David Bowie - "Fashion"

David Bowie - "Fashion": "Just because I'm happy that Project Runway is back on the air. It's total fluff, but I still haven't tired of the Tim Gunn-isms and the friendly orange glow of Michael Kors."

Prince - "If I Was Your Girlfriend"

Prince - "If I Was Your Girlfriend": "This song is from Prince, as a girl, who was maybe kind of a guy, singing to his/her not-quite-girlfriend? This song just operates on a level outside of logic and still brings the funk, even while the song is almost skeletal in arrangement. It's hard to imagine anyone else other than Prince being able to pull it off and have it be a great song."

The Human League - "The Sound Of The Crowd (12'' Version)"

The Human League - "The Sound Of The Crowd (12'' Version)": "What's better than 'The Sound of the Crowd'? More 'The Sound of The Crowd'! Sure, it's unecessary, but this 12" version make the fun of the song last a little longer, without really tinkering with it and breaking its' vibe, like so many other 80s remixes do."

Kylie Minogue - "2 Hearts"

Kylie Minogue - "2 Hearts": "Ladies and gentlemen, it's Kyliefrapp! Even though it's not as dancy as Supernature's glam disco stomp, there's something Goldfrapp-y about the new Kylie single - but in the best way. Since the new Goldfrapp (out in `08) will be a return to their more mellow roots, this might have come along at the right time. (This was also a musical souvenir from my recent time in Europe, BTW.)"

Suede - "Metal Mickey"

Suede - "Metal Mickey": "My goodness - has it really been fifteen years since Rodney on the ROQ turned me onto this tune, back when I still lived in L.A.? I loved it when I heard it and it wound up not even being my favorite song on the record. This whole album's a keeper and I'm glad we finally have it live in Rhapsody!"

Eurythmics - "Sing-Sing"

Eurythmics - "Sing-Sing": "The reason there was such a large gap in my Rhapblog was because I was going around and about Europe for two weeks. I'm going to start filling in those missing days with songs that came up on my trip in some way or another. This one is mainly just a French tune I thought of while I was in Paris."

Fergie - "London Bridge"

Fergie - "London Bridge": "How scary is it that I thought of this song when I went over the actual London Bridge?"

Morrissey - "Hairdresser On Fire"

Morrissey - "Hairdresser On Fire": "I kept thinking of this song on my first full day in London, especially when I wound up in Sloane Square! It was as if all of these places I hadn't given much thought to in Morrissey songs were all coming to life for me."

David Gray - "Say Hello Wave Goodbye"

David Gray - "Say Hello Wave Goodbye": "Perhaps not quite as 'pure' as the Soft Cell original, but I thought this version was worth flagging as well. Gray translates the original's icy synths to acoustic guitar and his delivery is very different than Almond's, but it captures much of the same sadness, except blended more with melancholy than bitterness."

Soft Cell - "Say Hello, Wave Goodbye"

Soft Cell - "Say Hello, Wave Goodbye": "Deceptively simple synth-pop, but Marc Almond's lyrics and delivery are so straight-forward and confessional that they provide a depth far beyond the simple keys that back them. It's so tough and bitter on the surface, but clearly very sad at its' core."

Carter the Unstoppable Sex Machine - "The Only Living Boy In New Cross"

Carter the Unstoppable Sex Machine - "The Only Living Boy In New Cross": "Wow - until today, I probably hadn't heard this song in fifteen years, but I still remembered the whole thing. From the low-key piano and organ intro through the electro-Brit-thrash core of the song, they somehow blended punk and Pet Shop Boys elements into something really exciting. It seems like this should have been a bigger alternative radio hit than it was..."

Lene Lovich - "Lucky Number"

Lene Lovich - "Lucky Number": "A little wacky fun to brighten up a rainy, dreary San Francisco day. 'Ah-ooo-eeeoo-ooo!' indeed. This one's for you, Joe."

David Bowie - "Untitled No. 1"

David Bowie - "Untitled No. 1": "People often associate David Bowie with theatricality - but here, Bowie winds up presenting an understated electropop number flavored with subtle undulating instrumentation. There's a certain romantic quality about the song that, despite having a certain intangible quality, imbues it with emotional qualities generally missing from his late-'80s work that proceeded it."

Mick Jagger - "Just Another Night"

Mick Jagger - "Just Another Night": "It may play like a weak Stones demo, but Mick's attitude still comes through so strong that you can practically see him strutting around, in his jerky little way, while singing this song."

Trunk Federation - "Truck Lover"

Trunk Federation - "Truck Lover": "Off-kilter, whimsical and a little dumb at times - but still definitely catchy noise-pop. (From Alias - same label to bring you Archers of Loaf - which is why the review of this track sounds a little simiar to my recent AoL post...)"

Betty Davis - "Anti Love Song"

Betty Davis - "Anti Love Song": "I have a hard time articulating it, but sometimes I think performers wind up sounding dangerous in their songs - and this is one of them. Growling over a funk-rock beat, Betty sounds like a boiling pot of water - busting with heat and perpetually threatening to boil over the edge. She never busts out the way you might expect she would and perhaps it's because she confounds those expectations that Betty (in this song) is so 'dangerous' to me."

Archers of Loaf - "Web In Front"

Archers of Loaf - "Web In Front": "Amazingly delicious Amerindie punk rock (as it was sometimes called) from its Golden Heyday period. Infectiously catchy noise pop."

Metalocalypse: Dethklok - "Birthday Dethday"

Metalocalypse: Dethklok - "Birthday Dethday": "Dethklok has an album out - how awesome is that? If you don't know what I'm talking about, click here. Sadly, it looks like they left off the Dr. Rockso track, but otherwise, I am so stoked."

Britney Spears - "Gimme More"

Britney Spears - "Gimme More": "Down the pop well twice in the week? Yes, it's true.
It's really too bad that Britney debuted this song at the VMAs because it took the teeth out of what would have otherwise been a fairly huevos-y return: 'It's Britney, bitch!'
It's not the kind of thing I would have expected her to get away with - but she would have, if it wasn't for that sleepwalking nightmare of a performance...which is even sadder because you know she wasn't focusing her effort on the singing, so the writhing shouldn't have been that half-assed."

Suede - "Electricity"

Suede - "Electricity": "I couldn't be happier to announce that Rhapsody will be getting the digital debut of the first, self-titled Suede record on 10/16. Yippee!! To celebrate, here's another great Suede song - killer riffs, more sly sexuality from Brett Anderson and killer falsetto. Aw yeah!"

Jennifer Lopez - "Do It Well"

Jennifer Lopez - "Do It Well": "Occasionally, I trip up from my alt/rock playing field and wind up in a pop rabbit hole. And this time, J.Lo did it to me...because, really, it's a jam, so I have to own up to it!"

Von Südenfed - "The Rhinohead"

Von Südenfed - "The Rhinohead": "The Fall's Mark E Smith + Mouse On Mars = Von Südenfed = Swingin', Bleepy and even Danceable Beats. Who would have thought?"

Spoon - "You Got Yr. Cherry Bomb"

Spoon - "You Got Yr. Cherry Bomb": "Normally, I'd be a little weirded out by Spoon trying their hand at 60s pop, but they seemed to have pulled it off. The echoing tambourine, the horns and the punchy-yet-simple bassline are the parts that reach into the past for me, but it's still a Spoon song through and through."

Stars - "The Night Starts Here"

Stars - "The Night Starts Here": "When I saw Stars live years ago, back in NYC, they would often transform their bedroom synth-pop into live rockers that approximated a dual-gender-fronted New Order, complete with surging bass. Here, Stars finally starts to approximate that full rock energy on a studio track. They still have the lush underpinings they've become known for, but with more of a driving sound put up front."

Michael Penn - "Invisible"

Michael Penn - "Invisible": "Simple and understated, yet beautiful pop. I've blogged it before and I'll blog it again, but I remain steadfast in my belief that Michael Penn is so completely underrated. This particular gem is from his debut album."

Ned's Atomic Dustbin - "Grey Cell Green"

Ned's Atomic Dustbin - "Grey Cell Green": "Deliciously fuzzy Brit-rock, a la Catherine Wheel and Swervedriver. I remember this is what 'modern rock/alternative' radio used to sound like and I miss those days. Maybe it's nostalgia, but it seems like there was great new music coming on the radio all the time, like something new being discovered every 3-4 minutes. I think the fact that it isn't like this today says more about radio than about today's music."

"Doctor Who (theme)"

"Doctor Who (theme)": "My other half got me to watch some classic (i.e. 1975) Doctor Who the other day and I've had the theme in my head ever since. It's a little creepy and mysterious and fairly perfect for this kind of sci-fi show."

Suzanne Vega - "Blood Makes Noise (Rhapsody Originals Version)"

Suzanne Vega - "Blood Makes Noise (Rhapsody Originals Version)": "I love the original version, with its pots-and-pans clanging noises and Mitchell Froom's excellent keyboards, but this version is strangely compelling as well. In this live take, Suzanne strips the song down to just vocals and bass, but keeps a lot of the song's urgency and sharpness."

Kings Of Leon - "McFearless"

Kings Of Leon - "McFearless": "Despite proclaiming that they were under the weather, Kings of Leon still came through to rock the Warfield last night and this was one of the standout tunes."

Queen Of Japan - "I Was Made For Loving You"

Queen Of Japan - "I Was Made For Loving You": "Normally, I think dance-y versions of rock songs are bad and should be avoided - but this song flips that concept on its head and makes it work. Queen of Japan recognize KISS' "I Was Made For Loving You" as the stomping club track it really is (and not the faux-rock glam KISS dressed it up as). No longer an awkward Gene/Paul stab at disco-rock, the track becomes dark and sexy and all-around excellent."

Rilo Kiley - "Dreamworld"

Rilo Kiley - "Dreamworld": "It sounds like Fleetwood Mac in general, but I think it sounds more specifically like "Trouble" by Lindsey Buckingham. It's a good song, but it does sound like a tribute to the Mac."

Superchunk - "Martinis On the Roof"

Superchunk - "Martinis On the Roof": "I know this isn't actually the most appropriate song to pick for today, but it's the closest I can find that has the right sentiment."

The Cardigans - "I Need Some Fine Wine And You, You Need To Be Nicer"

The Cardigans - "I Need Some Fine Wine And You, You Need To Be Nicer": "Another great track from the greatly overlooked last Cardigans' record. It seems like everyone still wants them to be bubbly and upbeat, but since this record is not that, it hasn't gotten the notice that it should. It's really quite a shame because Nina's voice and lyrics are as sharp as ever and the songs are solid. It's not too late to give a listen!"

Cyndi Lauper - "Money Changes Everything"

Cyndi Lauper - "Money Changes Everything": "At first, it sounds like an upbeat, mid-tempo rock song - but it's clearly much sadder and Cyndi, in that odd chirpy-yet-powerful way, imbues the song with the appropriate emotional undercurrent. The album it comes from (She's So Unusual) is a gem overall, but this is still its best cut.
Also of interest is the original version of the song, by The Brains. A much rougher take than the semi-gloss Lauper version, but with a more of a crass punk/new wave vitality."

M - "Pop Muzik"

M - "Pop Muzik": "It may be a bit of a guilty pleasure, but I love this song so much. From the bubbling synth noises to the Euro-girl backup chorus to the totally square way M yells "get down!", this is disposable pop at its best. The video is also pretty classic - my favorite part being when M gives the mannequin-looking girl vinyl record after record, with her throwing each one away like an automaton...while the 'pop pop pop muzik' goes on."

Pavement - "Stop Breathin'"

Pavement - "Stop Breathin'"

Kreidler - "She Woke Up And The World Had Changed"

Kreidler - "She Woke Up And The World Had Changed": "Sometimes, it just feels like it has."

Talking Heads - "Road To Nowhere"

Talking Heads - "Road To Nowhere": "In high school, I was the hugest Talking Heads fan ever, scribbling their song titles on the fronts of all my folders. Recently, I haven't been listening to them as much, probably because I'm always trying to listen to new music for work. Then - yesterday, for no reason at all, while I was doing laundry - this song popped back into my head and I'm so glad it did. It could be this hugely cynical song, but it winds up sounding so joyous that's its almost more of a church revival than their cover of Al Green's "Take Me To The River.""

David Bowie - "Drive In Saturday"

David Bowie - "Drive In Saturday": "Jazzy, retro sci-fi doo-wop wrapped in shiny tinsel. Is this what they'll play in heaven?"

U.N.K.L.E. - "Hold My Hand"

U.N.K.L.E. - "Hold My Hand": "I love this buzzy, piercing, straight-on rock, with the bass leading the way and the drums crisply pounding along. And is it just me or is that piano lick near the end of the song a sample of the piano from Bowie's "Be My Wife"? Right before I'm sure of the sample, the song kicks back into its guitar noise - which I love, but is frustrating to me at the same time - because it keeps me from knowing if I'm right or not."

A Fine Frenzy - "Come On, Come Out (Rhapsody Originals version)"

A Fine Frenzy - "Come On, Come Out (Rhapsody Originals version)": "My favorite version of my favorite A Fine Frenzy song. Here, all the instrumentation in the song (which is fairly prevalent on the album version) take a backseat to Alison's vocals and piano, making the song sparkle as it rolls out in this more seductive and intimate form. In fact, in this arrangement, it reminds me of some of my favorite Rachael Yamagata songs."

Mando Diao - "Song For Aberdeen (Rhapsody Originals Version)"

Mando Diao - "Song For Aberdeen (Rhapsody Originals Version)": "Mando Diao are a first-rate garage rock band - so imagine my surprise when they go acoustic and still sound equally amazing! Here, the guitars may be more subtle, but the harmonies are front and center and the keyboard leads them on a bouncing run down the lane."

Morrissey - "Alsatian Cousin"

Morrissey - "Alsatian Cousin": "Morrissey's first song on his first solo album - and he sounds like he's out for blood...in as much as he can. It's not that he's on new territory - the muscular bass is on par with 'Barbarism Begins At Home' and Morrissey's bold delivery resurfaces all the way through 'Irish Blood, English Heart' - but there's something powerful in his bitterly saucy accusations of adultery. I also love the way he delivers the line: "but on the desk is where I want you!" Poisonous but tasty!"

Syd Barrett - "Gigolo Aunt"

Syd Barrett - "Gigolo Aunt": "A strange, whimsical - but fun - pop tune, aided along by forceful bass and frolicking 60s keyboards."

Feist - "My Moon My Man"

Feist - "My Moon My Man": "I'm torn about this song. On one hand, it's very catchy, although its placement in the over-run Verizon Wireless TV ads may have helped with that somewhat. On the other hand, it gets sidetracked from true pop perfection by breathy asides and burbling noises. (Not to mention that it musically cribs from Spoon's more piano-based tunes!) I still like the song, but it feels like it's stuck on the cusp of being so much better."

Pete Krebs - "Do Your Father Proud"

Pete Krebs - "Do Your Father Proud": "Ex-Hazel frontman Pete Krebs goes solo acoustic, without sounding sparse in the slightest. Sweet-sounding, but biting at the core, this is acoustic without being folky."

Buffseeds - "Sunlight"

Buffseeds - "Sunlight": "Kind of like Placebo's Brian Molko fronting Travis, this song blends emotive, high-octave vocals with symphonic-styled Brit-rock. Pretty and touching."

Verbena - "Hot Blood"

Verbena - "Hot Blood": "Most people know Verbena from their debut Capitol Records album, where Dave Grohl (as producer) made them sound like Nirvana, so that's what people thought they were. Their real gem was the album before that, Souls for Sale, which melded dirty male-female vocals to a Stones/Stooges stomp, keeping the melodies strong while being equally as electric as those bands. Unfortunately, this record was similarly overlooked because it came out on Merge Records at a time people looked to them for indie pop and Neutral Milk Hotel, essentially making them the shard of glass in a pillow. This record is great rock'n'roll and it's begging to be rediscovered; this track is the first song on the album and is as good a starting point as any."

Prince - "Batdance"

Prince - "Batdance": "It's nice seeing Prince getting back to some sexy antics on his new album (Planet Earth), but it still doesn't compare to his days of yore. Still, as a reminder of how you can never really peg what Prince is going to do, I thought I'd bring back his lead track from his Batman soundtrack - which, though often bloated and confused, is still a great example of something it still seems like he'd never do. Too bad that the "Kiss"-like guitar riff that kicks in around the 2:46 mark is hotter than anything on the new record - and singing "I wanna bust that body!" in front of Bruce Wayne's "I'd like to!" shows a greater sense of humor too."

Me'Shell Ndegeocello - "The National Anthem"

Me'Shell Ndegeocello - "The National Anthem": "Me'Shell Ndegeocello taking on Radiohead? Awesome! Me'Shell takes the abrasive squonk of the original track and makes it simmer with a funk-rock blend, while her gentler vocals add a sexy element that one would be hard-pressed to find in the original track. Of course, her trademark excellent bass is front-and-center in the track as well. How did I miss this when it came out?"

Soulwax - "Too Many DJs"

Soulwax - "Too Many DJs": "More people know them in their DJ incarnation (billed as 2 Many DJs, ironically) or perhaps from later period work, but here's a taste of Soulwax's energetic alt-rock from the late 90s. Tasty."

Maximo Park - "Going Missing"

Maximo Park - "Going Missing": "Fabulous, jaunty Brit Rock. Also appropriate as I'm going out on vacation for a while, so I'll be...going missing. (Wocka wocka!) See you back in a bit, blog fans..."

Peter Bjorn and John - "Young Folks (Live from Rhapsody Rocks Austin party)"

Peter Bjorn and John - "Young Folks (Live from Rhapsody Rocks Austin party)": "This live take of their hipster hit bubbles with a certain exuberance, especially in contrast with the almost coolly-detached album version, in spite of this version almost being stripped down entirely to just drums, bass and vocals. Definitely worth checking out."

Maps - "Elouise"

Maps - "Elouise": "From the label that brought you M83...it's British M83 - Maps! OK, that's a bit of a crude simplification, but they are label-mates with M83 (Mute Records) and they do share similar synth-yet-shoegaze/drone qualities, just with more obviously British vocals and a touch more rock instrumentation. (In some of the vocal parts of this song, they are not unlike early Lilys.)"

Janet Jackson - "The Pleasure Principle"

Janet Jackson - "The Pleasure Principle": "It's really simple R&B pop and maybe that's why it succeeds. As opposed to later Janet songs, you can understand a lot of what she's singing and the track isn't glutted in production. If anything, quite the contrary - the percussion pops in tune to the synth bass and that's almost it, aside from some spare guitar riffs. Most importantly, she sounds like she's having fun without trying too hard and that's what makes the song fun for the listener too."

Crowded House - "Don't Stop Now"

Crowded House - "Don't Stop Now": "Just a simple guitar/bass/drums/vocals song, but in Neil Finn's hands, it all adds up to being one contemplative and beautiful pop song, in the best way possible. (From the brand new Crowded House album, Time On Earth.)"

Aimee Mann - "Lost In Space"

Aimee Mann - "Lost In Space": "The gorgeous title track of Lost In Space, the song is full of understated keyboards and guitar, ultimately climaxing when Aimee sings that she's 'not even there / gone, but I don't know where'. I guess it should be a downer of a song, but it sounds too good to hurt.
Oh, and on a completely unrelated note, happy 4th of July, all."

Idlewild - "No Emotion"

Idlewild - "No Emotion": "Despite being a fan of Idlewild, I had a hard time getting into their latest album, Make Another World. It just seemed like frontman Roddy Woomble kept trying to fit more words into each song than there was actually space for and it gave an awkward feel to many songs. But, after further listens, I am learning to love the album (as I do their others) and this song is the clear winner. Admittedly, it's because it's closest in feel to The Remote Part album (my favorite), but adds in some highlights from Warnings/Promises, like the ghostly chorus elements from 'Love Steals Us From Loneliness', to make a new great song."

Missy Elliott - "Hit 'Em Wit Da Hee"

Missy Elliott - "Hit 'Em Wit Da Hee": "''I subpoena you to my funk room, see?' Awesome. Missy came out guns blazing on this first track on her first record - and rightfully so - the record is still just as hot, 10 years (!) later."

Cake - "Daria"

Cake - "Daria": "Sometimes, it's the simplest things that make me love a song. Here, the sometimes-braying John McCrea turns to lead a sweet chorus of "Daaaaariaaa!" over and over - and, that, plus the simple but energetic bass line underneath it, cast a strange spell over me."

Guided By Voices - "Huffman Prairie Flying Field"

Guided By Voices - "Huffman Prairie Flying Field": "This is the last Guided by Voices song on their last record and, in my book, it helped put them out a high note. Robert Pollard is at his wistful, melancholy best and the band is aces on their respective parts (including the awesome Kevin March on drums). As Pollard sings "for far too long..." over and over, the song seems to stretch into infinity - but when the second guitar lead kicks back in for the last minute of the song, it propels the song into an even more celestial infinity, if that makes any sense. It's as if the GbV magic was radiating out into the heavens, like a satellite signal heading out from Earth. GbV forever!"

The Faint - "Cars Pass In Cold Blood"

The Faint - "Cars Pass In Cold Blood": "For all their pretentiousness, I have to hand it to the Faint - they did glean some of the best of New Wave and cover it with a nice modern polish - and this song is an example of that (notwithstanding the noiserock finale). Maybe if they were less dark and just a few years later, they could have had had the success The Killers wound up getting - but anyone who sings about dark sex this much probably still wouldn't."

The Aislers Set - "Army Street"

The Aislers Set - "Army Street": "I'm so happy that The Aislers Set is now in Rhapsody that I have to blog about them again! This time, it's one of my other favorite TAS songs, "Army Street". Here, the first-person narrator is so intimidated at a party she's attending that she drinks to (over-)compensate and then ultimately flees. It may sound emo, but it's painted so straight-forward that it's easy to identify with the social awkwardness that we've all felt at one point or another.
The part that really gets me every time isn't the lyrics but the guitar lead that starts at the 2:14 mark - it's a simple melody that sounds like chimes, but it just about breaks my heart every time I hear it. By the time Amy Linton's multi-track vocals kick back in, with the subtle tambourine backing, I'm completely shredded.
Now that I live in San Francisco, I know where Army Street is, so it means even more to me now than it did before."

The Aislers Set - "Friends Of The Heroes"

The Aislers Set - "Friends Of The Heroes": "I've been listening to the Aislers Set for years now, but I never cease to amaze at their musical alchemy - or, rather Amy Linton's, since most of the first record is played entirely by Amy alone. She was able to somehow capture 60s girl group harmonies and Phil Spector walls of sound that sound native to that time period, while still imbuing the songs with melodies and melancholy that surpass most of the music of that genre. How Amy was able to do this alone is still a mystery to me, but the whole album (Terrible Things Happen) is evidence of her magic, from start to finish."

Unwound - "Kantina/Were, Are And Was Or Is."

Unwound - "Kantina/Were, Are And Was Or Is.": "Oh, Unwound, how complicated you are. When my best friend put "Kantina" on a mixtape for me (during the Mixtape Era- look it up, kids), I discovered the raw power of Unwound and I wanted to play it over and over again. Unfortunately, on CD, Unwound put three freaking songs all in one track - "Valentine Card", "Kantina" and "Were, And And Was Or Is." - even though the first and second tracks are not connected at all. In other words, you don't get the usual CD (or digital) pleasure of just skipping to the song you want to hear. So, if you want to hear some amazing, pummeling rock sludge that shifts into echo-y dream rock at points and then slowly transitions into beautifully distorted but shimmering guitar interplay, press play on this track and skip to the 3:26 mark for "Kantina/Were, Are And Was Or Is."."

Olivia Newton-John & Electric Light Orchestra - "Xanadu"

Olivia Newton-John & Electric Light Orchestra - "Xanadu": "My friend Stephanie just alerted me to the fact that, somehow, Xanadu is somehow coming to Broadway as a musical. Clearly, even they know this is a debatable achievement, as their website adds the tag "Seriously." underneath the show's name.
Still, it compelled me to celebrate this magical moment in time, when two behemoths of the 70s (E.L.O. and O.N.J.) came together - on rollerskates no less - to bring us this neon-trimmed poptastic masterpiece.
"A place that nobody dared to go" indeed..."

(See my further thoughts on ONJ/Xanadu here.)

Frank Black - "Headache"

Frank Black - "Headache": "The guitar-driven shuffle builds me up, but when the backing vocals on the chorus (towards the end of the song) kick into higher range, I get giddy. Frank seems to be getting more excited through the course of the song as well."

David Bowie - "Day-In Day-Out (Spanish Version)"

David Bowie - "Day-In Day-Out (Spanish Version)": "This is a lesser Bowie song from what is pretty much his worst album ever (Never Let Me Down), but hearing him do "Day-In Day-Out" in Spanish is somehow pretty entertaining."

Pixies - "I've Been Waiting For You"

Pixies - "I've Been Waiting For You": "For reasons that are hard to articulate, this song has always struck me as a transcendent Kim Deal song. And by which I mean that I picture her kind of levitating down a supermarket aisle while singing this song - or, really, any other kind of chaotic environment that she seems to move through obliviously - because she is so focused on the message of the song's chorus: 'I've been waiting for you / and you've been coming for me / for such a long time now.' It's as if she has precognition of a meeting and that, in her certainty, nothing else matters or even registers. Or maybe I just love Kim Deal so much that I fancy her to be almost supernatural in her awesomeness, which at times seems very possible, that I'm giving her waaay to much credit in how I envision this song."

Rocket from the Crypt - "Over the Rail"

Rocket from the Crypt - "Over the Rail": "A track from the Circa: Now! sessions, but not released until the album was re-issued with bonus tracks, this is another fat slab of rock from the RFTC boys and is as solid as anything from their albums."

Ted Leo - "La Costa Brava"

Ted Leo - "La Costa Brava": "An interesting little number - Ted Leo provides his usual high-quality rock, but he mainly bases this song around a subtle, repeating guitar section. It's the kind of pleasant melody that you want to keep going, but he keeps things interesting by occasionally punctuating the song with some ace indie-rock chord riffings. And then, just when you think the song's going on for too long (around the five minute mark), Leo starts layering in different vocal parts, giving the song a completely new tonal dimension, even as the music stays constant."

The Twilight Sad - "Walking For Two Hours"

The Twilight Sad - "Walking For Two Hours": "This works my shoegaze jones. A wall of sound washes over this melancholy song, while the very Scottish vocals somewhat recall Idlewild. This song sounds best when turned up loud, as the drums pound especially hard, but you can also hear the subtle accordion parts wafting in and out of the background."

The Hong Kong - "Galaxies"

The Hong Kong - "Galaxies": "Bouncing fuzz pop, much in the vein of early Blondie-as-punk-girl-group and just as much fun."

Dengue Fever - "We Were Gonna"

Dengue Fever - "We Were Gonna": "This is swinging 60s rock, except made in the present day and featuring a female Cambodian singer who sings in Khmer. It may sound gimicky, but the music is tight and the unexpected vocals keep things sounding like more than well-done psychedelic pop retreads."

The Whigs - "Like A Vibration" (live)

The Whigs - "Like A Vibration" (live): "Check out this previously unreleased track from The Whigs' Rhapsody Originals session. The songs from their album (Give Em All A Big Fat Lip) are great, but this song - slated for their upcoming record - is amazing. It's pounding, rough and rocking with jolts of energy every time they sing "like a vibraaaatioooon". Like the tag says, it's Friday, rock it out."

Elvis Costello - "You Belong To Me"

Elvis Costello - "You Belong To Me": "I'm blogging this one as a stand-out track on a stand-out record, This Year's Model. And for that, I defer to Rhapsody editor Nick Dedina and part of his album synopsis: "This Year's Model still brims over with intelligence, melody, dark humor, quotable lyrics and jittery new wave vibes." Exactly."

The Cribs - "Men's Needs"

The Cribs - "Men's Needs": "This song comes on like The Strokes, but way more British. The verses share The Strokes' too-cool-for-school posturing, but the chorus vocals strike a more impassioned chord. I'm sure that The Strokes comparison may be a tedious starting point for many of you readers, but the similaries are there for their good elements, not their bad ones. Besides - be warned that the hooks are on and they're super freaking catchy. It's worth your 3 minutes to check it out."

R Kelly - "Sex Planet"

R Kelly - "Sex Planet": "Speechless. Just listen to it. [parental advisory, probably]"

John Cale - "All My Friends"

John Cale - "All My Friends": "John Cale takes on one of the epic tracks from the new LCD Soundsystem record. Cale's vocal delivery is not dissimilar from James Murphy's original, but the drone-style keys and electronics of the original are swapped for live guitar/bass/drums, giving the song a wonderful post-rock quality. A great listen."

Unrest - "Winona Ryder (xx version)"

Unrest - "Winona Ryder (xx version)": "Alternating between a herky-jerky lo-fi guitar version of a Devo stomp and a swinging, handclapping dance party, this is probably the best tribute to the star of Beetlejuice and Heathers possible, even if it really has nothing to do with her."

Lil Mama - "Lip Gloss"

Lil Mama - "Lip Gloss": "This song is awesome. It's essentially just Lil Mama rapping over handclaps and a bass drum beat (think marching band bass drum), but it pops. I don't know much about her - it's her first single - but, on this track, she's a mix of girl gang tough and barely-legal sexy. There's still a sassy humor about everything and her chorus of 'what you know `bout me?' will definitely get stuck in your head."

The Comas - "Come My Sunshine"

The Comas - "Come My Sunshine": "Not worlds away from "Invisible Drugs", the track that snagged me on their previous record, but equally as tasty. This time around, they blend a little Silversun Pickups into their fuzz-blend, but rock it out just as hard."

Suzanne Vega - "Frank and Ava"

Suzanne Vega - "Frank and Ava": "We were fortunate enough to do a taping with Suzanne in NYC last week (look for it in July!) and she performed this song from her forthcoming new album. The vocals are her usual understated cool, but the pop hooks are back and with the energy of much of the Nine Objects of Desire record. It may be a long break between her albums, but when Suzanne comes around, she brings the goods."

The Glands - "Livin' Was Easy"

The Glands - "Livin' Was Easy": "This song has a real ramshackle quality about it, almost as if it fell together by accident - the vocals should seem off, the guitar almost has a drawl - but somehow things add up and that's the magic to this little Southern-styled charmer."

Tori Amos - "God"

Tori Amos - "God": "I had been a fan of Tori's when Little Earthquakes came out, but I had no idea where she would go next. When she returned with this song, it was clear Tori was back and she was bringing her "A" game. Her debut had been bold and confrontational, but now she was taking on religion - and she had brought the musical chops to back it up. Her whooshing "woo-hoos" after the chorus, the crisp drum program and the guitar squelches give the song layers of texture while also providing an edgy and ominous sound. And in case you thought she was fronting, Tori wound up writhing with real live snakes in a mock religious ceremony for the song's video, re-enforcing the confrontational angle of the song."

Air Miami - "You Sweet Little Heartbreaker"

Air Miami - "You Sweet Little Heartbreaker": "I'm so glad we finally have this post-Unrest Mark Robinson effort in the system. Kind of lo-fi, kind of synthy, kind of poppy, kind of lush - this album is all over the place, but is still a consistently good listen. This particular song makes me want to pogo in this strange Buzzcocks-meets-Devo kind of way."

Michael Penn - "Walter Reed"

Michael Penn - "Walter Reed": Sometimes I can be so fickle-
I love the first four Michael Penn records, but when the 5th record (Mr. Hollywood Jr.) didn’t grab me on first listen, I pushed it off to the side to revisit at some much later date. But the new Michael Penn compilation (Palms & Runes, Tarot & Tea) pulled this track out of the bin for me and made me realize I had dismissed this record too hastily. It’s still not my favorite MP album, but his gift for non-saccharine pop melodies, wrapped in subtle textural layers and riddled with references to Los Angeles geography, still makes it a winner in my book."

Fountains of Wayne - "Denise"

Fountains of Wayne - "Denise": "HANDCLAPS! HANDCLAPS! HANDCLAPS!
Their Cars keys + handclaps + softly coo'd "aah, do ya, do ya" chorus = power pop gold (and also the highlight of their Coachella set for me, but mainly because I love this song so much to begin with). Nick also loves this song for the same reasons, but mainly for the handclaps too."

Black Rebel Motorcycle Club - "Cold Wind"

Black Rebel Motorcycle Club - "Cold Wind": "OK, yes, there is a Jesus and Mary Chain element, but they take some basic JAMC-isms and fuse in a more bluesy Americana element and add in better drums too. This is my favorite song from their new album, Baby 81."

Talking Heads - "Electric Guitar"

Talking Heads - "Electric Guitar": "It's such a low-key moment, but it always seemed so cooly dangerous to me when David Byrne intones that he will 'purjure myself / right in front of the jury.' It's the understated way he acknowledges it that makes it seem even more lawless.
I also love so many of the musical elements of this song - the quick upward guitar part during the chorus, the shuffling drums and the way the bass line is distorted to sound like an electronic tuba. Nothing radical on their own, but the way they all sound together gives a whole palate of sounds to a seemingly flat-sounding song.
By the way, this song is brought to you by my Word of The Day -
sedition: incitement of resistance to or insurrection against lawful authority."

Smashing Pumpkins - "Drown"

Smashing Pumpkins - "Drown": "Remember when the Smashing Pumpkins wrote pretty songs that were touching without being wimpy? Remember when Billy Corgan wasn't totally scary, just a bit egotistical? Don't get me wrong, I love Billy all the way through "Walking Shade" on his recent solo album, but damn, has he gone off the deep end - by a mile - since this song. I can only hope that the 'new' Pumpkins are this good... and I know that the early albums were, allegedly, only Corgan/Chamberlin anyway, but, uh, so was Zwan."

Kings Of Leon - "Charmer"

Kings Of Leon - "Charmer": "My friend Bob says this is KOL's Pixies song - and he's right, it is. Live, the bassline is even more prominent and even more Kim Deal-y, so it's even more apparent. The Frank Black screams are obvious either way!"

Kate Bush - "Rubberband Girl"

Kate Bush - "Rubberband Girl": "Following up on yesterday's Tori post, her vocals at the end of that song kind of remind me of Kate's vocals at the end of this song, in their similar jerky, range-skipping way. I believe a reviewer at the time referred that vocal part from Kate as a 'drone-chant roundelay', which I think sums it up pretty well."

Tori Amos - "She's Your Cocaine"

Tori Amos - "She's Your Cocaine": "This is Tori's most rock'n'roll piece, at least in my book. It's not that the song has a super-fast tempo or lots of guitars, but her energetic vocals at the end of the song are both impassioned and rather erotic (as a good rock song should be) and when she yells out "Okay, cut it again" after the last guitar hit, it just sounds so bad-ass."

Q and Not U - "Line In The Sand"

Q and Not U - "Line In The Sand": "More Dischord happiness! This herky-jerky song starts out almost emo-y (but more jagged), but unexpectedly shifts into a swinging guitar groove - with handclaps! As you should all know by now, I'm cuckoo for handclaps, so of course I love this. The two parts of the song should be at total odds with each other, but they wind up more like two different flavors that taste great together."

Siouxsie and the Banshees - "Love Out Me"

Siouxsie and the Banshees - "Love Out Me": "I know that The Rapture isn't the best Siouxsie record, but this song (from that album) is still a winner. It has a great intensity and her vocals sound amazing...and it's soooo goth ("I place the dagger twixt my breasts..."), but that's the way it should be."

Jawbox - "Static"

Jawbox - "Static": "Yes! The Dischord Records catalog is now live in Rhapsody! Now I can listen to some classic Amerindie Punk Rock, as some call it. Here's a classic Jawbox cut to celebrate with...something my best friend introduced me to in high school!"

Marilyn Manson - "Heart-Shaped Glasses (When The Heart Guides The Hand)"

Marilyn Manson - "Heart-Shaped Glasses (When The Heart Guides The Hand)": "A weird little song and not what I would have expected as a first single from the resurrected (wocka wocka) Marilyn Manson. A little post-punky, a little new-wave-y...it's all crisp drums and prominent bass. It almost sounds like a dark Killers tune, if it weren't for the spooky/achey trademark Manson vocals. The line 'we won't cover up what we do with a dress' does give him some bonus weird points."

Land of Talk - "Speak To Me Bones"

Land of Talk - "Speak To Me Bones": "Agressive indie rock that's sparse but never empty, led by unstyled female vocals, like a fuller band version of Giant Drag or the Yeah Yeah Yeahs. They're also Canadian, so they're part of the New New York Hotness.* Thanks to Tim for pointing this band out to me.

* - from two years ago when Canada was the new New York hotness. Sweden is now the new Canada. Just in case you're keeping track."

Karl Hendricks Trio - "Like John Travolta"

Karl Hendricks Trio - "Like John Travolta": "More delicious-sounding rock with bile-splattered lyrics from Mr. Hendricks. He does not sound like a nice guy to hang out with, but he is clever and his Dinosaur Jr-esque guitar brings the noise, in a good way."