Song of the Day #2,231: ‘Monkey to Man’ – Elvis Costello

deliveryElvis Costello’s ‘Monkey to Man’ has always rubbed me the wrong way, for a couple of reasons.

The first is that, as the first single from his solid 2004 album The Delivery Man, it’s a poor representation of that record. It’s a bit too lightweight and jokey for an album that is steeped in dark blues and country tunes.

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Song of the Day #2,230: ‘Someone Else’s Heart’ – Squeeze

east_side_storySurprisingly, this is only my third Squeeze song since I started the Song of the Day series more than six years ago. I would have expected better representation from a band for which I hold a great deal of affection.

The reason, I’m sure, is that I have only one Squeeze album in my iTunes library — 1981’s excellent East Side Story. I have enjoyed other Squeeze albums over the years, including the underrated Play and a greatest hits collection that my principles prevented me from purchasing, but East Side Story has always provided my Squeeze fix.

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Song of the Day #2,224: ‘Cry Me a River’ – Justin Timberlake

justin_timberlake_justifiedI was shocked to realize I’d never featured Justin Timberlake’s ‘Cry Me a River’ on the blog. It’s the one song on Timberlake’s solo debut, Justified, that I like.

In fact, it’s the only Justin Timberlake song I like, period. Or at least the only one I know well enough to like. He’s just not my cup of tea, musically (though I enjoy his work on Saturday Night Live and in the movies).

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Song of the Day #2,223: ‘Winter Wooskie’ – Belle & Sebastian

legal_man‘Winter Wooskie’ is the third track on Belle & Sebastian’s 2000 Legal Man EP, released back in the days when the band would put out new material on singles in between their full-length albums.

The 25 songs they released this way between 1997 and 2001 combine to rival any of their LPs, and in fact the whole lot were released on a double disc in 2005 with the title Push Barman to Open Old Wounds.

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Song of the Day #2,217: ‘Just Don’t Give a Fuck’ – Eminem

slim_shady_lpMy first introduction to Eminem was through the Marshall Mathers LP, the record that launched him to superstar status. That album generated critical raves and public outrage in equal measure and forced pretty much everybody to have an opinion about the rapper.

I was a huge fan of the album, despite its often disturbing content, but I wasn’t sure if it was a one-off or if I could truly call myself an Eminem fan.

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