“Do You Know the Way to San José” (Dionne Warwick)

Downscaling in the belief that Los Angeles and San José are fundamentally opposed, with the former a place of broken dreams, failure, and loneliness, and the latter the home that brings comfort and “peace of mind.” As if there are two kinds of U.S. cities. As if there are two kinds of U.S. economies. As if the free way is just down the freeway.

“Change the World” (Eric Clapton)

Sweetly, whiningly, learingly, tunefully, tastefully, he remarks: to change the world, you gotta be the king, not the fool. And he wishes that it were so (and his girlfriend would then be queen). “Clapton is god” reaches its nadir. Revolting, of course, and fully revolt-worthy. “Fools” of the world, unite . . . You have nothing to lose but your blind faith.

“Someday We’ll All Be Free” (Charlie Hunter)

Oft-covered vocal track reworked into standard jazz guitar arrangement, silence, and then urgent, driving percussion solo on right. Eight-string guitar runs the gamut from Montgomery-like octave runs to faux pedal steel bends to Pass-ian bass accompaniment. Eventual fade-out of melody rids track of original’s purpose: emotive motivation for the oppressed. There’s no more concern about “self-respect” or “hang[ing] on to the world.” Clearing the ground of its subjects to provide shifting, pressing beats inclined to the future.