Music Reviews

On She Wolf, Shakira teams up again with songwriter-producer Wyclef Jean, but it sounds as if they're trying to recapture the magic of her global smash "Hips Don't Lie." The duo replaces the Latin and Middle Eastern beats with generic dance-pop diva moves.

There's just something about Iggy Pop. It's that voice: implacable, tomblike, capable of conferring gravity upon the slightest slip of a song. In this case, the song is the cheery ode to misanthropy "I Hate People," by 22-year-old Jemina Pearl, former frontwoman of the short-lived, much-loved Be Your Own Pet.

Sure, "Single Ladies" actually came out in 2008. But since we don't have numbers on this year yet, it's fair to argue that it's the jam of 2009. (Though, admittedly, some would argue that it's neck and neck with Miley Cyrus' "Party In The U.S.A.")

Taking time out from the icy synth-pop duo The Knife to perform as Fever Ray, Karin Dreijer-Andersson makes electronic pop music imbued with haunted fragility. Hear a revealing example of Fever Ray's mysterious aesthetic, Live at Lulea, in its entirety until Nov. 24.

When it was announced that Goodie Mob's Cee-Lo Green and producer Danger Mouse were going to collaborate as Gnarls Barkley, there was no predicting the massive success of "Crazy." It was a song everyone seemed to like, and it remains a left-field wonder of psychedelic soul.

Few sounds get under the skin quite as readily as that of bare hands plucking nylon strings. Gismonti and his son make listeners feel the sensuousness of every note. Their palette of sounds and ideas is so varied that the music is impossible to classify. This session features some of the most exciting guitar playing you're likely to hear all year.

"In Da Club" was a ubiquitous presence on seemingly every commercial radio station, at every hour of the day. The song made 50 Cent out to be a loveable, huggable roughneck the likes of which the ladies hadn't seen since Method Man. "I'm into having sex, I ain't into making love," he drawls, adding, "So come give me a hug."

Mainstream rock was in dire straits in the early 2000s, but out of a world of jaw-wired-shut self-plagiarizers and rap-rockers came arguably the power-pop anthem of the decade. Jimmy Eat World's "The Middle" is a hopeful, energetically poppy punk song about being yourself.

Music critic Milo Miles reviews two new collections of tunes from the late Latin pioneers Tito Rodriguez and Tito Puente. The two were rivals on the bandstand of the Palladium, the epicenter of the 1950s mambo craze.

Nirvana's Bleach (reissued this month) didn't make much of a splash when it was released in 1989. But with hindsight, the album shows a band clearly hurtling toward greatness. A mere two years later, Nirvana headlined England's Reading Festival; by then, the greatness was obvious.

You may not recognize the name James Hand, but that's just because you've never heard anything like him. The 57-year-old Texan has been in hidden away in country music scene for years, and if his third album Shadow of the Ground shows his age, critic Ken Tucker says it's just that Hand doesn't care what you think.

As the music industry began to break apart and go niche, it's remarkable that a group as artistically ambitious as OutKast could break through the way it did. But Stankonia was one of those game-changing records that made everyone perk up and pay attention.

In the last few years, some enterprising younger players have reinvented the piano-bass-drums jazz combo. It's not just that these trios play contemporary pop; it's also a shift in attitude. Vijay Iyer's trio doesn't worry about swinging all the time, although the buoyancy of swing inflects its rhythms as much as hip-hop does.

Every weekday from Nov. 9 to Nov. 20, Song of the Day will survey the past decade, one year (and one song) at a time, with an emphasis on America's most popular music. For the year 2000, it's 'N Sync's "Bye Bye Bye," which feels like the product of a shadowy pre-Sept. 11 world in which telegenic boys dance in unison.