42 cues
87 BPM in G, a laid-back but tightly locked funk-soul groove with bass, drums, electric guitar and brass punctuation, saxophone carrying the smooth lines. Title and pace suggest the vault job itself — deliberate, unhurried, pleased with itself. At 2:29 it's one of the roomier cuts and sits closest in feel to the 85 BPM strut.
128bpm in E minor, matching the album's uptempo action tier but pitched darker and more furtive, with bongos, funk kit, guitar, organ and stabbing horns. Good for the middle of the job — moving fast while trying not to be seen, tension played for laughs.
A 118bpm C minor retro funk-soul groove with wah-wah guitar, fat bass, drums, bongos and claps plus vintage synth and male vocal touches. The title's tech-bro joke matches the music's self-satisfied strut, making it ideal for a smug entrepreneur, a slick pitch gone wrong or an ironic corporate montage.
The longest cue here, a 116bpm spy-comedy shuffle in B with organ added to the guitar, bass, drums and piano band for extra retro fairground colour. Whimsical and slightly daffy, it drifts and pokes along at an unhurried pace, good for sequences that need character rather than urgency.
A slow, swaggering big band blues in D minor at 75 BPM, built on brass and trombone stabs over walking bass, brushed drums, piano and a string cushion. It carries itself with unhurried confidence — a reveal cue for a character who already knows they've won — and its 2:16 length gives room for a full trailer build to a final hit.
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.
A strutting 107 BPM funk walk in C minor built on bongos and congas over a fat bass line, with trumpet and trombone punching out the hook. The swagger is comic rather than menacing — a character introduction rather than a chase. Suits the moment a crew member is introduced with a name card, or a slow-motion entrance through a casino lobby.
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.
A 111bpm G minor spaghetti-western romp built on mariachi-style trumpet, twangy electric guitar, organ and a warbling theremin over busy drums and bass. Playful and comic rather than menacing, with a brisk chase-scene push that suits a wedding gone wrong or a caper montage.
A 120 BPM C minor cocktail-jazz house groove with piano, guitar and saxophone circling over a steady club beat, the title's fairground spin suggested by its looping, playful feel. The fullest instrumentation on the album and a tidy three and a half minutes.
Punchy 140bpm 70s sports-news cue in D minor with stabbing trumpets, big brass section hits and busy strings riding a rock drum kit and rounded electric bass. Short and quirky, it plays as a comic action dash rather than a triumph, ending inside 90 seconds for a clean news-package fit.
A 60s spy-flavoured cue at 98 BPM in A minor, pairing a modern beat and bass with synth, strings, brass and piano for a knowing Bond pastiche. The tone sits between genuine tension and comedy, making it useful for surveillance and stake-out footage as well as sequences that wink at the genre.
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.
The album's longest cue at just over three minutes, running 156bpm in A minor with Mexican trumpet, horns, organ, percussion, strings and theremin over an insistent funk pulse. Sultry and dramatic at once, suiting a smoky late-night sequence or a seduction that turns into trouble.
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.
The album's most cartoonish cue: 140bpm in E minor with organ, surf guitar, flute, piano, bongos, wordless ooh-aah backing vocals and a theremin adding a spooky-comic wobble. Latin-tinged and quirky rather than purely sunny, its minor key giving mischief to the bounce over 2:27.
The fastest of the album's big band blues cuts at 120 BPM in E minor, driving hard on drums and bass with brass and horn punches riding above piano and strings. Two minutes of forward momentum with an obvious upward trajectory, suited to chase footage, competition sequences or a fast-cut trailer that needs vintage brass energy rather than modern percussion.
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 title cue, a slow 74 BPM big band blues in E minor with brass, trombone, piano, bass, drums and strings delivering the record's core smoky, self-assured sound. Its deliberate pace and dark minor colour make it the most sinister of the confident cues — a natural bed for a devil-at-the-crossroads narration or a villain's entrance.
The fastest-moving comedy chase on the album at 132 BPM and in bright C major, with driving drums, layered bongos and congas, twangy guitar and a vocal beatbox pulse under synth stabs. Sunny and cartoonishly urgent rather than dangerous, and short enough at 2:32 to cut straight to picture. Made for a getaway car sequence, foot chase gag or fast-paced travel montage.
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.
A stylish R&B blues at 85 BPM in A minor, electric guitar leading over strings, piano, bass and a steady backbeat. Warmer and more romantic than the brass-driven tracks here, it works for slow-motion lifestyle footage and intimate two-hander scenes, with a title that points toward resilience and empowerment.
Mid-uptempo vintage soul in G with lead male vocal, handclaps, organ pads and horn stabs over a warm rhythm section. Cheerful and lightly romantic with a reflective undertow, and short enough at just over two minutes to sit under a single scene or trailer segment.
A driving 140bpm C minor romp where brass stabs and urgent strings chase each other over live drums and bass, tipping into spy-caper territory. The longest of the fast cues on the album at 1:33, it sustains a scramble-for-position feel before a decisive brass finish.
The slowest and dirtiest groove here at 92 BPM in C minor — laid-back drums, hand percussion, organ and wah-wah guitar with a seedy backstreet feel. More neon-at-night atmosphere than action, keeping a steady loping pulse instead of building. Works under narration about old Las Vegas, a true-crime scene-setter, or a stakeout in a parked car.
The fastest cue here at 165bpm in G minor, all surf guitar, screaming organ, horn punches and theremin over a galloping beat. Energetic and playful with a comic edge — cut it to a beach chase, a montage of near-misses or a high-speed comedy sequence.