This is taken from a review for the album that appears on its Amazon page:
Over the course of Gray's second album, the novelty of her vocal style is somewhat tempered by her limited range. That said, what she lacks in octave-conquering she and producer Rick Rubin more than make up for in creativity. The album's many eclectic singles stand strong. "Relating To A Psychopath" opens the disc with a wall-of-sound block party; it's a funky, celebratory track, well endowed with twangy surf guitar, glimpses of theremin, a ragga-inspired bass line, and lots of goodies floating in the song's highest register (backing vocals, splashes of cymbals, piano). Gray's album also benefits from a host of R&B and hip-hop guests, including Slick Rick, Sunshine Anderson, Angie Stone, Mos Def, and most notably Erykah Badu, who supports Gray on "Sweet Baby," a moving uptempo ballad that easily rivals the best that '70s soul has to offer. Once again, her lyrical sensibility is gripping, vacillating from whimsical ("Oblivion") to disturbing ("Gimme All Your Lovin' or I Will Kill You"). In all, Macy Gray continues to wave her R&B freak flag while digging deep in the trenches of the vividly real. --Beth Massa
Also good for a Friday night is "Dazz" by Brick:
https://www.youtube.com/watch?v=GbfL4Q9bP7g
And vintage Madonna:
Review by Stephen Thomas Erlewine [-]
Although she never left it behind, it's been easy to overlook that Madonna began her career as a disco diva in an era that didn't have disco divas. It was an era where disco was anathema to the mainstream pop, and she had a huge role in popularizing dance music as a popular music again, crashing through the door Michael Jackson opened with Thriller. Certainly, her undeniable charisma, chutzpah, and sex appeal had a lot to do with that -- it always did, throughout her career -- but she wouldn't have broken through if the music wasn't so good. And her eponymous debut isn't simply good, it set the standard for dance-pop for the next 20 years. Why did it do so? Because it cleverly incorporated great pop songs with stylish, state-of-the-art beats, and it shrewdly walked a line between being a rush of sound and a showcase for a dynamic lead singer. This is music where all of the elements may not particularly impressive on their own -- the arrangement, synth, and drum programming are fairly rudimentary; Madonna's singing isn't particularly strong; the songs, while hooky and memorable, couldn't necessarily hold up on their own without the production -- but taken together, it's utterly irresistible. And that's the hallmark of dance-pop: every element blends together into an intoxicating sound, where the hooks and rhythms are so hooky, the shallowness is something to celebrate. And there are some great songs here, whether it's the effervescent "Lucky Star," "Borderline," and "Holiday" or the darker, carnal urgency of "Burning Up" and "Physical Attraction." And if Madonna would later sing better, she illustrates here that a good voice is secondary to dance-pop. What's really necessary is personality, since that sells a song where there are no instruments that sound real. Here, Madonna is on fire, and that's the reason why it launched her career, launched dance-pop, and remains a terrific, nearly timeless, listen.
One last song that is good for bouncing into a good mood:
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