Artist	Song
Thelonious Monk	Abide With Me
Alex Chilton	Make a Little Love
Buddy Holly	Not Fade Away
Elvis Presley	Coming In Loaded
Beck	Hell Yes
Quincy Jones with Bill Cosby	Hikky-Burr
Mike Doughty	Move On
The Shins	The New Slang
Telepopmusik	Breathe
New Order	Krafty
Billions McMillions	Twisted Nerve
Deerhoof	Panda Panda Panda
Spoon	I Turn My Camera On
Jeff Buckley	Be My Husband
Marianne Faithfull	There Is A Ghost
Sonic Youth	I Love You Golden Blue
The Mendoza Line	Let's Not Talk About It
Iron & Wine	Evening on the Ground (Lilith's Song)
Robert Sean Leonard	The Lonely 1
Liz Phair	Explain It To Me
Big Star	What's Going Ahn
Bj÷rk	Show Me Forgiveness

Comment:

This is the best band Monk ever had (after his work with Diz and Bird), with John Coltrane, Gigi Gryce, and Coleman Hawkins on sax, Ray Copeland on trumpet, Wilbur Ware on bass, and Art Blakey on drums. But this cut doesn't have the rhythm section--it's a reading of the 19th century hymn for four horns that is toe-curlingly good and too brief.
From the sublime to the ridiculously sublime, Alex Chilton's late-80s cover of Lowell Fulsom's pimptastic classic also features a tight horn section; that's where the similarities end, though.
The next track continues the retro groove but knocks all the dust off. There's not a finer song ever been sung, and Buddy Holly shows all his edge here. A classic.
The King picks up the rhythm next, with the finest Friday night drinking song ever written (even if it wasn't intended that way). A splendid goof.
Another goof and a spectacle of an entirely different sort, with Beck and Christina Ricci (doing her finest Japanese schoolgirl impression) trading non sequiturs over fat 90's style beats. "Your beat is nice," indeed.
One last grin-inducer, also featuring non sequiturs over fat beats. Here, though, the beats are courtesy Quincy Jones's late-1960s jazz combo, and the non sequitur man is Bill Cosby, scatting about "gonna get me some roast" something or other.
Continuing with the vocal scat theme, Mike Doughty downshifts the tempo a little bit with a fine na-na-na chorus in service of the great Lost Cause of 2004. Good acoustic sound. As is customary, there are some fine one liners: "I love my country so much, man, like an exasperating friend" is a new motto.
If Doughty was na-na-naing along, the fellows of the Shins take "doo-doo-doo" to an art form.
A complete shift, this one into electronica. This track is no less great for its having appeared in a Mitsubishi commercial.
You'd expect New Order to continue the electronica theme, but they've got guitars and they're going to use them. Not profound, but it manages to articulate a good deal of what I'm thinking now that I'm working after a nine-month job search. Plus it's eminently singalong material.
More trance beats, this time mashed up with the whistle theme from "Kill Bill" (as well as some dialog).
Another big shift, into the insanely great grin-inducing noise of Deerhoof.
You want to keep the grin as Spoon do their finest impression of Prince (or the Bee Gees). But it's a legitimately great song with a fine funk falsetto and bass that makes the booty move.
Jeff Buckley picks up the beat with body percussion and turns in a spine-tingling solo performance (no guitar) of this blues classic from his 1993 Sin-é sessions.
Marianne Faithfull continues tingling the spine with this Nick Cave-penned track.
If the hairs on your arm aren't standing up after Kim Gordon's first verse in this track, check your pulse.
The Mendoza Line let the tension ebb with their disquieted yet warm minor key minor classic here.
The standout track from Iron & Wine's recent _Woman King_ EP. Dueling fiddle and guitar over a modern reinterpretation of the story of Lilith.
The irony switch is completely off with Robert Sean Leonard's affecting performance of this Wilco ballad.
I can't believe it's taken this long for me to include "Explain It To Me" on a mix. Long one of my favorite early Liz Phair tracks for its compressed lyrics and expansive melody line, it just seemed to fit here and provides the mix title.
Another Alex Chilton high point, expressing a male opposing perspective to Liz's plaintive request. In this world, neither the men nor the women know what's going on.
Finally, a high point from Bjork's _Medulla_. No vocal percussion or studio trickery, just Bjork's spectacular voice with a stark plea for "forgiveness for having lost faith in myself." I think that's what this mix is all about, actually.

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