Liam

I think a lot are the same, but some are different, so happy for any recommendations. Heard good things about Hue and Gorogoa, so might have a look (especially as Hue is so cheap). Ys, Bloodstained, Donut County and Golf Story are all games I have between Switch and PS4, but all very good shouts. Cheers for the suggestions, much appreciated.

Any one able to suggest some worthwhile pick ups from the Switch eshop Christmas Sale? Loads of games are in it, but was wondering what might be worth picking up that may otherwise slip the net.

Two questions that somewhat go hand in hand: Are there any boxing magazines worth subscribing to? Fancy reading up a bit more on current fight game stuff. Also, how far back does the digital The Ring archive go back (if anyone knows due to being a subscriber)? Cheers

816. ‘Champagne Supernova’, Oasis (1995) I feel like this would be a potentially divisive inclusion, depending on what your mileage might be on those songs that end up thrown on at an indie club at the end of the night when everyone is drunk and wants to shout along to something. To be quite honest, I didn’t really know this song very well until my University days and times falling out of clubs pissed off of my face, and I always enjoyed it when it came on. Do I care as much for it now? It is a decent enough song and showed that Oasis had better writing chops than some might say, but it doesn’t set the world alight for me. 817. ‘The Fever’, Garth Brooks (1995) Brooks is notoriously difficult to find stuff from on Youtube, so this is what is purported to be a live version…and I’m vaguely of the opinion it might not actually be Brooks singing. He was one of my mum’s favourite singers, so I’ve had my fair share of listening to him so feel like I’d know. Ah well – it gives you a sense of what the song is about at least. This is oddly a song I’ve never actually heard by him considering all I just said about my experience with him and it is a raucous enough tune that is a revising of an Aerosmith song of all things. I’m not quite sure why it has made the list outside of to get Brooks on there somewhere. 818. ‘Kung Fu’, Ash (1995) Influenced by: Teenage Lobotomy • Ramones (1977) Influence on: Buck Rogers • Feeder (2001) Other key tracks: Day of the Triffids (1995) • Luther Ingo’s Star Cruiser (1995) • Angel Interceptor (1995) • Girl from Mars (1996) • Goldfinger (1996) I genuinely think that Ash are one of the best singles bands in my time listening to music. Their Intergalactic Sonic 7” collection is so good with a load of earworm bangers for your buck. This isn’t their best song by any means in my opinion, but mainly finds its way onto the list as the song that broke them into the mainstream consciousness – all the most impressive as two of them were only 17 at the time of recording. That isn’t to downplay it as a tune. It isn’t quite as refined as some of their later offerings, yet it does have the raucous noise, quirky lyrics and catchiness that they became known for in some of their later songs. I’m glad they made the list, though I’m sure not everyone would agree. 819. ‘1979’, The Smashing Pumpkins (1995) Influenced by: Everything’s Gone Green • New Order (1981) Influence on: Turn My Way • New Order (2001) Covered by: Vaux (2006) • Jacksoul (2006) • Lismore (2006) • Kuusimäki (2007) • Young Love (2007) Before I knew who the Smashing Pumpkins were, I was aware of ‘1979’ as a song. This implies to me that it must have got some radio play in the UK as it would have been the only opportunity I got to listen to music outside of soundtracks and TV adverts. It was always a song that I enjoyed as a child and was happy to rediscover in my late teens. I always feel like I want to like the Smashing Pumpkins more than I do. When they are good, they are very good; they aren’t often good enough for me. However, ‘1979’ smashes it out of the park with its hazy, lazy sound that resonates nostalgia. 820. ‘Common People’, Pulp (1995) Influenced by: Fanfare For the Common Man • Emerson, Lake & Palmer (1977) Influence on: Sliding Through Life on Charm • Marianne Faithfull (2002) Covered by: William Shatner & Joe Jackson (2004) • Tori Amos (2005) This might legitimately be my own personal favourite song on the list thus far. I loved the song as a nine year old when it first came out, only for it to shoot into the stratosphere when I finally got around to checking out ‘Different Class’. What an album. Easily top five for me of all time. I prefer ‘Disco 2000’ (probably because it is played less on the radio) and ‘Something Changed’ (the lyrics are so good), but this is THE Pulp song. I also like that the lyrics could apparently be about the wife of Yannis Varoufakis, a man who is quite well liked in the English department I work in for some random reason – a random mix of reference and personal in-joke. Lastly, it is one of the ten or so songs I've done at karaoke. Badly, I'm sure.

@ohtani's jacketIt is a bit weird because it is in the final list of 10,001 songs that the publisher leaves you with and it has the number 698 next to it which might indicate something but no hyperlink like all other songs covered in both lists. When you search for it (or Springsteen, or Philadelphia, or anything else), it doesn't pop up anywhere but that section of the book. Very confusing. Perhaps it is in the physical copy but somehow missed out the digital one?

No baby yet and I can't be in properly until active labour due to COVID, so here is another 5 songs: 811. ‘Red Right Hand’, Nick Cave and the Bad Seeds (1994) Nick Cave is someone I really feel like I should have listened to a lot more in my time checking out music – I probably own a fair few of his albums, yet rarely really listen to them. However, I am a huge fan of this song. I don’t think I can remember a better song for getting the malevolent nature of the protagonist so in sync with the music, or I guess more the other way around. Apparently, the lyrics were largely ad-libbed with the title and the narrative being the main thing that Cave knew when going in to create the song. Lyrically, I love some of the individual snippets, such as being a ‘microscopic cog in his catastrophic plan’ – chilling. 812. ‘Sabotage’, The Beastie Boys (1994) Influenced by: Waiting Room • Fugazi (1988) Influence on: Break Stuff • Limp Bizkit (2000) Covered by: Phish (1999) • The Bosshoss (2005) • Beatsteaks (2007) • Cancer Bats (2010) • The Penelopes (2009) • Switchfoot (2010) For me, and without a lot to base it on, this is probably the best realisation of the Boys’ love for hip hop and punk rock, creating a three minute blast that hits the ground running, whilst the stop/start nature of the song has it lurching its way to the finish line in a way that is nothing if not glorious. It’s arguable that riffs and scratching never sounded so good together. 813. ‘The Most Beautiful Girl in the World’, Prince (1994) Influenced by: Takin’ Me to Paradise • J. Raynard (1983) Influence on: Take It from Here • Justin Timberlake (2002) Covered by: Raheem (2008) Other key tracks: Alphabet Street (1988) I was completely unsure as to why this song made the list – it is a great song, but Prince does great songs – but after reading the little biography that comes alongside it, it all makes a lot more sense. This was during his ‘The Artist’ phase, with this song released independently at a time when he was at loggerheads with Warner about his creative freedom. Couple with this being a song for his soon-to-be wife, there are layers to the behind the scenes narrative that make this a viable member of the list. That, and it is a really good song; not something to forget. 814. ‘Sour Times’, Portishead (1994) Influenced by: Danube Incident • Lalo Schifrin (1968) Influence on: Teardrops • The 411 (2004) Covered by: The Blank Theory (2002) • Bryn Christopher (2008) Other key tracks: Glory Box (1994) • Numb (1994) • All Mine (1997) • The Rip (2008) • We Carry On (2008) Whilst I went back many years later to check out Massive Attack, I never really got around to listening to any Portishead, or at least not knowingly so. I initially expected ‘Glory Box’ to be the song that ended up on the list what with it being the one song I could name from the band, yet when this slunk its way out of my speakers, I vaguely recalled hearing it in my relative youth. Not that it means it should make the list, more that it might have had some success that made it noteworthy. For a chilled out band, this is quite a creepy song with the quick bursts of strings and the sparse instrumentation making it feel like the soundtrack to a western. That a part of the song was lifted from ‘Danube Incident’, a song composed by the man who did the soundtrack for Mission Impossible, Dirty Harry and Bullitt may explain that filmic feeling that permeates through the song. 815. ‘Army of Me’, Bjork (1995) Influenced by: Dig It • Skinny Puppy (1986) Influence on: Love Again • Baxter (1998) Covered by: Helmet (1996) • Beanbag (2001) • Powerman 5000 (2004) • Abandoned Pools (2005) • Caliban (2006) • Drama (2010) Written in 1992, this was apparently considered too aggressive for the overall feel of Bjork’s debut album. However, it fit in much more with the tone that was set for her sophomore effort. Industrial, electronic, powerful, the tune is powerful throughout. Bjork clearly wasn’t someone to mess around with. This for me was her at a point where there was experimentation, yet she still had a discernible pop sensibility. I doubt she wrote for the charts per se, but underneath the song’s aggression, it bops.

Different Liam. very good book though.

Cheers for the shout out. Most also co-sign on the Andre and the 1997 WON books as really good reads. Own Shamrock but not yet got around to reading it.

https://slamwrestling.net/index.php/2020/11/29/a-bigger-better-and-badder-look-into-one-of-the-greatest-wrestlemanias/ Interview and review of 'Bigger! Better! Badder! The Road to Wrestlemania 3' on Slam Wrestling for anyone who fancies a read.

Unconfirmed reports are suggesting that Papa Bouba Diop has died at the age of 42 (or 38, if you read some accounts) after a long illness. Sad if true. I'm a Fulham fan so have love him for his spell with us, but you can also throw in the winning goal when Senegal beat France. EDIT: Or the above post.

The posts have been and will be sporadic as my wife is due to give birth tomorrow, so my attention (unsurprisingly) will be elsewhere. 806. ‘Black Hole Sun’, Soundgarden (1994) Influenced by: Tomorrow Never Knows • The Beatles (1966) Influence on: Blown Wide Open • Big Wreck (1997) Covered by: The Moog Cookbook (1996) • Judith Owen (2003) • Rachel Z (2004) • Copeland (2006) • Tre Lux (2006) • Peter Frampton (2006) I’ll preface this by saying that Chris Cornell probably sits second on my list of favourite singers of all time, nestled in behind Mike Patton. When I think about that, it does surprise me in some ways as I’ve never been the hugest fan of all the bands he has been attached to. I’ve liked a number of songs individually, yet rarely spent too much time on Soundgarden/Audioslave’s albums. Pushing that aside, this is probably the ‘best’ Soundgarden song – overplay has probably lessened its impact, but it is the one that most fully realised their poppier sensibilities alongside their noise. I’m not sure it would sit high in a Soundgarden fan’s list of top songs due to the aforementioned overplay, but for many it is THE Soundgarden song. 807. ‘Interstate Love Song’, Stone Temple Pilots (1994) Influenced by: I Got a Name • Jim Croce (1973) Influence on: My Own Prison • Creed (1997) Covered by: Hootie & the Blowfish (1998) • Velvet Revolver (2007) • Brad Mehldau (2009) Other key tracks: Plush (1992) • Lounge Fly (1994) Vasoline (1994) • Sour Girl (1999) I love this song personally, but when your main ‘influence on’ is a Creed song, I can see why people’s mileage will definitely vary. Whatever thoughts are about STP and Scott Weiland, this to me is just a really good rock song with lyrics that speak to a tortured man battling his demons. The issues of their debut and suggestions they were a Pearl Jam rip-off or grunge wannabes aren’t completely put to bed by this song, yet it is enough of a departure to show they had some chops of their own. I’m also a pretty big fan of Weiland’s voice and he carries his end of the bargain throughout the song, moving from raspier rock to a croony chorus. 808. ‘Waterfalls’, TLC (1994) Influenced by: Waterfalls • Paul McCartney (1980) Influence on: Stole • Kelly Rowland (2002) Covered by: New Mind (2000) • Steve Poltz (2003) Other key tracks: Ain’t 2 Proud 2 Beg (1992) • Creep (1994) • Diggin’ on You (1994) • No Scrubs (1999) • Unpretty (1999) This is one of the earliest songs I remember knowing. I would have been around eight at the time, so I’m sure I knew songs before this but there a few that I have such a distinct memory of hearing on the radio from time to time. More emotional than sexy when compared to their other songs up to this date, ‘Waterfalls’ presented TLC as a potentially more mature act who had a wider emotional reach, whilst lyrics about not getting involved in ganges and practising safe sex showed them trying to be role models for their young fans. Guest vocals were provided by CeeLo Green apparently, something I very much had no idea about. A song of my childhood that is good anyway, but gets the old nostalgia bump that is for sure. 809. ‘Cornflake Girl’, Tori Amos (1994) Influenced by: Hounds of Love • Kate Bush (1985) Influence on: Fidelity • Regina Spektor (2006) Covered by: Jawbox (1996) • Tripod (2007) • Imogen Heap (2010) Other key tracks: Sister Janet (1994) • Daisy Dead Petals (1994) • All the Girls Hate Her (1994) A song that I have been aware of by name, yet I’m pretty sure I’ve never actually listened to it. This feels very otherworldly, from the jangly percussive moments to the higher pitched chorus vocals, whilst the lyrics tackle weighty issues such as female genital mutilation and how women can let other women down in society. Notwithstanding what could be a challenging topic, this is quite enjoyable all in all, with some excellent piano throughout. 810. ‘Hallelujah’, Jeff Buckley (1994) There is a debate that could be thrown out there that ‘Hallelujah’ as a song is one of the best of all time. That it has been covered so many times, with lyrics that allow myriad different takes and interpretations, only serves to bolster that potential theory. This was my first version of the song and the one that still retains its place as my favourite. It is a showcase for Buckley’s voice, sitting amongst a number of other excellent songs on ‘Grace’, one of my personal favourite albums of all time. However, the kudos also needs to go to Leonard Cohen, for creating a song that feels so timeless and moving.

801. ‘7 Seconds’, Yossou N’Dour featuring Neneh Cherry (1994) This has a sneaky outside bet to be one of my favourite songs of all time, which kinda feels weird to say. It falls into that category of tune which I sometimes forget about – it falls outside of the ‘usual’ music I listen to – but it is so good and every reintroduction is an enjoyable moment. The vocals from both are really strong, the incorporation of multiple languages is effective and promotes Dour’s cultural identity alongside this song that explores the innocence of the first seconds of life. There is a moody and sultry feeling to the overall tune that I’ve always really dug, creating an overall package that I’ve never failed to enjoy. 802. ‘Live Forever’, Oasis (1994) Influenced by: Shine a Light • The Rolling Stones (1972) Influence on: Club Foot • Kasabian (2004) Covered by: The Royal Philharmonic Orchestra (1997) • Joe Dolan (1999) • Counting Crows (2000) • MGMT (2009) I was always more of a Blur man in the moment and a Pulp man after the fact, but Oasis were definitely a band who knew how to put together (or steal the main parts of) a catchy tune or two. ‘Live Forever’ is quite low down on my list of their songs – it is always one that it takes me a little while to remember, even though it is very indicative of what they offered. This being their first top 10, it isn’t overly surprising that it ends up on the list ahead of some other choices, and I wouldn’t be surprised to see more stuff from them pop up at some point. 803. ‘Cut Your Hair’, Pavement (1994) Influenced by: So You Want to be a Rock ’n’ Roll Star • The Byrds (1967) Influence on: Could You Wait? • Silkworm (1997) Covered by: Airport Girl (2003) Other key tracks: Gold Soundz (1994) • Grounded (1995) • Shady Lane (1997) • Stereo (1997) This seems to make the list as an example of a band who were touted for big things but never quite realised their potential. Having been touted as the ‘next Nirvana’ of all things, the lyrics for ‘Cut Your Hair’ were the band’s attempts to get their head around the musical merry-go-round as they were thrust into the limelight. It is a fairly decent alternative rock/pop song, though it doesn’t do much more than that for me. The singer/writer even stated that the song wasn’t quite the anthem they needed in order to push the band further into the public conscious, so I’m not alone in feeling a little nonplussed. 804. ‘All Apologies’, Nirvana (1994) The book does very specifically list the Unplugged version of this song, whilst the song had been kicking around in some form or other since 1990, putting paid to suggestions it acted somewhat like a suicide note considering it came at the end of ‘In Utero’. It is definitely one of my favourite Nirvana songs as it best realises the more accessible sound that Cobain was able to achieve whilst still retaining the rawer edge that made it appeal to alternative music fans. The Unplugged version is a good version of a good song – not much more I can add about that choice. 805. ‘Hurt’, Nine Inch Nails (1994) Surely this is all about the impact the song has at the end of ‘The Downward Spiral’ moreso than the quality of the individual song? Not to knock it – it is a good song – but it is the spiral that the album takes you on and this as the end point that makes it so effective as a piece of music. As I’ve said before, I write these as I listen to them, and maybe the opening has somewhat underplayed the power within the song. The emotion is so raw, the lyrics so bleak, the tone so unrelenting even without the usual sonic assault that NIN were known for. Maybe it deserves a fair bit more credit than I gave it.

796. ‘End of a Century’, Blur (1994) Influenced by: End of the Season • The Kinks (1967) Influence on: Modern Way • Kaiser Chiefs (2005) Covered by: Squeeze (1995) Other key tracks: Popscene (1992) • For Tomorrow (1993) • Girls & Boys (1994) • This Is a Low (1994) • To the End (1994) • The Universal (1995) This feels somewhat like a deliberately controversial choice when ‘Girls & Boys’ seems like the song you’d expect from Blur and this album in general. However, this song’s popularity on places such as last.fm are cited as a reason as to why it was chosen, alongside the subject matter – the mundanity of a relationship towards the end of a century. To give them their credit, they make it sound more fun than it is as the tune is uplifting even as the lyrics don’t always paint the prettiest picture. 797. ‘Connection’, Elastica (1994) Influenced by: Three Girl Rhumba • Wire (1977) Influence on: Sing Back Connection • Moloko vs. Elastica (2007) Covered by: Talbot Tagora (2008) Other key tracks: Stutter (1993) • Line Up (1994) • Waking Up (1994) • Car Song (1995) Oh, it is this song. I couldn’t work out what the song was from the title or the band alone, yet the moment the guitar kicked in at the start, it was clear. Apparently there was a fair bit of controversy about the possible plagiarism within this song as Wire’s publishers sued and were given an out of court settlement before the song was released. Noisy, but with pop sensibilities, it isn’t hard to see the allure of this song and why it has ended up on a million TV shows and adverts in the years that followed. 798. ‘Confide In Me’, Kylie Minogue (1994) Influenced by: Justify My Love • Madonna (1990) Influence on: Stronger • Sugababes (2002) Covered by: The Sisters of Mercy (1997) • Nerina Pallot (2006) • Angtoria (2006) • Noël Akchoté (2007) Other key tracks: If You Don’t Love Me (1994) Nothing Can Stop Us (1994) I genuinely don’t believe I’ve ever heard any Kylie outside of her first lot of incredibly poppy tracks, and her comeback when she was ‘Spinning Around’. This is a world away from her initial pop songs, moving towards a more trip-hop styling, mixing dark and brooding backing music with her high pitched vocals (I stole a lot of the sentiment of this from the book, I’ll be honest – it explained it a lot better than I could). It was definitely a fair bit more ‘artistic’ than what had come before, yet she wasn’t really much of a single/album seller again into 2000. The song is interesting more than exciting as far as I’m concerned – it also has that slightly Bond-esque element to it that I quite enjoy. 799. ‘Your Ghost’, Kristin Hersh featuring Michael Stipe (1994) Influenced by: Hymn • Patti Smith Group (1979) Influence on: E-Bow the Letter • R.E.M. featuring Patti Smith (1996) Covered by: Paul Durham (2003) • The McCarricks (2007) • Greg Laswell (2009) The tone from the moment the song begins is ominous and menacing – Hersh apparently sang notes that didn’t necessarily go with the notes she was playing. The addition of Stipe came from their friendship and his role as a musical overseer of this solo project. Apparently, a rough recording of the song was playing in the background as they were talking, and Hersh realised that Stipe’s vocals were the missing ingredient. It never quite hits the heights for me, though I do like the darker feeling that it evokes with simple vocals, guitar and cello. 800. ‘Doll Parts’, Hole (1994) I think I’ve only ever heard ‘Celebrity Skin’ from Hole, so this is at least a chance to delve a little further into that particular band’s output. This was actually written in 1991, a point the book makes to quash suggestions as to Cobain’s influence on the song. It does feel very grunge-y considering that was largely passé at this point, yet it also be why I quite like it. A mix of quiet and loud, vocals that build ever angrier, and a possible commentary on celebrity as a whole lyrically make this a fine piece of music.

791. ‘C.R.E.A.M.’, Wu-Tang Clan (1993) I don’t know too much about the ins and outs when it came to rap from different places in the US, but the book suggests that this was a fair step away from what Dre and Snoop were beginning to offer from California. Sparser, bleaker, less about the bitches and bling, it was earthier in nature. I do particularly like the repeated sample and piano that sets the backdrop for a tale about drug dealing and its necessity as a means for some to survive days on the street. I may not know much, but I do know I enjoyed this. 792. ‘Because the Night’, 10,000 Maniacs (1993) It is odd to see a cover version from an Unplugged set make its way onto the list, but there is little denying that it is a great song, both before and after this version. Written by Bruce Springstreen and tinkered with by Patti Smith, this was then 10,000 Maniacs biggest hit. Natalie Merchant has a vocal style that I enjoy, which the acoustic setting naturally allows to shine, alongside the quality of the original song. Everything builds into a really thumping chorus that loses none of its power by removing the electric element. 793. ‘Ching söörtükchülerining yryzy’, Huun-Huur-Tu (1993) live version Tuva throat singing is next on the list and it is a selection that is here primarily to showcase the broad spectrum that music has to offer outside of the popular music charts. Your mileage may vary about whether you enjoy the song or not, but the mix of skill and tradition is laudable and engaging in equal measure for me. 794. ‘It Ain’t Hard To Tell’, Nas (1994) In my brief dalliances into rap, Nas has always been a rapper that I have particularly enjoyed. I’m not entirely sure why, but there was a mixture of an impressive rapping ability and judicious use of samples and backing music that probably did it for me. This was apparently his first real hit at the age of 20 and includes a sample from ‘Human Nature’ by Michael Jackson for good measure. He has better songs, yet this is nicely representative of what he was capable of at a young age. 795. ‘Inner City Life’, Goldie presents Metalheads (1994) This is the official music video version, though the song on the album is turned into a 3 part, 21 minute long piece. As a UK music fan, I’ve always somewhat wonder what Goldie ever actually did to become famous or to have such longevity. This at least goes some way to helping me understand as this is a banger of a tune. Goldie sought out to create a drum and bass sound that was more uplifting than the darker stuff that was in the scene at the time and the mix of strings and soaring female vocals does just that.

786. ‘Rid of Me’, PJ Harvey (1993) I’ve heard a lot about PJ Harvey but have never been compelled to go and check her out. This is definitely an interesting introduction as the first song on her debut big label record and one in which she very openly threatens to torture someone who had done her wrong. Her vocals are completely unhinged in the best possible way, all building up to bursts of frenzied drums and guitars. She apparently aimed to show she was more than just your usual big label female singer – she definitely achieved that. 787. ‘Laid’, James (1993) Influenced by: Orange Crush • R.E.M. (1988) Influence on: Glass of Water • Coldplay (2008) Covered by: Matt Nathanson (2003) • Better Than Ezra (2005) Other key tracks: Sit Down (1989) • Come Home (1990) • She’s a Star (1997) A song about sexual desire and violence, this was a song that saw James have some modicum of success in the US alongside charting in the UK. There is an effortless breeziness to the noise from the moment the initial drums hit and it is all done and dusted at around two and a half minutes making it over before it ever threatens to overstay its welcome. Simply a really good song in my opinion. 788. ‘Open Up’, Leftfield-Lydon (1993) Influenced by: Burn Hollywood Burn • Public Enemy (1990) Influence on: Firestarter • Prodigy (1996) Other key tracks: Release the Pressure (1992) • Song of Life (1993) • Afro-Left (1995) • Original (1995) • 21st Century Poem (1995) I’ve already mentioned how I don’t particularly care too much for Lydon and his vocal stylings, yet they do really work when placed alongside Leftfield’s electronic onslaught. There is a dancey groove underpinning everything, though the waves of noise begin to approach the tone of alternative/rock songs, making this another interesting collaboration between styles. The best thing Lydon has done on the list by my reckoning, though I might be on an island with that suggestion. 789. ‘Possession’, Sarah Maclachlan (1993) Influenced by: Desire • Talk Talk (1988) Influence on: You Oughta Know • Alanis Morissette (1995) Covered by: Transfer (2001) • Evans Blue (2006) • Smile Empty Soul (2007) As much as this song is really good in and of itself, the story that goes alongside it is interesting. Rather than a song about love, this is about a stalkerish fan, based off of letters that Maclachlan used to get from some of her more unhinged supporters. This even saw one of the kill themselves not too long after this song was released. The video was also banned in the US, though I can only assume it was a different one to the video in the link… Pleasant female singer/songwriter fare. 790. ‘Cannonball’, The Breeders (1993) Another tune here that I vaguely recognise – I think it is the guitar line as much as anything – yet I can’t entirely place it. I’m assuming it ended up on a film soundtrack as it has 90s teen comedy written all over it. In some ways, that feels like damning with faint praise, yet I feel it is the fun vibe that is created within the song that leads to that belief. If not, this joins ‘Waterfall’ by The Stone Roses as a song that needs to be used on an opening montage to something. A real mix of musical moments, discordance and melody, though they all come together to create a really catchy song.

781. ‘La Solitudine’, Laura Pausini (1993) This was a song that catapulted an 18 year old singer into…well, not exactly stardom, but definitely a wider profile across Europe. A love song that has apparently pretty simplistic lyrics about her heart – the type of words a teen might write about a love gone wrong – it is catchy even when factoring in that it is sung in Italian. Nothing particularly impressive or standing out outside of how good Pausini’s voice is at 18, but a pleasant enough addition. 782. ‘Rumba Argelina’, Radio Tarifa (1993) Radio Tarifa, I am reliably informed, is a mix of flamenco, Arabic and Persian influences, in particular mixing chaabi pop music (from Morocco and Algeria) with the lyrics of traditional flamenco songs. I might have already said this, but it is worth reiterating that I do enjoy music with a flamenco flavour to it. I wouldn’t say it is a choice I make often, yet it is a sound I enjoy when it comes to the broader music palette I get exposed to in things such as this. I’m thinking it is the lively guitar work, though the playful wind instruments are pretty fun in this as well. 783. ‘Loser’, Beck (1993) Influenced by: I Walk on Guilded Splinters • Johnny Jenkins (1972) Influence on: Fresh Feeling • Eels (2001) Covered by: The BossHoss (2005) Other key tracks: Beercan (1994) • Soul Suckin Jerk (1994) • Jack-Ass (1996) • Where It’s At (1996) This is a perfect example of a song that feels like it shouldn’t be as well-regarded as it is…yet it is very good. I possibly dismissed it somewhat as an odd indie-rock style song, though that downplays the mix of hip-hop elements and folkier guitar parts. On top of that, incorporate lyrics that a lot of people could empathise with and you have a huge hit. It is funny to think how lyrically we’ve moved from songs all about sex and swagger and being cool to songs about being a loser. I know which one speaks to me. 784. ‘French Disko’, Stereolab (1993) Influenced by: Neuschnee • NEU! (1973) Influence on: Wrapped Up in Books • Belle & Sebastian (2003) Covered by: Editors (2006) • The Raveonettes (2008) Other key tracks: Jenny Ondioline (1993) • Wow and Flutter (1994) • Miss Modular (1997) This was nothing like what I expected it to be. For some reason, I had always assumed Stereolab were a dance act of some sort, not this alternative pop group. Thankfully, they are all the better for what they are rather than my wrongly conceived ideas. This is a great song – driving and insistent yet with a light touch that makes it a groove. The female vocals over the top aren’t technically anything to write home about, yet there is a pleasantness in their delivery, ably helped by the move between English and French as the song progresses. 785. ‘Into Dust’, Mazzy Star (1993) This is a beautiful song. It is one that I’ve never heard before, but it details a collapsing relationship between two people, possibly that of Hope Sandoval and William Reid (the latter of the Jesus and Mary Chain). Sparse is the word here, the guitar doing the support with its melancholy tone, allowing Sandoval’s lyrics and vocals to take centre stage. It is the only song so far in this that I’ve immediately put on once again after listening to it – powerful, evocative, stirring.

776. ‘True Love’, Mary J. Blige (1992) Influenced by: Top Billin’ • Audio Two (1987) Influence on: It’s All Gravy • Romeo featuring Christina Milian (2002) Covered by: Mike Doughty (2000) • The Twilight Singers (2004) • Toby Lightman (2004) Other key track: Sweet Thing (1992) At the risk of doing Mary dirty, I struggle to really say much for this song outside of her vocals being clearly very impressive in their soulful ease. The album it came from as a whole launched her career and earned her various plaudits, thus earning the song its place on the list I guess. Enjoyable enough, if not something that excites me personally. 777. ‘Deep Cover’, Dr Dre introducing Snoop Dogg (1992) This is another song to make the list for what it represents perhaps more than the quality of the song. This was the first song released by Dre following him leaving the NWA, as well as the introduction of Snoop Dogg to the wider world. I hadn’t really thought too much about it until now, but the book made me acutely aware of how different Dre and Snoop’s styles actually are. What this did is set the scene for the future tunes that the two would work on together, stuff that I have always enjoyed even without a particular penchant for rap music. 778. ‘Out of Space’, The Prodigy (1992) An absolute favourite of mine. It is a great mix of trance-y sounds and high energy breakdowns that never fails to excite when I hear it even to this day. There is a possibility – I feel at least – that it sounds a little too much of a novelty song in some ways if you listened to it without the benefit of listening to it when it first came out, but to me it will always be a tune with a capital ‘CH’. 779. ‘Didi’, Khaled (1992) Of the various examples of ‘world’ music, the ones I’ve been most intrigued by are the songs which clearly lean into the sound of ‘popular’ music whilst retaining some of the old world aesthetic of their culture. That is exactly what ‘Didi’ does: rai is the form of Algerian song Khaled was famous for, but this is a dance song through and through with a pop sensibility from the opening hook. This doesn’t necessarily make it a better song than others that don’t dip into more modern sounds, but it does make it probably the catchiest and more enjoyable thus far. 780. ‘Animal Nitrate’, Suede (1993) This is another song which I’ll begin the entry by saying ‘this is another song’, but this is another song that I vaguely feel like I know, but can’t really place. Apparently, Suede were a really big deal off of the back of their first three singles, though it comes just before my interest in music really formed. A song that includes lyrics about illicit drug use and underage gay sex is definitely an interesting one to catapult the band up the charts. It doesn’t sound too much like anything particularly exciting in and of itself, more a transition point towards what Britpop would become.

771. ‘Inkanyezi Nezazi’, Ladysmith Black Mambazo (1992) Famous in the UK for being the soundtrack to a Heinz Baked Beans advert, this naturally isn’t really something I listen to on the regular, yet there is a majesty about the whole song. From the main soaring vocalist to the chorus that supports him to the percussive noises made with entirely with their own voices, it has an allure to it. Lyrically, this is about the three wise men travelling to Bethlehem to meet Jesus, so that’s something new I’ve learned today. 772. ‘Sodade’, Cesaria Evora (1992) From Cape Verde, Evora grew up in an orphanage and sang in bars as a teen, creating what the book dubs as a real rags to riches story. This is a morna, a traditional Cape Verde song, whilst sodade is the exile that occurred to many Cape Verdeans. She has a beautiful, evocative voice that – not unlike the previous song – lifts it beyond a novelty song from another culture and into something that stands out above the crowd. Powerful. 773. 771. ‘Inkanyezi Nezazi’, Ladysmith Black Mambazo (1992) Famous in the UK for being the soundtrack to a Heinz Baked Beans advert, this naturally isn’t really something I listen to on the regular, yet there is a majesty about the whole song. From the main soaring vocalist to the chorus that supports him to the percussive noises made with entirely with their own voices, it has an allure to it. Lyrically, this is about the three wise men travelling to Bethlehem to meet Jesus, so that’s something new I’ve learned today. 772. ‘Sodade’, Cesaria Evora (1992) From Cape Verde, Evora grew up in an orphanage and sang in bars as a teen, creating what the book dubs as a real rags to riches story. This is a morna, a traditional Cape Verde song, whilst sodade is the exile that occurred to many Cape Verdeans. She has a beautiful, evocative voice that – not unlike the previous song – lifts it beyond a novelty song from another culture and into something that stands out above the crowd. Powerful. 773. 'Remedy', The Black Crowes (1992) Influenced by: Night of the Thumpasorus Peoples • Parliament (1975) Influence on: Fly Away • Lenny Kravitz (1998) Covered by: Matchbox Twenty (2007) Other key tracks: Hard to Handle (1990) • Darling of the Underground Press (1992) Part of me feels that I’ve heard this song before, or at least the guitar riffs that introduce it and punctuate the better bits of the tune. However, I really can’t place it. This feels interesting for largely being out of step with what the prevailing musical trends were: as things moved in a grungier direction, this felt much more 70s rock. The song starts strong, though I never feel it particularly pushes on from that. Saying that, the idea of the female vocalists on the chorus works for me, whilst the crescendo at the end does gives it a little pleasant sting in the tail. 774. ‘No Rain’, Blind Melon (1992) Influenced by: Jane Says • Jane’s Addiction (1988) Influence on: Interstate Love Song • Stone Temple Pilots (1994) Covered by: Dave Matthews Band (2006) • Emmerson Nogueira (2008) Another song that I will claim an unabashed love for. Sometimes it is where you experience a song that helps that – this was placed on a mix CD that a friend I met at Uni made for me, alongside a number of Ben Folds songs and some other stuff I don’t really remember. From the moment the twangy guitar hits, it has me every time. I can imagine the vocals are a bit YMMV for some people, but I really like the uplifting tone mixed with the melancholy lyrics, words that explore ideas around depression. It also has one of my favourite lyrics of any song: ‘I just want someone to say to me I’ll always be there when you wake.’ – not a hard sentiment to empathise with. 775. ‘Walk’, Pantera (1992) Influenced by: Desecrator • Exhorder (1990) Influence on: Redneck • Lamb of God (2006) Covered by: Kilgore (1998) • Godsmack (2001) • Linkin Park & Disturbed (2001) • Avenged Sevenfold (2007) • Peppermint Creeps (2008) Ignoring the obvious wrestling links, is there any other mainstream metal song that hits as hard as ‘Walk’ does? Combative lyrics are coupled with a largely straightforward guitar for a song that is primed to make you want to mosh and headbang along. Just as it feels like it might be getting a bit repetitive and losing some of the power, Darrell’s solo kicks things back into high gear. I’m not a huge Pantera fan by any means but this is an absolute banger. 'Remedy', The Black Crowes (1992) Influenced by: Night of the Thumpasorus Peoples • Parliament (1975) Influence on: Fly Away • Lenny Kravitz (1998) Covered by: Matchbox Twenty (2007) Other key tracks: Hard to Handle (1990) • Darling of the Underground Press (1992) Part of me feels that I’ve heard this song before, or at least the guitar riffs that introduce it and punctuate the better bits of the tune. However, I really can’t place it. This feels interesting for largely being out of step with what the prevailing musical trends were: as things moved in a grungier direction, this felt much more 70s rock. The song starts strong, though I never feel it particularly pushes on from that. Saying that, the idea of the female vocalists on the chorus works for me, whilst the crescendo at the end does gives it a little pleasant sting in the tail. 774. ‘No Rain’, Blind Melon (1992) Influenced by: Jane Says • Jane’s Addiction (1988) Influence on: Interstate Love Song • Stone Temple Pilots (1994) Covered by: Dave Matthews Band (2006) • Emmerson Nogueira (2008) Another song that I will claim an unabashed love for. Sometimes it is where you experience a song that helps that – this was placed on a mix CD that a friend I met at Uni made for me, alongside a number of Ben Folds songs and some other stuff I don’t really remember. From the moment the twangy guitar hits, it has me every time. I can imagine the vocals are a bit YMMV for some people, but I really like the uplifting tone mixed with the melancholy lyrics, words that explore ideas around depression. It also has one of my favourite lyrics of any song: ‘I just want someone to say to me I’ll always be there when you wake.’ – not a hard sentiment to empathise with. 775. ‘Walk’, Pantera (1992) Influenced by: Desecrator • Exhorder (1990) Influence on: Redneck • Lamb of God (2006) Covered by: Kilgore (1998) • Godsmack (2001) • Linkin Park & Disturbed (2001) • Avenged Sevenfold (2007) • Peppermint Creeps (2008) Ignoring the obvious wrestling links, is there any other mainstream metal song that hits as hard as ‘Walk’ does? Combative lyrics are coupled with a largely straightforward guitar for a song that is primed to make you want to mosh and headbang along. Just as it feels like it might be getting a bit repetitive and losing some of the power, Darrell’s solo kicks things back into high gear. I’m not a huge Pantera fan by any means but this is an absolute banger.

766. ‘Shake Your Head’, Was (Not Was) (1992) Influenced by: Kissing with Confidence • Will Powers (1983) Influence on: Everybody’s Free (to Wear Sunscreen) • Baz Luhrmann (1999) Covered by: C. C. Catch (2003) Is it just me, or did everything start to get a bit bloody weird in the 90s? This not only has Ozzy Osbourne…I guess rapping…in an unlikely duet with Kim Basinger. My understanding is that the vocals were originally done by Madonna, but with this being a remix and following legal wranglings the first time, she was removed to be replaced by Basinger. I do quite like it, but it is clearly here for novelty it seems to me. 767. ‘Motorcycle Emptiness’, The Manic Street Preachers (1992) Influenced by: Sweet Child o’ Mine • Guns N’ Roses (1987) Influence on: Some Kind of Bliss • Kylie Minogue (1997) Covered by: Stealth Sonic Orchestra (1996) • Millennium (2001) I internally underrate the Manics: there are very few of their songs I don’t at least enjoy, yet I often don’t really think of them when thinking about the bands I like. Admittedly, most of my interest in them as a band is post-Richey Edwards, so this is a novel experience, though the song vaguely rings a bell. Bradfield on vocals is an acquired taste I think, but I’ve always enjoyed his earnest style, whilst the guitar work in the background of this song takes it to that next level for me instead of being a middling indie track. A strong outing from their debut album. 768. ‘Creep’, Radiohead (1992) Influenced by: The Air That I Breathe • The Hollies (1974) Influence on: Jeannie’s Diary • Eels (2000) Covered by: The Pretenders (1995) • Sentenced (1998) • Scarling (2003) • Sophie Koh (2006) • Korn (2007) • Anberlin (2007) • Amanda Palmer (2009) It must be difficult if you are a band who go on to be a creative whirlwind in your later years, yet you are mainly known for one song that isn’t necessarily representative of what you are capable of. Radiohead don’t particularly like ‘Creep’ and they have far surpassed it in the albums that followed in my eyes, but it isn’t hard to see the allure. The outsider lyrics and the soft/loud dynamic make it an easy song to mope or shout along to, depending on what your personal preference (or emotion) was. 769. ‘Killing in the Name’, Rage Against the Machine (1992) Influenced by: Kick Out the Jams • MC5 (1969) Influence on: Cochise • Audioslave (2002) Covered by: Biffy Clyro (2008) • FourPlay String Quartet (2009) Other key tracks: Bullet in the Head (1992) • Tire Me (1996) • Guerrilla Radio (1999) I’m not a massive fan of RATM in the way I think I should be, but ‘Killing in the Name’ is an absolute barnstormer of a song. At base, it is a well written and structured song. However, on top of that you throw the angular guitar, throbbing base, and pure anger of the vocals and you have one of the best songs ever in my opinion. I’ve even been known to do a really bad job of this when going to Lucky Voice for a karaoake night or two, joining songs such as ‘Two Princes’ by Spin Doctors and ‘Disco 2000’ by Pulp in my repertoire. 770. ‘Connected’, Stereo MCs (1992) Influenced by: Let Me Be Your Lover • Jimmy “Bo” Horne (1978) Influence on: Here We Go • Stakka Bo (1993) Covered by: Tiger Hifi (2009) Other key tracks: Elevate My Mind (1990) • Step It Up (1992) • Deep Down & Dirty (2001) A song I remember well from my childhood, probably due to the ‘ah ah ah ah’ vocal that gets well lodged into your head. I think this is very much of its time, but it was a song that felt catchy and cool in equal measure. The book claims that Stereo MCs were one of the first viable British hip-hop acts and with this being their biggest song, it probably isn’t a surprise to see them pop up on the list.

Yeah, no worries. Fixed.

761. ‘Move Any Mountain – Progen 91’, The Shamen (1991) We’re beginning to move even further into the dance, techno, house-era of things. It isn’t really for me if I’m being honest, but I can always see the allure and have enjoyed a number of songs from those realms. This doesn’t do much for me, though I guess it was one that probably was an eye-opener when it was first released and has been somewhat usurped by what followed. One of more interesting bits of the book mentioned how this song made inroads in the US market, though tragically the bassist drowned when on the trip that saw them record the video for the song (I’ll be honest – I’m not sure if it this video). 762. ‘How I Could Just Kill A Man’, Cypress Hill (1991) I’m not a huge Cypress Hill fan, yet as a rock and metal listener, I’ve often been able to enjoy a tune or two from the group. It was rap that was engaging for alternative music fans as well, without really compromising too much of what made it a good rap song. They were probably an act who were more revolutionary than I have ever given them credit for and this was their debut, so it makes sense to throw them on the list. 763. ‘Cop Killer’, Body Count (1992) I’ve never heard a single song by Body Count for some reason. It has just never crossed my path and I’ve never sought it out. However, this is an interesting choice from a social perspective as it caused significant controversy after riots in the US turned the spotlight towards censorship and the arts. The song isn’t really great in my opinion, but in terms of a statement of protest/call to violence, it is important. I can also imagine a mosh-pit/live crowd with this song and a few hundred like-minded people could be something pretty crazy. 764. ‘Pretend We’re Dead’, L7 (1992) Influenced by: Wooly Bully • Sam the Sham & The Pharoahs (1965) Influence on: I Wanna Be Your Lush • Fluffy (1996) Covered by: CSS (2007) Other key tracks: Shove (1990) • Everglade (1992) • Mr. Integrity (1992) • Andres (1994) To what extent it is true is up for debate, but the book seems to credit the success of Nirvana with opening the door for acts like L7 to enter the mainstream. To be fair, that might undervalue a song that hits all the right notes when it comes to being an anthem for apathy. The story of the lead singer throwing her tampon into the crowd at Reading Festival was something I vaguely remembered, but never attached to the band who wrote this song and the song which I enjoyed on Rock Band 2. 765. ‘My Drug Buddy’, The Lemonheads (1992) Influenced by: Sin City • The Flying Burrito Brothers (1969) Influence on: Sorted For E’s & Wizz • Pulp (1995) Covered by: Juliana Hatfield and Evan Dando (1994) • Anthony Green (2005) Who doesn’t want to enjoy an acoustic ode to a drug friend? I’ve not heard much by the Lemonheads or Evan Dando himself, yet I have always felt that I would enjoy them if I gave them more time. It really does play into a brand of music that I’ve enjoyed more as I’ve got older. Apparently, Dando was very openly into drugs and was perhaps naively willing to sing about that in this song. I like the dark topic mixed with the very light and airy instrumentation, though it doesn’t rise quite above just being good for me.

756. ‘Justified and Ancient’, The KLF featuring Tammy Wynette (1991) This is a bit bloody mental. I don’t really know the full story behind The KLF, but know that they were a bit out there and that’s putting it mildly. However, getting Tammy Wynette to collaborate on this house-y hip-hop-y track is pretty impressive no matter which way you slice it. It also really works in my opinion; the strength of Wynette’s vocals working well alongside a lively backing tune. I wasn’t entirely sure what to expect but I was pleasantly surprised. 757. ‘Enter Sandman’, Metallica (1991) Can you really cover ‘Enter Sandman’ on a wrestling message board without thinking somewhat positively about the song? Naturally, it is hard to disassociate from many a wild entry into the ECW Arena, but it is a really good song in and of itself. Though ‘The Black Album’ had seen Metallica move away a bit from the all-out aural assault of some previous albums, this showed that they could still rock when they chose to. A loud headbanger to shout along to and enjoy. 758. ‘Weather With You’, Crowded House (1991) Influenced by: I’m Only Sleeping • The Beatles (1966) Influence on: Girl Inform Me • The Shins (2001) Covered by: Voice Male (1999) • Clouseau (2000) • Aswad (2002) • Andrea Zonn (2003) • Ian McCulloch (2003) • Jimmy Buffett (2006) I unashamedly love this song. Crowded House were one of my Dad’s favourite bands and the Finns were great songwriters that knew how to throw together engaging lyrics, adult themes and pop sensibilities into something really good. I’m not sure if I can sell Crowded House as one of the best and brightest or most skilful bands of all time, but there are few artists that I enjoy listened to as much as I do Crowded House. ‘Weather With You’ is probably the best they had to offer, though they do have a whole raft of other worthwhile singles. 759. ‘You Got The Love’, The Source featuring Candi Staton (1991) Influenced by: Move On Up a Little Higher • Mahalia Jackson (1948) Influence on: I Know • New Atlantic (1991) Covered by: Florence & The Machine (2008) Other key tracks: He Called Me Baby (1970) • Young Hearts Run Free (1976) • Suspicious Minds (1982) CHOON! 760. ‘Blind Willie Mctell’, Bob Dylan (1991) First written in 1983, this finally saw a release on a compilation of rarities and unreleased songs in 1991. Blind Willie Mctell was a musician that Dylan had drawn a lot of influence from and you can hear his reverence throughout the song. Spare in its instrumentation, it amplifies Dylan’s poetic lyrics in a song that I felt I wasn’t going to care too much for, yet I couldn’t help but enjoy.

Cheers for pointing out. Will fix tomorrow. My browser often makes posting in here quite temperamental so I must have given up and forgot to try again later. 751. ‘Losing My Religion’, R.E.M. (1991) Influenced by: Every Breath You Take • The Police (1983) Influence on: We Both Go Down Together • The Decemberists (2005) Covered by: Tori Amos (1995) • Rozalla (1995) • Swan Dive (1997) • Scary Kids Scaring Kids (2006) There are certain songs where, even though you would probably argue that the band has songs that you enjoy more, it is clear that it is their best song. ‘Everybody Hurts’ could make the claim for R.E.M., though I think it is hard to argue against ‘Losing My Religion’. Driven by a mandolin of all instruments, this was the song that sent the band into the stratosphere. Apparently this was played by Peter Buck at his home one evening, but it was only when he listened back to his recordings the next day that he realised what he had. A song that makes you want to sing along from start to finish. 752. ‘Life Is A Highway’, Tom Cochrane (1991) Sometimes songs are just fun. ‘Life Is A Highway’ is that. Catchy, big and dumb, it is a road song that gets lodged in your head. I don’t really have much else to say. Enjoy it. 753. ‘Always On The Run’, Lenny Kravitz (1991) I know he isn’t one, but I’ve always largely forgotten about everything else Lenny Kravitz to the point where he is almost a one hit wonder to me (‘Fly Away’ getting that honour). I’m not entirely sure why Kravitz hasn’t ever clicked with me beyond that. The component parts are there: wailing guitar, strong vocals, some soul, but I’m often left fairly nonplussed. To give the song its due, this is pretty good and is a proper strutting rock song. Slash was the guitarist and came up with the riffs; multitalented Kravitz did everything else pretty much. 754. ‘Treaty’, Yothu Yindi (1991) Influenced by: Black Boy • Coloured Stone (1984) Influence on: Celebrate • Christine Anu (2000) Other key tracks: Djäpana (Sunset Dreaming) (1991) • Yolngu Boy (1991) • My Kind of Life (1991) • It’s Okay (One Blood) (2006) It’s another Australian offering, so I can immediately suggest that its inclusion could be up for debate. To give this one credit, it deserves recognition for its stated aims as much as anything else: raising awareness of the Aboriginal plight and a call to recognise their land rights. Mixing classic Aboriginal instruments and lyrics in Gumatj, this was a success both locally and internationally. It will never really be my cup of tea, but there is a rousing atmosphere that it creates – coupled with the reason for its production – that I can get behind. 755. ‘Unfinished Sympathy’, Massive Attack (1991) Influenced by: Back to Life (However Do You Want Me) • Soul II Soul (1989) Influence on: Play Dead • Björk (1993) Covered by: Tina Turner (1996) Other key tracks: Daydreaming (1991) • Safe from Harm (1991) • One Love (1991) • Protection (1995) This is probably my favourite song that I forget exists. This is perhaps damning with faint praise, but Massive Attack aren’t really in keeping with a lot of my musical tastes. However, this song (alongside ‘Teardrop’) is a certifiable banger. Symphonic with the yearning vocals of Shara Nelson, so much is going on but with such effortless and subtle touches. Samples, scratching, strings: everything lays a great foundation for Nelson to emote over. Just a joy to listen to every couple of years when I remember it exists.

746. ‘No More Tears’, Ozzy Osbourne (1991) Influenced by: I Am the Walrus • The Beatles (1967) Influence on: No More Tears • Darrell Deese (2008) Covered by: Black Label Society (1999) • Shaaman (2006) Other key tracks: Crazy Train (1980) • I Don’t Know (1980) • Diary of a Madman (1981) Ozzy’s solo stuff has never appealed to me really. While I don’t mind the overly anthemic nature of the heavy metal furrow he chose to plough, I am just not a huge fan of his vocals. What worked for Black Sabbath when they were left to their own devices is not something I particularly enjoy when produced in the manner that we saw for his solo work. What that means for this song is that I quite like the stuff around it, yet as vocals and lyrics are the meat and veg of my enjoyment of music, I don’t particularly care for it as a whole. The breakdown in the middle is the highlight for me. 747. ‘Smells Like Teen Spirit’, Nirvana (1991) Influenced by: More Than a Feeling • Boston (1976) Influence on: I’ll Do Anything • Courtney Love (2004) Covered by: Tori Amos (1992) • Xorcist (1993) • The Flying Pickets (1994) • J.B.O. (1995) • Beki Bondage (2000) • Blanks 77 (2000) • Melvins (2000) • Willie Nelson (2001) • Paul Anka (2005) What can you really say about this? It is a mammoth tune that changed music for the better or worse depending on your stance on the brand of music Nirvana were peddling. I don’t really know anyone who classes this song as the best one by Nirvana – a case of diminishing returns due to overplay, I’m sure – but it is an absolute barnstormer of a song. Taking the quiet/loud dynamic shift of some of the other bands who have already been on the list, but absolutely nailing the pop sensibilities, created everything that still make Nirvana a worthwhile listen today. 748. ‘Summertime’, DJ Jazzy Jeff and The Fresh Prince Influenced by: Summer Madness • Kool & The Gang (1975) Influence on: Summertime • Kenny Chesney (2005) Covered by: The Wipeouts (2007) Other key tracks: Parents Just Don’t Understand (1988) • You Saw My Blinker (1991) It is funny to see the different ways in which rap was beginning to branch off at the turn of the decade. Jazzy Jeff and The Fresh Prince were very much not a part of the gangster rap style that was peddled by NWA, yet their radio and public-at-large friendly take on the genre has made them and this a staple of many a music compilation. It lacks a bit of depth for me really, but that isn’t what it is trying to do. It offers an alternative from that which was out there at the time. 749. ‘Give It Away’, Red Hot Chilli Peppers (1991) Influenced by: Loopzilla • George Clinton (1982) Influence on: What I Got • M.I.A. (2008) Covered by: Bjørn Berge (2002) Other key tracks: Under the Bridge (1991) • Soul to Squeeze (1991) • Suck My Kiss (1991) • Californication (1999) • By the Way (2002) • Snow (Hey Oh) (2006) There is an argument to be hard that the Red Hot Chilli Peppers had one good album. That isn’t to say I haven’t enjoyed other work down by them, but the first four albums were pretty naff funk, before the albums after this moved towards the poppier side of things and offered diminishing returns on that style. bloodsugarsexmagik was ultimately the album were they managed to take their ideas about funk, rock and pop and create a legitimate banger. Give It Away is one of the best songs on the album and is probably the best representation of what RHCP could offer when everything was firing on all cylinders. 750. ‘One’, U2 (1991) Influenced by: The Cross • Prince (1987) Influence on: Yellow • Coldplay (2000) Covered by: Information Society (1999) • Johnny Cash (2000) • Warren Haynes (2004) • Joe Cocker (2004) • Cowboy Junkies (2005) • Professional Murder Music (2005) • Keziah Jones (2008) I’ve already spent time talking about U2 and how I think they are unfairly judged at times. However, I’m really not as big a fan of this song as some people are. It almost feels like an ‘Imagine’-style song – one that gets on the list because of what could be considered as controversial or challenging lyrical ideas placed in what were otherwise pop songs. I mean, I probably prefer this to ‘Imagine’, but the band has many other songs that are just better. Simple really.

741. ‘1952 Vincent Black Lightning’, Richard Thompson (1991) I’m not entirely sure why this is here. It is a decent enough singer songwriter style song, with some nice acoustic guitar work and a story of a man who – in trying to woe Red Molly – ends up crashing his motorbike and dying. If the book is anything to go by, this seems to be as much because of the narrative. Apparently it links to the style of stories expected of the British ballad style, James Adie the main character a classic antihero. Ok, but that isn’t really enough for me. 742. ‘Balada Conducatorolui’, Taraf de Haïdouks (1991) This one at least makes a bit more sense. With Western music banned behind the Iron Curtain, many ancient music styles were preserved. The band’s name translated to ‘band of outlaws’; the name of the song, to ‘ballad of the dictator’. The song tells about the overthrow of the tyrant, though the most interesting thing for me is the grinding noise that is in the introduction and repeated throughout. Apparently this was created by tugging horse’s hair on the violin’s strings. Never have I heard a more disconcerting noise. 743. ‘Calling All Angels’, Jane Siberry with k.d. lang (1991) Sometimes, a song just isn’t really for you. I can appreciate Siberry’s vocals, the arguable beauty of the guitar work, and lang’s additional work, but I don’t particularly like the song. I keep waiting for it to kick into something more than what it is, yet it never quite gets there. The sum of the parts doesn’t create the engaging whole that I might have been expecting, though I can definitely see the appeal. 744. ‘I Can’t Make You Love Me’, Bonnie Raitt (1991) This is more like it for me. Though it doesn’t necessarily offer anything over and above the previous song in terms of quality, there is something about the combination of the vocals and the piano accompaniment that works for me. Perhaps it is easier to empathise with an unrequited love song? The vocals were done in one take as Raitt declared that she couldn’t summon up the necessary emotion more than once – to be fair, she pretty much blasted it out of the park. Weary, sad, loved up; it all comes together across the course of the song. 745. ‘Jesus Built My Hotrod’, Ministry (1991) Influenced by: Surfin’ Bird • The Trashmen (1963) Influence on: Some Dispute Over T-Shirt Sales • Butthole Surfers (1993) Covered by: Shining (1999) • The BossHoss (2006) Other key tracks: TV Song (1991) • N.W.O. (1991) • Just One Fix (1991) I’ve never listened to as much Ministry as I feel I should have done, though what I have heard has never really inspired me to want to check out their back catalogue. That industrial sound is one that I can take or leave depending on who is doing it if I’m being honest. This is pretty batshit insane, that’s easy enough to point at, as the driving drums and guitar are accompanied by bug-eyed vocals by Gibby Haynes from Butthole Surfers. What makes this an interesting slice of music is how you can hear the pop elements, they are just completely overridden by all the other weirdness going on over the top. It isn’t a mind change for me, but it is decent, I’ll give it that.