All That's Latin

The fastest and most comedic cue at 150bpm in D minor, pairing mambo piano montunos and punchy horn sections with a modern beat, electric guitar and synth. Quirky and hectic, it drives hard from the top and works well cut short for gags or fast-paced sequences. Good for slapstick edits, chase montages and frantic cooking or getting-ready scenes.

The horn-carrying cue of the set: trumpets and brass stabs sit on top of classical guitar, reggaeton beat and percussion at a relaxed 100bpm in D minor. The title's shade-and-tropics contrast suits footage that mixes street life with sunshine, and the brass hits give editors clear accent points.

At 95 BPM in D minor this is the horn-forward cue of the group, with trumpet leading over brass section stabs, piano, guitar and a mid-tempo old-school beat. Feel-good and steady with a mariachi-tinged brightness in the lead line, it sustains one confident groove for 2:36 rather than developing dramatically.

A shorter 94bpm cue in C# minor that leans on nylon-string classical guitar and flamenco-tinged phrasing over a bouncy hip hop beat, bongos and warm brass. Romantic and easygoing rather than boastful, it fits coastal travel sequences and flirtatious lifestyle scenes.

A trap-influenced tropical cue at 120bpm in C minor, mixing skittering hi-hat programming and synth with piano, trumpet and brass over Latin percussion. It is the most contemporary-sounding track here, sitting confidently at a party level for its 2:36. Suits sportswear and sneaker spots, urban dance content and stylised summer edits.

The most distinctly folkloric cue here: 90 BPM in A minor, with accordion joining classical guitar, piano, bongos and horns over a relaxed hip hop beat. The slower tempo and accordion colour push it toward barrio and neighbourhood storytelling, warm and easygoing across a tidy 2:30.

The longest cue on the album at 2:46: an instrumental 90 BPM bolero-leaning piece in Eb with flute, trumpet, trombone, piano montuno, bass and gentle timbale patterns. Its slow tempo and heart-skipping title make it the most romantic thing here, and the extra length gives an editor room to breathe.

A mid-tempo rumba flamenca at 110 BPM in E, built on solo Spanish guitar with hand claps marking the groove. Warm and confident rather than fiery, with a romantic, reflective undertow that suits Andalusian travel footage, a courtyard scene or a wine and food sequence.

The most relaxed groove on the record at 117 BPM in B minor, blending Cuban swing phrasing with cocktail-jazz piano and saxophone over an easy house pulse. Romantic and loose rather than driving, in a neat 3:18.

The album's most uptempo vocal number at 115 BPM in C minor, with female vocal hooks over congas, percussion and a punchy dembow bassline. Confident and flirtatious, and at 3:20 the longest cut here, so it covers extended montage edits without looping.

Instrumental 100bpm Latin dance number in A with timbales, piano, guitar, saxophone and trumpet over upright bass. Despite the lamenting title it stays cheeky and warm, an easy mid-tempo groove for dialogue scenes.

Bright mariachi-flavoured trumpets and horns over acoustic guitar, bass and a 130bpm modern beat in C major. Relentlessly cheerful and quirky, a straightforward fiesta cue for anything set south of the border.

The only cue here fronted by male vocals, a 103bpm downtempo groove in F over synth pads, bass and claps with a warm, sultry Latin-tinged title suggesting longing. Slower and more intimate, it suits close-up lifestyle and romance footage.

The fastest and most celebratory cue here — 135 BPM in C minor with modulations toward Bb and Gm, powered by timbales, percussion, piano montuno, bass and punching trumpets with lead male vocals. Full-tilt party energy from the top, ending on a decisive hit.

Cuban cha-cha rhythms folded into a 123 BPM house beat in E minor, with piano montuno-style comping and warm saxophone lines. Slightly more romantic than the rest of the album and long enough at 4:01 to carry a full dance sequence.

A tongue-in-cheek tango: Spanish guitar, pizzicato strings, shaker, claps and a walking bass with kit drums, held at a deliberate 120bpm in D minor. The minor key and stop-start dance feel suit an overconfident seducer being comically deflated.

Latin jazz-funk at 98bpm in G, the loosest groove on the album, with cowbell, timbales, piano, guitar and stabbing trumpet and horns over upright bass. Instrumental, strutting and comic, and the longest cue here at 2:53.

The fastest-feeling of the vocal cuts at 110 BPM in C minor, pairing a dembow groove with live congas, layered percussion and male vocal hooks. Bright and holiday-happy, it works as a straight-ahead party track with a clear forward drive.

A short, brisk buleria at 125 BPM in C, driven by virtuoso classical guitar with palmas and knuckle percussion on the guitar body. The most compact cue here at just over two minutes — direct, confident and performance-like, ideal for a scene of an artist at work or a bar-side flamenco moment.

Instrumental 110bpm Latin cue in A minor, the only minor-key horn number here, giving its guitar, piano, drums and trumpet lines a sly, faintly conspiratorial edge. Short at 2:28 and cheeky rather than joyful, useful when the comedy has a shady character in frame.

Salsa-tinged jazz house at 118 BPM in G major, piano and saxophone trading bright hooks over a warm, hip-swinging beat. The longest cue on the album at 4:12 and the sunniest in key, built for extended dance or festival footage.

A slower, hip-swaying reggaeton instrumental at 94 BPM in A minor, driven by beat, bass and vocal-sample stabs with no featured singer. The relaxed tempo gives it a sunset-poolside feel and plenty of headroom for voiceover.

The album's fastest Latin-flavoured cue: nylon-string Spanish guitar over shaker, handclaps and pizzicato strings at a brisk 145bpm in E minor. Its three-minute length gives it room for a full comic chase or flirtation sequence rather than a short sting.

Minor-key (Gm) Cuban groove at a strolling 105 BPM, with lead male vocals over piano montuno, upright-style bass, timbales, flute and a full trumpet-and-trombone front line. The G minor tonality gives it a slightly sly, mischievous edge compared with the album's major-key numbers — good for a comic caper or a beat-up car rolling through town.

An untempoed solo flamenco guitar piece in G, freer and more rubato in feel with a playful yet introspective character. The painterly title points at art-history and gallery footage; also works under reflective narration about Spanish heritage.

Travelling 110bpm mariachi in A flat with male lead vocals, trumpet, fiddle and violin over guitar and upright bass. A road song to Sinaloa, mid-tempo and cheerful with a steady forward pulse.

The album's warmest closer, a 110bpm major-key piece with piano, guitar, synth and light percussion that moves from intimate to uplifting. Emotional and inspiring across 2:17, it gives the collection a tender resolution after the carnival cues.

Energetic 140bpm mariachi in C with male lead vocals, gritos, trumpet, fiddle and violin over guitar and upright bass. A flirtatious serenade to a beautiful woman, bold and comic in tone with a decisive finish.

Instrumental 128 BPM A minor salsa with guitar, piano montuno, bass, timbales and a trumpet-and-trombone section carrying the tune. The minor key keeps the fast tempo a shade smoky rather than purely festive, and the absence of a lead vocal makes it easy to place under dialogue-free action or narration.

A major-key beach party cue at 115bpm with accordion, timbale, whistle and synth in a loose sunny groove. The sports-friendly percussion and open major tonality make it good for outdoor daytime action rather than nightlife.