The Top Fifty Favorite Songs Of 2003 - Pt.4

Late in 2003, I read a collection of writings by rock critic Griel Marcus. His style is very heavy for a rock writer – some have even called him “academic”. He incorporates his extensive vocabulary and knowledge of historical events, philosophy, and political theories into his record reviews, features, and essays to a point that may seem pretentious or uppity; still, the man is compelling, and even profound at times. One piece in that really inspired me was his review of Julian Lennon’s 1984 debut, Valotte. In this review (that was so much more than a review), he defines what makes a record “good” or “bad”. A good record is exemplified in the song itself, in the performance the singer/guitarist/etc. “wants what he or she wants, hates what he or she hates, fears what he or she fears, more than anything in the world”, thus impacting the listener to live “more intensely.” Conversely, a bad record “is so cramped and careful in spirit that it wants most of all to be liked.” While assembling this list, I considered Marcus’ criteria. I believe every one of these songs is “life-giving”, songs that moved me (and I hope would move you), and didn’t exist only to be “liked”.

20. “The Rest Of My Life” by Sloan
Let’s be honest, this is the kind of song you expect from Sloan: clean production, Beatles-esque elements, awesome harmonies, nice dynamics, hooky – overall, trad power pop. But this song is one of the bands finest. The lyrics perfectly encapsulate the push-n-pull of being an independent free-spirit faced with the reality of getting older and the inevitability of settling down; a soundtrack of my life.

19. “One Foot In The Grave” by Pernice Brothers
Joe Pernice is one of the greatest songwriters out there today. He is one of the few that can get the music and lyrics right; to be equally remarkable. This track moves, propelled by Thom Monahan’s rock solid bass line and Pernice’s flawless vocal performance. The changes are wonderful with Moon-y drum fills and tenderly jagged guitar riffs. The song closes with lots of great drum fills and Pernice moaning “With one foot in the grave…” This is good stuff.

18. “Where Have All The Rude Boys Gone?” by Ted Leo & The Pharmacists
Ted Leo, why did I ignore you for so long? Much has been made of his ability to take his hardcore roots and meld them with melody and hooks, so I won’t say anymore than: yeah, definitely. “Where Have All The Rude Boys Gone?” hits on both lyrics (smart, thought-provoking, reflect a sense-of-humor) and music (rocks hard, lots of great changes).

17. “The Best Of Jill Hives” by Guided By Voices
Uncle Bob has one of these every record – just an incredible pop song. The thing that really makes “Jill Hives” great is how the melody flows seamlessly, the song revolves, and it’s economic. Further, it demonstrates that Pollard hasn’t lost his ability to write a totally memorable solid pop song. The. This is why I keep buying GBV records.

16. “The Places You’ll Call Home” by The Ladybug Transistor
Totally out of left field comes The Ladybug Transistor, a band I’d written off long ago. This track is absolutely sick. Sasha Bell assumes lead vocal duty and the results are astonishing. As with so many songs on this list, it’s about a great melody, strong hooks, and a lyrical prowess that makes the song complete. Bravo, The Ladybug Transistor, you are the Comeback Band of the Year!

15. “Darts Of Pleasure” (Home Demo Version) by Franz Ferdinand
I chose this Internet-only version due to its sheer raw power. Glasgow’s FF are being hyped in the UK, but it’s completely deserved. They are lumped with the current hip post-punk-dance-rock milieu (Interpol, The Rapture, etc.) as they reflect influences of Joy Division, Gang Of Four, and Wire. The thing that separates FF is they are bent on melody (albeit in a post-punk-dance-rock milieu sort of way) and a more traditional pop song structure. Lots of energy that demands the song to be played loud.

14. “Come To This” by The Sleepy Jackson
Aussie Luke Steele (is that a comic book name?) made one of the best records of the year, and this track is a time-warped Beatles jamming with The Orgone Box. Wonderful thick piano, fucked up pseudo-steel guitar, classic 80s alterna descending guitar riffs, and little weirdo plunks and plinks underneath it all. The song sticks in yer head, compelling you to hum it on the bus or walking down the street or as you nod off to sleep.

13. “Being Number One” by Black Box Recorder
The second time Luke Haines, John Moore, and Sarah Nixey appear on my list. This song is a wonderful sarcastic, cynical, satirical jab at the American Idol/Pop Idol phenomena. Nixey sings from the perspective of a newly christened pop star about the ups and downs of “being number one.” Nixey and Haines sing a sort of Pop Idol Beatitudes: “God bless the public, God bless number one, God bless the radio, God bless TV, God bless parking money…” Brilliance. Sheer brilliance.

12. “Step Into My Office, Baby” by Belle & Sebastian
A sly and un-p.c. tale of sexual office politics that succeeds on so many levels: lyrical, musical, personal, etc. The glam stomp juxtaposed with Stuart Murdoch and Stevie Jackson’s vocal interplay and strings and acoustic guitar and horns, oh my, makes for a gripping track! This is the best B&S has been since If You’re Feeling Sinister.

11. “In Da Club” by 50 Cent
“Go shawty, it’shyerberthday/ we gonna party like it’sherberthday…” a universal hook line, who doesn’t want, no expect, to party when it’s your birthday? The track is film noir soundtrack meets Dre beats, bloody menacing. 50 Cent’s monotone flow is fresh, especially when he throws an odd inflection (up or down) for no apparent reason. The rest of the lyrics are almost as ludicrous as “Hot In Herre”, but who cares? It’s that beat, the bridge, and that hook.

Next: The Top Ten. I'm getting goosebumps.