Welcome to the much-anticipated second part of the The Top 100 Songs of All Time, Where the Song Contains the Actual Number from its Position in the Chart list. This section includes all the songs from #75 to #51, finishing the top half of the list. Whilst many of these numbers have proved to have less available options than the first quarter of the list, do not fear “tricky second album” syndrome, because there are some absolute bangers in here. There are a few songs you know, a few songs you didn’t know you knew, and a few songs that you will not know, but will be glad to know better.

So, with that requisite ‘ado’ firmly out of the way, let’s get it on…

75. The Connells – ’74-’75

This song could obviously occupy two different spots on this countdown, but it is going into #75. In my mind it lives in the same head-space as The Crash Test Dummies’ Mmm Mmm Mmm Mmm, probably something to do with the gentle, almost Gregorian harmonies. Many things I’ve found out about this track. It was big in Sweden and Norway, topping the charts, whilst falling completely flat in North America. It charted twice in the UK, at #14 in August 1995 and at #21 in March 1996. Following this song’s success, The Connells embarked upon a European tour with… wait for it… Def Leppard. Which makes perfect sense somehow. Still, a good, gentle, poignant track which never gets too annoying.

74. Leroy Hutson – The Ghetto ’74

Here’s some actual bona fide 70s soul for you. It’s as funky as funk. Primarily instrumental, the lyrics are the phrases “the ghetto” and “talking about the ghetto” which intersperse bass and saxophone, accentuated with keyboard. Indeed, it seems like the saxophone might be the one actively ‘talking’ about the aforementioned ghetto. Despite his voice not featuring heavily on this track, Leroy Hutson was once part of The Impressions, replacing Curtis Mayfield as the lead singer. A man of many talents, clearly.

73. The Drunken Arseholes – ’73 Caprice

There you are, listening to a classic soulful R&B sample which has been turned into a fabulous hook by DJ Moves, when in comes the vocalist, Cee!!!!!!!! Then the world gets much more interesting. Not only does he have impeccable lyrical flow but MAN he utilises the expressive power of a Canadian deep-country accent. ’73 Caprice comes from the aptly-monikered album Rural Pimps and is a montage of seemingly-disparate elements that Eisenstein would be proud off. It’s raw but without shorting the listener on lyrical skill. The long-burning half rhyme of ‘rivalries, specifically, momentarily, systematically, socially, category, legally, preferably’ is pure rap genius. Despite how good the beat is, Cee!!!!!!!! carves his own rhythm and it is undeniably awesome.

72. Shitdisco – 72 Virgins (Bloody Beetroots Remix)

Now here’s another opportunity for me to underwhelm in accurately describing an instance of electronic music. I’m going to say House, or maybe Dubstep. It’s definitely something. It’s actually a remix of a (cover your ears) Shitdisco track but is quite far from the original, which is ok but neither ‘comparable’ or ‘as good.’ I enjoy that the Bloody Beetroots is a musical project of Sir Bob Cornelius Rifo who is presumably not a real titled knight.

71. Bone Thugs-N-Harmony – Down ’71 (The Getaway)

This is a masterpiece. It’s like Cypress Hill took fused harmony with staccato flow, put it to a sinister unmistakably down-beat and interspersed it with machine-gun fire. It comes from the E 1999 Eternal album, which also featured the significantly less-gangsta Crossroads. If any song makes you want to drive around slowly at night in less-salubrious neighbourhoods with the windows open, then this is it.

70. GDaal – 70

Welcome to the Iranian hip-hop segment of the list. Honestly, there’s not a lot I can say about this track. I can’t tell you what it’s about other than that google translates one of the lines to “you are a canary lover.” However, it sounds great. I like the music-box sounding loop.

69. Bryan Adams – Summer of ’69 v. R.E.M. – Star 69 v. Birkin/Gainsbourg – Soixante Neuf Année Érotique

Lots of competition in this particular category. Starting at the French/blatant end of the spectrum, Soixante Neuf… is about as Serge Gainsbourg as a song gets. It was actually recorded in 1968, so presumably was somewhat optimistic. It’s iconic, but probably not the best of the offerings here.

What can you say about Bryan Adams’ Summer of ’69? It’s evocative. It makes you think of all those American High School movies you’ve ever seen about misunderstood youths (even really bad ones featuring Patrick Swayze, Emilio Estivez, Matt Dillon, Rob Lowe and a fat Tom Cruise), despite the fact that it came straight outta Canada. It’s iconic, but probably not the best… Which means Star 69 is the best and, somewhat surprisingly, the second track by R.E.M. on this particular list. It’s mostly there because of the vocals which are massively echoed/repeated, creating an effect I can’t remember hearing on any other song. It’s kinda beautifully cacophonous. It’s also named after the buttons you would press in North America to phone the last number who called you, which is fun.

Winner: R.E.M. – Star 69

68. The Alarm – Sixty Eight Guns / 68 Guns

At first I thought Sixty Eight Guns (or 68 Guns, both versions of the title seem to be used interchangeably by the band) would appear in this list simply through lack of options on this particular number. However, this early 80’s Welsh-punk anthem is actually pretty catchy and, given the right conditions, grows on you like a voluminous head of blond hair. It’s slow to get going, the verses are pretty rubbish but the chorus is simple and very effective. It is also the highest UK-charting hit by The Alarm; a punk band from Rhyl who were still charting in the early 90’s and actually had a song in the top 50 in 2004, and one in the top 25 in 2006! Welsh punk. In 2006. Was a thing. Like full stops…

67. Driver 67 – Car 67

Now this was actually a bit of a toss-up between Car 67 (pronounced ‘six-seven’) and ’67 Cherry Red by Aaron West and the Roaring Twenties. Car 67 won out on this occasion for the following basic reasons:

The band also has the relevant number in it; Driver 67 were a one-hit wonder, peaking at #7 in the UK charts (which would have been higher if the record company had managed to press enough copies to satiate demand). Whilst ostensibly a ballad, it’s in the form of a dialogue between a taxi driver and his controller. The protagonists have definite, and always fun, West Midlands accents. It was re-released in 1980 when the Queen Mother stated that Car 67 was her favourite pop song. I think my logic is sound. It’s a fairly gentle pop song, with a slight Chas and Dave vibe, that is pretty difficult to dislike. That said, you may as well check out ’67 Cherry Red too.

66. Bobby Troup – (Get Your Kicks On) Route 66

In terms of a numerical top 100, the sixties appear to be the hard yards and, whilst you’d think the number 66 lends itself perfectly to song-title immortalisation, once again there are a dearth of options. Fortunately, there is an absolutely iconic shoe-in for this position, in (Get Your Kicks On) Route 66. A rhythm and blues classic, it was rather confusingly composed by Bobby Troup, an American actor who starred in a TV medical drama called Emergency! and who does not look like he composed the rhythm and blues classic, Route 66.

There are loads of versions, some terrible (Depeche Mode), some different (Manhattan Transfer) and many very good. It’s hard to pick between Nat King Cole, Chuck Berry and The Rolling Stones because, despite being the same song, they’re all subtly different (and great). As something of a spin-off series, I would also include Ruta 66 by Argentinian Blues guitarist Papp and (even though it contains a completely different number) A13, Trunk Road to the Sea by Billy Bragg which is GENIUS.

I feel like there may be an ideological schism between those people who get their aforementioned kicks on Route 66 and those who find their thrill on blueberry hill. I also hope that there is a sports-shoe store on Route 66 that is using this song title as their slogan.

65. Gopi Longia – 65-64 (A Truth) vs. Hillions – South on 65

Welcome to relative obscurity. I’ve set this one up as a contest between an Indian Punjabi Rapper and the Hillions, who I know even less about. There is actually no real contest. Whilst the Hillions’ song is very whimsical and extols the virtues of wearing socks with Crocs (hilarious but wrong), the Gopi Longia track is actually pretty banging. I don’t know what it’s about, but it has a really nice, classic hip-hop whistling motif and some bhangra power. I imagine that when this plays, It. Kicks. Off. Therefore, Gopi Longia’s punjabi rap is beating whatever the Hillions are hands down, and that, my friends, is a truth.

Winner: Gopi Longia – 65-64 (A Truth)

64. The Beatles & Easy-Star All-Stars – When I’m Sixty-Four vs. Mike Jones ft. Bun B & Snoop Dogg – My 64

I think the combined influences of A. a general scarcity of songs with 64 in the title, and B. conventional thinking about The Beatles, would make When I’m Sixty-Four the straightforward choice for this echelon of the Top 100 list. I’d even lined up the Easy-Star All-Stars version to make the choice a little more palatable. The main problem I have is that, personally, I think When I’m Sixty-Four is probably the worst of all The Beatles songs. I may be missing the point. I assume it is a sort of parodic reimagining of a certain pop style, but I don’t get it or like it. And I generally like The Beatles. Just not so much this.

In contrast, Mike Jones’ My 64 harnesses a wonderful sample from NWA’s Boyz in the Hood to excellent effect. Some classic G-Funk featuring Snoop Dogg for good measure and, in the video, Eazy-E’s son: Lil Eazy-E! It’s very eazy listening. The “64” being referenced repeatedly here is, of course, a 1964 Chevrolet Impala, which is a very popular “ride” for those who favour the hip-hops.

Winner: Mike Jones – My 64

63. Four Seasons – December 1963 (Oh, What a Night)

Weirdly, this song is one of the quickest choices made for this increasingly unwieldy list. Harnessing the doo-wop, vaguely disco sounds of The Four Seasons, December 1963 is as universally known as it is inoffensive. Knowing surprisingly little about The Four Seasons, despite them having some of the most massive hits of the 60’s, I had a quick look and found my favourite fact of this list so far; whilst original band member Tommy DeVito is not related to Danny DeVito, he was very close friends with Joe Pesci who introduced him and Frankie Valli to Bob Gaudio (another of the original four).

62. Doves – M62 Song

The number 62 is another tricky one. Not a lot of notable tunes featuring this particular number. Fortunately, as often happens in these circumstances, a decent choice practically picks itself. So, musicality aside, the long-form reason for this choice is that M62 Song was recorded under a flyover in Northenden, Manchester which I lived a short distance from. The flyover was actually the M60, but Doves didn’t know/realise/respect that at the time of naming the track, so spuriously called it M62 Song.

The song itself is quite melodic and arguably melancholy, but there is definitely a sense of it being recorded somewhere different, like The XX’s eponymous first album. Also, I like being able to picture exactly where it comes from, which gives me somewhat unfamiliar, but pleasant, nostalgia for the obscure parts of Manchester I used to know and exist within.

61. Denise Chaila – 061

This starts with some gentle heraldic music, like knights and round tables and shit, which wouldn’t sound out of place in an original NES Legends of Zelda game. Then in comes our (now) favourite Irish-Zambian rapper, Denise Chaila. She’s coming straight out of Limerick. It is absolutely banging. D&D, 8-bit audio vibes with tight, often quite amusing, rapping and a catchy hook. Honestly one of the best things I’ve found on this quest.

60. Does It Offend You, Yeah? – Attack of the 60ft Lesbian Octopus

Going back to nostalgia. Losing my mind to the high-octane, high-energy beats of the wonderfully-named Does It Offend You, Yeah? in the small and subterranean Academy Club venue at Manchester Academy is a very abiding memory. This track is actually pretty difficult to separate from the rest of the You Have No Idea What You’re Getting Yourself Into album. Wonderfully raw, punk-electronica in all its driving, heart-thumping glory. I kind of want to describe DIOYY as a more enjoyable, up-tempo and optimistic 3OH!3, but that probably doesn’t do them justice.

This makes the list in every possible reality. Not least because the title is one of the best in a classification dominated by numbers.

59. Simon & Garfunkel – The 59th Street Bridge Song

You would be easily forgiven for thinking this song was called “Feeling Groovy” but, thankfully for this list, its real name is The 59^th Street Bridge Song (although “Feelin’ Groovy” was added in parentheses on the album listing). It might be the shortest song on the list. It’s absolutement iconic. “Hello lamppost, what you knowing? I come to watch your flowers growing.”

58. 2Seiten – 58Bars vs. Buruklyn Boyz – Location 58 vs. Main Concept – Der 58er vs. Lamomo – 58

Four-way rap battle! Two German rap artists (2Seiten and Main Concept), one French (Lamomo) and one Kenyan (Burukyn Boyz). All very different and really difficult to pick apart. Who know that #58 had such variety in international rap, because it turns up nowhere else!

Lamomo and 2Seiten have big energy, whereas Main Concept and Buruklyn are more chilled/downbeat in these tracks. Lamomo and Buruklyn are bit ‘trappier’ in terms of flow and more grim in terms of feel. There’s quite nice lyrical flow in all of them, although I obviously have very little idea what’s going on.

Overall, I think they’re all very worthwhile. Generally, where I want to download a song, it means I like it a good amount (and it may even go on this list). I want to download to all of these songs…

After multiple listenings, I’ve decided that 2Seiten’s 58Bars has to be the victor in this particular contest. It’s got a wicked backbeat and 2Seiten does not let up. Whilst his rap seems one-paced to start with, he drags you along and, later, starts to let rip. It puts me in mind of the legendary pairing of DJ Format and Abdominal, with classic, funky backbeats being put to the sword by intricate lyrical flairing. Painfully good. Shame I don’t understand a one word.

Winner: 2Seiten – 58Bars

57. Bruce Springsteen – 57 Channels (and Nothin’ On)

The Boss (which Springsteen apparently hates being called) probably deserves a spot on this list somewhere and 57 Channels… is quite a good song. It’s one of those songs you forget you know. It’s got a kind of low-key, Dire Straits, Jack Kerouac, Don DeLillo vibe going on. It’s making a point about media saturation. It’s good.

However, despite my deep embarrassment, I have to admit that it was pushed pretty hard by TJ Mack’s Five Seven. Probably because I am a sucker for a good novelty song. Straight out of the TikTok generation, it’s all about being short but not admitting exactly how short to the wife. If you haven’t listened to it, you really should. Just do not ask me how long is my forearm.

56. Ali Farka Touré – Cinquante Six

As soon as I heard this, I wondered why there isn’t more African fingerstyle blues/folk guitar on the list, or in my life generally. An absolutely resplendent piece, Cinquante Six is beautifully melodic, calming, lightly joyful and delicately woven. Known sometimes as “the African John Lee Hooker” this instrumental piece by Touré is probably folkier than it is bluesy and feels like it would fit in seamlessly with the impeccable soundtrack for O Brother, Where Art Thou? It was also picked out by the Los Angeles Times as a particular highlight of his album The Source.

Effectively, when you’ve listened to it, you want to listen to it again, then again. Moments like this make musical trawling so rewarding. I will be finding more of Toure’s work very soon.

55. Charlotte Gainsbourg – 5:55

You might think that the number 55 is ripe for being in a song title. Ripe as a big ripe peach. So ripe that you’d be endlessly treading up and tripping over the fruit of the musical 55 tree. You would be wrong. So wrong. As a result I was tempted to introduce Chopin’s Nocturne in F minor, Op.55, No.1. After some consideration I decided that, even as a carefully-worded ‘exception’ that choice might open a can of classical music (ear)worms from which I would struggle to extricate myself.

In my near-endless search I also found a very amusing (and catchy) thing called Fünfhundertfünfundfünfzig but it was more of an amusing meme than a pop song. I liked it though. Ultimately we’re all going to have to accept that Charlotte Gainsbourg’s 5:55 is probably the best choice for this particular slot. It’s actually not a bad song, and has many Gainbourgian (by which I mean her father) elements: fairly repetitive, simple backbeat, breathy vocals, French and English language… you name it. It’s actually got something of Suzanne Vega to it as well, so it grows on you. Actually, the more I listen to it, the more I feel like my original build-up might be a bit harsh and that it deserves to be on the list. Take that my initial impressions!

54. Toots and the Maytals – 54-46 That’s My Number

Now here’s a song that should need no introduction or explanation. One of the greatest Reggae songs of all time, if not THE greatest reggae song of all time. It’s about Fred ‘Toots’ Hibbert’s time in prison after being arrested for possession (marijuana not spirit).

Toots and the Maytals released so many singles in the UK, but 54-46 did not chart, Monkey Man got to #47 and Pressure Drop did not chart. I would like to know why, with nothing ever charting in New Zealand, Beautiful Woman / Careless Ethiopians went to #1 in 1981. Never heard of them.

Anyway, I’ve got distracted because 54-46 is such an obvious choice. I’m even tempted to put it in twice… (I won’t).

53. Khruangbin – Fifteen Fifty-Three

Well this is lovely from the currently-very-popular American trio. ‘Khruangbin’ means airplane in Thai and I’m going to (probably completely unjustifiably) suggest that there is something of Jefferson Airplane in this slightly psychedelic, slightly desert-rock instrumental track. It’s from their most 2024 album A La Sala.

Whilst having a quick look I found that the previous album Ali was a collaboration with Vieux Farka Touré, the son of Ali Farka Touré (at #56 above) whose track was similarly perfectly relaxing. This is all good news.

I don’t have to, but I’m going to mention the Indonesian Tau Gamma Phi rap collective’s song Fifty Three which seems to celebrate the 53^rd anniversary of a particular educational fraternity in the Philippines. Don’t really know how it all works, but the track is something of a lighthearted summertime bop. Just imagine that Will Smith was back in the 90’s, not a symbol of toxic masculinity, that he was from the Philippines, there were loads of him and he was carrying massive 4-Tay/Gang Starr vibes. A bit like that.

52. Richard Thompson – 1952 Vincent Black Lightning

This song was on the list before there even was a list. One of the strongest opening guitar intros of all time followed by an absolute masterclass in songwriting held together by barely-believable guitar work. Literally one of the greatest songs of all time. It is quite incredible the tempo and skill with which it is played and the story is just perfect. You will rarely hear something so beautiful, so beautifully played. Richard Thompson is a bona fide genius and this might just be exhibit #1. If you have never seen it live, you should probably regret your life choices.

51. Traditional – 51 Je t’aime

Originally I’d pencilled in The Strokes’ 12:51… no idea why, it’s not a stand-out by any means. I’ve actually settled upon 51 Je t’aime by no-one in particular. It’s a kind of traditional drinking song which would not sound out of place in a New Orleans second line. Great for drums, horns and marching bands. It’s also very approximate to lots of football chants you might know. I can only assume it has some link to Ricard Pastis 51. My favourite version so far (because of the New Orleans-yness of it) is the one by Beni Can Podi et Leurs Amis.

“51 je t’aime / J’en boirais des tonneaux / A me rouler par terre / Sur des noix de coco.”

….

Halfway through. Top 50 to go. I really hope you enjoy these songs as much as I do. It feels like a fairly worthwhile, if incredibly time-consuming, exercise. Links are now attached. Expect part three, at some point. Remain in a state of permanent readiness.

There are Top 100 lists everywhere. Producing countdowns of the greatest X, Y or Z seems to be the business model for many previously-respectable print-media brands and there are endless TV shows which go on for HOURS (or multiple episodes) which purport to show you the Greatest British Comedies of All Time, the 50 Most Shocking TV Moments or Haircuts We Wish We Could Forget. Suffice to say these things are popular and, via the insipid and ever-intrusive medium of the internet, will continue to be clickbait sidebar ads into the foreseeable future. So you presume I’m thinking “if you can’t beat them, join them.” Well, yes and no. I’ve done a few Top WHATEVER countdowns in the past, but this one is different and, I reckon, borderline innovative. Not only has it made me think about music I already like, but has involved a good, hard look at music previously unknown to me. I therefore present…
The Top 100 Songs of All Time, Where the Song Contains the Actual Number from its Position in the Chart. It’s not catchy and probably won’t be any good either. Effectively, these are the best songs that I know of for the numbers 1-100. It’s a countdown (obvs) with the more generic/well-known tracks generally appearing towards the end.

It’s also quite long, so I’ve split it into four separate parts. This means you can get excited about the next part (or not).

100. Ocean Colour Scene – Hundred Mile High City

Much like the opening scenes of Lock, Stock and Two Smoking Barrels, this countdown starts with Ocean Colour Scene’s joint biggest UK hit (at #4, the same as the rather pedestrian The Day We Caught the Train). What can I say, it’s got a driving riff, a high tempo, a long whistle blast in the middle and apparent influences stretching from CCR to Queen.

99.  Nena – 99 Luftballons v. Jay-Z – 99 Problems

One song in and we’ve got a good ol’ fashioned Mexican standoff. Two great tracks, political in different ways and both well-known. In terms of popularity, Nena’s song went to number one everywhere important (West Germany, UK, Netherlands, Japan, Canada, Sweden, New Zealand etc…) and hit #2 in the US, whereas Jay-Z’s offering ‘only’ got to #12 in the UK and #30 in the US. However, I feel like the choice of version is pretty important as IMHO the original German 99 Luftballons should be counted as it’s much better/more Prussian than the 99 Red Balloons English-pandering edition. Similarly, the DJ Dangermouse remix of 99 Problems from the excellent Grey Album which incorporates amazing bass from The Beatles’ Helter Skelter is the version of choice because, had that been the original single release, I imagine Jay-Z’s international chart-placings would have been much better (I’m going to gently ignore the Linkin Park mash-up).

So, in a failed attempt to make this concise, I’m going to settle on Nena and her many nuclear-incident-triggering stücklistensymbols (another fun German word for Balloons). This is primarily for three reasons. Firstly, Jay-Z took the whole refrain “I Got 99 Problems but a bitch ain’t one” from Ice-T’s 99 Problems which itself was an earlier, more rough-and-ready incarnation of Jay-Z’s later hit Girls, Girls, Girls. Secondly, the ‘good’ version is a super-compilation of The Beatles and Dangermouse. Thirdly, charts, and whilst I generally don’t trust them, Jay-Z didn’t even feature in the Schweizer Hitparade.

Winner: Nena – 99 Luftballons

98. Fear of Pop – Slow Jam ’98

This track is just fun atmospheric nonsense taken from the album Volume I by the short-lived experimental rock band, Fear of Pop. Essentially, a load of musicians were herded together by/with Ben Folds and made to play music. I feel like the album is really a soundtrack without a film to hang it on, but Slow Jam ’98 is nicely chilled, jazz-cool and perhaps a little melancholy. Who knows what the car crash is about and whether the film in my head will ever get made?

97. Tori Amos – ’97 Bonnie & Clyde

Here’s a point of clarification. I’m quite happy including ’97 Bonnie & Clyde and the above Slow Jam ’98 because the numbers are part of the title and not a suffix to indicate the year of a later remix (like Three Lions ’98 or the unfortunate Puff Daddy-remixed Roxanne ’97).

Anywho, this song is clearly an Eminem classic from his second album The Slim Shady LP yet, despite all he did to innovate rap tracks, the Tori Amos rendition is something else. By ‘something else,’ I mean genuinely terrifying. If someone managed to distil the essence of Gabby Gabby from Toy Story 4, the twins from The Shining and the general atmosphere of von Trier’s melancholia, then gave it a voice and set it to a soundtrack of ever-building tension, that’s what this is. Kill it. Kill it until it’s dead.

Great song though and, while we’re here, great album.

96. Third World – 1865 (96 Degrees in the Shade)

A reggae classic about Paul Bogle, a Baptist deacon, activist for improving the lives of the poor, campaigner against social injustice and official National Hero of Jamaica. He was executed in 1865 by British Authorities following the Morant Bay Rebellion. The song itself is one of those beautifully understated reggae tracks that infuses a wholly pleasant beat and refrain with a strong message. It’s like a lemon meringue pie. I feel like I don’t need to explain that any further.

In related news, I’ve just realised that the best possible interpretation of Now That We’ve Found Love was by Third World. Good to know.

95. Happy Rollers – 95 Style

Now I’m not fully au fait with the nomenclature used to differentiate between forms of electronic music. I’m sure it’s all to do with BPM or something. However, what I do know is that this is almost 150% Happy Hardcore. What I don’t understand is why it’s so good. At first it sounds like some proper old-school Jungle, then BOOM (or whatever the high-pitched equivalent of BOOM is) in come the electro-horns turned right up to ‘chipmunk.’ I understand that the sample “just getting warm” is from LL Cool J’s Mama Said Knock You Out which, when you listen to them side-by-side, makes surprising sense.

On reflection I’m going to say breakbeat. I feel like happy hardcore, at least in this case, is strongly related to breakbeat. I therefore like this track. I like it a lot. It’s only been about 25 years but I suddenly ‘get’ (some) happy hardcore.

94. Figlub Brazlevic – Stoned 94

At first I wanted to put Appartement 94 by Linda Feller or Freaky 94 by Leon Hayward in the strange hope that someone would listen to them, in a rick-rolling kind of way (spoiler alert, they’re bad). However, I’ve actually chosen a chilled hip-hop instrumental by Figub Brazlevic, German record producer and founder of various labels. It’s funky, it’s light, it’s close to trip-hop and it somewhat puts me in mind of MF Doom (which is always a good thing).

Honourable Mention : Apollo Brown & Che’ Noir – ’94

93. Dananananaykroyd – 1993

Why do the good die young? Not that anyone pertinent died (that I know of). But Dananananaykroyd were stunning. They harnessed rapid, incessant noise, riding waves of up-tempo beats, combined two drummers and (often) two screaming vocalists to make something beautifully, brutifally harmonious. Practically every song was a Greek classical epic, encompassing multiple phases and chapters. 1993 is a suitable example of their revisionist approach to practically all classic rock, accentuated by sometimes almost stately rhythms interspersed with engaging, screaming/singing. The song then turns into a broken-down, chilled vocal harmony before its ‘traditional’ rock ending. Shame the band really didn’t last long enough. Perhaps they were too great.

92. Counting Crows – 1492

I would rather hope that this track needs no further explanation as it’s probably one of the greatest songs ever. I even like the short section where Counting Crows channel the Foo Fighters whilst Adam Duritz sings “I am the King of everything, I am the King of nothing.” It’s worth reading the wikipedia entry where Duritz (really vaguely) explains the songs origin; to precis massively “this is a song about American history and Italian discovery, and tranny whores” as all good songs are.

91. Limbeck – ’91 Honda

It may face surprisingly little competition but this is definitely the best song ever written about going through the process of keeping a car serviced and on the road. It may also be the best song about a Honda hatchback, finding a decent mechanic and ensuring your vehicle complies with state-mandated emissions levels. It’s twangy, fun, somewhat irreverent and showcases the alternative country/pop-punk stylings of, the intermittently-defunct, Limbeck.

90. Big Youth – S-90 Skank

Second Honda-based tune in a row. This time not a hatchback, but the Sport 90 motorcycle which was very popular in Jamaica in the 60s. Rightly so too, it’s like a tiny cafe racer based on the Super Cub 90. The bike certainly deserves a good skank and Big Youth dragged one into the studio (a Honda S90, not a big skank) so he could kick off the track with the sound of the engine revving. Otherwise it’s a chilled skank with Big Youth just chatting nonsense and making a few outstanding noises over the top. A final point: whilst Big Youth is a good sobriquet, it seems somewhat unnecessary when one already possesses the name Manley Augustus Buchanan.

89. R.E.M. – Pop Song 89

Very dry, very kitsch, totally R.E.M. Michael Stipe directed the slightly controversial original video which contains topless women, horrendous 80s trousers, and the R.E.M. frontman with a lot of actual glorious hair. It just seems very tongue-in-cheek with the chorus “shall we talk about the weather” and “Hi Hi Hi Hi” being deadpan funny. Stipe later described the song as “a complete piss-take” designed as the “last pop song ever.” That said it does all the things you’d want a pop song to do; it is easy to listen to and catchy with the video imbuing it with a kind of psychedelic 60s Rolling Stones versus yé-yé pop vibe. I also like how the ending sting makes you want to say “pop song 89.” That’s all.

88. Wale – 88

#88 was the subject of some serious contemplation as there was a good choice of songs including 88 days by Robyn and Make It 88 by The Drunken Arseholes. However, the real decision boiled down to whether the Route 88 (extended version) of I Refuse by Hue & Cry really qualified as a contender for Wale’s 88. Although I love Hue & Cry, I felt it fell into something of a grey area… plus, even if it did fit the criteria like a particularly snug glove, I’m pretty sure it can’t challenge this rap classic. I said it. I don’t care that it wasn’t even released as a single ’cause the album “The Gifted” went straight to #1 on the US Billboard charts. Also, when you consider that Drake’s interestingly-named Started from the Bottom was a US #1 song (#25 in the UK) and that is essentially a poor man’s version of 88 (Wale is much more upbeat, absolutely-party-ready, lyrically more interesting, not Drake-sounding…) then you can ignore the fact it’s ‘just’ an album track. Definitely one to play with the windows down and the system up.

87. David Bowie – ’87 & Cry

There are a number of plus points here: it’s Bowie, it’s apparently criticising Margaret Thatcher, it contains the line “you can’t make love with money.” It comes from the not un-maligned album Never Let Me Down (apparently Bowie described it as his “nadir,” ouch), but it’s pretty punchy and doesn’t do too much wrong. It starts off with a genuine rock intro and would have fit quite happily into any of the Back to the Future films I’m sure. Especially that one where Marty McFly criticises the growing inequality of a Thatcher-led Conservative Britain (who am I trying to kid, that was clearly the underlying message of all of the Back to the Future films).

86. Green Day – 86

Is there a bad song on Insomniac? No. No there isn’t. 86 is a great song which apparently references the American slang term for cancelling something, killing something or generally refusing service. It may or may not have come from “soda-fountain lingo” where 86 meant they were ‘all out’ of something. It may also be related to electrical power schematics (stay with me) where 86 represents a lock-out device or master trip relay. However, according to many sources on the internet, Green Day are specifically referencing their rejection by the punk community (particularly the 924 Gilman Street Project) for generally ‘selling out.’ It’s classic Green Day, ever-driving, ever-euphoric, mosh-inducing, three-chord American punk at its simple best. What’s not to like?

85. Rilo Kiley – 85

Rilo Kiley are perhaps at their best when expressing their particular brand of tragic melancholy which somehow admits moments of misplaced hope and youthful optimism. It feels like California surf-rock has got mixed with pop then covered by goths who wear tie-dyed t-shirts. I’m not sure if lyrics like “I’ve been a mess for some time now / I get what I deserve” are painful, wistful or alternatively amused by the world and everyone’s regularly unenjoyable experience of it. You just want to get the whole song and give it a hug, although you know it wouldn’t do it, or you, any good.

84. Somali Yacht Club – 84 Days

Do you know what doesn’t get enough radio air-time? Ukrainian rock bands. The #84 position may not have had a lot of true competition, with only David Bowie’s Theme from Shaft-a-like, 1984 and DJ D’s Tha 84 Swanga (the hip-hop equivalent of the Cha-Cha Slide) getting a look in. However, 84 Days by the SYC (there you go, I’ve already abbreviated them) is atmospheric and builds to a satisfying finish. I want to compare them with someone, but can’t think who it is. However, be assured that the comparison is favourable to all concerned. It may be Violent Femmes

83. Countdown Quartet – 83 GLC

I’m pre-programmed to enjoy this because A. it sounds like New Orleans funk, and B. Jimbo Mathus, from the Squirrel Nut Zippers, is an integral part of this jam band. Like so many American songs containing numbers, this is ostensibly about a particular car from a particular year. Still, it’s super funky, filled with happy horns and proper grooves. If you like upbeat funk and soul, and plenty of brass, you’ll like this.

82. Furthermore – Eighty-Two

I love when a band/artist has some mixed-up genre tags. Initially heralded as a hip-hop duo, Furthermore seem to fall under the genres of Pop/Rock, Rap, Electronic and… Religious. Finally, some contemporary Christian hip-hop on the list. Eighty-Two has an AMAZING jarring, rapid-cut beat that wouldn’t be out of place in the hands of Dan Le Sac. I also LOVE the extended pause after the first verse, it’s long enough to be confusing and proof that silence is indeed golden. Lots of bands employ a sudden stop for effect, but I can’t think of any which are used quite this well. The refrain is catchy, the message seems good natured and having used full caps twice during this description, I can safely affirm that I like it the full amount.

81. Miles Davis – Eighty-One

I don’t know enough about jazz to tell you exactly what Miles Davis is doing, but I know enough about jazz to tell you he’s doing it properly. Eighty-One was released on the album ESP in 1965 which, apparently, was “[tilted] towards hard bop” although “the difference between this album and hard bop from the early 60s is remarkable.” Exactly what I was thinking… From my perspective, the musicians all sound tight and ‘on point.’ It doesn’t drift, or get sidetracked by itself, but ploughs a deep furrow, rich in delicious natural elements. Also, got to love a sudden intermediary change of pace. Nice.

80. Regina Spektor – Dance Anthem of the 80s

Do I have to describe this? Fair enough. Regina Spektor has the most fun voice, the music is perhaps slightly parodic of 80s dance hits, particularly the one-note tapping intro and electronic choir-setting keyboard ‘solo’ in the middle. It has a lovely natural cadence which works towards an intense few moments where the piano gets louder, the chords sound like drums and Spektor’s voice is paired with an electro-tinged harmony. It’s playful, dancy and, as always, benefits from the singer’s exceptional voice. Just enjoy it and don’t ask the internet what it means, ’cause people have opinions on that, and people are largely awful/stupid.

Honourable Mention: Tori Amos – Glory of the 80s

79. Charles Wilp – Size 178-79-55-91

Charles Wilp wasn’t a musician, he was a German advertising designer, photographer and artist. However, he released an album which credited him as the producer although the music was by one Marvin Martin (a name which is begging to be mixed up). The album Fotografiert Bunny is an absolute triumph in 1960s objectification which would fit happily into any sexploitation film (or James Bond film, same thing). Gainsbourg-esque, the song contains many sexy noises and is accompanied on the album by such classics as Beautiful Bald Woman, Bunny, Close-Up, Silky Stockings and Nanci for Soft-Ice. It’s certainly ‘of its time’ but actually quite chilled and fun. Also, it’s worth including simply because it exists at all.

78. Uncommonmenfrommars – 78

Although they sound like a classic American punk/pop-punk group, they’re actually totally French. This particular track is loud and uncompromising. Seemingly a paean to The Ramones, it hits you fast and hard, then turns seemlessly into Sheena is a Punk Rocker. It rocks. One of the most fun things about Uncommonmenfrommars is the stage names of the band members: Motor Ed, Trint Eastwood, Big Jim and Daff Lepard. Respect.

77. The Herd – 77%

Political Australian Hip-Hop? Check. Yes, it’s got amazing bass throughout. Yes, it’s got squelchy wah guitar like a 70s B-Movie. Yes, the rap is undeniably Australian. What makes this track though is the catchy, repetitive (but not in a bad way) chorus which decries Australian racism following refugees being refused in the MV Tampa Incident of 2001. It’s angry. They use the C-word a lot. It’s all fully justified. “Wake up. This country needs a fucking shake-up.” Definitely the best #77 track, but on the list for most hard-hitting political song as well.

76. Crowd Company – 76 Express

It may sound like a funky soul soundtrack to a 70s multiple-car chase through Chicago, but Crowd Company are actually an 8-piece jazz band from London. It’s up-tempo, it’s filled with horns, the organ tinkering is expert and, given half a chance, it’ll groove your face clean off. It’s also an absolutely devastating running track, capable of pushing you beyond your limits. A monster.

….

So, that’s the end of the first part. Already it has taken forever. I have now gone back and included links to the songs throughout this post. I’ve tried to make them the best/most official versions. The second part is also now live…