Comedy Store

At 90bpm in A minor this is the slowest and most sultry track here, a loping spy-funk groove of bongos, drums and bass with flute, electric and acoustic guitar, synth and male vocal colour giving it a worldly, exotica edge. The half-tempo swagger and 2:28 running time make it the best fit for surveillance, seduction or a deliberately absurd stakeout.

The fastest and sunniest cue on the set: 160bpm surf-tinged garage rock in bright A major, driven by kit, walking bass, twangy electric guitar and vintage keys. No mystery angle here — it's pure snack-ad silliness that runs hard from the top and lands on a clean button.

The comedy piece of the set: 110bpm in D with marimba and keys trading cheeky lines over bouncing bass, light drums and a wheezy organ colour, strings adding cartoonish lift. Silly and mischievous without tipping into slapstick, useful for a bumbling on-screen character or a gently absurd product demo.

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 most densely stacked cue here — brass, horns, synth, electric guitar, piano and trailer drums all locked to a 120bpm G minor groove — and the shortest at just over a minute. Built as a tight promo hit with no wasted bars.

The only major-key cue here — 100bpm in A, with a gentle trap beat, sweet synth and string lines over soft bass. Innocent and hopeful rather than comic-dark, the brightest option on the album. Suits children's content, birthday and wish-fulfilment moments, and warm-hearted brand storytelling.

The fastest cue on the set at 141bpm in D, built on live whistling over walking bass, drums, autoharp and twangy electric guitar. Its short, scampering shape and comic small-town title suit busy visual gags rather than any big payoff.

A Latin-tinged big band jazz cue at 107 BPM in E minor, mixing brass and horns with synth, piano, bass and strings for a vintage, cartoonish strut. The pace and comic character suit capers, market chases and anything needing retro South-of-the-border flavour without becoming a cliché mariachi cue.

Haydn's 'Emperor' quartet given an electronic hip hop treatment at 100bpm in G minor, beat and bass sitting under the noble string theme. Struts rather than sprints, with a wry regal swagger. Fits luxury-with-a-wink advertising, mock-serious documentary sequences and comedy villain scenes.

A scampering 100bpm Balkan gypsy romp in D minor led by accordion, fiddle and flute over walking upright bass and hand percussion. The minor key gives it a mischievous, chase-like edge rather than pure celebration, and at just over two minutes it works as a self-contained comic sequence.

The slowest track on the record at 81bpm in B-flat minor, a mellow, melancholy western ballad with aching Mexican trumpet, tremolo guitar, strings, brass and theremin. Emotional and moody, for a lost-love flashback, a lonely desert ride or a bittersweet closing scene.

Solo fingerstyle acoustic guitar with a bluesy, slightly comic bounce at 102 BPM in F, running a compact 1:32. The playing is loose and good-humoured rather than sentimental, landing somewhere between porch blues and character-driven folk.

A mid-tempo 125bpm rock cue in G, the only track here with horns, joined by organ and piano over electric guitar, bass, drums and claps. That brass-and-keys combination gives it a soulful, retro feel-good character rather than the album's punk pace.

At 94bpm in G minor this is the hardest-hitting slow trap cut here, stomps and claps landing wide with distorted synth bass and vocal stabs. Brief and blunt at just over two minutes, built for impact rather than development.

The most relaxed swing on the set at 105bpm, with clarinet added to the sax for a warmer, older-New-York colour over upright bass, drums and claps in D flat. Happy and easygoing rather than driving, holding one cheerful groove for its full two and a half minutes. Good for period-flavoured city scenes, deli and neighbourhood documentary, or friendly brand voiceover.

A 130bpm electronic mash-up in A minor built on driving beats, electric guitar riffs, chopped vocal samples and stabbing horns, with a wide-open frontier swagger to match the title. The energy is immediate and comedic rather than menacing, and at under two minutes it works as a short, punchy montage bed for chase gags, road trips or competitive reality edits.

A light, mischievous big band jazz walk at 88 BPM in E minor, led by trumpet and horn lines over piano, upright-style bass and drums. The comic phrasing suits tiptoeing, scheming and small domestic disasters rather than anything grand, and at 1:53 it fits a standard promo slot.

The most upbeat and least sentimental track here: 120 BPM in E minor with saxophone riding piano, bass, handclaps and drums, and no strings or vocals to soften it. A tight two minutes of playful, funny-scene energy for comedy edits, quirky product reveals and social ads.

Fast, skipping 147 BPM ukulele romp in G with accordion, trombone and whistled melody carrying the tune. Deliberately silly and childlike, it suits family and kids' product spots that need bounce without heaviness.

Rowdy banjo-and-fiddle hoedown at 115bpm with drums and bass keeping a foot-stomping shuffle in C. Cheerful, comedic and communal, built for crowds in motion and physical business on screen.

The fastest cue here at 172bpm in B flat, a headlong mariachi with male vocals, trumpet, fiddle and driving guitar and upright bass. Cheeky and breathless, ideal for a comic pursuit or a fast-cut sequence.

A cheeky, sneaky R&B blues groove at 88 BPM in G minor, built on drums, claps, Hammond organ, synth and bass rather than horns — the most stripped and rhythmic cue on the album. The shortest track at 1:45, it suits sly reveals, hustlers and comedy sequences that need attitude and clear space over the beat.

The slowest and loosest track at 118bpm, and one of only two in a major key (A), giving it a sunnier, hip-swaying feel than its minor-key neighbours. Organ, guitar, horns, bongos and cowbell lock into an unhurried retro groove across 2:08 — good for leisure and vacation imagery that needs warmth over urgency.

Bright, upbeat jazz combo cue with a light swinging pulse and a cheerful, tap-dance bounce implied by the title. At 2:18 it works as a compact, feel-good bed for period-flavoured or vintage-styled footage.

A brisk 120bpm E flat take on the door-to-door carol, built on ragtime piano, clarinet, ukulele and nylon guitar with upright bass and sleigh bells keeping a light two-beat pulse. Its longest running time on the fast side of the album gives room for a warmer, more romantic middle before the tune bounces back for a clean finish.

A 105bpm cruise in A and the one whistle-free track, leaning instead on piano, mandolin, harmonica, accordion and electric guitar for a wide-open road feel. Sunny and forward-moving, it fits vintage car footage and small-town travel montages.

The album's shortest and fastest cue, a brisk 118bpm lounge-funk groove with piano, bass and bongo/conga percussion in C minor. Light, propulsive and a little comic — chase energy without threat.

Beethoven's Fifth flipped into a 115bpm C minor disco romp, funky drums and bass under the famous motif for maximum kitsch. Party energy, tongue firmly in cheek, dramatic minor-key strings against a four-on-the-floor feel. Ideal for roller disco footage, retro fitness ads and comedic period pastiche.

Fast Balkan-style romp at 135bpm in D minor, with fiddle and violin trading lines over brash trumpet and horn stabs, accordion filling the middle and a modern programmed beat underneath. Comic and breathless throughout, it stays playful rather than dramatic and wraps up inside two and a quarter minutes.

The longest track at 2:37, a 100bpm G-major train-track amble with whistling and pedal steel over a steady brushed-feel rhythm section. Its lonesome lean and generous length make it the most wistful piece here while keeping the album's comic wink.

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.

A 110bpm rockabilly shuffle in D where whistling and a vintage-sounding organ are joined by a theremin, giving the jailhouse title a slightly kooky, spooky edge. Energized and mischievous throughout, good for scenes of comic trouble or a caper going sideways.

Relaxed 102 BPM ukulele cue in B flat with kalimba, xylophone, hand percussion and whistling for an island, Caribbean-tinted lilt. Sweet and unhurried, it works as a holiday or children's bed where the tempo needs to stay easy.

Shares the album's bouncy circus-comedy setup — pizzicato strings, flute, woodblock and a brass band led by trombone, tuba and trumpet — here at 130bpm in D and running a slightly longer 2:35. The title points it at bungling officialdom: parade-ground pomp constantly tripping over itself.

Country rock at 153bpm in G, with fiddle riding over electric guitar, bass, drums, claps and synth for a quirky, comedic western swagger. Lively and tongue-in-cheek throughout, it works best where humour and rural Americana meet.

A 120bpm A minor hybrid of trap and future bass, mixing didgeridoo drone and stomps with claps, toms and distorted vocal chops. The most straightforwardly danceable tempo here, with a slimy, tongue-in-cheek bass tone.

The album's fastest cut at 128bpm in Eb minor, built on tight drums, a walking funk bassline, stabbing organ and horn punches with cowbell and breath-style percussion accents rather than bongos. Two minutes of relentless forward motion with a cheeky retro strut, ideal for fast-cut fashion or comedic bustle.

Mendelssohn's Canzonetta from the Op.12 String Quartet recast over a hip hop beat and bass, the string writing kept intact while the rhythm section drives it hard at 135bpm in B minor. Bright, kitsch and comic, with the quartet lines doing the melodic work throughout. Suits fashion and sneaker spots, awards-night comedy or a strutting character entrance.

Banjo and harmonica set against distortion and a stomping programmed beat, with a male lead vocal, at 100 BPM in C minor. The country-blues instrumentation plus dramedy character makes it the album's rowdiest character piece.

Named for a Sporades island, this instrumental is bright and openly cheerful, built on traditional Greek dance rhythms and plucked string melody. Its steady good humour suits sunlit, tourist-facing footage.

The fastest cue on the album at 140bpm, a banjo and fiddle scramble in C with drums pushing a breathless comic chase. Same band and key as the other bluegrass romps but noticeably more frantic, ideal for slapstick pursuit.

A 130bpm F major bustling comedy romp with pizzicato strings, flute and woodwinds skipping over woodblock, drums and a hearty tuba-and-brass bottom end. Squarely a town-bustle cue with a clean ending, well matched to a naive character loose in a busy place.

Sax and trombone trade the title's riffs back and forth at 125bpm in bright B flat, propelled by upright bass, drums and claps. Happy and confidently swinging, and the longest of the mid-tempo cuts at 2:50 so it covers a full sequence without looping. Suits city-cool advertising, sports highlight cutdowns and busy montage work.

Same 95bpm brass-band setup as the album's other horn cues but pitched in D minor, so the trumpets and trombones take on a smokier, more conspiratorial character over the drum kit. Longer at 2:26, leaving room for a scene to build.

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.

A country-electronic hybrid at 110bpm in E flat, pairing banjo, dobro and acoustic guitar with programmed beats, scratching, horns and vocal samples. Relaxed but grooving, and the longest of the hoedown-flavoured cuts, giving room for rural travel footage, barbecue and small-town lifestyle sequences.

A playful jazz-inflected hip-hop beat, bright and easy-going, over a brisk 1:25. The rooftop-lounge feel works for city-life montages and upbeat lifestyle content that needs a light touch.

A 104bpm A major companion to the other percussion-and-organ funk cue, slightly slower and warmer, with rattle, drums, bass and vintage electric guitar carrying the groove. Happy, loose and tongue-in-cheek — good for diner scenes, food content and comic character intros.

Short, bouncy 120bpm C major street-band romp on accordion, guitar, bass and clapping percussion, with a carnival-tinged, almost circus-like cheek. At 2:13 with no mandolin it is the leanest, most comic cue here. Good for bustling city-market footage or a light-hearted mishap sequence.

Bright 155 BPM acoustic pop in A pairing ukulele and piano with drums and a whistled hook for a fizzy, carefree run. One of the fastest and sweetest cues here, cut to 1:45 for a full-length spot.

A mid-tempo D minor blues shuffle rebuilt on a programmed beat, with Hammond organ, distorted electric guitar, harmonica and a lead male vocal riding on top. Struts rather than broods — the swagger stays constant across nearly four minutes, making it a solid full-length walk-and-talk bed.

Mid-length moody blues with a walking, reportorial pulse — steady groove and guitar commentary rather than a big hook. Its even, talk-over-friendly build suits information-carrying sequences.