The "Opening Titles" track presents the main theme that's heard many times. It starts with electric guitars playing a mellow groove, soon joined by a horn playing a bucolic Americana theme. This is soon interrupted by a crescendoing dissonant orchestra figure. This happens several times, the guitar and horn creating something safe and pleasant and then this ominous music of dread comes washing over it.

The next cue, "Brothers", explores the pastoral, "nice" part of the main theme at greater length and while it builds intensity it stops short of the dread and tension.

Then it's the flute and clarinet's turn to pick up the sweet main theme for "Mother and Son", which takes a turn for the serious and threatening at the very end of the track, with the orchestra building up sounds of menace.

The menace is constant in the grim, low-register "Entering the Prison", which is similar to some of the music Fried wrote for the Star Trek television show.

"Prison Break" is an explosion of action with insistent percussion and stacked rhythms, horns blaring and strings sawing, with some precisely placed electric guitar lines.

Some kind of synthesizer comes in with some woozy tones worthy of the Radiophonic Workshop for "'Judge Not That You Be Not Judged'/Desert Massacre", which goes through several different zones, mostly sounding like people in extreme danger.

The next cue, "'Get Me the Sheriff's Office'", is a driving, urgent piece that grooves in a tense way with a cool melody written for the horns.

Piano and maybe harpsichord introduce "'We Have You Surrounded'", which uses low tones and snare drum to create a feeling of suspense. Then the orchestra produces pulses of harmonic movement and again there's nice lyrical writing on top. After this comes a more spacious, textural part with synth and timpani and other instruments for an interesting and unusual blend.

While "Running the Roadblock" presumably could just have been a straightforward action cue, Fried starts it off with modern, dramatic underscoring before unleashing his ensemble in full rock-beat mode with writing for the horns that's up there with David Shire's The Taking of Pelham 1-2-3 music.

Things wrap up with "End Titles", which restate the theme, and then an alternate take of the "Opening Titles".