Request Assets

For WAV files, stems, alt mixes, clearance details, or more information, contact:

sergio@omrmusicproduction.com

Please reference:
WAIT FOR ME — JUSTIN ENCO BAND

OMR Cue Map

Track: WAIT FOR ME
Clean Intro: Yes — the opening should give editors a usable setup before the fullest arrangement or vocal section arrives.
Edit Points: Edit around riff returns, vocal phrase endings, drum fills, breakdowns, and chorus or refrain entries; strong for character-driven scene shaping.
Button Ending: Likely usable if the final phrase resolves cleanly; confirm exact tail during audio review.
Loopable: Moderate — best loop potential will be in instrumental intros, breaks, or repeated groove sections rather than lyric-heavy passages.
Best Loop Candidates: Intro bed, primary groove, post-hook section, and any instrumental bridge or breakdown with reduced vocal density.

Use Case:
Use the opening identity to establish tone quickly, then let the arrangement changes guide editorial movement. The strongest placements are likely in romance, personal turning points, apology scenes, separation, reunion, coming-of-age choices, and emotionally exposed dialogue, with trims around clear phrase endings, groove resets, or instrumental breaks.

Sync Pitch Sheet

Song Profile:
Key: D Major
BPM: 64
Genres: FOLK
Vocals: Male Vocal
Moods: EMOTIVE / HOPEFUL / MINIMAL / WARM
Sync Themes: COMING OF AGE / DRAMA / INDIE / ROMANCE / THRILLER
Lyric Themes: HEARTBREAK / IDENTITY / LOVE / STRUGGLE / TIME
Type: W Collection-ready; male vocal; one-stop metadata present

Instrumentation:
ACOUSTIC GUITAR / BASS

Track Summary:
“WAIT FOR ME” by JUSTIN ENCO BAND uses expressive vocal writing, acoustic guitar / bass, and a slow-burn pulse to create a distinct character / relationship / human stories placement lane. The D Major setting and emotive, hopeful, minimal, warm mood profile give the track useful shape for romance, personal turning points, apology scenes, separation, reunion, coming-of-age choices, and emotionally exposed dialogue.

Sync Highlights:

• Primary category: Relationship Stories & Emotional Consequence
• Secondary utility: Romance, friendship, emotional confession, intimate drama
• Sync themes: COMING OF AGE / DRAMA / INDIE / ROMANCE / THRILLER
• One-stop licensing supports streamlined clearance

Sync Potential

Best suited for Relationship Stories & Emotional Consequence placements with crossover utility for Romance, friendship, emotional confession, intimate drama.

Stem Tracks

Available on request / confirm with rights holder.

Track Narrative

“WAIT FOR ME” by JUSTIN ENCO BAND uses expressive vocal writing, acoustic guitar / bass, and a slow-burn pulse to create a distinct character / relationship / human stories placement lane. The D Major setting and emotive, hopeful, minimal, warm mood profile give the track useful shape for romance, personal turning points, apology scenes, separation, reunion, coming-of-age choices, and emotionally exposed dialogue.

Lyrics

So far nothing's coming
But I keep hanging on
The spirit is wailing
But the mind keeps wandering on
The messages hidden inside you
The secrets you keep clinging to
Now come on baby you and I know
You're heading for the door
Besides you know
I could never let him go
So wait for me you see darling
All this time I was wrong
When I was searching for something
That was right here all along
So wait for me, sweet darling
I've been holding back too long
Let me show you how one ride can overcome my wrongs
So you left and I tried to follow
From back inside
The window cracked as you drifted out of sight
Should've known this would come
I should've known I would cry
And as my world slowly crumbled
I realized
Rest, humble time
I need you by my side
So wait for me, sweet darling
All this time I was wrong
And I was searching for something
That was right here all along
So wait for me, sweet darling
I've been holding back too long
Let me show you how one ride
Can overcome my wrongs
Wait for me, sweet darling
All this time I was wrong
While I was searching for something
That was right here all along
So wait for me, sweet darling
I've been holding back too long
Let me show you how one ride
Can overcome a
My wrongs, my wrongs
I'm sorry for my wrongs

Artist Bio

Justin Enco Band brings a warm folk sensibility to OMR, pairing intimate vocal writing with understated arrangements that work well for coming-of-age, romance, and character-centered drama.

Request Assets

For WAV files, stems, alt mixes, clearance details, or more information, contact:

sergio@omrmusicproduction.com

Please reference:
WAITING ON MY LOVE TO COME — LEE PALMER

OMR Cue Map

Track: WAITING ON MY LOVE TO COME
Clean Intro: Yes — the opening should give editors a usable setup before the fullest arrangement or vocal section arrives.
Edit Points: Edit around riff returns, vocal phrase endings, drum fills, breakdowns, and chorus or refrain entries; strong for character-driven scene shaping.
Button Ending: Likely usable if the final phrase resolves cleanly; confirm exact tail during audio review.
Loopable: Moderate — best loop potential will be in instrumental intros, breaks, or repeated groove sections rather than lyric-heavy passages.
Best Loop Candidates: Intro bed, primary groove, post-hook section, and any instrumental bridge or breakdown with reduced vocal density.

Use Case:
Use the opening identity to establish tone quickly, then let the arrangement changes guide editorial movement. The strongest placements are likely in romance, personal turning points, apology scenes, separation, reunion, coming-of-age choices, and emotionally exposed dialogue, with trims around clear phrase endings, groove resets, or instrumental breaks.

Sync Pitch Sheet

Song Profile:
Key: E Minor
BPM: 120
Genres: BLUES
Vocals: Male Vocal
Moods: CAREFREE / CONFIDENT / FUN / HAPPY / QUIRKY / RETRO
Sync Themes: COMEDY / COMING OF AGE / ROMANCE
Lyric Themes: CONNECTION / FREEDOM / LOVE
Type: W Collection-ready; male vocal; one-stop metadata present

Instrumentation:
BASS / DRUMS / ELECTRIC GUITAR / HARMONICA / PERCUSSION / SYNTH

Track Summary:
“WAITING ON MY LOVE TO COME” by LEE PALMER uses expressive vocal writing, bass / drums / electric guitar / harmonica / percussion / synth, and a mid-tempo pulse to create a distinct character / relationship / human stories placement lane. The E Minor setting and carefree, confident, fun, happy, quirky mood profile give the track useful shape for romance, personal turning points, apology scenes, separation, reunion, coming-of-age choices, and emotionally exposed dialogue.

Sync Highlights:

• Primary category: Relationship Stories & Emotional Consequence
• Secondary utility: Romance, friendship, emotional confession, intimate drama
• Sync themes: COMEDY / COMING OF AGE / ROMANCE
• One-stop licensing supports streamlined clearance

Sync Potential

Best suited for Relationship Stories & Emotional Consequence placements with crossover utility for Romance, friendship, emotional confession, intimate drama.

Stem Tracks

Available on request / confirm with rights holder.

Track Narrative

“WAITING ON MY LOVE TO COME” by LEE PALMER uses expressive vocal writing, bass / drums / electric guitar / harmonica / percussion / synth, and a mid-tempo pulse to create a distinct character / relationship / human stories placement lane. The E Minor setting and carefree, confident, fun, happy, quirky mood profile give the track useful shape for romance, personal turning points, apology scenes, separation, reunion, coming-of-age choices, and emotionally exposed dialogue.

Lyrics

I'm waiting on my love to come
I'm waiting on my love to come
I'm looking out my window, standing by the phone
When she finally gets here, I'll make her feel right at home
I couldn't miss her more, 'cause I miss her a ton
I'm waiting on my love to come, yeah, maybe she will
Or maybe she won't
If she does she does
If she don't she don't
I know she wants to
'Cause she told me so
Still she's a little cautious
Moves a little slow
That's okay yeah
I can't wait
Feels good to anticipate
I'm waiting on my love to come
I'm waiting on my love to come
I'm looking out my window
Standing by the phone
When she finally gets here
I'll make her feel right at home
I couldn't miss her more
'Cause I miss her a ton
I'm waiting on my love to come
Yeah, I can wait another hour, I can wait all day
I got stuff I wanna do and things I wanna say
Maybe it will come all together or fall all apart
It could be a brand new day or a broken heart
Yeah, my chest is a-pounding, my head is reeling
Always on my mind's got a brand new meaning
I'm waiting on my love to come
I'm waiting on my love to come
Looking out my window, standing by the phone
When she finally gets here, I'll make her feel right at home
I couldn't miss her more, 'cause I miss her a ton
I'm waiting on my love to come
I'm waiting on my love to come
I'm waiting on my love to come

Artist Bio

Lee Palmer brings blues, folk, country, and roots-rock writing into a sync-friendly lane, with vocal performances suited to romance, road stories, comedy, nostalgia, and grounded human drama.

Request Assets

For WAV files, stems, alt mixes, clearance details, or more information, contact:

sergio@omrmusicproduction.com

Please reference:
WHEN LOVE IS STRONG — MATTIE LEON

OMR Cue Map

Track: WHEN LOVE IS STRONG
Clean Intro: Yes — the opening should give editors a usable setup before the fullest arrangement or vocal section arrives.
Edit Points: Natural edit points around section changes, phrase endings, hook returns, and instrumental transitions; suitable for promo cuts and scene-length shaping.
Button Ending: Likely usable if the final phrase resolves cleanly; confirm exact tail during audio review.
Loopable: Moderate — best loop potential will be in instrumental intros, breaks, or repeated groove sections rather than lyric-heavy passages.
Best Loop Candidates: Intro bed, primary groove, post-hook section, and any instrumental bridge or breakdown with reduced vocal density.

Use Case:
Use the opening identity to establish tone quickly, then let the arrangement changes guide editorial movement. The strongest placements are likely in romance, personal turning points, apology scenes, separation, reunion, coming-of-age choices, and emotionally exposed dialogue, with trims around clear phrase endings, groove resets, or instrumental breaks.

Sync Pitch Sheet

Song Profile:
Key: G Major
BPM: 69
Genres: INDIE / SING / SONG
Vocals: Male Vocal
Moods: ATMOSPHERIC / DARK / DREAMY / LIGHT / LOVE / MINIMAL / MOODY / REFLECTIVE
Sync Themes: ART HOUSE / COMING OF AGE / DRAMA / INDIE / ROMANCE
Lyric Themes: CONNECTION / FEAR / HEARTBREAK / LOVE / STRENGTH
Type: W Collection-ready; male vocal; one-stop metadata present

Instrumentation:
BASS / DRUMS / ELECTRIC GUITAR / KEYBOARD / PIANO

Track Summary:
“WHEN LOVE IS STRONG” by MATTIE LEON uses expressive vocal writing, bass / drums / electric guitar / keyboard / piano, and a slow-burn pulse to create a distinct character / relationship / human stories placement lane. The G Major setting and atmospheric, dark, dreamy, light, love mood profile give the track useful shape for romance, personal turning points, apology scenes, separation, reunion, coming-of-age choices, and emotionally exposed dialogue.

Sync Highlights:

• Primary category: Relationship Stories & Emotional Consequence
• Secondary utility: Romance, friendship, emotional confession, intimate drama
• Sync themes: ART HOUSE / COMING OF AGE / DRAMA / INDIE / ROMANCE
• One-stop licensing supports streamlined clearance

Sync Potential

Best suited for Relationship Stories & Emotional Consequence placements with crossover utility for Romance, friendship, emotional confession, intimate drama.

Stem Tracks

Available on request / confirm with rights holder.

Track Narrative

“WHEN LOVE IS STRONG” by MATTIE LEON uses expressive vocal writing, bass / drums / electric guitar / keyboard / piano, and a slow-burn pulse to create a distinct character / relationship / human stories placement lane. The G Major setting and atmospheric, dark, dreamy, light, love mood profile give the track useful shape for romance, personal turning points, apology scenes, separation, reunion, coming-of-age choices, and emotionally exposed dialogue.

Lyrics

There's a fire
making it's way 'cross The Great Divide
through the dark
and into the light

All your fears,
billowing smoke in the atmosphere,
fade away
and all that remains

Are the wonderful things you turned out to be.
When love is strong it gives us a chance to be.

In your blood
are vibrant displays of elegant love.
In your heart,
maps of the way.

When life isn't working
the ones that we love mend the things that are broken.

All the wonderful things you turned out to be.
When love is strong it gives us a chance to be.

Artist Bio

Mattie Leon writes intimate indie and singer-songwriter material with emotional clarity, giving OMR strong options for romance, coming-of-age, loss, hope, and character-led dramatic storytelling.

Request Assets

For WAV files, stems, alt mixes, clearance details, or more information, contact:

sergio@omrmusicproduction.com

Please reference:
WHERE THE LOVE GO — MELODIC YOZA

OMR Cue Map

Track: WHERE THE LOVE GO
Clean Intro: Yes — the opening should give editors a usable setup before the fullest arrangement or vocal section arrives.
Edit Points: Natural edit points around section changes, phrase endings, hook returns, and instrumental transitions; suitable for promo cuts and scene-length shaping.
Button Ending: Likely usable if the final phrase resolves cleanly; confirm exact tail during audio review.
Loopable: Moderate — best loop potential will be in instrumental intros, breaks, or repeated groove sections rather than lyric-heavy passages.
Best Loop Candidates: Intro bed, primary groove, post-hook section, and any instrumental bridge or breakdown with reduced vocal density.

Use Case:
Use the opening identity to establish tone quickly, then let the arrangement changes guide editorial movement. The strongest placements are likely in romance, personal turning points, apology scenes, separation, reunion, coming-of-age choices, and emotionally exposed dialogue, with trims around clear phrase endings, groove resets, or instrumental breaks.

Sync Pitch Sheet

Song Profile:
Key: F# Minor
BPM: 100
Genres: BALLADS / HIP HOP / POP / R&B / REGGAE
Vocals: Male Vocal
Moods: CATCHY / CHILL / CONFIDENT / DRAMATIC / EMOTIVE / RELAXING / RHYTHMIC / SERIOUS / SEXY / SWAGGER
Sync Themes: COMEDY / CRIME / DRAMA / FANTASY / ROMANCE
Lyric Themes: LOVE / PAIN / REBELLION / RELATIONSHIP / STRUGGLE
Type: W Collection-ready; male vocal; one-stop metadata present

Instrumentation:
BASS / PERCUSSION / SYNTH

Track Summary:
“WHERE THE LOVE GO” by MELODIC YOZA uses expressive vocal writing, bass / percussion / synth, and a mid-tempo pulse to create a distinct character / relationship / human stories placement lane. The F# Minor setting and catchy, chill, confident, dramatic, emotive mood profile give the track useful shape for romance, personal turning points, apology scenes, separation, reunion, coming-of-age choices, and emotionally exposed dialogue.

Sync Highlights:

• Primary category: Relationship Stories & Emotional Consequence
• Secondary utility: Romance, friendship, emotional confession, intimate drama
• Sync themes: COMEDY / CRIME / DRAMA / FANTASY / ROMANCE
• One-stop licensing supports streamlined clearance

Sync Potential

Best suited for Relationship Stories & Emotional Consequence placements with crossover utility for Romance, friendship, emotional confession, intimate drama.

Stem Tracks

Available on request / confirm with rights holder.

Track Narrative

“WHERE THE LOVE GO” by MELODIC YOZA uses expressive vocal writing, bass / percussion / synth, and a mid-tempo pulse to create a distinct character / relationship / human stories placement lane. The F# Minor setting and catchy, chill, confident, dramatic, emotive mood profile give the track useful shape for romance, personal turning points, apology scenes, separation, reunion, coming-of-age choices, and emotionally exposed dialogue.

Lyrics

You know
Stargirl
You, you, you, you, yeah, ah
No contradiction, no resistance
Speak about your pain, woah
What is missing, if we listen
We're just all the same, yeah
Social distance, emotional sickness
Life is not a game, no
Your addiction, not a fiction
LP's on the way
Act up and lose trust
'Cause our problem is us
Caught up in our greed
So all wants and all dreams
But where the love, where the love, where the love, where the love goes
Where the love, where the love, where the love, where the love gone
Where the love where the love where the love where the love where the love goes
Where the love where the love where the love where the love where the love goes
Emancipation
Reparation
Still I see no changes
Segregation
Confrontation
Complicating things yeah
Declaration
Medication
Got me feeling drained woah
Revelation
Transformation
Information age yeah
Act up and lose trust
Our problem is us
Caught up in our greed
Our wants and our dreams
Where the love, where the love, where the love, where the love goes
Where the love, where the love, where the love, where the love gone
Well I would love, would love, would love, would love, would love more
Well I would love, would love, would love, would love, would love more
You and I, T.Y.
Show some love and don't be shy
If you saw the world through my eyes
And you know the tears I cry, I cry
Where the love, where the love, where the love, where the love goes
Where the love, where the love, where the love, where the love gone
Where the love, where the love, where the love, where the love, where the love goes
Where the love, where the love, where the love, where the love, where the love gone
Gone, gone, gone
Where did love go?
Going going gone
Where did love go?

Artist Bio

Melodic Yoza brings rhythmic vocal energy with reggae, hip hop, pop, and R&B influences, useful for romance, street-level confidence, comedy, movement, and youthful character energy.

Request Assets

For WAV files, stems, alt mixes, clearance details, or more information, contact:

sergio@omrmusicproduction.com

Please reference:
WHY CAN'T YOU LOVE ME — TIFFANY JOY

OMR Cue Map

Track: WHY CAN'T YOU LOVE ME
Clean Intro: Yes — the opening should give editors a usable setup before the fullest arrangement or vocal section arrives.
Edit Points: Natural edit points around section changes, phrase endings, hook returns, and instrumental transitions; suitable for promo cuts and scene-length shaping.
Button Ending: Likely usable if the final phrase resolves cleanly; confirm exact tail during audio review.
Loopable: Moderate — best loop potential will be in instrumental intros, breaks, or repeated groove sections rather than lyric-heavy passages.
Best Loop Candidates: Intro bed, primary groove, post-hook section, and any instrumental bridge or breakdown with reduced vocal density.

Use Case:
Use the opening identity to establish tone quickly, then let the arrangement changes guide editorial movement. The strongest placements are likely in romance, personal turning points, apology scenes, separation, reunion, coming-of-age choices, and emotionally exposed dialogue, with trims around clear phrase endings, groove resets, or instrumental breaks.

Sync Pitch Sheet

Song Profile:
Key: E Major
BPM: 116
Genres: JAZZ / LATIN / REGGAE
Vocals: Female Vocal
Moods: FUN / HAPPY / LIGHT / PLAYFUL / POSITIVE / QUIRKY / ROMANTIC / UPBEAT
Sync Themes: ART HOUSE / DRAMA / INDIE / ROMANCE
Lyric Themes: FEAR / IDENTITY / LOVE / RELATIONSHIP / STRUGGLE
Type: W Collection-ready; female vocal; one-stop metadata present

Instrumentation:
ACOUSTIC GUITAR / BASS / DRUMS / KEYBOARD / PERCUSSION

Track Summary:
“WHY CAN'T YOU LOVE ME” by TIFFANY JOY uses expressive vocal writing, acoustic guitar / bass / drums / keyboard / percussion, and a mid-tempo pulse to create a distinct character / relationship / human stories placement lane. The E Major setting and fun, happy, light, playful, positive mood profile give the track useful shape for romance, personal turning points, apology scenes, separation, reunion, coming-of-age choices, and emotionally exposed dialogue.

Sync Highlights:

• Primary category: Relationship Stories & Emotional Consequence
• Secondary utility: Romance, friendship, emotional confession, intimate drama
• Sync themes: ART HOUSE / DRAMA / INDIE / ROMANCE
• One-stop licensing supports streamlined clearance

Sync Potential

Best suited for Relationship Stories & Emotional Consequence placements with crossover utility for Romance, friendship, emotional confession, intimate drama.

Stem Tracks

Available on request / confirm with rights holder.

Track Narrative

“WHY CAN'T YOU LOVE ME” by TIFFANY JOY uses expressive vocal writing, acoustic guitar / bass / drums / keyboard / percussion, and a mid-tempo pulse to create a distinct character / relationship / human stories placement lane. The E Major setting and fun, happy, light, playful, positive mood profile give the track useful shape for romance, personal turning points, apology scenes, separation, reunion, coming-of-age choices, and emotionally exposed dialogue.

Lyrics

Drawn to you magnetically
Held within your gaze
so humbled by your humility
I end up spouting praise
I ask if you will share your warmth
and slid my hands in yours
wishing that you felt my touch to your very core
Why can't you love me the way that I love you with a fervor I can't deny
Why can't you see me the way that I see you when we're searching in each other's eyes
What part of teasing me pleasures you
I melt beneath your words
I struggle to grasp your point of view
Your mind is split in thirds
one part you want me two parts you hold me
three to deny it all
and in the end I'm flustered
due to my lack of self-worth
why can't you love me the way that I love you with a fervor I can't deny
Why can't you see me the way that I see you when we're searching in each other's eyes
Could you just need me the way that I need you with a passion I can't justify
And maybe feel me in times when it feels like without your love I can't get by
Why can't you love me?
Why can't you love me?
Why can't you love me?
Why can't you love me?
Why can't you love me the way that I love you with a fervor that I can't deny
Why can't you see me the way that I see you when we're searching in each other's eyes
Could you just need me the way that I need you with a passion I can't justify
And maybe feel me in times when it feels like without your love I can't get by
Without your love I can't get by
Without your love I can't get by
Without your love I can't get by
Without your love I can't get by

Artist Bio

Tiffany Joy blends jazz, Latin, and reggae influences with an expressive vocal style that supports romance, longing, intimacy, and emotionally detailed dramatic scenes.

Request Assets

For WAV files, stems, alt mixes, clearance details, or more information, contact:

sergio@omrmusicproduction.com

Please reference:
WIFEY — ANTHONY DIDOMENICO

OMR Cue Map

Track: WIFEY
Clean Intro: Yes — the opening should give editors a usable setup before the fullest arrangement or vocal section arrives.
Edit Points: Edit around texture shifts, pulse entries, swells, and harmonic changes; strong for slow dissolves, suspense builds, and extended underscore beds.
Button Ending: Potentially strong where the final hit, riff, or rhythmic stop lands cleanly; confirm with an audio pass.
Loopable: Moderate — best loop potential will be in instrumental intros, breaks, or repeated groove sections rather than lyric-heavy passages.
Best Loop Candidates: Intro bed, primary groove, post-hook section, and any instrumental bridge or breakdown with reduced vocal density.

Use Case:
Use the opening identity to establish tone quickly, then let the arrangement changes guide editorial movement. The strongest placements are likely in romance, personal turning points, apology scenes, separation, reunion, coming-of-age choices, and emotionally exposed dialogue, with trims around clear phrase endings, groove resets, or instrumental breaks.

Sync Pitch Sheet

Song Profile:
Key: C Major
BPM: 90
Genres: ELECTRONIC / HIP HOP / POP
Vocals: Male Vocal
Moods: BRIGHT / CATCHY / DRAMATIC / ENERGETIC / HOPEFUL / RHYTHMIC / SOMBER
Sync Themes: COMEDY / COMING OF AGE / DRAMA / ROMANCE
Lyric Themes: FAITH / LOVE / PAIN / RELATIONSHIP
Type: W Collection-ready; male vocal; one-stop metadata present

Instrumentation:
BASS / DRUMS / PERCUSSION / SYNTH

Track Summary:
“WIFEY” by ANTHONY DIDOMENICO uses expressive vocal writing, bass / drums / percussion / synth, and a mid-tempo pulse to create a distinct character / relationship / human stories placement lane. The C Major setting and bright, catchy, dramatic, energetic, hopeful mood profile give the track useful shape for romance, personal turning points, apology scenes, separation, reunion, coming-of-age choices, and emotionally exposed dialogue.

Sync Highlights:

• Primary category: Relationship Stories & Emotional Consequence
• Secondary utility: Romance, friendship, emotional confession, intimate drama
• Sync themes: COMEDY / COMING OF AGE / DRAMA / ROMANCE
• One-stop licensing supports streamlined clearance

Sync Potential

Best suited for Relationship Stories & Emotional Consequence placements with crossover utility for Romance, friendship, emotional confession, intimate drama.

Stem Tracks

Available on request / confirm with rights holder.

Track Narrative

“WIFEY” by ANTHONY DIDOMENICO uses expressive vocal writing, bass / drums / percussion / synth, and a mid-tempo pulse to create a distinct character / relationship / human stories placement lane. The C Major setting and bright, catchy, dramatic, energetic, hopeful mood profile give the track useful shape for romance, personal turning points, apology scenes, separation, reunion, coming-of-age choices, and emotionally exposed dialogue.

Lyrics

You might bite me, can you be my wifey
You're nothing like me, you're my loving light beam
I see you nicely, will you be my wifey
I'm down on one knee, we're doing this for life
You might bite me, can you be my wifey
You're nothing like me, you're my loving light beam
I see you nicely, will you be my wifey
I'm down on one knee, we're doing this for life
Dig me back when we were kids
You and I were innocent
In love with this, just one kiss
Trying to figure out how to live
Living on the feelings I hid
Feeling embarrassed, no quits
Cause that love was pouring through me
I just had to admit
I confess my love to you
You had me vulnerable and true
My heart and fluid have me feeling down and stupid
And I feel the pain inside
Question why I even try
I opened up my heart to you and now I think it dies
Was a lie, hypnotized
I've been caught up in my mind
Was painting up a picture that you shattered
In real life, is that my wife?
You're right by me, can you be my wifey?
You're nothing like me, you're my loving wifey
If I say it nicely, will you be my wifey?
I'm down to one knee, doing this for lifey
You might bite me, can you be my wifey
You're nothing like me, you're my loving wifey
If I say it nicely, will you be my wifey
I'm down on one knee, doing this for lifey
Today's a new day, we've grown through the pain
Now I'm far from lonely
But I still hear your name
And you can tell what we want tonight
My emotions they exploding like the dynamite
You pretend like you know me you ain't feel me alright
So keep dreaming if you thinking you'll be kiss me goodnight
You might bite me
Can you be my wifey
You're nothing like me
You're my loving wifey
I say it nicely
Will you be my wifey
I'm down on one knee
Doing this for lifey
You're right by me
Can you be my wifey
You're nothing like me
You're my loving wifey
I say it nicely
Will you be my wifey
I'm down on one knee
Doing this for lifey
You're right by me
Can you be my wifey
Nothing like me, you're my loving wifey
I say it nicely, will you be my wifey
I'm down on one knee, doing this for lifey
You're my baby, can you be my wifey
You're nothing like me, you're my loving wifey
I say it nicely, will you be my wifey
I'm down on one knee, doing this for lifey

Artist Bio

Anthony DiDomenico creates contemporary pop and hip hop material with youthful energy and romantic immediacy, suited to comedy, relationship stories, and character-driven modern scenes.

Request Assets

For WAV files, stems, alt mixes, clearance details, or more information, contact:

sergio@omrmusicproduction.com

Please reference:
WISH FOR MY BROTHER — PAT CAREY

OMR Cue Map

Track: WISH FOR MY BROTHER
Clean Intro: Yes — instrumental opening gives editors clean room for dialogue, ambience, or visual setup.
Edit Points: Edit around texture shifts, pulse entries, swells, and harmonic changes; strong for slow dissolves, suspense builds, and extended underscore beds.
Button Ending: Likely usable if the final phrase resolves cleanly; confirm exact tail during audio review.
Loopable: Yes — instrumental sections should extend cleanly for underscore, montage, or transition use.
Best Loop Candidates: Opening texture, mid-cue bed, rhythmic or harmonic vamp, and any sustained passage before the final lift.

Use Case:
Use the opening identity to establish tone quickly, then let the arrangement changes guide editorial movement. The strongest placements are likely in romance, personal turning points, apology scenes, separation, reunion, coming-of-age choices, and emotionally exposed dialogue, with trims around clear phrase endings, groove resets, or instrumental breaks.

Sync Pitch Sheet

Song Profile:
Key: G Major
BPM: 100
Genres: AMBIENT / JAZZ
Vocals: Instrumental
Moods: CHILL / DRAMATIC / HOPEFUL / ROMANTIC / SAD / SOMBER / WARM
Sync Themes: COMING OF AGE / DRAMA / HISTORICAL / ROMANCE
Lyric Themes:
Type: W Collection-ready; instrumental; one-stop metadata present

Instrumentation:
ELECTRIC GUITAR / HORNS / PERCUSSION / PIANO / SAXOPHONE

Track Summary:
“WISH FOR MY BROTHER” by PAT CAREY uses instrumental textures, electric guitar / horns / percussion / piano / saxophone, and a mid-tempo pulse to create a distinct character / relationship / human stories placement lane. The G Major setting and chill, dramatic, hopeful, romantic, sad mood profile give the track useful shape for romance, personal turning points, apology scenes, separation, reunion, coming-of-age choices, and emotionally exposed dialogue.

Sync Highlights:

• Primary category: Relationship Stories & Emotional Consequence
• Secondary utility: Romance, friendship, emotional confession, intimate drama
• Sync themes: COMING OF AGE / DRAMA / HISTORICAL / ROMANCE
• One-stop licensing supports streamlined clearance

Sync Potential

Best suited for Relationship Stories & Emotional Consequence placements with crossover utility for Romance, friendship, emotional confession, intimate drama.

Stem Tracks

Available on request / confirm with rights holder.

Track Narrative

“WISH FOR MY BROTHER” by PAT CAREY uses instrumental textures, electric guitar / horns / percussion / piano / saxophone, and a mid-tempo pulse to create a distinct character / relationship / human stories placement lane. The G Major setting and chill, dramatic, hopeful, romantic, sad mood profile give the track useful shape for romance, personal turning points, apology scenes, separation, reunion, coming-of-age choices, and emotionally exposed dialogue.

Instrumental Usage

Fully instrumental and one-stop, “WISH FOR MY BROTHER” supports cinematic storytelling without lyrical distraction. Especially useful for Romance, friendship, emotional confession, intimate drama.

Artist Bio

Pat Carey offers atmospheric jazz writing with emotional warmth and instrumental clarity, ideal for human stories, family memory, reflective drama, and intimate romance.

Request Assets

For WAV files, stems, alt mixes, clearance details, or more information, contact:

sergio@omrmusicproduction.com

Please reference:
WAITING FOR THE PACKAGE TO ARRIVE — JOSH HOWARD FRIEDMAN

OMR Cue Map

Track: WAITING FOR THE PACKAGE TO ARRIVE
Clean Intro: Yes — instrumental opening gives editors clean room for dialogue, ambience, or visual setup.
Edit Points: Natural edit points around section changes, phrase endings, hook returns, and instrumental transitions; suitable for promo cuts and scene-length shaping.
Button Ending: Likely usable if the final phrase resolves cleanly; confirm exact tail during audio review.
Loopable: Yes — instrumental sections should extend cleanly for underscore, montage, or transition use.
Best Loop Candidates: Opening texture, mid-cue bed, rhythmic or harmonic vamp, and any sustained passage before the final lift.

Use Case:
Use the opening identity to establish tone quickly, then let the arrangement changes guide editorial movement. The strongest placements are likely in reflective montage, memory, emotional aftermath, slow travel, visual atmosphere, and restrained dramatic pacing, with trims around clear phrase endings, groove resets, or instrumental breaks.

Sync Pitch Sheet

Song Profile:
Key: A Minor
BPM: 139
Genres: CLASSICAL
Vocals: Instrumental
Moods: BRIGHT / REFLECTIVE
Sync Themes: ART HOUSE / COMEDY / DRAMA
Lyric Themes:
Type: W Collection-ready; instrumental; one-stop metadata present

Instrumentation:
PIANO

Track Summary:
“WAITING FOR THE PACKAGE TO ARRIVE” by JOSH HOWARD FRIEDMAN uses instrumental textures, piano, and a driving pulse to create a distinct atmospheric / reflective / cinematic placement lane. The A Minor setting and bright, reflective mood profile give the track useful shape for reflective montage, memory, emotional aftermath, slow travel, visual atmosphere, and restrained dramatic pacing.

Sync Highlights:

• Primary category: Atmospheric, Reflective & Cinematic
• Secondary utility: Emotional aftermath, slow-burn montage, memory, visual atmosphere
• Sync themes: ART HOUSE / COMEDY / DRAMA
• One-stop licensing supports streamlined clearance

Sync Potential

Best suited for Atmospheric, Reflective & Cinematic placements with crossover utility for Emotional aftermath, slow-burn montage, memory, visual atmosphere.

Stem Tracks

Available on request / confirm with rights holder.

Track Narrative

“WAITING FOR THE PACKAGE TO ARRIVE” by JOSH HOWARD FRIEDMAN uses instrumental textures, piano, and a driving pulse to create a distinct atmospheric / reflective / cinematic placement lane. The A Minor setting and bright, reflective mood profile give the track useful shape for reflective montage, memory, emotional aftermath, slow travel, visual atmosphere, and restrained dramatic pacing.

Instrumental Usage

Fully instrumental and one-stop, “WAITING FOR THE PACKAGE TO ARRIVE” supports cinematic storytelling without lyrical distraction. Especially useful for Emotional aftermath, slow-burn montage, memory, visual atmosphere.

Artist Bio

Josh Howard Friedman creates characterful instrumental pieces with a playful yet cinematic touch, useful for art-house moments, comedy beats, mystery color, and intimate dramatic storytelling.

Request Assets

For WAV files, stems, alt mixes, clearance details, or more information, contact:

sergio@omrmusicproduction.com

Please reference:
WATERS OF LIFE — PHEELION

OMR Cue Map

Track: WATERS OF LIFE
Clean Intro: Yes — instrumental opening gives editors clean room for dialogue, ambience, or visual setup.
Edit Points: Edit around texture shifts, pulse entries, swells, and harmonic changes; strong for slow dissolves, suspense builds, and extended underscore beds.
Button Ending: Likely usable if the final phrase resolves cleanly; confirm exact tail during audio review.
Loopable: Yes — instrumental sections should extend cleanly for underscore, montage, or transition use.
Best Loop Candidates: Opening texture, mid-cue bed, rhythmic or harmonic vamp, and any sustained passage before the final lift.

Use Case:
Use the opening identity to establish tone quickly, then let the arrangement changes guide editorial movement. The strongest placements are likely in reflective montage, memory, emotional aftermath, slow travel, visual atmosphere, and restrained dramatic pacing, with trims around clear phrase endings, groove resets, or instrumental breaks.

Sync Pitch Sheet

Song Profile:
Key: G Minor
BPM: 130
Genres: AMBIENT / ELECTRONIC
Vocals: Instrumental
Moods: ATMOSPHERIC / DREAMY / EMOTIVE / HOPEFUL / LIGHT / MINIMAL / REFLECTIVE / UPLIFTING / WARM
Sync Themes: ART HOUSE / DRAMA / HISTORICAL
Lyric Themes:
Type: W Collection-ready; instrumental; one-stop metadata present

Instrumentation:
STRINGS / SYNTH

Track Summary:
“WATERS OF LIFE” by PHEELION uses instrumental textures, strings / synth, and a driving pulse to create a distinct atmospheric / reflective / cinematic placement lane. The G Minor setting and atmospheric, dreamy, emotive, hopeful, light mood profile give the track useful shape for reflective montage, memory, emotional aftermath, slow travel, visual atmosphere, and restrained dramatic pacing.

Sync Highlights:

• Primary category: Atmospheric, Reflective & Cinematic
• Secondary utility: Emotional aftermath, slow-burn montage, memory, visual atmosphere
• Sync themes: ART HOUSE / DRAMA / HISTORICAL
• One-stop licensing supports streamlined clearance

Sync Potential

Best suited for Atmospheric, Reflective & Cinematic placements with crossover utility for Emotional aftermath, slow-burn montage, memory, visual atmosphere.

Stem Tracks

Available on request / confirm with rights holder.

Track Narrative

“WATERS OF LIFE” by PHEELION uses instrumental textures, strings / synth, and a driving pulse to create a distinct atmospheric / reflective / cinematic placement lane. The G Minor setting and atmospheric, dreamy, emotive, hopeful, light mood profile give the track useful shape for reflective montage, memory, emotional aftermath, slow travel, visual atmosphere, and restrained dramatic pacing.

Instrumental Usage

Fully instrumental and one-stop, “WATERS OF LIFE” supports cinematic storytelling without lyrical distraction. Especially useful for Emotional aftermath, slow-burn montage, memory, visual atmosphere.

Artist Bio

Pheelion works in ambient electronic textures that support reflective visual storytelling, especially when a scene needs atmosphere, restraint, historical weight, or a suspended emotional state.

Request Assets

For WAV files, stems, alt mixes, clearance details, or more information, contact:

sergio@omrmusicproduction.com

Please reference:
WE LEFT THIS DAY A REMNANT — RADAGAST

OMR Cue Map

Track: WE LEFT THIS DAY A REMNANT
Clean Intro: Yes — instrumental opening gives editors clean room for dialogue, ambience, or visual setup.
Edit Points: Edit around texture shifts, pulse entries, swells, and harmonic changes; strong for slow dissolves, suspense builds, and extended underscore beds.
Button Ending: Potentially strong where the final hit, riff, or rhythmic stop lands cleanly; confirm with an audio pass.
Loopable: Yes — instrumental sections should extend cleanly for underscore, montage, or transition use.
Best Loop Candidates: Opening texture, mid-cue bed, rhythmic or harmonic vamp, and any sustained passage before the final lift.

Use Case:
Use the opening identity to establish tone quickly, then let the arrangement changes guide editorial movement. The strongest placements are likely in reflective montage, memory, emotional aftermath, slow travel, visual atmosphere, and restrained dramatic pacing, with trims around clear phrase endings, groove resets, or instrumental breaks.

Sync Pitch Sheet

Song Profile:
Key: C Major
BPM: 147
Genres: AMBIENT / ELECTRONIC
Vocals: Instrumental
Moods: ATMOSPHERIC / BUILDING / DRAMATIC / POWERFUL / UPLIFTING
Sync Themes: ART HOUSE / CRIME / DRAMA / THRILLER
Lyric Themes:
Type: W Collection-ready; instrumental; one-stop metadata present

Instrumentation:
PERCUSSION / STRINGS / SYNTH

Track Summary:
“WE LEFT THIS DAY A REMNANT” by RADAGAST uses instrumental textures, percussion / strings / synth, and a driving pulse to create a distinct atmospheric / reflective / cinematic placement lane. The C Major setting and atmospheric, building, dramatic, powerful, uplifting mood profile give the track useful shape for reflective montage, memory, emotional aftermath, slow travel, visual atmosphere, and restrained dramatic pacing.

Sync Highlights:

• Primary category: Atmospheric, Reflective & Cinematic
• Secondary utility: Emotional aftermath, slow-burn montage, memory, visual atmosphere
• Sync themes: ART HOUSE / CRIME / DRAMA / THRILLER
• One-stop licensing supports streamlined clearance

Sync Potential

Best suited for Atmospheric, Reflective & Cinematic placements with crossover utility for Emotional aftermath, slow-burn montage, memory, visual atmosphere.

Stem Tracks

Available on request / confirm with rights holder.

Track Narrative

“WE LEFT THIS DAY A REMNANT” by RADAGAST uses instrumental textures, percussion / strings / synth, and a driving pulse to create a distinct atmospheric / reflective / cinematic placement lane. The C Major setting and atmospheric, building, dramatic, powerful, uplifting mood profile give the track useful shape for reflective montage, memory, emotional aftermath, slow travel, visual atmosphere, and restrained dramatic pacing.

Instrumental Usage

Fully instrumental and one-stop, “WE LEFT THIS DAY A REMNANT” supports cinematic storytelling without lyrical distraction. Especially useful for Emotional aftermath, slow-burn montage, memory, visual atmosphere.

Artist Bio

Radagast creates ambient electronic material with a quiet cinematic pull, well suited to psychological tension, dream states, mystery, introspection, and slow-burn dramatic atmosphere.

Request Assets

For WAV files, stems, alt mixes, clearance details, or more information, contact:

sergio@omrmusicproduction.com

Please reference:
WHEN THE DEPTH OF MY IGNORANCE IS REVEALED — RADAGAST

OMR Cue Map

Track: WHEN THE DEPTH OF MY IGNORANCE IS REVEALED
Clean Intro: Yes — instrumental opening gives editors clean room for dialogue, ambience, or visual setup.
Edit Points: Edit around texture shifts, pulse entries, swells, and harmonic changes; strong for slow dissolves, suspense builds, and extended underscore beds.
Button Ending: Potentially strong where the final hit, riff, or rhythmic stop lands cleanly; confirm with an audio pass.
Loopable: Yes — instrumental sections should extend cleanly for underscore, montage, or transition use.
Best Loop Candidates: Opening texture, mid-cue bed, rhythmic or harmonic vamp, and any sustained passage before the final lift.

Use Case:
Use the opening identity to establish tone quickly, then let the arrangement changes guide editorial movement. The strongest placements are likely in reflective montage, memory, emotional aftermath, slow travel, visual atmosphere, and restrained dramatic pacing, with trims around clear phrase endings, groove resets, or instrumental breaks.

Sync Pitch Sheet

Song Profile:
Key: A Major
BPM: 84
Genres: AMBIENT / ELECTRONIC
Vocals: Instrumental
Moods: ATMOSPHERIC / HOPEFUL / MOODY / POWERFUL / REFLECTIVE
Sync Themes: ART HOUSE / DRAMA / FANTASY / MYSTERY
Lyric Themes:
Type: W Collection-ready; instrumental; one-stop metadata present

Instrumentation:
ELECTRIC GUITAR / PERCUSSION / PIANO / STRINGS / SYNTH

Track Summary:
“WHEN THE DEPTH OF MY IGNORANCE IS REVEALED” by RADAGAST uses instrumental textures, electric guitar / percussion / piano / strings / synth, and a slow-burn pulse to create a distinct atmospheric / reflective / cinematic placement lane. The A Major setting and atmospheric, hopeful, moody, powerful, reflective mood profile give the track useful shape for reflective montage, memory, emotional aftermath, slow travel, visual atmosphere, and restrained dramatic pacing.

Sync Highlights:

• Primary category: Atmospheric, Reflective & Cinematic
• Secondary utility: Emotional aftermath, slow-burn montage, memory, visual atmosphere
• Sync themes: ART HOUSE / DRAMA / FANTASY / MYSTERY
• One-stop licensing supports streamlined clearance

Sync Potential

Best suited for Atmospheric, Reflective & Cinematic placements with crossover utility for Emotional aftermath, slow-burn montage, memory, visual atmosphere.

Stem Tracks

Available on request / confirm with rights holder.

Track Narrative

“WHEN THE DEPTH OF MY IGNORANCE IS REVEALED” by RADAGAST uses instrumental textures, electric guitar / percussion / piano / strings / synth, and a slow-burn pulse to create a distinct atmospheric / reflective / cinematic placement lane. The A Major setting and atmospheric, hopeful, moody, powerful, reflective mood profile give the track useful shape for reflective montage, memory, emotional aftermath, slow travel, visual atmosphere, and restrained dramatic pacing.

Instrumental Usage

Fully instrumental and one-stop, “WHEN THE DEPTH OF MY IGNORANCE IS REVEALED” supports cinematic storytelling without lyrical distraction. Especially useful for Emotional aftermath, slow-burn montage, memory, visual atmosphere.

Artist Bio

Radagast creates ambient electronic material with a quiet cinematic pull, well suited to psychological tension, dream states, mystery, introspection, and slow-burn dramatic atmosphere.

Request Assets

For WAV files, stems, alt mixes, clearance details, or more information, contact:

sergio@omrmusicproduction.com

Please reference:
WHISPERS BETWEEN SLEEP AND WAKE — RADAGAST

OMR Cue Map

Track: WHISPERS BETWEEN SLEEP AND WAKE
Clean Intro: Yes — instrumental opening gives editors clean room for dialogue, ambience, or visual setup.
Edit Points: Edit around texture shifts, pulse entries, swells, and harmonic changes; strong for slow dissolves, suspense builds, and extended underscore beds.
Button Ending: Potentially strong where the final hit, riff, or rhythmic stop lands cleanly; confirm with an audio pass.
Loopable: Yes — instrumental sections should extend cleanly for underscore, montage, or transition use.
Best Loop Candidates: Opening texture, mid-cue bed, rhythmic or harmonic vamp, and any sustained passage before the final lift.

Use Case:
Use the opening identity to establish tone quickly, then let the arrangement changes guide editorial movement. The strongest placements are likely in reflective montage, memory, emotional aftermath, slow travel, visual atmosphere, and restrained dramatic pacing, with trims around clear phrase endings, groove resets, or instrumental breaks.

Sync Pitch Sheet

Song Profile:
Key: C# Major
BPM: 142
Genres: AMBIENT / ELECTRONIC
Vocals: Instrumental
Moods: ATMOSPHERIC / BUILDING / CINEMATIC / DRAMATIC / EMOTIVE / HOPEFUL / MYSTERIOUS / POWERFUL / REFLECTIVE
Sync Themes: ART HOUSE / FANTASY / HORROR / MYSTERY
Lyric Themes:
Type: W Collection-ready; instrumental; one-stop metadata present

Instrumentation:
PERCUSSION / SYNTH

Track Summary:
“WHISPERS BETWEEN SLEEP AND WAKE” by RADAGAST uses instrumental textures, percussion / synth, and a driving pulse to create a distinct atmospheric / reflective / cinematic placement lane. The C# Major setting and atmospheric, building, cinematic, dramatic, emotive mood profile give the track useful shape for reflective montage, memory, emotional aftermath, slow travel, visual atmosphere, and restrained dramatic pacing.

Sync Highlights:

• Primary category: Atmospheric, Reflective & Cinematic
• Secondary utility: Emotional aftermath, slow-burn montage, memory, visual atmosphere
• Sync themes: ART HOUSE / FANTASY / HORROR / MYSTERY
• One-stop licensing supports streamlined clearance

Sync Potential

Best suited for Atmospheric, Reflective & Cinematic placements with crossover utility for Emotional aftermath, slow-burn montage, memory, visual atmosphere.

Stem Tracks

Available on request / confirm with rights holder.

Track Narrative

“WHISPERS BETWEEN SLEEP AND WAKE” by RADAGAST uses instrumental textures, percussion / synth, and a driving pulse to create a distinct atmospheric / reflective / cinematic placement lane. The C# Major setting and atmospheric, building, cinematic, dramatic, emotive mood profile give the track useful shape for reflective montage, memory, emotional aftermath, slow travel, visual atmosphere, and restrained dramatic pacing.

Instrumental Usage

Fully instrumental and one-stop, “WHISPERS BETWEEN SLEEP AND WAKE” supports cinematic storytelling without lyrical distraction. Especially useful for Emotional aftermath, slow-burn montage, memory, visual atmosphere.

Artist Bio

Radagast creates ambient electronic material with a quiet cinematic pull, well suited to psychological tension, dream states, mystery, introspection, and slow-burn dramatic atmosphere.

Request Assets

For WAV files, stems, alt mixes, clearance details, or more information, contact:

sergio@omrmusicproduction.com

Please reference:
WISHING SONG — PAUL REDDICK

OMR Cue Map

Track: WISHING SONG
Clean Intro: Yes — the opening should give editors a usable setup before the fullest arrangement or vocal section arrives.
Edit Points: Edit around riff returns, vocal phrase endings, drum fills, breakdowns, and chorus or refrain entries; strong for character-driven scene shaping.
Button Ending: Likely usable if the final phrase resolves cleanly; confirm exact tail during audio review.
Loopable: Yes — selected beds or groove sections should support extended use under picture.
Best Loop Candidates: Intro bed, primary groove, post-hook section, and any instrumental bridge or breakdown with reduced vocal density.

Use Case:
Use the opening identity to establish tone quickly, then let the arrangement changes guide editorial movement. The strongest placements are likely in reflective montage, memory, emotional aftermath, slow travel, visual atmosphere, and restrained dramatic pacing, with trims around clear phrase endings, groove resets, or instrumental breaks.

Sync Pitch Sheet

Song Profile:
Key: D Major
BPM: 139
Genres: FOLK / WORLD
Vocals: Male Vocal
Moods: BRIGHT / DARK
Sync Themes: ART HOUSE / COMING OF AGE / DRAMA / INDIE / ROMANCE
Lyric Themes: LOVE
Type: W Collection-ready; male vocal; one-stop metadata present

Instrumentation:
ACOUSTIC GUITAR / ACCORDION / KEYBOARD

Track Summary:
“WISHING SONG” by PAUL REDDICK uses expressive vocal writing, acoustic guitar / accordion / keyboard, and a driving pulse to create a distinct atmospheric / reflective / cinematic placement lane. The D Major setting and bright, dark mood profile give the track useful shape for reflective montage, memory, emotional aftermath, slow travel, visual atmosphere, and restrained dramatic pacing.

Sync Highlights:

• Primary category: Atmospheric, Reflective & Cinematic
• Secondary utility: Emotional aftermath, slow-burn montage, memory, visual atmosphere
• Sync themes: ART HOUSE / COMING OF AGE / DRAMA / INDIE / ROMANCE
• One-stop licensing supports streamlined clearance

Sync Potential

Best suited for Atmospheric, Reflective & Cinematic placements with crossover utility for Emotional aftermath, slow-burn montage, memory, visual atmosphere.

Stem Tracks

Available on request / confirm with rights holder.

Track Narrative

“WISHING SONG” by PAUL REDDICK uses expressive vocal writing, acoustic guitar / accordion / keyboard, and a driving pulse to create a distinct atmospheric / reflective / cinematic placement lane. The D Major setting and bright, dark mood profile give the track useful shape for reflective montage, memory, emotional aftermath, slow travel, visual atmosphere, and restrained dramatic pacing.

Lyrics

The moon’s arising rising in the darkling day
The moon’s arising rising in the darkling day
The moon’s arising rising in the darkling day
Oh be with me until I fade away
The wind is singing singing a wishing song
The wind is singing singing a wishing song
The wind is singing singing a wishing song
Oh be with me as I travel on
I can’t see see what brought me here
Oh stay by me stay by me my dear
I can’t see see what brought me here
Oh stay by me stay by me my dear
I don’t know know about the heaven above
Oh hold me close my love my love
The wind is singing singing a wishing song
The wind is singing singing a wishing song
The wind is singing singing a wishing song
Oh be with me as I travel on
Oh be with me as I travel on
Oh be with me as I travel on

Artist Bio

Paul Reddick brings a distinctive blues-rooted voice to OMR, blending grit, poetry, and roots instrumentation for scenes involving memory, travel, desire, mystery, and human consequence.

Request Assets

For WAV files, stems, alt mixes, clearance details, or more information, contact:

sergio@omrmusicproduction.com

Please reference:
WAITING ON THE TRAIN — LEE PALMER

OMR Cue Map

Track: WAITING ON THE TRAIN
Clean Intro: Yes — the opening should give editors a usable setup before the fullest arrangement or vocal section arrives.
Edit Points: Edit around riff returns, vocal phrase endings, drum fills, breakdowns, and chorus or refrain entries; strong for character-driven scene shaping.
Button Ending: Likely usable if the final phrase resolves cleanly; confirm exact tail during audio review.
Loopable: Yes — selected beds or groove sections should support extended use under picture.
Best Loop Candidates: Intro bed, primary groove, post-hook section, and any instrumental bridge or breakdown with reduced vocal density.

Use Case:
Use the opening identity to establish tone quickly, then let the arrangement changes guide editorial movement. The strongest placements are likely in road travel, roadside bars, western-flavoured drama, small-town memory, character backstory, and weathered human storytelling, with trims around clear phrase endings, groove resets, or instrumental breaks.

Sync Pitch Sheet

Song Profile:
Key: E Minor
BPM: 103
Genres: BLUES / FOLK / ROCK / SING / SONG
Vocals: Male Vocal
Moods: CONFIDENT / DRAMATIC / LOVE / NOSTALGIC / QUIRKY / RELAXING / RETRO / SOMBER / UPBEAT
Sync Themes: COMEDY / DRAMA / HISTORICAL / ROMANCE / WESTERN
Lyric Themes: HOME / LOVE
Type: W Collection-ready; male vocal; one-stop metadata present

Instrumentation:
BASS / DRUMS / ELECTRIC GUITAR / HARMONICA / KEYBOARD

Track Summary:
“WAITING ON THE TRAIN” by LEE PALMER uses expressive vocal writing, bass / drums / electric guitar / harmonica / keyboard, and a mid-tempo pulse to create a distinct roots / americana / road stories placement lane. The E Minor setting and confident, dramatic, love, nostalgic, quirky mood profile give the track useful shape for road travel, roadside bars, western-flavoured drama, small-town memory, character backstory, and weathered human storytelling.

Sync Highlights:

• Primary category: Roots, Americana & Road Stories
• Secondary utility: Road sequence, western colour, barroom realism, memory
• Sync themes: COMEDY / DRAMA / HISTORICAL / ROMANCE / WESTERN
• One-stop licensing supports streamlined clearance

Sync Potential

Best suited for Roots, Americana & Road Stories placements with crossover utility for Road sequence, western colour, barroom realism, memory.

Stem Tracks

Available on request / confirm with rights holder.

Track Narrative

“WAITING ON THE TRAIN” by LEE PALMER uses expressive vocal writing, bass / drums / electric guitar / harmonica / keyboard, and a mid-tempo pulse to create a distinct roots / americana / road stories placement lane. The E Minor setting and confident, dramatic, love, nostalgic, quirky mood profile give the track useful shape for road travel, roadside bars, western-flavoured drama, small-town memory, character backstory, and weathered human storytelling.

Lyrics

I'm waiting on the train
I'm waiting on the train
Click clackin' down the track like it's never comin' back
I'm waitin' on the train
I got my rag top down
I got my rag top down
Sun's a-shinin' on me
Clouds movin' with the breeze
I got my rag top down
Cows all lined up in a row
Cows all lined up in a row
Not in a hurry anymore
Not like they were before
Cows all lined up in a row
I'm thinking 'bout my gal
I'm thinking 'bout my gal
Is she thinking 'bout me too
Like she used to do
I'm thinking 'bout my gal
I'm waiting on the train
I'm waiting on the train
Click clacking down the track
Like it's never coming back
I'm waiting on the train
Train has come to an end
Train has come to an end
Over the tracks off we go
Cranking up the radio
Train has come to an end
I'm waiting on the train
(I'm waiting on the train)
It's calling out my name
(Calling out my name)
I'm waiting on the train
(Waiting on the train)
Yeah, it's calling out my name
Ooh, waiting on the train

Artist Bio

Lee Palmer brings blues, folk, country, and roots-rock writing into a sync-friendly lane, with vocal performances suited to romance, road stories, comedy, nostalgia, and grounded human drama.

Request Assets

For WAV files, stems, alt mixes, clearance details, or more information, contact:

sergio@omrmusicproduction.com

Please reference:
WATERSMOOTH — PAUL REDDICK

OMR Cue Map

Track: WATERSMOOTH
Clean Intro: Yes — the opening should give editors a usable setup before the fullest arrangement or vocal section arrives.
Edit Points: Edit around riff returns, vocal phrase endings, drum fills, breakdowns, and chorus or refrain entries; strong for character-driven scene shaping.
Button Ending: Likely usable if the final phrase resolves cleanly; confirm exact tail during audio review.
Loopable: Yes — selected beds or groove sections should support extended use under picture.
Best Loop Candidates: Intro bed, primary groove, post-hook section, and any instrumental bridge or breakdown with reduced vocal density.

Use Case:
Use the opening identity to establish tone quickly, then let the arrangement changes guide editorial movement. The strongest placements are likely in road travel, roadside bars, western-flavoured drama, small-town memory, character backstory, and weathered human storytelling, with trims around clear phrase endings, groove resets, or instrumental breaks.

Sync Pitch Sheet

Song Profile:
Key: F Major
BPM: 117
Genres: BLUES / ROCK
Vocals: Male Vocal
Moods: BRIGHT / CATCHY / CONFIDENT / COOL / FUN / QUIRKY / RETRO / RHYTHMIC / SWAGGER
Sync Themes: ADVENTURE / ART HOUSE / COMEDY / COMING OF AGE / CRIME / DRAMA / MYSTERY / ROMANCE
Lyric Themes: CONNECTION / DREAM / HOPE / LOVE / RELATIONSHIP
Type: W Collection-ready; male vocal; one-stop metadata present

Instrumentation:
BASS / DRUMS / ELECTRIC GUITAR

Track Summary:
“WATERSMOOTH” by PAUL REDDICK uses expressive vocal writing, bass / drums / electric guitar, and a mid-tempo pulse to create a distinct roots / americana / road stories placement lane. The F Major setting and bright, catchy, confident, cool, fun mood profile give the track useful shape for road travel, roadside bars, western-flavoured drama, small-town memory, character backstory, and weathered human storytelling.

Sync Highlights:

• Primary category: Roots, Americana & Road Stories
• Secondary utility: Road sequence, western colour, barroom realism, memory
• Sync themes: ADVENTURE / ART HOUSE / COMEDY / COMING OF AGE / CRIME / DRAMA / MYSTERY / ROMANCE
• One-stop licensing supports streamlined clearance

Sync Potential

Best suited for Roots, Americana & Road Stories placements with crossover utility for Road sequence, western colour, barroom realism, memory.

Stem Tracks

Available on request / confirm with rights holder.

Track Narrative

“WATERSMOOTH” by PAUL REDDICK uses expressive vocal writing, bass / drums / electric guitar, and a mid-tempo pulse to create a distinct roots / americana / road stories placement lane. The F Major setting and bright, catchy, confident, cool, fun mood profile give the track useful shape for road travel, roadside bars, western-flavoured drama, small-town memory, character backstory, and weathered human storytelling.

Lyrics

I can’t help but watch you go
I can’t help but see you flow
Watersmooth and ribbon fine
I can’t help but wish you mine
I can’t tell but I do believe
You’ll fall down like a falling leaf
Water blue and ribbon green
I can’t help but have to dream
I can’t help but want to tell
I can only wish you well
Water warm and ribbon cool
I can’t help but to be your fool
I can’t help but walk on air
I can see you baby over there
Watersmooth and ribbon fine
I’ll see you somewhere down the line
I can’t help but watch you go
I can’t help but see you flow
Watersmooth and ribbon fine
I can’t help but to wish you mine
I can’t help but want to tell
I can only wish you well
Water warm and ribbon cool
I can’t help but to be your fool
I can’t help but walk on air
I can see you baby over there
Watersmooth and ribbon fine
I’ll see you somewhere down the line

Artist Bio

Paul Reddick brings a distinctive blues-rooted voice to OMR, blending grit, poetry, and roots instrumentation for scenes involving memory, travel, desire, mystery, and human consequence.

Request Assets

For WAV files, stems, alt mixes, clearance details, or more information, contact:

sergio@omrmusicproduction.com

Please reference:
WAVES — PAUL REDDICK

OMR Cue Map

Track: WAVES
Clean Intro: Yes — the opening should give editors a usable setup before the fullest arrangement or vocal section arrives.
Edit Points: Edit around riff returns, vocal phrase endings, drum fills, breakdowns, and chorus or refrain entries; strong for character-driven scene shaping.
Button Ending: Potentially strong where the final hit, riff, or rhythmic stop lands cleanly; confirm with an audio pass.
Loopable: Yes — selected beds or groove sections should support extended use under picture.
Best Loop Candidates: Intro bed, primary groove, post-hook section, and any instrumental bridge or breakdown with reduced vocal density.

Use Case:
Use the opening identity to establish tone quickly, then let the arrangement changes guide editorial movement. The strongest placements are likely in road travel, roadside bars, western-flavoured drama, small-town memory, character backstory, and weathered human storytelling, with trims around clear phrase endings, groove resets, or instrumental breaks.

Sync Pitch Sheet

Song Profile:
Key: G Minor
BPM: 83
Genres: BLUES / FOLK / VINTAGE
Vocals: Male Vocal
Moods: CONFIDENT / ENERGETIC / HOPEFUL / POWERFUL / QUIRKY / WARM
Sync Themes: ART HOUSE / DRAMA / INDIE / MYSTERY / ROMANCE
Lyric Themes: LOSS / LOVE / STRUGGLE / TIME
Type: W Collection-ready; male vocal; one-stop metadata present

Instrumentation:
ACOUSTIC GUITAR / BASS / ELECTRIC GUITAR / HARMONICA / KEYBOARD

Track Summary:
“WAVES” by PAUL REDDICK uses expressive vocal writing, acoustic guitar / bass / electric guitar / harmonica / keyboard, and a slow-burn pulse to create a distinct roots / americana / road stories placement lane. The G Minor setting and confident, energetic, hopeful, powerful, quirky mood profile give the track useful shape for road travel, roadside bars, western-flavoured drama, small-town memory, character backstory, and weathered human storytelling.

Sync Highlights:

• Primary category: Roots, Americana & Road Stories
• Secondary utility: Road sequence, western colour, barroom realism, memory
• Sync themes: ART HOUSE / DRAMA / INDIE / MYSTERY / ROMANCE
• One-stop licensing supports streamlined clearance

Sync Potential

Best suited for Roots, Americana & Road Stories placements with crossover utility for Road sequence, western colour, barroom realism, memory.

Stem Tracks

Available on request / confirm with rights holder.

Track Narrative

“WAVES” by PAUL REDDICK uses expressive vocal writing, acoustic guitar / bass / electric guitar / harmonica / keyboard, and a slow-burn pulse to create a distinct roots / americana / road stories placement lane. The G Minor setting and confident, energetic, hopeful, powerful, quirky mood profile give the track useful shape for road travel, roadside bars, western-flavoured drama, small-town memory, character backstory, and weathered human storytelling.

Lyrics

Forever rollin
Forever rollin
On and on and on
No there ain’t no use no ain’t use no
Standing here waving I’m gone I’m gone I’m gone
Oh please now baby
Please now baby
True be true be true
No it ain’t no use no ain’t no use no
Standing here waving blue so blue so blue
Over and over
Over and over
By and by and by
No it ain’t no use no ain’t use no
Standing here waving why oh why oh why
Tell me just one time
Tell me just one time
Love oh love oh love
No it ain’t no use no ain’t use no
Standing here waving of what of what of what
Steady on your way
Steady on your way
Rain oh rain oh rain
No it ain’t no use no ain’t use no
Standing here waving train oh train oh train
Waves upon the shore
Waves upon the shore
Roll and roll and roll
No it ain’t no use no ain’t use no
Standing here waving toll and toll and toll

Artist Bio

Paul Reddick brings a distinctive blues-rooted voice to OMR, blending grit, poetry, and roots instrumentation for scenes involving memory, travel, desire, mystery, and human consequence.

Request Assets

For WAV files, stems, alt mixes, clearance details, or more information, contact:

sergio@omrmusicproduction.com

Please reference:
WHISKEY IS THE LIFE OF A MAN — PAUL REDDICK

OMR Cue Map

Track: WHISKEY IS THE LIFE OF A MAN
Clean Intro: Yes — the opening should give editors a usable setup before the fullest arrangement or vocal section arrives.
Edit Points: Edit around riff returns, vocal phrase endings, drum fills, breakdowns, and chorus or refrain entries; strong for character-driven scene shaping.
Button Ending: Likely usable if the final phrase resolves cleanly; confirm exact tail during audio review.
Loopable: Yes — selected beds or groove sections should support extended use under picture.
Best Loop Candidates: Intro bed, primary groove, post-hook section, and any instrumental bridge or breakdown with reduced vocal density.

Use Case:
Use the opening identity to establish tone quickly, then let the arrangement changes guide editorial movement. The strongest placements are likely in road travel, roadside bars, western-flavoured drama, small-town memory, character backstory, and weathered human storytelling, with trims around clear phrase endings, groove resets, or instrumental breaks.

Sync Pitch Sheet

Song Profile:
Key: A Minor
BPM: 90
Genres: METAL / PUNK / ROCK
Vocals: Male Vocal
Moods: CONFIDENT / FUN
Sync Themes: ACTION / ADVENTURE / ART HOUSE / COMEDY / COMING OF AGE / CRIME / DRAMA / MYSTERY / ROMANCE
Lyric Themes: DESIRE / LOVE / ROMANCE / STRENGTH
Type: W Collection-ready; male vocal; one-stop metadata present

Instrumentation:
BASS / DRUMS / ELECTRIC GUITAR / HARMONICA / PERCUSSION

Track Summary:
“WHISKEY IS THE LIFE OF A MAN” by PAUL REDDICK uses expressive vocal writing, bass / drums / electric guitar / harmonica / percussion, and a mid-tempo pulse to create a distinct roots / americana / road stories placement lane. The A Minor setting and confident, fun mood profile give the track useful shape for road travel, roadside bars, western-flavoured drama, small-town memory, character backstory, and weathered human storytelling.

Sync Highlights:

• Primary category: Roots, Americana & Road Stories
• Secondary utility: Road sequence, western colour, barroom realism, memory
• Sync themes: ACTION / ADVENTURE / ART HOUSE / COMEDY / COMING OF AGE / CRIME / DRAMA / MYSTERY / ROMANCE
• One-stop licensing supports streamlined clearance

Sync Potential

Best suited for Roots, Americana & Road Stories placements with crossover utility for Road sequence, western colour, barroom realism, memory.

Stem Tracks

Available on request / confirm with rights holder.

Track Narrative

“WHISKEY IS THE LIFE OF A MAN” by PAUL REDDICK uses expressive vocal writing, bass / drums / electric guitar / harmonica / percussion, and a mid-tempo pulse to create a distinct roots / americana / road stories placement lane. The A Minor setting and confident, fun mood profile give the track useful shape for road travel, roadside bars, western-flavoured drama, small-town memory, character backstory, and weathered human storytelling.

Lyrics

I'm a fox and you're a rabbit
I'm a chaser and you're a habit
Drinkin whiskey drinkin rye
I'll want you till the day I die
Whiskey sweet and whiskey strong
I will love you all night long
Fill my glass so I can see
You'll go down so easily
Whiskey fine and whiskey hard
Deal me darlin one more card
Take me baby by the hand
Whiskey is the life of a man
I'm a hound and you're a trail
We got the devil by the tail
Shining brightly by the bar
I'll go straight to where you are
Whiskey warm and whiskey wet
Oh we ain't seen nothing yet
I will keep you all my days
Oh stay with me oh stay always
Whiskey fine and whiskey hard
Deal me darlin one more card
Take me baby by the hand
Whiskey is the life of a man
Now you see the evening sun go down
It once was lost but now it’s found
Slip it on over now by my side
Come on honey now just let it ride
Come on honey now just let it ride
Do you remember now way back when?
Let's do it all over again and again
I'm talking bout the far and wide
Come on honey now just let it ride
Come on honey now just let it ride
51
I'm a shadow and you're the moon
Anytime is not too soon
Sit and sip a snifter slow
Oh honey baby please don't go
Whiskey fine and whiskey hard
Deal me darlin one more card
Take me Baby by the hand
Whiskey is the life
Whiskey sweet and whiskey long
Ain't no way to do me wrong
Take me baby by the hand
Whiskey is the life of a man

Artist Bio

Paul Reddick brings a distinctive blues-rooted voice to OMR, blending grit, poetry, and roots instrumentation for scenes involving memory, travel, desire, mystery, and human consequence.

Request Assets

For WAV files, stems, alt mixes, clearance details, or more information, contact:

sergio@omrmusicproduction.com

Please reference:
WINTER BIRDS — PAUL REDDICK

OMR Cue Map

Track: WINTER BIRDS
Clean Intro: Yes — the opening should give editors a usable setup before the fullest arrangement or vocal section arrives.
Edit Points: Edit around riff returns, vocal phrase endings, drum fills, breakdowns, and chorus or refrain entries; strong for character-driven scene shaping.
Button Ending: Likely usable if the final phrase resolves cleanly; confirm exact tail during audio review.
Loopable: Yes — selected beds or groove sections should support extended use under picture.
Best Loop Candidates: Intro bed, primary groove, post-hook section, and any instrumental bridge or breakdown with reduced vocal density.

Use Case:
Use the opening identity to establish tone quickly, then let the arrangement changes guide editorial movement. The strongest placements are likely in road travel, roadside bars, western-flavoured drama, small-town memory, character backstory, and weathered human storytelling, with trims around clear phrase endings, groove resets, or instrumental breaks.

Sync Pitch Sheet

Song Profile:
Key: B Major
BPM: 149
Genres: METAL / PUNK / ROCK
Vocals: Male Vocal
Moods: BRIGHT / WARM
Sync Themes: ADVENTURE / ART HOUSE / COMING OF AGE / CRIME / DRAMA / MYSTERY / ROMANCE / WESTERN
Lyric Themes: ESCAPE / HOME / IDENTITY / LONGING / TIME
Type: W Collection-ready; male vocal; one-stop metadata present

Instrumentation:
ACOUSTIC GUITAR / BASS / DRUMS

Track Summary:
“WINTER BIRDS” by PAUL REDDICK uses expressive vocal writing, acoustic guitar / bass / drums, and a driving pulse to create a distinct roots / americana / road stories placement lane. The B Major setting and bright, warm mood profile give the track useful shape for road travel, roadside bars, western-flavoured drama, small-town memory, character backstory, and weathered human storytelling.

Sync Highlights:

• Primary category: Roots, Americana & Road Stories
• Secondary utility: Road sequence, western colour, barroom realism, memory
• Sync themes: ADVENTURE / ART HOUSE / COMING OF AGE / CRIME / DRAMA / MYSTERY / ROMANCE / WESTERN
• One-stop licensing supports streamlined clearance

Sync Potential

Best suited for Roots, Americana & Road Stories placements with crossover utility for Road sequence, western colour, barroom realism, memory.

Stem Tracks

Available on request / confirm with rights holder.

Track Narrative

“WINTER BIRDS” by PAUL REDDICK uses expressive vocal writing, acoustic guitar / bass / drums, and a driving pulse to create a distinct roots / americana / road stories placement lane. The B Major setting and bright, warm mood profile give the track useful shape for road travel, roadside bars, western-flavoured drama, small-town memory, character backstory, and weathered human storytelling.

Lyrics

I traveled ten she travelled nine
The sky is rising grey
The snow pours down upon the ground and
Blocks my getaway
Getaway getaway
I’m headed east where I come from
Oh and I’m bound to take my time
Drive away these winter birds
That sterch across my mind
Across my mind across my mind
There is a place where I belong
Once it was my home
It seems I am is stranger here
And all I had is gone
Had is gone had is gone
Drive away these winter birds
Swirling through the trees
Singing songs just out of reach
Do you think of me
Think of me think of me

Artist Bio

Paul Reddick brings a distinctive blues-rooted voice to OMR, blending grit, poetry, and roots instrumentation for scenes involving memory, travel, desire, mystery, and human consequence.

Request Assets

For WAV files, stems, alt mixes, clearance details, or more information, contact:

sergio@omrmusicproduction.com

Please reference:
WRONG NOT TO WRITE — LEE PALMER

OMR Cue Map

Track: WRONG NOT TO WRITE
Clean Intro: Yes — the opening should give editors a usable setup before the fullest arrangement or vocal section arrives.
Edit Points: Edit around riff returns, vocal phrase endings, drum fills, breakdowns, and chorus or refrain entries; strong for character-driven scene shaping.
Button Ending: Likely usable if the final phrase resolves cleanly; confirm exact tail during audio review.
Loopable: Yes — selected beds or groove sections should support extended use under picture.
Best Loop Candidates: Intro bed, primary groove, post-hook section, and any instrumental bridge or breakdown with reduced vocal density.

Use Case:
Use the opening identity to establish tone quickly, then let the arrangement changes guide editorial movement. The strongest placements are likely in road travel, roadside bars, western-flavoured drama, small-town memory, character backstory, and weathered human storytelling, with trims around clear phrase endings, groove resets, or instrumental breaks.

Sync Pitch Sheet

Song Profile:
Key: D Major
BPM: 109
Genres: COUNTRY / FOLK / SING / SONG
Vocals: Male Vocal
Moods: CAREFREE / DRAMATIC / HOPEFUL / ROMANTIC / SOMBER
Sync Themes: COMEDY / COMING OF AGE / DRAMA / HISTORICAL / ROMANCE / WESTERN
Lyric Themes: BETRAYAL / LONGING / LOSS / REGRET
Type: W Collection-ready; male vocal; one-stop metadata present

Instrumentation:
ACOUSTIC GUITAR / BASS / DRUMS / ELECTRIC GUITAR

Track Summary:
“WRONG NOT TO WRITE” by LEE PALMER uses expressive vocal writing, acoustic guitar / bass / drums / electric guitar, and a mid-tempo pulse to create a distinct roots / americana / road stories placement lane. The D Major setting and carefree, dramatic, hopeful, romantic, somber mood profile give the track useful shape for road travel, roadside bars, western-flavoured drama, small-town memory, character backstory, and weathered human storytelling.

Sync Highlights:

• Primary category: Roots, Americana & Road Stories
• Secondary utility: Road sequence, western colour, barroom realism, memory
• Sync themes: COMEDY / COMING OF AGE / DRAMA / HISTORICAL / ROMANCE / WESTERN
• One-stop licensing supports streamlined clearance

Sync Potential

Best suited for Roots, Americana & Road Stories placements with crossover utility for Road sequence, western colour, barroom realism, memory.

Stem Tracks

Available on request / confirm with rights holder.

Track Narrative

“WRONG NOT TO WRITE” by LEE PALMER uses expressive vocal writing, acoustic guitar / bass / drums / electric guitar, and a mid-tempo pulse to create a distinct roots / americana / road stories placement lane. The D Major setting and carefree, dramatic, hopeful, romantic, somber mood profile give the track useful shape for road travel, roadside bars, western-flavoured drama, small-town memory, character backstory, and weathered human storytelling.

Lyrics

You said I was a distraction
I couldn't keep you satisfied
You said you needed traction
So I lent you my four-wheel drive
You said you needed space
Then you moved to Tennessee
Your love is something I can't replace
But I miss my SUV
It's wrong not to ride since you left
Not a letter, not an email, not a text
I expected more from you, I confess
It's wrong not to write since you left
Picket fence
I think of you often
There's no number I can call
My extra set of keys
Hang lonesome on the wall
There's one thing you can do
That would surely make me glad
You can give me back my damn truck
It's the best I've ever had
It's wrong not to ride since you left
Not a letter, not an email, not a text
I expected more from you, I confess
It's wrong not to write since you left
Yeah, I can read between the lines
You took what's yours and what's mine
It's wrong not to write since you left

Artist Bio

Lee Palmer brings blues, folk, country, and roots-rock writing into a sync-friendly lane, with vocal performances suited to romance, road stories, comedy, nostalgia, and grounded human drama.

Request Assets

For WAV files, stems, alt mixes, clearance details, or more information, contact:

sergio@omrmusicproduction.com

Please reference:
WELL, WELL, WELL, WELL — LEE PALMER

OMR Cue Map

Track: WELL, WELL, WELL, WELL
Clean Intro: Yes — the opening should give editors a usable setup before the fullest arrangement or vocal section arrives.
Edit Points: Edit around riff returns, vocal phrase endings, drum fills, breakdowns, and chorus or refrain entries; strong for character-driven scene shaping.
Button Ending: Potentially strong where the final hit, riff, or rhythmic stop lands cleanly; confirm with an audio pass.
Loopable: Yes — selected beds or groove sections should support extended use under picture.
Best Loop Candidates: Intro bed, primary groove, post-hook section, and any instrumental bridge or breakdown with reduced vocal density.

Use Case:
Use the opening identity to establish tone quickly, then let the arrangement changes guide editorial movement. The strongest placements are likely in entrances, party movement, sports energy, confident walk-ups, urban transitions, and scenes that need rhythm or attitude quickly, with trims around clear phrase endings, groove resets, or instrumental breaks.

Sync Pitch Sheet

Song Profile:
Key: E Minor
BPM: 120
Genres: BLUES
Vocals: Male Vocal
Moods: CATCHY / CONFIDENT / DRAMATIC / DRIVING / FUN / POWERFUL / SERIOUS
Sync Themes: CRIME / DRAMA / MYSTERY
Lyric Themes: TIME
Type: W Collection-ready; male vocal; one-stop metadata present

Instrumentation:
BASS / DRUMS / ELECTRIC GUITAR / HORNS / SAXOPHONE

Track Summary:
“WELL, WELL, WELL, WELL” by LEE PALMER uses expressive vocal writing, bass / drums / electric guitar / horns / saxophone, and a mid-tempo pulse to create a distinct swagger / groove / contemporary energy placement lane. The E Minor setting and catchy, confident, dramatic, driving, fun mood profile give the track useful shape for entrances, party movement, sports energy, confident walk-ups, urban transitions, and scenes that need rhythm or attitude quickly.

Sync Highlights:

• Primary category: Swagger, Groove & Contemporary Energy
• Secondary utility: Action comedy, sports, club energy, confident character entrance
• Sync themes: CRIME / DRAMA / MYSTERY
• One-stop licensing supports streamlined clearance

Sync Potential

Best suited for Swagger, Groove & Contemporary Energy placements with crossover utility for Action comedy, sports, club energy, confident character entrance.

Stem Tracks

Available on request / confirm with rights holder.

Track Narrative

“WELL, WELL, WELL, WELL” by LEE PALMER uses expressive vocal writing, bass / drums / electric guitar / horns / saxophone, and a mid-tempo pulse to create a distinct swagger / groove / contemporary energy placement lane. The E Minor setting and catchy, confident, dramatic, driving, fun mood profile give the track useful shape for entrances, party movement, sports energy, confident walk-ups, urban transitions, and scenes that need rhythm or attitude quickly.

Lyrics

That river never stops
But this well can still run dry
That river never stops
But this well can still run dry
Young man's in a hurry to get old
Happens in the blink of an eye
Well, well, well, well
Well, well, well, well
You gotta put something in to get something out
Well, well, well, well
Old man says youth
Yeah, it's wasted on the young
Old man says youth
Yeah, it's wasted on the young
Young man tells his papa
I'll find better ways to get it done
Well, well, well, well
Well, well, well, well
You gotta put something in
And get something out
Well, well, well, well
When the rain falls down
That muddy river starts to roll
When the rain falls down
That muddy river starts to roll
As long as you fill the well
You'll have stories to be told
Well, well, well, well
Well, well, well, well
You gotta put something in to get something out
Well, well, well, well
Well, well, well, well

Artist Bio

Lee Palmer brings blues, folk, country, and roots-rock writing into a sync-friendly lane, with vocal performances suited to romance, road stories, comedy, nostalgia, and grounded human drama.

Request Assets

For WAV files, stems, alt mixes, clearance details, or more information, contact:

sergio@omrmusicproduction.com

Please reference:
WINDBREAKER — SAMUEL WILLIAMS

OMR Cue Map

Track: WINDBREAKER
Clean Intro: Yes — the opening should give editors a usable setup before the fullest arrangement or vocal section arrives.
Edit Points: Edit around texture shifts, pulse entries, swells, and harmonic changes; strong for slow dissolves, suspense builds, and extended underscore beds.
Button Ending: Potentially strong where the final hit, riff, or rhythmic stop lands cleanly; confirm with an audio pass.
Loopable: Yes — selected beds or groove sections should support extended use under picture.
Best Loop Candidates: Intro bed, primary groove, post-hook section, and any instrumental bridge or breakdown with reduced vocal density.

Use Case:
Use the opening identity to establish tone quickly, then let the arrangement changes guide editorial movement. The strongest placements are likely in entrances, party movement, sports energy, confident walk-ups, urban transitions, and scenes that need rhythm or attitude quickly, with trims around clear phrase endings, groove resets, or instrumental breaks.

Sync Pitch Sheet

Song Profile:
Key: B Minor
BPM: 131
Genres: ELECTRONIC / PARTY / POP / R&B
Vocals: Male Vocal
Moods: BRIGHT / BUILDING / CATCHY / CONFIDENT / DRAMATIC / DRIVING / ENERGETIC / FUN / HOPEFUL / PARTY / RHYTHMIC / ROMANTIC
Sync Themes: ACTION / ADVENTURE / CRIME / DRAMA / MYSTERY / ROMANCE
Lyric Themes:
Type: W Collection-ready; male vocal; one-stop metadata present

Instrumentation:
BASS / DRUMS / ELECTRIC GUITAR / PERCUSSION / SAXOPHONE / SYNTH

Track Summary:
“WINDBREAKER” by SAMUEL WILLIAMS uses expressive vocal writing, bass / drums / electric guitar / percussion / saxophone / synth, and a driving pulse to create a distinct swagger / groove / contemporary energy placement lane. The B Minor setting and bright, building, catchy, confident, dramatic mood profile give the track useful shape for entrances, party movement, sports energy, confident walk-ups, urban transitions, and scenes that need rhythm or attitude quickly.

Sync Highlights:

• Primary category: Swagger, Groove & Contemporary Energy
• Secondary utility: Action comedy, sports, club energy, confident character entrance
• Sync themes: ACTION / ADVENTURE / CRIME / DRAMA / MYSTERY / ROMANCE
• One-stop licensing supports streamlined clearance

Sync Potential

Best suited for Swagger, Groove & Contemporary Energy placements with crossover utility for Action comedy, sports, club energy, confident character entrance.

Stem Tracks

Available on request / confirm with rights holder.

Track Narrative

“WINDBREAKER” by SAMUEL WILLIAMS uses expressive vocal writing, bass / drums / electric guitar / percussion / saxophone / synth, and a driving pulse to create a distinct swagger / groove / contemporary energy placement lane. The B Minor setting and bright, building, catchy, confident, dramatic mood profile give the track useful shape for entrances, party movement, sports energy, confident walk-ups, urban transitions, and scenes that need rhythm or attitude quickly.

Lyrics

Windbreaker
Windbreaker
Oh
So you wanna ride, but you can't keep up with me keep up with me
Oh
Don't fret, don't sweat, come now you just keep moving your feet
moving your feet
Yeah
We might not know where we're going, but we keep on rolling
Oh
Grab a hold of the bars as we ride past the cars
Yeah
Come and get behind me Come and get behind me
On my wheel you feel ease
ease
I'll take all the breeze
Round and round to the beat Round and round to the beat as we ride through the street
Let's move as a team
Up and down the streets
I'm Windbreaker Come on and ride with me, come on and ride with me
Yeah Come on and ride with me
I'm Windbreaker Hey Come on and ride with me, come on and ride with me, come on and ride with me
I'm Windbreaker Yeah I'm out here in the streets
I'm out here in the streets. Come and ride with me.
I'm Windbreaker Yeah, yeah
I'm out here in the streets, come ride with me.
Oh, oh
Hey
Come on, yeah come ride with me, come on, come on yeah, come ride with me.
Come on, come on, come ride with me.
Come on, come on, yeah, ride with me, hey, come ride with me.
Yeah, in the streets, oh, come ride with me, in the streets, yeah.
Oh, come ride with me, yeah, come ride with me, yeah, oh come ride with me.
Come and get behind me Come and get behind me
On my wheel you feel ease, ease
Round and round to the beat, to the beat As we ride through the street
Let's move as a team, up and down the streets
Windbreaker
Windbreaker
Windbreaker
Windbreaker
Windbreaker
Do you feel the breeze? Come ride with me.
Let me change the leader, peloton with me
Windbreaker
Windbreaker
Come and ride with me and feel the breeze, peloton with me

Artist Bio

Samuel Williams brings electronic, pop, party, and R&B elements into a sync-ready sound with momentum, style, and emotional drive for action, romance, and urban visual energy.

Request Assets

For WAV files, stems, alt mixes, clearance details, or more information, contact:

sergio@omrmusicproduction.com

Please reference:
WON'T BE NONE (EXPLICIT) — HYP

OMR Cue Map

Track: WON'T BE NONE (EXPLICIT)
Clean Intro: Yes — the opening should give editors a usable setup before the fullest arrangement or vocal section arrives.
Edit Points: Natural edit points around section changes, phrase endings, hook returns, and instrumental transitions; suitable for promo cuts and scene-length shaping.
Button Ending: Likely usable if the final phrase resolves cleanly; confirm exact tail during audio review.
Loopable: Moderate — best loop potential will be in instrumental intros, breaks, or repeated groove sections rather than lyric-heavy passages.
Best Loop Candidates: Intro bed, primary groove, post-hook section, and any instrumental bridge or breakdown with reduced vocal density.

Use Case:
Use the opening identity to establish tone quickly, then let the arrangement changes guide editorial movement. The strongest placements are likely in entrances, party movement, sports energy, confident walk-ups, urban transitions, and scenes that need rhythm or attitude quickly, with trims around clear phrase endings, groove resets, or instrumental breaks.

Sync Pitch Sheet

Song Profile:
Key: B minor
BPM: 80
Genres: DANCE / HIP HOP
Vocals: Female Vocal
Moods: CONFIDENT / SWAGGER / UPBEAT
Sync Themes: ACTION / COMEDY / CRIME / SPORTS / VIDEO GAME
Lyric Themes: AMBITION / CONFIDENCE / EMPOWERMENT / ENERGY / POWER / REBELLION / STRENGTH / STRUGGLE
Type: W Collection-ready; female vocal; one-stop metadata present; explicit version noted for supervisor review

Instrumentation:
BASS / DRUMS / ELECTRIC GUITAR / PERCUSSION / SYNTH

Track Summary:
“WON'T BE NONE (EXPLICIT)” by HYP uses expressive vocal writing, bass / drums / electric guitar / percussion / synth, and a slow-burn pulse to create a distinct swagger / groove / contemporary energy placement lane. The B minor setting and confident, swagger, upbeat mood profile give the track useful shape for entrances, party movement, sports energy, confident walk-ups, urban transitions, and scenes that need rhythm or attitude quickly.

Sync Highlights:

• Primary category: Swagger, Groove & Contemporary Energy
• Secondary utility: Action comedy, sports, club energy, confident character entrance
• Sync themes: ACTION / COMEDY / CRIME / SPORTS / VIDEO GAME
• One-stop licensing supports streamlined clearance

Sync Potential

Best suited for Swagger, Groove & Contemporary Energy placements with crossover utility for Action comedy, sports, club energy, confident character entrance.

Stem Tracks

Available on request / confirm with rights holder.

Track Narrative

“WON'T BE NONE (EXPLICIT)” by HYP uses expressive vocal writing, bass / drums / electric guitar / percussion / synth, and a slow-burn pulse to create a distinct swagger / groove / contemporary energy placement lane. The B minor setting and confident, swagger, upbeat mood profile give the track useful shape for entrances, party movement, sports energy, confident walk-ups, urban transitions, and scenes that need rhythm or attitude quickly.

Lyrics

Won't Be None-Realism*

Verse 1

Loaded up and ready to blow
Flowin’, Striking like a Thunderbolt
High determination
Got you spinning like like an overdose (tweakin’)
I trained with the best
You got me testing my skills (uh huh!)
Flexin' like systema got me dodging
For real (for real!?), I’m on defense
Six sense, training is strong
Activate all my senses, Resonance like a gong (bong)
Knocking down stereotypes of bright light sun beamin' (bing)
With men
Harder than a hard on…
And women, wet dreaming

Hook x2

They Say Don’t Start None (Nope!)
Won’t Be, Won’t Be, Won’t Be None (Right!)

Verse 2

I come incredible indisputable
Unstoppable
A champion in my own right, don’t sleep!
I’mma rock all night
Got stamina, like a marathon runner
Don’t hate when I’m numba one
And you come up under me (I’m winnin’!)

I got you all fucked up
You getting all slapped up
I’m goin’ fast, like nascar
All wrapped up (Yup!)
Hop off my back, I be runnin’ this town (that’s right!)
High determination
Knockin’ all y'all down (BLAAW!)

Bridge

Hop off my back
I’ve got that rizz
Boutta take my time
Check out my drip

Hook x2

They Say Don’t Start None (Nope!)
Won’t Be, Won’t Be, Won’t Be None (Right!)

(High determination, High determination)

They say don’t start none. They say don’t none. Won’t Be, Won’t Be, Won’t Be None

Artist Bio

Hyp delivers rhythm-forward dance and hip hop tracks with bold energy, making his material useful for sports, action comedy, crime movement, and high-impact contemporary scenes.

Request Assets

For WAV files, stems, alt mixes, clearance details, or more information, contact:

sergio@omrmusicproduction.com

Please reference:
WAITING — ELMER FERRER

OMR Cue Map

Track: WAITING
Clean Intro: Yes — instrumental opening gives editors clean room for dialogue, ambience, or visual setup.
Edit Points: Edit around texture shifts, pulse entries, swells, and harmonic changes; strong for slow dissolves, suspense builds, and extended underscore beds.
Button Ending: Potentially strong where the final hit, riff, or rhythmic stop lands cleanly; confirm with an audio pass.
Loopable: Yes — instrumental sections should extend cleanly for underscore, montage, or transition use.
Best Loop Candidates: Opening texture, mid-cue bed, rhythmic or harmonic vamp, and any sustained passage before the final lift.

Use Case:
Use the opening identity to establish tone quickly, then let the arrangement changes guide editorial movement. The strongest placements are likely in investigations, reveals, danger approaching, surveillance, nocturnal tension, and scenes where the audience needs to feel that something unresolved is moving beneath the surface, with trims around clear phrase endings, groove resets, or instrumental breaks.

Sync Pitch Sheet

Song Profile:
Key: A Minor
BPM: 95
Genres: ELECTRONIC / HIP HOP
Vocals: Instrumental
Moods: ATMOSPHERIC / BUILDING / MYSTERIOUS / PERCUSSIVE / POSITIVE / TENSION / UPLIFTING
Sync Themes: THRILLER / MYSTERY / DRAMA / CRIME
Lyric Themes:
Type: W Collection-ready; instrumental; one-stop metadata present

Instrumentation:
BASS / PERCUSSION / SYNTH

Track Summary:
“WAITING” by ELMER FERRER uses instrumental textures, bass / percussion / synth, and a mid-tempo pulse to create a distinct suspense / mystery / dark atmosphere placement lane. The A Minor setting and atmospheric, building, mysterious, percussive, positive mood profile give the track useful shape for investigations, reveals, danger approaching, surveillance, nocturnal tension, and scenes where the audience needs to feel that something unresolved is moving beneath the surface.

Sync Highlights:

• Primary category: Suspense, Mystery & Dark Atmosphere
• Secondary utility: Investigation, dread, hidden threat, psychological pressure
• Sync themes: THRILLER / MYSTERY / DRAMA / CRIME
• One-stop licensing supports streamlined clearance

Sync Potential

Best suited for Suspense, Mystery & Dark Atmosphere placements with crossover utility for Investigation, dread, hidden threat, psychological pressure.

Stem Tracks

Available on request / confirm with rights holder.

Track Narrative

“WAITING” by ELMER FERRER uses instrumental textures, bass / percussion / synth, and a mid-tempo pulse to create a distinct suspense / mystery / dark atmosphere placement lane. The A Minor setting and atmospheric, building, mysterious, percussive, positive mood profile give the track useful shape for investigations, reveals, danger approaching, surveillance, nocturnal tension, and scenes where the audience needs to feel that something unresolved is moving beneath the surface.

Instrumental Usage

Fully instrumental and one-stop, “WAITING” supports cinematic storytelling without lyrical distraction. Especially useful for Investigation, dread, hidden threat, psychological pressure.

Artist Bio

Elmer Ferrer writes cinematic instrumental cues with a strong sense of movement, texture, and editorial utility, making his work valuable for suspense, crime, action, and atmospheric drama.

Request Assets

For WAV files, stems, alt mixes, clearance details, or more information, contact:

sergio@omrmusicproduction.com

Please reference:
WAR SUSPENSE — ELMER FERRER

OMR Cue Map

Track: WAR SUSPENSE
Clean Intro: Yes — instrumental opening gives editors clean room for dialogue, ambience, or visual setup.
Edit Points: Edit around texture shifts, pulse entries, swells, and harmonic changes; strong for slow dissolves, suspense builds, and extended underscore beds.
Button Ending: Potentially strong where the final hit, riff, or rhythmic stop lands cleanly; confirm with an audio pass.
Loopable: Yes — instrumental sections should extend cleanly for underscore, montage, or transition use.
Best Loop Candidates: Opening texture, mid-cue bed, rhythmic or harmonic vamp, and any sustained passage before the final lift.

Use Case:
Use the opening identity to establish tone quickly, then let the arrangement changes guide editorial movement. The strongest placements are likely in investigations, reveals, danger approaching, surveillance, nocturnal tension, and scenes where the audience needs to feel that something unresolved is moving beneath the surface, with trims around clear phrase endings, groove resets, or instrumental breaks.

Sync Pitch Sheet

Song Profile:
Key: Bb Major
BPM: 146
Genres: AMBIENT / ELECTRONIC
Vocals: Instrumental
Moods: ATMOSPHERIC / DARK / DRAMATIC / INTENSE / MINIMAL / MOODY / MYSTERIOUS / PERCUSSIVE / RHYTHMIC / TENSION
Sync Themes: WAR / THRILLER / ACTION / DRAMA
Lyric Themes:
Type: W Collection-ready; instrumental; one-stop metadata present

Instrumentation:
PERCUSSION / SYNTH

Track Summary:
“WAR SUSPENSE” by ELMER FERRER uses instrumental textures, percussion / synth, and a driving pulse to create a distinct suspense / mystery / dark atmosphere placement lane. The Bb Major setting and atmospheric, dark, dramatic, intense, minimal mood profile give the track useful shape for investigations, reveals, danger approaching, surveillance, nocturnal tension, and scenes where the audience needs to feel that something unresolved is moving beneath the surface.

Sync Highlights:

• Primary category: Suspense, Mystery & Dark Atmosphere
• Secondary utility: Investigation, dread, hidden threat, psychological pressure
• Sync themes: WAR / THRILLER / ACTION / DRAMA
• One-stop licensing supports streamlined clearance

Sync Potential

Best suited for Suspense, Mystery & Dark Atmosphere placements with crossover utility for Investigation, dread, hidden threat, psychological pressure.

Stem Tracks

Available on request / confirm with rights holder.

Track Narrative

“WAR SUSPENSE” by ELMER FERRER uses instrumental textures, percussion / synth, and a driving pulse to create a distinct suspense / mystery / dark atmosphere placement lane. The Bb Major setting and atmospheric, dark, dramatic, intense, minimal mood profile give the track useful shape for investigations, reveals, danger approaching, surveillance, nocturnal tension, and scenes where the audience needs to feel that something unresolved is moving beneath the surface.

Instrumental Usage

Fully instrumental and one-stop, “WAR SUSPENSE” supports cinematic storytelling without lyrical distraction. Especially useful for Investigation, dread, hidden threat, psychological pressure.

Artist Bio

Elmer Ferrer writes cinematic instrumental cues with a strong sense of movement, texture, and editorial utility, making his work valuable for suspense, crime, action, and atmospheric drama.

Request Assets

For WAV files, stems, alt mixes, clearance details, or more information, contact:

sergio@omrmusicproduction.com

Please reference:
WE WILL WAIT — ELMER FERRER

OMR Cue Map

Track: WE WILL WAIT
Clean Intro: Yes — instrumental opening gives editors clean room for dialogue, ambience, or visual setup.
Edit Points: Edit around texture shifts, pulse entries, swells, and harmonic changes; strong for slow dissolves, suspense builds, and extended underscore beds.
Button Ending: Potentially strong where the final hit, riff, or rhythmic stop lands cleanly; confirm with an audio pass.
Loopable: Yes — instrumental sections should extend cleanly for underscore, montage, or transition use.
Best Loop Candidates: Opening texture, mid-cue bed, rhythmic or harmonic vamp, and any sustained passage before the final lift.

Use Case:
Use the opening identity to establish tone quickly, then let the arrangement changes guide editorial movement. The strongest placements are likely in investigations, reveals, danger approaching, surveillance, nocturnal tension, and scenes where the audience needs to feel that something unresolved is moving beneath the surface, with trims around clear phrase endings, groove resets, or instrumental breaks.

Sync Pitch Sheet

Song Profile:
Key: B Major
BPM: 114
Genres: ELECTRONIC / HIP HOP
Vocals: Instrumental
Moods: ATMOSPHERIC / CONFIDENT / COOL / DRAMATIC / DREAMY / MINIMAL / MOODY / MYSTERIOUS / PERCUSSIVE / RHYTHMIC / SWAGGER / TENSION
Sync Themes: CRIME / THRILLER / DRAMA / MYSTERY
Lyric Themes:
Type: W Collection-ready; instrumental; one-stop metadata present

Instrumentation:
BASS / DRUMS / PERCUSSION / SYNTH

Track Summary:
“WE WILL WAIT” by ELMER FERRER uses instrumental textures, bass / drums / percussion / synth, and a mid-tempo pulse to create a distinct suspense / mystery / dark atmosphere placement lane. The B Major setting and atmospheric, confident, cool, dramatic, dreamy mood profile give the track useful shape for investigations, reveals, danger approaching, surveillance, nocturnal tension, and scenes where the audience needs to feel that something unresolved is moving beneath the surface.

Sync Highlights:

• Primary category: Suspense, Mystery & Dark Atmosphere
• Secondary utility: Investigation, dread, hidden threat, psychological pressure
• Sync themes: CRIME / THRILLER / DRAMA / MYSTERY
• One-stop licensing supports streamlined clearance

Sync Potential

Best suited for Suspense, Mystery & Dark Atmosphere placements with crossover utility for Investigation, dread, hidden threat, psychological pressure.

Stem Tracks

Available on request / confirm with rights holder.

Track Narrative

“WE WILL WAIT” by ELMER FERRER uses instrumental textures, bass / drums / percussion / synth, and a mid-tempo pulse to create a distinct suspense / mystery / dark atmosphere placement lane. The B Major setting and atmospheric, confident, cool, dramatic, dreamy mood profile give the track useful shape for investigations, reveals, danger approaching, surveillance, nocturnal tension, and scenes where the audience needs to feel that something unresolved is moving beneath the surface.

Instrumental Usage

Fully instrumental and one-stop, “WE WILL WAIT” supports cinematic storytelling without lyrical distraction. Especially useful for Investigation, dread, hidden threat, psychological pressure.

Artist Bio

Elmer Ferrer writes cinematic instrumental cues with a strong sense of movement, texture, and editorial utility, making his work valuable for suspense, crime, action, and atmospheric drama.

Request Assets

For WAV files, stems, alt mixes, clearance details, or more information, contact:

sergio@omrmusicproduction.com

Please reference:
WHAT LIES BEHIND THE DOOR — JOSH HOWARD FRIEDMAN

OMR Cue Map

Track: WHAT LIES BEHIND THE DOOR
Clean Intro: Yes — instrumental opening gives editors clean room for dialogue, ambience, or visual setup.
Edit Points: Edit around riff returns, vocal phrase endings, drum fills, breakdowns, and chorus or refrain entries; strong for character-driven scene shaping.
Button Ending: Likely usable if the final phrase resolves cleanly; confirm exact tail during audio review.
Loopable: Yes — instrumental sections should extend cleanly for underscore, montage, or transition use.
Best Loop Candidates: Opening texture, mid-cue bed, rhythmic or harmonic vamp, and any sustained passage before the final lift.

Use Case:
Use the opening identity to establish tone quickly, then let the arrangement changes guide editorial movement. The strongest placements are likely in investigations, reveals, danger approaching, surveillance, nocturnal tension, and scenes where the audience needs to feel that something unresolved is moving beneath the surface, with trims around clear phrase endings, groove resets, or instrumental breaks.

Sync Pitch Sheet

Song Profile:
Key: E Minor
BPM: 123
Genres: BLUES / FOLK
Vocals: Instrumental
Moods: HOPEFUL / LIGHT / MINIMAL / REFLECTIVE
Sync Themes: ART HOUSE / DRAMA / MYSTERY
Lyric Themes:
Type: W Collection-ready; instrumental; one-stop metadata present

Instrumentation:
ACOUSTIC GUITAR

Track Summary:
“WHAT LIES BEHIND THE DOOR” by JOSH HOWARD FRIEDMAN uses instrumental textures, acoustic guitar, and a mid-tempo pulse to create a distinct suspense / mystery / dark atmosphere placement lane. The E Minor setting and hopeful, light, minimal, reflective mood profile give the track useful shape for investigations, reveals, danger approaching, surveillance, nocturnal tension, and scenes where the audience needs to feel that something unresolved is moving beneath the surface.

Sync Highlights:

• Primary category: Suspense, Mystery & Dark Atmosphere
• Secondary utility: Investigation, dread, hidden threat, psychological pressure
• Sync themes: ART HOUSE / DRAMA / MYSTERY
• One-stop licensing supports streamlined clearance

Sync Potential

Best suited for Suspense, Mystery & Dark Atmosphere placements with crossover utility for Investigation, dread, hidden threat, psychological pressure.

Stem Tracks

Available on request / confirm with rights holder.

Track Narrative

“WHAT LIES BEHIND THE DOOR” by JOSH HOWARD FRIEDMAN uses instrumental textures, acoustic guitar, and a mid-tempo pulse to create a distinct suspense / mystery / dark atmosphere placement lane. The E Minor setting and hopeful, light, minimal, reflective mood profile give the track useful shape for investigations, reveals, danger approaching, surveillance, nocturnal tension, and scenes where the audience needs to feel that something unresolved is moving beneath the surface.

Instrumental Usage

Fully instrumental and one-stop, “WHAT LIES BEHIND THE DOOR” supports cinematic storytelling without lyrical distraction. Especially useful for Investigation, dread, hidden threat, psychological pressure.

Artist Bio

Josh Howard Friedman creates characterful instrumental pieces with a playful yet cinematic touch, useful for art-house moments, comedy beats, mystery color, and intimate dramatic storytelling.

Request Assets

For WAV files, stems, alt mixes, clearance details, or more information, contact:

sergio@omrmusicproduction.com

Please reference:
WINDOW SEAT — RICH BROWN

OMR Cue Map

Track: WINDOW SEAT
Clean Intro: Yes — instrumental opening gives editors clean room for dialogue, ambience, or visual setup.
Edit Points: Edit around texture shifts, pulse entries, swells, and harmonic changes; strong for slow dissolves, suspense builds, and extended underscore beds.
Button Ending: Likely usable if the final phrase resolves cleanly; confirm exact tail during audio review.
Loopable: Yes — instrumental sections should extend cleanly for underscore, montage, or transition use.
Best Loop Candidates: Opening texture, mid-cue bed, rhythmic or harmonic vamp, and any sustained passage before the final lift.

Use Case:
Use the opening identity to establish tone quickly, then let the arrangement changes guide editorial movement. The strongest placements are likely in investigations, reveals, danger approaching, surveillance, nocturnal tension, and scenes where the audience needs to feel that something unresolved is moving beneath the surface, with trims around clear phrase endings, groove resets, or instrumental breaks.

Sync Pitch Sheet

Song Profile:
Key: G Minor
BPM: 104
Genres: ELECTRONIC / JAZZ
Vocals: Instrumental
Moods: ANGRY / CINEMATIC / COOL / DRAMATIC / FUN / LIGHT / LOVE / PLAYFUL / POSITIVE / QUIRKY / REFLECTIVE / SERIOUS / UPBEAT / UPLIFTING / WARM
Sync Themes: CRIME / DRAMA / MYSTERY / THRILLER
Lyric Themes:
Type: W Collection-ready; instrumental; one-stop metadata present

Instrumentation:
BASS / DRUMS / HORNS / PERCUSSION / SAXOPHONE / TRUMPET

Track Summary:
“WINDOW SEAT” by RICH BROWN uses instrumental textures, bass / drums / horns / percussion / saxophone / trumpet, and a mid-tempo pulse to create a distinct suspense / mystery / dark atmosphere placement lane. The G Minor setting and angry, cinematic, cool, dramatic, fun mood profile give the track useful shape for investigations, reveals, danger approaching, surveillance, nocturnal tension, and scenes where the audience needs to feel that something unresolved is moving beneath the surface.

Sync Highlights:

• Primary category: Suspense, Mystery & Dark Atmosphere
• Secondary utility: Investigation, dread, hidden threat, psychological pressure
• Sync themes: CRIME / DRAMA / MYSTERY / THRILLER
• One-stop licensing supports streamlined clearance

Sync Potential

Best suited for Suspense, Mystery & Dark Atmosphere placements with crossover utility for Investigation, dread, hidden threat, psychological pressure.

Stem Tracks

Available on request / confirm with rights holder.

Track Narrative

“WINDOW SEAT” by RICH BROWN uses instrumental textures, bass / drums / horns / percussion / saxophone / trumpet, and a mid-tempo pulse to create a distinct suspense / mystery / dark atmosphere placement lane. The G Minor setting and angry, cinematic, cool, dramatic, fun mood profile give the track useful shape for investigations, reveals, danger approaching, surveillance, nocturnal tension, and scenes where the audience needs to feel that something unresolved is moving beneath the surface.

Instrumental Usage

Fully instrumental and one-stop, “WINDOW SEAT” supports cinematic storytelling without lyrical distraction. Especially useful for Investigation, dread, hidden threat, psychological pressure.

Artist Bio

Rich Brown creates sophisticated jazz and electronic material with mood, space, and precision, giving editors strong options for night scenes, mystery, introspection, and urban drama.

Request Assets

For WAV files, stems, alt mixes, clearance details, or more information, contact:

sergio@omrmusicproduction.com

Please reference:
WOLF IN THE FOLD — THE GREEN DOOR

OMR Cue Map

Track: WOLF IN THE FOLD
Clean Intro: Yes — the opening should give editors a usable setup before the fullest arrangement or vocal section arrives.
Edit Points: Edit around riff returns, vocal phrase endings, drum fills, breakdowns, and chorus or refrain entries; strong for character-driven scene shaping.
Button Ending: Likely usable if the final phrase resolves cleanly; confirm exact tail during audio review.
Loopable: Yes — selected beds or groove sections should support extended use under picture.
Best Loop Candidates: Intro bed, primary groove, post-hook section, and any instrumental bridge or breakdown with reduced vocal density.

Use Case:
Use the opening identity to establish tone quickly, then let the arrangement changes guide editorial movement. The strongest placements are likely in investigations, reveals, danger approaching, surveillance, nocturnal tension, and scenes where the audience needs to feel that something unresolved is moving beneath the surface, with trims around clear phrase endings, groove resets, or instrumental breaks.

Sync Pitch Sheet

Song Profile:
Key: A Minor
BPM: 125
Genres: METAL / PUNK / ROCK
Vocals: Male Vocal
Moods: BRIGHT / FUN / QUIRKY / RETRO / UPBEAT
Sync Themes: DRAMA / INDIE / COMEDY
Lyric Themes: DEATH / ESCAPE / FAMILY / LONGING / PAIN
Type: W Collection-ready; male vocal; one-stop metadata present

Instrumentation:
bass / drums / electric guitar

Track Summary:
“WOLF IN THE FOLD” by THE GREEN DOOR uses expressive vocal writing, bass / drums / electric guitar, and a mid-tempo pulse to create a distinct suspense / mystery / dark atmosphere placement lane. The A Minor setting and bright, fun, quirky, retro, upbeat mood profile give the track useful shape for investigations, reveals, danger approaching, surveillance, nocturnal tension, and scenes where the audience needs to feel that something unresolved is moving beneath the surface.

Sync Highlights:

• Primary category: Suspense, Mystery & Dark Atmosphere
• Secondary utility: Investigation, dread, hidden threat, psychological pressure
• Sync themes: DRAMA / INDIE / COMEDY
• One-stop licensing supports streamlined clearance

Sync Potential

Best suited for Suspense, Mystery & Dark Atmosphere placements with crossover utility for Investigation, dread, hidden threat, psychological pressure.

Stem Tracks

Available on request / confirm with rights holder.

Track Narrative

“WOLF IN THE FOLD” by THE GREEN DOOR uses expressive vocal writing, bass / drums / electric guitar, and a mid-tempo pulse to create a distinct suspense / mystery / dark atmosphere placement lane. The A Minor setting and bright, fun, quirky, retro, upbeat mood profile give the track useful shape for investigations, reveals, danger approaching, surveillance, nocturnal tension, and scenes where the audience needs to feel that something unresolved is moving beneath the surface.

Lyrics

A life always on the run
Under the gun
Cold eye legend fending from
A brother's arm
Morgan, Urilla, my unborn son
All dead and gone
Josephine will bury me
I go alone
Escape on claim
From a house of ill fame
I deal the faro
Leave us alone, I'll fly off the handle
It's known, high and low
The wolf in the fold
Alive inspite of vendetta
I'm moving on
My soul sings a Tombstone song
When trouble has come
Morgan, Urilla, my unborn son
All dead and gone
Josephine will bury me

Artist Bio

The Green Door brings raw rock intensity and unruly character energy to OMR, well suited to indie comedy, dramatic friction, swagger, and scenes with grit or eccentric momentum.

Request Assets

For WAV files, stems, alt mixes, clearance details, or more information, contact:

sergio@omrmusicproduction.com

Please reference:
WROUGHT BY MY OWN HAND UNDER YOUR WATCHFUL EYE — RADAGAST THE BROWN

OMR Cue Map

Track: WROUGHT BY MY OWN HAND UNDER YOUR WATCHFUL EYE
Clean Intro: Yes — instrumental opening gives editors clean room for dialogue, ambience, or visual setup.
Edit Points: Edit around texture shifts, pulse entries, swells, and harmonic changes; strong for slow dissolves, suspense builds, and extended underscore beds.
Button Ending: Likely usable if the final phrase resolves cleanly; confirm exact tail during audio review.
Loopable: Yes — instrumental sections should extend cleanly for underscore, montage, or transition use.
Best Loop Candidates: Opening texture, mid-cue bed, rhythmic or harmonic vamp, and any sustained passage before the final lift.

Use Case:
Use the opening identity to establish tone quickly, then let the arrangement changes guide editorial movement. The strongest placements are likely in investigations, reveals, danger approaching, surveillance, nocturnal tension, and scenes where the audience needs to feel that something unresolved is moving beneath the surface, with trims around clear phrase endings, groove resets, or instrumental breaks.

Sync Pitch Sheet

Song Profile:
Key: A Major
BPM: 134
Genres: AMBIENT / ELECTRONIC
Vocals: Instrumental
Moods: ATMOSPHERIC / DARK / MINIMAL / MOODY / MYSTERIOUS / REFLECTIVE / RHYTHMIC / TENSION
Sync Themes: THRILLER / MYSTERY / DRAMA / SCI-FI
Lyric Themes:
Type: W Collection-ready; instrumental; one-stop metadata present

Instrumentation:
PERCUSSION / STRINGS / SYNTH

Track Summary:
“WROUGHT BY MY OWN HAND UNDER YOUR WATCHFUL EYE” by RADAGAST THE BROWN uses instrumental textures, percussion / strings / synth, and a driving pulse to create a distinct suspense / mystery / dark atmosphere placement lane. The A Major setting and atmospheric, dark, minimal, moody, mysterious mood profile give the track useful shape for investigations, reveals, danger approaching, surveillance, nocturnal tension, and scenes where the audience needs to feel that something unresolved is moving beneath the surface.

Sync Highlights:

• Primary category: Suspense, Mystery & Dark Atmosphere
• Secondary utility: Investigation, dread, hidden threat, psychological pressure
• Sync themes: THRILLER / MYSTERY / DRAMA / SCI-FI
• One-stop licensing supports streamlined clearance

Sync Potential

Best suited for Suspense, Mystery & Dark Atmosphere placements with crossover utility for Investigation, dread, hidden threat, psychological pressure.

Stem Tracks

Available on request / confirm with rights holder.

Track Narrative

“WROUGHT BY MY OWN HAND UNDER YOUR WATCHFUL EYE” by RADAGAST THE BROWN uses instrumental textures, percussion / strings / synth, and a driving pulse to create a distinct suspense / mystery / dark atmosphere placement lane. The A Major setting and atmospheric, dark, minimal, moody, mysterious mood profile give the track useful shape for investigations, reveals, danger approaching, surveillance, nocturnal tension, and scenes where the audience needs to feel that something unresolved is moving beneath the surface.

Instrumental Usage

Fully instrumental and one-stop, “WROUGHT BY MY OWN HAND UNDER YOUR WATCHFUL EYE” supports cinematic storytelling without lyrical distraction. Especially useful for Investigation, dread, hidden threat, psychological pressure.

Artist Bio

Radagast the Brown specializes in ambient electronic cues that feel expansive, unsettled, and story-aware, giving editors useful material for sci-fi, mystery, thriller, and interior dramatic scenes.

Request Assets

For WAV files, stems, alt mixes, clearance details, or more information, contact:

sergio@omrmusicproduction.com

Please reference:
WALK OFF CLIFF — THADEUS GONZALEZ

OMR Cue Map

Track: WALK OFF CLIFF
Clean Intro: Yes — the opening should give editors a usable setup before the fullest arrangement or vocal section arrives.
Edit Points: Edit around riff returns, vocal phrase endings, drum fills, breakdowns, and chorus or refrain entries; strong for character-driven scene shaping.
Button Ending: Likely usable if the final phrase resolves cleanly; confirm exact tail during audio review.
Loopable: Yes — selected beds or groove sections should support extended use under picture.
Best Loop Candidates: Intro bed, primary groove, post-hook section, and any instrumental bridge or breakdown with reduced vocal density.

Use Case:
Use the opening identity to establish tone quickly, then let the arrangement changes guide editorial movement. The strongest placements are likely in reflective montage, memory, emotional aftermath, slow travel, visual atmosphere, and restrained dramatic pacing, with trims around clear phrase endings, groove resets, or instrumental breaks.

Sync Pitch Sheet

Song Profile:
Key: A Minor
BPM: 78
Genres: METAL / ROCK
Vocals: Male Vocal
Moods: CONFIDENT / HOPEFUL
Sync Themes: COMING OF AGE / DRAMA / INDIE / MYSTERY / THRILLER
Lyric Themes: FEAR / STRENGTH / STRUGGLE / TIME / UNITY
Type: W Collection-ready; male vocal; one-stop metadata present

Instrumentation:
ACOUSTIC GUITAR / BASS / DRUMS / ELECTRIC GUITAR / PERCUSSION / SYNTH

Track Summary:
“WALK OFF CLIFF” by THADEUS GONZALEZ uses expressive vocal writing, acoustic guitar / bass / drums / electric guitar / percussion / synth, and a slow-burn pulse to create a distinct atmospheric / reflective / cinematic placement lane. The A Minor setting and confident, hopeful mood profile give the track useful shape for reflective montage, memory, emotional aftermath, slow travel, visual atmosphere, and restrained dramatic pacing.

Sync Highlights:

• Primary category: Rock, Reckoning & Emotional Impact
• Secondary utility: Emotional aftermath, slow-burn montage, memory, visual atmosphere
• Sync themes: COMING OF AGE / DRAMA / INDIE / MYSTERY / THRILLER
• One-stop licensing supports streamlined clearance

Sync Potential

Best suited for Rock, Reckoning & Emotional Impact placements with crossover utility for Emotional aftermath, slow-burn montage, memory, visual atmosphere.

Stem Tracks

Available on request / confirm with rights holder.

Track Narrative

“WALK OFF CLIFF” by THADEUS GONZALEZ uses expressive vocal writing, acoustic guitar / bass / drums / electric guitar / percussion / synth, and a slow-burn pulse to create a distinct atmospheric / reflective / cinematic placement lane. The A Minor setting and confident, hopeful mood profile give the track useful shape for reflective montage, memory, emotional aftermath, slow travel, visual atmosphere, and restrained dramatic pacing.

Lyrics

You walk off the cliff into the grey
Is where you stand you can't stay
Now there's something you should know
Between this height and this cold
Can you spread your wings again
One black and one red
Though you know, you know it's a sin
That your enemy is the wind
And it all just begins again
Right before the first step
The walk off cliff
The walk off cliff
You walk off a cliff into the grey
where you stand you can't stay
Though you know, you know it's a sin
One black
and one red
And it all just begins again
Right before the first step
The walk off cliff
The walk off cliff
Falling, keep falling
Don't look down, falling, keep falling
So far now, falling, keep falling
You can't turn around
Too late now
So don't look down
down
down
And it all just begins again
Right before the first step
The walk off cliff
The walk off cliff
down
falling down
down
falling down
down
falling down
down
falling down

Artist Bio

Thadeus Gonzalez delivers rock-forward songs with grit, emotional edge, and character tension, making his material useful for indie drama, conflict, mystery, and high-pressure personal storylines.

Request Assets

For WAV files, stems, alt mixes, clearance details, or more information, contact:

sergio@omrmusicproduction.com

Please reference:
WHIPLASH — KELSEY KINDALL (GOODBYE PARTY)

OMR Cue Map

Track: WHIPLASH
Clean Intro: Yes — the opening should give editors a usable setup before the fullest arrangement or vocal section arrives.
Edit Points: Natural edit points around section changes, phrase endings, hook returns, and instrumental transitions; suitable for promo cuts and scene-length shaping.
Button Ending: Likely usable if the final phrase resolves cleanly; confirm exact tail during audio review.
Loopable: Yes — selected beds or groove sections should support extended use under picture.
Best Loop Candidates: Intro bed, primary groove, post-hook section, and any instrumental bridge or breakdown with reduced vocal density.

Use Case:
Use the opening identity to establish tone quickly, then let the arrangement changes guide editorial movement. The strongest placements are likely in reflective montage, memory, emotional aftermath, slow travel, visual atmosphere, and restrained dramatic pacing, with trims around clear phrase endings, groove resets, or instrumental breaks.

Sync Pitch Sheet

Song Profile:
Key: F# Minor
BPM: 125
Genres: pop / R&B
Vocals: female vocal
Moods: atmospheric / catchy / cool / dark / dreamy / moody / rhythmic / sad / sexy
Sync Themes: romance / drama / thriller / drama / indie / art house
Lyric Themes: love / pain / power / struggle
Type: W Collection-ready; female vocal; one-stop metadata present

Instrumentation:
bass / percussion / synth

Track Summary:
“WHIPLASH” by KELSEY KINDALL (GOODBYE PARTY) uses expressive vocal writing, bass / percussion / synth, and a mid-tempo pulse to create a distinct atmospheric / reflective / cinematic placement lane. The F# Minor setting and atmospheric, catchy, cool, dark, dreamy mood profile give the track useful shape for reflective montage, memory, emotional aftermath, slow travel, visual atmosphere, and restrained dramatic pacing.

Sync Highlights:

• Primary category: Rock, Reckoning & Emotional Impact
• Secondary utility: Emotional aftermath, slow-burn montage, memory, visual atmosphere
• Sync themes: romance / drama / thriller / drama / indie / art house
• One-stop licensing supports streamlined clearance

Sync Potential

Best suited for Rock, Reckoning & Emotional Impact placements with crossover utility for Emotional aftermath, slow-burn montage, memory, visual atmosphere.

Stem Tracks

Available on request / confirm with rights holder.

Track Narrative

“WHIPLASH” by KELSEY KINDALL (GOODBYE PARTY) uses expressive vocal writing, bass / percussion / synth, and a mid-tempo pulse to create a distinct atmospheric / reflective / cinematic placement lane. The F# Minor setting and atmospheric, catchy, cool, dark, dreamy mood profile give the track useful shape for reflective montage, memory, emotional aftermath, slow travel, visual atmosphere, and restrained dramatic pacing.

Lyrics

Don't you agree you took it too far
You said you'd drop it now we're at the bar and
I know tomorrow you won't respond but
this feels so good so I'll play along

Boy you give me whiplash
You change your mind so fast
Don't know how long I'll last
(I'll last)
I know that we will crash and burn
But I can't look away
Oh I can't look away

All of my friends they think it's confusing
The blow to my brain it feeds the delusion
But I love the pain so I'm not accusing
You of anything
No, I live for the extremes
(And this is extremely bad for me)

Boy you give me whiplash
You change your mind so fast
Don't know how long I'll last
(I'll last)
I know that we will crash and burn
But I can't look away
Can't look away

I've been out of body
Waiting for the call
You will say you're sorry
That it's been too long

I will play it cool
When you come in too hot
Why's it always you
Who gets to call the shots

I don't want your whiplash
Think it's time I end that
I'm taking the reigns back
I don't want whiplash

I don't want your whiplash
You changed my mind so fast
Don't know how long you'll last
(You'll last)
I know that you will crash and burn
When things don't go your way

Artist Bio

Kelsey Kindall combines pop and R&B textures with emotional volatility and contemporary vocal presence, creating sync value for romance, tension, relationship fallout, and modern indie drama.

Request Assets

For WAV files, stems, alt mixes, clearance details, or more information, contact:

sergio@omrmusicproduction.com

Please reference:
WHITE — THADEUS GONZALEZ

OMR Cue Map

Track: WHITE
Clean Intro: Yes — the opening should give editors a usable setup before the fullest arrangement or vocal section arrives.
Edit Points: Edit around riff returns, vocal phrase endings, drum fills, breakdowns, and chorus or refrain entries; strong for character-driven scene shaping.
Button Ending: Likely usable if the final phrase resolves cleanly; confirm exact tail during audio review.
Loopable: Yes — selected beds or groove sections should support extended use under picture.
Best Loop Candidates: Intro bed, primary groove, post-hook section, and any instrumental bridge or breakdown with reduced vocal density.

Use Case:
Use the opening identity to establish tone quickly, then let the arrangement changes guide editorial movement. The strongest placements are likely in reflective montage, memory, emotional aftermath, slow travel, visual atmosphere, and restrained dramatic pacing, with trims around clear phrase endings, groove resets, or instrumental breaks.

Sync Pitch Sheet

Song Profile:
Key: D# Minor
BPM: 107
Genres: COUNTRY / METAL / ROCK
Vocals: Male Vocal
Moods: BRIGHT / HOPEFUL / MOODY / POSITIVE / UPLIFTING
Sync Themes: ART HOUSE / DRAMA / HISTORICAL / INDIE / ROMANCE
Lyric Themes: BETRAYAL
Type: W Collection-ready; male vocal; one-stop metadata present

Instrumentation:
ACOUSTIC GUITAR / BASS / DRUMS / ELECTRIC GUITAR / PERCUSSION

Track Summary:
“WHITE” by THADEUS GONZALEZ uses expressive vocal writing, acoustic guitar / bass / drums / electric guitar / percussion, and a mid-tempo pulse to create a distinct atmospheric / reflective / cinematic placement lane. The D# Minor setting and bright, hopeful, moody, positive, uplifting mood profile give the track useful shape for reflective montage, memory, emotional aftermath, slow travel, visual atmosphere, and restrained dramatic pacing.

Sync Highlights:

• Primary category: Rock, Reckoning & Emotional Impact
• Secondary utility: Emotional aftermath, slow-burn montage, memory, visual atmosphere
• Sync themes: ART HOUSE / DRAMA / HISTORICAL / INDIE / ROMANCE
• One-stop licensing supports streamlined clearance

Sync Potential

Best suited for Rock, Reckoning & Emotional Impact placements with crossover utility for Emotional aftermath, slow-burn montage, memory, visual atmosphere.

Stem Tracks

Available on request / confirm with rights holder.

Track Narrative

“WHITE” by THADEUS GONZALEZ uses expressive vocal writing, acoustic guitar / bass / drums / electric guitar / percussion, and a mid-tempo pulse to create a distinct atmospheric / reflective / cinematic placement lane. The D# Minor setting and bright, hopeful, moody, positive, uplifting mood profile give the track useful shape for reflective montage, memory, emotional aftermath, slow travel, visual atmosphere, and restrained dramatic pacing.

Lyrics

Wash my hands so many times, lies don't stick no more.
Hear my words fall flat on the floor.
Bleach out the lies so I can't ignore.
and everything turns white.
I get no relief when my stories change.
Don't know how I live this crazy way.
It's a fine line I walk and I can't step away.
So everything stays white.
Even the sky is turning white.
And my face is turning white.
With the lies I say, I'll never find, find another reason to move on.
It's a tall tale I tell as my nose grows.
Been there, done that, but who really knows.
It's a bleak black hole inside of me.
So everything stays white.
And when I speak I start to sweat.
Never knowing what words might come out next.
I know you caught on 'cause I'm a mess.
And then you turn white.
Even the ground is turning white.
Everything around is turning white.
The words I say have robbed me blind. Now I find myself here all alone.
It all starts with a wink, then a push and a shove, and the shovel digs deep and you can't get enough.
And the walls are so high that you can't grab a hold, and everyone knows that you can't let it go, no you can't let it go and everyone knows.
Even the sky is turning white.
And my face is turning white.
With the lies I say, I'll never find, find another reason to move on.
Even the ground is turning white.
Everything around is turning white.
And the words I say have robbed me blind. Blinded now I find myself.
Blinded now I find myself all alone.
All alone.
All alone.
All alone.

Artist Bio

Thadeus Gonzalez delivers rock-forward songs with grit, emotional edge, and character tension, making his material useful for indie drama, conflict, mystery, and high-pressure personal storylines.

Request Assets

For WAV files, stems, alt mixes, clearance details, or more information, contact:

sergio@omrmusicproduction.com

Please reference:
WAITING FOR THE PACKAGE TO ARRIVE — JOSH HOWARD FRIEDMAN

OMR Cue Map

Track: WAITING FOR THE PACKAGE TO ARRIVE
Clean Intro: Yes — instrumental opening gives editors clean room for dialogue, ambience, or visual setup.
Edit Points: Natural edit points around section changes, phrase endings, hook returns, and instrumental transitions; suitable for promo cuts and scene-length shaping.
Button Ending: Likely usable if the final phrase resolves cleanly; confirm exact tail during audio review.
Loopable: Yes — instrumental sections should extend cleanly for underscore, montage, or transition use.
Best Loop Candidates: Opening texture, mid-cue bed, rhythmic or harmonic vamp, and any sustained passage before the final lift.

Use Case:
Use the opening identity to establish tone quickly, then let the arrangement changes guide editorial movement. The strongest placements are likely in reflective montage, memory, emotional aftermath, slow travel, visual atmosphere, and restrained dramatic pacing, with trims around clear phrase endings, groove resets, or instrumental breaks.

Sync Pitch Sheet

Song Profile:
Key: A Minor
BPM: 139
Genres: Classical
Vocals: Instrumental
Moods: Bright / Reflective
Sync Themes: Art House / Comedy / Drama
Lyric Themes: n/a
Type: One Stop

Instrumentation:
Piano

Track Summary:
“WAITING FOR THE PACKAGE TO ARRIVE” by JOSH HOWARD FRIEDMAN uses instrumental textures, piano, and a driving pulse to create a distinct atmospheric / reflective / cinematic placement lane. The A Minor setting and bright, reflective mood profile give the track useful shape for reflective montage, memory, emotional aftermath, slow travel, visual atmosphere, and restrained dramatic pacing.

Sync Highlights:

• Primary category: Atmospheric / Reflective / Cinematic
• Secondary utility: Emotional aftermath, slow-burn montage, memory, visual atmosphere
• Sync themes: Art House / Comedy / Drama
• One-stop licensing supports streamlined clearance

Sync Potential

Best suited for Atmospheric / Reflective / Cinematic placements with crossover utility for Emotional aftermath, slow-burn montage, memory, visual atmosphere.

Stem Tracks

Available on request / confirm with rights holder.

Track Narrative

“WAITING FOR THE PACKAGE TO ARRIVE” by JOSH HOWARD FRIEDMAN uses instrumental textures, piano, and a driving pulse to create a distinct atmospheric / reflective / cinematic placement lane. The A Minor setting and bright, reflective mood profile give the track useful shape for reflective montage, memory, emotional aftermath, slow travel, visual atmosphere, and restrained dramatic pacing.

Instrumental Usage

Fully instrumental and one-stop, “WAITING FOR THE PACKAGE TO ARRIVE” supports cinematic storytelling without lyrical distraction. Especially useful for Emotional aftermath, slow-burn montage, memory, visual atmosphere.

Artist Bio

Josh Howard Friedman creates characterful instrumental pieces with a playful yet cinematic touch, useful for art-house moments, comedy beats, mystery color, and intimate dramatic storytelling.

Request Assets

For WAV files, stems, alt mixes, clearance details, or more information, contact:

sergio@omrmusicproduction.com

Please reference:
WALK OFF CLIFF — THADEUS GONZALEZ

OMR Cue Map

Track: WALK OFF CLIFF
Clean Intro: Yes — the opening should give editors a usable setup before the fullest arrangement or vocal section arrives.
Edit Points: Edit around riff returns, vocal phrase endings, drum fills, breakdowns, and chorus or refrain entries; strong for character-driven scene shaping.
Button Ending: Likely usable if the final phrase resolves cleanly; confirm exact tail during audio review.
Loopable: Yes — selected beds or groove sections should support extended use under picture.
Best Loop Candidates: Intro bed, primary groove, post-hook section, and any instrumental bridge or breakdown with reduced vocal density.

Use Case:
Use the opening identity to establish tone quickly, then let the arrangement changes guide editorial movement. The strongest placements are likely in reflective montage, memory, emotional aftermath, slow travel, visual atmosphere, and restrained dramatic pacing, with trims around clear phrase endings, groove resets, or instrumental breaks.

Sync Pitch Sheet

Song Profile:
Key: A Minor
BPM: 78
Genres: Metal / Rock
Vocals: Male Vocal
Moods: Confident / Hopeful
Sync Themes: Coming Of Age / Drama / Indie / Mystery / Thriller
Lyric Themes: Fear / Strength / Struggle / Time / Unity
Type: One Stop

Instrumentation:
Acoustic Guitar / Bass / Drums / Electric Guitar / Percussion / Synth

Track Summary:
“WALK OFF CLIFF” by THADEUS GONZALEZ uses expressive vocal writing, acoustic guitar / bass / drums / electric guitar / percussion / synth, and a slow-burn pulse to create a distinct atmospheric / reflective / cinematic placement lane. The A Minor setting and confident, hopeful mood profile give the track useful shape for reflective montage, memory, emotional aftermath, slow travel, visual atmosphere, and restrained dramatic pacing.

Sync Highlights:

• Primary category: Atmospheric / Reflective / Cinematic
• Secondary utility: Emotional aftermath, slow-burn montage, memory, visual atmosphere
• Sync themes: Coming Of Age / Drama / Indie / Mystery / Thriller
• One-stop licensing supports streamlined clearance

Sync Potential

Best suited for Atmospheric / Reflective / Cinematic placements with crossover utility for Emotional aftermath, slow-burn montage, memory, visual atmosphere.

Stem Tracks

Available on request / confirm with rights holder.

Track Narrative

“WALK OFF CLIFF” by THADEUS GONZALEZ uses expressive vocal writing, acoustic guitar / bass / drums / electric guitar / percussion / synth, and a slow-burn pulse to create a distinct atmospheric / reflective / cinematic placement lane. The A Minor setting and confident, hopeful mood profile give the track useful shape for reflective montage, memory, emotional aftermath, slow travel, visual atmosphere, and restrained dramatic pacing.

Lyrics

You walk off the cliff into the grey
Is where you stand you can't stay
Now there's something you should know
Between this height and this cold
Can you spread your wings again
One black and one red
Though you know, you know it's a sin
That your enemy is the wind
And it all just begins again
Right before the first step
The walk off cliff
The walk off cliff
You walk off a cliff into the grey
where you stand you can't stay
Though you know, you know it's a sin
One black
and one red
And it all just begins again
Right before the first step
The walk off cliff
The walk off cliff
Falling, keep falling
Don't look down, falling, keep falling
So far now, falling, keep falling
You can't turn around
Too late now
So don't look down
down
down
And it all just begins again
Right before the first step
The walk off cliff
The walk off cliff
down
falling down
down
falling down
down
falling down
down
falling down

Artist Bio

Thadeus Gonzalez delivers rock-forward songs with grit, emotional edge, and character tension, making his material useful for indie drama, conflict, mystery, and high-pressure personal storylines.

Request Assets

For WAV files, stems, alt mixes, clearance details, or more information, contact:

sergio@omrmusicproduction.com

Please reference:
WATERS OF LIFE — PHEELION

OMR Cue Map

Track: WATERS OF LIFE
Clean Intro: Yes — instrumental opening gives editors clean room for dialogue, ambience, or visual setup.
Edit Points: Edit around texture shifts, pulse entries, swells, and harmonic changes; strong for slow dissolves, suspense builds, and extended underscore beds.
Button Ending: Likely usable if the final phrase resolves cleanly; confirm exact tail during audio review.
Loopable: Yes — instrumental sections should extend cleanly for underscore, montage, or transition use.
Best Loop Candidates: Opening texture, mid-cue bed, rhythmic or harmonic vamp, and any sustained passage before the final lift.

Use Case:
Use the opening identity to establish tone quickly, then let the arrangement changes guide editorial movement. The strongest placements are likely in reflective montage, memory, emotional aftermath, slow travel, visual atmosphere, and restrained dramatic pacing, with trims around clear phrase endings, groove resets, or instrumental breaks.

Sync Pitch Sheet

Song Profile:
Key: G Minor
BPM: 130
Genres: Ambient / Electronic
Vocals: Instrumental
Moods: Atmospheric / Dreamy / Emotive / Hopeful / Light / Minimal / Reflective / Uplifting / Warm
Sync Themes: Art House / Drama / Historical
Lyric Themes: n/a
Type: One Stop

Instrumentation:
Strings / Synth

Track Summary:
“WATERS OF LIFE” by PHEELION uses instrumental textures, strings / synth, and a driving pulse to create a distinct atmospheric / reflective / cinematic placement lane. The G Minor setting and atmospheric, dreamy, emotive, hopeful, light mood profile give the track useful shape for reflective montage, memory, emotional aftermath, slow travel, visual atmosphere, and restrained dramatic pacing.

Sync Highlights:

• Primary category: Atmospheric / Reflective / Cinematic
• Secondary utility: Emotional aftermath, slow-burn montage, memory, visual atmosphere
• Sync themes: Art House / Drama / Historical
• One-stop licensing supports streamlined clearance

Sync Potential

Best suited for Atmospheric / Reflective / Cinematic placements with crossover utility for Emotional aftermath, slow-burn montage, memory, visual atmosphere.

Stem Tracks

Available on request / confirm with rights holder.

Track Narrative

“WATERS OF LIFE” by PHEELION uses instrumental textures, strings / synth, and a driving pulse to create a distinct atmospheric / reflective / cinematic placement lane. The G Minor setting and atmospheric, dreamy, emotive, hopeful, light mood profile give the track useful shape for reflective montage, memory, emotional aftermath, slow travel, visual atmosphere, and restrained dramatic pacing.

Instrumental Usage

Fully instrumental and one-stop, “WATERS OF LIFE” supports cinematic storytelling without lyrical distraction. Especially useful for Emotional aftermath, slow-burn montage, memory, visual atmosphere.

Artist Bio

Pheelion works in ambient electronic textures that support reflective visual storytelling, especially when a scene needs atmosphere, restraint, historical weight, or a suspended emotional state.

Request Assets

For WAV files, stems, alt mixes, clearance details, or more information, contact:

sergio@omrmusicproduction.com

Please reference:
WE LEFT THIS DAY A REMNANT — RADAGAST

OMR Cue Map

Track: WE LEFT THIS DAY A REMNANT
Clean Intro: Yes — instrumental opening gives editors clean room for dialogue, ambience, or visual setup.
Edit Points: Edit around texture shifts, pulse entries, swells, and harmonic changes; strong for slow dissolves, suspense builds, and extended underscore beds.
Button Ending: Potentially strong where the final hit, riff, or rhythmic stop lands cleanly; confirm with an audio pass.
Loopable: Yes — instrumental sections should extend cleanly for underscore, montage, or transition use.
Best Loop Candidates: Opening texture, mid-cue bed, rhythmic or harmonic vamp, and any sustained passage before the final lift.

Use Case:
Use the opening identity to establish tone quickly, then let the arrangement changes guide editorial movement. The strongest placements are likely in reflective montage, memory, emotional aftermath, slow travel, visual atmosphere, and restrained dramatic pacing, with trims around clear phrase endings, groove resets, or instrumental breaks.

Sync Pitch Sheet

Song Profile:
Key: C Major
BPM: 147
Genres: Ambient / Electronic
Vocals: Instrumental
Moods: Atmospheric / Building / Dramatic / Powerful / Uplifting
Sync Themes: Art House / Crime / Drama / Thriller
Lyric Themes: n/a
Type: One Stop

Instrumentation:
Percussion / Strings / Synth

Track Summary:
“WE LEFT THIS DAY A REMNANT” by RADAGAST uses instrumental textures, percussion / strings / synth, and a driving pulse to create a distinct atmospheric / reflective / cinematic placement lane. The C Major setting and atmospheric, building, dramatic, powerful, uplifting mood profile give the track useful shape for reflective montage, memory, emotional aftermath, slow travel, visual atmosphere, and restrained dramatic pacing.

Sync Highlights:

• Primary category: Atmospheric / Reflective / Cinematic
• Secondary utility: Emotional aftermath, slow-burn montage, memory, visual atmosphere
• Sync themes: Art House / Crime / Drama / Thriller
• One-stop licensing supports streamlined clearance

Sync Potential

Best suited for Atmospheric / Reflective / Cinematic placements with crossover utility for Emotional aftermath, slow-burn montage, memory, visual atmosphere.

Stem Tracks

Available on request / confirm with rights holder.

Track Narrative

“WE LEFT THIS DAY A REMNANT” by RADAGAST uses instrumental textures, percussion / strings / synth, and a driving pulse to create a distinct atmospheric / reflective / cinematic placement lane. The C Major setting and atmospheric, building, dramatic, powerful, uplifting mood profile give the track useful shape for reflective montage, memory, emotional aftermath, slow travel, visual atmosphere, and restrained dramatic pacing.

Instrumental Usage

Fully instrumental and one-stop, “WE LEFT THIS DAY A REMNANT” supports cinematic storytelling without lyrical distraction. Especially useful for Emotional aftermath, slow-burn montage, memory, visual atmosphere.

Artist Bio

Radagast creates ambient electronic material with a quiet cinematic pull, well suited to psychological tension, dream states, mystery, introspection, and slow-burn dramatic atmosphere.

Request Assets

For WAV files, stems, alt mixes, clearance details, or more information, contact:

sergio@omrmusicproduction.com

Please reference:
WHEN THE DEPTH OF MY IGNORANCE IS REVEALED — RADAGAST

OMR Cue Map

Track: WHEN THE DEPTH OF MY IGNORANCE IS REVEALED
Clean Intro: Yes — instrumental opening gives editors clean room for dialogue, ambience, or visual setup.
Edit Points: Edit around texture shifts, pulse entries, swells, and harmonic changes; strong for slow dissolves, suspense builds, and extended underscore beds.
Button Ending: Potentially strong where the final hit, riff, or rhythmic stop lands cleanly; confirm with an audio pass.
Loopable: Yes — instrumental sections should extend cleanly for underscore, montage, or transition use.
Best Loop Candidates: Opening texture, mid-cue bed, rhythmic or harmonic vamp, and any sustained passage before the final lift.

Use Case:
Use the opening identity to establish tone quickly, then let the arrangement changes guide editorial movement. The strongest placements are likely in reflective montage, memory, emotional aftermath, slow travel, visual atmosphere, and restrained dramatic pacing, with trims around clear phrase endings, groove resets, or instrumental breaks.

Sync Pitch Sheet

Song Profile:
Key: A Major
BPM: 84
Genres: Ambient / Electronic
Vocals: Instrumental
Moods: Atmospheric / Hopeful / Moody / Powerful / Reflective
Sync Themes: Art House / Drama / Fantasy / Mystery
Lyric Themes: n/a
Type: One Stop

Instrumentation:
Electric Guitar / Percussion / Piano / Strings / Synth

Track Summary:
“WHEN THE DEPTH OF MY IGNORANCE IS REVEALED” by RADAGAST uses instrumental textures, electric guitar / percussion / piano / strings / synth, and a slow-burn pulse to create a distinct atmospheric / reflective / cinematic placement lane. The A Major setting and atmospheric, hopeful, moody, powerful, reflective mood profile give the track useful shape for reflective montage, memory, emotional aftermath, slow travel, visual atmosphere, and restrained dramatic pacing.

Sync Highlights:

• Primary category: Atmospheric / Reflective / Cinematic
• Secondary utility: Emotional aftermath, slow-burn montage, memory, visual atmosphere
• Sync themes: Art House / Drama / Fantasy / Mystery
• One-stop licensing supports streamlined clearance

Sync Potential

Best suited for Atmospheric / Reflective / Cinematic placements with crossover utility for Emotional aftermath, slow-burn montage, memory, visual atmosphere.

Stem Tracks

Available on request / confirm with rights holder.

Track Narrative

“WHEN THE DEPTH OF MY IGNORANCE IS REVEALED” by RADAGAST uses instrumental textures, electric guitar / percussion / piano / strings / synth, and a slow-burn pulse to create a distinct atmospheric / reflective / cinematic placement lane. The A Major setting and atmospheric, hopeful, moody, powerful, reflective mood profile give the track useful shape for reflective montage, memory, emotional aftermath, slow travel, visual atmosphere, and restrained dramatic pacing.

Instrumental Usage

Fully instrumental and one-stop, “WHEN THE DEPTH OF MY IGNORANCE IS REVEALED” supports cinematic storytelling without lyrical distraction. Especially useful for Emotional aftermath, slow-burn montage, memory, visual atmosphere.

Artist Bio

Radagast creates ambient electronic material with a quiet cinematic pull, well suited to psychological tension, dream states, mystery, introspection, and slow-burn dramatic atmosphere.

Request Assets

For WAV files, stems, alt mixes, clearance details, or more information, contact:

sergio@omrmusicproduction.com

Please reference:
WHIPLASH — KELSEY KINDALL (GOODBYE PARTY)

OMR Cue Map

Track: WHIPLASH
Clean Intro: Yes — the opening should give editors a usable setup before the fullest arrangement or vocal section arrives.
Edit Points: Natural edit points around section changes, phrase endings, hook returns, and instrumental transitions; suitable for promo cuts and scene-length shaping.
Button Ending: Likely usable if the final phrase resolves cleanly; confirm exact tail during audio review.
Loopable: Yes — selected beds or groove sections should support extended use under picture.
Best Loop Candidates: Intro bed, primary groove, post-hook section, and any instrumental bridge or breakdown with reduced vocal density.

Use Case:
Use the opening identity to establish tone quickly, then let the arrangement changes guide editorial movement. The strongest placements are likely in reflective montage, memory, emotional aftermath, slow travel, visual atmosphere, and restrained dramatic pacing, with trims around clear phrase endings, groove resets, or instrumental breaks.

Sync Pitch Sheet

Song Profile:
Key: F# Minor
BPM: 125
Genres: Pop / R&B
Vocals: female vocal
Moods: Atmospheric / Catchy / Cool / Dark / Dreamy / Moody / Rhythmic / Sad / Sexy
Sync Themes: Romance / Drama / Thriller / Drama / Indie / Art House
Lyric Themes: Love / Pain / Power / Struggle
Type: One Stop

Instrumentation:
Bass / Percussion / Synth

Track Summary:
“WHIPLASH” by KELSEY KINDALL (GOODBYE PARTY) uses expressive vocal writing, bass / percussion / synth, and a mid-tempo pulse to create a distinct atmospheric / reflective / cinematic placement lane. The F# Minor setting and atmospheric, catchy, cool, dark, dreamy mood profile give the track useful shape for reflective montage, memory, emotional aftermath, slow travel, visual atmosphere, and restrained dramatic pacing.

Sync Highlights:

• Primary category: Atmospheric / Reflective / Cinematic
• Secondary utility: Emotional aftermath, slow-burn montage, memory, visual atmosphere
• Sync themes: Romance / Drama / Thriller / Drama / Indie / Art House
• One-stop licensing supports streamlined clearance

Sync Potential

Best suited for Atmospheric / Reflective / Cinematic placements with crossover utility for Emotional aftermath, slow-burn montage, memory, visual atmosphere.

Stem Tracks

Available on request / confirm with rights holder.

Track Narrative

“WHIPLASH” by KELSEY KINDALL (GOODBYE PARTY) uses expressive vocal writing, bass / percussion / synth, and a mid-tempo pulse to create a distinct atmospheric / reflective / cinematic placement lane. The F# Minor setting and atmospheric, catchy, cool, dark, dreamy mood profile give the track useful shape for reflective montage, memory, emotional aftermath, slow travel, visual atmosphere, and restrained dramatic pacing.

Lyrics

Don't you agree you took it too far
You said you'd drop it now we're at the bar and
I know tomorrow you won't respond but
this feels so good so I'll play along

Boy you give me whiplash
You change your mind so fast
Don't know how long I'll last
(I'll last)
I know that we will crash and burn
But I can't look away
Oh I can't look away

All of my friends they think it's confusing
The blow to my brain it feeds the delusion
But I love the pain so I'm not accusing
You of anything
No, I live for the extremes
(And this is extremely bad for me)

Boy you give me whiplash
You change your mind so fast
Don't know how long I'll last
(I'll last)
I know that we will crash and burn
But I can't look away
Can't look away

I've been out of body
Waiting for the call
You will say you're sorry
That it's been too long

I will play it cool
When you come in too hot
Why's it always you
Who gets to call the shots

I don't want your whiplash
Think it's time I end that
I'm taking the reigns back
I don't want whiplash

I don't want your whiplash
You changed my mind so fast
Don't know how long you'll last
(You'll last)
I know that you will crash and burn
When things don't go your way

Artist Bio

Kelsey Kindall combines pop and R&B textures with emotional volatility and contemporary vocal presence, creating sync value for romance, tension, relationship fallout, and modern indie drama.

Request Assets

For WAV files, stems, alt mixes, clearance details, or more information, contact:

sergio@omrmusicproduction.com

Please reference:
WHISPERS BETWEEN SLEEP AND WAKE — RADAGAST

OMR Cue Map

Track: WHISPERS BETWEEN SLEEP AND WAKE
Clean Intro: Yes — instrumental opening gives editors clean room for dialogue, ambience, or visual setup.
Edit Points: Edit around texture shifts, pulse entries, swells, and harmonic changes; strong for slow dissolves, suspense builds, and extended underscore beds.
Button Ending: Potentially strong where the final hit, riff, or rhythmic stop lands cleanly; confirm with an audio pass.
Loopable: Yes — instrumental sections should extend cleanly for underscore, montage, or transition use.
Best Loop Candidates: Opening texture, mid-cue bed, rhythmic or harmonic vamp, and any sustained passage before the final lift.

Use Case:
Use the opening identity to establish tone quickly, then let the arrangement changes guide editorial movement. The strongest placements are likely in reflective montage, memory, emotional aftermath, slow travel, visual atmosphere, and restrained dramatic pacing, with trims around clear phrase endings, groove resets, or instrumental breaks.

Sync Pitch Sheet

Song Profile:
Key: C# Major
BPM: 142
Genres: Ambient / Electronic
Vocals: Instrumental
Moods: Atmospheric / Building / Cinematic / Dramatic / Emotive / Hopeful / Mysterious / Powerful / Reflective
Sync Themes: Art House / Fantasy / Horror / Mystery
Lyric Themes: n/a
Type: One Stop

Instrumentation:
Percussion / Synth

Track Summary:
“WHISPERS BETWEEN SLEEP AND WAKE” by RADAGAST uses instrumental textures, percussion / synth, and a driving pulse to create a distinct atmospheric / reflective / cinematic placement lane. The C# Major setting and atmospheric, building, cinematic, dramatic, emotive mood profile give the track useful shape for reflective montage, memory, emotional aftermath, slow travel, visual atmosphere, and restrained dramatic pacing.

Sync Highlights:

• Primary category: Atmospheric / Reflective / Cinematic
• Secondary utility: Emotional aftermath, slow-burn montage, memory, visual atmosphere
• Sync themes: Art House / Fantasy / Horror / Mystery
• One-stop licensing supports streamlined clearance

Sync Potential

Best suited for Atmospheric / Reflective / Cinematic placements with crossover utility for Emotional aftermath, slow-burn montage, memory, visual atmosphere.

Stem Tracks

Available on request / confirm with rights holder.

Track Narrative

“WHISPERS BETWEEN SLEEP AND WAKE” by RADAGAST uses instrumental textures, percussion / synth, and a driving pulse to create a distinct atmospheric / reflective / cinematic placement lane. The C# Major setting and atmospheric, building, cinematic, dramatic, emotive mood profile give the track useful shape for reflective montage, memory, emotional aftermath, slow travel, visual atmosphere, and restrained dramatic pacing.

Instrumental Usage

Fully instrumental and one-stop, “WHISPERS BETWEEN SLEEP AND WAKE” supports cinematic storytelling without lyrical distraction. Especially useful for Emotional aftermath, slow-burn montage, memory, visual atmosphere.

Artist Bio

Radagast creates ambient electronic material with a quiet cinematic pull, well suited to psychological tension, dream states, mystery, introspection, and slow-burn dramatic atmosphere.

Request Assets

For WAV files, stems, alt mixes, clearance details, or more information, contact:

sergio@omrmusicproduction.com

Please reference:
WHITE — THADEUS GONZALEZ

OMR Cue Map

Track: WHITE
Clean Intro: Yes — the opening should give editors a usable setup before the fullest arrangement or vocal section arrives.
Edit Points: Edit around riff returns, vocal phrase endings, drum fills, breakdowns, and chorus or refrain entries; strong for character-driven scene shaping.
Button Ending: Likely usable if the final phrase resolves cleanly; confirm exact tail during audio review.
Loopable: Yes — selected beds or groove sections should support extended use under picture.
Best Loop Candidates: Intro bed, primary groove, post-hook section, and any instrumental bridge or breakdown with reduced vocal density.

Use Case:
Use the opening identity to establish tone quickly, then let the arrangement changes guide editorial movement. The strongest placements are likely in reflective montage, memory, emotional aftermath, slow travel, visual atmosphere, and restrained dramatic pacing, with trims around clear phrase endings, groove resets, or instrumental breaks.

Sync Pitch Sheet

Song Profile:
Key: D# Minor
BPM: 107
Genres: Country / Metal / Rock
Vocals: Male Vocal
Moods: Bright / Hopeful / Moody / Positive / Uplifting
Sync Themes: Art House / Drama / Historical / Indie / Romance
Lyric Themes: Betrayal
Type: One Stop

Instrumentation:
Acoustic Guitar / Bass / Drums / Electric Guitar / Percussion

Track Summary:
“WHITE” by THADEUS GONZALEZ uses expressive vocal writing, acoustic guitar / bass / drums / electric guitar / percussion, and a mid-tempo pulse to create a distinct atmospheric / reflective / cinematic placement lane. The D# Minor setting and bright, hopeful, moody, positive, uplifting mood profile give the track useful shape for reflective montage, memory, emotional aftermath, slow travel, visual atmosphere, and restrained dramatic pacing.

Sync Highlights:

• Primary category: Atmospheric / Reflective / Cinematic
• Secondary utility: Emotional aftermath, slow-burn montage, memory, visual atmosphere
• Sync themes: Art House / Drama / Historical / Indie / Romance
• One-stop licensing supports streamlined clearance

Sync Potential

Best suited for Atmospheric / Reflective / Cinematic placements with crossover utility for Emotional aftermath, slow-burn montage, memory, visual atmosphere.

Stem Tracks

Available on request / confirm with rights holder.

Track Narrative

“WHITE” by THADEUS GONZALEZ uses expressive vocal writing, acoustic guitar / bass / drums / electric guitar / percussion, and a mid-tempo pulse to create a distinct atmospheric / reflective / cinematic placement lane. The D# Minor setting and bright, hopeful, moody, positive, uplifting mood profile give the track useful shape for reflective montage, memory, emotional aftermath, slow travel, visual atmosphere, and restrained dramatic pacing.

Lyrics

Wash my hands so many times, lies don't stick no more.
Hear my words fall flat on the floor.
Bleach out the lies so I can't ignore.
and everything turns white.
I get no relief when my stories change.
Don't know how I live this crazy way.
It's a fine line I walk and I can't step away.
So everything stays white.
Even the sky is turning white.
And my face is turning white.
With the lies I say, I'll never find, find another reason to move on.
It's a tall tale I tell as my nose grows.
Been there, done that, but who really knows.
It's a bleak black hole inside of me.
So everything stays white.
And when I speak I start to sweat.
Never knowing what words might come out next.
I know you caught on 'cause I'm a mess.
And then you turn white.
Even the ground is turning white.
Everything around is turning white.
The words I say have robbed me blind. Now I find myself here all alone.
It all starts with a wink, then a push and a shove, and the shovel digs deep and you can't get enough.
And the walls are so high that you can't grab a hold, and everyone knows that you can't let it go, no you can't let it go and everyone knows.
Even the sky is turning white.
And my face is turning white.
With the lies I say, I'll never find, find another reason to move on.
Even the ground is turning white.
Everything around is turning white.
And the words I say have robbed me blind. Blinded now I find myself.
Blinded now I find myself all alone.
All alone.
All alone.
All alone.

Artist Bio

Thadeus Gonzalez delivers rock-forward songs with grit, emotional edge, and character tension, making his material useful for indie drama, conflict, mystery, and high-pressure personal storylines.

Request Assets

For WAV files, stems, alt mixes, clearance details, or more information, contact:

sergio@omrmusicproduction.com

Please reference:
WISHING SONG — PAUL REDDICK

OMR Cue Map

Track: WISHING SONG
Clean Intro: Yes — the opening should give editors a usable setup before the fullest arrangement or vocal section arrives.
Edit Points: Edit around riff returns, vocal phrase endings, drum fills, breakdowns, and chorus or refrain entries; strong for character-driven scene shaping.
Button Ending: Likely usable if the final phrase resolves cleanly; confirm exact tail during audio review.
Loopable: Yes — selected beds or groove sections should support extended use under picture.
Best Loop Candidates: Intro bed, primary groove, post-hook section, and any instrumental bridge or breakdown with reduced vocal density.

Use Case:
Use the opening identity to establish tone quickly, then let the arrangement changes guide editorial movement. The strongest placements are likely in reflective montage, memory, emotional aftermath, slow travel, visual atmosphere, and restrained dramatic pacing, with trims around clear phrase endings, groove resets, or instrumental breaks.

Sync Pitch Sheet

Song Profile:
Key: D Major
BPM: 139
Genres: Folk / World
Vocals: Male Vocal
Moods: Bright / Dark
Sync Themes: Art House / Coming Of Age / Drama / Indie / Romance
Lyric Themes: Love
Type: One Stop

Instrumentation:
Acoustic Guitar / Accordion / Keyboard

Track Summary:
“WISHING SONG” by PAUL REDDICK uses expressive vocal writing, acoustic guitar / accordion / keyboard, and a driving pulse to create a distinct atmospheric / reflective / cinematic placement lane. The D Major setting and bright, dark mood profile give the track useful shape for reflective montage, memory, emotional aftermath, slow travel, visual atmosphere, and restrained dramatic pacing.

Sync Highlights:

• Primary category: Atmospheric / Reflective / Cinematic
• Secondary utility: Emotional aftermath, slow-burn montage, memory, visual atmosphere
• Sync themes: Art House / Coming Of Age / Drama / Indie / Romance
• One-stop licensing supports streamlined clearance

Sync Potential

Best suited for Atmospheric / Reflective / Cinematic placements with crossover utility for Emotional aftermath, slow-burn montage, memory, visual atmosphere.

Stem Tracks

Available on request / confirm with rights holder.

Track Narrative

“WISHING SONG” by PAUL REDDICK uses expressive vocal writing, acoustic guitar / accordion / keyboard, and a driving pulse to create a distinct atmospheric / reflective / cinematic placement lane. The D Major setting and bright, dark mood profile give the track useful shape for reflective montage, memory, emotional aftermath, slow travel, visual atmosphere, and restrained dramatic pacing.

Lyrics

The moon’s arising rising in the darkling day
The moon’s arising rising in the darkling day
The moon’s arising rising in the darkling day
Oh be with me until I fade away
The wind is singing singing a wishing song
The wind is singing singing a wishing song
The wind is singing singing a wishing song
Oh be with me as I travel on
I can’t see see what brought me here
Oh stay by me stay by me my dear
I can’t see see what brought me here
Oh stay by me stay by me my dear
I don’t know know about the heaven above
Oh hold me close my love my love
The wind is singing singing a wishing song
The wind is singing singing a wishing song
The wind is singing singing a wishing song
Oh be with me as I travel on
Oh be with me as I travel on
Oh be with me as I travel on

Artist Bio

Paul Reddick brings a distinctive blues-rooted voice to OMR, blending grit, poetry, and roots instrumentation for scenes involving memory, travel, desire, mystery, and human consequence.

Request Assets

For WAV files, stems, alt mixes, clearance details, or more information, contact:

sergio@omrmusicproduction.com

Please reference:
WAIT FOR ME — JUSTIN ENCO BAND

OMR Cue Map

Track: WAIT FOR ME
Clean Intro: Yes — the opening should give editors a usable setup before the fullest arrangement or vocal section arrives.
Edit Points: Edit around riff returns, vocal phrase endings, drum fills, breakdowns, and chorus or refrain entries; strong for character-driven scene shaping.
Button Ending: Likely usable if the final phrase resolves cleanly; confirm exact tail during audio review.
Loopable: Moderate — best loop potential will be in instrumental intros, breaks, or repeated groove sections rather than lyric-heavy passages.
Best Loop Candidates: Intro bed, primary groove, post-hook section, and any instrumental bridge or breakdown with reduced vocal density.

Use Case:
Use the opening identity to establish tone quickly, then let the arrangement changes guide editorial movement. The strongest placements are likely in romance, personal turning points, apology scenes, separation, reunion, coming-of-age choices, and emotionally exposed dialogue, with trims around clear phrase endings, groove resets, or instrumental breaks.

Sync Pitch Sheet

Song Profile:
Key: D Major
BPM: 64
Genres: Folk
Vocals: Male Vocal
Moods: Emotive / Hopeful / Minimal / Warm
Sync Themes: Coming Of Age / Drama / Indie / Romance / Thriller
Lyric Themes: Heartbreak / Identity / Love / Struggle / Time
Type: One Stop

Instrumentation:
Acoustic Guitar / Bass

Track Summary:
“WAIT FOR ME” by JUSTIN ENCO BAND uses expressive vocal writing, acoustic guitar / bass, and a slow-burn pulse to create a distinct character / relationship / human stories placement lane. The D Major setting and emotive, hopeful, minimal, warm mood profile give the track useful shape for romance, personal turning points, apology scenes, separation, reunion, coming-of-age choices, and emotionally exposed dialogue.

Sync Highlights:

• Primary category: Character / Relationship / Human Stories
• Secondary utility: Romance, friendship, emotional confession, intimate drama
• Sync themes: Coming Of Age / Drama / Indie / Romance / Thriller
• One-stop licensing supports streamlined clearance

Sync Potential

Best suited for Character / Relationship / Human Stories placements with crossover utility for Romance, friendship, emotional confession, intimate drama.

Stem Tracks

Available on request / confirm with rights holder.

Track Narrative

“WAIT FOR ME” by JUSTIN ENCO BAND uses expressive vocal writing, acoustic guitar / bass, and a slow-burn pulse to create a distinct character / relationship / human stories placement lane. The D Major setting and emotive, hopeful, minimal, warm mood profile give the track useful shape for romance, personal turning points, apology scenes, separation, reunion, coming-of-age choices, and emotionally exposed dialogue.

Lyrics

So far nothing's coming
But I keep hanging on
The spirit is wailing
But the mind keeps wandering on
The messages hidden inside you
The secrets you keep clinging to
Now come on baby you and I know
You're heading for the door
Besides you know
I could never let him go
So wait for me you see darling
All this time I was wrong
When I was searching for something
That was right here all along
So wait for me, sweet darling
I've been holding back too long
Let me show you how one ride can overcome my wrongs
So you left and I tried to follow
From back inside
The window cracked as you drifted out of sight
Should've known this would come
I should've known I would cry
And as my world slowly crumbled
I realized
Rest, humble time
I need you by my side
So wait for me, sweet darling
All this time I was wrong
And I was searching for something
That was right here all along
So wait for me, sweet darling
I've been holding back too long
Let me show you how one ride
Can overcome my wrongs
Wait for me, sweet darling
All this time I was wrong
While I was searching for something
That was right here all along
So wait for me, sweet darling
I've been holding back too long
Let me show you how one ride
Can overcome a
My wrongs, my wrongs
I'm sorry for my wrongs

Artist Bio

Justin Enco Band brings a warm folk sensibility to OMR, pairing intimate vocal writing with understated arrangements that work well for coming-of-age, romance, and character-centered drama.

Request Assets

For WAV files, stems, alt mixes, clearance details, or more information, contact:

sergio@omrmusicproduction.com

Please reference:
WAITING ON MY LOVE TO COME — LEE PALMER

OMR Cue Map

Track: WAITING ON MY LOVE TO COME
Clean Intro: Yes — the opening should give editors a usable setup before the fullest arrangement or vocal section arrives.
Edit Points: Edit around riff returns, vocal phrase endings, drum fills, breakdowns, and chorus or refrain entries; strong for character-driven scene shaping.
Button Ending: Likely usable if the final phrase resolves cleanly; confirm exact tail during audio review.
Loopable: Moderate — best loop potential will be in instrumental intros, breaks, or repeated groove sections rather than lyric-heavy passages.
Best Loop Candidates: Intro bed, primary groove, post-hook section, and any instrumental bridge or breakdown with reduced vocal density.

Use Case:
Use the opening identity to establish tone quickly, then let the arrangement changes guide editorial movement. The strongest placements are likely in romance, personal turning points, apology scenes, separation, reunion, coming-of-age choices, and emotionally exposed dialogue, with trims around clear phrase endings, groove resets, or instrumental breaks.

Sync Pitch Sheet

Song Profile:
Key: E Minor
BPM: 120
Genres: Blues
Vocals: Male Vocal
Moods: Carefree / Confident / Fun / Happy / Quirky / Retro
Sync Themes: Comedy / Coming Of Age / Romance
Lyric Themes: Connection / Freedom / Love
Type: One Stop

Instrumentation:
Bass / Drums / Electric Guitar / Harmonica / Percussion / Synth

Track Summary:
“WAITING ON MY LOVE TO COME” by LEE PALMER uses expressive vocal writing, bass / drums / electric guitar / harmonica / percussion / synth, and a mid-tempo pulse to create a distinct character / relationship / human stories placement lane. The E Minor setting and carefree, confident, fun, happy, quirky mood profile give the track useful shape for romance, personal turning points, apology scenes, separation, reunion, coming-of-age choices, and emotionally exposed dialogue.

Sync Highlights:

• Primary category: Character / Relationship / Human Stories
• Secondary utility: Romance, friendship, emotional confession, intimate drama
• Sync themes: Comedy / Coming Of Age / Romance
• One-stop licensing supports streamlined clearance

Sync Potential

Best suited for Character / Relationship / Human Stories placements with crossover utility for Romance, friendship, emotional confession, intimate drama.

Stem Tracks

Available on request / confirm with rights holder.

Track Narrative

“WAITING ON MY LOVE TO COME” by LEE PALMER uses expressive vocal writing, bass / drums / electric guitar / harmonica / percussion / synth, and a mid-tempo pulse to create a distinct character / relationship / human stories placement lane. The E Minor setting and carefree, confident, fun, happy, quirky mood profile give the track useful shape for romance, personal turning points, apology scenes, separation, reunion, coming-of-age choices, and emotionally exposed dialogue.

Lyrics

I'm waiting on my love to come
I'm waiting on my love to come
I'm looking out my window, standing by the phone
When she finally gets here, I'll make her feel right at home
I couldn't miss her more, 'cause I miss her a ton
I'm waiting on my love to come, yeah, maybe she will
Or maybe she won't
If she does she does
If she don't she don't
I know she wants to
'Cause she told me so
Still she's a little cautious
Moves a little slow
That's okay yeah
I can't wait
Feels good to anticipate
I'm waiting on my love to come
I'm waiting on my love to come
I'm looking out my window
Standing by the phone
When she finally gets here
I'll make her feel right at home
I couldn't miss her more
'Cause I miss her a ton
I'm waiting on my love to come
Yeah, I can wait another hour, I can wait all day
I got stuff I wanna do and things I wanna say
Maybe it will come all together or fall all apart
It could be a brand new day or a broken heart
Yeah, my chest is a-pounding, my head is reeling
Always on my mind's got a brand new meaning
I'm waiting on my love to come
I'm waiting on my love to come
Looking out my window, standing by the phone
When she finally gets here, I'll make her feel right at home
I couldn't miss her more, 'cause I miss her a ton
I'm waiting on my love to come
I'm waiting on my love to come
I'm waiting on my love to come

Artist Bio

Lee Palmer brings blues, folk, country, and roots-rock writing into a sync-friendly lane, with vocal performances suited to romance, road stories, comedy, nostalgia, and grounded human drama.

Request Assets

For WAV files, stems, alt mixes, clearance details, or more information, contact:

sergio@omrmusicproduction.com

Please reference:
WHEN LOVE IS STRONG — MATTIE LEON

OMR Cue Map

Track: WHEN LOVE IS STRONG
Clean Intro: Yes — the opening should give editors a usable setup before the fullest arrangement or vocal section arrives.
Edit Points: Natural edit points around section changes, phrase endings, hook returns, and instrumental transitions; suitable for promo cuts and scene-length shaping.
Button Ending: Likely usable if the final phrase resolves cleanly; confirm exact tail during audio review.
Loopable: Moderate — best loop potential will be in instrumental intros, breaks, or repeated groove sections rather than lyric-heavy passages.
Best Loop Candidates: Intro bed, primary groove, post-hook section, and any instrumental bridge or breakdown with reduced vocal density.

Use Case:
Use the opening identity to establish tone quickly, then let the arrangement changes guide editorial movement. The strongest placements are likely in romance, personal turning points, apology scenes, separation, reunion, coming-of-age choices, and emotionally exposed dialogue, with trims around clear phrase endings, groove resets, or instrumental breaks.

Sync Pitch Sheet

Song Profile:
Key: G Major
BPM: 69
Genres: Indie / Sing/Song
Vocals: Male Vocal
Moods: Atmospheric / Dark / Dreamy / Light / Love / Minimal / Moody / Reflective
Sync Themes: Art House / Coming Of Age / Drama / Indie / Romance
Lyric Themes: Connection / Fear / Heartbreak / Love / Strength
Type: One Stop

Instrumentation:
Bass / Drums / Electric Guitar / Keyboard / Piano

Track Summary:
“WHEN LOVE IS STRONG” by MATTIE LEON uses expressive vocal writing, bass / drums / electric guitar / keyboard / piano, and a slow-burn pulse to create a distinct character / relationship / human stories placement lane. The G Major setting and atmospheric, dark, dreamy, light, love mood profile give the track useful shape for romance, personal turning points, apology scenes, separation, reunion, coming-of-age choices, and emotionally exposed dialogue.

Sync Highlights:

• Primary category: Character / Relationship / Human Stories
• Secondary utility: Romance, friendship, emotional confession, intimate drama
• Sync themes: Art House / Coming Of Age / Drama / Indie / Romance
• One-stop licensing supports streamlined clearance

Sync Potential

Best suited for Character / Relationship / Human Stories placements with crossover utility for Romance, friendship, emotional confession, intimate drama.

Stem Tracks

Available on request / confirm with rights holder.

Track Narrative

“WHEN LOVE IS STRONG” by MATTIE LEON uses expressive vocal writing, bass / drums / electric guitar / keyboard / piano, and a slow-burn pulse to create a distinct character / relationship / human stories placement lane. The G Major setting and atmospheric, dark, dreamy, light, love mood profile give the track useful shape for romance, personal turning points, apology scenes, separation, reunion, coming-of-age choices, and emotionally exposed dialogue.

Lyrics

There's a fire
making it's way 'cross The Great Divide
through the dark
and into the light

All your fears,
billowing smoke in the atmosphere,
fade away
and all that remains

Are the wonderful things you turned out to be.
When love is strong it gives us a chance to be.

In your blood
are vibrant displays of elegant love.
In your heart,
maps of the way.

When life isn't working
the ones that we love mend the things that are broken.

All the wonderful things you turned out to be.
When love is strong it gives us a chance to be.

Artist Bio

Mattie Leon writes intimate indie and singer-songwriter material with emotional clarity, giving OMR strong options for romance, coming-of-age, loss, hope, and character-led dramatic storytelling.

Request Assets

For WAV files, stems, alt mixes, clearance details, or more information, contact:

sergio@omrmusicproduction.com

Please reference:
WHERE THE LOVE GO — MELODIC YOZA

OMR Cue Map

Track: WHERE THE LOVE GO
Clean Intro: Yes — the opening should give editors a usable setup before the fullest arrangement or vocal section arrives.
Edit Points: Natural edit points around section changes, phrase endings, hook returns, and instrumental transitions; suitable for promo cuts and scene-length shaping.
Button Ending: Likely usable if the final phrase resolves cleanly; confirm exact tail during audio review.
Loopable: Moderate — best loop potential will be in instrumental intros, breaks, or repeated groove sections rather than lyric-heavy passages.
Best Loop Candidates: Intro bed, primary groove, post-hook section, and any instrumental bridge or breakdown with reduced vocal density.

Use Case:
Use the opening identity to establish tone quickly, then let the arrangement changes guide editorial movement. The strongest placements are likely in romance, personal turning points, apology scenes, separation, reunion, coming-of-age choices, and emotionally exposed dialogue, with trims around clear phrase endings, groove resets, or instrumental breaks.

Sync Pitch Sheet

Song Profile:
Key: F# Minor
BPM: 100
Genres: Ballads / Hip Hop / Pop / R&B / Reggae
Vocals: Male Vocal
Moods: Catchy / Chill / Confident / Dramatic / Emotive / Relaxing / Rhythmic / Serious / Sexy / Swagger
Sync Themes: Comedy / Crime / Drama / Fantasy / Romance
Lyric Themes: Love / Pain / Rebellion / Relationship / Struggle
Type: One Stop

Instrumentation:
Bass / Percussion / Synth

Track Summary:
“WHERE THE LOVE GO” by MELODIC YOZA uses expressive vocal writing, bass / percussion / synth, and a mid-tempo pulse to create a distinct character / relationship / human stories placement lane. The F# Minor setting and catchy, chill, confident, dramatic, emotive mood profile give the track useful shape for romance, personal turning points, apology scenes, separation, reunion, coming-of-age choices, and emotionally exposed dialogue.

Sync Highlights:

• Primary category: Character / Relationship / Human Stories
• Secondary utility: Romance, friendship, emotional confession, intimate drama
• Sync themes: Comedy / Crime / Drama / Fantasy / Romance
• One-stop licensing supports streamlined clearance

Sync Potential

Best suited for Character / Relationship / Human Stories placements with crossover utility for Romance, friendship, emotional confession, intimate drama.

Stem Tracks

Available on request / confirm with rights holder.

Track Narrative

“WHERE THE LOVE GO” by MELODIC YOZA uses expressive vocal writing, bass / percussion / synth, and a mid-tempo pulse to create a distinct character / relationship / human stories placement lane. The F# Minor setting and catchy, chill, confident, dramatic, emotive mood profile give the track useful shape for romance, personal turning points, apology scenes, separation, reunion, coming-of-age choices, and emotionally exposed dialogue.

Lyrics

You know
Stargirl
You, you, you, you, yeah, ah
No contradiction, no resistance
Speak about your pain, woah
What is missing, if we listen
We're just all the same, yeah
Social distance, emotional sickness
Life is not a game, no
Your addiction, not a fiction
LP's on the way
Act up and lose trust
'Cause our problem is us
Caught up in our greed
So all wants and all dreams
But where the love, where the love, where the love, where the love goes
Where the love, where the love, where the love, where the love gone
Where the love where the love where the love where the love where the love goes
Where the love where the love where the love where the love where the love goes
Emancipation
Reparation
Still I see no changes
Segregation
Confrontation
Complicating things yeah
Declaration
Medication
Got me feeling drained woah
Revelation
Transformation
Information age yeah
Act up and lose trust
Our problem is us
Caught up in our greed
Our wants and our dreams
Where the love, where the love, where the love, where the love goes
Where the love, where the love, where the love, where the love gone
Well I would love, would love, would love, would love, would love more
Well I would love, would love, would love, would love, would love more
You and I, T.Y.
Show some love and don't be shy
If you saw the world through my eyes
And you know the tears I cry, I cry
Where the love, where the love, where the love, where the love goes
Where the love, where the love, where the love, where the love gone
Where the love, where the love, where the love, where the love, where the love goes
Where the love, where the love, where the love, where the love, where the love gone
Gone, gone, gone
Where did love go?
Going going gone
Where did love go?

Artist Bio

Melodic Yoza brings rhythmic vocal energy with reggae, hip hop, pop, and R&B influences, useful for romance, street-level confidence, comedy, movement, and youthful character energy.

Request Assets

For WAV files, stems, alt mixes, clearance details, or more information, contact:

sergio@omrmusicproduction.com

Please reference:
WHY CAN'T YOU LOVE ME — TIFFANY JOY

OMR Cue Map

Track: WHY CAN'T YOU LOVE ME
Clean Intro: Yes — the opening should give editors a usable setup before the fullest arrangement or vocal section arrives.
Edit Points: Natural edit points around section changes, phrase endings, hook returns, and instrumental transitions; suitable for promo cuts and scene-length shaping.
Button Ending: Likely usable if the final phrase resolves cleanly; confirm exact tail during audio review.
Loopable: Moderate — best loop potential will be in instrumental intros, breaks, or repeated groove sections rather than lyric-heavy passages.
Best Loop Candidates: Intro bed, primary groove, post-hook section, and any instrumental bridge or breakdown with reduced vocal density.

Use Case:
Use the opening identity to establish tone quickly, then let the arrangement changes guide editorial movement. The strongest placements are likely in romance, personal turning points, apology scenes, separation, reunion, coming-of-age choices, and emotionally exposed dialogue, with trims around clear phrase endings, groove resets, or instrumental breaks.

Sync Pitch Sheet

Song Profile:
Key: E Major
BPM: 116
Genres: Jazz / Latin / Reggae
Vocals: Female Vocal
Moods: Fun / Happy / Light / Playful / Positive / Quirky / Romantic / Upbeat
Sync Themes: Art House / Drama / Indie / Romance
Lyric Themes: Fear / Identity / Love / Relationship / Struggle
Type: One Stop

Instrumentation:
Acoustic Guitar / Bass / Drums / Keyboard / Percussion

Track Summary:
“WHY CAN'T YOU LOVE ME” by TIFFANY JOY uses expressive vocal writing, acoustic guitar / bass / drums / keyboard / percussion, and a mid-tempo pulse to create a distinct character / relationship / human stories placement lane. The E Major setting and fun, happy, light, playful, positive mood profile give the track useful shape for romance, personal turning points, apology scenes, separation, reunion, coming-of-age choices, and emotionally exposed dialogue.

Sync Highlights:

• Primary category: Character / Relationship / Human Stories
• Secondary utility: Romance, friendship, emotional confession, intimate drama
• Sync themes: Art House / Drama / Indie / Romance
• One-stop licensing supports streamlined clearance

Sync Potential

Best suited for Character / Relationship / Human Stories placements with crossover utility for Romance, friendship, emotional confession, intimate drama.

Stem Tracks

Available on request / confirm with rights holder.

Track Narrative

“WHY CAN'T YOU LOVE ME” by TIFFANY JOY uses expressive vocal writing, acoustic guitar / bass / drums / keyboard / percussion, and a mid-tempo pulse to create a distinct character / relationship / human stories placement lane. The E Major setting and fun, happy, light, playful, positive mood profile give the track useful shape for romance, personal turning points, apology scenes, separation, reunion, coming-of-age choices, and emotionally exposed dialogue.

Lyrics

Drawn to you magnetically
Held within your gaze
so humbled by your humility
I end up spouting praise
I ask if you will share your warmth
and slid my hands in yours
wishing that you felt my touch to your very core
Why can't you love me the way that I love you with a fervor I can't deny
Why can't you see me the way that I see you when we're searching in each other's eyes
What part of teasing me pleasures you
I melt beneath your words
I struggle to grasp your point of view
Your mind is split in thirds
one part you want me two parts you hold me
three to deny it all
and in the end I'm flustered
due to my lack of self-worth
why can't you love me the way that I love you with a fervor I can't deny
Why can't you see me the way that I see you when we're searching in each other's eyes
Could you just need me the way that I need you with a passion I can't justify
And maybe feel me in times when it feels like without your love I can't get by
Why can't you love me?
Why can't you love me?
Why can't you love me?
Why can't you love me?
Why can't you love me the way that I love you with a fervor that I can't deny
Why can't you see me the way that I see you when we're searching in each other's eyes
Could you just need me the way that I need you with a passion I can't justify
And maybe feel me in times when it feels like without your love I can't get by
Without your love I can't get by
Without your love I can't get by
Without your love I can't get by
Without your love I can't get by

Artist Bio

Tiffany Joy blends jazz, Latin, and reggae influences with an expressive vocal style that supports romance, longing, intimacy, and emotionally detailed dramatic scenes.

Request Assets

For WAV files, stems, alt mixes, clearance details, or more information, contact:

sergio@omrmusicproduction.com

Please reference:
WIFEY — ANTHONY DIDOMENICO

OMR Cue Map

Track: WIFEY
Clean Intro: Yes — the opening should give editors a usable setup before the fullest arrangement or vocal section arrives.
Edit Points: Edit around texture shifts, pulse entries, swells, and harmonic changes; strong for slow dissolves, suspense builds, and extended underscore beds.
Button Ending: Potentially strong where the final hit, riff, or rhythmic stop lands cleanly; confirm with an audio pass.
Loopable: Moderate — best loop potential will be in instrumental intros, breaks, or repeated groove sections rather than lyric-heavy passages.
Best Loop Candidates: Intro bed, primary groove, post-hook section, and any instrumental bridge or breakdown with reduced vocal density.

Use Case:
Use the opening identity to establish tone quickly, then let the arrangement changes guide editorial movement. The strongest placements are likely in romance, personal turning points, apology scenes, separation, reunion, coming-of-age choices, and emotionally exposed dialogue, with trims around clear phrase endings, groove resets, or instrumental breaks.

Sync Pitch Sheet

Song Profile:
Key: C Major
BPM: 90
Genres: Electronic / Hip Hop / Pop
Vocals: Male Vocal
Moods: Bright / Catchy / Dramatic / Energetic / Hopeful / Rhythmic / Somber
Sync Themes: Comedy / Coming Of Age / Drama / Romance
Lyric Themes: Faith / Love / Pain / Relationship
Type: One Stop

Instrumentation:
Bass / Drums / Percussion / Synth

Track Summary:
“WIFEY” by ANTHONY DIDOMENICO uses expressive vocal writing, bass / drums / percussion / synth, and a mid-tempo pulse to create a distinct character / relationship / human stories placement lane. The C Major setting and bright, catchy, dramatic, energetic, hopeful mood profile give the track useful shape for romance, personal turning points, apology scenes, separation, reunion, coming-of-age choices, and emotionally exposed dialogue.

Sync Highlights:

• Primary category: Character / Relationship / Human Stories
• Secondary utility: Romance, friendship, emotional confession, intimate drama
• Sync themes: Comedy / Coming Of Age / Drama / Romance
• One-stop licensing supports streamlined clearance

Sync Potential

Best suited for Character / Relationship / Human Stories placements with crossover utility for Romance, friendship, emotional confession, intimate drama.

Stem Tracks

Available on request / confirm with rights holder.

Track Narrative

“WIFEY” by ANTHONY DIDOMENICO uses expressive vocal writing, bass / drums / percussion / synth, and a mid-tempo pulse to create a distinct character / relationship / human stories placement lane. The C Major setting and bright, catchy, dramatic, energetic, hopeful mood profile give the track useful shape for romance, personal turning points, apology scenes, separation, reunion, coming-of-age choices, and emotionally exposed dialogue.

Lyrics

You might bite me, can you be my wifey
You're nothing like me, you're my loving light beam
I see you nicely, will you be my wifey
I'm down on one knee, we're doing this for life
You might bite me, can you be my wifey
You're nothing like me, you're my loving light beam
I see you nicely, will you be my wifey
I'm down on one knee, we're doing this for life
Dig me back when we were kids
You and I were innocent
In love with this, just one kiss
Trying to figure out how to live
Living on the feelings I hid
Feeling embarrassed, no quits
Cause that love was pouring through me
I just had to admit
I confess my love to you
You had me vulnerable and true
My heart and fluid have me feeling down and stupid
And I feel the pain inside
Question why I even try
I opened up my heart to you and now I think it dies
Was a lie, hypnotized
I've been caught up in my mind
Was painting up a picture that you shattered
In real life, is that my wife?
You're right by me, can you be my wifey?
You're nothing like me, you're my loving wifey
If I say it nicely, will you be my wifey?
I'm down to one knee, doing this for lifey
You might bite me, can you be my wifey
You're nothing like me, you're my loving wifey
If I say it nicely, will you be my wifey
I'm down on one knee, doing this for lifey
Today's a new day, we've grown through the pain
Now I'm far from lonely
But I still hear your name
And you can tell what we want tonight
My emotions they exploding like the dynamite
You pretend like you know me you ain't feel me alright
So keep dreaming if you thinking you'll be kiss me goodnight
You might bite me
Can you be my wifey
You're nothing like me
You're my loving wifey
I say it nicely
Will you be my wifey
I'm down on one knee
Doing this for lifey
You're right by me
Can you be my wifey
You're nothing like me
You're my loving wifey
I say it nicely
Will you be my wifey
I'm down on one knee
Doing this for lifey
You're right by me
Can you be my wifey
Nothing like me, you're my loving wifey
I say it nicely, will you be my wifey
I'm down on one knee, doing this for lifey
You're my baby, can you be my wifey
You're nothing like me, you're my loving wifey
I say it nicely, will you be my wifey
I'm down on one knee, doing this for lifey

Artist Bio

Anthony DiDomenico creates contemporary pop and hip hop material with youthful energy and romantic immediacy, suited to comedy, relationship stories, and character-driven modern scenes.

Request Assets

For WAV files, stems, alt mixes, clearance details, or more information, contact:

sergio@omrmusicproduction.com

Please reference:
WISH FOR MY BROTHER — PAT CAREY

OMR Cue Map

Track: WISH FOR MY BROTHER
Clean Intro: Yes — instrumental opening gives editors clean room for dialogue, ambience, or visual setup.
Edit Points: Edit around texture shifts, pulse entries, swells, and harmonic changes; strong for slow dissolves, suspense builds, and extended underscore beds.
Button Ending: Likely usable if the final phrase resolves cleanly; confirm exact tail during audio review.
Loopable: Yes — instrumental sections should extend cleanly for underscore, montage, or transition use.
Best Loop Candidates: Opening texture, mid-cue bed, rhythmic or harmonic vamp, and any sustained passage before the final lift.

Use Case:
Use the opening identity to establish tone quickly, then let the arrangement changes guide editorial movement. The strongest placements are likely in romance, personal turning points, apology scenes, separation, reunion, coming-of-age choices, and emotionally exposed dialogue, with trims around clear phrase endings, groove resets, or instrumental breaks.

Sync Pitch Sheet

Song Profile:
Key: G Major
BPM: 100
Genres: Ambient / Jazz
Vocals: Instrumental
Moods: Chill / Dramatic / Hopeful / Romantic / Sad / Somber / Warm
Sync Themes: Coming Of Age / Drama / Historical / Romance
Lyric Themes: n/a
Type: One Stop

Instrumentation:
Electric Guitar / Horns / Percussion / Piano / Saxophone

Track Summary:
“WISH FOR MY BROTHER” by PAT CAREY uses instrumental textures, electric guitar / horns / percussion / piano / saxophone, and a mid-tempo pulse to create a distinct character / relationship / human stories placement lane. The G Major setting and chill, dramatic, hopeful, romantic, sad mood profile give the track useful shape for romance, personal turning points, apology scenes, separation, reunion, coming-of-age choices, and emotionally exposed dialogue.

Sync Highlights:

• Primary category: Character / Relationship / Human Stories
• Secondary utility: Romance, friendship, emotional confession, intimate drama
• Sync themes: Coming Of Age / Drama / Historical / Romance
• One-stop licensing supports streamlined clearance

Sync Potential

Best suited for Character / Relationship / Human Stories placements with crossover utility for Romance, friendship, emotional confession, intimate drama.

Stem Tracks

Available on request / confirm with rights holder.

Track Narrative

“WISH FOR MY BROTHER” by PAT CAREY uses instrumental textures, electric guitar / horns / percussion / piano / saxophone, and a mid-tempo pulse to create a distinct character / relationship / human stories placement lane. The G Major setting and chill, dramatic, hopeful, romantic, sad mood profile give the track useful shape for romance, personal turning points, apology scenes, separation, reunion, coming-of-age choices, and emotionally exposed dialogue.

Instrumental Usage

Fully instrumental and one-stop, “WISH FOR MY BROTHER” supports cinematic storytelling without lyrical distraction. Especially useful for Romance, friendship, emotional confession, intimate drama.

Artist Bio

Pat Carey offers atmospheric jazz writing with emotional warmth and instrumental clarity, ideal for human stories, family memory, reflective drama, and intimate romance.

Request Assets

For WAV files, stems, alt mixes, clearance details, or more information, contact:

sergio@omrmusicproduction.com

Please reference:
WAITING — ELMER FERRER

OMR Cue Map

Track: WAITING
Clean Intro: Yes — instrumental opening gives editors clean room for dialogue, ambience, or visual setup.
Edit Points: Edit around texture shifts, pulse entries, swells, and harmonic changes; strong for slow dissolves, suspense builds, and extended underscore beds.
Button Ending: Potentially strong where the final hit, riff, or rhythmic stop lands cleanly; confirm with an audio pass.
Loopable: Yes — instrumental sections should extend cleanly for underscore, montage, or transition use.
Best Loop Candidates: Opening texture, mid-cue bed, rhythmic or harmonic vamp, and any sustained passage before the final lift.

Use Case:
Use the opening identity to establish tone quickly, then let the arrangement changes guide editorial movement. The strongest placements are likely in investigations, reveals, danger approaching, surveillance, nocturnal tension, and scenes where the audience needs to feel that something unresolved is moving beneath the surface, with trims around clear phrase endings, groove resets, or instrumental breaks.

Sync Pitch Sheet

Song Profile:
Key: A Minor
BPM: 95
Genres: Electronic / Hip Hop
Vocals: Instrumental
Moods: Atmospheric / Building / Mysterious / Percussive / Positive / Tension / Uplifting
Sync Themes: Thriller / Mystery / Drama / Crime
Lyric Themes: n/a
Type: One Stop

Instrumentation:
Bass / Percussion / Synth

Track Summary:
“WAITING” by ELMER FERRER uses instrumental textures, bass / percussion / synth, and a mid-tempo pulse to create a distinct suspense / mystery / dark atmosphere placement lane. The A Minor setting and atmospheric, building, mysterious, percussive, positive mood profile give the track useful shape for investigations, reveals, danger approaching, surveillance, nocturnal tension, and scenes where the audience needs to feel that something unresolved is moving beneath the surface.

Sync Highlights:

• Primary category: Suspense / Mystery / Dark Atmosphere
• Secondary utility: Investigation, dread, hidden threat, psychological pressure
• Sync themes: Thriller / Mystery / Drama / Crime
• One-stop licensing supports streamlined clearance

Sync Potential

Best suited for Suspense / Mystery / Dark Atmosphere placements with crossover utility for Investigation, dread, hidden threat, psychological pressure.

Stem Tracks

Available on request / confirm with rights holder.

Track Narrative

“WAITING” by ELMER FERRER uses instrumental textures, bass / percussion / synth, and a mid-tempo pulse to create a distinct suspense / mystery / dark atmosphere placement lane. The A Minor setting and atmospheric, building, mysterious, percussive, positive mood profile give the track useful shape for investigations, reveals, danger approaching, surveillance, nocturnal tension, and scenes where the audience needs to feel that something unresolved is moving beneath the surface.

Instrumental Usage

Fully instrumental and one-stop, “WAITING” supports cinematic storytelling without lyrical distraction. Especially useful for Investigation, dread, hidden threat, psychological pressure.

Artist Bio

Elmer Ferrer writes cinematic instrumental cues with a strong sense of movement, texture, and editorial utility, making his work valuable for suspense, crime, action, and atmospheric drama.

Request Assets

For WAV files, stems, alt mixes, clearance details, or more information, contact:

sergio@omrmusicproduction.com

Please reference:
WAR SUSPENSE — ELMER FERRER

OMR Cue Map

Track: WAR SUSPENSE
Clean Intro: Yes — instrumental opening gives editors clean room for dialogue, ambience, or visual setup.
Edit Points: Edit around texture shifts, pulse entries, swells, and harmonic changes; strong for slow dissolves, suspense builds, and extended underscore beds.
Button Ending: Potentially strong where the final hit, riff, or rhythmic stop lands cleanly; confirm with an audio pass.
Loopable: Yes — instrumental sections should extend cleanly for underscore, montage, or transition use.
Best Loop Candidates: Opening texture, mid-cue bed, rhythmic or harmonic vamp, and any sustained passage before the final lift.

Use Case:
Use the opening identity to establish tone quickly, then let the arrangement changes guide editorial movement. The strongest placements are likely in investigations, reveals, danger approaching, surveillance, nocturnal tension, and scenes where the audience needs to feel that something unresolved is moving beneath the surface, with trims around clear phrase endings, groove resets, or instrumental breaks.

Sync Pitch Sheet

Song Profile:
Key: Bb Major
BPM: 146
Genres: Ambient / Electronic
Vocals: Instrumental
Moods: Atmospheric / Dark / Dramatic / Intense / Minimal / Moody / Mysterious / Percussive / Rhythmic / Tension
Sync Themes: War / Thriller / Action / Drama
Lyric Themes: n/a
Type: One Stop

Instrumentation:
Percussion / Synth

Track Summary:
“WAR SUSPENSE” by ELMER FERRER uses instrumental textures, percussion / synth, and a driving pulse to create a distinct suspense / mystery / dark atmosphere placement lane. The Bb Major setting and atmospheric, dark, dramatic, intense, minimal mood profile give the track useful shape for investigations, reveals, danger approaching, surveillance, nocturnal tension, and scenes where the audience needs to feel that something unresolved is moving beneath the surface.

Sync Highlights:

• Primary category: Suspense / Mystery / Dark Atmosphere
• Secondary utility: Investigation, dread, hidden threat, psychological pressure
• Sync themes: War / Thriller / Action / Drama
• One-stop licensing supports streamlined clearance

Sync Potential

Best suited for Suspense / Mystery / Dark Atmosphere placements with crossover utility for Investigation, dread, hidden threat, psychological pressure.

Stem Tracks

Available on request / confirm with rights holder.

Track Narrative

“WAR SUSPENSE” by ELMER FERRER uses instrumental textures, percussion / synth, and a driving pulse to create a distinct suspense / mystery / dark atmosphere placement lane. The Bb Major setting and atmospheric, dark, dramatic, intense, minimal mood profile give the track useful shape for investigations, reveals, danger approaching, surveillance, nocturnal tension, and scenes where the audience needs to feel that something unresolved is moving beneath the surface.

Instrumental Usage

Fully instrumental and one-stop, “WAR SUSPENSE” supports cinematic storytelling without lyrical distraction. Especially useful for Investigation, dread, hidden threat, psychological pressure.

Artist Bio

Elmer Ferrer writes cinematic instrumental cues with a strong sense of movement, texture, and editorial utility, making his work valuable for suspense, crime, action, and atmospheric drama.

Request Assets

For WAV files, stems, alt mixes, clearance details, or more information, contact:

sergio@omrmusicproduction.com

Please reference:
WE WILL WAIT — ELMER FERRER

OMR Cue Map

Track: WE WILL WAIT
Clean Intro: Yes — instrumental opening gives editors clean room for dialogue, ambience, or visual setup.
Edit Points: Edit around texture shifts, pulse entries, swells, and harmonic changes; strong for slow dissolves, suspense builds, and extended underscore beds.
Button Ending: Potentially strong where the final hit, riff, or rhythmic stop lands cleanly; confirm with an audio pass.
Loopable: Yes — instrumental sections should extend cleanly for underscore, montage, or transition use.
Best Loop Candidates: Opening texture, mid-cue bed, rhythmic or harmonic vamp, and any sustained passage before the final lift.

Use Case:
Use the opening identity to establish tone quickly, then let the arrangement changes guide editorial movement. The strongest placements are likely in investigations, reveals, danger approaching, surveillance, nocturnal tension, and scenes where the audience needs to feel that something unresolved is moving beneath the surface, with trims around clear phrase endings, groove resets, or instrumental breaks.

Sync Pitch Sheet

Song Profile:
Key: B Major
BPM: 114
Genres: Electronic / Hip Hop
Vocals: Instrumental
Moods: Atmospheric / Confident / Cool / Dramatic / Dreamy / Minimal / Moody / Mysterious / Percussive / Rhythmic / Swagger / Tension
Sync Themes: Crime / Thriller / Drama / Mystery
Lyric Themes: n/a
Type: One Stop

Instrumentation:
Bass / Drums / Percussion / Synth

Track Summary:
“WE WILL WAIT” by ELMER FERRER uses instrumental textures, bass / drums / percussion / synth, and a mid-tempo pulse to create a distinct suspense / mystery / dark atmosphere placement lane. The B Major setting and atmospheric, confident, cool, dramatic, dreamy mood profile give the track useful shape for investigations, reveals, danger approaching, surveillance, nocturnal tension, and scenes where the audience needs to feel that something unresolved is moving beneath the surface.

Sync Highlights:

• Primary category: Suspense / Mystery / Dark Atmosphere
• Secondary utility: Investigation, dread, hidden threat, psychological pressure
• Sync themes: Crime / Thriller / Drama / Mystery
• One-stop licensing supports streamlined clearance

Sync Potential

Best suited for Suspense / Mystery / Dark Atmosphere placements with crossover utility for Investigation, dread, hidden threat, psychological pressure.

Stem Tracks

Available on request / confirm with rights holder.

Track Narrative

“WE WILL WAIT” by ELMER FERRER uses instrumental textures, bass / drums / percussion / synth, and a mid-tempo pulse to create a distinct suspense / mystery / dark atmosphere placement lane. The B Major setting and atmospheric, confident, cool, dramatic, dreamy mood profile give the track useful shape for investigations, reveals, danger approaching, surveillance, nocturnal tension, and scenes where the audience needs to feel that something unresolved is moving beneath the surface.

Instrumental Usage

Fully instrumental and one-stop, “WE WILL WAIT” supports cinematic storytelling without lyrical distraction. Especially useful for Investigation, dread, hidden threat, psychological pressure.

Artist Bio

Elmer Ferrer writes cinematic instrumental cues with a strong sense of movement, texture, and editorial utility, making his work valuable for suspense, crime, action, and atmospheric drama.

Request Assets

For WAV files, stems, alt mixes, clearance details, or more information, contact:

sergio@omrmusicproduction.com

Please reference:
WHAT LIES BEHIND THE DOOR — JOSH HOWARD FRIEDMAN

OMR Cue Map

Track: WHAT LIES BEHIND THE DOOR
Clean Intro: Yes — instrumental opening gives editors clean room for dialogue, ambience, or visual setup.
Edit Points: Edit around riff returns, vocal phrase endings, drum fills, breakdowns, and chorus or refrain entries; strong for character-driven scene shaping.
Button Ending: Likely usable if the final phrase resolves cleanly; confirm exact tail during audio review.
Loopable: Yes — instrumental sections should extend cleanly for underscore, montage, or transition use.
Best Loop Candidates: Opening texture, mid-cue bed, rhythmic or harmonic vamp, and any sustained passage before the final lift.

Use Case:
Use the opening identity to establish tone quickly, then let the arrangement changes guide editorial movement. The strongest placements are likely in investigations, reveals, danger approaching, surveillance, nocturnal tension, and scenes where the audience needs to feel that something unresolved is moving beneath the surface, with trims around clear phrase endings, groove resets, or instrumental breaks.

Sync Pitch Sheet

Song Profile:
Key: E Minor
BPM: 123
Genres: Blues / Folk
Vocals: Instrumental
Moods: Hopeful / Light / Minimal / Reflective
Sync Themes: Art House / Drama / Mystery
Lyric Themes: n/a
Type: One Stop

Instrumentation:
Acoustic Guitar

Track Summary:
“WHAT LIES BEHIND THE DOOR” by JOSH HOWARD FRIEDMAN uses instrumental textures, acoustic guitar, and a mid-tempo pulse to create a distinct suspense / mystery / dark atmosphere placement lane. The E Minor setting and hopeful, light, minimal, reflective mood profile give the track useful shape for investigations, reveals, danger approaching, surveillance, nocturnal tension, and scenes where the audience needs to feel that something unresolved is moving beneath the surface.

Sync Highlights:

• Primary category: Suspense / Mystery / Dark Atmosphere
• Secondary utility: Investigation, dread, hidden threat, psychological pressure
• Sync themes: Art House / Drama / Mystery
• One-stop licensing supports streamlined clearance

Sync Potential

Best suited for Suspense / Mystery / Dark Atmosphere placements with crossover utility for Investigation, dread, hidden threat, psychological pressure.

Stem Tracks

Available on request / confirm with rights holder.

Track Narrative

“WHAT LIES BEHIND THE DOOR” by JOSH HOWARD FRIEDMAN uses instrumental textures, acoustic guitar, and a mid-tempo pulse to create a distinct suspense / mystery / dark atmosphere placement lane. The E Minor setting and hopeful, light, minimal, reflective mood profile give the track useful shape for investigations, reveals, danger approaching, surveillance, nocturnal tension, and scenes where the audience needs to feel that something unresolved is moving beneath the surface.

Instrumental Usage

Fully instrumental and one-stop, “WHAT LIES BEHIND THE DOOR” supports cinematic storytelling without lyrical distraction. Especially useful for Investigation, dread, hidden threat, psychological pressure.

Artist Bio

Josh Howard Friedman creates characterful instrumental pieces with a playful yet cinematic touch, useful for art-house moments, comedy beats, mystery color, and intimate dramatic storytelling.

Request Assets

For WAV files, stems, alt mixes, clearance details, or more information, contact:

sergio@omrmusicproduction.com

Please reference:
WINDOW SEAT — RICH BROWN

OMR Cue Map

Track: WINDOW SEAT
Clean Intro: Yes — instrumental opening gives editors clean room for dialogue, ambience, or visual setup.
Edit Points: Edit around texture shifts, pulse entries, swells, and harmonic changes; strong for slow dissolves, suspense builds, and extended underscore beds.
Button Ending: Likely usable if the final phrase resolves cleanly; confirm exact tail during audio review.
Loopable: Yes — instrumental sections should extend cleanly for underscore, montage, or transition use.
Best Loop Candidates: Opening texture, mid-cue bed, rhythmic or harmonic vamp, and any sustained passage before the final lift.

Use Case:
Use the opening identity to establish tone quickly, then let the arrangement changes guide editorial movement. The strongest placements are likely in investigations, reveals, danger approaching, surveillance, nocturnal tension, and scenes where the audience needs to feel that something unresolved is moving beneath the surface, with trims around clear phrase endings, groove resets, or instrumental breaks.

Sync Pitch Sheet

Song Profile:
Key: G Minor
BPM: 104
Genres: Electronic / Jazz
Vocals: Instrumental
Moods: Angry / Cinematic / Cool / Dramatic / Fun / Light / Love / Playful / Positive / Quirky / Reflective / Serious / Upbeat / Uplifting / Warm
Sync Themes: Crime / Drama / Mystery / Thriller
Lyric Themes: n/a
Type: One Stop

Instrumentation:
Bass / Drums / Horns / Percussion / Saxophone / Trumpet

Track Summary:
“WINDOW SEAT” by RICH BROWN uses instrumental textures, bass / drums / horns / percussion / saxophone / trumpet, and a mid-tempo pulse to create a distinct suspense / mystery / dark atmosphere placement lane. The G Minor setting and angry, cinematic, cool, dramatic, fun mood profile give the track useful shape for investigations, reveals, danger approaching, surveillance, nocturnal tension, and scenes where the audience needs to feel that something unresolved is moving beneath the surface.

Sync Highlights:

• Primary category: Suspense / Mystery / Dark Atmosphere
• Secondary utility: Investigation, dread, hidden threat, psychological pressure
• Sync themes: Crime / Drama / Mystery / Thriller
• One-stop licensing supports streamlined clearance

Sync Potential

Best suited for Suspense / Mystery / Dark Atmosphere placements with crossover utility for Investigation, dread, hidden threat, psychological pressure.

Stem Tracks

Available on request / confirm with rights holder.

Track Narrative

“WINDOW SEAT” by RICH BROWN uses instrumental textures, bass / drums / horns / percussion / saxophone / trumpet, and a mid-tempo pulse to create a distinct suspense / mystery / dark atmosphere placement lane. The G Minor setting and angry, cinematic, cool, dramatic, fun mood profile give the track useful shape for investigations, reveals, danger approaching, surveillance, nocturnal tension, and scenes where the audience needs to feel that something unresolved is moving beneath the surface.

Instrumental Usage

Fully instrumental and one-stop, “WINDOW SEAT” supports cinematic storytelling without lyrical distraction. Especially useful for Investigation, dread, hidden threat, psychological pressure.

Artist Bio

Rich Brown creates sophisticated jazz and electronic material with mood, space, and precision, giving editors strong options for night scenes, mystery, introspection, and urban drama.

Request Assets

For WAV files, stems, alt mixes, clearance details, or more information, contact:

sergio@omrmusicproduction.com

Please reference:
WOLF IN THE FOLD — THE GREEN DOOR

OMR Cue Map

Track: WOLF IN THE FOLD
Clean Intro: Yes — the opening should give editors a usable setup before the fullest arrangement or vocal section arrives.
Edit Points: Edit around riff returns, vocal phrase endings, drum fills, breakdowns, and chorus or refrain entries; strong for character-driven scene shaping.
Button Ending: Likely usable if the final phrase resolves cleanly; confirm exact tail during audio review.
Loopable: Yes — selected beds or groove sections should support extended use under picture.
Best Loop Candidates: Intro bed, primary groove, post-hook section, and any instrumental bridge or breakdown with reduced vocal density.

Use Case:
Use the opening identity to establish tone quickly, then let the arrangement changes guide editorial movement. The strongest placements are likely in investigations, reveals, danger approaching, surveillance, nocturnal tension, and scenes where the audience needs to feel that something unresolved is moving beneath the surface, with trims around clear phrase endings, groove resets, or instrumental breaks.

Sync Pitch Sheet

Song Profile:
Key: A Minor
BPM: 125
Genres: Metal / Punk / Rock
Vocals: Male Vocal
Moods: Bright / Fun / Quirky / Retro / Upbeat
Sync Themes: Drama / Indie / Comedy
Lyric Themes: Death / Escape / Family / Longing / Pain
Type: One Stop

Instrumentation:
Bass / Drums / Electric Guitar

Track Summary:
“WOLF IN THE FOLD” by THE GREEN DOOR uses expressive vocal writing, bass / drums / electric guitar, and a mid-tempo pulse to create a distinct suspense / mystery / dark atmosphere placement lane. The A Minor setting and bright, fun, quirky, retro, upbeat mood profile give the track useful shape for investigations, reveals, danger approaching, surveillance, nocturnal tension, and scenes where the audience needs to feel that something unresolved is moving beneath the surface.

Sync Highlights:

• Primary category: Suspense / Mystery / Dark Atmosphere
• Secondary utility: Investigation, dread, hidden threat, psychological pressure
• Sync themes: Drama / Indie / Comedy
• One-stop licensing supports streamlined clearance

Sync Potential

Best suited for Suspense / Mystery / Dark Atmosphere placements with crossover utility for Investigation, dread, hidden threat, psychological pressure.

Stem Tracks

Available on request / confirm with rights holder.

Track Narrative

“WOLF IN THE FOLD” by THE GREEN DOOR uses expressive vocal writing, bass / drums / electric guitar, and a mid-tempo pulse to create a distinct suspense / mystery / dark atmosphere placement lane. The A Minor setting and bright, fun, quirky, retro, upbeat mood profile give the track useful shape for investigations, reveals, danger approaching, surveillance, nocturnal tension, and scenes where the audience needs to feel that something unresolved is moving beneath the surface.

Lyrics

A life always on the run
Under the gun
Cold eye legend fending from
A brother's arm
Morgan, Urilla, my unborn son
All dead and gone
Josephine will bury me
I go alone
Escape on claim
From a house of ill fame
I deal the faro
Leave us alone, I'll fly off the handle
It's known, high and low
The wolf in the fold
Alive inspite of vendetta
I'm moving on
My soul sings a Tombstone song
When trouble has come
Morgan, Urilla, my unborn son
All dead and gone
Josephine will bury me

Artist Bio

The Green Door brings raw rock intensity and unruly character energy to OMR, well suited to indie comedy, dramatic friction, swagger, and scenes with grit or eccentric momentum.

Request Assets

For WAV files, stems, alt mixes, clearance details, or more information, contact:

sergio@omrmusicproduction.com

Please reference:
WROUGHT BY MY OWN HAND UNDER YOUR WATCHFUL EYE — RADAGAST THE BROWN

OMR Cue Map

Track: WROUGHT BY MY OWN HAND UNDER YOUR WATCHFUL EYE
Clean Intro: Yes — instrumental opening gives editors clean room for dialogue, ambience, or visual setup.
Edit Points: Edit around texture shifts, pulse entries, swells, and harmonic changes; strong for slow dissolves, suspense builds, and extended underscore beds.
Button Ending: Likely usable if the final phrase resolves cleanly; confirm exact tail during audio review.
Loopable: Yes — instrumental sections should extend cleanly for underscore, montage, or transition use.
Best Loop Candidates: Opening texture, mid-cue bed, rhythmic or harmonic vamp, and any sustained passage before the final lift.

Use Case:
Use the opening identity to establish tone quickly, then let the arrangement changes guide editorial movement. The strongest placements are likely in investigations, reveals, danger approaching, surveillance, nocturnal tension, and scenes where the audience needs to feel that something unresolved is moving beneath the surface, with trims around clear phrase endings, groove resets, or instrumental breaks.

Sync Pitch Sheet

Song Profile:
Key: A Major
BPM: 134
Genres: Ambient / Electronic
Vocals: Instrumental
Moods: Atmospheric / Dark / Minimal / Moody / Mysterious / Reflective / Rhythmic / Tension
Sync Themes: Thriller / Mystery / Drama / Sci-Fi
Lyric Themes: n/a
Type: One Stop

Instrumentation:
Percussion / Strings / Synth

Track Summary:
“WROUGHT BY MY OWN HAND UNDER YOUR WATCHFUL EYE” by RADAGAST THE BROWN uses instrumental textures, percussion / strings / synth, and a driving pulse to create a distinct suspense / mystery / dark atmosphere placement lane. The A Major setting and atmospheric, dark, minimal, moody, mysterious mood profile give the track useful shape for investigations, reveals, danger approaching, surveillance, nocturnal tension, and scenes where the audience needs to feel that something unresolved is moving beneath the surface.

Sync Highlights:

• Primary category: Suspense / Mystery / Dark Atmosphere
• Secondary utility: Investigation, dread, hidden threat, psychological pressure
• Sync themes: Thriller / Mystery / Drama / Sci-Fi
• One-stop licensing supports streamlined clearance

Sync Potential

Best suited for Suspense / Mystery / Dark Atmosphere placements with crossover utility for Investigation, dread, hidden threat, psychological pressure.

Stem Tracks

Available on request / confirm with rights holder.

Track Narrative

“WROUGHT BY MY OWN HAND UNDER YOUR WATCHFUL EYE” by RADAGAST THE BROWN uses instrumental textures, percussion / strings / synth, and a driving pulse to create a distinct suspense / mystery / dark atmosphere placement lane. The A Major setting and atmospheric, dark, minimal, moody, mysterious mood profile give the track useful shape for investigations, reveals, danger approaching, surveillance, nocturnal tension, and scenes where the audience needs to feel that something unresolved is moving beneath the surface.

Instrumental Usage

Fully instrumental and one-stop, “WROUGHT BY MY OWN HAND UNDER YOUR WATCHFUL EYE” supports cinematic storytelling without lyrical distraction. Especially useful for Investigation, dread, hidden threat, psychological pressure.

Artist Bio

Radagast the Brown specializes in ambient electronic cues that feel expansive, unsettled, and story-aware, giving editors useful material for sci-fi, mystery, thriller, and interior dramatic scenes.

Request Assets

For WAV files, stems, alt mixes, clearance details, or more information, contact:

sergio@omrmusicproduction.com

Please reference:
WAITING ON THE TRAIN — LEE PALMER

OMR Cue Map

Track: WAITING ON THE TRAIN
Clean Intro: Yes — the opening should give editors a usable setup before the fullest arrangement or vocal section arrives.
Edit Points: Edit around riff returns, vocal phrase endings, drum fills, breakdowns, and chorus or refrain entries; strong for character-driven scene shaping.
Button Ending: Likely usable if the final phrase resolves cleanly; confirm exact tail during audio review.
Loopable: Yes — selected beds or groove sections should support extended use under picture.
Best Loop Candidates: Intro bed, primary groove, post-hook section, and any instrumental bridge or breakdown with reduced vocal density.

Use Case:
Use the opening identity to establish tone quickly, then let the arrangement changes guide editorial movement. The strongest placements are likely in road travel, roadside bars, western-flavoured drama, small-town memory, character backstory, and weathered human storytelling, with trims around clear phrase endings, groove resets, or instrumental breaks.

Sync Pitch Sheet

Song Profile:
Key: E Minor
BPM: 103
Genres: Blues / Folk / Rock / Sing/Song
Vocals: Male Vocal
Moods: Confident / Dramatic / Love / Nostalgic / Quirky / Relaxing / Retro / Somber / Upbeat
Sync Themes: Comedy / Drama / Historical / Romance / Western
Lyric Themes: Home / Love
Type: One Stop

Instrumentation:
Bass / Drums / Electric Guitar / Harmonica / Keyboard

Track Summary:
“WAITING ON THE TRAIN” by LEE PALMER uses expressive vocal writing, bass / drums / electric guitar / harmonica / keyboard, and a mid-tempo pulse to create a distinct roots / americana / road stories placement lane. The E Minor setting and confident, dramatic, love, nostalgic, quirky mood profile give the track useful shape for road travel, roadside bars, western-flavoured drama, small-town memory, character backstory, and weathered human storytelling.

Sync Highlights:

• Primary category: Roots / Americana / Road Stories
• Secondary utility: Road sequence, western colour, barroom realism, memory
• Sync themes: Comedy / Drama / Historical / Romance / Western
• One-stop licensing supports streamlined clearance

Sync Potential

Best suited for Roots / Americana / Road Stories placements with crossover utility for Road sequence, western colour, barroom realism, memory.

Stem Tracks

Available on request / confirm with rights holder.

Track Narrative

“WAITING ON THE TRAIN” by LEE PALMER uses expressive vocal writing, bass / drums / electric guitar / harmonica / keyboard, and a mid-tempo pulse to create a distinct roots / americana / road stories placement lane. The E Minor setting and confident, dramatic, love, nostalgic, quirky mood profile give the track useful shape for road travel, roadside bars, western-flavoured drama, small-town memory, character backstory, and weathered human storytelling.

Lyrics

I'm waiting on the train
I'm waiting on the train
Click clackin' down the track like it's never comin' back
I'm waitin' on the train
I got my rag top down
I got my rag top down
Sun's a-shinin' on me
Clouds movin' with the breeze
I got my rag top down
Cows all lined up in a row
Cows all lined up in a row
Not in a hurry anymore
Not like they were before
Cows all lined up in a row
I'm thinking 'bout my gal
I'm thinking 'bout my gal
Is she thinking 'bout me too
Like she used to do
I'm thinking 'bout my gal
I'm waiting on the train
I'm waiting on the train
Click clacking down the track
Like it's never coming back
I'm waiting on the train
Train has come to an end
Train has come to an end
Over the tracks off we go
Cranking up the radio
Train has come to an end
I'm waiting on the train
(I'm waiting on the train)
It's calling out my name
(Calling out my name)
I'm waiting on the train
(Waiting on the train)
Yeah, it's calling out my name
Ooh, waiting on the train

Artist Bio

Lee Palmer brings blues, folk, country, and roots-rock writing into a sync-friendly lane, with vocal performances suited to romance, road stories, comedy, nostalgia, and grounded human drama.

Request Assets

For WAV files, stems, alt mixes, clearance details, or more information, contact:

sergio@omrmusicproduction.com

Please reference:
WATERSMOOTH — PAUL REDDICK

OMR Cue Map

Track: WATERSMOOTH
Clean Intro: Yes — the opening should give editors a usable setup before the fullest arrangement or vocal section arrives.
Edit Points: Edit around riff returns, vocal phrase endings, drum fills, breakdowns, and chorus or refrain entries; strong for character-driven scene shaping.
Button Ending: Likely usable if the final phrase resolves cleanly; confirm exact tail during audio review.
Loopable: Yes — selected beds or groove sections should support extended use under picture.
Best Loop Candidates: Intro bed, primary groove, post-hook section, and any instrumental bridge or breakdown with reduced vocal density.

Use Case:
Use the opening identity to establish tone quickly, then let the arrangement changes guide editorial movement. The strongest placements are likely in road travel, roadside bars, western-flavoured drama, small-town memory, character backstory, and weathered human storytelling, with trims around clear phrase endings, groove resets, or instrumental breaks.

Sync Pitch Sheet

Song Profile:
Key: F Major
BPM: 117
Genres: Blues / Rock
Vocals: Male Vocal
Moods: Bright / Catchy / Confident / Cool / Fun / Quirky / Retro / Rhythmic / Swagger
Sync Themes: Adventure / Art House / Comedy / Coming Of Age / Crime / Drama / Mystery / Romance
Lyric Themes: Connection / Dream / Hope / Love / Relationship
Type: One Stop

Instrumentation:
Bass / Drums / Electric Guitar

Track Summary:
“WATERSMOOTH” by PAUL REDDICK uses expressive vocal writing, bass / drums / electric guitar, and a mid-tempo pulse to create a distinct roots / americana / road stories placement lane. The F Major setting and bright, catchy, confident, cool, fun mood profile give the track useful shape for road travel, roadside bars, western-flavoured drama, small-town memory, character backstory, and weathered human storytelling.

Sync Highlights:

• Primary category: Roots / Americana / Road Stories
• Secondary utility: Road sequence, western colour, barroom realism, memory
• Sync themes: Adventure / Art House / Comedy / Coming Of Age / Crime / Drama / Mystery / Romance
• One-stop licensing supports streamlined clearance

Sync Potential

Best suited for Roots / Americana / Road Stories placements with crossover utility for Road sequence, western colour, barroom realism, memory.

Stem Tracks

Available on request / confirm with rights holder.

Track Narrative

“WATERSMOOTH” by PAUL REDDICK uses expressive vocal writing, bass / drums / electric guitar, and a mid-tempo pulse to create a distinct roots / americana / road stories placement lane. The F Major setting and bright, catchy, confident, cool, fun mood profile give the track useful shape for road travel, roadside bars, western-flavoured drama, small-town memory, character backstory, and weathered human storytelling.

Lyrics

I can’t help but watch you go
I can’t help but see you flow
Watersmooth and ribbon fine
I can’t help but wish you mine
I can’t tell but I do believe
You’ll fall down like a falling leaf
Water blue and ribbon green
I can’t help but have to dream
I can’t help but want to tell
I can only wish you well
Water warm and ribbon cool
I can’t help but to be your fool
I can’t help but walk on air
I can see you baby over there
Watersmooth and ribbon fine
I’ll see you somewhere down the line
I can’t help but watch you go
I can’t help but see you flow
Watersmooth and ribbon fine
I can’t help but to wish you mine
I can’t help but want to tell
I can only wish you well
Water warm and ribbon cool
I can’t help but to be your fool
I can’t help but walk on air
I can see you baby over there
Watersmooth and ribbon fine
I’ll see you somewhere down the line

Artist Bio

Paul Reddick brings a distinctive blues-rooted voice to OMR, blending grit, poetry, and roots instrumentation for scenes involving memory, travel, desire, mystery, and human consequence.

Request Assets

For WAV files, stems, alt mixes, clearance details, or more information, contact:

sergio@omrmusicproduction.com

Please reference:
WAVES — PAUL REDDICK

OMR Cue Map

Track: WAVES
Clean Intro: Yes — the opening should give editors a usable setup before the fullest arrangement or vocal section arrives.
Edit Points: Edit around riff returns, vocal phrase endings, drum fills, breakdowns, and chorus or refrain entries; strong for character-driven scene shaping.
Button Ending: Potentially strong where the final hit, riff, or rhythmic stop lands cleanly; confirm with an audio pass.
Loopable: Yes — selected beds or groove sections should support extended use under picture.
Best Loop Candidates: Intro bed, primary groove, post-hook section, and any instrumental bridge or breakdown with reduced vocal density.

Use Case:
Use the opening identity to establish tone quickly, then let the arrangement changes guide editorial movement. The strongest placements are likely in road travel, roadside bars, western-flavoured drama, small-town memory, character backstory, and weathered human storytelling, with trims around clear phrase endings, groove resets, or instrumental breaks.

Sync Pitch Sheet

Song Profile:
Key: G Minor
BPM: 83
Genres: Blues / Folk / Vintage
Vocals: Male Vocal
Moods: Confident / Energetic / Hopeful / Powerful / Quirky / Warm
Sync Themes: Art House / Drama / Indie / Mystery / Romance
Lyric Themes: Loss / Love / Struggle / Time
Type: One Stop

Instrumentation:
Acoustic Guitar / Bass / Electric Guitar / Harmonica / Keyboard

Track Summary:
“WAVES” by PAUL REDDICK uses expressive vocal writing, acoustic guitar / bass / electric guitar / harmonica / keyboard, and a slow-burn pulse to create a distinct roots / americana / road stories placement lane. The G Minor setting and confident, energetic, hopeful, powerful, quirky mood profile give the track useful shape for road travel, roadside bars, western-flavoured drama, small-town memory, character backstory, and weathered human storytelling.

Sync Highlights:

• Primary category: Roots / Americana / Road Stories
• Secondary utility: Road sequence, western colour, barroom realism, memory
• Sync themes: Art House / Drama / Indie / Mystery / Romance
• One-stop licensing supports streamlined clearance

Sync Potential

Best suited for Roots / Americana / Road Stories placements with crossover utility for Road sequence, western colour, barroom realism, memory.

Stem Tracks

Available on request / confirm with rights holder.

Track Narrative

“WAVES” by PAUL REDDICK uses expressive vocal writing, acoustic guitar / bass / electric guitar / harmonica / keyboard, and a slow-burn pulse to create a distinct roots / americana / road stories placement lane. The G Minor setting and confident, energetic, hopeful, powerful, quirky mood profile give the track useful shape for road travel, roadside bars, western-flavoured drama, small-town memory, character backstory, and weathered human storytelling.

Lyrics

Forever rollin
Forever rollin
On and on and on
No there ain’t no use no ain’t use no
Standing here waving I’m gone I’m gone I’m gone
Oh please now baby
Please now baby
True be true be true
No it ain’t no use no ain’t no use no
Standing here waving blue so blue so blue
Over and over
Over and over
By and by and by
No it ain’t no use no ain’t use no
Standing here waving why oh why oh why
Tell me just one time
Tell me just one time
Love oh love oh love
No it ain’t no use no ain’t use no
Standing here waving of what of what of what
Steady on your way
Steady on your way
Rain oh rain oh rain
No it ain’t no use no ain’t use no
Standing here waving train oh train oh train
Waves upon the shore
Waves upon the shore
Roll and roll and roll
No it ain’t no use no ain’t use no
Standing here waving toll and toll and toll

Artist Bio

Paul Reddick brings a distinctive blues-rooted voice to OMR, blending grit, poetry, and roots instrumentation for scenes involving memory, travel, desire, mystery, and human consequence.

Request Assets

For WAV files, stems, alt mixes, clearance details, or more information, contact:

sergio@omrmusicproduction.com

Please reference:
WHISKEY IS THE LIFE OF A MAN — PAUL REDDICK

OMR Cue Map

Track: WHISKEY IS THE LIFE OF A MAN
Clean Intro: Yes — the opening should give editors a usable setup before the fullest arrangement or vocal section arrives.
Edit Points: Edit around riff returns, vocal phrase endings, drum fills, breakdowns, and chorus or refrain entries; strong for character-driven scene shaping.
Button Ending: Likely usable if the final phrase resolves cleanly; confirm exact tail during audio review.
Loopable: Yes — selected beds or groove sections should support extended use under picture.
Best Loop Candidates: Intro bed, primary groove, post-hook section, and any instrumental bridge or breakdown with reduced vocal density.

Use Case:
Use the opening identity to establish tone quickly, then let the arrangement changes guide editorial movement. The strongest placements are likely in road travel, roadside bars, western-flavoured drama, small-town memory, character backstory, and weathered human storytelling, with trims around clear phrase endings, groove resets, or instrumental breaks.

Sync Pitch Sheet

Song Profile:
Key: A Minor
BPM: 90
Genres: Metal / Punk / Rock
Vocals: Male Vocal
Moods: Confident / Fun
Sync Themes: Action / Adventure / Art House / Comedy / Coming Of Age / Crime / Drama / Mystery / Romance
Lyric Themes: Desire / Love / Romance / Strength
Type: One Stop

Instrumentation:
Bass / Drums / Electric Guitar / Harmonica / Percussion

Track Summary:
“WHISKEY IS THE LIFE OF A MAN” by PAUL REDDICK uses expressive vocal writing, bass / drums / electric guitar / harmonica / percussion, and a mid-tempo pulse to create a distinct roots / americana / road stories placement lane. The A Minor setting and confident, fun mood profile give the track useful shape for road travel, roadside bars, western-flavoured drama, small-town memory, character backstory, and weathered human storytelling.

Sync Highlights:

• Primary category: Roots / Americana / Road Stories
• Secondary utility: Road sequence, western colour, barroom realism, memory
• Sync themes: Action / Adventure / Art House / Comedy / Coming Of Age / Crime / Drama / Mystery / Romance
• One-stop licensing supports streamlined clearance

Sync Potential

Best suited for Roots / Americana / Road Stories placements with crossover utility for Road sequence, western colour, barroom realism, memory.

Stem Tracks

Available on request / confirm with rights holder.

Track Narrative

“WHISKEY IS THE LIFE OF A MAN” by PAUL REDDICK uses expressive vocal writing, bass / drums / electric guitar / harmonica / percussion, and a mid-tempo pulse to create a distinct roots / americana / road stories placement lane. The A Minor setting and confident, fun mood profile give the track useful shape for road travel, roadside bars, western-flavoured drama, small-town memory, character backstory, and weathered human storytelling.

Lyrics

I'm a fox and you're a rabbit
I'm a chaser and you're a habit
Drinkin whiskey drinkin rye
I'll want you till the day I die
Whiskey sweet and whiskey strong
I will love you all night long
Fill my glass so I can see
You'll go down so easily
Whiskey fine and whiskey hard
Deal me darlin one more card
Take me baby by the hand
Whiskey is the life of a man
I'm a hound and you're a trail
We got the devil by the tail
Shining brightly by the bar
I'll go straight to where you are
Whiskey warm and whiskey wet
Oh we ain't seen nothing yet
I will keep you all my days
Oh stay with me oh stay always
Whiskey fine and whiskey hard
Deal me darlin one more card
Take me baby by the hand
Whiskey is the life of a man
Now you see the evening sun go down
It once was lost but now it’s found
Slip it on over now by my side
Come on honey now just let it ride
Come on honey now just let it ride
Do you remember now way back when?
Let's do it all over again and again
I'm talking bout the far and wide
Come on honey now just let it ride
Come on honey now just let it ride
51
I'm a shadow and you're the moon
Anytime is not too soon
Sit and sip a snifter slow
Oh honey baby please don't go
Whiskey fine and whiskey hard
Deal me darlin one more card
Take me Baby by the hand
Whiskey is the life
Whiskey sweet and whiskey long
Ain't no way to do me wrong
Take me baby by the hand
Whiskey is the life of a man

Artist Bio

Paul Reddick brings a distinctive blues-rooted voice to OMR, blending grit, poetry, and roots instrumentation for scenes involving memory, travel, desire, mystery, and human consequence.

Request Assets

For WAV files, stems, alt mixes, clearance details, or more information, contact:

sergio@omrmusicproduction.com

Please reference:
WINTER BIRDS — PAUL REDDICK

OMR Cue Map

Track: WINTER BIRDS
Clean Intro: Yes — the opening should give editors a usable setup before the fullest arrangement or vocal section arrives.
Edit Points: Edit around riff returns, vocal phrase endings, drum fills, breakdowns, and chorus or refrain entries; strong for character-driven scene shaping.
Button Ending: Likely usable if the final phrase resolves cleanly; confirm exact tail during audio review.
Loopable: Yes — selected beds or groove sections should support extended use under picture.
Best Loop Candidates: Intro bed, primary groove, post-hook section, and any instrumental bridge or breakdown with reduced vocal density.

Use Case:
Use the opening identity to establish tone quickly, then let the arrangement changes guide editorial movement. The strongest placements are likely in road travel, roadside bars, western-flavoured drama, small-town memory, character backstory, and weathered human storytelling, with trims around clear phrase endings, groove resets, or instrumental breaks.

Sync Pitch Sheet

Song Profile:
Key: B Major
BPM: 149
Genres: Metal / Punk / Rock
Vocals: Male Vocal
Moods: Bright / Warm
Sync Themes: Adventure / Art House / Coming Of Age / Crime / Drama / Mystery / Romance / Western
Lyric Themes: Escape / Home / Identity / Longing / Time
Type: One Stop

Instrumentation:
Acoustic Guitar / Bass / Drums

Track Summary:
“WINTER BIRDS” by PAUL REDDICK uses expressive vocal writing, acoustic guitar / bass / drums, and a driving pulse to create a distinct roots / americana / road stories placement lane. The B Major setting and bright, warm mood profile give the track useful shape for road travel, roadside bars, western-flavoured drama, small-town memory, character backstory, and weathered human storytelling.

Sync Highlights:

• Primary category: Roots / Americana / Road Stories
• Secondary utility: Road sequence, western colour, barroom realism, memory
• Sync themes: Adventure / Art House / Coming Of Age / Crime / Drama / Mystery / Romance / Western
• One-stop licensing supports streamlined clearance

Sync Potential

Best suited for Roots / Americana / Road Stories placements with crossover utility for Road sequence, western colour, barroom realism, memory.

Stem Tracks

Available on request / confirm with rights holder.

Track Narrative

“WINTER BIRDS” by PAUL REDDICK uses expressive vocal writing, acoustic guitar / bass / drums, and a driving pulse to create a distinct roots / americana / road stories placement lane. The B Major setting and bright, warm mood profile give the track useful shape for road travel, roadside bars, western-flavoured drama, small-town memory, character backstory, and weathered human storytelling.

Lyrics

I traveled ten she travelled nine
The sky is rising grey
The snow pours down upon the ground and
Blocks my getaway
Getaway getaway
I’m headed east where I come from
Oh and I’m bound to take my time
Drive away these winter birds
That sterch across my mind
Across my mind across my mind
There is a place where I belong
Once it was my home
It seems I am is stranger here
And all I had is gone
Had is gone had is gone
Drive away these winter birds
Swirling through the trees
Singing songs just out of reach
Do you think of me
Think of me think of me

Artist Bio

Paul Reddick brings a distinctive blues-rooted voice to OMR, blending grit, poetry, and roots instrumentation for scenes involving memory, travel, desire, mystery, and human consequence.

Request Assets

For WAV files, stems, alt mixes, clearance details, or more information, contact:

sergio@omrmusicproduction.com

Please reference:
WRONG NOT TO WRITE — LEE PALMER

OMR Cue Map

Track: WRONG NOT TO WRITE
Clean Intro: Yes — the opening should give editors a usable setup before the fullest arrangement or vocal section arrives.
Edit Points: Edit around riff returns, vocal phrase endings, drum fills, breakdowns, and chorus or refrain entries; strong for character-driven scene shaping.
Button Ending: Likely usable if the final phrase resolves cleanly; confirm exact tail during audio review.
Loopable: Yes — selected beds or groove sections should support extended use under picture.
Best Loop Candidates: Intro bed, primary groove, post-hook section, and any instrumental bridge or breakdown with reduced vocal density.

Use Case:
Use the opening identity to establish tone quickly, then let the arrangement changes guide editorial movement. The strongest placements are likely in road travel, roadside bars, western-flavoured drama, small-town memory, character backstory, and weathered human storytelling, with trims around clear phrase endings, groove resets, or instrumental breaks.

Sync Pitch Sheet

Song Profile:
Key: D Major
BPM: 109
Genres: Country / Folk / Sing/Song
Vocals: Male Vocal
Moods: Carefree / Dramatic / Hopeful / Romantic / Somber
Sync Themes: Comedy / Coming Of Age / Drama / Historical / Romance / Western
Lyric Themes: Betrayal / Longing / Loss / Regret
Type: One Stop

Instrumentation:
Acoustic Guitar / Bass / Drums / Electric Guitar

Track Summary:
“WRONG NOT TO WRITE” by LEE PALMER uses expressive vocal writing, acoustic guitar / bass / drums / electric guitar, and a mid-tempo pulse to create a distinct roots / americana / road stories placement lane. The D Major setting and carefree, dramatic, hopeful, romantic, somber mood profile give the track useful shape for road travel, roadside bars, western-flavoured drama, small-town memory, character backstory, and weathered human storytelling.

Sync Highlights:

• Primary category: Roots / Americana / Road Stories
• Secondary utility: Road sequence, western colour, barroom realism, memory
• Sync themes: Comedy / Coming Of Age / Drama / Historical / Romance / Western
• One-stop licensing supports streamlined clearance

Sync Potential

Best suited for Roots / Americana / Road Stories placements with crossover utility for Road sequence, western colour, barroom realism, memory.

Stem Tracks

Available on request / confirm with rights holder.

Track Narrative

“WRONG NOT TO WRITE” by LEE PALMER uses expressive vocal writing, acoustic guitar / bass / drums / electric guitar, and a mid-tempo pulse to create a distinct roots / americana / road stories placement lane. The D Major setting and carefree, dramatic, hopeful, romantic, somber mood profile give the track useful shape for road travel, roadside bars, western-flavoured drama, small-town memory, character backstory, and weathered human storytelling.

Lyrics

You said I was a distraction
I couldn't keep you satisfied
You said you needed traction
So I lent you my four-wheel drive
You said you needed space
Then you moved to Tennessee
Your love is something I can't replace
But I miss my SUV
It's wrong not to ride since you left
Not a letter, not an email, not a text
I expected more from you, I confess
It's wrong not to write since you left
Picket fence
I think of you often
There's no number I can call
My extra set of keys
Hang lonesome on the wall
There's one thing you can do
That would surely make me glad
You can give me back my damn truck
It's the best I've ever had
It's wrong not to ride since you left
Not a letter, not an email, not a text
I expected more from you, I confess
It's wrong not to write since you left
Yeah, I can read between the lines
You took what's yours and what's mine
It's wrong not to write since you left

Artist Bio

Lee Palmer brings blues, folk, country, and roots-rock writing into a sync-friendly lane, with vocal performances suited to romance, road stories, comedy, nostalgia, and grounded human drama.

Request Assets

For WAV files, stems, alt mixes, clearance details, or more information, contact:

sergio@omrmusicproduction.com

Please reference:
WELL, WELL, WELL, WELL — LEE PALMER

OMR Cue Map

Track: WELL, WELL, WELL, WELL
Clean Intro: Yes — the opening should give editors a usable setup before the fullest arrangement or vocal section arrives.
Edit Points: Edit around riff returns, vocal phrase endings, drum fills, breakdowns, and chorus or refrain entries; strong for character-driven scene shaping.
Button Ending: Potentially strong where the final hit, riff, or rhythmic stop lands cleanly; confirm with an audio pass.
Loopable: Yes — selected beds or groove sections should support extended use under picture.
Best Loop Candidates: Intro bed, primary groove, post-hook section, and any instrumental bridge or breakdown with reduced vocal density.

Use Case:
Use the opening identity to establish tone quickly, then let the arrangement changes guide editorial movement. The strongest placements are likely in entrances, party movement, sports energy, confident walk-ups, urban transitions, and scenes that need rhythm or attitude quickly, with trims around clear phrase endings, groove resets, or instrumental breaks.

Sync Pitch Sheet

Song Profile:
Key: E Minor
BPM: 120
Genres: Blues
Vocals: Male Vocal
Moods: Catchy / Confident / Dramatic / Driving / Fun / Powerful / Serious
Sync Themes: Crime / Drama / Mystery
Lyric Themes: Time
Type: One Stop

Instrumentation:
Bass / Drums / Electric Guitar / Horns / Saxophone

Track Summary:
“WELL, WELL, WELL, WELL” by LEE PALMER uses expressive vocal writing, bass / drums / electric guitar / horns / saxophone, and a mid-tempo pulse to create a distinct swagger / groove / contemporary energy placement lane. The E Minor setting and catchy, confident, dramatic, driving, fun mood profile give the track useful shape for entrances, party movement, sports energy, confident walk-ups, urban transitions, and scenes that need rhythm or attitude quickly.

Sync Highlights:

• Primary category: Swagger / Groove / Contemporary Energy
• Secondary utility: Action comedy, sports, club energy, confident character entrance
• Sync themes: Crime / Drama / Mystery
• One-stop licensing supports streamlined clearance

Sync Potential

Best suited for Swagger / Groove / Contemporary Energy placements with crossover utility for Action comedy, sports, club energy, confident character entrance.

Stem Tracks

Available on request / confirm with rights holder.

Track Narrative

“WELL, WELL, WELL, WELL” by LEE PALMER uses expressive vocal writing, bass / drums / electric guitar / horns / saxophone, and a mid-tempo pulse to create a distinct swagger / groove / contemporary energy placement lane. The E Minor setting and catchy, confident, dramatic, driving, fun mood profile give the track useful shape for entrances, party movement, sports energy, confident walk-ups, urban transitions, and scenes that need rhythm or attitude quickly.

Lyrics

That river never stops
But this well can still run dry
That river never stops
But this well can still run dry
Young man's in a hurry to get old
Happens in the blink of an eye
Well, well, well, well
Well, well, well, well
You gotta put something in to get something out
Well, well, well, well
Old man says youth
Yeah, it's wasted on the young
Old man says youth
Yeah, it's wasted on the young
Young man tells his papa
I'll find better ways to get it done
Well, well, well, well
Well, well, well, well
You gotta put something in
And get something out
Well, well, well, well
When the rain falls down
That muddy river starts to roll
When the rain falls down
That muddy river starts to roll
As long as you fill the well
You'll have stories to be told
Well, well, well, well
Well, well, well, well
You gotta put something in to get something out
Well, well, well, well
Well, well, well, well

Artist Bio

Lee Palmer brings blues, folk, country, and roots-rock writing into a sync-friendly lane, with vocal performances suited to romance, road stories, comedy, nostalgia, and grounded human drama.

Request Assets

For WAV files, stems, alt mixes, clearance details, or more information, contact:

sergio@omrmusicproduction.com

Please reference:
WINDBREAKER — SAMUEL WILLIAMS

OMR Cue Map

Track: WINDBREAKER
Clean Intro: Yes — the opening should give editors a usable setup before the fullest arrangement or vocal section arrives.
Edit Points: Edit around texture shifts, pulse entries, swells, and harmonic changes; strong for slow dissolves, suspense builds, and extended underscore beds.
Button Ending: Potentially strong where the final hit, riff, or rhythmic stop lands cleanly; confirm with an audio pass.
Loopable: Yes — selected beds or groove sections should support extended use under picture.
Best Loop Candidates: Intro bed, primary groove, post-hook section, and any instrumental bridge or breakdown with reduced vocal density.

Use Case:
Use the opening identity to establish tone quickly, then let the arrangement changes guide editorial movement. The strongest placements are likely in entrances, party movement, sports energy, confident walk-ups, urban transitions, and scenes that need rhythm or attitude quickly, with trims around clear phrase endings, groove resets, or instrumental breaks.

Sync Pitch Sheet

Song Profile:
Key: B Minor
BPM: 131
Genres: Electronic / Party / Pop / R&B
Vocals: Male Vocal
Moods: Bright / Building / Catchy / Confident / Dramatic / Driving / Energetic / Fun / Hopeful / Party / Rhythmic / Romantic
Sync Themes: Action / Adventure / Crime / Drama / Mystery / Romance
Lyric Themes: n/a
Type: One Stop

Instrumentation:
Bass / Drums / Electric Guitar / Percussion / Saxophone / Synth

Track Summary:
“WINDBREAKER” by SAMUEL WILLIAMS uses expressive vocal writing, bass / drums / electric guitar / percussion / saxophone / synth, and a driving pulse to create a distinct swagger / groove / contemporary energy placement lane. The B Minor setting and bright, building, catchy, confident, dramatic mood profile give the track useful shape for entrances, party movement, sports energy, confident walk-ups, urban transitions, and scenes that need rhythm or attitude quickly.

Sync Highlights:

• Primary category: Swagger / Groove / Contemporary Energy
• Secondary utility: Action comedy, sports, club energy, confident character entrance
• Sync themes: Action / Adventure / Crime / Drama / Mystery / Romance
• One-stop licensing supports streamlined clearance

Sync Potential

Best suited for Swagger / Groove / Contemporary Energy placements with crossover utility for Action comedy, sports, club energy, confident character entrance.

Stem Tracks

Available on request / confirm with rights holder.

Track Narrative

“WINDBREAKER” by SAMUEL WILLIAMS uses expressive vocal writing, bass / drums / electric guitar / percussion / saxophone / synth, and a driving pulse to create a distinct swagger / groove / contemporary energy placement lane. The B Minor setting and bright, building, catchy, confident, dramatic mood profile give the track useful shape for entrances, party movement, sports energy, confident walk-ups, urban transitions, and scenes that need rhythm or attitude quickly.

Lyrics

Windbreaker
Windbreaker
Oh
So you wanna ride, but you can't keep up with me keep up with me
Oh
Don't fret, don't sweat, come now you just keep moving your feet
moving your feet
Yeah
We might not know where we're going, but we keep on rolling
Oh
Grab a hold of the bars as we ride past the cars
Yeah
Come and get behind me Come and get behind me
On my wheel you feel ease
ease
I'll take all the breeze
Round and round to the beat Round and round to the beat as we ride through the street
Let's move as a team
Up and down the streets
I'm Windbreaker Come on and ride with me, come on and ride with me
Yeah Come on and ride with me
I'm Windbreaker Hey Come on and ride with me, come on and ride with me, come on and ride with me
I'm Windbreaker Yeah I'm out here in the streets
I'm out here in the streets. Come and ride with me.
I'm Windbreaker Yeah, yeah
I'm out here in the streets, come ride with me.
Oh, oh
Hey
Come on, yeah come ride with me, come on, come on yeah, come ride with me.
Come on, come on, come ride with me.
Come on, come on, yeah, ride with me, hey, come ride with me.
Yeah, in the streets, oh, come ride with me, in the streets, yeah.
Oh, come ride with me, yeah, come ride with me, yeah, oh come ride with me.
Come and get behind me Come and get behind me
On my wheel you feel ease, ease
Round and round to the beat, to the beat As we ride through the street
Let's move as a team, up and down the streets
Windbreaker
Windbreaker
Windbreaker
Windbreaker
Windbreaker
Do you feel the breeze? Come ride with me.
Let me change the leader, peloton with me
Windbreaker
Windbreaker
Come and ride with me and feel the breeze, peloton with me

Artist Bio

Samuel Williams brings electronic, pop, party, and R&B elements into a sync-ready sound with momentum, style, and emotional drive for action, romance, and urban visual energy.

Request Assets

For WAV files, stems, alt mixes, clearance details, or more information, contact:

sergio@omrmusicproduction.com

Please reference:
WON'T BE NONE (EXPLICIT) — HYP

OMR Cue Map

Track: WON'T BE NONE (EXPLICIT)
Clean Intro: Yes — the opening should give editors a usable setup before the fullest arrangement or vocal section arrives.
Edit Points: Natural edit points around section changes, phrase endings, hook returns, and instrumental transitions; suitable for promo cuts and scene-length shaping.
Button Ending: Likely usable if the final phrase resolves cleanly; confirm exact tail during audio review.
Loopable: Moderate — best loop potential will be in instrumental intros, breaks, or repeated groove sections rather than lyric-heavy passages.
Best Loop Candidates: Intro bed, primary groove, post-hook section, and any instrumental bridge or breakdown with reduced vocal density.

Use Case:
Use the opening identity to establish tone quickly, then let the arrangement changes guide editorial movement. The strongest placements are likely in entrances, party movement, sports energy, confident walk-ups, urban transitions, and scenes that need rhythm or attitude quickly, with trims around clear phrase endings, groove resets, or instrumental breaks.

Sync Pitch Sheet

Song Profile:
Key: B minor
BPM: 80
Genres: Dance / Hip Hop
Vocals: Female Vocal
Moods: Confident / Swagger / Upbeat
Sync Themes: Action / Comedy / Crime / Sports / Video Game
Lyric Themes: Ambition / Confidence / Empowerment / Energy / Power / Rebellion / Strength / Struggle
Type: One Stop

Instrumentation:
Bass / Drums / Electric Guitar / Percussion / Synth

Track Summary:
“WON'T BE NONE (EXPLICIT)” by HYP uses expressive vocal writing, bass / drums / electric guitar / percussion / synth, and a slow-burn pulse to create a distinct swagger / groove / contemporary energy placement lane. The B minor setting and confident, swagger, upbeat mood profile give the track useful shape for entrances, party movement, sports energy, confident walk-ups, urban transitions, and scenes that need rhythm or attitude quickly.

Sync Highlights:

• Primary category: Swagger / Groove / Contemporary Energy
• Secondary utility: Action comedy, sports, club energy, confident character entrance
• Sync themes: Action / Comedy / Crime / Sports / Video Game
• One-stop licensing supports streamlined clearance

Sync Potential

Best suited for Swagger / Groove / Contemporary Energy placements with crossover utility for Action comedy, sports, club energy, confident character entrance.

Stem Tracks

Available on request / confirm with rights holder.

Track Narrative

“WON'T BE NONE (EXPLICIT)” by HYP uses expressive vocal writing, bass / drums / electric guitar / percussion / synth, and a slow-burn pulse to create a distinct swagger / groove / contemporary energy placement lane. The B minor setting and confident, swagger, upbeat mood profile give the track useful shape for entrances, party movement, sports energy, confident walk-ups, urban transitions, and scenes that need rhythm or attitude quickly.

Lyrics

Won't Be None-Realism*

Verse 1

Loaded up and ready to blow
Flowin’, Striking like a Thunderbolt
High determination
Got you spinning like like an overdose (tweakin’)
I trained with the best
You got me testing my skills (uh huh!)
Flexin' like systema got me dodging
For real (for real!?), I’m on defense
Six sense, training is strong
Activate all my senses, Resonance like a gong (bong)
Knocking down stereotypes of bright light sun beamin' (bing)
With men
Harder than a hard on…
And women, wet dreaming

Hook x2

They Say Don’t Start None (Nope!)
Won’t Be, Won’t Be, Won’t Be None (Right!)

Verse 2

I come incredible indisputable
Unstoppable
A champion in my own right, don’t sleep!
I’mma rock all night
Got stamina, like a marathon runner
Don’t hate when I’m numba one
And you come up under me (I’m winnin’!)

I got you all fucked up
You getting all slapped up
I’m goin’ fast, like nascar
All wrapped up (Yup!)
Hop off my back, I be runnin’ this town (that’s right!)
High determination
Knockin’ all y'all down (BLAAW!)

Bridge

Hop off my back
I’ve got that rizz
Boutta take my time
Check out my drip

Hook x2

They Say Don’t Start None (Nope!)
Won’t Be, Won’t Be, Won’t Be None (Right!)

(High determination, High determination)

They say don’t start none. They say don’t none. Won’t Be, Won’t Be, Won’t Be None

Artist Bio

Hyp delivers rhythm-forward dance and hip hop tracks with bold energy, making his material useful for sports, action comedy, crime movement, and high-impact contemporary scenes.