A strutting 107 BPM funk walk in C minor built on bongos and congas over a fat bass line, with trumpet and trombone punching out the hook. The swagger is comic rather than menacing — a character introduction rather than a chase. Suits the moment a crew member is introduced with a name card, or a slow-motion entrance through a casino lobby.
The fastest-moving comedy chase on the album at 132 BPM and in bright C major, with driving drums, layered bongos and congas, twangy guitar and a vocal beatbox pulse under synth stabs. Sunny and cartoonishly urgent rather than dangerous, and short enough at 2:32 to cut straight to picture. Made for a getaway car sequence, foot chase gag or fast-paced travel montage.
The slowest and dirtiest groove here at 92 BPM in C minor — laid-back drums, hand percussion, organ and wah-wah guitar with a seedy backstreet feel. More neon-at-night atmosphere than action, keeping a steady loping pulse instead of building. Works under narration about old Las Vegas, a true-crime scene-setter, or a stakeout in a parked car.
A high-stakes 127 BPM funk-rocker in C minor where organ and a full horn section of trumpet and trombone trade punches over bongos, congas and hard drums. The title's all-or-nothing bet reads in the energy — bold, brassy and forward-driving throughout. Cut it to a poker table showdown, a plan-goes-live montage or a confident product reveal.
A cooler, more sly mid-tempo cut at 105 BPM in C minor, with vibraphone and organ over upright bass and layered bongos and congas — the lounge-jazz end of the album's funk. Playful and light-fingered rather than driving, with enough space between the hits to feel conspiratorial. Suits sleight-of-hand close-ups, chips being counted, or a comedic scheming scene.
The same vibraphone-and-upright-bass lineup as its slower neighbours pushed to a tight 137 BPM in C minor, with drums and hand percussion driving hard under organ. Fast, tiptoeing and tense-but-fun, aimed at the crack-the-vault beat of a caper. Good for a break-in sequence, ticking-clock montage or a frantic comedic escape.
A smoky 120 BPM groove in C minor where organ, bass and muted trumpet-and-trombone lines sit over a steady bongo and conga pulse. Shadier and more restrained than the album's action cuts, holding a cool cruise rather than escalating. Fits after-hours lounge interiors, a shady meeting in a booth, or narration over vintage nightlife footage.
Alternate version of the 130 BPM C minor funk cut, this one fronted by a synth lead over organ, vibraphone, bass and a thick bed of bongos, congas and drums. Slick, deadpan and comic — action energy with a wink. Use for a stylised crew montage or an action gag; pick this mix when you want a more electronic, futuristic top line.
The guitar-lead alternate of the same 130 BPM C minor groove, with the melody carried on electric guitar over organ, vibraphone, bass and dense bongo and conga percussion. Grittier and more rock-leaning than the synth mix while matching it beat for beat. Interchangeable with its twin for the same scene, or used to switch character mid-sequence.
The album's title cut and its most compact hit at 2:11, a 133 BPM romp in bright C major with full horns, organ, bass and busy bongos and congas. Major-key optimism gives it a triumphant, plan-coming-together lift rather than menace. Ideal for a main title, a heist executed successfully, or a fast punchy brand spot.
The fastest track here at 145 BPM in C minor, driven by reverb-drenched surf guitar over organ, bass and hammering drums with bongos and congas. Pure retro adrenaline with a comic edge — B-movie speed rather than real danger. Cut it to a chase, a wipeout reel or any high-velocity vintage-styled montage.
A 120 BPM C minor funk built on clav and organ with horn stabs from trumpet and trombone over drums, bongos and congas. Confident and mid-paced, sitting between the album's lounge cuts and its chases — motion without panic. Suits roulette and card-table sequences, a business-scheming montage or investigative documentary b-roll.
A loose-limbed 116 BPM C minor groove with clav, organ, guitar and a horn section riding a relaxed but insistent drum and hand-percussion pocket. The most purely good-time cue on the record, staying in the pocket rather than climbing. Works for a feel-good dance-floor scene, food or lifestyle content, or a light comedic transition.