It’s A Hit

I regret that I never turn this column in until the last possible
minute. You’d think it would be easy, right? Just pick some songs and
write about them. But I tend to either grumble about having to choose
anything at all, because I haven’t heard enough, or else I agonize
about what to write up because there’s too much to select from. That
kind of feast-or-famine attitude is born, more than anything, of shitty
time management—that’s a regret, too. Mostly, though, I regret
the dozens of songs I liked this year that I never got around to
mentioning. So here’s a bunch, selected more or less at
random—not even close to all that this column has overlooked in
2008, but you can only regret so much at a time.

Paleface & Kyla, “Do You Mind (Crazy Cousinz Remix)” (Maximum
Bass): the sexiest dance groove of the year, before we even get
to the singing. MGMT, “Time to Pretend” (Columbia): It’s like they saw
the Wall Street collapse coming in advance. Santogold, “Lights Out”
(Downtown): I like her best at her most Blondie. El Guincho, “Antillas”
(Matador): joyful noise keyed to looped Congolese guitar, circa 1976.
Joey + Rory, “Cheater, Cheater” (Vanguard/Sugar Hill): just what
bluegrass needed—a chorus about a “no-good white-trash ho.”

The Cure vs. the Commodores, “Easy Heaven (BRAT Mashup)” (MP3):
the smoothest (in every sense) mashup I’ve ever heard. Caspa,
“Floor Dem” (Hyperdub): My goodness, the things they do with bass these
days. Blitzen Trapper, “Furr” (Sub Pop): a literal shaggy-dog story set
to roots rock so comfortable you’ll figure it isn’t just the weed.
Miwon, “Kisses to Cure” (City Centre Offices): pretty electro rules.
Billy Currington, “Don’t” (Mercury): yacht-rock country with wah-wah
guitar—who could ask for anything more?

Q-Tip, “Gettin’ Up” (Universal Motown): I’ll take him saying nothing
over most people saying anything. Esau Mwamwaya & Radioclit, “Cape
Cod Kwassa Kwassa” (MP3): It didn’t sound like Paul Simon the first
time, either. R.E.M., “Nightswimming (Kissy Sell Out Bmore Re-Edit)”
(MP3): guaranteed to piss off just about everyone, which is only
one reason to love it. Dierks Bentley, “Sweet & Wild” (Capitol
Nashville): for those times when careworn singing and steel guitar are
all that’s required. The BPA ft. Emmy the Great, “Seattle (Brookes
Brothers Remix)” (Skint): drum and bass with some of the clear-light
beauty of the best mid-’90s stuff, even if it was obviously made this
year.

Thanks again and happy 2009.