"Poet" - Sly & The Family Stone
As loose as Sly sounded on record (his work overall strikes me as drum tight, jammy but meticulously so), it is sketchy, almost slurred slow funk. "My only weapon is my singing", Sly starts, but it is a weapon that, here, he seems reluctant to use.
"Come Coser" - DJ Zebra
Mashups may be far, far past their expiration date, but this one still works for me. Nine Inch Nails "Closer" crossed with The Beatles "Come Together". Somehow funkier than both, but not funkier than Little Richard's appropriation of the "Come Together" bassline for "Nuki Suki". Though Richard didn't flat-out say "I want to fuck you/Right now", he sure implied it.
"Soundtrack To Mary" - Soul Coughing
Their first two albums got spun by me as much as anything that came out in the 90s. I'm a sucker for a stand-up bass; add a smart-alecky singer and a penchant for Raymond Scott samples and I'm caught hook, line and sinker.
"We Love Pizzicato Five" - Pizzicato Five
The sentiment is correct, the children's voices pure. "We love you P5, Oh yes we do".
"The Long Black Veil" - Johnny Cash
The singer dies instead of sharing the fact he was gettin' busy with his buddies woman, so she mourns in the long dark night. Die for the honor of a woman you love; Cash makes it seem the only sensible thing to do.
"John The Revelator" - Blind Willie Johnson
The voice. Neither Beefheart nor Waits nor any death metal vocalist has ever approached the growl and throaty dissonant howl of Blind Willie. I always loved the fact that so many of his songs have sweet, slightly off-pitch female vocal accompaniment. Makes his voice seem even rougher, if that's possible.