“River Deep-Mountain High” (Ike & Tina Turner)

Moving past the stock, insipid metaphors (I’m a puppy, you’re my rag doll, etc.), the attraction of the track long premised on inability to hear its coherent architectural foundation (its abyssal bottom, provided by Spector). Recently, and within “pop,” perhaps only W.C. Hart’s Circulatory System tracks function this way, with the 4 or 8 tracks compressed and recompressed to the point of invalidating depth perception (telescoping out and out again, a la House of Leaves). Relation to the other as endless, and without ground.

“Bastard” (Tyler, The Creator)

Following Tyler, The Creator and his critics feels a bit like watching high-schoolers and parents fighting, with both parties alternating roles. (See, for instance, the fairly ham-handed critique in “Bitch Suck Dick” with the patented shock of both mainstream and aspiring lefties.) Premised as a confessional but continuing the offense, narrator impresses/confounds his counselor, Mr. TC. As listeners, though, we hear below this—where “demons” dwell. Form isn’t a strong preoccupation here (see minor nods to horrorcore minimalism), but conservatism is. The psychological subject emerges, abandoned (yet maternally protected); self-mutilating (and outwardly violent); and apathetic in general. The latter is the most confounding, since apathy is an “inherit[ance]” without end—an embodiment literalized and formed through paternal worship. Speaking out, but not acting up.

“Nonpareil” (Scott Joplin)

It can be difficult to figure ragtime. On the one hand, it’s considered a gesture to classical music—especially marches—due to its fairly orthodox approach to form and rules of harmony. (Some, like Ann Charters, have even recorded the trax in question in a more “classical” style.) Another: it’s a more “refined,” hence more respectable, version of cakewalk and coon songs. It’s also positioned as a bridge music, conduit to jazz (or “African American classical music” in more aspirational nomenclature). The same problem surrounds this trax’s title. Does it mean unequaled? Not in a genealogical narrative. Unparalleled? Perhaps, though that would completely minimize how syncretic musics are. Incomparable may be the best translation, even though we can always hone a developmental narrative of Joplin’s works and American music more generally. Things may work best this way: racialized and admired, from the gutter and the opera house, out of a respectable tradition and emanating from brothels. African American expression as both a historical index of an unequaled and evolving white supremacy while also a singular sonic node that bleeds into others.