Liam

I was very sure you would win tonight for some reason. Guess having less to play for ultimately has had an impact?

That was my basic argument. You give it, it stays given I feel. I don't get why. I think the Leeds example that was brought up earlier was a clear example of where the getting of the ball was secondary to the perceived intent and he was sent off. However, that was a judgement based on reckless and dangerous play. I just feel, when it comes to penalty decisions (as they are the ones that get scrutinised more often), the winning of the ball takes unfair precedence at times. That isn't a particularly huge claim to make, I feel. I also feel that it isn't outrageous to suggest that a lot of fans still think the winning of the ball is all that matters, especially considering the amount of fans who defend poor tackles with claims that the player won the ball. I also think that we are thinking at cross purposes as well, arguing slightly different points. So there is that. I bet on Manchester United to win, so you know...

Not amongst the fans, nor seemingly at times with referees and VAR. They may be written into the rules, but I've seen a number of decisions changed that effectively come down to 'has he won the ball?', irrelevant of anything else and 'getting the ball' has been the reasoning given behind a decision to overturn or stick with a decision. Generally, that is enough, but there has been times when it is not the sole factor. I'd love to give you examples, but my memory of specifics is shit. I do know that I was having a conversation with a football fan I work with earlier in the week and it was a complaint that he also had about fouls/'getting the ball'.

I can't multiquote this it seems, but this I agree on.

I don't get how it is a strange take. A tackle that sees a player get a stud on the ball will have people claiming that it isn't a foul, even if the deviation on the ball/impact on the play itself is minimal. When a lot of the decisions as to whether something is a penalty or not hinges solely on 'did they get the ball?' with limited focus on much else, I don't really think it has gone in some other direction. Or, perhaps, it is solely dependent on the incidents, games, and referees we've seen. I dunno. EDIT: I'm just going to note that I'm not suggesting it was a stonewall penalty. I'm just confused somewhat over what changes in watching it again. He was six foot away, Bailly clearly gets the ball and then catches the player. If he misses the touch on the ball, I'm very surprised, and therefore don't see how he then overturns it unless he doesn't see the touch...which is bizarre.

I mean, he clattered the player after getting the ball. Getting the ball shouldn't be the be all and end all of a challenge, which it often has become. I don't think it is a stonewall one by any means, yet I do think that once you give it, the touch on the ball (which I'm going to assume the ref saw) shouldn't be enough to overturn it.

That makes a lot of sense to me. It must have sounded pretty different to a lot of the stuff that was getting into the charts at the time.

I think the Darkness was indeed initially on a limited release. Just re-read - it was a debut EP. Just re-read - it was a debut EP. @CLDYCarla Bruni married the then French President, Nikolas Sarkozy, in 2008. She would have been in the news a fair bit.

916. ‘I Believe In A Thing Called Love’, The Darkness (2002) I’m guessing that this is a pretty UK-centric pick and has the concept of ‘songs to listen to before you die’ at a bit of a stretch, but fuck it, I do really like this song. At a time when pop music was all a bit bland and samey, at least in my eyes, The Darkness came along and shook things up a little bit with their 70s/80s rip-off sound that did nothing really new, just took it to a different context. Their debut album is really strong to be fair, with this a particularly strong showing of their songwriting chops. I saw them live at Reading off of the back of this; a perfect example as to why you don’t give a two hour headline spot to a band who had about 30 minutes of material… 917. ‘Ashes of American Flags’, Wilco (2002) Wilco are a name that I’ve seen before, but I couldn’t have ever guessed the type of music they did. This a post-9/11 America, so I feel that there are elements here (the cover of the album, some of the lyrics, other songs on the album) that might mean more to a citizen who had experienced the tragedy of that terrorist event in a way beyond my own interpretation. If I was in a less charitable mood, I could suggest this was a bit boring, but I do like the slightly stilted, lurching nature of the whole song. What makes this an interesting release in general was that Reprise, the label which the band were signed to, initially rejected the album, forcing Jeff Tweedy to release some of the songs online to show that it had an audience. Point proved, he released the album on the Nonesuch label instead. Whatever I feel about the song, I like the idea of artist willing to stand up to a label in such a manner. 918. ‘Quelqu’un m’a dit’, Carla Bruni (2002) This is a pleasant song. That is about all I really have to say about it as it seems a song placed on the list due to it being one by Bruni more than anything else. To give her credit, she sold millions of albums, and her French delivery is impressive considering her Italian roots. I’ve heard worse, I’ve heard better. 919. ‘You Know You’re Right’, Nirvana (2002) Around the late 90s, early 00s, I was a pretty big Nirvana fan – they acted as a bit of a gateway band to other rock and metal acts that I subsequently went on to listen to. However, I wasn’t the type of fan who wanted to hear every last demo, hidden song, etc that the band had produced. To some fans, I’m sure ‘You Know You’re Right’ was a great unearthing and filled a Nirvana-less hole in their lives, yet I just wasn’t really a big fan of the song. It probably wouldn’t crack a top 15 songs by the band in my eyes, let alone deserve a place on this list. Maybe it gets shorter shrift from me due to the lack of nostalgia attached to it or the dearth of listens I’ve genuinely given it? I will say that it appeals more today than it ever has done to me, so who knows? 920. ‘All The Things She Said’, t.A.t.U (2002) This is a worthy addition to the list as much for the controversy surrounding the ‘under age sex project’ (as dubbed by their manager, bizarrely) as the song itself, though that probably does the song a disservice as it is very good. I seem to remember the video being a bit sexier, but maybe that is me imagining the song seen through a 2002 lens. Between the angsty yearning vocals and the moody electronica in the background, it isn’t hard to see why this has not only had some relative longevity, but also why it has been co-opted and covered by any number of acts in the years that followed.

911. ‘Tiempo de Solea’, Ojos de Brujo (2002) A collection of artists from or who live in Barcelona called ‘La Fabrica de Colores’ ended up with this as one of the more significant outputs of their artistic endeavours. An interesting song with a mixture of classic Spanish sounds with reggae, funk and hip-hop – probably amongst the most interesting and enjoyable of the ‘world music’ entries that I have listened to thus far. Ultimately, it is the brooding feeling that pervades throughout the song that I like, with some danceable flourishes provided by the flamenco elements. 912. ‘Freak Like Me’, Sugababes (2002) I have always maintained that whoever wrote songs for the Sugababes were able to conjure up some of the best pop songs of the ‘noughties’. I do believe they had better than this, yet this seems to be on the list as much because of it being the first ‘mash-up’ to top the UK charts as it took elements of ‘Are ‘Friends’ Electric?’ and the lyrics from the original ‘Freak Like Me’ by Adina Horward. This was also a change in their presentation as a band; pushing the cool and sexy factor much more than in their debut. That Sugababes are a true-life example of the philosophical thought puzzle of Theseus’ Ship always makes me happy. 913. ‘Mundian to bach ke’, Panjabi MC (2002) Influenced by: Knight Rider • Stu Phillips & Glen Larson (1982) Influence on: Beware of the Boys • Panjabi MC featuring Jay-Z (2003) Covered by: Countdown Singers (2004) This was HUGE back in 2002/2003 and clearly makes the list for being one of the most high profile examples of bhangra music in the mainstream, though clearly dosed with a liberal amount of other styles. This is unarguably catchy, with or without knowledge of what Panjabi MC is actually rapping about, especially as the dhol (drums) and tumbi (strings) create a hypnotic and pulsating rhythm throughout. 914. ‘A Little Less Conversation’, Elvis Presley vs JXL (2002) Influenced by: Save Me • Aretha Franklin (1967) Influence on: Rubberneckin’ (Paul Oakenfold Remix) • Elvis Presley (2003) Covered by: The Bosshoss (2005) • Nicholis Louw (2008) • Elvis Lounge featuring Andrea Canta (2009) Another song that was absolutely huge when it was released, the remix was not only the first allowed by the Presley statement but it was one that shone a light on a song that had apparently performed poorly when first released back in the 60s. Beefier and funkier than the original, it took a decent song and made it appeal to a modern audience. It isn’t something I’d listen to time and again, but it clearly has a reason for its appeal. 915. ‘Gimme the Light’, Sean Paul (2002) An ironic favourite of mine; ironic moreso that a very lame middle aged English teacher likes it than the song not being good. For a while, it felt like Sean Paul was everywhere and this was the song that put him in the public conscious. Undeniably cool and who doesn’t like a song about sparking up a spliff?

I'll try and get involved.

Was always likely to happen.

What is technically the highest SD card in terms of memory that you can use in a Switch Lite? I seem to remember looking and just getting a bit confused by it all.

906. ‘Schism’, Tool (2001) Influenced by: Larks’ Tongues in Aspic • King Crimson (1973) Influence on: Question! • System of a Down (2005) Covered by: The String Tribute to Tool (2001) Other key tracks: Sober (1993) • Intolerance (1993) Ænema (1996) • Parabola (2001) • Lateralus (2001) There were two albums I bought when I was younger – I guess around 15 or 16 – that I was not ‘ready’ for when I bought them. That is not to suggest that they were some shift in the music world that I couldn’t handle, more that someone who had largely just listened to radio pop up until this point couldn’t quite comprehend the music he was hearing. One was ‘White Pony’ by the Deftones; the other, ‘Lateralus’ by Tool. I think I bought it because I was just getting into alternative music and the box art looked really cool. It took me a few years for things to finally click, which led to me going back and rediscovering what had come before. Beyond Lateralus, I care less for Tool’s offerings, though I am a big fan of Maynard James Keenan as a singer and performer (having seen him with A Perfect Circle once before). However, this was such an eye opening experience and whilst this isn’t my favourite song on the album, it is a really good song in my opinion. The ‘Parabol’ ‘Parabola’ duo is still one of my favourite parts of any album, if you were wondering. 907. ‘Rock Star’, N.E.R.D. (2001) Whilst I was listening to Tool and Deftones and struggling to get it, my older brother by two years was big into N.E.R.D. Of all of the R&B and rap-inspired music he liked, stuff like ‘Rock Star’ had the most crossover appeal for me and this was a perfect showcase of Pharrell Williams’ writing chops. Admittedly, they’ve thrown in the original and I get why, but the Jason Nevins remix – in my head at least – was better. That, or perhaps I just liked listening to it when playing Burnout or SSX. 908.. ‘Fallin’’, Alicia Keys (2001) There was a period of time where I was sure that either Alicia Keys or Norah Jones was the perfect woman for me. Between their obvious beauty, there was something very attractive about the quality of their singing that appealed to me at a time when I was much more into music than I am now. Keys was talented, but not overly showy with it, as I think is perfectly highlighted in ‘Fallin’’. This was – according to the book – also a song that Keys wrote herself and fought long and hard to keep for herself. She won out and it helped successfully launch her career, so fair play to her. 909. ‘More Than A Woman’, Aaliyah (2001) A sadder release than I had first realised – recording on this video finished two weeks before the plane crash that ended her life at the tragically young age of just 22. Not really a song for me, but there is a hypnotically enticing rhythm that underpins it all which makes it an easy listen. I really don’t know to what extent Aaliyah was a talent who may have gone on to do more. However, no-one deserves to have their best years taken away from them in such a manner. 910. ‘911’, Gorillaz (2001) This seems to be included for the novelty rather than the importance, but no less of a good song because of it. D12 minus Eminem were stuck in London following 9/11, so ended up recording this song with the Gorillaz and – randomly – Terry Hall from The Specials. There are echoes of ‘Ghost Town’ throughout, whilst the lyrics explore the frustration and anger of the men after the terrorist atrocities. Whether this deserves to be in the book or not, it is a song I never even knew existed. Perhaps that is what the book needed to do in places – shine a light on novel and interesting output alongside the classics?

I feel Artful Dodger featuring Craig David 'Woman Trouble' is where you go for Artful Dodger inclusion, especially as it shoves Craig David on the list in a twofer.

@metalmanwhat song do you choose for UK Garage?

I phrased it poorly, but the 'this' in the sentence about a song getting dropped is for NYC Cops.

901. ‘New York City Cops’, The Strokes (2001) I was never as big a fan of The Strokes as I was of some of the other ‘The…’ bands, but I guess I could see the appeal. There was a rawness about the vocals in particular that was appealing, whilst there was also an energy to the music they pumped out as a band. I feel the book missed a trick by not including ‘Last Night’, though this seems to have primarily made it as it was dropped from the US version after 9/11. Casablancas’ vocal style is one I’ve always liked enough, but I could imagine it is an acquired taste for many. 902. ‘Fell In Love With A Girl’, The White Stripes (2001) Speaking of ‘The’ bands I liked more than The Strokes, enter The White Stripes. In the moment, I don’t think I appreciated them as much as I do when I look back at some of the absolute bangers they released from this single onwards. This isn’t my favourite song of theirs – I have a penchant for ‘The Hardest Button to Button’ – but it is the one that saw them burst onto the scene for the mainstream music fans so deserves its place here. Raucous, loud, but undeniably catchy. 903. ‘Get Ur Freak On’, Missy Elliott (2001) Influenced by: Naag Wang • Jazzy B (1994) Influence on: Love Will Freak Us • Dsico (2002) Covered by: KT Tunstall (2005) • Eels (2008) Other key tracks: The Rain (Supa Dupa Fly) (1997) • Beep Me 911 (1997) • One Minute Man (2001) • Work It (2002) • Teary Eyed (2005) Now, I have no idea about whether Missy Elliott is considered good, bad or indifferent in the grand scheme of things, but this is a banger of a tune. Elliott is really great, though it is hard to look bast the bhangra-style beats of Timbaland that get things going from the opening beat and give the songs its enduring legacy for me. A song that still feels as good as the day it was released. 904. ’21 Seconds’, So Solid Crew (2001) Influenced by: Da Mystery of Chessboxin • Wu-Tang Clan (1993) Influence on: Pow! (Forward) • Lethal Bizzle (2004) Covered by: Ambulance (2002) Other key tracks: Haters (2001) • Way Back When (2001) • Solid Soul (2001) • Broken Silence (2003) Is this good? Is it so bad it’s good? Is it just awful? I can never really tell if my enjoyment of this song is one that comes from a place of irony or genuine enjoyment. It doesn’t feel as big or important as some of the songs that came out of US urban scenes in the 90s, yet it is the biggest song that is representative of the UK garage scene, so I guess it makes it noteworthy. The fact that it remains a song that I, and other people I know, will burst into singing from time to time…hmm, I’m not sure if that is a positive thing or not, but it suggests some enduring interest that still persists today. 905. ‘Stay Together for the Kids’, Blink 182 (2001) Influenced by: Who’s Gonna Ride Your Wild Horses • U2 (1991) Influence on: Emergency • Paramore (2005) Covered by: Madelyn (2007) Other key tracks: First Date (2001) • The Rock Show (2001) • Give Me One Good Reason (2001) An odd choice to include a song that saw one an interesting, if sophomoric, band turn, dare I say it, boring. Maybe that is being a tad too harsh for a song that I do genuinely like, but it is indicative of my interest in the band this album and onwards. That they wanted to explore a big subject like divorce is admirable, yet this has nothing on the better songs from ‘Enema of the State’, nor even some of the bangers from their earlier albums. There are worse choices, but there are many better choices.

896. ‘Clandestino’, Manu Chao (2001) A word that means illegal immigrants, ‘Clandestino’ the album saw Chao mix Latin flavours with a rock and roll style as he talked about love, the sun, marijuana, and more socially valuable, the plight the aforementioned immigrants. To me, the song isn’t anything special, though it does represent the broader social importance of some acts in the wider canon of world music. The album sold over five million copies, so it enabled Chao to be heard further and wider than ever before. Props. 897. ‘Iag Bari’, Fanfare Ciocarlia (2001) A lot of the world music stuff included on the list is very ‘mileage may vary’ fare for me. However, this is a banger. Balkan brass that helps to create a raucous, fun soundscape that is hard not to nod or bounce along to. Unsurprisingly, this band began to pop up on festival lineups around this time – they’d be a perfect early morning tonic on a Saturday or Sunday, something lively to get things off on the right foot once more. 898. ‘Oiça lá ó senhor vinho’, Mariza (2001) A song about drinking too much, it is entirely pleasant, yet not something I quite understand making the list. Even after reading the entry in the book, it doesn’t feel like it has anything of note to make it a worthwhile slice of music to listen to above and beyond numerous others. They talk about how Mariza performed the old-fashioned ‘fado’ style, yet this isn’t even an example of that apparently. An odd choice. 899. ‘You and Whose Army?’, Radiohead (2001) This is the era of Radiohead where I rarely ever delve as they moved significantly away from ‘The Bends’-style rock to something that was admittedly more musically interesting, yet not for me. This is a song aimed at Tony Blair apparently, one that involved Thom Yorke singing through an eggbox to get the interesting vocal delivery, amongst other more technical innovations. Still – it is all a bit boring. The final minute goes a way to redeeming it, but doesn’t do enough for me. 900. ‘Romando y tomando’, Lupillo Rivera (2001) I want to really like this based solely on the guy’s album cover. Apparently, this is a good example of a modern take on a narcocorrido, or drug-ballad. However, the brass element speaks to a style of Austrian music, therefore giving this another layer or two. Fun enough, though clearly on here as much to be a representation of the style more than anything.

I don't like buying games without reading reviews, but I saw a decent pre-order discount on Monster Hunter Rise. That has to be a pretty safe bet to at least be a decent game, surely?

891. ‘Feel Good Hit of the Summer’, Queens of the Stone Age (2000) Influenced by: Apathy • Subhumans (1985) Influence on: Feel Good Hit of the Summer Part 2 • Atmosphere (2009) Covered by: Yourcodenameis: Milo (2007) Other key track: Regular John (1998) • Avon (1998) • Monsters in the Parasol (2000) This song never did as much for me as ‘Lost Art of Keeping a Secret’; this album never did as much for me as ‘Songs for the Deaf’. This seems to get here as much for the lyrical content/lack of lyrics and how it announced QOTSA to the wider world for many. Apparently, Rob Halford did backing vocals on this – the more you know. 892. ‘Ms. Jackson’, Outkast (2000) Influenced by: Strawberry Letter #23 • The Brothers Johnson (1977) Influence on: Ms. Jackson • Styles P featuring Jadakiss (2007) Covered by: The Vines (2002) I’m not always entirely sure whether the crossover success of an act from a genre to appeal to a broader section of music fans is always a good thing. That I, a middle aged white man from London, like Outkast maybe doesn’t do a lot for their street cred? I dunno. Whatever people think of them though, this was/is a banger with a heart, and whilst it wouldn’t have the same success as ‘Hey Ya’, it is – by dint of the lack of relative airplay – a more enjoyable listen these days. 893. ‘Romeo’, Basement Jaxx (2001) Influenced by: Runaway • Nuyorican Soul (1996) Influence on: Needy Girl • Chromeo (2004) Covered by: Basement Jaxx (2001) Other key tracks: Red Alert (1999) • Where’s Your Head At? (2001) • Do Your Thing (2001) • Jus 1 Kiss (2001) • Good Luck (2003) • Oh My Gosh (2005) Basement Jaxx are a dance act that cross into that realm of acts that I don’t imagine people particularly having a bad word about. Perhaps there might be some who find their brand of music somewhat annoying, but I’ve always thought that they’ve incorporated their musical influences, repeated beats and simple lyrics in a manner that has never been anything but catchy. Romeo probably is my favourite, but they do have a number of really good tunes. 894. ‘Can’t Get You Out of My Head’, Kylie Minogue (2001) Influenced by: Can’t Get It Out of My Head • Electric Light Orchestra (1974) Influence on: Can’t Get Blue Monday Out of My Head • Kylie Minogue vs. New Order (2002) Covered by: The Flaming Lips (2002) • Jack L (2003) • Carmen Consoli (2003) I think you have to be impressed by Kylie Minogue’s ability to reinvent herself multiple times and have success across a range of different styles and eras. Her music may not always be my cup of tea, yet her fandom and longevity speaks for itself in some ways. This was a monster tune, somehow usurping ‘Spinning Around’, impressive in and of itself as that was a huge relaunch for her. To top it so soon afterwards? Fair play. Sexy, hypnotic, catchy – it has a lot going for it. 895. ‘Vuelvo al sur’, Gotan Project (2001) This ‘propelled Argentinean Tango into the 21st century’ apparently. Not for me really, although I can definitely appreciate the talent involved.

I mean, that's a shocking handball decision. By the letter of the law, but that shouldn't be the law.

I feel like the battle system makes the grinding probably ok if you like that sort of thing.

How much money do Sassuolo start with?

886. ‘Frontier Psychiatrist’, Avalanches (2000) Influenced by: Napalm Brain/Scatter Brain • DJ Shadow (1996) Influence on: Non-Stop Party Now • Girl Talk (2003) Other key tracks: Rock City (1997) • Since I Left You (2000) • A Different Feeling (2000) • Pablo’s Cruise (2000) • Electricity (2000) • Avalanche Rock (2000) Considering they left out ‘Since I Left You’, I knew this was either going to be a song I knew really well but had no idea it was this, or it was a deep cut just to be contrary from what was a more obvious choice. However, as soon as the song kicked in properly in the music video, I knew it within the opening four notes. The sheer scale of the number of different samples that were laid down to create this tune is pretty impressive, whether you particularly like the song or not. I still probably prefer ‘Since I Left You’, but this is an interesting song that is a valid choice from Australia for once. 887. ‘One More Time’, Daft Punk (2000) Influenced by: One More Time • Third World (1985) Influence on: One Mo’ Gin • Play-N-Skillz featuring Lil Jon, Bun B & Krayzie Bone (2008) Covered by: The Gossip (2008) • Starburkes & The Tea Leaf (2009) • Richard Grey (2009) • Marc Mysterio & Téo Moss (2009) Though this wasn’t the first Daft Punk song I heard (‘Around the World’), this is by far one of their most well-realised songs. I feel Daft Punk are a band that transcends genre; I genuinely don’t think I know anyone who actively dislikes them. Apparently, this album and song didn’t go down to well with fans of the band who thought they had ‘sold out’, whilst this was also an early example of autotuned vocals. Sometimes, just enjoy the tune. 888. ‘Stan’, Eminem featuring Dido (2000) Influenced by: Thank You • Dido (1999) Influence on: U Didn’t Care • Canibus (2001) Covered by: Eminem featuring Elton John (2005) Other key tracks: My Name Is (1999) • The Way I Am (2000) • The Real Slim Shady (2000) • Kim (2000) • Marshall Mathers (2000) • Under the Influence (2000) Your mileage may vary on Eminem, but I do – for someone who admittedly doesn’t know much about rap – think he was different class in his early days. This was one of the first albums I owned (bought for me by my Dad) and I loved the mixture of playful idiocy and shocking imagery/lyrics. Even at the time, I think this was the song that stuck out most to me – the haunting use of Dido’s ‘Thank You’ a brilliant sample – and it still has a lot of impact nowadays. That ‘stanning’ has become a way of professing your support for someone considering how this song ends up is pretty odd, but also speaks to the song’s legacy. 889. ‘Oh My Sweet Carolina’, Ryan Adams featuring Emmylou Harris (2000) Not really relevant at all, but I used to love ‘Gold’. Then it turned out Ryan Adams was a douchebag. Fuck him and his music. 890. ‘Fuck The Pain Away’, Peaches (2000) I remember Peaches being all over the media that I consumed in 2000s, yet I never went out of my way to listen to her. I hadn’t realised that this was by her, so obviously I had checked her out by osmosis it would seem. This could just be a song that gets by on its gratuitous swearing and ideas, but the electro beats that it plays across make it a pretty fun song beyond that. The inclusion on the list might be weird, though I guess a move towards an element of ‘female empowerment’ through reclaiming sexuality is an interesting step in music’s evolution.