Listomania: Favorite Songs of the 00's (100-91)

100. “It’s a Sight to Behold” by Devendra Banhart (Rejoicing in the Hands, 2004)
This was one of many standout tracks from Banhart’s Rejoicing in the Hands. He demonstrates an old-school, almost campfirey folk sound while coupling it with his typically nonsensical yet imaginative, disquieting lyrics.








99. “Evil” by Interpol (Antics, 2004)
Joy Division copycats or not (not), Interpol know how to create some engaging melodies. The bass line in particular drives the song, along with its slashing guitars and Paul Banks’ distinctively jagged voice.









98. “Silent” by the Field (From Here We Go Sublime, 2007)
It’s amazing to me that a lyric-less electronic song with few progressions or curveballs throughout its 7 ½ minute running time can be so strangely affecting and powerful. The fact that we’re now able to make music out of stuff that seems so non-musical (like computers) is something that’s pretty neat-o.








97. “International Player’s Anthem” by UGK (Underground Kingz, 2007)
Andre 3000 probably has one of my favorite voices of all-time. I wouldn’t mind him reading…well, anything to me. Just to listen to that unique drawl of his would be enough for me. Anyhow, I digress. Outkast memorably guest on a track that uses “I Choose You” as the driving sample, propelling the song to an almost larger-than-life altitude that also serves as a poignant swan song for Pimp C. R.I.P., homedawg.







96. “The Way We Get By” by Spoon (Kill the Moonlight, 2002)
Spoon are one of those bands that I wish I appreciated more. I don’t think they’ve ever made a bad album. In fact, I enjoy most of their songs. I don’t think anybody combines indelible indie pop hooks with rhythm quite the way Spoon does…and yet, they’re simply one of those bands that I *like* but have never loved (I’m also looking at you, New Pornographers). Either way, this song deserves inclusion because it’s just such a darn catchy tune: great piano riff, Britt Daniels’ rasp, and that aforementioned Spoon rhythm. A track this good makes me feel stupid for not placing them higher on my list of favorites.




95. “Take Me Out” by Franz Ferdinand (Franz Ferdinand, 2004)
Receiving airplay around the same time as when Modest Mouse hit it big with “Float On,” I remember watching the music video when it first showed up on Vh1 (who would have thunk, they actually played music videos). It wasn’t the video (with its nifty graphics of the band amidst…what I guess were chaotic cardboard cutouts, or something) but rather that riff, that monstrous riff. Anyone who’s heard the song knows what I’m talking about. Heck, it’s probably already stuck in your head right now. On top of that, add a catchy, oft-repeating chorus and this little Scottish group had a pretty big hit on their hands back in the day…that kind of got pretty old. Thankfully, it’s been a good few years since then and I’ve had time to re-digest the track and appreciate it for what it is: a nice little rock ditty.




94. “Kim & Jessie” by M83 (Saturdays = Youth, 2008)
Somehow this song manages to evoke that distinct, Thompson Twins/Breakfast Club 80’s synth-sound without being overtly corny (can’t say the same for some of M83’s tracks, however). This might be because of the song’s huge, airy sound, or perhaps because we can all relate to the nostalgic, almost cinematic teenage innocence of a song like “Kim & Jessie.”








93. “Lost Coastlines” by Okkervil River (The Stand Ins, 2008)
A very buoyant song with a smooth, affecting bassline and Will Sheff’s patented, over-dramatic (but never to the point of being over-the-top) croon. Despite the uplifting tone, an interesting note is the nature of the lyrics, which, when read without the bouncy tune in tow, play out more like one of those dark-natured poems that your high school English teacher just loved to quote than the music Sheff and Co. have set before us.






92. “Mistaken for Strangers” by the National (Boxer, 2007)
Matt Berningner’s deep baritone vocals and clever lyrics are only half of what makes this song so great. The other half belongs to the frenetic drumming and mournful horns which compliment the whole theme of the song as it glazes over the void found in white-collar work (where you’re “mistaken for a stranger” by the corporate big whigs or even your own friends). The song does this in a way that is effectively paranoid yet poignant.







91. “Ms. Jackson” by Outkast (Stankonia, 2000)
Man, nobody oozed promise and pure talent like these guys did. It’s a real shame they’re not making music together as of this writing. What we still have, however, is this testament to their songwriting and rapping abilities: “Ms. Jackson,” the ode to all the world’s baby’s momma’s mommas. When their album came out in 2000, it became pretty apparent that these guys were pushing the hip-hop genre in a weird, creative direction—a direction that became the norm over the course of the decade. Now, if only Outkast would get back together and create another track as bright and plain cool as this one.