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Items17
1
Rock Steady
The opening riff gets you moving before Franklin starts calling out the rhythm. The low end stays steady under her shouts, so it makes a good first song while you’re still deciding where to start.
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Dance
The low bass figure and clipped drum pattern leave plenty of air around the chant. It’s easy to fall back into the same rhythm after you’ve walked out of the room for another bag.
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Tieduprightnow
The clipped guitar keeps time while the voices and bass make smaller moves around it. That light, regular motion is a good fit when you’re gathering things from several rooms and still have plenty left to do.
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Higher Ground
A buzzy keyboard pattern bounces in almost the same place while Wonder climbs and dips around it. You can keep going through a repetitive task and catch the refrain the next time it comes around.
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One Way or Another
The clipped guitar and Debbie Harry’s pointed repeats make a brisk push for a job you’ve put off. The pursuit in the lyric is more unnerving than the bounce suggests. The pleasure here is in the band’s momentum.
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Tightrope (feat. Big Boi)
The chorus lands in quick, repeated steps, and the horn punches give you something to wait for between them. Big Boi’s verse changes the voice without letting the pulse slacken. Use it for a stretch that needs a second wind.
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Groove Is in the Heart
The bass figure makes a firm landing spot for the bright little interruptions around it. Drop it in when you’ve done the first big job and need something playful to launch the next one.
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Fuego
Li Saumet’s voice rides a heavy low beat and quick percussion before the title gets called out. There’s enough snap to pull you back to the task if you’ve stopped midway through.
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Galang
A hard, repeating beat sits underneath a voice that keeps changing the shape of the line. The layered voices near the end give the track one more shove before it’s over. Save that push for the bit you’ve been avoiding.
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Private Idaho
The clipped guitar gets going fast, and the high vocal calls keep crossing Fred Schneider’s sharper delivery. That slightly frantic energy has a place when one job needs a decisive burst.
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Deceptacon
The beat is insistent and the voices come in with quick, chanted answers. It’s good for a short, loud burst on the part of the room you’ve kept stepping around.
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Creator
The beat lurches and snaps under the emphatic way Santigold repeats the hook. Its rough edges make it a good gear change when an even groove has started to feel like background.
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Matador
The busy percussion and horn replies keep an urgent song moving in clear blocks. Its story is about a man on the run, so it brings more edge to a cleaning burst than a light dance chorus would.
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Ooh La La
Ware lets the bass do much of the moving, coming back again and again to the same lightly sung phrase. Keep it for a last pass with the cloth, when the biggest jobs are behind you and a steady groove will do.
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Sabali
The keyboard pattern keeps ticking through the soft vocal and the quicker repeated phrases give the track a lift. This makes a good step down after a louder song while you’re still moving from closet to closet.
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Flamingo
The high, piping figure and the quick switch between English and Japanese keep a modest beat interesting. It’s a playful last burst for sorting small things when there’s no need for another big chorus.
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Me Gustas Tú
A lightly bouncing guitar and the repeated vocal replies let you keep moving without much effort. The radio-like interruptions give you little things to notice while you put the last few objects back.
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