Combo of guitar, organ, vibes, bass and drums with brushes give us the laidback late-night sound of "Un Caffè Sulla Banchina". The guitar sound is exquisite.

A Middle Eastern sound gets introduced for "Un Agente in Egitto", presumably because the action moves to Egypt. A John Barry Bond influence also becomes so noticeable here that it must be intentionally trying to call our attention to it.

Things get a little odder with "Assassinio Nella Sciovia", in which a low drone is accompanied by sharp percussion with heavy reverb and some irregular statements by horns and strings and some eerie organ playing.

After that long and unusual track, we slide into some medium-tempo easy-listening small-combo jazz, "Una Sera in Albergo". It's a very pleasant West Coast-style tune with some nice clarinet playing.

But then there's "Un Omicidio Misterioso", a short piece mostly for horns, mildly tense.

After that we're back in small jazz combo territory with "Sul Treno", a tune that could have been slipped into an episode of Peter Gunn without most people noticing.

Side A wraps up with "Corsa Nel Deserto", a percussion piece that particularly features the cuíca.

After "Incontro Magico II", Side B gets Middle Eastern again with "Sperduto A El Cairo I", which begins with solo wooden flute that's eventually joined by other instruments that sound like they're geographically appropriate. There's a "Sperduto A El Cairo II" a little bit later on, as well as an "Incontro Magico III".

After the two alternative versions of "Sestriere" and "Slalom"—they both have some additional percussion, I think—comes a combination jazz/lounge/airy sort of cue, "Paseggiata Nella Neve", which also reprises the melody from "Un Caffè Sulla Banchina".

After revisiting "Sperduto A El Ciaro" and "Incontro Magico", we get to the end, a reprise of the "Sestriere" cue.

It's a really fun record and a gem from one of Morricone's most exciting periods!