Liam

Oh yeah, it was the energy, the ridiculous banter delivered without a hint of sarcasm - great fun.

881. ‘I Try’, Macy Gray (1999) Influenced by: Baby, I Love You • Aretha Franklin (1967) Influence on: Trouble Sleeping • Corinne Bailey Rae (2006) Covered by: The Girlfriends (2000) • Andrew Tinker (2007) • Ben Taylor (2008) For me, Macy Gray is all about whether you like her distinctive voice or not. Whilst I know in my heart of hearts this is a good song, I’m just not really a fan of her muted raspy style. In some ways, I’m pleased that someone who sung in a manner that was very much not the norm for popular music at the time had such success with this song and her debut album, it isn’t really for me ultimately. 882. ‘U Don’t Know Me’, Armand Van Helden (1999) Influenced by: The Captain • Johnny “D” & Nicky P. aka Johnick (1996) Influence on: Runnin’ • Doman & Gooding featuring Dru & Lincoln (2009) Other key tracks: Aliene (1999) • Rock da Spot (1999) • Flowerz (1999) • My My My (2004) • NYC Beat (2007) Armand Van Helden is someone I didn’t really appreciate when I first listened to him back in 1999. I was pretty much firmly entrenched still in listening to pop music on the radio, so the dancier end of that spectrum was often not really in keeping with my interests. However, as I’ve got older, I can look back and realise that he created some absolute bangers. To be honest, I think this already hit pretty hard compared to some of his other output – it is the definition of a tune. A hooky earworm from start to finish. 883. ‘Race for the Prize’, The Flaming Lips (1999) Influenced by: The Whole of the Moon • The Waterboys (1985) Influence on: Kids • MGMT (2005) Covered by: Palm School Choir (2008) Other key tracks: Waitin’ for a Superman (1999) • Do You Realize?? (2002) • The Yeah Yeah Yeah Song (2007) The Flaming Lips are a weird one for me as I love ‘Yoshimi Battles the Pink Robots’ as an album – legitimately one of my top ten or so – yet I’ve never gone out of my way to listen to anything else produced by then. This is weird, but there is an earnestness about it that is hard not to admire I feel. According to the book, this somewhat served as a transitional piece before the aforementioned ‘…Pink Robots’, thus probably why it ends up on the list. Not only is it a nod to the band, but it is the start of their highest profile (?) run in the spotlight. The song is fine. 884. ‘One Armed Scissor’ At the Drive-In (2000) Influenced by: Smallpox Champion • Fugazi (1993) Influence on: Bleed American • Jimmy Eat World (2001) Covered by: Paramore (2007) Other key tracks: Proxima Centauri (1999) • Arcarsenal (2000) • Pattern Against User (2000) An absolute barnstorming salvo from the band, one that I don’t think they ever really match up to in their short-lived career. There is a lurching quality to everything, the song bouncing around and encapsulating the key elements of what would eventually be realised in The Mars Volta and Sparta as the band split up shortly after this due to their different artistic desires. It is definitely a song to go out on a high. 885. ‘Hate To Say I Told You So’, The Hives (2000) I don’t think people will like this song, or the Hives, as much as I do. Maybe I’m wrong, but it feels like this was part of the transition to the ‘The’ bands taking over, a period of time that I don’t remember going down to well with certain music fans. Whilst I’m by no means the biggest fan of the band, the energy throughout this song is palpable and everything coming through the speakers makes you want to dance, or sing, or nod your head. The Hives were also – easily – one of the best bands I saw live. No relevance to this, but it’s worth stating.

876. ‘Surfacing’, Slipknot (1999) Slipknot are a massive ‘your mileage may vary’ group, and it is likely that if you don’t like them, very little is going to change your mind. It is hard to argue about their influence though, both positive and negative – they have pretty much created a whole identity around being a fan of their music. I actually quite like the odd Slipknot song, but this very much sounds like the type of thing that sounds cool when you are 13 and think you want to be a rebel, only to grow up and feel a bit embarrassed by it all. Even from the same album, ‘Wait and Bleed’ is at least a passable song. 877. ‘Scar Tissue’, Red Hot Chilli Peppers (1999) To me, this is probably the album that best merges the funky and pop/rock elements of the Chilli Peppers. Outside of BloodSugarSexMagik, a lot of their early ‘funk’ stuff was uninspiring, whilst a lot of the stuff after this album was also less than exciting. Here, however, they nailed it for me. Maybe it is because this is one of the first CDs I own, so my ideas around it have a sepia-tinged nostalgia to them, yet I do genuinely believe the balance between cool sound and well written pop makes this a good album, and Scar Tissue in particular a good song. What had already been a fun, laid back rock song is kicked into the next gear with the great guitar solo outro; a memorable finish. 878. ‘Ms. Fat Booty’, Mos Def (1999) This is an interesting addition as this takes the sexist songs and raps of the time and flips them on their head as Mos Def eventually is blown off by Ms. Fat Booty. Apparently, this came alongside an album that looked at things such as cultural appropriation of black music by white singers as well as the world’s issue with water, so Mos Def was a more socially aware rapper than many. The quality of his rapping is not really for me to decide – I do enjoy it – but I will say that the lyrical content was refreshing, whilst the samples and backing vocals create a song to groove to as well as one to get you thinking. 879. ‘Caught Out There’, Kelis (1999) Influenced by: Tyrone • Erykah Badu (1997) Influence on: Black Beatles (Beatles vs. Black-Eyed Peas vs. Ludacris vs. Kelis) • Loo & Placido (2005) Covered by: Tune Robbers (2006) Other key tracks: Suspended (1999) • Good Stuff (1999) • Get Along with You (1999) • Milkshake (2003) Kelis is a perfect example of a singer that I tend to forget about, but whenever a song of hers ends up on the radio, I really enjoy it. She can sing, but has that alternative edge to her vocals and general aesthetic that I like as well. This was a huge song upon release, propelled I can only imagine by a huge chunk of women who had experienced the same as Kelis had. This is not quite as good of a banger as ‘Milkshake’, but it is a great tune. 880. ‘Why Does My Heart Feel So Bad?’, Moby (1999) Influenced by: Pacific • 808 State (1989) Influence on: One Perfect Sunrise • Orbital (2004) Covered by: Da Capo Players (2002) • The String Quartet (2002) Other key tracks: Porcelain (1999) • Honey (1999) • Natural Blues (1999) Probably the main thing people know about ‘Play’ is that it was the first album to have all of its songs licensed for other media, so it would be a bit redundant repeating it…but it is an insane fact in some ways, as it showed the commercialisation of music for products, films and television, a means to sell things and emotions to people. This song in particular found its way into the Black Hawk Down trailer apparently, and it provides a rather dour lyric for what is otherwise a pretty blissed out chillout track. I like that juxtaposition, though the song won’t be for everyone.

Fixed the last post and left it at 7 songs, so here is 3: 873. ‘Bok Espok’, Kepa Junkera (1998) Kepa Junkera is apparently a big name in Basque music, with this album in particular an attempt to showcase how Basque music can sit amongst the styles of other cultures. For this song in particular, he performed alongside the Swedish group Hedningarna for a bit of a what sound like a funky, accordion-led jam. It isn’t really the type of music I’d go back to, but this is four and a half minutes that is hard not to enjoy to some extent. 874. ‘Save Me’, Aimee Mann (1999) This is a song I’ve never heard from a film I’ve never watched, though seems to be here primarily because not only did it drive the sales of her album Magnolia, but Paul Thomas Anderson was inspired enough to incorporate Mann’s work in multiple different ways. Characters sing songs by her, people snort cocaine off of her album, etc etc. Fun for all the family. It has a brooding charm, though I don’t quite get why it is on the list outside of the knock-on cultural impact. 875. ‘No One Will Ever Love You Honestly’, The Magnetic Fields (1999) ’69 Love Songs’ is an album I own, but in keeping with my occasionally short attention span, I’ve never listened to all of it. However, this is one of the songs that I always really enjoyed on the all-too-few times I’ve put on this record. Having read in the book that this was an attempt to capture Tusk-era Fleetwood Mac, you can definitely hear the influence of that band as a whole. The whole project deserves recognition – you have to have some balls to produce something of that scope, and to do it with a number of standout moments…even if I haven’t listened to them all…

I missed a couple of songs (I blame sleep deprivation) so will need to do a bit of re-jigging in the next day or two.

I'll take that.

866. ‘Doo Wop (That Thing)’, Lauryn Hill (1998) Influenced by: Together Let’s Find Love • The 5th Dimension (1971) Influence on: Video • India.Arie (2001) Covered by: Devendra Banhart (2006) • Amy Winehouse (2007) • Rihanna (2008) Lauryn Hill is another person who I’ve come out of this project with a new found respect for in terms of their musical talent. It isn’t necessarily like I ignored it before, but having some focused time to listen to songs she was involved with has really highlighted to me how good her vocal delivery is, whether she is singing or rapping. Catchy as all hell, this is a great song no matter what style of music you tend to enjoy. 867. ‘Kelly Watch The Stars’, Air (1998) Influenced by: Zoolook • Jean-Michel Jarre (1984) Influence on: Give it Away • Zero 7 (2001) Other key tracks: Modular Mix (1995) • Sexy Boy (1998) • All I Need (1998) • Jeanne (1998) • Le Voyage de Pénélope (1998) • You Make It Easy (1998) • Talisman (1998) • Playground Love (2000) Whenever I hear the name of the band Air or the album ‘Moon Safari’, I always assume that the song I’m going to listen to will be one I’ve heard before but didn’t know it was by them or on that record. Maybe I’ve wildly overstated their popularity when it comes to soundtracks and adverts, but I feel like there was a time they were everywhere. Having said that, this isn’t one of them. Dreamy and repetitive, this is a song that I could imagine quite enjoying at some point in my musical fandom, but I care less for it now. The appeal is clear though, that’s for sure. 868. 'You Get What You Give’, The New Radicals (1998) Influenced by: Way Down Now • World Party (1990) Influence on: The Game of Love • Santana featuring Michelle Branch (2008) Covered by: LMC featuring Rachel McFarlane (2006) • Timo Raisanen (2008) Just a huge song that I can only imagine still makes the person who owns the rights shedloads of money considering it still gets radio play and ends up on every bargain basement compilation. A brief, but impressive, time in the spotlight was eventually ended by the Gregg Alexander’s desire to write and product – without him you wouldn’t have had a number of Ronan Keating hits, so you can thank him for that. Pop at its best in some ways; it still isn’t really old to me even though I’ve heard it a million times. 869. ‘Music Sounds Better With You’, Stardust (1998) Some songs are just good tunes and this is one of them to me. The definition of an earworm, this is simple yet effective. Played and enjoyed in clubs in its embryonic stage, what was released eventually was further streamlined and the lyrics were largely removed outside of the repeated hook. Sometimes, things are all the better for being simplified. 870. ‘Erase/Rewind’, The Cardigans (1998) The Cardigans are a hard band for me to judge as they feel like they were everywhere during my youth, so I assume they were perhaps bigger, if not definitely better, than many may think. This is a decent song, though sits behind songs like ‘My Favourite Game’ and ‘Lovefool’ in my thoughts about it. I’m somewhat tempted to go back and check out more of their stuff; I can’t imagine it will be mindblowing, but the moodiness of the sound coupled with Nina Persson’s icy vocals probably made for some good album tracks as well. 871. ‘Teardrop’, Massive Attack (1998) Influenced by: Sometimes I Cry • Les McCann (1974) Influence on: Kneight Riduz Wuz Here • Krayzie Bone featuring Kneight Riduz (2001) Covered by: Elbow (2004) • Newton Faulkner (2006) • José González (2007) • Simple Minds (2009) • Anneke van Giersbergen & Danny Cavanagh (2009) Whilst not as high up the list as some of them, ‘Teardrop’ was one of those songs (and music videos) that I can attribute to a growing awareness of music beyond that on the radio, or beyond that that was strictly pop and dance music. It, especially when coupled with the video, was mesmerising to listen and watch, and to me it hasn’t lost any of its power over two decades later. A stunning piece of art in my opinion. 872. ‘Iris’, Goo Goo Dolls (1998) Influenced by: Piano Man • Billy Joel (1973) Influence on: You and Me • Lifehouse (2005) Covered by: Ronan Keating (2006) • New Found Glory (2007) • Finley (2008) • Boyz II Men (2009) • Jai (2009) Other key tracks: Name (1995) • Black Balloon (1998) • Dizzy (1998) • Slide (1998) • Stay with You (1998) This is a track that I think will get some of the most flack of any listed so far. It very much is that post-grunge alternative rock balladeering that hasn’t necessarily dated very well and does little to excite anyone. However, when I heard it (probably several years after it was released) for the first time, I loved it. There is also no doubting how huge it still is – nary a year seems to go by in my time working at schools where I don’t hear it churned out in some capacity at a school event or a talent show. Have to give where credit is due for its longevity at least.

I actually missed a song out and didn't post 5 I should have done. Fixed now, so do go back and have a look.

856. 'Simarik', Tarkan (1997) You read the words ‘The Prince of Pop’ and ‘Turkish media’ in close proximity and you get at least vaguely interested as to what this might sound like. Almost immediately it is clear that this will be better known to most as ‘Kiss Kiss’ by Holly Valance (or possibly Stella Soleil’s version if you are American). It showcases just how important a soundbyte or flourish within a song can be. It is ultimately catchy, but it is the sound of the kiss at the end of the chorus that gives it something to truly help it stand out. An interesting inclusion. 857. ‘Spice Up Your Life’, The Spice Girls (1997) The thing that surprised me more than this being on the list was that I’d apparently already played it on Youtube before. That isn’t to say that this wasn’t a song that deserved to be on the list, but that I maybe didn’t expect a second outing from the Girls. Perhaps that is because I don’t realise how important they were to the music industry at large, though the book almost talks about them as the saviours of the pop industry. That may or may not be true, but the thing I definitely agree on is that this sounds massive in a way that many other songs by them don’t. With a fun rumba beat, this is arguably a better song than Wannabe. 858. ‘Given To Fly’, Pearl Jam (1997) Influenced by: Going to California • Led Zeppelin (1971) Influence on: Given to Fly • Ola (2006) Covered by: String Quartet Tribute (2006) Other key tracks: Alive (1991) • Jeremy (1991) • Pilate (1997) • Leatherman (1997) • Wishlist (1997) This is an interesting choice and one where my personal interest and the esteem I hold a song in meets a slightly ‘deeper cut’ pick for a band. My memories of this are largely tied to seeing them live in Hyde Park, London, with this being the song that launched a two hour masterclass, by far my favourite gig of all time. I doubt it will be enjoyed by people who aren’t already into Pearl Jam, nor do I think the studio version matches the live versions that I’ve heard since, yet there is a soaring element to this that matches wonderfully with the title that I’ve always loved. One for when I was young and less cynical, perhaps. 859. ‘Paranoid Android’, Radiohead (1997) Influenced by: Happiness Is a Warm Gun • The Beatles (1968) Influence on: Rodeohead • Hard ’N Phirm (2005) Covered by: Brad Mehldau (2002) • Christopher O’Riley (2005) • Easy Star All Stars (2006) • Sia (2006) • Lachi (2009) The more sonically ‘interesting’ Radiohead got, the less I cared about them. I’m very much a ‘The Bends’ fan moreso than anything ‘OK Computer’ onwards, though I do recognise the latter as a period before – to me – they went very much off the deep end. This sees the band getting it just right for me, as it is musically challenging, yet still a good, well-written song. Your mileage may vary on the band, especially Thom Yorke’s vocals. However, if you can get past that, this is one of the best in their back catalogue. 860. ‘Come To Daddy (Pappy Mix)’, Aphex Twin (1997) I only ever used to see Aphex Twin on television when I was staying at my mate’s house after a drunken house party, at which points his music videos were basically nightmare fuel. However, it was through the Dillinger Escape Plan that I was introduced to this specific song as they covered it with Mike Patton on vocals. It is so deranged and weird, before you even get to the video that comes with it, yet I pretty much love every second of it. Envisioned as a ‘death metal jingle’ by Richard D. James., he hit the nail on the head. An absolute banger. 861. ‘Never Ever’, All Saints (1997) All Saints always felt slightly more grown-up than The Spice Girls, though with that came a sound that was probably not as easily marketable. They clearly sold a lot and I’m not pretending they were Bob Dylan, but this is a ‘better song’ than most of the stuff that girl bands at the time were churning out. Soulful and spare with the instrumentation for the most part, this showcased a group that had some potential and one that has had some longevity – I remember more by them than many bands from that time. 862. ‘Song 2’, Blur (1997) Influenced by: Smells Like Teen Spirit • Nirvana (1991) Influence on: The Fight Song • Marilyn Manson (2000) Covered by: Avril Lavigne & David Desrosiers (2004) • Plain White T’s (2006) • My Chemical Romance (2006) Other key tracks: Beetlebum (1997) • Coffee & TV (1999) • No Distance Left to Run (1999) I’ve always understood this to primarily be a satire of the soft-loud-soft dynamic most used by American rock bands over the previous five years, though the book implies there is an argument that this was Blur looking to move away from being defined solely as a Britpop band. Whichever one it is – maybe a little from column a, a little from column b – this is a fun song that comes in, punches you in the face with its energy, and then finishes before it threatens to overstay its welcome. Weirdly enough, this doesn’t sound as dated as you might expect for a song that pretty much looks to capture a sound that was of its time, though it is overplayed due to its ubiquitous involvement in sport of all sorts. 863. ‘Time of Your Life (Good Riddance)’, Green Day (1997) Influenced by: She’s Leaving Home • The Beatles (1967) Influence on: I Miss You • Blink-182 (2003) Covered by: Raymond och Maria (2004) • Glen Campbell (2008) • Dwight Yoakam (2009) This is a personal favourite, whilst also being a song I’ve never really heard too much negativity towards. I feel like your mileage could vary on Green Day as a band, yet this offers something for many who may not like their other pop punk stylings. Making good use of strings to lift things above it being purely acoustic, the lyrics and simplicity of it all begs for it to be sungalong to, something which I did when I saw them live in….2002? Years ago, that’s for sure. 864. ‘Broken Heart’, Spiritualized (1997) Influenced by: I Fall to Pieces • Patsy Cline (1961) Influence on: Lost Souls • Doves (2000) Covered by: Islands (2008) Other key tracks: No God Only Religion (1997) • The Individual (1997) • Electricity (1997) Spiritualized have always been a band I’ve wanted to check out more from, yet purchasing a CD or two of theirs perhaps a decade ago didn’t spark me into sudden fandom. I often seemed to buy CDs to own rather than to listen to at that time though, so perhaps didn’t give it a fair shake really. This feels – and I could very much be wrong – like a song that maybe is a little bit out of step with what I remember hearing from them in the past: sadder, sorrowful in its instrumentation and an overarching feeling of melancholy. I can imagine a time when I would have enjoyed this a lot more and can see the appeal, though it didn’t overly inspire me to that fandom I mentioned earlier. Some beautiful use of strings though. 865. ‘Into My Arms’, Nick Cave and the Bad Seeds (1997) Influenced by: Hallelujah • Leonard Cohen (1984) Influence on: I See a Darkness • Bonnie “Prince” Billy (1999) Covered by: Yots.K (2009) Other key tracks: Tupelo (1985) • Nature Boy (2004) • The Lyre of Orpheus (2004) • Dig, Lazarus, Dig!!! (2008) Considering how they have chosen the songs from some acts, they have nailed the Nick Cave songs in terms of my personal interest. I love the duet with Kylie Minogue and ‘Into My Arms’ probably sits as my favourite of the songs I’ve heard by him. The lyrics explore Cave’s spirituality (not considering himself a Christian, but believing in something) and his ideas around the faith and spirituality caused through love…or that’s what I think. There are few moments I enjoy more from song to song then the little piano melody that leads into the chorus – just an excellent little flourish in a great, great song.

I'm guessing not. It was either going to be that or Come To Daddy if they had to make a choice. Edit - Windowlicker is from 1999 as well, having just looked it up.

851. ‘Breakdown’, Mariah Carey (1997) Influenced by: Tha Crossroads • Bone Thugs-n-Harmony (1996) Influence on: Lil Love • Bone Thugs-n-Harmony featuring Mariah Carey and Bow Wow (2007) Other key tracks: Emotions (1991) • Fantasy (1995) • Honey (1997) I’ve never been much of a Mariah fan, as I’ve never been a big fan of the breathless note-jumping nature of her vocals. I get that there is a level of skill there and that it appeals to some, it just does nothing for me. This was a song I was unfamiliar with, one about her marriage breakdown and somewhat prophetic of Mariah’s own state in the coming years. This is pleasant enough, though the best part of it for me is that backing vocals plainly because it evokes the better song ‘Tha Crossroads’. 852. ‘Chan Chan’, Buena Vista Social Club featuring Compay Segundo (1997) Compay Segundo was approaching 90 when this was recorded; Ry Cooder was the drive behind the Buena Vista Social Club itself, though it cost him a $25,000 fine (commuted from $1,000,000) for breaking the Trading with the Enemy Act. This feels that it is on the list to celebrate the BVSC and Compay Segundo as much as anything, but that perhaps downplays what is a pleasant Cuban ballad that showcases Segundo on a guitar of his own invention. 853. ‘Between the Bars’, Elliott Smith (1997) Having liked work by Nick Drake, Jeff Buckley and a number of other singer/songwriter types, I’ve always found it weird that I’ve never got into Elliott Smith as much as I feel like I should. I own CDs of his stuff, but it rarely enters my rotation. I think, if I’m being honest, that his voice doesn’t do a lot for me, whilst there isn’t the immediacy in his songwriting that I have found in other musicians of this type. That isn’t to try and do this a disservice: it is a good, if slight, tune that does its job and doesn’t outstay its welcome. Feels a bit oddly placed, but there have been stranger things on the list. 854. ‘Everybody (Backstreet’s Back), Backstreet Boys (1997) Probably the best pop song of all time. There. Ok, when I say pop here, I’m referring to that window of time where pop largely meant boy and girl bands creating saccharine tunes for the radio in the mid to late 90s. Of that fare, this song is an absolute banger, helped along by a very notable music video. Fun fact: I used to know all of the dance moves to this song. Don’t over think it and enjoy it. 855. ‘4,3,2,1’, LL Cool J featuring Method Man, Redman, Canibus and DMX (1997) As always with rap, I have to defer to others when it comes to whether this is good or bad or indifferent – I can only really state what I think and any of the contextual stuff surrounding it according to the book. The most interesting thing for me is that this started off beef between J and Canibus in particular, spiralling out into a number of different diss tracks. The herky-jerky nature of the tune does little for me and I’ve heard better things from pretty much all of the acts in this (apart from not having any idea who Canibus is…).

This may sound odd, but I always find SV little overwhelming inasmuch as working out what is best to do with my time. I know that basically isn't the point if you don't want it to be, yet I always feel like I'm doing something wrong.

The grabbing of Firmino is also a fine example of something that only ever becomes a thing people moan about in situations like this. It happens all the time and rarely ever gets pulled up. It was arguably a transgression, but one that 7 or 8 times out of 10 doesn't end up as a free kick.

For the record, I feel once you give a goal like that, you have to stick with it. Cricket has umpire's call, whilst NFL and I think Rugby Union has the whole thing where you need concrete proof to overturn something or whatever. You aren't looking at whether contact was made or not on a foul or an off the ball incident, this was the interpretation of a handball that - in the process of play - wasn't deemed significant enough to warrant a reprimand. Therefore, you should probably stick with your decision. I hate the idea of accidental and intentional handball anyway as I think it is rare that players try to handle a ball. However, some accidental handballs clearly benefit a team or player, so should be adjudged as such.

So the ref should have blown up for a foul/infringement three times rather than letting you go and score? I went and had a look and that seems the rule for accidental handball only. They obviously deemed that there was more to that handball. I don't think it was on purpose, but the ball effectively gets brought under control by his hand, so it comes down to interpretation at that point. I guess the argument, as always, is to what extent that is a clear and obvious mistake. Some would argue 'missing a handball' is clear and obvious, whilst some would say not. I guess it is upon the referee himself at that point in time to then stick to their original decision.

846. ‘On & On’, Erykah Badu (1996) Influenced by: Fine and Mellow • Billie Holiday (1939) Influence on: A Long Walk • Jill Scott (2002) Other key tracks: Otherside of the Game (1996) • Next Lifetime (1996) • 4 Leaf Clover (1996) • Appletree (1996) • No Love (1996) • Sometimes . . . (1996) • Bag Lady (2000) • Soldier (2008) • Honey (2008) I’ve never seen an ‘Other Key Tracks’ list as long as this one, which probably speaks to Badu’s enduring involvement in the music industry. However, I can’t say for definite that I’ve ever heard anything by her until today. The book talks about this early entry being an example of neo-soul, and it certainly is smooth in a way that a lot of the other R&B and pop starlets weren’t quite doing at this time. Possibly a little bit too laid back for me; I kept waiting for things to kick in just a bit more than it ever did. Badu has a lovely voice to give her credit, but the style of music doesn’t overly excite me. 847. ‘Woo-Hah!! Got You All In Check’, Busta Rhymes (1996) Influenced by: Space • Galt MacDermot (1973) Influence on: Tribute • Nonpoint (2000) Covered by: DJ Sega (2008) Other key tracks: The Finish Line (1996) • Flipmode Squad Meets Def Squad (1996) • Everything Remains Raw (1996) • Hot Fudge (1996) • Dangerous (1997) I remember being a ‘fan’ of Busta Rhymes in the way that only a white teenage boy can be: enjoying his more commercial work without really digging back through his back catalogue or history. I’ve always liked the sound of Rhymes’ rapping as he has a very recognisable flow and there is a bassiness and aggression that makes what he says sound cool. The quirkiness of this early offering from Rhymes comes mainly a take on a soundtrack from a 70s film called Woman is Sweeter. What it does is allow Rhymes to be the star, and he steps up and does just that. He is a hard man to ignore, full of energy and vigour even this early on. 848. ‘No Diggity’, Blackstreet featuring Dr. Dre (1996) You sometimes wonder whether you misjudge songs when you make sweeping statements about songs, but I honestly don’t think I know anyone who dislikes this song. A mix of rap, R&B and with music sampled from a gospel song, it all works. In a song about a temptress of sorts, the raps add that grittier urban feel, whilst Blackstreet offer up the soulful undertone to everything. The piano in particular is something that I think, for people of a certain age, you could play and they’d be able to place the song and the mostly positive memories I assume come alongside it. Absolute tune. 849. ‘Woke Up This Morning’, Alabama 3 (1997) I think it is easy enough to suggest that this is on the list due to its involvement with ‘The Sopranos’ more so than any real musical merit. I mean, it is perfect for the TV show and convinced the producers to stick to one song throughout the whole series, so did enough to impress those in a position of power. What I find somewhat funny is that they were based in London and largely the brainchild of someone from Wales and someone from Scotland. Not exactly what you might expect given the providence of the sound. 850. ‘Block Rockin’ Beats’, The Chemical Brothers (1997) Influenced by: Coup • 23 Skidoo (1983) Influence on: Gangster Trippin’ • Fatboy Slim (1998) Covered by: DJ Sundance (2007) Other key tracks: Leave Home (1995) • Song to the Siren (1995) • Life Is Sweet (1995) • The Private Psychedelic Reel (1997) • Hey Boy Hey Girl (1999) Sometimes you may not like a genre particularly, but one band or artists stands above the parapet. For me, The Chemical Brothers, though peddling a style of music I largely don’t care for, are excellent. There is often a vitality and urgency to their music that I like and whilst this isn’t my favourite song by them (probably ‘Let Forever Be’ for those who haven’t asked), it is one of their earliest commercial hits so deserves a place on the list.

...I like Neutral Milk Hotel.

841. ‘Devil’s Haircut’, Beck (1996) Influenced by: I Can Only Give You Everything • Them (1966) Influence on: Legend of a Cowgirl • Imani Coppola (1997) Covered by: Doug Munro’s Big Boss Bossa Nova (2007) Probably shouldn’t surprise me that the only other song outside of ‘Loser’ by Beck might be the one that ends up on the list. This is admittedly from the one album I know, ‘Odelay’, and is probably a ‘better’ song than loser in terms of what it tries to do and the ambition shown between the pop sensibilities and the various other influences. Sometimes the list throws up a good song, you think ‘that’s a good song’, and then you go back to not thinking about it much in your year to year existence. That is this song. 842. ‘I’ll Be There For You…’, Method Man featuring Mary J. Blige (1996) A rare Wu-Tang Clan-adjacent love song, this was a song that it took me a moment to remember, but when it kicks in, it is a real banger. Apparently an attempt by Def Jam’s chief executive to get Method Man more mainstream and higher profile, the idea to link him up with Blige is excellent. There is almost a creepiness to the underlying tone of the song, possibly due to the use of reverb of the vocals at points, whilst the rapping isn’t my thing but works perfectly within this setting. The layering of two different styles creates a haunting love song and one that I really enjoy. 843. ‘The Beautiful People’, Marilyn Manson (1996) A few entries ago, I talked about how I didn’t get people who weren’t at least a bit into what Prodigy had to offer. Whilst I won’t say the same for Marilyn Manson, this window of his work hit the happy middle ground between being noisy and being accessible, to the point where I think it is hard not to enjoy songs like ‘The Beautiful People’ just a little bit. It is big, dumb and full of… but it is a storming rock tune for my money. The fact that my Dad liked it probably is the exact reason why people didn’t always like Manson – nothing is less cool than music your Mum and Dad might like – yet this delivers what it sets out to: an pumping, aggressive rock song. 844. ‘Criminal’, Fiona Apple (1996) Influenced by: Stoned Soul Picnic • Laura Nyro (1968) Influence on: Miniature Disasters • KT Tunstall (2005) Covered by: Amazing Transparent Man (2003) • Natalie Cole (2006) Other key tracks: Sleep to Dream (1996) • Slow Like Honey (1996) • Shadowboxer (1996) What impresses me the most about this song is how young Apple was when she released it. She was just 18, yet everything sounds so fully realised in terms of her musical direction and the sound she wanted to create. It probably explains why she is still kicking around 24 years later, rather than being a teenage one hit and done type like many others. It doesn’t set my world alight necessarily, yet the use of the word ‘belter’ in the book does summarise my thoughts pretty accurately. 845. ‘Crash Into Me’, Dave Matthews Band (1996) Influenced by: Willow • Joan Armatrading (1977) Influence on: Why Georgia • John Mayer (2001) Covered by: Stevie Nicks (2005) Other key tracks: Ants Marching (1994) • So Much to Say (1996) • Christmas Song (1996) • Proudest Monkey (1996) • Say Goodbye (1996) I’ve not heard a lot of Dave Matthews Band, but what I have heard makes me think I’d have liked them at a certain point and age in time. Back during a time when I was listening to The Goo Goo Dolls, Matchbox 20, Live…that type of music. However, this doesn’t do a lot for me now. I can hear the appeal, whilst the lyrics are interesting and somewhat at odds with the tone of the music, yet it is just all a bit meandering. There’s skill here, of course there is, just not something I care for really.

Cheers for the suggestions. Want to pick up Crosscode whilst it is on sale in America.

If I was going to buy a game from the US eshop, is there a recommended place to shop for gift cards of dollars for the Nintendo?

What annoyed me the most is that I didn't loudly espouse as to how I thought he was going to flop in the Prem when he was first signed. He just never struck me as a Premiership-style player. Maybe he will come good, but his struggles haven't surprised me

Maybe I'd have a cautious response to it naturally due to my Fulham affinity, but I feel the Robinson red really could have gone either way. A bit like umpire's decision in cricket, that was a yellow if given a yellow and a red if given a red. VAR wasn't going to upgrade or downgrade, which is a good thing tbf. Silly tackle in a silly place at a silly time. Only has himself to blame ultimately.

836. 'Novocaine for the Soul’, Eels (1996) Influenced by: The Tears of a Clown • Smokey Robinson & The Miracles (1967) Influence on: Your Woman • White Town (1997) Covered by: The Moog Cookbook (2005) Other key tracks: Fucker (1996) • My Beloved Monster (1996) • Cancer for the Cure (1998) This was released during the time I remember first getting into music, or at least music beyond what I heard on the radio from my Mum and Dad. This was a song I recall being played on Top of the Pops and me thinking it was strange, but also alluring. I think that if you like this slow, meandering, indie sound, you’ll like this song a lot. It is just as likely that someone will find it boring. Mainly melancholy but with an oddly uplifting feeling that the book pinpoints, it deserves some plaudits for breaking out at a time when this style of music didn’t really shift records en masse. 837. 'Ready or Not', The Fugees (1996) Influenced by: Ready or Not Here I Come (Can’t Hide from Love) • The Delfonics (1968) Influence on: I Don’t Wanna Know • Mario Winans featuring Enya & P. Diddy (2004) Covered by: The Course (1997) There are songs, irrelevant of genre and your own personal tastes, where you can enjoy the talent on show. For me, Lauryn Hill is an artist that I have very little interest of digging further into, but she has an undeniably cracking voice. This was also shortly before a window of Wyclef mainstream success that I particularly enjoyed, so this song has a lot going for it. Brooding and menacing, yet with Hill’s sultry delivery of the chorus adding another layer – this song is fire. 838. 'Firestarter', Prodigy (1996) Music is subjective. Obviously. However, I don’t quite get how people can’t find something redeeming in Prodigy. Energetic and loud, yet with an undeniably catchy underlying sound, they are by no means my favourite band, but I am rarely if ever disappointed when I throw a song of theirs on. This may not be my favourite song by them – I’m partial to ‘Out of Space’ – yet it is an absolute classic of this era. 839. ‘Professional Widow (Armand Van Helden’s Star Trunk Remix)’, Tori Amos (1996) CHOON! Simple really. PS: Van Helden wanted to do a remix, Amos agreed only if it was completely different to the original. He nailed that. There you go. 840. 'Nancy Boy', Placebo (1996) Influenced by: Disappearer • Sonic Youth (1990) Influence on: Underdog • Kasabian (2009) Covered by: Norwegian Celery Farmers (2001) Other key tracks: Slackerbitch (1996) • Eyesight to the Blind (1996) • Miss Moneypenny (1996) • Teenage Angst (1996) • 36 Degrees (1996) I’ve had different bands that I consider the most underrated or underappreciated bands of all time, but as I get a bit older, Placebo sits pretty high up that list. That isn’t to say they don’t have a sizeable following, more that they have so many good songs and singles and I forget how good they can be. Seeing them live several years ago as part of a festival, every song was another ‘Oh yeah, what an absolute tune’ moment. I get them putting this song on the list over some of their better songs – partial to Every Me, Every You or Special K – though it is interesting that Molko himself wasn’t a huge fan of the song compared to the rest of their back catalogue.

Yeah, I guess I was wondering if they might have a couple of longer term casualties like Newcastle. Cairney is a possibility as he still isn't back.

I am somewhat left wondering who had COVID for Fulham as they've put out a decent side. Doesn't mean anything necessarily, more that it doesn't look like anyone has had a serious case as far as I can tell.