I was going to count these down individually but when I broke this news to one member of the musical jury the other day, he told me to ‘not milk it’. So in order to avoid over filling this particular musical bucket with cow juice, I will reveal five songs a day until I get to number 50 and then the bucket will overfloweth. It also means that this series should be done and dusted before the start of September (hopefully).
It seems fitting and probably justified to start by planting a knee firmly in the balls of the establishment.
100. Repeat – Manic Street Preachers (1991, Columbia Records, Taken from ‘Generation Terrorists’)
The Manics just about scraped into the Top 100, needing a last day shove in the back from the final jury member whose votes came in some 20 minutes before the deadline door slammed firmly shut. ‘Repeat’ is classic Manics and they are at their most provocative as they yelp rudely about what they want the “Queen and Country” to do, as an electroclash backdrop bounces around your speakers. It should have done better folks, maybe I chose the wrong song?
99. England – The National (2010, 4AD Records, Taken from ‘High Violet’)
The National started well but rather like Derek Redmond in the 1992 Olympics, they rather limped over the line, whilst sobbing into the arms of their loved ones. Although that maybe more to do with the fact that have rapidly turned into America’s version of Elbow. Saying that ‘England’ is a marvellous track, easily a highlight of ‘High Violet’ especially the piano bit.
98. Stay – Shakespear’s Sister (1992, London Records Taken from ‘Hormonally Yours’)
I’d forgotten just how successful ‘Stay’ was. In the UK it topped the charts for eight weeks. Eight Weeks. I would imagine that Ms’s Fahey and Detroit would gladly swap that for a slightly higher place in this rundown, but there you go. ‘Stay’ is extraordinarily good. A tale of two worlds, one all spooky and claustrophobic and full of danger, the other seemingly safe and full of flowers. Also, Siobhan Fahey’s throaty growl as the chorus kicks in remains one of the finest moments in pop music.
97. Hoppipolla – Sigur Ros (2005, EMI Records, Taken from ‘Takk’)
‘Hoppipolla’ is a beautiful track, an ode to mucking around and “Hopping in Puddles”. It was and remains Sigur Ros’ most identifiable song, largely because the BBC have had it written into its Charter that any programme that features ice, cold climates and anything resembling a tundra must be soundtracked by ‘Hoppipolla’. Something that as it happens I would gladly pay an extra £2 a year on the licence fee to hear.
96. Deceptacon (DFA Mix) – Le Tigre (1999, Mr Lady Records, Taken from ‘Le Tigre’)
Or you can just have the normal version if you like. Personally I much prefer the remix because it hits like a bomb and takes that line ripped from a novelty song and twists it inside out adds, a load of bleeps and yelps and squeaks and just drips adrenaline. It’s also the best song in the world named after a bad robot from Transformers. Until Jason Pierce writes a song called ‘Optimus Prime (in my heart)’ that is.