torsdag 6 Mar 2008, 17:45
240. Silversun Pickups Lazy Eye (2006)
Probably the only band in this list to have the singular honour of being named after an off license (or “liquor store” in the Yank parlance), the Pickups are commonly criticised for sounding too much like a Californicated version of the Smashing Pumpkins (and, to be fair, they share the same initials). The irony of this comparison is displayed by this shimmering mix of squalling feedback and shameless wist; a better song than any by the Pumpkins (save their gob-smacking career zenith, #46 on this list). As Vader might say, now I am the master.
239. A Old Folks (1999)
Not many songs could have made this list by lyrics alone but this is one of them. This somewhat forgotten skate punk combo put together a decent enough power pop chug, heavily reminiscent of the 90s as it is, but it is their winning words that make this a must listen. “The old folks; are losers; they can’t work computers” is a great start to any chorus but to follow it up with the piquant “they die in December-time” denotes potential Joyce-like genius. But my favourite line has to be “fall down, for no reason”- anyone who has worked as a House Officer on an Elderly Care ward will sympathise.
238. My Bloody Valentine Touched (1991)
It is something of a crime to divide up My Bloody Valentine’s 1991 meisterwerk Loveless into its constituent parts; one of its manifold strengths is the fact that it is far greater as an LP sum than it is as 11 admittedly brilliant single tracks. Even this little gem, under a minute in length and written by the drummer, has its own unique charms. Its sounds a little like a recording of a whale crying at a violin concert, played at the wrong speed, and where I come from, that’s a good thing.
237. Cell Tundra (1992)
John Peel has a lot to answer for regarding my musical development: it is my eternal regret that I will never be able to thank him in person, even though I saw him once in the flesh, wandering around near the Watershed in Bristol during the fabled Sound City of 1995. I didn’t have the guts to talk to him then, so he never knew that he distorted my tastes so favourably. I went from Mr Big to Seven Year Bitch in about 3 months, mainly because I listened to Peel under the covers rather than Lamacq during Eastenders. This smack-rock drone by Sonic Youth-acolytes Cell is just one of many, many tracks I owe to him. Thanks, John, I wish I had spoken to you all those years ago.
236. Kings of Leon California Waiting (2003)
This band have always left me slightly cold despite their impressive beards and Southern-fried preacher man backstory. The Hick Strokes anyone? But this drawling, sprawling drivin’ ballad wins by dropping the redneck clichés and instead embracing that most underrated of rock genres: mid-70’s FM rock. By channelling Skynyrd, REO Speedwagon and Tom Petty and hitching them to a well-crafted piece of songwriting, they fashion the perfect tune for putting the top down and cruising down Route 66.
235. Roger Sanchez Another Chance (1999)
It’s not often a commercial dance smash also takes your breath away with its poignant beauty but this huge hit from the late ‘90s pulls off the rare trick of being eminently danceable and heartachingly pretty. Throw this one in the can marked genuine bolt-on floorfillers and enjoy. And all by a chap called Roger.
234. Bloc Party Flux (2007)
One of those bands I have mixed feelings about. They have many elements that make them more interesting than your bog-standard Hard-Fis and Razorlights in the unpalatable morass that is “mainstream noughties indie” but often they fail to lift themselves above their lumpen peers. They commonly make the indie mistake of looking back and sounding like a list of influences, but when they look forward, particularly in their use of dance and electronic music, the interest factor gets ramped up. In Flux, they walk the line between edgy, futuristic clatter and old fashioned songwriting perfectly.
233. Flowered Up It’s On (1991)
Calling them the poor man’s Happy Mondays is a disservice to this weird and utterly wonderful band of chancers, who burned in a brief but brilliant flame in the early ‘90s. They are most famous for their ecstasy-hound epic “Weekender” but I prefer “It’s On”: starting off with an insanely catchy pan-pipe (yes, that’s pan-pipe) riff and soon descending/ascending into tremolo arm-heavy guitar and random shouting, it leaves nothing to be desired. The ending, consisting of increasingly confused ranting, always leaves me with a smile.
232. TV on the Radio Wolf Like Me (2006)
Driving. Haunting. Damn good rock n’ roll. Say what you like about this track, but I challenge you to find me a better song about being a werewolf. In fact, so confident am I in this rumbler’s excellence, I will widen that to all lycanthropy-related records. TV on the Radio may have some jazz influences, but I still love them and so should you.
231. Soul II Soul Back to Life (However Do You Want Me?) (1989)
It’s amazing how fresh this sounds even now, an unbelievable 19 years after it’s release. The reason is, of course, is that it’s template of soul-inflected vocal over funky loops is still being copied ad nauseam by today’s chart-seeking dance acts. Few, if any, of them, however, have Jazzie B’s genius for what makes a true Club Classic- simplicity, in the hooky vocal and clean production, seems to be the key.