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This Must Be the Place (Naive Melody)
A small keyboard tune and a plodding low part make a route you can keep coming back to. David Byrne’s voice can take a turn of its own while the band stays with that figure. It suits a familiar neighborhood when you’re taking the long way around.
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Can I Kick It?
The bass pattern stays at an easy pace while voices keep coming in from different angles. Follow the blunt low notes as the title question gets its answer. There’s time to look around even when the verses are busy.
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Shuggie
The first groove has the pace of somebody who’s happy to look in windows. Then the singing and instrumentation turn toward a brighter, more emphatic passage. Take it on a route with a few turns and hear how much the pace can feel different inside one song.
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I Can See Clearly Now
Nash’s singing pushes forward while the backing leans back into its clipped rhythm. Hear how much the delivery opens up in the middle without losing the bounce. It’s a good cue to set off before you’ve settled on a particular street.
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Sleep the Clock Around
The repeating keyboard sound keeps the opening moving while the voice stays light. More sounds crowd in toward the end, giving the walk a little extra lift without a hard change of direction. Play it when you’d like a quiet start to turn into something busier.
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Something on Your Mind
Dalton lets the ends of phrases drag a little, while the playing underneath keeps walking forward. Listen to the bowed replies in the spaces her voice leaves. It’s good company when you’ve left the busy stretch behind and are taking your time.
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New Slang
The acoustic strum gives the tune a little forward roll. Those wordless voices have a way of sticking around as the lead vocal starts talking about a place in much less sunny terms. Put it on for a meander when there’s room for a tune to follow you around.
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French Navy
The drums and bright arrangement have an immediate spring. Tracyanne Campbell sounds more doubtful than the music around her, especially as the arrangement opens out for the chorus. It can bring some energy to the middle of a walk and still leave you something to think about.
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Move On Up
Curtis Mayfield’s nearly nine-minute studio recording from Curtis starts with a rush of horns, then the percussion makes it easy to stay at that pace. The band keeps moving once the main vocal has had its say. Save it for a stretch long enough to hear the whole thing.
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Summer Breeze
On the Isley Brothers’ recording from 3 + 3, the voice and rhythm give the song an unhurried roll, and the electric guitar gets more to say as it goes on. Put it on for a stretch where it’s pleasant to keep moving at the same pace.
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Everywhere
The opening shimmer arrives before the full beat, and the bass makes the song feel lighter once it joins. Christine McVie’s steady delivery leaves enough space to hear the layers around her. Choose it around the point you realize you’re in no hurry to be back.
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A Walk
Short bright keyboard tones make a pattern that stays familiar while the lower sound thickens. When the beat comes into focus, the track has enough weight to carry you across a stretch of open space. It’s an instrumental that can keep you moving without filling every gap with words.
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Mas Que Nada
On Jorge Ben’s 1963 recording from Samba Esquema Novo, the first vocal call has a lively rhythmic answer, and the guitar and percussion keep up the conversation underneath. It gives a walk a little more spring even if the route takes you past the same old houses.
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La Vida es un Carnaval
The long notes in Cruz’s lead float over a busy pulse. By the time the voices start answering one another, the song makes it easy to take the next turn and keep going. Pick it for a stretch when you want to walk with a little more bounce.
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