A brisk 120bpm retro soul groove in E with bongos and layered percussion under punchy horn stabs, wiry guitar and strings. At under two minutes it works as a compact caper cue — crew assembling, walking into the casino, plan in motion — with enough drive for a light chase without tipping into full action.
The fastest of the lounge-flavoured pair at 149bpm in E, built on vibraphone and xylophone, Hammond and Rhodes, upright bass and bongos, with crowd chatter baked in for a live-room, casino-floor feel. Sneaky and quick-footed rather than heavy, ideal for slipping in and out of somewhere you shouldn't be.
At 170bpm in G this is the album's flat-out chase, driving bongos and drums under fast horn figures, guitar, strings and a synth line for spy-movie edge. Energized start to finish with little let-up — cut it against foot pursuits, getaway driving or rapid-fire quick cuts.
The slowest and coolest cut at 95bpm in A, a laid-back funk strut with bongos, fat bass, turntable scratches, lone trumpet and a wobbling theremin for oddball menace. Chill but shady — good for the casing-the-joint scene, a swaggering character intro or a deadpan comic beat.
A patient 100bpm E groove, the longest cue here at 2:33, pairing bongos and percussion with horn punctuation and a theremin's eerie glide. The extra length and mid tempo make it a workable dialogue or narration bed for surveillance, forged documents and border-crossing intrigue.
A 110bpm cruise in G with bongos, horns, guitar, bass and strings plus a theremin curling over the top — the title's vintage Lincoln sets the mood of top-down driving with something in the trunk. Mid-tempo and confident, more roll than sprint.
Same 149bpm lounge-jazz engine as its companion cue in E — vibraphone and xylophone, Hammond, Rhodes, upright bass, bongos and brushed drive — but without the crowd chatter, so it sits cleaner under dialogue. Slick and slightly ridiculous, tailored to a smooth-talking hustler working the room.
A cocky 129bpm funk in A where organ sits alongside the horn section, bongos and tight drums, and at 2:03 it's one of the leaner, punchier cuts. Swaggering and comic — a strut down a corridor, a smug reveal, a plan going suspiciously well.
A straight-ahead 132bpm funk workout in A — bongos, percussion, bass, guitar and horns with no synth or theremin colouring, making it the most classic-band cue on the album. Reliable mid-to-upper tempo motion for chases, montages and anything needing groove without gimmicks.
A 134bpm cut in D that leans Tarantino: bongos and drums, horn section, turntable scratches, exposed trumpet and theremin for pulp-crime atmosphere. Cool and slightly sleazy, with a swaggering mid-tempo lope for opening titles or a slow-motion crew walk.
The most relaxed groove on the record at 105bpm in C, with bongos, warm bass, guitar, horn and trumpet accents, scratches and a light synth touch. Chilled and quirky rather than driving — a natural underscore for makeover reveals, montage voiceover or comic scene-setting.