Starting off with Soundgarden for the second straight week, we hear three interplaying guitars at the end of the intro (one is just holding a high harmonic); they're not quite in tune with each other, which might be on purpose and might not. Bass picks up the main verse line at :6, and the left channel guitar fades quickly while the right channel guitars linger underneath. Listen to the percussion hits; it seems like the drummer is hitting something with a bit of a tune early on, particularly from :10 to :14, like a cowbell, but it fades to just a snare by the latter part of the segment. Cornell and bass-mimicing electric come in at :20. The fuzz guitar "fart" at :25 is a nice touch.

This song is one of the main inspirations for the Tuesday Tunes feature series; it has an effect I talked about a few weeks ago with 'Bleeding Me': an off-key guitar lead pattern that holds steady while the chords move underneath to bring it in tune-the pattern starts at :18.5 and the chords move at :22. I thought this part was super cool and then thought that I should go through some other parts of songs that were cool and write about them. And here we are!

I want my hip-hop backing tracks to be either extremely straightforward and minimal or thoroughly lush and overproduced; when the extremes get muddied, I start to get bored. This track is an aggressive instance of the former class; the bass and percussion are no nonsense pounding, and the additional of sparse, metallic piano and female vocal trills midway through are the perfect accents to Eminem's vocal line (which I could take or leave here).

Along similar lines as the Eminem track, when you have really great voices, all you need is bass chords and clapping. The whole song should be more like this; don't need the guitar and bells and synth and heavy percussion and electric piano cluttering the redacted first five minutes of the backing track. I used to suffer through this song when it was big time, waiting for the end. My recurring problem with contemporary R&B (yes, this still counts!) is boring, distracting production.

Now this is how you introduce your album. Let the horns ride in a little lazy, ease into some chords with an absolutely blasted baritone sax note sending us into syncopated clean guitar. Bring in another guitar with a sproinging square wave effect for counter melody for a few notes, then crash in the rest of the band. This thirty seconds makes me think that the album will be like a jaunty stroll through a busy city park on a spring day, which is more or less what ensues.