Liam

Man, this has hit harder than I thought. I don't tend to post here a lot (relative to some other places I post), but have lurked here for many years. What it has meant is that, outside of some names here and there, I don't really 'know' people or interact with anyone in any meaningful way. However, OSJ was a guy who did, in several threads, go out of his way to respond to posts I made, help me out with recommendations, and even gave me some tips when it came to writing/publishing/etc. A genuinely lovely guy, it would seem. RIP

916. ‘I Believe In A Thing Called Love’, The Darkness (2002) I’m guessing that this is a pretty UK-centric pick and has the concept of ‘songs to listen to before you die’ at a bit of a stretch, but fuck it, I do really like this song. At a time when pop music was all a bit bland and samey, at least in my eyes, The Darkness came along and shook things up a little bit with their 70s/80s rip-off sound that did nothing really new, just took it to a different context. Their debut album is really strong to be fair, with this a particularly strong showing of their songwriting chops. I saw them live at Reading off of the back of this; a perfect example as to why you don’t give a two hour headline spot to a band who had about 30 minutes of material… 917. ‘Ashes of American Flags’, Wilco (2002) Wilco are a name that I’ve seen before, but I couldn’t have ever guessed the type of music they did. This a post-9/11 America, so I feel that there are elements here (the cover of the album, some of the lyrics, other songs on the album) that might mean more to a citizen who had experienced the tragedy of that terrorist event in a way beyond my own interpretation. If I was in a less charitable mood, I could suggest this was a bit boring, but I do like the slightly stilted, lurching nature of the whole song. What makes this an interesting release in general was that Reprise, the label which the band were signed to, initially rejected the album, forcing Jeff Tweedy to release some of the songs online to show that it had an audience. Point proved, he released the album on the Nonesuch label instead. Whatever I feel about the song, I like the idea of artist willing to stand up to a label in such a manner. 918. ‘Quelqu’un m’a dit’, Carla Bruni (2002) This is a pleasant song. That is about all I really have to say about it as it seems a song placed on the list due to it being one by Bruni more than anything else. To give her credit, she sold millions of albums, and her French delivery is impressive considering her Italian roots. I’ve heard worse, I’ve heard better. 919. ‘You Know You’re Right’, Nirvana (2002) Around the late 90s, early 00s, I was a pretty big Nirvana fan – they acted as a bit of a gateway band to other rock and metal acts that I subsequently went on to listen to. However, I wasn’t the type of fan who wanted to hear every last demo, hidden song, etc that the band had produced. To some fans, I’m sure ‘You Know You’re Right’ was a great unearthing and filled a Nirvana-less hole in their lives, yet I just wasn’t really a big fan of the song. It probably wouldn’t crack a top 15 songs by the band in my eyes, let alone deserve a place on this list. Maybe it gets shorter shrift from me due to the lack of nostalgia attached to it or the dearth of listens I’ve genuinely given it? I will say that it appeals more today than it ever has done to me, so who knows? 920. ‘All The Things She Said’, t.A.t.U (2002) This is a worthy addition to the list as much for the controversy surrounding the ‘under age sex project’ (as dubbed by their manager, bizarrely) as the song itself, though that probably does the song a disservice as it is very good. I seem to remember the video being a bit sexier, but maybe that is me imagining the song seen through a 2002 lens. Between the angsty yearning vocals and the moody electronica in the background, it isn’t hard to see why this has not only had some relative longevity, but also why it has been co-opted and covered by any number of acts in the years that followed.

911. ‘Tiempo de Solea’, Ojos de Brujo (2002) A collection of artists from or who live in Barcelona called ‘La Fabrica de Colores’ ended up with this as one of the more significant outputs of their artistic endeavours. An interesting song with a mixture of classic Spanish sounds with reggae, funk and hip-hop – probably amongst the most interesting and enjoyable of the ‘world music’ entries that I have listened to thus far. Ultimately, it is the brooding feeling that pervades throughout the song that I like, with some danceable flourishes provided by the flamenco elements. 912. ‘Freak Like Me’, Sugababes (2002) I have always maintained that whoever wrote songs for the Sugababes were able to conjure up some of the best pop songs of the ‘noughties’. I do believe they had better than this, yet this seems to be on the list as much because of it being the first ‘mash-up’ to top the UK charts as it took elements of ‘Are ‘Friends’ Electric?’ and the lyrics from the original ‘Freak Like Me’ by Adina Horward. This was also a change in their presentation as a band; pushing the cool and sexy factor much more than in their debut. That Sugababes are a true-life example of the philosophical thought puzzle of Theseus’ Ship always makes me happy. 913. ‘Mundian to bach ke’, Panjabi MC (2002) Influenced by: Knight Rider • Stu Phillips & Glen Larson (1982) Influence on: Beware of the Boys • Panjabi MC featuring Jay-Z (2003) Covered by: Countdown Singers (2004) This was HUGE back in 2002/2003 and clearly makes the list for being one of the most high profile examples of bhangra music in the mainstream, though clearly dosed with a liberal amount of other styles. This is unarguably catchy, with or without knowledge of what Panjabi MC is actually rapping about, especially as the dhol (drums) and tumbi (strings) create a hypnotic and pulsating rhythm throughout. 914. ‘A Little Less Conversation’, Elvis Presley vs JXL (2002) Influenced by: Save Me • Aretha Franklin (1967) Influence on: Rubberneckin’ (Paul Oakenfold Remix) • Elvis Presley (2003) Covered by: The Bosshoss (2005) • Nicholis Louw (2008) • Elvis Lounge featuring Andrea Canta (2009) Another song that was absolutely huge when it was released, the remix was not only the first allowed by the Presley statement but it was one that shone a light on a song that had apparently performed poorly when first released back in the 60s. Beefier and funkier than the original, it took a decent song and made it appeal to a modern audience. It isn’t something I’d listen to time and again, but it clearly has a reason for its appeal. 915. ‘Gimme the Light’, Sean Paul (2002) An ironic favourite of mine; ironic moreso that a very lame middle aged English teacher likes it than the song not being good. For a while, it felt like Sean Paul was everywhere and this was the song that put him in the public conscious. Undeniably cool and who doesn’t like a song about sparking up a spliff?

906. ‘Schism’, Tool (2001) Influenced by: Larks’ Tongues in Aspic • King Crimson (1973) Influence on: Question! • System of a Down (2005) Covered by: The String Tribute to Tool (2001) Other key tracks: Sober (1993) • Intolerance (1993) Ænema (1996) • Parabola (2001) • Lateralus (2001) There were two albums I bought when I was younger – I guess around 15 or 16 – that I was not ‘ready’ for when I bought them. That is not to suggest that they were some shift in the music world that I couldn’t handle, more that someone who had largely just listened to radio pop up until this point couldn’t quite comprehend the music he was hearing. One was ‘White Pony’ by the Deftones; the other, ‘Lateralus’ by Tool. I think I bought it because I was just getting into alternative music and the box art looked really cool. It took me a few years for things to finally click, which led to me going back and rediscovering what had come before. Beyond Lateralus, I care less for Tool’s offerings, though I am a big fan of Maynard James Keenan as a singer and performer (having seen him with A Perfect Circle once before). However, this was such an eye opening experience and whilst this isn’t my favourite song on the album, it is a really good song in my opinion. The ‘Parabol’ ‘Parabola’ duo is still one of my favourite parts of any album, if you were wondering. 907. ‘Rock Star’, N.E.R.D. (2001) Whilst I was listening to Tool and Deftones and struggling to get it, my older brother by two years was big into N.E.R.D. Of all of the R&B and rap-inspired music he liked, stuff like ‘Rock Star’ had the most crossover appeal for me and this was a perfect showcase of Pharrell Williams’ writing chops. Admittedly, they’ve thrown in the original and I get why, but the Jason Nevins remix – in my head at least – was better. That, or perhaps I just liked listening to it when playing Burnout or SSX. 908.. ‘Fallin’’, Alicia Keys (2001) There was a period of time where I was sure that either Alicia Keys or Norah Jones was the perfect woman for me. Between their obvious beauty, there was something very attractive about the quality of their singing that appealed to me at a time when I was much more into music than I am now. Keys was talented, but not overly showy with it, as I think is perfectly highlighted in ‘Fallin’’. This was – according to the book – also a song that Keys wrote herself and fought long and hard to keep for herself. She won out and it helped successfully launch her career, so fair play to her. 909. ‘More Than A Woman’, Aaliyah (2001) A sadder release than I had first realised – recording on this video finished two weeks before the plane crash that ended her life at the tragically young age of just 22. Not really a song for me, but there is a hypnotically enticing rhythm that underpins it all which makes it an easy listen. I really don’t know to what extent Aaliyah was a talent who may have gone on to do more. However, no-one deserves to have their best years taken away from them in such a manner. 910. ‘911’, Gorillaz (2001) This seems to be included for the novelty rather than the importance, but no less of a good song because of it. D12 minus Eminem were stuck in London following 9/11, so ended up recording this song with the Gorillaz and – randomly – Terry Hall from The Specials. There are echoes of ‘Ghost Town’ throughout, whilst the lyrics explore the frustration and anger of the men after the terrorist atrocities. Whether this deserves to be in the book or not, it is a song I never even knew existed. Perhaps that is what the book needed to do in places – shine a light on novel and interesting output alongside the classics?

Same here. It feels a weird choice.

901. ‘New York City Cops’, The Strokes (2001) I was never as big a fan of The Strokes as I was of some of the other ‘The…’ bands, but I guess I could see the appeal. There was a rawness about the vocals in particular that was appealing, whilst there was also an energy to the music they pumped out as a band. I feel the book missed a trick by not including ‘Last Night’, though this seems to have primarily made it as it was dropped from the US version after 9/11. Casablancas’ vocal style is one I’ve always liked enough, but I could imagine it is an acquired taste for many. 902. ‘Fell In Love With A Girl’, The White Stripes (2001) Speaking of ‘The’ bands I liked more than The Strokes, enter The White Stripes. In the moment, I don’t think I appreciated them as much as I do when I look back at some of the absolute bangers they released from this single onwards. This isn’t my favourite song of theirs – I have a penchant for ‘The Hardest Button to Button’ – but it is the one that saw them burst onto the scene for the mainstream music fans so deserves its place here. Raucous, loud, but undeniably catchy. 903. ‘Get Ur Freak On’, Missy Elliott (2001) Influenced by: Naag Wang • Jazzy B (1994) Influence on: Love Will Freak Us • Dsico (2002) Covered by: KT Tunstall (2005) • Eels (2008) Other key tracks: The Rain (Supa Dupa Fly) (1997) • Beep Me 911 (1997) • One Minute Man (2001) • Work It (2002) • Teary Eyed (2005) Now, I have no idea about whether Missy Elliott is considered good, bad or indifferent in the grand scheme of things, but this is a banger of a tune. Elliott is really great, though it is hard to look bast the bhangra-style beats of Timbaland that get things going from the opening beat and give the songs its enduring legacy for me. A song that still feels as good as the day it was released. 904. ’21 Seconds’, So Solid Crew (2001) Influenced by: Da Mystery of Chessboxin • Wu-Tang Clan (1993) Influence on: Pow! (Forward) • Lethal Bizzle (2004) Covered by: Ambulance (2002) Other key tracks: Haters (2001) • Way Back When (2001) • Solid Soul (2001) • Broken Silence (2003) Is this good? Is it so bad it’s good? Is it just awful? I can never really tell if my enjoyment of this song is one that comes from a place of irony or genuine enjoyment. It doesn’t feel as big or important as some of the songs that came out of US urban scenes in the 90s, yet it is the biggest song that is representative of the UK garage scene, so I guess it makes it noteworthy. The fact that it remains a song that I, and other people I know, will burst into singing from time to time…hmm, I’m not sure if that is a positive thing or not, but it suggests some enduring interest that still persists today. 905. ‘Stay Together for the Kids’, Blink 182 (2001) Influenced by: Who’s Gonna Ride Your Wild Horses • U2 (1991) Influence on: Emergency • Paramore (2005) Covered by: Madelyn (2007) Other key tracks: First Date (2001) • The Rock Show (2001) • Give Me One Good Reason (2001) An odd choice to include a song that saw one an interesting, if sophomoric, band turn, dare I say it, boring. Maybe that is being a tad too harsh for a song that I do genuinely like, but it is indicative of my interest in the band this album and onwards. That they wanted to explore a big subject like divorce is admirable, yet this has nothing on the better songs from ‘Enema of the State’, nor even some of the bangers from their earlier albums. There are worse choices, but there are many better choices.

896. ‘Clandestino’, Manu Chao (2001) A word that means illegal immigrants, ‘Clandestino’ the album saw Chao mix Latin flavours with a rock and roll style as he talked about love, the sun, marijuana, and more socially valuable, the plight the aforementioned immigrants. To me, the song isn’t anything special, though it does represent the broader social importance of some acts in the wider canon of world music. The album sold over five million copies, so it enabled Chao to be heard further and wider than ever before. Props. 897. ‘Iag Bari’, Fanfare Ciocarlia (2001) A lot of the world music stuff included on the list is very ‘mileage may vary’ fare for me. However, this is a banger. Balkan brass that helps to create a raucous, fun soundscape that is hard not to nod or bounce along to. Unsurprisingly, this band began to pop up on festival lineups around this time – they’d be a perfect early morning tonic on a Saturday or Sunday, something lively to get things off on the right foot once more. 898. ‘Oiça lá ó senhor vinho’, Mariza (2001) A song about drinking too much, it is entirely pleasant, yet not something I quite understand making the list. Even after reading the entry in the book, it doesn’t feel like it has anything of note to make it a worthwhile slice of music to listen to above and beyond numerous others. They talk about how Mariza performed the old-fashioned ‘fado’ style, yet this isn’t even an example of that apparently. An odd choice. 899. ‘You and Whose Army?’, Radiohead (2001) This is the era of Radiohead where I rarely ever delve as they moved significantly away from ‘The Bends’-style rock to something that was admittedly more musically interesting, yet not for me. This is a song aimed at Tony Blair apparently, one that involved Thom Yorke singing through an eggbox to get the interesting vocal delivery, amongst other more technical innovations. Still – it is all a bit boring. The final minute goes a way to redeeming it, but doesn’t do enough for me. 900. ‘Romando y tomando’, Lupillo Rivera (2001) I want to really like this based solely on the guy’s album cover. Apparently, this is a good example of a modern take on a narcocorrido, or drug-ballad. However, the brass element speaks to a style of Austrian music, therefore giving this another layer or two. Fun enough, though clearly on here as much to be a representation of the style more than anything.

891. ‘Feel Good Hit of the Summer’, Queens of the Stone Age (2000) Influenced by: Apathy • Subhumans (1985) Influence on: Feel Good Hit of the Summer Part 2 • Atmosphere (2009) Covered by: Yourcodenameis: Milo (2007) Other key track: Regular John (1998) • Avon (1998) • Monsters in the Parasol (2000) This song never did as much for me as ‘Lost Art of Keeping a Secret’; this album never did as much for me as ‘Songs for the Deaf’. This seems to get here as much for the lyrical content/lack of lyrics and how it announced QOTSA to the wider world for many. Apparently, Rob Halford did backing vocals on this – the more you know. 892. ‘Ms. Jackson’, Outkast (2000) Influenced by: Strawberry Letter #23 • The Brothers Johnson (1977) Influence on: Ms. Jackson • Styles P featuring Jadakiss (2007) Covered by: The Vines (2002) I’m not always entirely sure whether the crossover success of an act from a genre to appeal to a broader section of music fans is always a good thing. That I, a middle aged white man from London, like Outkast maybe doesn’t do a lot for their street cred? I dunno. Whatever people think of them though, this was/is a banger with a heart, and whilst it wouldn’t have the same success as ‘Hey Ya’, it is – by dint of the lack of relative airplay – a more enjoyable listen these days. 893. ‘Romeo’, Basement Jaxx (2001) Influenced by: Runaway • Nuyorican Soul (1996) Influence on: Needy Girl • Chromeo (2004) Covered by: Basement Jaxx (2001) Other key tracks: Red Alert (1999) • Where’s Your Head At? (2001) • Do Your Thing (2001) • Jus 1 Kiss (2001) • Good Luck (2003) • Oh My Gosh (2005) Basement Jaxx are a dance act that cross into that realm of acts that I don’t imagine people particularly having a bad word about. Perhaps there might be some who find their brand of music somewhat annoying, but I’ve always thought that they’ve incorporated their musical influences, repeated beats and simple lyrics in a manner that has never been anything but catchy. Romeo probably is my favourite, but they do have a number of really good tunes. 894. ‘Can’t Get You Out of My Head’, Kylie Minogue (2001) Influenced by: Can’t Get It Out of My Head • Electric Light Orchestra (1974) Influence on: Can’t Get Blue Monday Out of My Head • Kylie Minogue vs. New Order (2002) Covered by: The Flaming Lips (2002) • Jack L (2003) • Carmen Consoli (2003) I think you have to be impressed by Kylie Minogue’s ability to reinvent herself multiple times and have success across a range of different styles and eras. Her music may not always be my cup of tea, yet her fandom and longevity speaks for itself in some ways. This was a monster tune, somehow usurping ‘Spinning Around’, impressive in and of itself as that was a huge relaunch for her. To top it so soon afterwards? Fair play. Sexy, hypnotic, catchy – it has a lot going for it. 895. ‘Vuelvo al sur’, Gotan Project (2001) This ‘propelled Argentinean Tango into the 21st century’ apparently. Not for me really, although I can definitely appreciate the talent involved.

886. ‘Frontier Psychiatrist’, Avalanches (2000) Influenced by: Napalm Brain/Scatter Brain • DJ Shadow (1996) Influence on: Non-Stop Party Now • Girl Talk (2003) Other key tracks: Rock City (1997) • Since I Left You (2000) • A Different Feeling (2000) • Pablo’s Cruise (2000) • Electricity (2000) • Avalanche Rock (2000) Considering they left out ‘Since I Left You’, I knew this was either going to be a song I knew really well but had no idea it was this, or it was a deep cut just to be contrary from what was a more obvious choice. However, as soon as the song kicked in properly in the music video, I knew it within the opening four notes. The sheer scale of the number of different samples that were laid down to create this tune is pretty impressive, whether you particularly like the song or not. I still probably prefer ‘Since I Left You’, but this is an interesting song that is a valid choice from Australia for once. 887. ‘One More Time’, Daft Punk (2000) Influenced by: One More Time • Third World (1985) Influence on: One Mo’ Gin • Play-N-Skillz featuring Lil Jon, Bun B & Krayzie Bone (2008) Covered by: The Gossip (2008) • Starburkes & The Tea Leaf (2009) • Richard Grey (2009) • Marc Mysterio & Téo Moss (2009) Though this wasn’t the first Daft Punk song I heard (‘Around the World’), this is by far one of their most well-realised songs. I feel Daft Punk are a band that transcends genre; I genuinely don’t think I know anyone who actively dislikes them. Apparently, this album and song didn’t go down to well with fans of the band who thought they had ‘sold out’, whilst this was also an early example of autotuned vocals. Sometimes, just enjoy the tune. 888. ‘Stan’, Eminem featuring Dido (2000) Influenced by: Thank You • Dido (1999) Influence on: U Didn’t Care • Canibus (2001) Covered by: Eminem featuring Elton John (2005) Other key tracks: My Name Is (1999) • The Way I Am (2000) • The Real Slim Shady (2000) • Kim (2000) • Marshall Mathers (2000) • Under the Influence (2000) Your mileage may vary on Eminem, but I do – for someone who admittedly doesn’t know much about rap – think he was different class in his early days. This was one of the first albums I owned (bought for me by my Dad) and I loved the mixture of playful idiocy and shocking imagery/lyrics. Even at the time, I think this was the song that stuck out most to me – the haunting use of Dido’s ‘Thank You’ a brilliant sample – and it still has a lot of impact nowadays. That ‘stanning’ has become a way of professing your support for someone considering how this song ends up is pretty odd, but also speaks to the song’s legacy. 889. ‘Oh My Sweet Carolina’, Ryan Adams featuring Emmylou Harris (2000) Not really relevant at all, but I used to love ‘Gold’. Then it turned out Ryan Adams was a douchebag. Fuck him and his music. 890. ‘Fuck The Pain Away’, Peaches (2000) I remember Peaches being all over the media that I consumed in 2000s, yet I never went out of my way to listen to her. I hadn’t realised that this was by her, so obviously I had checked her out by osmosis it would seem. This could just be a song that gets by on its gratuitous swearing and ideas, but the electro beats that it plays across make it a pretty fun song beyond that. The inclusion on the list might be weird, though I guess a move towards an element of ‘female empowerment’ through reclaiming sexuality is an interesting step in music’s evolution.

881. ‘I Try’, Macy Gray (1999) Influenced by: Baby, I Love You • Aretha Franklin (1967) Influence on: Trouble Sleeping • Corinne Bailey Rae (2006) Covered by: The Girlfriends (2000) • Andrew Tinker (2007) • Ben Taylor (2008) For me, Macy Gray is all about whether you like her distinctive voice or not. Whilst I know in my heart of hearts this is a good song, I’m just not really a fan of her muted raspy style. In some ways, I’m pleased that someone who sung in a manner that was very much not the norm for popular music at the time had such success with this song and her debut album, it isn’t really for me ultimately. 882. ‘U Don’t Know Me’, Armand Van Helden (1999) Influenced by: The Captain • Johnny “D” & Nicky P. aka Johnick (1996) Influence on: Runnin’ • Doman & Gooding featuring Dru & Lincoln (2009) Other key tracks: Aliene (1999) • Rock da Spot (1999) • Flowerz (1999) • My My My (2004) • NYC Beat (2007) Armand Van Helden is someone I didn’t really appreciate when I first listened to him back in 1999. I was pretty much firmly entrenched still in listening to pop music on the radio, so the dancier end of that spectrum was often not really in keeping with my interests. However, as I’ve got older, I can look back and realise that he created some absolute bangers. To be honest, I think this already hit pretty hard compared to some of his other output – it is the definition of a tune. A hooky earworm from start to finish. 883. ‘Race for the Prize’, The Flaming Lips (1999) Influenced by: The Whole of the Moon • The Waterboys (1985) Influence on: Kids • MGMT (2005) Covered by: Palm School Choir (2008) Other key tracks: Waitin’ for a Superman (1999) • Do You Realize?? (2002) • The Yeah Yeah Yeah Song (2007) The Flaming Lips are a weird one for me as I love ‘Yoshimi Battles the Pink Robots’ as an album – legitimately one of my top ten or so – yet I’ve never gone out of my way to listen to anything else produced by then. This is weird, but there is an earnestness about it that is hard not to admire I feel. According to the book, this somewhat served as a transitional piece before the aforementioned ‘…Pink Robots’, thus probably why it ends up on the list. Not only is it a nod to the band, but it is the start of their highest profile (?) run in the spotlight. The song is fine. 884. ‘One Armed Scissor’ At the Drive-In (2000) Influenced by: Smallpox Champion • Fugazi (1993) Influence on: Bleed American • Jimmy Eat World (2001) Covered by: Paramore (2007) Other key tracks: Proxima Centauri (1999) • Arcarsenal (2000) • Pattern Against User (2000) An absolute barnstorming salvo from the band, one that I don’t think they ever really match up to in their short-lived career. There is a lurching quality to everything, the song bouncing around and encapsulating the key elements of what would eventually be realised in The Mars Volta and Sparta as the band split up shortly after this due to their different artistic desires. It is definitely a song to go out on a high. 885. ‘Hate To Say I Told You So’, The Hives (2000) I don’t think people will like this song, or the Hives, as much as I do. Maybe I’m wrong, but it feels like this was part of the transition to the ‘The’ bands taking over, a period of time that I don’t remember going down to well with certain music fans. Whilst I’m by no means the biggest fan of the band, the energy throughout this song is palpable and everything coming through the speakers makes you want to dance, or sing, or nod your head. The Hives were also – easily – one of the best bands I saw live. No relevance to this, but it’s worth stating.

876. ‘Surfacing’, Slipknot (1999) Slipknot are a massive ‘your mileage may vary’ group, and it is likely that if you don’t like them, very little is going to change your mind. It is hard to argue about their influence though, both positive and negative – they have pretty much created a whole identity around being a fan of their music. I actually quite like the odd Slipknot song, but this very much sounds like the type of thing that sounds cool when you are 13 and think you want to be a rebel, only to grow up and feel a bit embarrassed by it all. Even from the same album, ‘Wait and Bleed’ is at least a passable song. 877. ‘Scar Tissue’, Red Hot Chilli Peppers (1999) To me, this is probably the album that best merges the funky and pop/rock elements of the Chilli Peppers. Outside of BloodSugarSexMagik, a lot of their early ‘funk’ stuff was uninspiring, whilst a lot of the stuff after this album was also less than exciting. Here, however, they nailed it for me. Maybe it is because this is one of the first CDs I own, so my ideas around it have a sepia-tinged nostalgia to them, yet I do genuinely believe the balance between cool sound and well written pop makes this a good album, and Scar Tissue in particular a good song. What had already been a fun, laid back rock song is kicked into the next gear with the great guitar solo outro; a memorable finish. 878. ‘Ms. Fat Booty’, Mos Def (1999) This is an interesting addition as this takes the sexist songs and raps of the time and flips them on their head as Mos Def eventually is blown off by Ms. Fat Booty. Apparently, this came alongside an album that looked at things such as cultural appropriation of black music by white singers as well as the world’s issue with water, so Mos Def was a more socially aware rapper than many. The quality of his rapping is not really for me to decide – I do enjoy it – but I will say that the lyrical content was refreshing, whilst the samples and backing vocals create a song to groove to as well as one to get you thinking. 879. ‘Caught Out There’, Kelis (1999) Influenced by: Tyrone • Erykah Badu (1997) Influence on: Black Beatles (Beatles vs. Black-Eyed Peas vs. Ludacris vs. Kelis) • Loo & Placido (2005) Covered by: Tune Robbers (2006) Other key tracks: Suspended (1999) • Good Stuff (1999) • Get Along with You (1999) • Milkshake (2003) Kelis is a perfect example of a singer that I tend to forget about, but whenever a song of hers ends up on the radio, I really enjoy it. She can sing, but has that alternative edge to her vocals and general aesthetic that I like as well. This was a huge song upon release, propelled I can only imagine by a huge chunk of women who had experienced the same as Kelis had. This is not quite as good of a banger as ‘Milkshake’, but it is a great tune. 880. ‘Why Does My Heart Feel So Bad?’, Moby (1999) Influenced by: Pacific • 808 State (1989) Influence on: One Perfect Sunrise • Orbital (2004) Covered by: Da Capo Players (2002) • The String Quartet (2002) Other key tracks: Porcelain (1999) • Honey (1999) • Natural Blues (1999) Probably the main thing people know about ‘Play’ is that it was the first album to have all of its songs licensed for other media, so it would be a bit redundant repeating it…but it is an insane fact in some ways, as it showed the commercialisation of music for products, films and television, a means to sell things and emotions to people. This song in particular found its way into the Black Hawk Down trailer apparently, and it provides a rather dour lyric for what is otherwise a pretty blissed out chillout track. I like that juxtaposition, though the song won’t be for everyone.

Fixed the last post and left it at 7 songs, so here is 3: 873. ‘Bok Espok’, Kepa Junkera (1998) Kepa Junkera is apparently a big name in Basque music, with this album in particular an attempt to showcase how Basque music can sit amongst the styles of other cultures. For this song in particular, he performed alongside the Swedish group Hedningarna for a bit of a what sound like a funky, accordion-led jam. It isn’t really the type of music I’d go back to, but this is four and a half minutes that is hard not to enjoy to some extent. 874. ‘Save Me’, Aimee Mann (1999) This is a song I’ve never heard from a film I’ve never watched, though seems to be here primarily because not only did it drive the sales of her album Magnolia, but Paul Thomas Anderson was inspired enough to incorporate Mann’s work in multiple different ways. Characters sing songs by her, people snort cocaine off of her album, etc etc. Fun for all the family. It has a brooding charm, though I don’t quite get why it is on the list outside of the knock-on cultural impact. 875. ‘No One Will Ever Love You Honestly’, The Magnetic Fields (1999) ’69 Love Songs’ is an album I own, but in keeping with my occasionally short attention span, I’ve never listened to all of it. However, this is one of the songs that I always really enjoyed on the all-too-few times I’ve put on this record. Having read in the book that this was an attempt to capture Tusk-era Fleetwood Mac, you can definitely hear the influence of that band as a whole. The whole project deserves recognition – you have to have some balls to produce something of that scope, and to do it with a number of standout moments…even if I haven’t listened to them all…

I'll just blame sleep deprivation and fix it tomorrow. Cheers for pointing it out.

866. ‘Doo Wop (That Thing)’, Lauryn Hill (1998) Influenced by: Together Let’s Find Love • The 5th Dimension (1971) Influence on: Video • India.Arie (2001) Covered by: Devendra Banhart (2006) • Amy Winehouse (2007) • Rihanna (2008) Lauryn Hill is another person who I’ve come out of this project with a new found respect for in terms of their musical talent. It isn’t necessarily like I ignored it before, but having some focused time to listen to songs she was involved with has really highlighted to me how good her vocal delivery is, whether she is singing or rapping. Catchy as all hell, this is a great song no matter what style of music you tend to enjoy. 867. ‘Kelly Watch The Stars’, Air (1998) Influenced by: Zoolook • Jean-Michel Jarre (1984) Influence on: Give it Away • Zero 7 (2001) Other key tracks: Modular Mix (1995) • Sexy Boy (1998) • All I Need (1998) • Jeanne (1998) • Le Voyage de Pénélope (1998) • You Make It Easy (1998) • Talisman (1998) • Playground Love (2000) Whenever I hear the name of the band Air or the album ‘Moon Safari’, I always assume that the song I’m going to listen to will be one I’ve heard before but didn’t know it was by them or on that record. Maybe I’ve wildly overstated their popularity when it comes to soundtracks and adverts, but I feel like there was a time they were everywhere. Having said that, this isn’t one of them. Dreamy and repetitive, this is a song that I could imagine quite enjoying at some point in my musical fandom, but I care less for it now. The appeal is clear though, that’s for sure. 868. 'You Get What You Give’, The New Radicals (1998) Influenced by: Way Down Now • World Party (1990) Influence on: The Game of Love • Santana featuring Michelle Branch (2008) Covered by: LMC featuring Rachel McFarlane (2006) • Timo Raisanen (2008) Just a huge song that I can only imagine still makes the person who owns the rights shedloads of money considering it still gets radio play and ends up on every bargain basement compilation. A brief, but impressive, time in the spotlight was eventually ended by the Gregg Alexander’s desire to write and product – without him you wouldn’t have had a number of Ronan Keating hits, so you can thank him for that. Pop at its best in some ways; it still isn’t really old to me even though I’ve heard it a million times. 869. ‘Music Sounds Better With You’, Stardust (1998) Some songs are just good tunes and this is one of them to me. The definition of an earworm, this is simple yet effective. Played and enjoyed in clubs in its embryonic stage, what was released eventually was further streamlined and the lyrics were largely removed outside of the repeated hook. Sometimes, things are all the better for being simplified. 870. ‘Erase/Rewind’, The Cardigans (1998) The Cardigans are a hard band for me to judge as they feel like they were everywhere during my youth, so I assume they were perhaps bigger, if not definitely better, than many may think. This is a decent song, though sits behind songs like ‘My Favourite Game’ and ‘Lovefool’ in my thoughts about it. I’m somewhat tempted to go back and check out more of their stuff; I can’t imagine it will be mindblowing, but the moodiness of the sound coupled with Nina Persson’s icy vocals probably made for some good album tracks as well. 871. ‘Teardrop’, Massive Attack (1998) Influenced by: Sometimes I Cry • Les McCann (1974) Influence on: Kneight Riduz Wuz Here • Krayzie Bone featuring Kneight Riduz (2001) Covered by: Elbow (2004) • Newton Faulkner (2006) • José González (2007) • Simple Minds (2009) • Anneke van Giersbergen & Danny Cavanagh (2009) Whilst not as high up the list as some of them, ‘Teardrop’ was one of those songs (and music videos) that I can attribute to a growing awareness of music beyond that on the radio, or beyond that that was strictly pop and dance music. It, especially when coupled with the video, was mesmerising to listen and watch, and to me it hasn’t lost any of its power over two decades later. A stunning piece of art in my opinion. 872. ‘Iris’, Goo Goo Dolls (1998) Influenced by: Piano Man • Billy Joel (1973) Influence on: You and Me • Lifehouse (2005) Covered by: Ronan Keating (2006) • New Found Glory (2007) • Finley (2008) • Boyz II Men (2009) • Jai (2009) Other key tracks: Name (1995) • Black Balloon (1998) • Dizzy (1998) • Slide (1998) • Stay with You (1998) This is a track that I think will get some of the most flack of any listed so far. It very much is that post-grunge alternative rock balladeering that hasn’t necessarily dated very well and does little to excite anyone. However, when I heard it (probably several years after it was released) for the first time, I loved it. There is also no doubting how huge it still is – nary a year seems to go by in my time working at schools where I don’t hear it churned out in some capacity at a school event or a talent show. Have to give where credit is due for its longevity at least.

Fixed the missing songs and the numbering. I wrote some in advance, though forgot I had when I came to posting and did five more. Explains the mistake.

Man, sorry. Will add later as it is on my external hard drive at the moment. 856. 'Simarik', Tarkan (1997) You read the words ‘The Prince of Pop’ and ‘Turkish media’ in close proximity and you get at least vaguely interested as to what this might sound like. Almost immediately it is clear that this will be better known to most as ‘Kiss Kiss’ by Holly Valance (or possibly Stella Soleil’s version if you are American). It showcases just how important a soundbyte or flourish within a song can be. It is ultimately catchy, but it is the sound of the kiss at the end of the chorus that gives it something to truly help it stand out. An interesting inclusion. 857. ‘Spice Up Your Life’, The Spice Girls (1997) The thing that surprised me more than this being on the list was that I’d apparently already played it on Youtube before. That isn’t to say that this wasn’t a song that deserved to be on the list, but that I maybe didn’t expect a second outing from the Girls. Perhaps that is because I don’t realise how important they were to the music industry at large, though the book almost talks about them as the saviours of the pop industry. That may or may not be true, but the thing I definitely agree on is that this sounds massive in a way that many other songs by them don’t. With a fun rumba beat, this is arguably a better song than Wannabe. 858. ‘Given To Fly’, Pearl Jam (1997) Influenced by: Going to California • Led Zeppelin (1971) Influence on: Given to Fly • Ola (2006) Covered by: String Quartet Tribute (2006) Other key tracks: Alive (1991) • Jeremy (1991) • Pilate (1997) • Leatherman (1997) • Wishlist (1997) This is an interesting choice and one where my personal interest and the esteem I hold a song in meets a slightly ‘deeper cut’ pick for a band. My memories of this are largely tied to seeing them live in Hyde Park, London, with this being the song that launched a two hour masterclass, by far my favourite gig of all time. I doubt it will be enjoyed by people who aren’t already into Pearl Jam, nor do I think the studio version matches the live versions that I’ve heard since, yet there is a soaring element to this that matches wonderfully with the title that I’ve always loved. One for when I was young and less cynical, perhaps. 859. ‘Paranoid Android’, Radiohead (1997) Influenced by: Happiness Is a Warm Gun • The Beatles (1968) Influence on: Rodeohead • Hard ’N Phirm (2005) Covered by: Brad Mehldau (2002) • Christopher O’Riley (2005) • Easy Star All Stars (2006) • Sia (2006) • Lachi (2009) The more sonically ‘interesting’ Radiohead got, the less I cared about them. I’m very much a ‘The Bends’ fan moreso than anything ‘OK Computer’ onwards, though I do recognise the latter as a period before – to me – they went very much off the deep end. This sees the band getting it just right for me, as it is musically challenging, yet still a good, well-written song. Your mileage may vary on the band, especially Thom Yorke’s vocals. However, if you can get past that, this is one of the best in their back catalogue. 860. ‘Come To Daddy (Pappy Mix)’, Aphex Twin (1997) I only ever used to see Aphex Twin on television when I was staying at my mate’s house after a drunken house party, at which points his music videos were basically nightmare fuel. However, it was through the Dillinger Escape Plan that I was introduced to this specific song as they covered it with Mike Patton on vocals. It is so deranged and weird, before you even get to the video that comes with it, yet I pretty much love every second of it. Envisioned as a ‘death metal jingle’ by Richard D. James., he hit the nail on the head. An absolute banger. 861. ‘Never Ever’, All Saints (1997) All Saints always felt slightly more grown-up than The Spice Girls, though with that came a sound that was probably not as easily marketable. They clearly sold a lot and I’m not pretending they were Bob Dylan, but this is a ‘better song’ than most of the stuff that girl bands at the time were churning out. Soulful and spare with the instrumentation for the most part, this showcased a group that had some potential and one that has had some longevity – I remember more by them than many bands from that time. 862. ‘Song 2’, Blur (1997) Influenced by: Smells Like Teen Spirit • Nirvana (1991) Influence on: The Fight Song • Marilyn Manson (2000) Covered by: Avril Lavigne & David Desrosiers (2004) • Plain White T’s (2006) • My Chemical Romance (2006) Other key tracks: Beetlebum (1997) • Coffee & TV (1999) • No Distance Left to Run (1999) I’ve always understood this to primarily be a satire of the soft-loud-soft dynamic most used by American rock bands over the previous five years, though the book implies there is an argument that this was Blur looking to move away from being defined solely as a Britpop band. Whichever one it is – maybe a little from column a, a little from column b – this is a fun song that comes in, punches you in the face with its energy, and then finishes before it threatens to overstay its welcome. Weirdly enough, this doesn’t sound as dated as you might expect for a song that pretty much looks to capture a sound that was of its time, though it is overplayed due to its ubiquitous involvement in sport of all sorts. 863. ‘Time of Your Life (Good Riddance)’, Green Day (1997) Influenced by: She’s Leaving Home • The Beatles (1967) Influence on: I Miss You • Blink-182 (2003) Covered by: Raymond och Maria (2004) • Glen Campbell (2008) • Dwight Yoakam (2009) This is a personal favourite, whilst also being a song I’ve never really heard too much negativity towards. I feel like your mileage could vary on Green Day as a band, yet this offers something for many who may not like their other pop punk stylings. Making good use of strings to lift things above it being purely acoustic, the lyrics and simplicity of it all begs for it to be sungalong to, something which I did when I saw them live in….2002? Years ago, that’s for sure. 864. ‘Broken Heart’, Spiritualized (1997) Influenced by: I Fall to Pieces • Patsy Cline (1961) Influence on: Lost Souls • Doves (2000) Covered by: Islands (2008) Other key tracks: No God Only Religion (1997) • The Individual (1997) • Electricity (1997) Spiritualized have always been a band I’ve wanted to check out more from, yet purchasing a CD or two of theirs perhaps a decade ago didn’t spark me into sudden fandom. I often seemed to buy CDs to own rather than to listen to at that time though, so perhaps didn’t give it a fair shake really. This feels – and I could very much be wrong – like a song that maybe is a little bit out of step with what I remember hearing from them in the past: sadder, sorrowful in its instrumentation and an overarching feeling of melancholy. I can imagine a time when I would have enjoyed this a lot more and can see the appeal, though it didn’t overly inspire me to that fandom I mentioned earlier. Some beautiful use of strings though. 865. ‘Into My Arms’, Nick Cave and the Bad Seeds (1997) Influenced by: Hallelujah • Leonard Cohen (1984) Influence on: I See a Darkness • Bonnie “Prince” Billy (1999) Covered by: Yots.K (2009) Other key tracks: Tupelo (1985) • Nature Boy (2004) • The Lyre of Orpheus (2004) • Dig, Lazarus, Dig!!! (2008) Considering how they have chosen the songs from some acts, they have nailed the Nick Cave songs in terms of my personal interest. I love the duet with Kylie Minogue and ‘Into My Arms’ probably sits as my favourite of the songs I’ve heard by him. The lyrics explore Cave’s spirituality (not considering himself a Christian, but believing in something) and his ideas around the faith and spirituality caused through love…or that’s what I think. There are few moments I enjoy more from song to song then the little piano melody that leads into the chorus – just an excellent little flourish in a great, great song.

851. ‘Breakdown’, Mariah Carey (1997) Influenced by: Tha Crossroads • Bone Thugs-n-Harmony (1996) Influence on: Lil Love • Bone Thugs-n-Harmony featuring Mariah Carey and Bow Wow (2007) Other key tracks: Emotions (1991) • Fantasy (1995) • Honey (1997) I’ve never been much of a Mariah fan, as I’ve never been a big fan of the breathless note-jumping nature of her vocals. I get that there is a level of skill there and that it appeals to some, it just does nothing for me. This was a song I was unfamiliar with, one about her marriage breakdown and somewhat prophetic of Mariah’s own state in the coming years. This is pleasant enough, though the best part of it for me is that backing vocals plainly because it evokes the better song ‘Tha Crossroads’. 852. ‘Chan Chan’, Buena Vista Social Club featuring Compay Segundo (1997) Compay Segundo was approaching 90 when this was recorded; Ry Cooder was the drive behind the Buena Vista Social Club itself, though it cost him a $25,000 fine (commuted from $1,000,000) for breaking the Trading with the Enemy Act. This feels that it is on the list to celebrate the BVSC and Compay Segundo as much as anything, but that perhaps downplays what is a pleasant Cuban ballad that showcases Segundo on a guitar of his own invention. 853. ‘Between the Bars’, Elliott Smith (1997) Having liked work by Nick Drake, Jeff Buckley and a number of other singer/songwriter types, I’ve always found it weird that I’ve never got into Elliott Smith as much as I feel like I should. I own CDs of his stuff, but it rarely enters my rotation. I think, if I’m being honest, that his voice doesn’t do a lot for me, whilst there isn’t the immediacy in his songwriting that I have found in other musicians of this type. That isn’t to try and do this a disservice: it is a good, if slight, tune that does its job and doesn’t outstay its welcome. Feels a bit oddly placed, but there have been stranger things on the list. 854. ‘Everybody (Backstreet’s Back), Backstreet Boys (1997) Probably the best pop song of all time. There. Ok, when I say pop here, I’m referring to that window of time where pop largely meant boy and girl bands creating saccharine tunes for the radio in the mid to late 90s. Of that fare, this song is an absolute banger, helped along by a very notable music video. Fun fact: I used to know all of the dance moves to this song. Don’t over think it and enjoy it. 855. ‘4,3,2,1’, LL Cool J featuring Method Man, Redman, Canibus and DMX (1997) As always with rap, I have to defer to others when it comes to whether this is good or bad or indifferent – I can only really state what I think and any of the contextual stuff surrounding it according to the book. The most interesting thing for me is that this started off beef between J and Canibus in particular, spiralling out into a number of different diss tracks. The herky-jerky nature of the tune does little for me and I’ve heard better things from pretty much all of the acts in this (apart from not having any idea who Canibus is…).

846. ‘On & On’, Erykah Badu (1996) Influenced by: Fine and Mellow • Billie Holiday (1939) Influence on: A Long Walk • Jill Scott (2002) Other key tracks: Otherside of the Game (1996) • Next Lifetime (1996) • 4 Leaf Clover (1996) • Appletree (1996) • No Love (1996) • Sometimes . . . (1996) • Bag Lady (2000) • Soldier (2008) • Honey (2008) I’ve never seen an ‘Other Key Tracks’ list as long as this one, which probably speaks to Badu’s enduring involvement in the music industry. However, I can’t say for definite that I’ve ever heard anything by her until today. The book talks about this early entry being an example of neo-soul, and it certainly is smooth in a way that a lot of the other R&B and pop starlets weren’t quite doing at this time. Possibly a little bit too laid back for me; I kept waiting for things to kick in just a bit more than it ever did. Badu has a lovely voice to give her credit, but the style of music doesn’t overly excite me. 847. ‘Woo-Hah!! Got You All In Check’, Busta Rhymes (1996) Influenced by: Space • Galt MacDermot (1973) Influence on: Tribute • Nonpoint (2000) Covered by: DJ Sega (2008) Other key tracks: The Finish Line (1996) • Flipmode Squad Meets Def Squad (1996) • Everything Remains Raw (1996) • Hot Fudge (1996) • Dangerous (1997) I remember being a ‘fan’ of Busta Rhymes in the way that only a white teenage boy can be: enjoying his more commercial work without really digging back through his back catalogue or history. I’ve always liked the sound of Rhymes’ rapping as he has a very recognisable flow and there is a bassiness and aggression that makes what he says sound cool. The quirkiness of this early offering from Rhymes comes mainly a take on a soundtrack from a 70s film called Woman is Sweeter. What it does is allow Rhymes to be the star, and he steps up and does just that. He is a hard man to ignore, full of energy and vigour even this early on. 848. ‘No Diggity’, Blackstreet featuring Dr. Dre (1996) You sometimes wonder whether you misjudge songs when you make sweeping statements about songs, but I honestly don’t think I know anyone who dislikes this song. A mix of rap, R&B and with music sampled from a gospel song, it all works. In a song about a temptress of sorts, the raps add that grittier urban feel, whilst Blackstreet offer up the soulful undertone to everything. The piano in particular is something that I think, for people of a certain age, you could play and they’d be able to place the song and the mostly positive memories I assume come alongside it. Absolute tune. 849. ‘Woke Up This Morning’, Alabama 3 (1997) I think it is easy enough to suggest that this is on the list due to its involvement with ‘The Sopranos’ more so than any real musical merit. I mean, it is perfect for the TV show and convinced the producers to stick to one song throughout the whole series, so did enough to impress those in a position of power. What I find somewhat funny is that they were based in London and largely the brainchild of someone from Wales and someone from Scotland. Not exactly what you might expect given the providence of the sound. 850. ‘Block Rockin’ Beats’, The Chemical Brothers (1997) Influenced by: Coup • 23 Skidoo (1983) Influence on: Gangster Trippin’ • Fatboy Slim (1998) Covered by: DJ Sundance (2007) Other key tracks: Leave Home (1995) • Song to the Siren (1995) • Life Is Sweet (1995) • The Private Psychedelic Reel (1997) • Hey Boy Hey Girl (1999) Sometimes you may not like a genre particularly, but one band or artists stands above the parapet. For me, The Chemical Brothers, though peddling a style of music I largely don’t care for, are excellent. There is often a vitality and urgency to their music that I like and whilst this isn’t my favourite song by them (probably ‘Let Forever Be’ for those who haven’t asked), it is one of their earliest commercial hits so deserves a place on the list.

841. ‘Devil’s Haircut’, Beck (1996) Influenced by: I Can Only Give You Everything • Them (1966) Influence on: Legend of a Cowgirl • Imani Coppola (1997) Covered by: Doug Munro’s Big Boss Bossa Nova (2007) Probably shouldn’t surprise me that the only other song outside of ‘Loser’ by Beck might be the one that ends up on the list. This is admittedly from the one album I know, ‘Odelay’, and is probably a ‘better’ song than loser in terms of what it tries to do and the ambition shown between the pop sensibilities and the various other influences. Sometimes the list throws up a good song, you think ‘that’s a good song’, and then you go back to not thinking about it much in your year to year existence. That is this song. 842. ‘I’ll Be There For You…’, Method Man featuring Mary J. Blige (1996) A rare Wu-Tang Clan-adjacent love song, this was a song that it took me a moment to remember, but when it kicks in, it is a real banger. Apparently an attempt by Def Jam’s chief executive to get Method Man more mainstream and higher profile, the idea to link him up with Blige is excellent. There is almost a creepiness to the underlying tone of the song, possibly due to the use of reverb of the vocals at points, whilst the rapping isn’t my thing but works perfectly within this setting. The layering of two different styles creates a haunting love song and one that I really enjoy. 843. ‘The Beautiful People’, Marilyn Manson (1996) A few entries ago, I talked about how I didn’t get people who weren’t at least a bit into what Prodigy had to offer. Whilst I won’t say the same for Marilyn Manson, this window of his work hit the happy middle ground between being noisy and being accessible, to the point where I think it is hard not to enjoy songs like ‘The Beautiful People’ just a little bit. It is big, dumb and full of… but it is a storming rock tune for my money. The fact that my Dad liked it probably is the exact reason why people didn’t always like Manson – nothing is less cool than music your Mum and Dad might like – yet this delivers what it sets out to: an pumping, aggressive rock song. 844. ‘Criminal’, Fiona Apple (1996) Influenced by: Stoned Soul Picnic • Laura Nyro (1968) Influence on: Miniature Disasters • KT Tunstall (2005) Covered by: Amazing Transparent Man (2003) • Natalie Cole (2006) Other key tracks: Sleep to Dream (1996) • Slow Like Honey (1996) • Shadowboxer (1996) What impresses me the most about this song is how young Apple was when she released it. She was just 18, yet everything sounds so fully realised in terms of her musical direction and the sound she wanted to create. It probably explains why she is still kicking around 24 years later, rather than being a teenage one hit and done type like many others. It doesn’t set my world alight necessarily, yet the use of the word ‘belter’ in the book does summarise my thoughts pretty accurately. 845. ‘Crash Into Me’, Dave Matthews Band (1996) Influenced by: Willow • Joan Armatrading (1977) Influence on: Why Georgia • John Mayer (2001) Covered by: Stevie Nicks (2005) Other key tracks: Ants Marching (1994) • So Much to Say (1996) • Christmas Song (1996) • Proudest Monkey (1996) • Say Goodbye (1996) I’ve not heard a lot of Dave Matthews Band, but what I have heard makes me think I’d have liked them at a certain point and age in time. Back during a time when I was listening to The Goo Goo Dolls, Matchbox 20, Live…that type of music. However, this doesn’t do a lot for me now. I can hear the appeal, whilst the lyrics are interesting and somewhat at odds with the tone of the music, yet it is just all a bit meandering. There’s skill here, of course there is, just not something I care for really.

836. 'Novocaine for the Soul’, Eels (1996) Influenced by: The Tears of a Clown • Smokey Robinson & The Miracles (1967) Influence on: Your Woman • White Town (1997) Covered by: The Moog Cookbook (2005) Other key tracks: Fucker (1996) • My Beloved Monster (1996) • Cancer for the Cure (1998) This was released during the time I remember first getting into music, or at least music beyond what I heard on the radio from my Mum and Dad. This was a song I recall being played on Top of the Pops and me thinking it was strange, but also alluring. I think that if you like this slow, meandering, indie sound, you’ll like this song a lot. It is just as likely that someone will find it boring. Mainly melancholy but with an oddly uplifting feeling that the book pinpoints, it deserves some plaudits for breaking out at a time when this style of music didn’t really shift records en masse. 837. 'Ready or Not', The Fugees (1996) Influenced by: Ready or Not Here I Come (Can’t Hide from Love) • The Delfonics (1968) Influence on: I Don’t Wanna Know • Mario Winans featuring Enya & P. Diddy (2004) Covered by: The Course (1997) There are songs, irrelevant of genre and your own personal tastes, where you can enjoy the talent on show. For me, Lauryn Hill is an artist that I have very little interest of digging further into, but she has an undeniably cracking voice. This was also shortly before a window of Wyclef mainstream success that I particularly enjoyed, so this song has a lot going for it. Brooding and menacing, yet with Hill’s sultry delivery of the chorus adding another layer – this song is fire. 838. 'Firestarter', Prodigy (1996) Music is subjective. Obviously. However, I don’t quite get how people can’t find something redeeming in Prodigy. Energetic and loud, yet with an undeniably catchy underlying sound, they are by no means my favourite band, but I am rarely if ever disappointed when I throw a song of theirs on. This may not be my favourite song by them – I’m partial to ‘Out of Space’ – yet it is an absolute classic of this era. 839. ‘Professional Widow (Armand Van Helden’s Star Trunk Remix)’, Tori Amos (1996) CHOON! Simple really. PS: Van Helden wanted to do a remix, Amos agreed only if it was completely different to the original. He nailed that. There you go. 840. 'Nancy Boy', Placebo (1996) Influenced by: Disappearer • Sonic Youth (1990) Influence on: Underdog • Kasabian (2009) Covered by: Norwegian Celery Farmers (2001) Other key tracks: Slackerbitch (1996) • Eyesight to the Blind (1996) • Miss Moneypenny (1996) • Teenage Angst (1996) • 36 Degrees (1996) I’ve had different bands that I consider the most underrated or underappreciated bands of all time, but as I get a bit older, Placebo sits pretty high up that list. That isn’t to say they don’t have a sizeable following, more that they have so many good songs and singles and I forget how good they can be. Seeing them live several years ago as part of a festival, every song was another ‘Oh yeah, what an absolute tune’ moment. I get them putting this song on the list over some of their better songs – partial to Every Me, Every You or Special K – though it is interesting that Molko himself wasn’t a huge fan of the song compared to the rest of their back catalogue.

831. ‘Dear Mama’, 2Pac (1995) I’ve only ever listened to ‘Changes’ when it comes to 2Pac’s music, so feel poorly positioned to talk much about this song. My main thoughts really are that it is interesting to hear a song from a rapper to his Mum, even one that engages with her flaws as well as everything else that makes her worthy of the song. Apparently this was released around a time that 2Pac was under investigation for a sexual assault charge, perhaps undermining this song and other female positive tunes that he also released. For me, it is often the surrounding tune and vocals that interests me when it comes to rap, and the sparse guitar creates a pleasant groove for the lyrics to work with. 832. ‘The Bomb (These Sounds Fall Into My Mind)’, The Bucketheads (1995) If there is one thing this project has helped me do, it is to reveal the actual names and artists behind songs that I’ve heard, but never had any idea who they were by. Turning house songs into commercial entities (this was originally 14 minutes long) saw some success in the UK charts in particular, with this being one of the songs that has had some longevity. The Latin flourishes particular gives this a fresh feeling that makes it longer in the head for me, alongside the obvious lyrical refrain that forms the bulk of the song. Fun song, if nothing overly exciting. 833. ‘Guilty by Association’, Joe Henry featuring Madonna (1996) The story behind this is perhaps more interesting than the song: a benefit album that aimed to raise money for a country singer paralysed in a car crash, the album featuring songs written by him but performed by others. The original version of this song had Michael Stipe on the backing vocals and the lyrics were about his awkward celebrity position that he found himself in, so there is a bit of an irony when you swap out someone as understated as Stipe with Madonna. This is pleasant, but feel it is here for novelty as much as anything. 834. ‘A irmandade das estrelas’, Carlos Nunez (1996) Not something I necessarily expected to say, but this is a song that is all about the Spanish bagpipes. Positioned here as a means to give a nod to the breadth and depth of music across the world, this song comes from the debut album of Nunez, a man who had played backing music for the Chieftains amongst others. This sold over 100,000 copies in Spain, the first time music of Celtic origin managed to do that. At least someone liked it… 835. ‘Brooklyn’s Finest’, Jay-Z featuring The Notorious B.I.G. (1996) Jay-Z has had enough crossover appeal that I think even people who aren’t massively into rap have a favourite Jay-Z song, yet I’ve heard a lot less from The Notorious B.IG., so have limited knowledge of what is or isn’t good in terms of their wider musical collection. This feels a lot more in keeping with the boisterous, combative rap that I expect from this time period, something backed up by some swipes taken at 2Pac in the lyrics and….well, the title. I prefer my Jay-Z from a few years later than this, but I can see the appeal.

826. ‘You Oughta Know’, Alanis Morisette (1995) Add another song to the list of ones I’ve liked to perform on Guitar Hero/Rock Band. It is the power of this song that gets me every time – it takes no prisoners and it isn’t hard to see why Morisette was a poster girl for particularly female music fans. Until I covered the song for this, I didn’t realise that Flea and Dave Navarro were involved the backing music, which does admittedly explain the undeniably funky nature of the hook. Not the best of all time by any means, but a song that I can see ending up on a list like this. 827. ‘Back For Good’, Take That (1995) I mean, yeah, I guess so. I didn’t expect to see Take That on this list, but there is something I quite enjoy about them popping up with this, probably their best song. It is a well written pop song about love that isn’t too complex or trying to do too much. I was unaware that this came, relatively speaking, quite close to the end of the band as a whole, and it is also the one that most clearly has Gary Barlow’s fingerprints all over it, probably signposting a solo career which never came close to topping this, ironically enough. 828. ‘Stupid Girl’, Garbage (1995) Influenced by: Train in Vain • The Clash (1979) Influence on: Hot n Cold • Katy Perry (2008) Covered by: Zosja (2003) • Alexz Johnson (2005) Other key tracks: Driving Lesson (1995) • Alien Sex Fiend (1995) • Only Happy When It Rains (1995) • Queer (1995) • Push It (1998) • Special (1998) Garbage were never a band I ever got into, though I had a number of friends who swore by their music. I’ll be honest, nothing entirely jumps out at me about this song either as to why I should be overly bothered by them. There is the novelty of a female fronted rock band and the mix of the harsher sound with her emotive vocals is pleasant enough, but I think if I didn’t ‘get them’ at the time, nothing was likely to change my mind now. 829. ‘Miss Sarajevo’, Passengers (1995) Influenced by: The Great Gig in the Sky • Pink Floyd (1973) Influence on: Live Like Horses • Elton John & Luciano Pavarotti (1996) Covered by: George Michael (1999) As always, your mileage with U2 will vary, but this always felt to me like a pretty good song if not one of their very best. This came about through a collaboration between U2, Brian Eno and Pavarotti, the Italian opera superstar apparently pestering Bono to record a song together. The book talks about how this was a good song to hear live on U2’s later tours and I can definitely believe that, though I feel it might lose some of its power when you listen to it on record. Pavarotti’s vocals give the song something just a little bit different as it threatens to meander to a close. 830. River of Deceit’, Mad Season (1995) I’m surprised this song has ended up on here, but pleasantly. I’m a big fan of Layne Staley as a vocalist, with the best songs from Alice in Chains often being the ones that allow him to showcase his vocal chops. That is exactly what you get on ‘River of Deceit’ as his singing is front and centre, though the guitar and bass flourishes add layers to an emotive and bluesy tune. It won’t convert anyone who cares little for the style of music, but it is a personal favourite of mine.

No update, but this is just a thank you to everyone who has got involved with this. Been a really enjoyable way to spend my time and look forward to finishing things off at the start of 2021.

Katamari Damacy Reroll is on Switch. Not sure if that is the same game or not. Hades is an excellent game that is worth a look. Top down action game with Greek mythology themes.

Babies take a lot of time and effort to look after. Who knew? 821. ‘Where The Wild Roses Grow’, Nick Cave and the Bad Seeds featuring Kylie Minogue (1995) Influenced by: Down in the Willow Garden • Hobart Smith & Texas Gladden (c. 1940) Influence on: Burst Lethargic • The Silence Kits (2006) Covered by: Chicks on Speed & Kriedler (2001) • Chiasm (2006) Other key tracks: Stagger Lee (1996) I absolutely love this song so am happy to see it pop up on this list. From the album Murder Ballads, this is a song a conversation between a man waiting to be executed and the woman he had slain. The darkness of Cave is brooding and sensuous, only heightened by Minogue’s clarity as she ‘plays’ the poor victim. It shouldn’t work, perhaps, but it does – you have to be impressed by Cave’s vision as he had apparently always wanted to do a song with her and they knock it out of the park. 822. ‘Insomnia’, Faithless (1995) A house song that was appealing enough to go beyond the dance floor and into the charts, this is an absolute banger. The thumping bass drives the song forward and the lyrics do an admirable job of offering an empathise-able element for the listener and a catchy refrain, but it is the keyboard section that takes this over the top in terms of a tune. As an aside, I believe that ‘Weapon of Mass Destruction’ is one of the best songs I’ve ever heard. Might as well just throw that out there. 823. ‘Scream’, Michael and Janet Jackson (1995) This is a song I remember feeling so big back when I was nine, even though I didn’t really know too much about either Michael or Janet Jackson. I’m sure it was in the media and all over the place for a period of time that meant it was difficult to avoid it. For me, it is actually Janet who does the bulk of the heavy lifting and makes this a really good song. That isn’t to downplay Michael at all, just to give Janet some credit for this edgier, darker – arguably cooler? – move away from what MJ had been known for. A decent song that feels positioned here as a moment more than anything else really. 824. ‘Hell Is Round the Corner’, Tricky (1995) Apparently, this shared a sample with a Portishead song and lyrics with a Massive Attack song, yet Tricky/Adrian Thaws was happy to put his song up against anything apparently. It is definitely denser, darker and moodier than the music I associate with the former two bands. Coupled with a creepy video, it has the whole package to create an unnerving experience. The use of the female vocals over half way through adds another string to the song’s bow and helps the all-round enjoyable experience. 825. ‘Born Slippy Nuxx’, Underworld (1995) If you had to create what the word ‘euphoria’ sounded like, ‘Born Slippy Nuxx’ would be just that. The trance synths and the spacey vocal delivery set the tone, the speed increases, before a thumping beat continues to add the layers of sound that make this at once exciting and somewhat overwhelming – so much feels like it is going on at the same time, somewhat disparately but all building to one great sound. This isn’t my ‘type of music’ but I’ve always loved this song.