town" Alt Country at its best. Both retro and current at the same time. This one's a really good dance tune for a show or film set in a country bar or similar. Very different and inventive lyrically, as in "you put a different spin on joy and happiness ... in a cocktail dress sheer and diaphanous." Would be a great tune for a male country artist with a deeper, more classically-country voice.
"The Ugly Duckling" Classic rock augmented with some signature Milkmen suavité. Can't afford The Stones? Get the same point across with this two-guitar tour de force.
"The Whippoorwill" Folk rock with some distinctive twists. Not sure exactly where this would fit for licensing purposes, and, truth be told, it's in the wrong key for the vocalist; however, check out the instrumental version which is quite catchy and could be used for just about any sync purpose.
"Trophy Girl" Rock Americana? There aren't too many songs like this. The trophy girl in question is not a "trophy wife" but the bathing beauty stock car drivers get to kiss after they win the big race. Offers slide guitar reminiscent of George Harrison and wah guitar which recalls Eric Clapton in the same song. "Maybe the drive-in movies died ... but trophy girl is at my side ... I lost my heart to a trophy girl ..." This could be a very vibey addition to any film or show set in rural America.
"Will I Ever Love Again" More sophisticated songwriting which doesn't sound like anything else you've heard. This one has broad appeal for those moments in a film or show where the hero and heroine appear headed for heartache or are looking for someone to help them forget their former someone.
"Dickheads and Fuckfaces" Ah. Well ... this is without competition the most polarizing Milkmen song, a definite love it or hate it kind of thing. Some feel it's one of the greatest rock songs ever, which was exactly the band was shooting for when they recorded it. Some feel it's complete sacrilege, quite certain in their righteous conviction that Jesus expressly forbade screaming words like "dickheads" and "fuckfaces" at the top of your lungs. Both sides could be right ... although I'm not certain which part of The Good Book contains a quote from The Man From Galilee expressing his disdain for those particular nouns. One thing cannot be disputed: with "Dickheads," it can no longer be said that the usually optimistic Men of Milk avoid tackling the realities of the human condition. Calling Quentin Tarantino, Martin Scorcese or any director or music supe courageous enough or suicidal enough to seek that certain something to inject even more edge into an edgy production. "You look for a job ... you look lotsa places ... but they only hire ... dickheads and fuckfaces." The lyrics joke around but the music is all business.
Dairy Aire (2000)
With Dairy Aire, The Milkmen moved from being a highly original and inventive 80s rock band into a more sophisticated and timeless songwriting and production entity.
"Dairy Aire" The third entry in their "wholly milk trilogy" of theme songs is the first of Lory Kohn's epic productions he began producing when affordable home-studio recording technology appeared and empowered songwriters interested in developing their studio chops. It may be a little too Milkmen-centric for licensing purposes, as it once again harps on the themes of dairy life and the fantasy everyday existence of Milkmen. Could be useful under the right conditions. btw, the background "oohs" that come in about halfway through are actually "moos" if you listen hard! Delighting audiences has always been a Milkmen priority.
"Find The Time" Explores a universal theme: not having enough time for what's important, like relationships for instance. As there are seemingly an unlimited supply of shows and films which focus on a character not paying enough attention to his or her mate, there are unlimited possibilities for syncing this song. It's got a little country tinge to it, so it may be more suitable for footage in rural rather than urban settings. On the other hand, its universal theme may allow its appearance in just about any setting.
"Sky Above Clouds" The ultimate purpose would probably be in a film or documentary about the artist Georgia O'Keefe, the inspiration behind the song. "Sky Above Clouds" is her biggest painting and one of her best known. While the song is about her life, it's so lyrical, haunting, and vibey, that it would also work for all sorts or getting-away-from-it-all or follow-your-passion stories. Mostly acoustic instrumentation.
"Time To Move On" Another universal theme explored. The title itself is sellable if it was a blank canvas. But, no, it's a fully realized canvas which is unusual but really rocks with lots of catchy hooks and some unexpected changes. This is already a classic in a parallel universe.
"Blossom In The Springtime" Another unique one which sounds like no one else in a folk rockish vein. It compares growing flora with growing relationships. Lots of endearing vocal flourishes and a sweet sounding 12-string guitar.
"Dick Darling" A really rocking song reminiscent of the Batman (TV show) theme with a cheesy but compelling organ part and drums courtesy of one of the planet's best, Pat Mastollotto (Mister Mister, XTC, King Crimson et al). Dick Darling is the hero of Lory Kohn's detective novel, Dick, which was intended to come with an accompanying CD. This was going to be the theme song by a writer with a thing for theme songs. Really lively, perfect for chase scenes in detective movies.
"World Without Dreams" After not recording anything for 15 years, Lory rented an adobe abode in Taos New Mexico which is as inspiring a creative place as you could ever hope to find. Unusual songs like this began pouring out. "If life's not drawn by Norman Rockwell ... don't be forlorn, just have a cocktail." Kind of bluegrassy but unique and perfect for any show or film about someone's hard life.
"Our Little Secret" Who doesn't have one of these? Placeable in all sorts of films and shows about having to hide love away. The Coral electric sitar was played by the album's engineer, Larry Seyer, an Austin luminary with 9 Grammies. Lory learned a lot from watching him in action.
"Midnight Calling" Despite being born in a New Jersey suburb, Lory has always been attracted by life in small towns. This rocking number is about wild high schooler gatherings in the deep south. Tailor made for coming of age movies and shows.
"Someday Came Too Soon" The original version which was rearranged on Songlab. This one's more uptempo. Could work in a lot of romantic situations —think chick flick—depending on the accoopmpanying footage. This one = more uptempo romantic lamentation. The other one = more contemplative romantic lamentation.
"On The Rebound" The Milkmen originally broke through in the early 80s competing against the prevalent country bands in Boulder, Colorado. Later, as rock music began dying out under assault by rap and hip hop, country music simultaneously became a lot more rocking. Couple that with Lory's many trips to Austin, Texas, and all of a sudden country songs were fair game for the Milkers to tackle. This is one of their best. Sounds like a hit song. Good for dancing scenes or any country film setting or any work where a hero or heroine is on the rebound. "Maybe I'll meet you ... on the rebound ... on the rebound babe, that's where I gotta be ... if your new man ... lets go of your hand ... I'll be waitin' on the rebound where you left me."
"Tide To Turn" A rare autobiographical work penned as Lory's marriage was collapsing. The instrumental part will give you goose bumps. Its universal theme and poised rocking nature opens up a world of licensing possibilities.
"San Isidro" An excursion into an acoustical fantasy world which came about as Lory tapped into the endless pool of artistic energy circulating around northern New Mexico. Lory cut his songwriting teeth as far back as the 60s when the "folk craze" was in full force around New York's Greenwich Village—a half hour bus ride and a world apart from his blah New Jersey suburb. He returns to those roots here. Donovan's folk side has always been a big influence on him, and you can really hear it here. Would work in just about any situation where a mellow, other-worldly mood is called for.
Spilt Milk (MM Classics 1980-1984)
Although this sounds like a greatest hits collection, these songs were the only songs The Milkmen recorded in "big league" studios like The Record Plant, The Village Recorder, Northstar, and Crystal Sound. Sorry, if you want filler material that's less unique, we can't help you, you'll have to look elsewhere!
"The Milkmen Intro" Probably not licensable ... but it has its own demented charm.
"Late Night Delivery" The song which showed the band that they were going to be a force to be reckoned with in the recording studio. "Late Night Delivery" placed second in the 1980 KBCO radio songwriting contest. The station kept it in constant rotation back in the days when you could walk into a radio station and if they liked your record they'd actually play it on the spot and keep playing it. Unlike anything else (I avoided "unique"). Completely rocking, riveting, and impassioned with an awesome solo by Steven Solomon and fabulous drumming by Ric Parnell, who achieved immortality as the exploding drummer in This Is Spinal Tap after he was kicked out of The Milkmen for playing the snare drum with his forehead. The idea of writing a theme song was inspired by the Monkees' "Hey Hey We're The Monkees." It's the first of three theme songs the men of milk produced. Not sure that the theme songs are licensable, but they do really hit the m-spot.
"Lolita" Emboldened by all the radio play "Late Night Delivery" received the year before, The Milkmen were determined to win the 1981 KBCO songwriting contest. Not only did they do so—for Lory's catchy three-verse condensation of the naughty Nabokov novel—they also landed third place for "Desmond Grey Go Away." This really pissed off the townsfolk in a place where country was king not to mention all the other more popular bands who'd never even heard of The Milkmen since they hadn't played a single live gig yet. The controversy was a godsend because all the early MM shows sold out since half the audiences went to them to see the men of milk fall on their faces. It only took a few songs before haters became converts which is why "milkmania" became a thing and took hold. "Lolita" is as great an undiscovered pop single as anyone looking to place one is going to find.
"Desmond Grey Go Away" A single which reconstitutes chord progressions from one of the very best power-pop acts, The Raspberries. It's about a guy who loves hitting on other guys' girlfriends. "Desmond Grey go away ... find yourself another girlfriend ... he's sending her a big bouquet ... but Sally's not a gal that I lend." Power pop as a genre is not nearly as popular as it deserves to be, but if anyone needs a sterling example of it, here ya go.
"Charlotte Russe" So you want to license a Stones song. But maybe you're $90,000 short? Let me put it this way: if aliens came to earth and heard this and The Stones' "Stray Cat Blues," well, half of them would choose that and half of them would adore our "Charlotte Russe." It's 2-guitar gunslinging at its best. The Milkmen really obsessed over their guitar parts and the way they mesh here combined with the sexy lyrics about a French confection makes this one a classic. "Charlotte Russe let me taste your fruits ... ripe on a piece of cake ... I won't forget to eat the crème fouettée ... you're some patisserie they've baked."
"Peacock" More inventive and unique (there's that word again, but tell me it isn't true!) guitar work from the locked-in Kohn/Solomon tandem and more completely captivating lyrics from Kohn. There is no song like this lyrically or musically. If someone is looking to establish a 70s or 80s rock vibe for their show, movie, or other purpose, here's one nobody's ever heard guaranteed to make the supe who chooses it look like a genius.
"Love Won't Listen" The Milkmen aren't just legends in their own minds (well, Lory Kohn has to make up for Steven Solomon's low self esteem, so he sometimes comes off that way). Evidence to the contrary is that this one was placed in the cinematic classic, Revenge Of The Nerds, Pt II. It has been paying royalties for over 30 years and continues to be a profit center. This is the song Lory chose to introduce synthesizers to the the band. It's a definite dance groove. Here's another one that will make you look like a genius if you pick it, cause it gets the same point across as Bowie's "Let's Dance" and saves you $100,000 in the process.
"Staring Into Space" The other rare Milkmen synth extravaganza. It's about a guy who stares into space at his own apartment while imagining actually journeying to other galaxies as well. If you're looking for a grooving undiscovered 80s synth track along the lines of Depeche Mode, Gary Numan, or Flock of Seagulls, you found it.
"Golden Girl" The Milkmen meet the Beach Boys in this one ... except Steven Solomon's guitar work is more spellbinding than anything their guitarists ever came up with. A super poppy beach vibe number; every guy who ever went to the shore got hung up on a "chick" like the golden girl featured here. Simultaneously simple yet sophisticated interlocking guitar parts combine with three-part harmonies by Kohn, Solomon and the very capable Tim Pantea who replaced Rick Parnell as The Milkmen drummer. One of the absolute best Milkmen tunes and a natural for any romantic story set by the sea.
"It's Too Complicated" Tim Pantea takes a crack a lead vocal duties and comes up big on this one. More Cars-like guitar work and vox. It's hard work to be this simple! Another undiscovered gem for the meticulous music supe looking to surprise a director with a polished discovery from the 80s. "A case of multiplication ... is it me or him ... facing complications ... do I sink or swim?
"Chomp Chomp Chomp" When The Milkmen suddenly had to throw things into high gear for live performance after garnering all sorts of publicity for winning the 1981 KBCO songwriting contest, words had to be fitted to music post haste. This set of lyrics might not be Lory's first choice for placement in a time capsule, but the song really rocks and would liven up most flicks with scenes about bands making it or trying to make it in the 70s or 80s.
"The Art of Beating On Things" A seminal MM classic with superb drum sound and an ultra-creative performance by Tim Pantea. This tune is your basic paean to great drumming. "When I was young I learned the art of beating on things ... and then when I grew up, I kept repeating my sins" so the song starts off and continues gloriously in this vein. Over the years there's been a lot of guesswork over which drummer influenced the title. John Bonham? Keith Moon? Ginger Baker? Surprisingly, the answer was not a rock god, but Peter Erskine, he of the progressive jazz band Weather Report who was half of their rhythm section along with the late great Jaco Pastorius. "The Art of Beating On Things" could amp up the excitement level in all sorts of productions. Who doesn't love watching a great drummer at work or recalling a wondrous drum performance?
"I Mean What I Say" The Milkmen at their rockingest and raunchiest best with a few progressive flourishes that elevate the production into something truly distinctive. Also check out the demo version in the RIP Kevin "Chocolate Milk" Jackson section of this site's Silo Of Hits (our music library) which is the most animal recording Los Lecheros ever made. This type of "swagger song" is useful for insertion into all kinds of testosterone-laden productions. "You ... me ... jungle ... mate ... that's what I see what I concentrate." Yup, Tarzan Of The Apes can be counted as one of Milkmen lyricist Lory's Kohn's many influences.
"Going Through The Motions" Can't afford to license The Police? Don't want to use "Roxanne" for the umpteen thousandth time? Here's a reggae-ish tune which gets the point across very well. Some very spirited drumming by Mr. Parnell and a bunch of intriguing guitar work. The universal theme doesn't hurt.
"Now That You Know" A rare Milkmen tune with less than sterling lyrics. That said, the instrumental work and recorded sound are both superb. It's a rare acoustic-flavored tune from this early era. Features highly-inventive chord patterns which sound like nothing else (yes, that's a recurring theme, and for good reason).
"Urgency" No sooner had The Milkmen wrapped up this recording than they were blindsided by hearing Foreigner's "Urgent" on the ride home from the studio! It's not every day that the milkers are outwritten, outperformed, and outrecorded even by super groups like Foreigner ... but that's life in the big city. That's why this song was largely forgotten. 35 years later, taken on its own terms, this is as close to "punk rock" as the men of milk got. It's certainly a lively number that people enjoy since it's so fast-paced and pulsating. It's kinda like punk pop. There could be a place for it.
"I Should Have Stayed At Lory's" The backstory is that one day Lory was pissed at Steven (hard to believe co-writers ever get pissed at each other, right?), so he wrote a lyrics for Steven to sing which required him to keep repeating the name "Lory" over and over again. Aside from that egotistical tidbit, this upbeat tune with a recognizable hook really captures the mood of moving to a new place and feeling like a stranger in a strange land. Would work in any number of situations in which a character is feeling estranged or uprooted.
"Lovestruck Girls" was signed by Gold Hill Music, Steven Still's publishing company, back in the day although they were unable to place it. It's a really catchy pop rock confection with top notch engineering and production recorded at The Village Recorder in Santa Monica. This would be great for a "boy band" or similar. A lot of people feel the band Big Star might be the best undiscovered band ever. Well, compare their "September Gurls" with our "Lovestruck Girls" and tell me we're not in the discussion. A great undiscovered pop tune from back in the days when there were pop tunes.
"In The Shadows" Here Steven Solomon's girlfriend Janna Duncan appears crooning one of our songs with us as backup band. That's one way to get someone else to pay for a recording. Some nifty guitar work on offer here. Can't afford to license Pat Benatar? You tell me how far off the unknown Ms. Duncan is from her. It aint much. This would be on Pat Benatar's greatest hits album if she recorded it. One sentence backstory: Janna Duncan's grandfather invented the parking meter and the yo yo; she's heir to his fortune.
"Short While" More Janna Duncan with us as backup band and more pop rock productions from us back when that was a big thing. Kinda captures the free love spirit prevalent in the 60s, 70s and 80s ... not that it ever really went away. But it got more publicity back then in the pre-AIDS planet. This could be a nice remake for someone.
Silicon Rebels (1989)
Following the initial demise of The Milkmen in the mid-80s, Lory began fooling around with the nascent field of MIDI music, that is, electronic music produced using computers or (then) hardware sequencers. Instrumental music was a new challenge he embraced which kept him occupied for the next few years. Eventually, he'd accumulated so many ideas that he decided to put a major effort into recording the best of them. This is an unusual although completely likable collection of moods, cause back then most people doing electronic music went for a "New Age" sound which seldom featured much of a beat. These do, and the songs swing as a result. Highlights include "Resolution" which would be perfect for the opening sequence of a war movie, "Surf Survival," an obvious candidate for a surfing show, and "Jimi Plays Saturn," an upbeat example of early electronica. Plenty of goodies on offer with this one.
Monk Music (2003)
In 2003 Lory decided to produce other people. The first job he landed was a doozy. A Buddhist monk wanted to raise money for his various charities like schools in Cambodia (or Myranar or whatever it's called). The marching orders were "We want a huge production like "We Are The World We Are The People." Two months later, "You Love All" manifested itself. The various mixes are their own form of enlightenment and are recommended for any spiritually inclined show, movie, or documentary. The lead singer, Lee Ellis, has a big, pure John Denver type voice which resonates with the spiritually inclined. Imagine John Denver singing a spiritual Broadway tune and there you go. *This one is not pre-cleared since it wasn't written by a Milkman ... which doesn't mean it isn't available.
Jock Rock (2003)
The title, "One Team One Goal" pays homage to Queen's "One World One Vision." If "You Love All" represents peace, this one is all about war, as in athletic conquest or highly competitive corporate branding. This could be the theme song for a Premier League football team or a corporation promoting its various executive teams. As usual, it sounds like nothing else with lots of adrenaline and testosterone literally seeping through the tracks. Highly listenable and highly licensable. Assembling epic productions like this prepared Lory for works to come like Songlab.