There are endless debates about whether the band is called The Pixies or simply Pixies. Well, just as a rose by any other name would smell as sweet, so does this band by any name rock the freakin’ casbah. Some bands are destined to work their magic from behind the curtain like the Wizard of Oz or that dude who was the vocal talent behind Milli Vanilli. Their success never touched the mainstream, but those big names who put Grunge and so-called Alternative Rock in the spotlight in the nineties called themselves fans and admitted they were heavily influenced by Black Francis and cohorts. Their sound was unique when they first started in 1986 and still is as provocative, puzzling and wild as it was then.

aDawgg:

Before their 1993 implosion, The Pixies created five incredible albums in the five years between 1987-1991. As a result, whittling them down one outstanding and defining track has been the most difficult 100best yet due to the overall quality of their catalogue and my initially shallow knowledge and appreciation of their work. I now understand why they inspired and continue to inspire incredible loyalty among their fans of all ages. After much gnashing of teeth and roaring of terrible roars, I finally forced myself to settle on the one track I think packs the biggest punch by The Pixies.

Bean:

It seems weird to pick “Gigantic”, since it doesn’t have any of those characteristics usually associated with Pixies songs – there’s no screaming incoherently in Spanish, no mysterious caribou, no slicing of eyeballs. It could almost be a pop hit, making magnificent use of the Pixies’ loud-quiet-loud trademark to create a chorus you can’t help but joyously sing along with. And, although we’re more accustomed to Pixies songs with Frank Black vocals (Kim Deal’s voice more often used to create a vaguely creepy undertone), here Deal is both hypnotic and explosive. It’s exactly what it says it will be: Gigantic.

Tamboosh:

Four years after they broke up I heard “Where Is My Mind?” on the radio and remember thinking it was so different, so amazing, this HAD to be a new band. Imagine my surprise when I found out it was recorded in 1988! I still don’t really understand where their sound came from. They’re chaos and frenzy, melodic and enchanting. I’m still enthralled by the insanity and still don’t get most of the lyrics. Picking a favorite was grueling and I’ll probably change my mind by tomorrow, but from the first time I heard it I was under their spell.

Since 2002, The Raveonettes have been knocking our socks off with their unique blend of 50s motorcycle cool, 60s girl group pop, and smutty guitar fuzz. It’s hard to believe that their debut EP, “Whip It On”, is already seven years old, but the Raveonettes have never been the kind of band that shoves their successes in our faces. They seem to just quietly go about their business and – a rarity in the music world – keep getting better and better. With last month’s release of their fourth full-length album (not to mention a goodly handful of EPs and one-off singles), In And Out Of Control, it seemed a good time to look back at their career and pick out their single best song so far. (As always, we encourage you to make your own choice in the comments, in 100 words or less.)

aDawgg:

What happens when modern alternative music is made to live in Phil Spector’s basement like one of those feral children we read about in the National Enquirer? The Raveonettes. And that is a good thing for the music world. The Raveonettes manage to stand at the singularity where the past, present, and future of music are compressed into something utterly unique and potentially threatening to the universe, like a black hole. “Boys Who Rape” is their finest effort yet in the way it is both sickeningly sweet and intensely menacing. Just like that feral child you have in your basement.

Bean:

In an unprecedented move, I’ve picked a song that’s only been around a month over favorites that have been spinning in my stereo for years. Although I normally prefer the darker side of The Raveonettes (“Aly, Walk With Me” and “Somewhere In Texas” were my runners-up), “Bang!” had my full attention from the first few seconds. Sounding like an after-school visit to the malt shop combined with a touch of cheeky sluttiness and the most danceable and sing-a-long-able chorus since Spector’s gals were the biggest thing on the radio, “Bang!” is where The Raveonettes truly perfected their signature sound.

Tamboosh:

The Raveonettes are often described to have that famous Phil Spector wall of sound. I think they sound more like the wall is being pounded into a bloody pulp by zombies and mole people. In a post-apocalyptic world where our worst nightmares walk among us and our safe haven is a fifties diner, The Raveonettes are all the jukebox will play to underscore our misery and stolen moments of cautious joy. This disturbing yet sensual song about sin and doom will be playing when the ghouls finally fight their way through our barricaded doors and drag us to hell.

You might be thinking to yourself, “What? Interpol? But, they’ve had only, like, three albums, dude.” And you’d be right. But, use this as a gauge to their importance since Turn On The Bright Lights was released in 2002: Some bands generate buzz when they might be releasing a new album or just thinking about releasing a new album. Interpol is arguably one those bands. They may not be White Strips huge or Cold Play huge. But, huge huge or not, they loom large among the musirati. These three tracks demonstrate why.

aDawgg:

I’m an Antics man. Interpol’s second album is incredible, especially played LOUD. So, how can I be expected to pick one song? If this album were a baseball lineup it’d be a pennant-winner. “Next Exit” singles to left and steals second. “Evil” doubles to right; “Next Exit” scores. “Narc” walks on five pitches. “Take You On A Cruise”, fussy with contained power, draws another walk. Bases loaded. Finally, “Slow Hands” comes to bat, hunkers down, and launches an astonishing grand slam into deep center. The best song in one of the most impressive first-half-of-an-albums ever.

Bean:

This was harder than expected but I have to go with my first love. I’ve gushed about “NYC” before and, no, I still don’t know what it means. I don’t even know what it means to me, but it gives me goosebumps every time. Those guitars have a magical quality that makes them seem to float in mid-air and stick around long after the song is over. It’s what Paul Banks’ very odd but captivating voice was made for. And those layers near the end make me want to just sit perfectly still and soak it all in. It’s stunning.

Tamboosh:

It’s rare that a band with such a distinctive sound holds my attention this long. Antics is my favorite, but I still listen to all three albums regularly. They’re dark but danceable, immediately recognizable but never same-y, lyrically puzzling but catchy … I think. Are these songs truly catchy? Or have I merely listened to them so much that I can now sing along like they’re ABBA’s greatest hits? My list came down to: “Untitled”, “Next Exit” & “Evil”. It was close, but I can’t deny that little extra jolt of excitement I feel whenever the “Evil” bass kicks in:

Otis Redding’s raw voice seems to come from the tips of his toes, the depths of his soul. He may not have the polished, velvety voice of other soul greats like Sam Cooke or Marvin Gaye, but whatever feeling a song conjures up in the pit up of his stomach is felt by everyone within listening-distance. He is THE Soul Man, and his voice will never stop influencing generations to come.

aDawgg:

Otis Redding was known for a masterful ability to capture the depth of emotion simply with his voice. The full spectrum is captured in his catalogue and, with such superbitude to choose from, defining only one as quintessential is on the edge of impossible. However, thankfully, “Mr. Pitiful” perfectly illustrates the ability Redding had to communicate the soulful despair a man suffers in love and loss while riding the rails of an upbeat brass-punctuated tempo. In “Mr. Pitiful”, Redding, voice trembling with emotion, wants to us, his congregation, to feel him. And, oh, yes, feel him we definitely do.

Bean:

The Tamboosh might stop being my friend after this, but I couldn’t quite get into Otis Redding. Not as much as I’d expected, anyway – I found him a little too smooth. Except on “Shout Bamalama”, a tiny explosion of a song that sounds like it busted right through the studio walls. From the opening shouts, to the crazy lyrics that sound like Redding was making them up right then – even that it just fades away, as if he could’ve kept singing as long as someone would listen – “Shout Bamalama” packs a serious punch in just under two little minutes.

Tamboosh:

Otis Redding has been my favorite singer since I was about ten. It’s no coincidence my favorite living vocalist, Dan Auerbach, is often compared to him. I’m drawn to powerful voices with grit and full of soul. Otis is at his best when his guttural cries convey the anguish that comes with loving as deeply as he did. This song is still one of the most romantic songs I’ve ever heard. He doesn’t need roses and candlelight; he builds such a passionate and intimate world with the simple act of drinking coffee and smoking a cigarette with his love.

100b has not, in the past, been shy about our love of The Decemberists. With last month’s release of The Hazards Of Love, The Decemberists have five studio albums, plus numerous EPs, covers, and b-sides to their name. They’ve got a little of everything: humor, tragedy, history, odd characters, ballads, songs to shout along to, hard rock, traditional melodies – and so much more. That’s a lot of goodness to try and narrow down to one single song. So here we go: what’s the very best Decemberists song – in 100 words or less? (Play along in the comments if you think we got it wrong!)

aDawgg:

The Decemberists recall a bygone era. Their songs spin yarns, so the key to enjoying them is listening with your brain and not being guided by your gut. “Yankee Bayonet” is the story of rebel love lost during the American Civil War. A woman from South Carolina pines over the love she and her unborn child lost at the Battle of Bull Run, while the soldier recalls how she captured his heart and tells her to remember him in the land they both cherish. From the instruments they use to the lyrics they sing, The Decemberists are true modern troubadours.

Bean:

This was incredibly difficult – eliminating a song felt like dismissing a friend. In a way, these songs are friends. The characters are so detailed and vivid, you sort of know them – Eli and his lost love, the Shankill Butchers prowling the streets, poor Miranda and her sinister suitor. But, although I love those songs, none are as rich as the Mariner and his relentless pursuit of revenge. It’s a damn complicated story, with extra tension provided by the varying tempos and increasingly frantic instrumentation. It perfectly demonstrates what makes The Decemberists one of my favorite bands of all time.

Tamboosh:

The Decemberists give me glimpses at the peaks of joy and the depths of sadness, but also often make me feel illiterate and uncultured. No other band makes me want to pick up a book as much. In this time of disposable songs that lose their shine and novelty after two listens, it’s a thing to cherish. “Engine Driver” has my heart, but seeing “I Was Meant For The Stage” live made clear they weren’t just another fleeting fancy. I still don’t know what I’m meant for, so the passion and determination this song conveys is beautiful and painfully enviable.

From the projects to the stage to the boardroom, hip hop performer and entreprenuer extraordinaire Shawn Carter – alias Jay-Z – has established himself through 10 (soon to be 11) albums as perhaps the greatest hip hop artist of all time. He is now almost a charicature of himself so it is easy to forget just how good this guy actually is. It’s our job here at 100b to remind you.

100best: Jay-Z.

Out.

aDawgg:

Eight years on, The Blueprint is a classic for good reason. Released at a dramatic time in U.S. history (9/11/01), the double platinum album broke in two uber-producers (Kanye West, Just Blaze), cracked the stranglehold Timbaland had on the genre, and helped return sampling as a cornerstone of hip hop production. Even the notoriously negative Bitchfork lauded it as the #2 album of 2001. “Izzo (H.O.V.A.)” is a testament to the ability of Jay-Z to remain commercially successful without losing relevance and credibility in a genre that shakes off fakes with ease.

Bean:

My choice was based purely on gut – no Jay-Z song packs a punch as hard as “99 Problems”. The opening line and beat busting out of the speakers hit you right in the guts. And although his singles are usually damn catchy, I’ve never really been taken by Jay-Z’s lyrical style. “99 Problems” is different – it’s the first time I’ve really wanted to listen to him. Plus, that beat is incredible: part fuzzy guitars, part raw industrial drums. It doesn’t so much pop as explode, and gives Jay-Z a raw power I’ve never heard in him before.

Tamboosh:

I’ve had a crush on the man since I don’t know when, so picking a favorite had to be easy as pie, right? No pie. Jay-Z’s songs can be rated by impact, entertainment value, and pure lyrical wizardry. Every category has multiple contenders; which surpasses all of them? The instant impact “99 problems”, “Jockin’ Jay-Z” or “Roc Boyz” have? The incredible lyrics on “Dead Presidents”, “What More Can I Say” and “d’Evils”? Or the boombastic fun that’s “Big Pimpin’” and “Dust Your Shoulders Off”? The one that checks all the boxes for me is the unstoppable “Heart Of The City”.

Those of you with a freakishly good memory may remember that our last 100best post before our little hiatus, honored Pearl Jam. To continue our celebration of Grunge giants, we could not leave out the reigning kings of the genre. The tragic death of their frontman, ill-adviced merchandising, and the courtroom drama still surrounding the band may distract you from the music. But the music could never distract you from the fact that they were an amazing band, who more than deserve all the praise and popularity.

aDawgg:

When a song is the propellant for nearly instantaneous musical success, it serves as blessing and curse. The public is captured and, in turn, binds you to the source of your success. The first and most successful single from an all-time great album, “Smells Like Teen Spirit” climbed the charts in late-1991, sat in the Hot 100 rafters like an anthemic gargoyle and, in hindsight, proved the beginning of the end for Kurt Cobain. It’s power is present in the shackles it placed on Cobain and the band and the hold it still retains on the musical imagination.

Bean:

I’ve always thought that Nirvana’s greatest achievement was “Polly”. Perfect in every way, “Polly” shows an understated power in its soothing melody, bored yet melancholy vocals, and surprising – shocking almost, if it wasn’t so pretty – lyrics. By taking the captor’s point-of-view, Cobain made something both beautiful and disturbing: a song we can’t help but sing along to, about a situation we can’t bear to think about. “Teen Spirit” proved that Cobain could write an anthem, whether he meant to or not. But, for me, “Polly” gave his band the depth that more than justified their legendary status.

Tamboosh:

My teenage hormones and Nirvana were a match made in rebellious heaven. Their disdain for polished, soulless music was so attractive and so wonderfully loud and angry. The further away that first exciting listen gets, the more I appreciate their beautiful, understated side. Though my taste changes my love for the band doesn’t, but my favorite song does. Supposedly inspired by The Beatles, “About A Girl” doesn’t have that famous punky Nirvana spirit, but like my Pearl Jam favorite, this song transcends Grunge. It doesn’t have shock value, it doesn’t validate their underground credit, it’s just well-written, melodic and beautiful.

As one of the bands that epitomized the Grunge explosion of 1991, Pearl Jam has a special place both in music history and in fans’ hearts. They’re also the only band of that time to have survived Grunge and gone on to do their own thing, long past the glory days of that short-lived genre. With eight studio albums and countless live recordings, b-sides, and rarities to their name, there’s plenty of choice when it comes to picking one song as the very best Pearl Jam has (so far) had to offer.

aDawgg:

I will go out on a limb and make a sweeping statement: To Generation X Pearl Jam will always be Ten and Vs. This is a testament to how much both albums loomed over us, casting a long cultural shadow as grunge towered above much of the music world in the early 1990s. There is surely no denying Vedder and Co. produced a fantastic catalogue of later albums. But, the first two are burned so indelibly upon our musical consciousness they have come to define an era in our lives and, therefore, fairly or not, also define the band itself.

   Pearl Jam – Alive

Bean:

I tried to be less obvious, but “Alive” is a classic, an anthem, one of the ‘90s greatest singles. 17 years later, it still gives me goosebumps and makes me rock out (not ironically) like no other song. It perfectly shows off Eddie Vedder’s incredible voice – the deepness you feel in your belly, the growl, the unexpected gentleness. It slowly builds up and leaves you feeling like you just experienced something. It’s one of my favorite songs of all time and one of the first songs I truly loved – how could I have even considered choosing something else?

   Pearl Jam – Alive

Tamboosh:

What I learned from going through their oeuvre is that Eddie Vedder’s vocals are damn near unmatched in the rock world and that he sounds best when accompanied by as little as possible. My picks came down to three: “Better Man”, “Immortality” and “Yellow Ledbetter”. The latter Hendrix-inspired song won. The live version especially lets Vedder’s voice shine and shows off Mike McCready guitar play perfectly. It was never released as a single, but still managed to creep into the charts back in ’94, and rightfully so. It’s powerful, moving and makes the band soar beyond the Grunge genre.

   Pearl Jam – Yellow Ledbetter (Live)

As with earlier 100best selections, The Clash need no introduction. I’d wager for many music fans – or just about anyone that relates to music for that matter – Joe Strummer, Mick Jones, Paul Simonon and one of the rollcall of drummers introduced them to punk whether they knew it or not, whether they then ventured into punk’s rougher areas or not and whether they listened to The Clash when they were new or encountered them years later. While numerous bands may grab the punk limelight by virtue of outrageous behavior, musical antics and a general ability to attract media attention, The Clash are arguably be the most respected punk band ever and the single largest inspiration for many later punk and alternative acts.

Here’s why.

Editor Note: It seems aDawgg and Tamboosh wrote their contributions while looks over each other’s shoulders. Truly, both contributions were written without the knowledge of what the other was selecting or writing about.

aDawgg:

Risking serious cliche, London Calling was a turning point in the history of rock and is representative of the soul of punk. Considered by many to stand among the greatest albums, London Calling really launched The Clash in the U.S. and solidified their reputation back home. “The Magnificent Seven”, “This Is Radio Clash”, “Rock The Casbah” and ”Should I Stay Or Should I Go” are some of my favorite tracks by any musical entity at any time. When push comes to shove, though, they are forced rest in the shadow of the title track from their most pivotal album.

   The Clash – London Calling

Bean:

I almost feel guilty picking “Train In Vain”. It’s not exactly representative of The Clash. For one thing, there’s no inspiring political message, which is about 72% of what makes The Clash great. They make you feel like part of a gang, like you have something to fight for, like The Man has got you down for the last time. “Train In Vain” doesn’t do any of that. But it does make me get up and dance. It fills me with an irrepressible joy. I’d like to pick something more rebellious, but “Train In Vain” is the one for me.

   The Clash – Train In Vain

Tamboosh:

It feels cliché to choose the title song of their most celebrated album, but I couldn’t ignore the amazing impact it still makes. “Rock The Casbah” is among the best danceable rock songs, “Rudie Can’t Fail” is pure joy, “Clash City Rockers” defines punk sentiments at the time, “In Hammersmith Palace” first revealed their exciting political side, “White Riot” and “I Fought The Law” are deliciously riotous, and “Guns Of Brixton”, the first runner-up, is dangerously brooding. All these songs spell out their legendary status, but “London Calling” still makes my spine tingle like only true greatness can. Oo-oo-oo-oooooooo!!

   The Clash – London Calling

A few years ago, when Youth & Young Manhood first came out, Bean stormed into our regular pub, gently put down her discman with a very serious look and said ‘you have to listen to this band, I have a physical reaction to them’. Right then and there, over cokes and breakfast rolls she made me listen to it. Now, five years and four albums later, we’re still loyal followers of the Followills. In honor of their new album, Only By The Night, this 100best is dedicated to the Kings Of Leon. We’ll be choosing the song from their entire oeuvre that gives us that same physical reaction we had when we first heard them.

aDawgg:

Perhaps it’ll just take time, but Only By The Night doesn’t have the same grip on me as the earlier Kings Of Leon albums. What I’ve always enjoyed about the Kings is their energy. Even on slower-paced songs it feels as if they were simply containing themselves. I feel them most when they let it loose. This must be exactly what many bands hate. I don’t care – “Molly’s Chambers” just has it. A tale to be told. The hillbilly sound that took us by surprise in 2003. A tanginess that leaves your mouth watering. It’s quintessential Kings Of Leon.

   Kings Of Leon – Molly’s Chambers

Bean:

Although I like the ‘80s-influenced KOL, they were even better before. Their first two albums sounded like they were recorded in a Tennessee trailer park in 1973, fueled by cans of cheap beer and girls in tiny cut-off shorts. They were sleazy and dirty, about the kind of people you don’t introduce to your mother. None more so than “Holy Roller Novocaine”, about a nasty preacher man abusing his position. Sung in Caleb Followill’s gritty drawl, the slow, quiet verses make it feel that touch more creepy; the explosive choruses sound like both church and sin at the same time.

   Kings Of Leon – Holy Roller Novocaine

Tamboosh:

Nearly all songs on their first two albums have moments that make them a potential favorite, but every Followill’s skill is most spectacularly demonstrated, especially when played live, on “Trani”. Dangerously, it oozes, slow like molasses closer to a spine-tingling ending that makes all that came before it seem like foreplay. It so obviously yanks at heartstrings like toddlers with puppies begging for pennies, but is never trite. From any other band the climactic ending would have been over the top, but they pull it off with such ease and passion and ended up with a song that’s pure sex.

   Kings Of Leon – Trani

Here we are again, at the end of the month and ready to go through the painful process of picking our single favorite song by a band chosen by one of our esteemed staff. This time around we’re going to tackle the great and powerful Weezer, and who doesn’t love Weezer? Having blasted from our stereos since 1994, picking one tiny song from Weezer’s entire catalog is sure to be a tough one. If you disagree with our choices, we invite you to make your argument in the comments in 100 words or less.

aDawgg:

Take the Weezer catalogue. How do you do zero in on the one song you think really epitomizes them? When you get down to business, which song leaves, not the deepest Weezer-shaped dent on your memory, but captures the general impression left by all those dents where Rivers Cuomo danced in your head? Society and relationships, angst and desires all getting a giggle and a backhand slap, intentionally or not. What song captures this, while remaining indelibly stamped on your musical memory? Which takes the piss out of us and still makes us want to listen to it again?

   Weezer – Beverly Hills

Bean:

This was especially hard – I tried to narrow it down but that didn’t work. The Blue Album is a classic, but Maladroit is my favorite. And the videos – Weezer with adorable animals, Muppets, the Fonz! But my gut said “Say It Ain’t So”. Weezer’s greatest strength is their perfect understanding of the 3-minute pop song. “Say It Ain’t So” has that poppy-ness but also feels personal, like it gives us a peek into a deeper Weezer than we normally see. It’s been my favorite Weezer song for over a decade – I just couldn’t go with anything else.

   Weezer – Say It Ain’t So

Tamboosh:

You know what I hate, people who write epic posts saying anything post-Pinkerton sucks. YOU suck. So there. I whittled my list of favorites down to “Photograph” and “Say It Ain’t So”. The first because it makes me so happy I feel like I mixed uppers with tequila … in Disneyland. The second because every time I just hear the intro I get an audiogasm. The question that’s left is, Disney or lyrical climax? I decided the second song has the edge – the lyrics start out with a seemingly generic scene but work up to a raw, scintillatingly emotional ending.

   Weezer – Say It Ain’t So

Robert Smith and The Cure have been bringing joy to their fans since 1976, evolving musically and as a band over 13 albums but always retaining a sound that makes them special. Whether you like them for their darker side or their lighter side, The Cure quietly loom large as giants of the 1980s and early-1990s and this edition of 100best provides just a few of the many reasons why.

aDawgg:

The Head On The Door was The Cure’s 1985 breakout, charting Top 10 in the United Kingdom and France, Top 20 in Germany and nearly making the Top 50 in the United States. “Close To Me”, one of two singles from the album, rests at the cusp of the success that would weight ever more heavily on Robert Smith with the releases of Kiss Me, Kiss Me, Kiss Me in 1987 and Disintegration in 1989. Outwardly lighthearted, yet as introspective as ever, “Close To Me” is the seminal track in the history of a renowned frontman and his band.

   The Cure – Close To Me

Bean:

With one of the best opening lines of all time – “Show me, show me, show me how you do that trick – the one that makes me scream,’ she said” – “Just Like Heaven” is exquisite. It’s all wonderful laughing love, longing, and tragedy and feels like a dream. Robert Smith’s voice soars above and twists around the guitars like wind and waves. Every cymbal crash sounds like a skipped heartbeat. It starts as the magical, perfect love from our daydreams and gradually, almost without anyone noticing, turns into sorrow and heartache – in the most beautiful way imaginable.

   The Cure – Just Like Heaven

Tamboosh:

Grmbl … mean people making me choose just ONE. It’s impossible! My favorite Cure songs are all special for different reasons, so screw it, I’m listing them ALL! In a perfect world they’d all get big, shiny prizes: “Plainsong” is a beautiful, ethereal dream, “The Caterpillar”, “Close To Me” and “Boys Don’t Cry” are sweetly, uplifting, “The Love Cats” is enchanting, yet deceptively simple, and the more recent “Lost” is heartbreaking and mesmerizing. But my all-time favorite Cure song would have to be the absolutely flawless “Just Like Heaven”, because I imagine it’s what other pop songs aspire to be.

   The Cure – Just Like Heaven

This month we select our favorite songs by the incomparable Missy Elliott. As a producer, songwriter, rapper, and singer she’s a quadruple threat. Luckily, we only had to choose from the seven albums she put out herself, but she’s worked and featured on so many other great records it’s daunting. Whether you’re a fan, or indifferent to her whimsical lyrical style, you can’t deny that she ups the pop ante every time she puts out a new single. That’s why we admire her so and why she deserves to be celebrated today.

aDawgg:

“Lick Shots” and “Get Ur Freak On” proved tough to the bitter end of the selection process. Ultimately, these two superb tracks were mere pretenders against perhaps one of the best single hip-hop tracks of the past decade. With the press-on nails and velour cleared, “Work It” was the boss of its domain. The beat. The smoothly hilarious wordsmithery. It’s all crammed in there and will bounce indefinitely. The incredibly talented Missy Elliot is the only female rapper certified six times platinum. In “Work It” she and partner-in-crime Timbaland crafted a masterpiece that displays precisely why.

   Missy Elliot – Work It

Bean:

Missy Elliott’s greatest strength is most definitely her playfulness. That sounds like something you say about a cutesy child-friendly band, but I can’t find a better word. Missy’s got a fantastic, wicked sense of humor (a rare quality in hip-hop), plays around with words and sounds and manipulates them with her incredibly versatile voice, and then messes around with the interaction between her vocals and her beats. And with “Work It”, she took all that stuff to a whole new level. Plus, “Work It” made “get your hair did” a household phrase and that always cracks my ass up.

   Missy Elliot – Work It

Tamboosh:

Missy’s quirky style – often bordering on cartoonesque – and crazy lyrics were revolutionary when she first came out in 1997. Over a decade later she’s still going strong and continues to push the boundaries of pop, dance, and hip hop. In spite of amazing hits like “Get Ur Freak On”, “Work It”, and the more recent “Ching-a-ling”, her first single “The Rain” is still extra special to me. The lyrics are non-sensical (the answer to ‘Beep-beep, who got the keys to the jeep?’ will always be VRRRRRRRMMM!) and the surreal video hurt my brain – it was so new, so alien and so addictive.

   Missy Elliott – The Rain (Supa Dupa Fly)
]]> http://onehundredb.com/2008/05/30/100best-missy-elliott/feed/ 0 100b http://onehundredb.com/2008/04/30/100best-the-black-keys/ http://onehundredb.com/2008/04/30/100best-the-black-keys/#comments Wed, 30 Apr 2008 19:00:43 +0000 100b http://100b.wordpress.com/?p=534 ]]>

Two-thirds of 100b have been massive fans of The Black Keys for since we first heard their glorious sound blasting from our speakers. One-third of us had only listened to them casually previous to this assignment. In honor of their wonderful new album, Attack & Release, our mission was to choose their very best song and justify our choice in 100 words or less. It turned out to be pretty difficult for all of us. If you choose to accept this mission, play along with us in the comments.

aDawgg:

The best Black Keys album is Rubber Factory, which gobbled up six of the 10 tracks on the Long List. Sadly, when forced to pick the best single song, nothing from Rubber Factory made it to the Big Three: “Breaks” (The Big Come Up). “Have Love Will Travel” (thickfreakness). “Modern Times” (Magic Potion). Listening to each one last time right now I still haven’t decided. I guess I prefer musics that tug at my gut. Give me rhythm and memorable guitar play. That’s what it takes to get me hooked. The best of the Black Keys? Just listen to it.

   The Black Keys – Modern Times

Bean:

When I think about the The Black Keys, the first thing I think of is their incredible live shows. I think of feeling like the music is physically blowing you away. I think of Patrick Carney drumming so hard his glasses fly off and the floor tremors like an earthquake. I think about feeling Dan Auerbach’s guitar in my knees and hearing his voice in the pit of my stomach. These are not the only qualities that make The Black Keys great, but they’ve made the deepest impression on me. “Grown So Ugly” epitomizes that feeling. Listen to it LOUD.

   The Black Keys – Grown So Ugly

Tamboosh:

I remember what it felt like to stand in a row to be picked for teams during gym classes. You stand there so vulnerable, exposed, and spotty and pray that you’re not the last one called. It’s dehumanizing and gym teachers who force kids to go through it are cruel. I didn’t want any of The Black Keys’ – whom I love with an almost disturbing passion – songs to go through that so in a low whisper I say, I choose “Set You Free” from Thickfreakness. Sexy, loud, raw, stirring, and passionate, it’s everything I heart about them Keys.

   The Black Keys – Set You Free

Whether it’s the shear chutzpah of selecting Elvis as your stage name, stunts like busking at a convention of record company bigwigs to get noticed and signed in the U.S., or releasing your next album on vinyl and as a digital download only, the bespectacled Declan Patrick MacManus, better known as Elvis Costello, has shown he has what it takes to succeed and survive at this wicked game.

aDawgg:

   Elvis Costello – Watching The Detectives

Perhaps it’s fitting, after listening to Elvis Costello again and again the past couple of weeks, I ended up settling on his first serious hit, one I knew would end up on the short-list anyway. “Watching The Detectives” was a standalone single released in the U.K. in late-1977, before later making it onto releases of My Aim Is True. The rhythms and chorus mask a dark and menacing tale of murder. This single marked the start of a wide-ranging career now in its fourth decade and matched by very few.

Bean:

   Elvis Costello – Oliver’s Army

Oliver’s Army” is the kind of hit that indie bands are still trying – unsuccessfully, for the most part – to write. A genuine indie (or post-punk or new wave or whatever you want to call it) / pop crossover is rare. For it to also say something real about the state of the world – and not just some generic Peace To The World drivel – is almost unheard of. And to have it still be loved by people of all tastes, ages, shapes, and sizes over 30 years later? Almost a miracle.

Tamboosh:

   Elvis Costello – Lipstick Vogue

A musical chameleon and soldier against cynicism, who nevertheless never resorts to sentimentality, Elvis Costello understands the essence of every single genre he has covered and executes them perfectly. Trying to explain what is lovely about a song is hard to express when limited by words. While listening to his songs, I jotted down my thoughts. I’ve used phrases like ‘pop perfection’, ‘beautifully country’, and ‘heart-breaking gospel’, but “Lipstick Vogue” simply got a heart. I love this song and whatever grand description of the other songs, nothing can win it from a heart. It’s fast, tragic, passionate, and unmistakably Costellian.

Last month we celebrated the legendary Ramones, and today we put the spotlight on The Strokes. Both bands hail from New York, but we promise it’s just a coincidence and not 100best’s running theme. The Strokes are partly responsible for the 100b crüe getting together as united music geeks. They’re one of a very short list of bands that could have made us stand in line in the cold for seven hours for exclusive tickets to a small venue, and dear Lord, they were worth it. They have a special place in our hearts, and today we choose one song that we consider the best of their entire oeuvre. If you agree or think another song is more deserving of the accolades, feel free to have your say. But like we said last month, we have to stick by the rules and do it in 100 words or less, so it’d be cool if you did too.

aDawgg:

   The Strokes – Last Nite

Take Is This It?, Room On Fire and First Impressions Of Earth. Reduce until the deliciousest core remains, “Last Nite”, “Reptilia” and “You Only Live Once”. Sip each in turn, loud and soft, eyes open and closed. Which kicks most? Which is the pure and unadulterated essence of The Strokes phenomenon? “Last Nite”, indubitably. We crusty bunch may not easily recall, now, what it was like, then, to crank up Is This It? for the first time and be blown away by something so different from everything else at the party. It was love at first listen. And still is.

Bean:

   The Strokes – Soma

This was tough. I got it down to a shortlist (“Soma”, “Last Nite”, “Modern Girls and Old Fashion Men”, “When It Started”, “Under Control”), all of which I love dearly. They each have the trademark Strokesian elements: rolling drums, calmly insistent guitars, vocals that sound like they were screamed over a tin can telephone. But “Soma” has one other tiny thing that I couldn’t ignore: that wee drum roll that starts off each verse. You know it: it’s at 00:07 and 01:10 and can’t possibly last more than 2 seconds. It’s nearly nothing, but it’s enough to make the difference.

Tamboosh:

   The Strokes – Reptilia

My favourite is “Someday” because it was the first Strokes single I’d heard and I was immediately hooked. But I tried to choose not out of nostalgia, but by which song represents their sound best. I decided to take baby steps and chose one from each album first. After whittling the list down, I was left with “New York City Cops”, “Reptilia”, and “You Only Live Once”. All three high energy, über Strokes-y, spitfires of songs. I finally chose “Reptilia”, because the rousing chorus oozes with emotion and the instruments seem as much part of the dialogue as the lyrics.

Welcome to 100best, our new monthly feature. Here’s how it works: we each pick what we think is the best song by a particular band or artist, and have to make our case in 100 words or less (our name gives us the opportunity for all sorts of semi-gimmicky shenanigans). For this first edition of 100best, we’ll take a look at the Ramones, the band whose wonderful music gave us our name as well as an extraordinary number of classics. But what’s their single best song?

aDawgg:

   Ramones – Needles & Pins

So many songs to choose from! “Needles & Pins” – written by Sonny Bono and Jack Nitzsche and originally recorded by Jackie DeShannon (1963) and prominently by The Searchers (1964) – captures The Ramones perfectly. While “I Wanna Be Sedated” stole the limelight on the band’s fourth album, Road To Ruin (1978), “Needles & Pins” boldly declares their 1960s influences. Yet, they managed to make the song their own, breaking the public image – or stereotype – of what punk was and is. Don’t try to cram us into what you want us to be. Don’t like it? Suck it! Punk.

Bean:

   Ramones – Sheena Is A Punk Rocker

“Sheena” represents all those little things we love about the Ramones in one short burst. It’s a perfect combination of pop and punk: surfer music, 60s girl groups, a peppy chorus you can’t help dancing to, Johnny Ramone’s chugging guitar, and Joey’s beautifully odd voice. It’s got incredibly simple lyrics, telling a story that will appeal to anyone, anywhere, who doesn’t quite fit in. All the kids were going to the discotheque, but Sheena had to go to New York City, where she could be free to be a punk rocker and just be herself. What’s more punk than that?

Tamboosh:

   Ramones – My Brain Is Hanging Upside Down (Bonzo Goes To Bitburg)

I’d written about my favorite, “Beat On The Brat” when one google result showed a thread that debated whether people should keep Ramones records due to ‘Nazi imagery’. Seriously?!? Never mind the fact that Joey was Jewish and any mention of Nazis is obviously tongue-in-cheek, “My Brain Is Hanging Upside Down” protests Reagan’s visit to a cemetery where SS soldiers were buried! When it mattered they were suitably outraged and didn’t limit their show of disapproval to the music they listen to. So here’s my vote for 100best, because thanks to this song we can all enjoy “Blitzkrieg Bop”, guilt-free.

100b encourages you to share your opinions in the comments but if we have to follow the rules, so do you: let us know what you think the Ramones’ best is (or even why we’re wrong), but do it in 100 words or less. It’s harder than you think.

Vampire Weekend – Oxford Comma
Ryan Adams – Pearls On A String
Maximo Park – Our Velocity
Kylie – 2 Hearts
Devendra Banhart – Shabop Shalom
The Raveonettes – Sad Transmission
Interpol – All Fired Up
Blanche – I Can’t Sit Down
Killers ft. Lou Reed – Tranquilize
Shout Magic – Branch Davidians
The Bees – Who Cares What The Question Is?
The Rakes – We Danced Together
Sons And Daughters – Gilt Complex
Dizzee Rascal – Sirens
Sharon Jones & The Dap Kings – 100 Days, 100 Nights
!!! – Must Be The Moon
Menomena – Wet And Rusting
LCD Soundsystem – Someone Great
The View – Same Jeans
Klaxons – Golden Skans
Arctic Monkeys – Fluorescent Adolescent
The Royal We – All The Rage
Pharoahe Monch – Body Baby
Johnny Flynn & The Sussex Wit – Tickle Me Pink
M.I.A. – Boyz
Black Kids – I’m Not Gonna Teach Your Boyfriend How To Dance With You
Jack Peñate – Spit At Stars

These songs sound that much better combined with their videos:

Sonny J – Can’t Stop Moving

Cloud Cult – Chemicals Collide

The Go! Team – Doing It Right

Snoop Dogg – Sexual Eruption

•   15. Bloc Party, A Weekend In The City
          essential tracks: “The Prayer”, “I Still Remember”
•   14. Kings Of Leon, Because Of The Times
          “Ragoo”, “Fans”
•   13. Architecture In Helsinki, Places Like This
          “Heart It Races”, “Like It Or Not”
•   12. Elvis Perkins, Ash Wednesday
          “While You Were Sleeping”, “May Day!”
•   11. Arcade Fire, Neon Bible
          “(Antichrist Television Blues)”, “No Cars Go”
•   10. Clap Your Hands Say Yeah, Some Loud Thunder
          “Satan Said Dance”, “Underwater (You And Me)”
•   9. Feist, The Reminder
          “I Feel It All” (mp3), “1234″
•   8. Bonde Do Role, With Lasers
          “Geremia”, “Tieta”
•   7. Kate Nash, Made Of Bricks
          “Foundations”, “Mariella”
•   6. Pop Levi, The Return To Form Black Magick Party
          “Pick-Me-Up Uppercut”, “Dollar Bill Rock”
•   5. The Shins, Wincing The Night Away
          “Turn On Me”, “Australia”
•   4. Jamie T, Panic Prevention
          “Brand New Bass Guitar”, “Sheila”
•   3. Modest Mouse, We Were Dead Before The Ship Even Sank
          “Dashboard”, “Parting Of The Sensory”, “Steam Engenius”
•   2. The White Stripes, Icky Thump
          “Icky Thump”, “300 M.P.H. Torrential Outpour Blues”
          “Prickly Thorn, But Sweetly Worn”
•   1. Patrick Wolf, The Magic Position
          essential tracks: all of them.

This list isn’t the same as my usual year-end lists. Normally, I carefully consider and mentally rank things like originality and impact and consistency. Those qualities are all present here but this list is probably more representative of myself than it is of 2007′s offerings. If you think of the albums you listen to as your own personal soundtrack, this list is the soundtrack of my 2007. This is the music I listened to while moving to a new country, the albums I still wanted to play while I went through a brief music slump, the artists that felt good to hear while I was missing my old home and exploring the new one. It’s quite possible that all music is at the mercy of your mindset right at the moment you first hear it – it’s not unreasonable to think that you might at first be unimpressed with a slow or sad album if you’re celebrating good news on a beautiful summer evening. But under different circumstances, you might have loved it instantly.

In any case, these are the albums I loved last year. There are probably others that are better and there a good number that might have appeared here if I had kept up with new releases better. But these are some great albums here, full of magnificent sounds and wonderful voices.

None more so than Patrick Wolf, who I’ve posted about a number of times and whose latest release is one of the best I’ve ever had the pleasure of listening to. Perhaps not since the first time I heard The White Stripes have I been this enthralled with an artist. It is incredibly rare to find a musician with as unique a voice and outlook as Patrick Wolf – his use of industrial beats, electronica, and classical instrumentation still blows my mind ever time I listen to The Magic Position. His blend of music style and influence is unlike anything I’ve ever heard. His voice – his literal singing voice, that is – is absolutely captivating. His lyrics are beautiful yet deceptively simple. “The Magic Position” is, as I said back in May, is a joyous cacophony. “Magpie” is magically melancholy, a fairytale for the haunted. “Let’s Go (Get Lost)” is definitely the most real description of being in love that I’ve ever heard. The Magic Position is the kind of album that reminds you of all the most important things in your life, of both the beauty and the pain in the world, and of the profound effect music can have on you. And you just know that you’ll listen to it forever and never stop being amazed by it.

   Patrick Wolf – (Let’s Go) Get Lost

The word of the day is Chicken!
Here is 100b’s top 5 featuring our feathered friends:

1.)    The Bees – Chicken Payback
Before Justin ever brought sexy back the wonderful Bees brought chicken (pay)back. Well, it would have been clever if it made any sense.

2.)    Louis Jordan – Ain’t Nobody Here But Us Chickens
A special request from The Bean and the original chicken song. I like to think this is the tune that started it all.

3.)    The Detroit Cobras – Shout Bama Lama (Otis Redding cover)
Q: “How many chickens have I stole?” A: “One last night and the night before. I’m gonna have to try to get 10, 11 more.” Now that’s a serious love for chicken.

4)    Old Crow Medicine Show – Chicken Pie
I’m sure I’d like chicken pie. This might be the chickenest one of the bunch, they actually cluck in this song. Plus it sounds like a party in a real chicken coup.

5.)    Brakes – Spring Chicken
Coocoocachaaah! An awesome song by one of my favorite bands. I hope The Spring Chicken dance looks a little something like this: