who the fuck are the Blow Monkeys

sophisti-pop US one-hit wonder, think they had a bunch in the UK. Very good single, think it was like my #107. Very glad and surprised to see it on here.

more awesomeness, is that the 12"?

That is really, really bad.

OK, just heard this song. I'll pass.

Sounds like ABC but not as cool.

UK chart peak was #12 for that one. "Celerbrate (The Day After You)" featuring Curtis Mayfield is one of several hundred songs from 1987 about Thatcher and "It Doesn’t Have to Be This Way" went to #5.

They had a song on the Dirty Dancing OST

Yup, add another one to my pleasantly suprised list with DYS.

I found the raves

Oh, I meant to YSI the 12 inch mix too. Here it is, good stuff.

whoops, looks like I skipped one.


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#124.



Pavement - "Cut Your Hair"

Year: 1994

US Chart Position: #10 Modern Rock

UK Chart Position: #52

Acclaimed Music Ranking: #15 (year), #76 (decade), #609 (all-time)

Rank on Our All-Time Singles List: #207

Ranked Highest By: Turd Ferguson (#10)

Can Be Most Easily Found On: Crooked Rain, Crooked Rain

ok I cannot wait for #1 now.

still sounds pretty great

Got arrested at the Mardi Gras for jumping off the boat


#122.



Beastie Boys - "Shake Your Rump" / "Hey Ladies"

Year: 1989

US Chart Position: #36 / #18 Modern Rock / #15 Dance / #10 Rap

UK Chart Position: n/a

Acclaimed Music Ranking: #23 (year), #230 (decade), #1267 (all-time)

Ranked Highest By: Paul (#6)

Can Be Most Easily Found On: Paul's Boutqieu

Damn--had no idea Shake Your Rump was a single. Definitely would've voted for it.

Digging Your Scene over Cut Your Hair? Now I've seen everything.
You done good board.

That review of "One" was pretty intense. To this day, that song will get me to turn up the volume in a heartbeat. And the damn thing is nearly 20 years old.

My man MCA's got a beard like a billy goat...

5/5

I know! But I'm done being surprised at how shitty some amazing songs are placing... just enjoying seeing songs by who-the-fuck-are-they charting higher than classics like this one.

Isn't it

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KOREA

?

Yes, I noticed that, but I wasn't enough of a jerk to point it out.

I was asking a question though, assumed the band were suggesting that a rock 'n' roll career can stagnate like the US Army's offensive in Korea.

Man...some of you guys are out to lunch ..Blow Monkeys' Digging Your Scene is truly an awesome song. Especially you Elastico....Smiths lover....
I think you need to listen to it a few times. Such a great melody and of course catchy.

"Don't make a Korea out of it."-- "Lt. George Tirebiter", via Firesign Theater.

fixed

I can't keep the avatar/name switches straight. So...
TJENZ = ?

click on member's name
select "profile options" then "member display name history"
all will be revealed

Wow- "Digging Your Scene"- never even knew the name of it but one of those songs where the hook is permanently implanted in my brain, even though I probably haven't heard it in at least 10 years.

ah ha....

Another tidbit that not only reveals some things to me but makes me a bit less naive...

Even I would've voted for "The World Is Yours"

There's been a lot of tunes in this thread that I didn't have in my iTunes, and a few that I've never heard period. I just downloaded Digging Your Scene and listened to it for the first time, and can't believe that comes anywhere near the top 250. What is up with the Chuck Mangione horns? Someone earlier equated liking this song to liking the Smiths, and I hate the Smiths, so maybe my dislike for this song makes sense. But I really don't get the love for this one.

Or in other words, should be much lower, imo.

I'm sure some of it is a time-and-place thing, but I always thought that song got a lot of airplay because of the band name.

Didn't reall yequate to the Smiths but was popular around the same time with the same crowd.
Don't you fee lthe sophisticated swagger of that song. It's a gem.



actually I was not that big a fan of it...more for lack of hearing it...when it was out originally. I've just grown to love it.

Ahhh yeah, AGAIN AND AGAIN!!


#121.



Wu-Tang Clan - "Protect Ya Neck" / "Method Man"

Year: 1993

US Chart Position: #69 / #42 Dance / #40 R&B / #17 Rap (MM)

UK Chart Position: n/a

Acclaimed Music Ranking: #24 (year), #197 (decade), #1328 (all-time0

Rank on Our All-Time Singles List: #369

Ranked Highest By: The Eyes (#2)

Can Be Most Easily Found On: Enter the Wu-Tang: The 36 Chambers

Call the cops


#120.



Happy Mondays - "Step On"

Year: 1990

US Chart Position: #57 / #13 Dance / #9 Modern Rock

UK Chart Position: #5

Acclaimed Music Ranking: #3 (year), #30 (decade), #270 (all-time)

Ranked Highest By: Nic (#5)

Can Be Most Easily Found On: Pills n Thrills & Bellyaches

^^^ my fave Monday's single for sure....

Can you keep them in the dark for life
Can you hide them from the waiting world


#119.



Danzig - "Mother"

Year: 1988

US Chart Position: #43 / #17 Mainstream Rock (in '94)

UK Chart Position: #62

Acclaimed Music Ranking: n/a

Ranked Highest By: Pavement Ist Rad (#17)

Can Be Most Easily Found On: Danzig

You stretched for the stars
And you know how it feels
To reach too high
Too far
Too soon


#118.



The Waterboys - "The Whole of the Moon"

Year: 1985

US Chart Position: n/a

UK Chart Position: #25 / #3 in '91

Acclaimed Music Ranking: n/a

AMG Says: "Written in 1985, following his girlfriend's inquiry of whether it was difficult to write a song, "The Whole of the Moon" pays homage to those who had affected Mike Scott's artistic growth, ranging from Prince to Irish writer C.S. Lewis. Scott has never been one to conceal his passion and intensity, and "The Whole of the Moon" is no exception. Anthemic, earnest, and fervently poetic, the song is the perfect portrait of Mike Scott as an artist, as well as of his self-proclaimed "big music." Here he conveys both inspiration and humility amidst an everything-but-the-kitchen-sink arrangement, though the song is strong enough to withstand the barrage. With every instrument that appears, Scott digs ever deeper, trying to capture even a piece of the vision he found in the work of the artists who inspired him. By the end, Scott, enveloped in a burst of voices, instruments, and even a gunshot, seems to be no longer able to contain himself, firing off image after image in their honor. "The Whole of the Moon" is part paean, part yearning, and part declaration of the soul. The bold musical feel of the song and the corresponding album, This Is the Sea, subsequently gave way to a more traditional flavor with their next two recordings, Fisherman's Blues and Room to Roam."

Ranked Highest By: Rob Gordon (#1)

Can Be Most Easily Found On: This is the Sea

I'm loving the list within a list we've got going on here.

That's a beautiful snatch of lyric. Maybe I will d'l that tune later.

I eat the fuckin' pineapple Now-and-Laters
Listen to me now
Don't listen to me later

#117.



Beastie Boys - "Sabotage" / "Get it Together"

Year: 1994

US Chart Position: #18 MR (Sabotage), #43 Rap / #5 Dance (GIT)

UK Chart Position: #19

Acclaimed Music Ranking: #2 (year), #20 (decade), #196 (all-time)

Rank on Our All-Time Singles List: #230

Ranked Highest By: The Eyes (#9)

Can Be Most Easily Found On: Ill Communication

oH IiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiI CAN'T STAND IT
I KNOW YOU PLANNED IT

And if I dig a hole to China
I'll catch the first junk to SoHo


#116.



Michael Penn - "No Myth"

Year: 1989

US Chart Position: #13 / #4 Modern Rock

UK Chart Position: n/a

Acclaimed Music Ranking: n/a

AMG Says: "Michael Penn was still being referred to as Sean Penn’s brother well after the first single from his debut album had made the charts. "No Myth" combines the melodic jangle of Penn’s acoustic guitar riffs with the light harmonics of his voice, all wrapped up in an extremely catchy pop-rock tune. Most of the energy comes from the song’s solid beat which acts as the perfect runway for Penn’s singing, while the chorus is a wavering gust of pure folk melody. The hooks are extremely sharp, and the tune meanders into a few different routes throughout the entire course of the song. "No Myth" was an excellent choice to introduce Penn’s musical career since it employs an equal amount of his vocal range and instrumental semblance, initiating a firm example of the type of sound that his first album would represent. The song made it to number 13 in February of 1990, and despite its similar nature and ample air play, the follow-up single entitled "This And That" only climbed as high as number 53. Penn refused to alter his style for his next album, 1992's Free For All, but there was nothing as attractive as "No Myth" within its tracks and it remained well outside the Top 100 on the album charts, residing there for less than three weeks."

Ranked Highest By: Bobandbob (#1) (also ranked #4 by Slackmo)

Can Be Most Easily Found On: March

and the way he sings it....damn powerful stuff....
oh well my #1 misses the top 100 by 18....

at the risk of being accused of condesension (sp?), or lectured by GDB about my comments, at least your #1 made the list.

EDIT: "No Myth" is a good song. should be higher, imho.

It doesn't mean that much to me
Sometimes I don't mean that much to you


#115.



Husker Du - "Could You Be the One?" / "Everytime"

Year: 1987

US Chart Position: n/a

UK Chart Position: n/a

Acclaimed Music Ranking: n/a

AMG Says: "It’s arguable to say that “Could You Be the One” is Hüsker Dü’s best-known track – “Makes No Sense At All” could get a few votes – but what is certain is that it’s one of their best, and from one of their best albums. Fitting nicely into Warehouse’s song structure, “Could You Be the One” is Hüsker Dü at its melodic best. A Bob Mould written track, it has all the things you expect from the band – loud distorted guitars, a solid rhythm section – but it’s the melodic hook in both the verse and the chorus that really leaves an impression. Aside from being amazing that the band could come up with a performance like this in such dire times, “Could You Be the One” is also the last real gasp from a band that was about to hit the wall. Deaths, drugs, and personal and professional tensions had taken the band on such a roller coaster ride, that in a way it only seems natural that they would make their last work some of their best. On an historical side note, this was one of the tunes that Hüsker Dü got to play when they made an appearance on the Joan Rivers Show in 1987."

Ranked Highest By: Mad Clown (#2) (also ranked #4 by Freddie Freelance and #5 by Diesel)

Can Be Most Easily Found On: Warehouse: Songs & Stories

"I think we might have had a misunderstanding regarding my previous notes. When I wrote in colored pencil "Where do we go now?" I wasn't offering that as a lyric. I was simply observing that, in narrative terms, the song needed to progress in some way. You love the girl, she's helping you work through some issues, whatever. So where do we go now? But instead of providing a satisfactory conclusion, you simply took my note and repeated it over and over again before ultimately just stating the title of the song. This is unacceptable. Don't ask us, the listeners, where we go. That's up to you as the writer! Tell us where we go now!"


#114.



Guns n Roses - "Sweet Child O Mine"

Year: 1988

US Chart Position: #1

UK Chart Position: #24 / #6 in '89

Acclaimed Music Ranking: #1 (year), #12 (decade), #116 (all-time)

Rank on Our All-Time Singles List: Would've been #762

AMG Says: "Boasting one of the most memorable guitar intros in the history of rock & roll (and there have been quite a few), "Sweet Child O' Mine" made Guns N' Roses superstars, sending their debut album Appetite for Destruction on its way to staggering sales of over 13 million copies. An edited version of the song, chopping out parts of the instrumental intro and guitar solo, hit number one on the singles charts in the summer of 1988, which was at least moderately surprising -- even though several pop-metal bands scored number one singles in the latter half of the '80s, most of those hits were ballads, and none of the bands had as gritty or raw a sound as the Gunners. None were as dark or controversial in their subject matter, either, but that didn't matter with "Sweet Child O' Mine," a mid-tempo rocker (not, as some have called it, a power ballad) with starry-eyed romantic lyrics written by lead singer Axl Rose for his then-girlfriend Erin Everly (daughter of Don Everly of the Everly Brothers). That ability to combine ruggedness and vulnerability was the perfect hook the band needed to establish themselves as a massive commercial force -- and the quality of their music didn't hurt, either.

Slash's intro riff is a soaring, graceful, evocative arpeggio figure that indelibly stamps itself into the listener's consciousness as soon as it rings out (a slight variation reoccurs in the chorus, which pushes it to even greater heights). After one complete run-through of the intro, Izzy Stradlin's rhythm guitar -- the foundation upon which the band was built -- enters and leads into a lilting bass solo by Duff McKagan, proving that he can be just as lyrical in the spotlight as he is moving underneath the music in a supporting role; there's a third, straight-ahead full-band run through the intro figure before the verses begin. Axl Rose's scratchy whine might not seem the most evocative choice for a love song, but it effectively conveys an aching passion in a way that a smooth, polished performance simply couldn't. And that actually sells the song better, because even though Rose's lyrics might seem a little sappy, they're really about the primal emotions and inexplicable associations that loved ones call up in the recesses of our subconscious; every aspect of her face connects with some deep reservoir of affection formed in early childhood, and even takes him back to that emotionally simple and expressive state of being. One starts to wonder whether the "sweet child" of the title actually refers to Rose's own rediscovered younger self.

Slash's soloing on the short breaks between the choruses and verses is simple and lyrical, and his major, extended solo (introduced by a new chord progression) begins that way, but builds into a passionate frenzy of wah-wah-pedal-driven licks whose tension he expertly builds and releases, over and over, until the climax. There is an abrupt drop-off into a completely new part of the song, a quiet section driven by a full-band chant of "where do we go now?"; Slash and Rose interject occasional licks and lyrics, respectively, until the song crashes back into full-band high gear. The interplay here is absolutely stunning, as Slash's almost literally crying guitar weaves in and out of Rose's frantically emotive vocals. The song ends with Rose wailing as the band brakes to a halt behind him; Slash playing a final lick that slides down the full range of the guitar, Rose gives a final cry in the background, and a gentle arpeggio, barely heard, floats upward as the song comes to a final close.

Even though the song was more than solid enough to stand on its own, the band's striking presence in the accompanying video certainly helped put them over. Rose's dance moves at the microphone were the stuff stars were made of, a snaky, sinuous pelvic hitch that adolescent boys across the country tried (and generally failed) to copy. Izzy, in all black, wearing sunglasses, a cigarette dangling nonchalantly from his mouth, seemed coolly indifferent to everything going on around him, while Slash, with his face hidden behind a top hat and a massive bush of hair, gripped his Gibson Les Paul as though it were his only means of communicating with the outside world. "Sweet Child O' Mine" was so successful on MTV and radio that it paved the way for "Welcome to the Jungle," a throttling, vicious rocker that had flopped upon its initial release as a single, to hit the pop Top Ten, a feat that probably would never have occurred otherwise and which cemented the band's status as the top hard rock act in America.

All in all, "Sweet Child O' Mine" is the perfect distillation of everything that made Guns N' Roses' original lineup so great, and it's almost incomprehensible that a band wearing its hearts so transparently on its sleeves could also record some of the most self-indulgently offensive hard rock songs of the decade. Yet it's also evidence of the passion the band brought to both sides of the equation, dramatizing love and hate with equal intensity. The song was an instant classic, and hasn't lost an ounce of its potency since its release."

Ranked Highest By: Hector Gilbert (#29)

Can Be Most Easily Found On: Appetite for Destruction

Strangely--and I don't doubt the artistry of the Beasties in general-- but I just cannot listen to this song.

There aren't 100 songs better than "Sweet Child of Mine" period... let alone in this 10 year span.