At 102bpm in F minor, this is the swaggering mid-point of the album: old-school boom-bap drums and fat bass under harmonica, twangy electric guitar, lone trumpet, whistling and bell accents. Playful rather than menacing, it struts more than it threatens, with strings widening the frame toward the end.
The slowest and longest cue here at 95bpm in F minor, built for the eye-to-eye pause before trouble starts: laid-back hip hop beat, acoustic and electric guitar twang, whistled melody, distant trumpet and bell hits. Deliberately patient and a touch comic, holding tension across three-plus minutes without ever tipping into real danger.
The shortest and leanest track on the album at 2:33, 97bpm in B flat minor, and the only one with no trumpet or whistling — harmonica, gritty electric guitar, violin and strings ride a plain hip hop beat and bass. Tighter and slightly darker than its neighbours, useful when you want the western flavour without the comic wink.
The biggest-sounding cue of the set: 100bpm in C minor with timpani and choir added to the usual harmonica, trumpet, twang guitar, bells and hip hop beat. Over 3:18 it plays the full operatic spaghetti-western gesture against a head-nod groove, building to a genuinely cinematic payoff.
The fastest track at 105bpm and the only one with a full brass section alongside trumpet, harmonica, twangy guitar, whistling and bells over a punchy beat and bass. In A minor it feels brighter and more urgent than the rest of the album — the caper cue rather than the standoff cue.