Items18The creator’s order
- 1
TemptationOnce the bass and drum machine settle into their pattern, the guitar and vocal can move around it without changing the feel underfoot. The 1987 re-recording on Substance gives you time to find a rhythm before the chorus comes back. Stay with the sound beneath the singing if you want to keep an even…0 - 2
Move Your FeetThe bass line keeps bouncing under the group refrain. A little syncopation across the top gives your ear somewhere to go while the beat stays easy to find. It works when you want to pick up your mood and keep the same pace.0 - 3
SlowKylie leaves space in her phrasing, and a low electronic figure makes the pulse legible between the words. You can choose a comfortable, slower count here without losing track when the song gets quieter. Save it for an easy stretch where you want a little groove.0 - 4
Harder, Better, Faster, StrongerLet the kick give you the count while the chopped-up vocal starts packing more syllables into each phrase. That quicker pattern adds energy while the underlying groove stays steady. Keep following the kick if you find yourself trying to match every little turn in the voice.0 - 5
Don't Start NowThe bass keeps putting little accents around the beat, so there's detail to hear even after you've found the count. Follow the kick when the chorus comes around. Use this when you want the spring of a dance record without treating every extra bass note as a cue to speed up.0 - 6
Dancing On My OwnThe low synth pulses while the vocal leans across the beat. As the chorus opens up, you can keep using that blunt low figure as your cue. It's a choice for a steady stretch when you'd like the chorus to feel like a lift without changing your effort.0 - 7
North American ScumThe short pattern underneath James Murphy's talk-singing keeps its shape when the chorus starts shouting back. The voices can provide the push while the drums tell you where you are. It's useful if a chatty verse usually pulls your attention away from the beat.0 - 8
Back on 74The soft-edged singing gives you a cue for breathing room while a firm backbeat holds the timing underneath. It has enough bounce for the middle of a run without putting constant pressure on the pace. Listen below the stacked harmonies if you lose your place.0 - 9
Bad GirlsThe low beat rests in the same place while the vocal cuts out short, angled phrases. It’s easy to follow the weight underneath even if you catch very little of the words. Try it when a half-time feel gives you a clearer cue than busy percussion.0 - 10
Lose Control (feat. Ciara & Fat Man Scoop)The urgent little synth pattern keeps coming back as the voices trade places. Keep your attention on how regularly it returns, especially when the callouts start to overlap. It supplies a clear fast count for the part of the run when you already feel settled.0