The fastest cue on the set at 128bpm in B, driving distorted electric guitar, bass, claps and trailer drums under a swaggering male lead vocal. It runs hard from the top and stays aggressive through nearly three minutes, making it the go-to for full-speed sports cutting rather than a slow build.
Title track energy at a heavy half-time 82bpm in G, with stomping claps, bass, piano, trailer drums and a defiant male vocal answered by oohs-and-aahs backing. Short and purposeful at just over two minutes, built around an underdog-rising sentiment.
Bluesier and grittier than its neighbours, pairing distorted guitar and a low drone with beat, claps, piano and a soulful male lead plus group backing vocals. At 103bpm in A it sits in a mid-tempo swagger groove that suits montage more than sprint.
The clear outlier: a slow 78bpm blues in G built on piano, organ, bass and restrained electric guitar, with a weary soulful male vocal and backing oohs. Moody, western-tinged and pained rather than triumphant, and the shortest cue at under two minutes.
An instrumental-leaning cut with no lead vocal, only backing oohs and aahs over heavy electric guitar, bass, claps and beat at 80bpm in E. The slowest of the aggressive tracks and the longest at 2:44, its lack of a lead line leaves usable room for narration.
Slow-burning anthemic swagger at 75bpm in D, layering electric guitar, organ, synth, trailer drums and claps under a soulful male vocal with group backing. Compact at 1:50 and the slowest tempo on the album's aggressive side, so it lands as heavy and deliberate.
Fully instrumental at 98bpm in D, with electric guitar, bass, beat, claps, piano and an underlying drone carrying the swagger with no vocals at all. That makes it the most flexible bed on the album for narration or commentary over sports and competition footage.