It starts out with "Spanish Nights in Black Satin (Main Title)", an up-tempo sort of salsa disco track with hand percussion and wailing electric guitar.

Then it switches gears with "Chicago U.S.A." which is actually the "In-a-Gadda-Da-Vita" riff played on bass guitar while electric guitar solos on top in a relaxed jazz/rock fashion.

A slow and romantic guitar feature follows this for "The Night Dance", after which piano joins the guitar for the fusiony lounge "We Must Rescue Franz!".

Some weird noises from guitar effects join the guitar soloing in "Like Cain and Abel" while acoustic guitar provides a background for more electric guitar explorations in "Remembering Pain".

The "In-a-Gadda-Da-Vita" riff returbs for "Percussion Gun" but this time it has synth solos, which return in the next cue, "Raid at the Station".

"Under the Eyes of Anubis" has a love theme sound to it and is a very pretty little number.

Throbbing bass and hand percussion are most of "Everybody Gets What They Deserve" with some synth wash coming in near the end.

Guitars come back for "The Predator" which is laid back and groovy.

Then we get a vocal number, "Lyonesse" which recalls "Windmills of Your Mind" as well as "La Vie en Rose" as well as some other anthemic pop songs.

"Changing Face" has a fast walking bass line and jazz drums while once again electric guitar solos excitingly.

Then it's time for big band swing that sounds like it could be for a casino/hotel scene in "Crazy Town".

A fairly sick synth sound comes in for the romantic groove of "Evelyn" and then the next track, "Down with Apartheid" is for solo hand percussion.

The record wraps up with reprises of "Spanish Nights in Black Satin", "Chicago U.S.A." and of course the "End Title".