It starts with a song called "Don't Box Me In", which Copeland co-wrote with Stanard Ridgway, who sings the lyrics. It has a nice sort of reggae groove.

Next is "Tulsa Tango", which has a peppy energy, jangly electric guitar and a bass line that's similar to Henry Mancini's classic A Shot in the Dark theme.

"Our Mother Is Alive" starts with a solo piano part but then various other instruments start swooping and whilring in. The tempo is a brisk 3/4 and Copeland plays a cool drum part with the great Buell Neidlinger on bass.

The next cue, "Party at Someone Else's Place" alternates between kind of a slinky reggae-ish groove and a more insistent, straight up and down piano-led figure.

After this comes "Biff Gets Stomped by Rusty James", which has long and ominous synth tones as well as a trumpet feature.

The first side of the record concluces with another kind of reggae number, "Brothers on Wheels", which is really pleasant, with a hypnotic, swirling energy to it.

The second side stasrts with "West Tulsa Story", which is a driving and upbeat number with a great groove and some nice changes. It's immediately restated in a different arrangement for "Tulsa Rags". Neidlinger's bass is crucial for these two.

"Father on the Stairs" is short, sharp, percussive hits with trumpet and some other sounds, creating a spare melody and atmosphere.

A short synth reggae track, "Hostile Bridge to Benny's", follows that, after which we hear a swinging and moody piece, "Your Mother is Not Crazy". This is one of the most satisfying pieces on the record, with Copeland layering different instruments with different time feels.

Then it's back to a cheery reggae thing but again, for "Personal Midget/Cain's Ballroom", which gradually builds in energy before a grounded conclusion. Then the record ends with the sober, trumpet-driven "Motorboy's Fate".