Brassy Zesty Promos

Fast 168bpm big-band romp in bright C major, with stabbing brass, walking bass, comping piano and hand-claps driving a short promo-length burst. The major key keeps it sunny and gag-friendly rather than menacing, and it wraps up cleanly inside 68 seconds.

The fastest and most frantic cue here at 174bpm, and the only one built on organ and synth alongside the brass section, giving it a spy-caper edge in E minor. Claps and snaps keep the pulse busy under punchy horn figures — chase energy with a wink.

A slower, heavier take at 112bpm in A minor where trailer drums sit under the horn section, trading speed for weight and swagger. Piano and claps keep the retro flavour while the percussion build gives it promo structure across 72 seconds.

Starter-pistol energy at 160bpm in G major, pairing electric guitar and brass over trailer drums for the rockiest of the up-tempo cues. Fewer comedic tags than its neighbours — this one plays the race straight and lands hard.

The album's fastest-feeling shuffle at 180bpm in G major, with electric guitar, piano, brass hits and clap-and-snap percussion tumbling forward. Bright, cartoonish and slightly manic, and the longest cut on the record at 1:15.

Mid-tempo 116bpm strut in A minor with no piano — electric guitar, bass, brass and trailer drums carry the whole thing, making it the grittiest cue here. Titled for the last word in an argument, it delivers a decisive, punctuated finish.

The slowest groove on the album at 98bpm in C minor, laid-back and hip-swinging with full horn section, piano and finger-snaps over a fat bass line. Minor-key cool rather than outright comedy energy, with plenty of pocket for narration.

The most densely stacked cue here — brass, horns, synth, electric guitar, piano and trailer drums all locked to a 120bpm G minor groove — and the shortest at just over a minute. Built as a tight promo hit with no wasted bars.

Slow, stomping 88bpm in E minor, the heaviest-footed cue on the album: trailer drums and electric guitar under blaring horns, no piano to lighten it. Big impacts and space between hits make it the natural pick for slow-motion swagger.

Driving 145bpm cue in E major with electric guitar and horn section trading punches over claps and snaps — quick, forward-leaning and upbeat rather than dark. At just over a minute it works as a compact travelling or progress montage.