1,001 songs to listen to before you die...

[gunnar hendershow]

Still in 1977 I see. What a year.

"Go Your Own Way" could be considered Fleetwood Mac's best song. I'm hard-pressed to find a better one though "The Chain" and "Dreams" are both there on Rumors. Pretty incredible achievement that album is. I'm not a huge Fleetwood Mac fan but you could play basically anything off of Rumors for me and I'd enjoy it.

"Heroes" is a beautiful song. It could easily be considered Bowie's best. Though I probably rank a dozen higher that's not a slight against this song at all. His catalog was just spectacular, few have anything approaching it.

When I was at Marley's house (where he got shot at and subsequently left for London) it occurred to me how despite being his biggest hit outside of the "Legend" compilation album there isn't a more famous album of his than "Exodus". He might or might not have better albums out there, but as a song "Exodus" is possibly his best.

I'm not overly familiar with Dennis Wilson's solo work but I do know "River Song" and there's just too much going on it for me. Especially with the subject matter of it. It's like John Denver on cocaine.

I'm not a big AC/DC fan either but I've never heard a song of theirs where I go "this is bad". My usual reaction, as it is to "Whole Lotta Rosie" is, that it sure is some loud, raucous rock and roll with a surprising level of structure. They were exceptionally tight as a band and it always takes me when I hear their songs. A lot of contemporaries in their branch of rock were just a tad sloppy and all over the place. But AC/DC had purpose in every song and got right to it. Everyone was on the same page.

Mentioned Richard Hell earlier. "Blank Generation" is definitely less Television and more punk as we know it. Great little tune that I haven't listened to nearly enough.

[Bobfoc]

I feel as though The Chain is a better breakup song than Go Your Own Way, but I like them both.

Unfashionable though it may be, I like AC/DC quite a lot. I think they're a fun rock band with some nice, heavy guitar work and singalongs. I'd take them over a lot of the more pretentious stuff that came after them.

[apsham]

I'll probably be the odd person out here - but Rumors has gone through the wringer over the years for me and after hearing it so many times, I think the song that I always look forward to each and every time is Never Going Back Again because it's just a fun listen musically.

[gunnar hendershow]

1 hour ago, Bobfoc said:

I feel as though The Chain is a better breakup song than Go Your Own Way, but I like them both.

Unfashionable though it may be, I like AC/DC quite a lot. I think they're a fun rock band with some nice, heavy guitar work and singalongs. I'd take them over a lot of the more pretentious stuff that came after them.

I think AC/DC are helped through time because people are always gonna want to go back to a fun, rowdy rock band and AC/DC are one of the better ones in that category. It's like, if I were ever in the mood for the particular kind of music AC/DC are lumped into they'd be towards the very top of that list.

[METALMAN]

AC/DC get dismissed by many  as boneheaded but fewer rock bands could get a better groove. The combination of straightforward 4/4 drums, pedal bass and syncopated guitar created something that was far more intricate than it is often given credit for.  Simply put, AC/DC get people dancing while other hard rock bands just get them jumping up and down.

Go Your Own Way is a good song and obviously one of the best known from Rumours. As previously mentioned it tends to get compared a lot to Dreams. I used to like Go Your Own Way more because it is a more immediate and catchy song but now I think I prefer Dreams. In any cases, both are good songs and among the best on Rumours.

Heroes is excellent and is probably my favourite David Bowie song that isn't on Young Americans or Station to Station.. It's sad that every live version I've heard of it is shit though. I guess it's just hard to recapture that kind of magic.

Exodus isn't among my favourite Bob Marley songs but it's still very good. I love the way it lumbers along, I love the way the brass gradually builds up. There's not a whole lot of variation in terms of song structure but it gets better and more intense the longer it goes on.

I love River Song. It sounds very Big. It's more straightforward and much easier to get to grips with than most of the songs on the album, but they're all cool really. River Song gets it off to a great start.With the obvious and unforgettable exceptions of Kokomo and Summer of Love, it's possibly the best thing done by a Beach Boy since 1973.

I'd always heard people talk about Richard Hell but had never listened to him or his Voidoids. Can you believe that? But Blank Generation is fine. Sounds like Supergrass.

 

Edited July 13, 2020 by metalman

[Liam]

Pre-warning - 475 has loud, loud feedback at the start. My ears did not like it.

473.      

‘Bat out of Hell’, Meatloaf (1977)

I’m pretty sure I stole this album out of my Stepmum’s CD collection after she had sent some stuff ahead before her move to the UK from Canada. I unashamedly love this song and this album: it is epic, over the top, and earworm-y from start to finish pretty much. The song is arguably the best (though not my personal favourite – ‘You Took The Words Right Out Of My Mouth’ probably takes that spot) from an album that went on to sell millions worldwide. I’ve mentioned this before with some of the longer songs, but what this does well is that it builds momentum and never really lets up. That is helped by how there are different ‘suites’ that change things up to add enough variety to keep a listener engaged.

474.      

‘Lust For Life’, Iggy Pop (1977)

Adverts and film soundtracks have a lot to do with any of my knowledge of Iggy Pop it would seem. This may have been released in 1977, but as for many non-Pop fans, it rose to prominence in my eyes in the Trainspotting soundtrack just shy of twenty years later. This is all about the driving riff that is utilised to such good effect in the aforementioned film. Apparently, Pop took the signature tune of the Armed Forces Network whilst living in Berlin as his inspiration for the riff. I like the song, but I care very little about what Pop is doing for some reason – it is all about the instrumental work for me.

475.      

‘Non-Alignment Pact’, Pere Ebu (1977)

My ears were not thankful for the thirty seconds of synthesiser feedback that start this song, I know that much. What follows is equally odd in terms of what they were going for. Shrieking guitars, faux-earnest sounding vocals, electronic pulses and beats: it is definitely something to hear. At centre, the book suggests that this is akin to rockabilly, yet with a lot of different bells and whistles thrown at it. I’m not sure if I fully agree, but I definitely know that I have no fucking clue what I just listened to.

476.      

‘Blue Valentines’, Tom Waits (1978)

This is moving more towards the Waits that I know, though still not quite as gravelly in his delivery. The last track of an album that explores ideas around ever-increasing tragic romance, the sparseness of the instrumentation allows Waits’ tortured vocals to be the star. There are some strings, but they are somewhat restrained and the lyrics are poetic in nature. Maybe this might have been more impactful when heard as part of the full album as I imagine it was designed to be the song that saw romance truly circle the drain. Waits at times almost belches the words out, lurching from the stomach as he sells the pain of lost love. It isn’t for everyone, but will be loved by those who are a big fan I’m sure.

477.      

‘Heart of Glass’, Blondie (1978)

Influenced by: I Feel Love • Donna Summer (1977)   

Influence on: Take Me Out • Franz Ferdinand (2004)   

Covered by: The Shadows (1979) • Chet Atkins (1981) • Erasure (1997) • Toshiyuki Yasuda (2002) • Vitamin C (2003) • Skye Sweetnam (2004) • Faye Wong (2004) • Nouvelle Vague (2006) • The Puppini Sisters (2006)

Considering I’ve really enjoyed everything that I’ve heard from them, I’ve never really delved too far into Blondie’s back catalogue. This is probably the highlight for me, though at the time many saw it as Blondie ‘selling out’, even some members of the band. There is a dreaminess to this disco/pop/rock classic that I’ve always liked, helped by Harry’s high pitched vocals. As I get older, it is also worth mentioning that Harry gets more and more attractive to me. I feel like I missed out not getting that sooner.

478.      

‘Ever Fallen In Love…(With Someone You Shouldn’t’ve), The Buzzcocks (1978)

Influenced by: I Can’t Get Next to You • The Temptations (1969)   

Influence on: I Can’t Make You Love Me • Bonnie Raitt (1991)   

Covered by: Fine Young Cannibals (1987) • Pete Yorn (2004) • Thea Gilmore (2004)

The English teacher in my finds the use of the double contraction exciting; the music fan in me has always absolutely adored this song. The lyrics are easy to empathise with when it comes to matters of the heart, whilst the hooky chorus begs to be sung along with. The drums and guitars offer just the right amount of racket for this song about unrequited love, with the whole thing turning up, punching you in the face, and leaving in under three minutes. Rock/punk class.

Edited July 16, 2020 by Liam

[Bobfoc]

Bat out of Hell is a long song I always listen to all the way through. It's exactly what I look for in theatrical rock and roll. I must have missed the memo that said that you're not supposed to like Meat Loaf.

[METALMAN]

I don't think I've ever listened to Bat Out of Hell in full. It's okay, but I don't really think Meatloaf is for me.

LFL is cool and a good song but what's with all the Iggy Pop? If we're doing this properly there should be at least three Steely Dan songs for every Iggy Pop song, but we're obviously not doing it properly.

Pere Ubu are good but I've heard that song before. I like it.

Same thing I said for Iggy Pop goes for Tom Waits. He's had about 300 songs in this book before he reached the supposed peak of his career. Whatupwiddat? In any case I much prefer 70s Tom Waits to the 80s Tom Waits, so fair enough I guess.

Heart of Glass is a bloody great song. I read somewhere that the producer humoured the snobs in the band by telling them that they hadn't just made a pop classic, and they'd actually made an experimental synth piece that sounded like Kraftwerk. Lol. Also, just like most snobs, Blondie couldn't actually play their instruments well enough to get the groove for this song (you can find that out for yourself by looking up the abysmal demo on Youtube) so the producer did a lot of the heavy lifting there too.

The Buzzcocks probably walked the line between great hooks and "punk" better than any other band, with the possible exception of the Undertones. But the Undertones guy has a more annoying voice, so Buzzcocks wins and this is obvs one of their best moments.

Edited July 16, 2020 by metalman

[gunnar hendershow]

I'm largely indifferent to Meat Loaf. His songs are just far too theatrical and over-the-top for me. But I can safely say he did that particular kind of music very well, so if that's your thing then Meat Loaf's gotta be a good one.

Yeah, Iggy Pop. We all love that guy. "Lust For Life" likely sits as the first Iggy song a lot of us heard, and for good reason. One of his best.

Pere Ubu are not a band I've delved into. There was a time when I probably would've fallen in love but I've kind of passed by on really getting into anything too avant-garde now. At least in the harsher, industrial styling of Pere Ubu.

I listen to Tom Waits but nowhere near as much as I should. "Blue Valentines" is one song I definitely have listened to and enjoyed though.

Blondie sold out with "Heart of Glass" and had a number of better songs. It's a really enjoyable song but it's not really what I come to Blondie for and others made this song much better than they did. Similar to how I feel about "Rapture" actually.

The Buzzcocks are not a band I've spent too much time with and they haven't really grabbed my attention when I have. Weird I know.

[Malenko]

Haven't commented much lately since I'm on vacation. Regardless, I check the list now and then. Blondie is one of my faves. I also like the Buzzcocks and Iggy, although they seem to show up very often. I also own a lot of Pere Ubu's albums. I don't love everything in their catalogue but they have some good collabs with other musicians.

By the way, if you felt this was weird, it can get weirder if you delve into it.

[RPS]

 1977-1979 is such an untouchable streak of years of music. 

[VerbalPuke]

I love just about everything being posted the last few rounds, just wonderful stuff that shaped my tastes.

I'll elaborate later maybe. 

4 hours ago, metalman said:

 

The Buzzcocks probably walked the line between great hooks and "punk" that any other band, with the possible exception of the Undertones. But the Undertones guy has a more annoying voice, so Buzzcocks wins and this is obvs one of their best moments.

Never thought of it this way but this is so true.

[Skummy]

Ever Fallen In Love is one of the greatest pop songs ever written, I adore it. I think it was Mark Radcliffe who described it as "like Buddy Holly wrote a song to pogo to". I saw the Buzzcocks live in around 2008 or 2009, thinking I only knew one or two of their songs, and I just knew (and loved) practically everything they played. Wonderful band. I expect we'll see stuff from Pete Shelley and Magazine later, too.

Lots of stuff from around the punk era, obviously, and some fantastic choices. Part of the reason I was disappointed that the Pistols seem to have been over-represented in this list is being assuaged by the amount of exciting New York punk and early post-punk showing up. There was a discussion early about the Year Zero concept, and I think that was a far bigger deal in the UK, when punk had a bit more of a coherent narrative/ideology behind it (largely thanks to the likes of Malcolm McLaren), as well as being a pretty small incestuous London-based movement for the first couple of years, whereas in the US it was a less politically charged movement, and more just whatever groups of oddballs and weirdos got on stage in CBGBs - so you end up with wildly disparate bands like Television, The Ramones, Blondie and Suicide all falling under the category of "punk", while not really having all that much in common with one another, never mind with someone like the UK Subs.


I love Tom Waits, and think Blue Valentines is gorgeous, but I don't really think Tom Waits becomes "important" for another couple of years, so I'm surprised he's popping up a couple of times already!

[Liam]

479.      

‘Le Freak’, Chic (1978)

Influenced by: Get Down Tonight • KC & The Sunshine Band (1975)   

Influence on: A Lover’s Holiday • Change (1980)   

Covered by: The Corn Dollies (1990) • The Ukulele Orchestra of Great Britain (2006) • Millionaires (2010)   

Other key track: I Want Your Love (1978)

Fuelled by alcohol, cocaine, marijuana and being kicked out of Studio 54, a song with the lyric ‘ah, fuck off’ soon morphed into ‘Le Freak’. What speaks volumes when it comes to disco songs from this time period is that they run the risk of sounding very of their time, yet the best ones maintain a certain level of timelessness. That isn’t to say that ‘Le Freak’ sounds like it was made yesterday. However, it doesn’t sound as dated as it could have considering the circumstances. The clapping, the group vocals and the well-used strings all add little flourishes in this absolute tune.

480.      

‘Milk and Alcohol’, Dr. Hook (1978)

Influenced by: One Bourbon, One Scotch, One Beer • John Lee Hooker (1974)   

Influence on: Three Times Enough • Nine Below Zero (1981)   

Covered by: Jimmy Keith & His Shocky Horrors (1995)   

Other key track: She Does It Right (1975)

A reference to White Russians that the band were drinking during a night that they ran a red light and got arrested for possession of marijuana, ‘Milk and Alcohol’ was the band’s tenth single. The low buzz of the guitar/bass (I’ll be honest, I wasn’t sure) drive this song forward, creating somewhat of a repetitive tone but one that ties in to a narrative about being arrested and told to tow the line. The book cares more about the song than I did, if I’m being honest. It is perfectly good, but whilst they celebrate the vocals of the lead singer, they left me fairly cold.

481.      

‘Don’t Stop Me Now’, Queen (1978)

Influenced by: The Bitch Is Back • Elton John (1974)  

Influence on: I Believe in a Thing Called Love • The Darkness (2003)   

Covered by: The Vandals (2004) • McFly (2006) • Jeroen van der Boom (2006) • Katy Perry (2009) • The Royal Philharmonic Orchestra (2009)

For those who are not from the UK, this song was victorious (IIRC) when it came to a Top Gear vote for the greatest driving song ever, so that is its reputation on these shores at least. This is all about Mercury – the song is somewhat understated relative to some of what Queen offered, allowing Mercury’s vocals and lyrics to stand above and beyond everything else. This is all about having a good time and that’s what the song provides. Even though the song has been played to death, it still manages to excite in a way that some songs that get overplayed can’t.

482.      

‘Teenage Kicks’, The Undertones (1978)

The favourite song of John Peel almost wasn’t recorded by the Undertones as the commercial appeal of the song was at odds with their more punk interests. I guess it was the timing of their releases, but I always lump this in with songs like ‘Ever Fallen In Love’ as these quick, punchy, fun tunes that get in, do their job, and get out without overstaying their welcome. The song was successful enough to earn the band a record deal with a larger company and it was played at Peel’s funeral. Just a good rock song – little more I can add than that.

483.      

‘You Make Me Feel (Mighty Real)’, Sylvester (1978)

This was a song that I was sure I would know and it took the opening few bars to click that I’d heard this a number of times before.  Sung by an out gay man who often performed in drag, it was a song that the book termed ‘the soundtrack of gay liberation’, coming out as it did only a decade or so after the Stonewall riots. What was added to his repertoire in a move between labels was joining up with Harvey Fuqua (a Motown producer) and Patrick Cowley and his synthesiser. In what is already a lively and fun song, the swooshes and swoops of the synthesiser take it up that further notch and make it an irresistible dance tune.

484.      

‘Human Fly’, The Cramps (1978)

I’m a wrestling fan from the UK, so I obviously love this song as an entrance for Chris Brookes/CCK. As an actual tune, it is the guitar and the effective use of reverb that make this a great tune, alongside wonderfully snarly vocals from Lux Interior, their vocalist. The book suggests they were pioneers of psychobilly, a punk rockabilly crossover, and whether they are or not, there is a twanginess to the guitar line that does speak to that really Southern US rock amidst all of the other stuff going on. Great tune.

[apsham]

Don't Stop Me Now and Death On Two Legs are perennially tied for my favorite Queen song - and both alone do enough to make up for the amount of times I had to hear We Are The Champions and We Will Rock You growing up and playing sports.

[Malenko]

Iike the undertones. That is the first song I've heard from them so there's a special place for it in my heart.

I love the cramps. Nowadays there are festivals fully dedicated to the psychobilly genre. The cramps have influenced so many of those bands. I didn't know they were going to be featured in this book but I think they deserve to be in it. There are plenty of bands I love that won't be in it and I think that's ok but the Cramps have earned their spot.

 

Edited July 16, 2020 by Malenko

[METALMAN]

ho ho ho.

Freak Out is amazing. Chic put about 20 proper classics and Freak Out might be the best of them. Maybe. It's certainly up there.

Milk and Alcohol is okay but Dr Feelgood had turned a bit shit by them, as it came after the departure of their guitarist who was the most interesting thing without him. Without him they were just another pub rock band. Lee Brilleaux does indeed have a cool and threatening voice but it needs Wilko Johnson's guitar to make it really work.

I can't remember the last time I listened to Queen out of choice - and I'm not particularly anti-Queen; I've just heard the hits loads of times and not really interested enough to check out the albums. DSMN is irresistible though. Love the backing vocals and the guitar solo. Brian May could really bash them out.

Despite what I said before about the Undertones I think Teenage Kicks is great. Really simple, does its job and gets out. Perfect pop song, as most songs with handclaps are. Would we have  ever heard of the Beatles if they didn't put handclaps on their early songs? Who nose.

YMMF(MR) is a stonker. There's something kind of hi-NRG about it, it has that Stock Aitken Waterman groove that would rule the charts in the late-80s. Not saying Sylvester stole that, but it is looking a bit fishy.

I like the Cramps but I've never heard this song before. Why is that? Well, it's because I've only listened to their first album and this turns out to be some kind of stand-alone nonsense like they used to do back in those days. So this Human Fly one is okay but it is little more than okay. Most of the songs on the album I've heard are better than it.

[VerbalPuke]

Undertones are good fun, definitely. My dad saw them, the Clash, and David Johansen back in the 70s.

I love the Cramps, not only are they highly influential, but they introduced me to so many great songs i probably wouldn't have otherwise heard. I don't know if it was an official release but there is a giant compilation called "Songs the Cramps Taught Us" and a lot of them were predecessors to Cramps tunes. This song in particular was influenced by this...

But I love Human Fly, probably not my favorite Cramps tune but it is great. I love how the damn guitar sounds like an actual fly, but like something out of a horror movie.

[RPS]

On 16/07/2020 at 13:42, metalman said:

YMMF(MR) is a stonker. There's something kind of hi-NRG about it, it has that Stock Aitken Waterman groove that would rule the charts in the late-80s. Not saying Sylvester stole that, but it is looking a bit fishy.

I highly doubt Sylvester had much to do with the production.

Patrick Cowley mixed the song/produced the song and he is one of the pioneers of HI NRG and modern house music. I have heard whispers floated around that he was largely responsible for the track. Unfortunately he died of HIV but Patrick Cowleys back catalogue and unreleased music has gained traction in the last decade. He is exceptional.

You Make Me Feel is pure pop bliss.

 

[Liam]

485.      

‘Shake Your Body (Down To The Ground)’, The Jacksons (1978)

Sometimes there is a debate within myself as to what version of a song I should choose. This, whilst coming from a Best of released many years later, was neither a live version nor the eight minute album version that I could have, in theory, gone with. Still, this is the single cut that was released and saw the Jacksons (a label change seeing them lose Jermaine and that ability to call themselves ‘The Jackson 5’) put out a song that was in keeping with the disco era and sparked some renewed interest in their work. This was written partially by Michael Jackson and was an early insight into his ability as a songwriter. It is hooky and makes you want to dance, ticking every box for this type of record at this point in time.

486.      

‘(I Don’t Want To Go To) Chelsea’, Elvis Costello and the Attractions (1978)

Influenced by: I Can’t Explain • The Who (1965)   

Influence on: Way Too Long • Audio Bullys (2003)   

Covered by: The Nutley Brass (1996)   

Other key tracks: Alison (1977) • Watching the Detectives (1977) • Pump It Up (1978) • Radio Radio (1978) • Accidents Will Happen (1979)

Elvis Costello is a musician that I always feel I should have listened to more of, especially as I tend to enjoy what I do hear. A sneering song about the self-absorbed fashion set who hung about the aforementioned Chelsea, this was apparently lifted to new heights by Costello’s new backing band (interesting factoid – his previous backing band went on to the be The News for Huey Lewis). There is a certain swagger to the music in the background, though the synthesiser/organ (whichever it might be) gets a little bit much for me in places. On the other hand, it is the quick burst of bass notes that adds an element of funk behind everything else, turning this song into something even better than it already was.

487.      

‘One Nation Under A Groove’, Funkadelic (1978)

Influenced by: Funky Worm • The Ohio Players (1973)   

Influence on: Oops Upside Your Head • The Gap Band (1979)   

Covered by: Chaka Demus & Pliers (1993)   

Other key tracks: Groovallegiance (1978) • Who Says a Funk Band Can’t Play Rock?! (1978)

I assumed I’d know this song when I turned it on, yet I have no clue as to what it is. It seems reductive to use the word ‘funky’ to describe a band called ‘Funkadelic’, but that does seem like what they are serving up. Apparently this was a step away from some of their more psychedelic offerings, whilst the hand claps, and call and response vocals made this a definite floor filler.

488.      

‘Das Model’, Kraftwerk (1978)

Influenced by: Ricochet, Parts 1 & 2 • Tangerine (1975)   

Influence on: Walk Away • Orchestral Manoeuvres in the Dark (1981)   

Covered by: Big Black (1987) • Rammstein (1997) • Messer Chups (2007)

This sounds a little bit like Kraftwerk decided to engage more with the tuneful element of music on top of their electro-background. Whilst it doesn’t feel as groundbreaking sonically as the first song on the list, this gets kudos for having lyrics that were ahead of their time as it explores ideas around female models and celebrity. They were so far ahead of the curve that it wasn’t until 1982 that the song went to the top of the UK charts after several releases. The synthesiser tune might end up lodged in my brain for the long haul, I believe.

489.      

‘Shot By Both Sides’, Magazine (1978)

Influenced by: Search and Destroy • Iggy & The Stooges (1973)   

Influence on: Just • Radiohead (1995)   

Covered by: No Fun at All (1997) • Mansun (2004) • Radiohead (2007) • Jarvis Cocker (2007)   

Other key track: My Mind Ain’t So Open (1978)

A song that was named after a comment at Howard Devoto’s apolitical beliefs, this had a greater influence in the long run than success at the time. Whilst the vocals are good, it is the climbing guitar sections that make this song for me. Coupled with increasing drum tempos, they are sonically dark to fit a lyrics that also are less than positive in nature. A great debut that has me intrigued as to what else they had to offer.

490.      

‘Public Image’, Public Image Ltd (1978)

Influenced by: Moonshake • Can (1973)   

Influence on: Higher Than the Sun • Primal Scream (1991)   

Covered by: Alphabeat (2008) • Feeder (2008)   

Other key tracks: Religion (1978) • Death Disco (1979) • Poptones (1979) • This Is Not a Love Song (1984)

An interesting song and change in style of Johnny Rotten/John Lydon as he sought to make waves beyond his association with The Sex Pistols. Outside of the noise, this is pretty far removed from what the Pistols had been doing and showed that Lydon was more than capable of producing his own stuff of note. You can still give or take his vocals for the most part in my opinion, but the lyrics fit in with a seeming disenfranchisement with the media presentation of him in the past and there’s enough of a catchy undercurrent to find me nodding along at points.