Fix Up, Look Sharp (Dizzie Rascal): helped usher in the new interest in garage and British hip/hop.
Highly Suspicious (My Morning Jacket): amounts to an admirable yet shameless Prince-aping.
Money Note (Camille): rotates endlessly, noisily until done just right because Camille can muster up more funk in a sentence than all the American divas this entire decade.
Buriedfed (Miles Benjamin Anthony Robinson): the sound of a dejected man who has given up on life with no hope of turning back.
You Don’t Know My Name (Alicia Keys): if ever Keys’ talent was in doubt then came along this track to reinforce that despite the nameless marketing that surrounds her, she can deliver occasionally even if Kanye West had a heavy hand in this effort.
A Long Walk (Jill Scott): an earthy rambling poem that soaks with a woman’s introspection and blues.
Peacebone (Animal Collective): an impressive manifestation of the freak/folk movement they sit atop of.
Rival (Pearl Jam): a timely reminder that Vedder still has his hand on adolescent rage.
Red Blooded Woman (Kylie Minogue): of all Minogue’s tasty singles this decade, Red Blooded Woman stands out because it offers the most substance. The track is basically a discussion between the singer’s id and ego trying to negotiate her getting laid and/or falling too quickly in love. It’s a fascination that has eluded me forever: how the adult female mind works.
Where is the Line? (Bjork): Bjork, trapped somewhere between her hyperactive imagination and the Super Mario bros video game…you do the math on how else this could’ve worked out.
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