The Beastie Boys, "Pass The Mic"
Probably the most Beastie Boys song on Check Your Head, this is the kind of thing that anybody who parodies the band is kind of gesturing towards. Given that it was deliberately constructed to be kind of an update of the sound from their first album, it does make sense.
Screeching Weasel, "Falling Apart"
Have I expressed the opinion that I think Anthem For A New Tomorrow is the best Screeching Weasel record? They had a couple albums to refine the pop-punk/Ramones-knockoff sound they were going for, and there are moments that almost sound sincere on this album that work pretty well. Past this point, they kind of got snottier and snottier and it wasn't pleasant, and before this, the sloppiness can sometimes get in the way.
Amon Tobin, "At The End of the Day"
We're a long ways past the frantic drum'n'bass of his early work with 2007's Foley Room, which he made after he started doing some soundtrack work. And it's not hard to hear that direction coming out here, there's something undeniably narrative about the record. He apparently went out and recorded a lot of the sounds on the album in the field, which may contribute to it being a little more organic sounding than some of his earlier stuff.
Blue Meanies, "Lose Your Mind"
The horns on this song are so processed and are so tightly controlled that they kind of feel more like synths than they do like brass. It's an interesting effect, although not really a positive one.
Ghost Funk Orchestra, "Modern Scene"
Reader, this is all I want out of life.