Throughout 2020, Bret Sayre will be embarking on a music-related project in memory of Baseball Prospectus’ Director of Operations, Rob McQuown, who passed away unexpectedly in July 2019. Each day, he’ll be sharing a song that he thinks is nearly perfect and deserving of the truly rare 80 grade in the same way Rob used to share songs he wanted us all to listen to. Below is a link to the introduction to the project, and the arbitrary rules within, along with an updated running list of the songs that are posted on Bret’s Twitter account (@BretSayreBP) on a daily basis. Additionally, there is a link below to his Spotify playlist that contains every song listed below that is available—all 29.5 hours of it.
The Official #80gradesin20 Spotify Playlist
The #80gradesin20 List (alphabetical by song title):
12/31/20 – “Yuppy Hipster Fuck” by Eastern Conference Champions (Ameritown; 2007)
These 5 minutes sum up ECC perfectly. It’s pretty and melodic at times, building to a loud and aggressive finale—making it a perfect way to end this exercise.
12/30/20 – “You Really Got Me” by The Kinks (Kinks; 1964)
One of the most iconic guitar riffs of all time leads off this classic before it jumps into a similarly iconic chorus. The heaviness of the track was ahead of its time in 1964.
12/29/20 – “You Make My Dreams” by Hall & Oates (Voices; 1980)
This song is unbridled joy. The keyboard and rhythm drive the track, but it’s Daryl Hall’s pristine vocals (and John Oates’ memorable backing vocals) that make it a classic.
12/28/20 – “You Belong With Me” by Taylor Swift (Fearless; 2008)
Her career has continued to skyrocket since Fearless but she’s never written a more perfect pop song. And thinking of the far less successful things I did at 18 makes me sad.
12/27/20 – “You Are Invited” by Dismemberment Plan (Emergency & I; 1999)
The full-band payoff of this song is incredible and the first two-plus minutes of storytelling over a simple electronic beat is the perfect foreplay. One of my favorites.
12/26/20 – “Wouldn’t It Be Nice” by The Beach Boys (Pet Sounds; 1966)
It’s hard to find a song on Pet Sounds that shouldn’t make the list, but this one wasn’t in doubt. The instrumentation, harmonies and production were truly groundbreaking.
12/25/20 – “Would?” by Alice In Chains (Dirt; 1992)
This song made me want to buy a bass—but instead I’d play the intro over and over on my friend’s Yahama. The lead single off their best LP, it is Jerry Cantrell’s writing at its best.
12/24/20 – “Working Class Hero” by John Lennon (Plastic Ono Band; 1970)
Absolutely biting lyrics from one of the best songwriters ever. The simplicity of the music plays perfectly under a message that’s as relevant today as it was 50 years ago.
12/23/20 – “Wolves, Lower” by R.E.M. (Chronic Town EP; 1982)
It’s startling how strong they came out of the gate. Their debut EP’s opening track had everything that made R.E.M. great—harmonies, jangly guitar, melodic bass and a head-bobbing beat.
12/22/20 – “Wolf Like Me” by TV On The Radio (Return To Cookie Mountain; 2006)
My kids went through a heavy Imagine Dragons phase in 2018. Not fun. So one day I put this on and said this song is what they *wish* they sounded like. The kids still love it.
12/21/20 – “With Or Without You” by U2 (The Joshua Tree; 1987)
There is no better example of the power of both Bono and The Edge than in this building anthem. It’s their best song, on their best album, and I could listen to it on repeat for days.
12/20/20 – “With Arms Outstretched” by Rilo Kiley (The Execution Of All Things; 2002)
The first time I heard this song was special. I watched them play it live on my college radio show (
@913WLVR) 5ft away & a month before TEOAT dropped. I was blown away.
12/19/20 – “Wish You Were Here” by Pink Floyd (Wish You Were Here; 1975)
The best Floyd song on their best album—it was my go-to study soundtrack for most of college. It’s an acoustic masterpiece brought to life by David Gilmour’s effortless vocals.
12/18/20 – “Why Did Ever We Meet” by The Promise Ring (Nothing Feels Good; 1997)
The most recognizable and welcoming song on their breakthrough album, it was a sign that TPR were ready to embrace their pop skills while keeping their unique quirks.
12/17/20 – “Where Do The Children Play?” by Cat Stevens (Tea For The Tillerman; 1970)
This TFTT opener just turned 50 and sounds both current and relevant today. The singer/songwriter genre has had its ups and downs but Stevens is the prototype for me.
12/16/20 – “When You Were Young” by The Killers (Sam’s Town; 2006)
Brandon Flowers has noted that this song is heavy in its Springsteen influence, and that’s easy to hear. It is grand and anthemic from the jump and one of their finest songs.
12/15/20 – “When You Got To New York” by Saturday Looks Good To Me (Every Night; 2004)
There’s no one who quite writes songs like Fred Thomas, and this song represents his most stripped-down pop aspects. It closes out a great LP with feeling.
12/14/20 – “When I Argue I See Shapes” by Idlewild (Hope Is Important; 1998)
One of my all-time favorites. I played many shows with my band in a white t-shirt with SHAPES written in black Sharpie in honor of the rounded bridge. It’s damn brilliant.
12/13/20 – “Whatever Happened To Corey Haim” by The Thrills (Let’s Bottle Bohemia; 2004)
Their debut LP was great, but this early-written track from their follow-up was the biggest reason I went to see them live each time they came through NY in 2004.
12/12/20 – “What A Fool Believes” by The Doobie Brothers (Minute By Minute; 1978)
Michael McDonald and Kenny Loggins co-wrote this song, and each released their own versions of it. That’s mostly forgotten now because of how damn good this one is.
12/11/20 – “We Have The Facts And We’re Voting Yes” by Death Cab For Cutie (We Have The Facts And We’re Voting Yes; 2000)
I won’t call it “Title Track.” It’s both my favorite song of theirs and it makes an aural statement about their step from lo-fi roots to truer pop.
12/10/20 – “Waiting” by The Rentals (Return Of The Rentals; 1995)
The ideal Rentals song in many ways, as it features a catchy AF Moog melody, a harmony-laden chorus and a multi-vocal finale. It’s stripped down, gleeful pop just as Matt Sharp likes it.
12/9/20 – “Waitin’ For A Superman” by The Flaming Lips (The Soft Bulletin; 1999)
The Soft Bulletin is such a brilliant record that it’s hard include a single part on a song-related list. However, this song’s divinity can stand on its own anywhere.
12/8/20 – “Violet” by Hole (Live Through This; 1994)
I don’t buy the “Kurt wrote it” conspiracy theory, but this song’s Nirvana influence is clear. That it would feel at home with their personnel reversed is a testament to Love’s own penmanship.
12/7/20 – “Vacation” by The Go-Go’s (Vacation; 1982)
There’s not really a wrong song to include from these 80’s California pop icons, but this one’s always given me the biggest smile. The improvement from Textones song to single is giant.
12/6/20 – “Up The Bracket” by The Libertines (Up The Bracket; 2002)
It is simultaneously one of my favorite debut records, a brilliant track within and an incredible phrase—the definition of which is appropriate for the band’s instant impact.
12/5/20 – “Up On Your Leopard, Upon The End Of Your Feral Days” by Sunset Rubdown (Random Spirit Lover; 2007)
This song is what I imagine the inside of Spencer Krug’s brain looks like. Half indie brilliance and half the soundtrack to a kaleidoscope.
12/4/20 – “Up On Cripple Creek” by The Band (The Band; 1969)
This song has all of the components that made The Band great—the storytelling, Levon Helm’s distinctive drawl, the catchy chorus—but it’s the funky keyboard that sets it apart.
12/3/20 – “Until I Fall Away” by Gin Blossoms (New Miserable Experience; 1992)
An inner circle pop masterpiece, it’s the platonic ideal for a campfire/basement singalong. It has a pristine melody and matching backing vocals reachable by the lay singer.
12/2/20 – “Unsatisfied” by The Replacements (Let It Be; 1984)
This song is the bridge between them as punks and them as icons. It pairs the energy and angst of their early records with the accessibility and varied tone of what was to come.
12/1/20 – “Unglued” by Stone Temple Pilots (Purple; 1994)
There were a handful of songs from Purple in consideration for the list, but this is my favorite to re-listen to. It has the energy of Core with their new, more concise writing.
11/30/20 – “Unfair” by Pavement (Crooked Rain, Crooked Rain; 1994)
One of the greatest rock vocals of all time, and a hell of a song to sing along to, even with barely decipherable lyrics (NorCal good, SoCal bad, etc). It’s indignant and doesn’t let up.
11/29/20 – “Unchained” by Van Halen (Fair Warning; 1981)
For me, this is the quintessential VH track. It’s got the killer riff to start, the incredibly catchy chorus with backing vocals, the ace solo and all the DLR personality one can handle.
11/28/20 – “Ultimatum” by The Long Winters (Ultimatum EP; 2005)
An uptempo version ended up on their third LP, but the finger picking and space of the original allows the construction and melody to shine in an extremely John Roderick manner.
11/27/20 – “Try Not To Breathe” by R.E.M. (Automatic For The People; 1992)
All of the intricacies the band brought to their music post-IRS are laid out in full here. The minor-key waltz features varied guitar sounds and exquisitely orchestrated harmonies.
11/26/20 – “True Love Ways” by Buddy Holly (The Buddy Holly Story, Vol. 2; 1960)
One of the last songs Holly recorded before his untimely death in 1959, the orchestral arrangement really added to the ballad which hinted at the growth that we never got to see.
11/25/20 – “True Love Waits (Live In Oslo)” by Radiohead (I Might Be Wrong EP; 2001)
A unicorn of their live shows for two decades; an intimate ballad that couldn’t be tamed on album after album. It was finally laid down in 2016 but this version is its truest self.
11/24/20 – “Treading Water” by Nada Surf (Let Go; 2002)
I had the privilege of watching this song develop over a year’s worth of shows back in 2001 and it was always the one I looked forward to most. The guitar intro still gets me going.
11/23/20 – “Trash Flavored Trash” by The Blood Brothers (Crimes; 2004)
They are not for the faint of heart, but the screamonies coming out of Johnny Whitney and Jordan Blilie are actually quite pretty. This song is full fucking throttle.
11/22/20 – “Train In Vain” by The Clash (London Calling; 1979)
Intended or not, it is easily the greatest hidden track ever. Of course, this classic was only hidden because the track was finished after London Calling‘s artwork. Details, details.
11/21/20 – “Tracy Jacks” by Blur (Parklife; 1994)
This is how you do call and response. My favorite track on one of the best albums from the 90’s, it deftly bounces on top of a simple progression and is a masterclass in vocal harmonies.
11/20/20 – “To Hell With Good Intentions” by Mclusky (Mclusky Do Dallas; 2002)
Crank the volume and scream along with Andy Falkous as he belts out classic lines like “my band is better than your band, we’ve got more songs than a song convention.”
11/19/20 – “Tiny Dancer” by Elton John (Madman Across The Water; 1971)
It’s one thing for a song to be in a great movie, but it’s another for a song to be an integral part of said scene’s plot. Both the piano riff and the chorus melody are instant hooks.
11/18/20 – “Time For Heroes” by The Libertines (Up The Bracket; 2002)
This song—simple, anthemic and instantly memorable—was destined to help put these lads on the map. The Barât/Doherty combo’s prime was cut short, but bloody brilliant as well.
11/17/20 – “Thriller” by Michael Jackson (Thriller; 1982)
The bass line that actually walks on water. Sure, the music video is what everyone remembers, but it overshadows the pure genius of one of the greatest pop songs ever penned.
11/16/20 – “This Modern Love” by Bloc Party (Silent Alarm; 2005)
A multidimensional pick, it is an incredibly written and produced pop song, but it’s also inseparable from its goosebump-inducing scene in the S1 finale of How I Met Your Mother.
11/15/20 – “This Is A Fire Door Never Leave Open” by The Weakerthans (Left And Leaving; 2000)
Everything I love about this band peaks in these five minutes—lyrics, music, emotion. The path to the chorus is flawless and filled with perfect lines.
11/14/20 – “This Heart’s On Fire” by Wolf Parade (Apologies To The Queen Mary; 2005)
Dan Boeckner is Spencer Krug’s perfect counterbalance, and this is his finest contribution. A driving anthem that puts a bow on a classic record, it’s heartfelt and charged.
11/13/20 – “Thirteen” by Big Star (#1 Record; 1972)
Alex Chilton’s youthful earnestness spans every second of this simple, beautiful classic. Its pull is universal, as my 10-year-old daughter even got into this song after watching Stargirl.
11/12/20 – “Thirteen” by ¡Forward, Russia! (Give Me A Wall; 2006)
The numbered tracks on Give Me A Wall bounce around as much as this song before settling into a mind-meltingly catchy chorus. It’s a hell of an introduction to a hell of a band.
11/11/20 – “These Wooden Ideas” by Idlewild (100 Broken Windows; 2000)
The early R.E.M. influence is evident on this record, but it’s overt on this standout track. Roddy Woomble’s distinctive lyrics lay smoothly on top of a strong indie pop canvas.
11/10/20 – “There, There” by Radiohead (Hail To The Thief; 2003)
After Kid A and Amnesiac, this song was a triumphant return to form. The drum circle feel to the start and rise makes way to a final section that explodes with OKC-style guitar magic.
11/9/20 – “There Is A Light That Never Goes Out” by The Smiths (The Queen Is Dead; 1986)
This is peak Morrissey, just softly crooning about love and death in the construct of an all-time vocal melody and a chorus that leaves a mark on your soul.
11/8/20 – “The Wind” by Cat Stevens (Teaser And The Firecat; 1971)
There may not be a prettier song ever written than this, and it is a perfect album opener. The way the vocal melody echoes the guitar melody is designed to put a smile on your face.
11/7/20 – “The Weight” by The Band (Music From Big Pink; 1968)
This song is the definition of timeless. Levon Helm spits story after story, broken up by one of the great choruses in music history. That it wasn’t a huge hit when it came out is crazy.
11/6/20 – “The Way We Get By” by Spoon (Kill the Moonlight; 2002)
The piano riff and verse melody that sits on top of it are as iconic as indie rock in the 00’s got. Britt Daniel’s nonchalance and apathy are as palpable as the Iggy Pop references.
11/5/20 – “The Underdog” by Spoon (Ga Ga Ga Ga Ga; 2007)
Texas is known for killer B’s but in this song it’s Britt, Brion and brass that make one of the great indie anthems of the 00’s. A great instrumental chorus is tough to pull off, and yet.
11/4/20 – “The Scientist” by Coldplay (A Rush Of Blood To The Head; 2002)
An absolute giant of a song from their last great LP. Although they ultimately transitioned away from these big, beautiful piano ballads, it’s a reminder of what they were capable of.
11/3/20 – “The Rat” by The Walkmen (Bows + Arrows; 2004)
I don’t know how Matt keeps up the aggression on drums that drives this song for over four minutes. But it’s one of the great and soaring vocal lines that makes it a classic.
11/2/20 – “The Rain Song” by Led Zeppelin (Houses Of The Holy; 1973)
It may seem an unlikely pick, but I love it. The guitar/vocals are both top-notch, and it is JPJ’s coming out party as an arranger. The full band explosion at 5:00 is incredible.
11/1/20 – “The Radiator Hums” by Cursive (Cursive’s Domestica; 2000)
Like all of Domestica, this song is fucking intense. It’s divorce laid bare with varying POVs, but TRH is a giant gut punch from her perspective with a big hook to make it stick.
10/31/20 – “The Predatory Wasp Of The Palisades Is Out To Get Us” by Sufjan Stevens (Illinois; 2005)
I didn’t fully appreciate the enormity of this song until I saw him play it at Lincoln Center with a full orchestra. It is a masterpiece.
10/30/20 – “The Power Of Love” by Huey Lewis & The News (Back To The Future Soundtrack; 1985)
We can all name that tune in two keyboard notes. It features one of the biggest pop choruses ever and it’s synonymous with a classic movie. What else could you want?
10/29/20 – “The Most Beautiful Girl (In The Room)” by Flight of the Conchords (The Distant Future EP; 2007)
Songs can be great or funny, and when one is both it’s a unicorn. There are so many classic lines, but they even infuse the music with hilarity.
10/28/20 – “The Modern Age” by The Strokes (Is This It; 2001)
This is almost a cheat. The faster-paced iteration of this song on The Modern Age EP is the best, but it’s not on Spotify so I’ll “settle” for the LP version. It’s still great.
10/27/20 – “The Light Before We Land” by The Delgados (Hate; 2002)
The track starts with hauntingly beautiful strings and distorted drums, but it’s the vocal harmony between Emma Pollock and Alun Woodward at the 2:45 mark that gets me.
10/26/20 – “The Kingfishers” by Eastern Conference Champions (Love in Wartime; 2015)
This song is a great example of why Joshua Ostrander is such a powerful songwriter. It’s a beautifully reflective acoustic ballad on a record that barely exists.
10/25/20 – “The Ice Of Boston” by Dismemberment Plan (The Dismemberment Plan is Terrified; 1997)
Verse two of this song is one of my favorite half-minutes of music. The imagery and intonation leading up to the “I’m fine, Mom! How’s Washington?” line is just perfect.
10/24/20 – “The Good Life” by Weezer (Pinkerton; 1996)
If I could pick the whole album and its B-sides, I would, but I included this mostly on the strength of its opening guitar riff, the post-solo breakdown and Matt Sharp‘s “I’VE HAD IT.”
10/23/20 – “The Girl’s Distracted” by Saturday Looks Good To Me (Every Night; 2004)
A true hidden gem of a band in a sea of 00’s indie pop. This boy/girl 60’s throwback is one of my favorite songs and part of its charm is its underproduction.
10/22/20 – “The Drugs Don’t Work” by The Verve (Urban Hymns; 1997)
In this 90’s gem, Richard Ashcroft casually penned and sang one of the most beautiful vocal melodies of all-time. It’s not their famous song, but it should be their legacy.
10/21/20 – “The Comeback” by Shout Out Louds (Howl Howl Gaff Gaff; 2003)
From the 8-bit Excitebike opening, this song is both nostalgic and of the time. The simple pop of the whole record is on full display in the opener and sets the perfect tone.
10/20/20 – “The City” by Dismemberment Plan (Emergency & I; 1999)
ALL. I. EVER. SAY. NOW. IS. GOOD-BYYYYYYYE! Picking three E&I songs is impossible. The keyboard hook is dynamite and the way the chorus’s vocals rise and dive into it is amazing.
10/19/20 – “The Chain” by Fleetwood Mac (Rumours; 1977)
The first three minutes channels the anger of all the breakups the band was living through before one of the all-time great bass lines fires up and an anthemic catharsis follows.
10/18/20 – “The Box” by Eastern Conference Champions (Ameritown; 2007)
The first time I heard this song, nearly two years before the album came out, I was hooked. The writing is simple and engaging, with a distinct voice to carry it home.
10/17/20 – “The Bleeding Heart Show” by The New Pornographers (Twin Cinema; 2005)
The first 2.5 minutes are great. The last two minutes are an experience. The harmonies are perfect and then, out of nowhere, it’s a ridiculous Neko Case hook.
10/16/20 – “The Ballad Of The Sin Eater” by Ted Leo and the Pharmacists (Hearts Of Oak; 2003)
An incredibly punk song despite only having 12 seconds of guitar in its five plus minutes. Lyrically it’s a brilliant slam of U.S.-centric idealism.
10/15/20 – “That’s When I Reach For My Revolver” by Mission Of Burma (Signals, Calls and Marches; 1981)
That this seminal track is nearly 40 years old blows my mind. It’s also clearly written by a bass player, as the song is very much driven by its low-end.
10/14/20 – “That Thing You Do!” by The Wonders (That Thing You Do! Soundtrack; 1996)
One of the best songs written for a film, it’s Adam Schlesinger’s fourth and final appearance on the list. No matter how much you watch the movie, this pop gem never gets old.
10/13/20 – “Teenage Wristband” by The Twilight Singers (Blackberry Belle; 2003)
Greg Dulli’s prolific career peaked with this track, specifically the third verse. Fun fact, backing vocals on this song feature Petra Haden and Apollonia (seriously).
10/12/20 – “Teenage FBI” by Guided By Voices (Wish in One Hand EP; 1997)
If anyone says you can’t pen perfection in 90 seconds, point them here. The LP version is overproduced and stretched, but the original is the best sub-two-minute rock song ever.
10/11/20 – “Teen Age Riot” by Sonic Youth (Daydream Nation; 1988)
Daydream Nation is a classic sum-of-its-parts record, but this song is their best. The opener starts innocently enough before the raucous guitar that spawned 1000 bands rushes in.
10/10/20 – “Tearing Up The Oxygen” by Maritime (We, The Vehicles; 2007)
When I heard Davey von Bohlen had a post-TPR band, I was skeptical as I loved them so. After hearing this song, I immediately knew I was wrong. The keyboard melody is divine.
10/9/20 – “Take Me Out” by Franz Ferdinand (Franz Ferdinand; 2004)
One of the quintessential 00’s rock songs, it’s instantly something you need to crank the volume up on when you’re in the car. Almost 20 years later, the guitar riff still bangs.
10/8/20 – “Sweet Pain” by Blues Traveler (Travelers & Thieves; 1991)
I wore Travelers & Thieves out as a middle schooler and this was one of my favorites for a long time. Ironically, it’s one of the few Blues Traveler songs without harmonica.
10/7/20 – “Sweet Child O’ Mine” by Guns N’ Roses (Appetite For Destruction; 1987)
I was very impressionable when I started watching MTV in grade school and this video was literally everywhere at the time. Appetite is great but this song still stands out.
10/6/20 – “Survival Car” by Fountains Of Wayne (Fountains Of Wayne; 1996)
If Brian Wilson were transplanted from 60’s SoCal to the NJ suburbs of the 90s, this is what the Beach Boys would’ve sounded like. It’s brilliantly structured and catchy pop.
10/5/20 – “Surrender” by Cheap Trick (Heaven Tonight; 1978)
Sometimes it’s the little things. Here it’s a brilliantly hidden harmony. Rick Nielsen’s “WACs in the Philippines” step down is the perfect complement to Robin Zander’s lead vocal.
10/4/20 – “Surfin’ U.S.A.” by The Beach Boys (Surfin’ U.S.A.; 1963)
The pinnacle of their pre-Pet Sounds catalog and one of the best American rock n’ roll songs of all time. It marries the energy of Chuck Berry with pristine vocal harmonies.
10/3/20 – “Superstition” by Stevie Wonder (Talking Book; 1972)
A classic. Everyone knows it. It’s got the greatest keyboard riff ever recorded and an elite chorus. However, my favorite thing is that it’s Stevie playing the iconic drum part.
10/2/20 – “Super Girls” by The Capes (Hello; 2005)
September 14, 2005. I had no idea who these guys were, but that’s what CMJ was for. I’ve never been more taken by a song I heard live first, and this pop gem has stuck with me since.
10/1/20 – “Sunday Bloody Sunday” by U2 (War; 1983)
It’s probably 30 seconds too long, but from the drum intro to the iconic chorus, the track is memorable all the way through. That this was their *third* single off War is stunning.
9/30/20 – “Summerholidays vs. Punkroutine” by Refused (The Shape Of Punk To Come; 1998)
Rarely is an album as prescient in title and tone as The Shape Of Punk To Come was. This song was a perfect cross-section of hardcore aggressiveness and accessibility.
9/29/20 – “Summer Babe (Winter Version)” by Pavement (Slanted & Enchanted; 1992)
There are a lot of great candidates, but I think this is the best opener on a debut LP. The jangly guitars are high in the mix but underneath is a perfect pop song.
9/28/20 – “Suicide Invoice” by Hot Snakes (Suicide Invoice; 2002)
The best of the bands that birthed them, these SoCal rockers took it up a notch for their second album. This title track has killer guitars and an eminently scream-able chorus.
9/27/20 – “Such Great Heights” by The Postal Service (Give Up; 2003)
Ben Gibbard’s best melody work breathes life into the electronic backdrop, forming one of the finest pop songs of this century. It’s so sugary, it’ll rot your teeth.
9/26/20 – “Stuck Between Stations” by The Hold Steady (Boys and Girls in America; 2006)
Wondering what “Born To Run” would sound like if it were written in the 21st century? Well, probably a lot like this. The anthemic track kicks a great album off right.
9/25/20 – “Stranger By The Day” by Shades Apart (Eyewitness; 1999)
The late 90s North Jersey pop punk scene had a lot of fun bands, but these guys separated themselves from the pack with their songwriting, technical skill and catchiness.
9/24/20 – “Strange Days” by Matthew Good Band (Beautiful Midnight; 1999)
Of all the artists in all the provinces, this is likely my favorite Canadian song (and there are a LOT on this list). The vocals, both lead and backing, carry it to greatness.
9/23/20 – “Starcrossed” by Ash (Orpheus; 2004)
The last of four songs on the list from the greatest band to come out of Northern Ireland. Tim Wheeler could really write the hell out of a power ballad and this is the best of the bunch.
9/22/20 – “Stairway to Heaven” by Led Zeppelin (Led Zeppelin IV; 1971)
It’s one of the most famous songs ever written for good reason. It’s an epic guitar track and the melodies (in both the vocals and Jimmy Page‘s solos) are just as brilliant.
9/21/20 – “St. Elmos Fire (Man In Motion)” by John Parr (St. Elmos Fire Soundtrack; 1985)
The best of all the huge 80s movie anthems. Its chorus is elite; its bridge unequaled. If I had more range, it’d be my go-to karaoke song. Sometimes it is anyway.
9/20/20 – “Source Tags & Codes” by …And You Will Know Us By The Trail Of Dead (Source Tags & Codes; 2002)
A perfect closer to a phenomenal album. It takes a breath before the fourth verse, which happens to be the best 20 seconds of the record.
9/19/20 – “Somewhere Across Forever” by stellastarr* (stellastarr*; 2003)
On a really strong debut album, this early track has always stood out to me. Shawn Christensen’s distinct voice drives this entire song, especially the powerful ending.
9/18/20 – “Someday We’ll Know” by New Radicals (Maybe You’ve Been Brainwashed Too; 1998)
I’m convinced that if Gregg Alexander and company had written this song for another artist, it would have been a huge hit. It’s a brilliant and under-appreciated pop ballad.
9/17/20 – “Somebody To Love” by Queen (A Day At The Races; 1976)
It’s not the most famous, but it is the best Queen song. Freddie’s vocals, the harmonies, the piano progression and guitar solo are all top-notch. This is simply one of the greats.
9/16/20 – “Some Sorta Light” by Eastern Conference Champions (Ameritown; 2007)
If you ask me for the best band you’ve never heard of, ECC are always my answer. This song brilliantly builds for four minutes into a goosebump-inducing finale.
9/15/20 – “Sixteen” by ¡Forward, Russia! (Give Me A Wall; 2006)
Shouting numbers never sounded so good (though they don’t actually get to 16). Two distinct songs smashed together brilliantly; it’s aggressive, unique and amazing to watch live.
9/14/20 – “Sink To The Beat” by Cursive (Burst and Bloom EP; 2001)
It starts with a simple guitar and a driving drum beat before building, intensifying and culminating with an all-time great rock crescendo—a scream-a-long chorus at the 3:20 mark.
9/13/20 – “Since U Been Gone” by Kelly Clarkson (Breakaway; 2004)
You heard me. A true pop song can fit into almost any genre seamlessly. The power pop version we got of this is a classic. It’s insanity that two other artists passed on it.
9/12/20 – “Sic Transit Gloria … Glory Fades” by Brand New (Deja Entendu; 2003)
The bass line lays the groundwork here and the two-headed vocals soar overhead in the chorus majestically. It’s a strong album, but this song really stands out.
9/11/20 – “Sheena Is A Punk Rocker” by Ramones (Rocket To Russia; 1977)
The Beach Boys influence is dripping here, and that’s a big reason why this has always been my favorite song of theirs. The melody and harmonies are as catchy as they come.
9/10/20 – “She Sends Kisses” by The Wrens (The Meadowlands; 2003)
The best song on one of my favorite records, it teases and builds until three minutes in when it explodes into a perfect chorus. It’s lyrically brilliant and supremely memorable.
9/9/20 – “She Don’t Use Jelly” by The Flaming Lips (Transmissions From The Satellite Heart; 1993)
This song is some of the catchiest nonsense ever recorded. The lyrics are insane, but the guitar intro is a classic and the video is still etched in my mind.
9/8/20 – “She Bangs the Drums” by The Stone Roses (The Stone Roses; 1989)
The best pop song on a wonderful pop record, it’s impossible to forget. Ian Brown’s ability to meld pop styles across decades made their sound familiar yet unique.
9/7/20 – “Shadow Grip” by Gil Mantera’s Party Dream (Blood Songs; 2005)
These guys were a trip. The Ohio duo put on some of the most fun concerts I saw in the 00s and this was usually the highlight. Gil’s vocoder hook really makes it stick.
9/6/20 – “Sell My Old Clothes, I’m Off To Heaven” by Saves The Day (Vagrant Records – Another Year On The Streets; 2000)
This is, perhaps, the most emo song ever. The sheer amount of aggressive self-pity Chris Conley fires out of his t-shirt cannon of sadness is remarkable.
9/5/20 – “See You Soon” by Coldplay (The Blue Room EP; 1999)
Before they became the butt of jokes, they wrote wonderfully charming pop ballads. This acoustic song from their first Parlophone EP didn’t make the cut for Parachutes. It should have.
9/4/20 – “See No Evil” by Television (Marquee Moon; 1977)
The standout opening track on the best album borne from the 70s CBGB scene in New York, it’s a big point of influence for the 80s alternative scene to come, from R.E.M. to the Pixies.
9/3/20 – “Search and Destroy” by The Stooges (Raw Power; 1973)
The fact that this song is from 1973 blows my mind. It was years ahead of its time; 100 percent punk before punk was a thing. The guitars and vocals are loud and in your face.
9/2/20 – “Scentless Apprentice” by Nirvana (In Utero; 1993)
It may not be the opener but this song sure sent a message that In Utero would be a more raw and aggressive affair than Nevermind. It hits you from the jump and doesn’t let up.
9/1/20 – “Scared Straight” by The Long Winters (When I Pretend To Fall; 2003)
It seems like you know what your listening to. Intro, verse, chorus, etc. But then the intro morphs into the actual chorus and builds to a delicious horn-filled ending.
8/31/20 – “Say It Ain’t So” by Weezer (Weezer; 1994)
To stand out among Weezer choruses is a feat; this one took them from a fun, quirky band to legit rock stars. The intro was also a rite of passage for many 35-40 year old guitarists.
8/30/20 – “Santa Monica” by Everclear (Sparkle And Fade; 1995)
Even 25 years later, there are still few songs as catchy as this. In fact, the rest of this album holds up nearly as well and it remains one of the more overlooked records of the 90s.
8/29/20 – “Roseability” by Idlewild (100 Broken Windows; 2000)
Come for the inventive guitar rhythm and Mike Mills inspired backing vocals. Stay for all the Gertrude Stein references. It’s one of many high points on their phenomenal second record.
8/28/20 – “Rosalita (Come Out Tonight)” by Bruce Springsteen (The Wild, The Innocent And The E Street Shuffle; 1973)
There’s an argument to include any of the songs from E Street Shuffle’s B side, but it’s really hard not to smile when this one comes on. Also, I’m from Jersey.
8/27/20 – “Rock ‘N’ Roll Suicide” by David Bowie (Ziggy Stardust And The Spiders From Mars; 1972)
The Ziggy Stardust closing track is brilliant, bringing the album to a stirring finish. It starts with a simple acoustic guitar and finishes with a whole damn orchestra.
8/26/20 – “Roadrunner” by The Modern Lovers (The Modern Lovers; 1976)
Both a love letter to a Massachusetts highway and one of the first great pop-punk songs written, it’s a simple, uptempo rocker that was ahead of its time and influenced many.
8/25/20 – “Revelry” by Sea Ray (Stars At Noon; 2004)
I still don’t understand why Sea Ray didn’t get more popular; their final album was one of the best indie pop records of the decade. This song is its peak and the instrumentation is amazing.
8/24/20 – “Relative Ways” by …And You Will Know Us By The Trail Of Dead (Source Tags & Codes; 2002)
This song starts calmly with guitar and vocals floating between time signatures, and builds to a structurally similar but more aggressive finale.
8/23/20 – “Red Right Ankle” by The Decemberists (Her Majesty The Decemberists; 2003)
Colin Meloy’s guitar and melody are beautiful, but his lyrics make this one of my favorite acoustic tracks. It’s certainly not a traditional love song, but it resonates.
8/22/20 – “Red Letter Day” by The Get Up Kids (Something To Write Home About; 1999)
The early-college energy is strong on this one. Each listen makes me want to leave depressing and pithy away messages on AIM while I go to class. Twitter just isn’t the same.
8/21/20 – “Rebellion (Lies)” by Arcade Fire (Funeral; 2004)
This song will fight you. It’s anthemic, imaginative and upbeat. It first builds from the bass line, then the drums; with the verse and chorus both peaking three minutes in.
8/20/20 – “Raining In Baltimore” by Counting Crows (August And Everything After; 1993)
A little over 20 years ago, I saw Adam Duritz play this beautiful ballad in the rain to start an encore at Jones Beach. It’s still one of my favorite concert memories.
8/19/20 – “Rain King” by Counting Crows (August And Everything After; 1993)
Of all the uptempo songs on the record, this is the one that’s always stuck with me. It’s a prettied-up version of mid-80s R.E.M.—the influence is dripping—and that’s enough for me.
8/18/20 – “Radio, Radio” by Elvis Costello & The Attractions (This Year’s Model, U.S. Version; 1978)
In attitude, Costello was as punk as anyone at the time and this 1978 single showed why. It’s one giant catchy middle finger to the British radio establishment.
8/17/20 – “Queen Bitch” by David Bowie (Hunky Dory; 1971)
This is a connector song: born from Bowie’s admiration for the Velvet Underground and hinting at what was to come on Ziggy Stardust. Its memorable guitar rhythm pulls no punches.
8/16/20 – “Purple Rain” by Prince (Purple Rain; 1984)
Narrowing this song to a single tweet is an exercise in insanity. It’s beautifully written and sung, the climax of a classic movie and features one of the best guitar solos ever recorded.
8/15/20 – “Psycho Killer” by Talking Heads (Talking Heads ’77; 1977)
Three notes. That’s all it takes to make one of the most iconic bass lines of the last 50 years. Throw in mood-altering guitar and some French, and it’s the start of greatness.
8/14/20 – “Proud Mary” by Creedence Clearwater Revival (Bayou Country; 1969)
The only CCR song on this list, it’s been oft-covered but never replicated. The vocal melodies make the song and the prechorus is a brilliant and memorable connector.
8/13/20 – “Prom Night At Hater High” by The Long Winters (When I Pretend To Fall; 2003)
This song may glorify getting out of Seattle but it applies to no shortage of high school experiences. It’s also another in a line of unique John Roderick choruses.
8/12/20 – “Pride (In The Name Of Love)” by U2 (The Unforgettable Fire; 1984)
It’s a vast catalog to choose from, but this MLK-inspired anthem remains the catchiest song they’ve ever written. It also randomly features Chrissie Hynde on backing vocals.
8/11/20 – “Pretty Vacant” by Sex Pistols (Nevermind The Bollocks, Here’s The Sex Pistols; 1977)
The third single from their very famous debut album has always been their best. It’s dripping with Stooges influence and has a chorus that punk rockers have been ripping off since.
8/10/20 – “Possum Kingdom” by Toadies (Rubberneck; 1994)
Just a very 90s song in many ways. Back when my band didn’t have enough originals, we’d play this and I’d sing it. My wife actually saw me do this and married me anyway. That’s love.
8/9/20 – “Portions For Foxes” by Rilo Kiley (More Adventurous; 2004)
More Adventurous was more uneven than its brilliant, cohesive predecessor, but this song was a high point and as good as anything else in their catalog. It’s a straight rocker.
8/8/20 – “Porcelina Of The Vast Oceans” by The Smashing Pumpkins (Mellon Collie and the Infinite Sadness; 1995)
A slow-rolled intro builds to one of my favorite guitar hooks, as Billy Corgan shows his mastery of the quiet/loud dynamic. I wore this out on my guitars.
8/7/20 – “Popsickle” by Starlight Mints (The Dream That Stuff Was Made Of; 2000)
Nothing reminds me of late-night, college-era MTV2 than this. It was probably 2am when I first saw the puppets on my TV screen, but this quirky song is memorable enough on its own.
8/6/20 – “Polyester Meets Acetate” by The Brunettes (Mars Loves Venus; 2004)
One of only two songs on the list from New Zealand. Jonathan Bree takes the lead, carrying their saccharine sound into one of the most under-heralded mid-00s pop songs.
8/5/20 – “Plea From A Cat Named Virtute” by The Weakerthans (Reconstruction Site; 2003)
This is the best song written from a cat’s point of view. Like so many other John K. Samson sojourns, the lyrics are the focal point and tug you into the story.
8/4/20 – “Plane Crash In C” by Rilo Kiley (Takeoffs & Landings; 2001)
The best song on their debut record, it builds to a repeating climax that hinted at what came next. It was even more energetic live with the horns replaced by distorted guitar.
8/3/20 – “Pictures of You” by The Cure (Disintegration; 1989)
One of the simplest 7-minute songs ever, it’s another great example of how The Cure threw traditional verse/chorus structure to the wind in favor of beauty and emotional resonance.
8/2/20 – “Paranoid Android” by Radiohead (OK Computer; 1997)
The most dynamic song of the 90s and one of the most important. It seamlessly floats between genres, perfecting each and moving on, only returning to rock the hell out at the end.
8/1/20 – “Only In Dreams” by Weezer (Weezer; 1994)
For more than half my life, this has been my answer when I’m asked for my favorite song. Some songs are special. Some hit you at the right time. When one is both, it’s a part of you.
7/31/20 – “One Great City!” by The Weakerthans (Reconstruction Site; 2003)
This John K. Samson masterpiece is one of the greatest acoustic songs ever written, and certainly the best song penned about Winnipeg, his hometown. The imagery is perfect.
7/30/20 – “One Armed Scissor” by At The Drive-In (Relationship Of Command; 2000)
The energy in this song is undeniable, and no one quite made hardcore accessible like these guys did. It also contains one of my favorite rock vocal tracks of all time.
7/29/20 – “Once In A Lifetime” by Talking Heads (Remain In Light; 1980)
There’s been so much music that it’s nearly impossible for anything to actually be unique and yet this song is. David Byrne’s genius is front and center, and left and right.
7/28/20 – “Oh! Sweet Nuthin‘” by The Velvet Underground (Loaded; 1970)
The final true VU song, it’s a fitting sendoff for a band that influenced generations of musicians. The verses are iconic, but the guitar work makes it a classic.
7/27/20 – “Obstacle 1” by Interpol (Turn On The Bright Lights; 2002)
Hands down the best track on their critically acclaimed debut record. As usual, Carlos D’s bass does the heavy lifting but it’s complemented perfectly with sharp vocals and guitars.
7/26/20 – “Nothin’ But A Good Time” by Poison (Open Up And Say …Ahh!; 1988)
Like the whole genre, its production sounds dated but goddamn if this wasn’t the best example of the big guitar riff, poppy chorus and show-off solo template of the late 80s.
7/25/20 – “No. 13 Baby” by Pixies (Doolittle; 1989)
Buried in a vast catalogue, there’s just something special about this one. The verses are understated musically but the vocal line is dynamite and bulldozes right into the punchy chorus.
7/24/20 – “Nightswimming” by R.E.M. (Automatic For The People; 1992)
Mike Mills delivers one of the greatest piano songs ever written, complemented perfectly by Michael Stipe’s yearning vocals and John Paul Jones‘ brilliant orchestration. It is beauty.
7/23/20 – “Newborn” by Elbow (Asleep In The Back; 2001)
Two beautiful pieces of music rolled into a single 7.5-minute track. First, it’s a short, angelic pop song before it turns into a spacey quasi-instrumental that builds to a dramatic climax.
7/22/20 – “New York City Cops” by The Strokes (Is This It, Non-U.S. Version; 2001)
It was left off the US version of Is This It in response to 9/11, but would’ve been the album’s best track. The band’s driving guitars and crooning reach their pinnacle here.
7/21/20 – “New Way Home” by Foo Fighters (The Colour And The Shape; 1997)
Striking the right note to end a great album can be a challenge, but not here. It’s a two-minute song that drops into a classic build-and-blast finale with Grohl screaming it out.
7/20/20 – “New Girl” by The Long Winters (When I Pretend To Fall; 2003)
No, you are. No, you are. This song is 2.5 minutes of unbridled joy driven by the vocals of John Roderick and Sean Nelson. The harmonies are a bit low in the mix but brilliant.
7/19/20 – “Never Tear Us Apart” by INXS (Kick; 1987)
I watched MTV so much in 1988 I can still see the video, but that’s not why it’s special. I sang this at my wedding and it’s just a perfect love song with an extremely 80s sax solo.
7/18/20 – “Neighborhood #1 (Tunnels)” by Arcade Fire (Funeral; 2004)
It may not have the pomp of “Wake Up” or aggressiveness of “Rebellion,” but it’s outlasted them all for me. The verse sets the table; the string melody brings it home.
7/17/20 – “Naveed” by Our Lady Peace (Naveed; 1994)
The best track off their debut record, the bass and drums set the stage for the layering to come. The chorus is great, but the bridge and reentry after is where this song really soars.
7/16/20 – “Naive” by The Jealous Sound (Kill Them With Kindness; 2003)
I saw them open for Piebald in 2004 and wore this album out afterwards. I don’t think I got this song out of my head for months. Such an elite chorus (the last one is *chef’s kiss*).
7/15/20 – “My Slumbering Heart” by Rilo Kiley (The Execution of All Things; 2002)
Great songwriting is a given, but this track is their most dynamic. For all the deserving credit Jenny Lewis gets, it’s Blake Sennett who steals the show in the song’s climax.
7/14/20 – “My Head Is In The Sun” by The Rentals (Seven More Minutes; 1999)
Matt Sharp went to Spain in the late 90s and brought back a great album. This track is a star-studded classic co-written by Rivers Cuomo with Maya Rudolph on backup vocals.
7/13/20 – “Muzzle” by The Smashing Pumpkins (Mellon Collie And The Infinite Sadness; 1995)
The sort of final single from Mellon Collie is as relentless as it is relatable. It’s always been very nearly my favorite on the LPx2, but no spoilers as to which song tops it.
7/12/20 – “Murray” by Pete Yorn (musicforthemorningafter; 2001)
The NJ native sputtered after a great debut LP, but left some memorable songs in his wake. This straight rocker was always my favorite and the only one that rises above the album’s synergy.
7/11/20 – “Mr. November” by The National (Alligator; 2005)
One of my favorite closing tracks, it catches you right from the intro and doesn’t let go. The way Matt Berninger croons “I used to be carried in the arms of cheerleaders” is epic.
7/10/20 – “Mr. Brightside” by The Killers (Hot Fuss; 2004)
I’ve tried not to be too hot take-y, but here goes another. This is the best song of the 21st century. There’s nothing about it that isn’t elite and it launched an arena band.
7/9/20 – “Mr Your On Fire Mr” by Liars (They Threw Us All In A Trench And Stuck A Monument On Top; 2001)
The Brooklyn band burst onto the scene, and this track led the way. It’s two-plus minutes of A+ high-energy dance punk and their usage of handclaps has not been topped this century.
7/8/20 – “Moving Pictures” by The Cribs (Men’s Needs, Women’s Needs, Whatever; 2007)
The best Cribs songs have simple, understated verses as the set to the catchy-as-hell chorus that spikes the ball straight into your melon, leaving your ears ringing for days.
7/7/20 – “More Than a Feeling” by Boston (Boston; 1976)
This is simultaneously one of the most fun and hardest songs to sing in rock history. The insane sounds that Brad Delp’s voice and Tom Scholz’s guitar make turn it into a classic.
7/6/20 – “Moonage Daydream” by David Bowie (Ziggy Stardust And The Spiders From Mars; 1972)
It’s tough to pick my favorite song on Ziggy Stardust, but this is it most of the time. It’s as metal as he got, with Mick Ronson’s guitar accentuating a memorable melodic tune.
7/5/20 – “Monkey Wrench” by Foo Fighters (The Colour And The Shape; 1997)
From the jump it was clear TCATS would be a step forward from Grohl’s debut. The whole song is great, but its opening guitar riff slays and the ALL CAPS third verse is inimitable.
7/4/20 – “Mercy Kiss” by Abandoned Pools (Humanistic; 2001)
Tommy Walter is best known as the bassist in eels and the writer of the Clone High theme, but his debut record was great and this first single has a killer guitar riff and chorus.
7/3/20 – “Me and Mia” by Ted Leo and the Pharmacists (Shake The Sheets; 2004)
It’s nearly impossible not to smile when you listen to this song. After the varied brilliance of Hearts of Oak, it is a straight shot of Leo’s finest pop sensibility.
7/2/20 – “Mayonaise” by The Smashing Pumpkins (Siamese Dream; 1993)
It may not have been one of Siamese Dream‘s four singles but it remains its best composition. James Iha’s penmanship is noticeable as the guitars are prettier and less angry.
7/1/20 – “Martell” by The Cribs (The New Fellas; 2005)
Of all the songs I’ve played for my kids, this is the one they ask for and sing around the house the most. I’m still surprised by this, but good luck getting the chorus out of your head.
6/30/20 – “Marquee Moon” by Television (Marquee Moon; 1977)
The longest track on this list, and a fitting close to one of the greatest A-sides ever, is 10 minutes of a Tom Verlaine and Richard Lloyd guitar clinic surrounding an obscured gem.
6/29/20 – “Maps” by Yeah Yeah Yeahs (Fever To Tell; 2003)
Fever To Tell is an unexpected home for one of the most heartfelt love songs of the 00s but the juxtaposed tenderness of Karen O’s vocal and Nick Zinner’s yearning guitar is pure magic.
6/28/20 – “Man On The Moon” by R.E.M. (Automatic For The People; 1992)
This starts the best three-song stretch to close an album. That the band backpockets an all-time, three-part vocal melody until the 4th chorus (4:15 in) is such an unbelievable flex.
6/27/20 – “Lovers Who Uncover” by The Little Ones (Sing Song EP; 2006)
It was CMJ 2007 when I saw the SoCal band open for The National and this song drew me in immediately. It’s handclap pop straight out of the 60s with that 00s indie shine.
6/26/20 – “Love Is Only A Feeling” by The Darkness (Permission To Land; 2003)
It turns out the best 80s power ballad was written in 2003. This song has it all: mandolin, 12-string, a dueling guitar solo, multi-track backup vocals and, well, love.
6/25/20 – “Lounger” by Dogs Die In Hot Cars (Please Describe Yourself; 2004)
Still a terrible name. An anthem for the lazy and under-motivated, this is both another supremely catchy chorus from these Scots and a sad reminder they only gave us one album.
6/24/20 – “Losing My Religion” by R.E.M. (Out of Time; 1991)
It was so hard to pick just 10 R.E.M. songs for the list, but I couldn’t leave this one off. It is as widely regarded as their catalogue gets and for good reason. It’s a classic.
6/23/20 – “Lord Only Knows” by Beck (Odelay!; 1996)
There’s so much genre surfing on Odelay! but despite the initial guttural scream, this song calls back to Beck’s folkier roots. Of course, it’s still sprinkled with Dust Brothers magic.
6/22/20 – “Lithium” by Nirvana (Nevermind; 1991)
The band was at its best in the struggle between quiet and loud. This is not only my favorite example of that, but it’s their best song. The chorus is so timeless it doesn’t even need words.
6/21/20 – “Listen To Your Heart” by Roxette (Look Sharp!; 1988)
As an impressionable grade schooler at the end of the 80s, Roxette was a BFD. More than 30 years later, I still consider this song one of the great power ballads of the decade.
6/20/20 – “Lips Like Sugar” by Echo & the Bunnymen (Echo & the Bunnymen; 1987)
It wasn’t the band’s favorite but the song is simple and brilliant pop. I adore the guitar melody that leads into the verses and the chorus dares you not to sing along.
6/19/20 – “Like Eating Glass” by Bloc Party (Silent Alarm; 2005)
Side A of Silent Alarm is filled with classics, but the way the individual pieces of this track—including the most memorable opening line from a band—come together is special.
6/18/20 – “Like A Rolling Stone” by Bob Dylan (Highway 61 Revisited; 1965)
It’s incredible that Dylan could take a song that on its face is repetitive and make it anything but. Turns out all it took was one of the best vocal tracks in music history.
6/17/20 – “Let’s Go Crazy” by Prince (Purple Rain; 1984)
The album and movie are all part of the song’s experience. The initial wavering synth note becomes the perfect backdrop for the preaching, raucous rhythm and guitar shredding to come.
6/16/20 – “Let It Be” by The Beatles (Let It Be; 1970)
For as prolific as McCartney was, this was his finest and grandest moment. The piano, melody and guitar solo are iconic. Just because everyone knows it doesn’t mean it’s not perfect.
6/15/20 – “Kool Thing” by Sonic Youth (Goo; 1990)
A two-minute song with a two-minute breakdown in the middle, it was what a lot of the alternative songs that ultimately became more popular in the half-decade to follow aspired to be.
6/14/20 – “Kissing The Lipless” by The Shins (Chutes Too Narrow; 2003)
There’s a lot of greatness on this record, but it doesn’t get better than the electric chorus of its opener. Hearing James Mercer stretch to hit that note is awfully endearing.
6/13/20 – “Kiss Off” by Violent Femmes (Violent Femmes; 1983)
It’s not their most famous song, but it is their best and the most punk song ever laid down with acoustic guitar. The chorus is divine but the breakdown makes the track an all-timer.
6/12/20 – “King Of The Road” by Piebald (We Are The Only Friends We Have; 2002)
Lyrically, it’s a love letter to the band’s long-time touring school bus. Musically, it’s a return: a killer intro and better ending that bookend three minutes of quiet brilliance.
6/11/20 – “Killian’s Red” by Nada Surf (Let Go; 2002)
I can’t separate the song from the visual of Daniel Lorca playing the bass-led intro with a lit cigarette under his dreds. That works as it’s the perfect song for a dark, smoky room.
6/10/20 – “Just What I Needed” by The Cars (The Cars; 1978)
You know it. We all know it. Every part of this classic song makes it instantly recognized. It’s also the one of the first songs many of us learned on guitar. Power chords FTW.
6/9/20 – “Just Like Heaven” by The Cure (Kiss Me Kiss Me Kiss Me; 1987)
Not only does the song have one of the most instantly recognizable guitar riffs, but every section is catchy enough to be an elite chorus. It may be the best pop song ever written.
6/8/20 – “Just” by Radiohead (The Bends; 1995)
It was maybe my sixth Radiohead show when I first saw them play this. I damn near lost my mind when the intro started. I also always crank the volume way up for the 
guitar solo at the end.
6/7/20 – “Jumpin’ Jack Flash” by The Rolling Stones (N/A; 1968)
There’s no shortage of great Stones songs, but for decades this one has been my favorite. The energy is palpable and builds up to a third verse that is Jagger’s finest.
6/6/20 – “Jonathan Fisk” by Spoon (Kill The Moonlight; 2002)
The consistent chug of the guitar and drums make this song more punk than the rest of their repertoire. Britt Daniel matches it with an aggressive vocal that builds to a grand chorus.
6/5/20 – “Jesus, Etc.” by Wilco (Yankee Hotel Foxtrot; 2001)
This is Jeff Tweedy at his smoothest and most casual. The out-and-back journey of the chords and vocal melody in the chorus helps make it the perfect canvas for a backyard sing-a-long.
6/4/20 – “Jehovah Made This Whole Joint For You” by New Radicals (Maybe You’ve Been Brainwashed Too; 1999)
Gregg Alexander made a career out of writing the hell out of a pop song starting with this underrated album. This isn’t the one you know, but it should be.
6/3/20 – “Jacqueline” by Franz Ferdinand (Franz Ferdinand; 2004)
Their introduction to the world starts with a story and an acoustic guitar. But 45 seconds in, the bass punches through and the track explodes into a dance-punk masterpiece.
6/2/20 – “Jacksonville” by Sufjan Stevens (Illinois; 2005)
There’s no better word to describe this song than grand. It’s got horns, an orchestral arrangement and multiple layers of spry vocals on top of a simple and delicate progression.
6/1/20 – “I’ve Just Seen A Face” by The Beatles (Help!; 1965)
That’s two 1965 acoustic tracks in a row. It was a departure musically at the time, and a first step in showing how well Lennon/McCartney writing translated across genres.
5/31/20 – “It’s All Over Now, Baby Blue” by Bob Dylan (Bringing It All Back Home; 1965)
I’m not the biggest Dylan fan, but this song is the best of what he does best: the introspection, turns of phrase and strained vocals with a chorus you can’t forget.
5/30/20 – “Is Anybody Home?” by Our Lady Peace (Happiness…Is Not A Fish That You Can Catch; 1999)
Another north-of-the-border entry from a band who could really write a chorus. This wasn’t their biggest hit, but it’s always been both my favorite song and album of theirs.
5/29/20 – “Intervention” by Arcade Fire (Neon Bible; 2007)
Following up Funeral was a tall task but when this song was released in advance of Neon Bible, it proved they were up to the challenge. It is a classic drag-you-off-your-ass anthem.
5/28/20 – “In The Street” by Big Star (#1 Record; 1972)
A “cover” of this was used as the theme from That 70s Show, but the original version is what Cheap Trick always wanted to be. The double punch of the guitar and vocals is the balls.
5/27/20 – “In The Meantime” by Spacehog (Resident Alien; 1995)
They came in and out of our lives quickly, but left behind a song we still remember 25 years later. Its chorus is one of the best of 90s and the verse’s bass line is equally great
5/26/20 – “In The Garage” by Weezer (Weezer; 1994)
The most high school song ever. Aside from it being catchy as hell, it was for the nerds who played D&D, listened to records and didn’t get party invites. They were us and we knew it.
5/25/20 – “In The Aeroplane Over The Sea” by Neutral Milk Hotel (In The Aeroplane Over The Sea, 1998)
Simply one of the most beautiful songs ever written, it floats high above the distortion, chaos and darkness that engulfs the rest of this 80-grade album.
5/24/20 – “In Remote Part/Scottish Fiction” by Idlewild (The Remote Part; 2002)
From the quiet two-guitar intro, it builds and proves a memorable end to a great record; closing with an original poem read by Scotland’s Poet Laureate. Seriously.
5/23/20 – “In Keeping Secrets of Silent Earth: 3” by Coheed and Cambria (In Keeping Secrets of Silent Earth:3; 2003)
It may not be the opening track, but it is the tone setter. The eight minutes sprawl but remain anchored to a grand chorus that begs to be repeated.
5/22/20 – “In Between Days” by The Cure (The Head On The Door; 1985)
IMO the two best pop songs of the 1980s were written by Robert Smith & Co, with this being the first. The formula? Simple keyboard melody + super catchy verse + quick-topper chorus.
5/21/20 – “I’m Waiting For The Day” by The Beach Boys (Pet Sounds; 1966)
It’s not the best song on Pet Sounds, but it is the most dynamic—jumping easily from quiet to loud and changing instrumentation—all while being Brian Wilson pop gold.
5/20/20 – “I’m The Man Who Loves You” by Wilco (Yankee Hotel Foxtrot; 2001)
Off-kilter guitar makes way for a smooth ride through some of Jeff Tweedy’s finest songwriting. And the horns that adorn the song’s second half really bring out its peak.
5/19/20 – “I’m So Bored With The U.S.A.” by The Clash (The Clash; 1977)
The best song on maybe the most influential debut record ever made. More dynamic than The Ramones, more meaningful than the Sex Pistols and straight punk to the core.
5/18/20 – “I’m Not Gonna Teach Your Boyfriend How To Dance With You” by Black Kids (Partie Traumatic; 2008)
An “it” song from 2007, this is a bigger energy version of The Cure’s best sound. They left as quickly as they came but gave us a classic.
5/17/20 – “I’m A Loner Dottie, A Rebel” by The Get Up Kids (Something To Write Home About; 1999)
Named after a Peewee’s Big Adventure line, this song starts with an instrumental progression that gives way to an opening line you can’t help but sing along with.
5/16/20 – “I’ll Believe In Anything” by Wolf Parade (Apologies To The Queen Mary; 2005)
Spencer Krug is out of his mind. In this standout track on their debut album, he channels it into a sprawling hell of a song that lets his melody soar over a rising sea.
5/15/20 – “I’ll Be Your Mirror” by The Velvet Underground (The Velvet Underground & Nico; 1967)
This pure and simple love song is the only track from their classic sum-of-its-parts record on the list. Lou Reed wrote it for Nico, who sang it right back to him.
5/14/20 – “I Was Born (A Unicorn)” by The Unicorns (Who Will Cut Our Hair When We’re Gone?, 2003)
The back-and-forth vocals and subject matter make this track feel like the band’s mission statement, but they bury it in the album because nothing about them makes sense.
5/13/20 – “I Predict A Riot” by Kaiser Chiefs (Employment; 2005)
From the opening guitar notes, the track’s pithiness rings through. It builds to a tremendously catchy chorus, one of the best in the mid-00’s new wave revival UK indie scene.
5/12/20 – “I Get Along” by The Libertines (Up The Bracket; 2002)
It’s a testament to how great Up The Bracket is that the final track is this much of a banger without the album losing steam. It also contains my favorite nihilistic expletive.
5/11/20 – “I Believe” by R.E.M. (Life’s Rich Pageant; 1986)
This has been a top-five R.E.M. song for me since I first picked up Life’s Rich Pageant in high school. It’s everything that makes the band’s IRS era elite wrapped neatly into four minutes.
5/10/20 – “Hyperspace” by Nada Surf (The Proximity Effect; 1998)
The whole song is great, but I have always been enthralled by Ira Elliot’s drum fill that kicks the fourth verse back into overdrive at the 3:22 mark. As a drummer, I want to marry it.
5/9/20 – “How Soon Is Now?” by The Smiths (Meat is Murder, US edition; 1985)
The greatest trick Johnny Marr ever pulled was convincing a generation of guitarists that it was possible to use the tremolo to such success. To be iconic and inimitable is rare.
5/8/20 – “Hotel Yorba” by The White Stripes (White Blood Cells; 2001)
One of the shortest and simplest tracks on this list, its essence is what made Jack and Meg so endearing. There are no frills, just a beat and a vocal melody that draws you in.
5/7/20 – “Hornets! Hornets!” by The Hold Steady (Separation Sunday; 2005)
A true tone setter for one of my favorite records, it’s both an introduction to the story’s characters and the beginning of the band channeling their inner E Street selves.
5/6/20 – “Holland, 1945” by Neutral Milk Hotel (In The Aeroplane Over The Sea; 1998)
It takes a special song to remember how floored you were the first time you heard it two decades ago. It’s a three-minute, full-throated charge into the true inner circle.
5/5/20 – “Hey Jealousy” by Gin Blossoms (New Miserable Experience; 1992)
It will never cease to amaze me that these six musicians came together and reeled off a half-dozen pop classics in their short time together. This is the song that started the run.
5/4/20 – “Here Comes Your Man” by Pixies (Doolittle; 1989)
The gateway song into the band, it’s as simple and straightforward as Black Francis’ songwriting gets. The initial guitar riff is instantly recognizable and the chorus is divine.
5/3/20 – “Here Comes The Sun” by The Beatles (Abbey Road; 1969)
I doubt there’s a more famous song on this list, but it’s also a reminder just how stupid it was that the third-best songwriter in the band was this talented in his own right.
5/2/20 – “Henry VIII” by The Tyde (Twice; 2003)
The second of two songs from their second album, Twice, blitzes through three verses, three choruses, an intro, a reprise and an instrumental bridge all in just 2.5 glowing minutes.
5/1/20 – “Hellodrama” by What Made Milwaukee Famous (Trying To Never Catch Up; 2006)
This song may have a standard structure but it’s a bit inverted as the verses carry the weight and the chorus connects. It’s also one of my favorite car sing-a-longs.
4/30/20 – “Heart-Shaped Box” by Nirvana (In Utero; 1993)
It’s not the best song on In Utero (we’ll get to that later), but it showed they could go heavier and darker than Nevermind without losing their accessibility, stickiness and punch.
4/29/20 – “Harborcoat” by R.E.M. (Reckoning; 1984)
Following up Murmur was a really tough ask, but this song was a statement that they were up to the challenge. It also continued a run of album openers that’s unmatched in music history.
4/28/20 – “Happy Hour” by The Promise Ring (Very Emergency; 1999)
There’s catchy and then there’s this track. It’s rumored the band built the song by taking choruses from other lesser songs, making it a veritable Voltron of pristine power pop.
4/27/20 – “Happy” by The Wrens (The Meadowlands; 2003)
Remember when I said I liked songs that build? This is one of my all-time favorite examples and it sets the tone for an incredible record. Four minutes of rise leading to a perfect ending.
4/26/20 – “Happiness Is A Warm Gun” by The Beatles (The Beatles; 1968)
The White Album is brilliant, but this is its quintessential song with its shifting time signatures and energy. It could only exist here and is John Lennon at his best.
4/25/20 – “Hannah Jane” by Hootie & The Blowfish (Cracked Rear View; 1994)
While 45 percent of their debut album ended up as singles, its opener never did. It’s strange as these 3.5 minutes are a perfect encapsulation of their strengths as a band.
4/24/20 – “Half The World Away” by Oasis (Whatever EP; 1994)
Released as a B-side to a non-album single that nearly made the list as well, it demonstrates the absurd depth of the 90s Oasis catalog. And it’s another Noel lead vocal to boot.
4/23/20 – “Half-Life” by Local H (Here Comes The Zoo; 2002)
Here Comes The Zoo is filled with really good songs, but its lead single was the only one to make this list. Brian St Clair’s drumming powers the band through verses and choruses alike.
4/22/20 – “Got To Get You Into My Life” by The Beatles (Revolver; 1966)
Recently there was a Twitter Q asking what song makes you happiest when you hear it. This was my answer. It’s super singable and has horns. What else could you need?
4/21/20 – “Good Weekend” by Art Brut (Bang Bang Rock & Roll; 2005)
Eddie Argos’ almost-singing can be an acquired taste, but this song has the most new relationship energy I’ve ever heard. The breakdown is palpable excitement that is highly relatable.
4/20/20 – “Godhopping” by Dogs Die In Hot Cars (Please Describe Yourself; 2004)
They’ve got the worst name of any band I’ve actively liked but their lone LP has a few of the catchiest songs from the 00s you might not know. This is the best of the bunch.
4/19/20 – “God Only Knows” by The Beach Boys (Pet Sounds; 1966)
Any music list without this isn’t worth the social media it’s posted on. Carl Wilson’s vocals are iconic and the songwriting is Brian Wilson‘s best. A top-five all-time track.
4/18/20 – “Go Sadness” by Shout Out Louds (Howl Howl Gaff Gaff; 2003)
Between a number of upbeat songs, these four minutes really stand out as an powerful exercise in minimalism. It’s a beautifully simple melody on top of a xylophone-led backdrop.
4/17/20 – “Go Ask Yer Dad” by The Tyde (Twice; 2004)
This song is the cool, salty breeze in your hair as you drive up California One from San Diego to Los Angeles on a partially overcast day with the driver-side window half-cracked.
4/16/20 – “Girl From Mars” by Ash (1977; 1996)
It’s unimaginable for a pop song this good to be penned by a 16-year-old, and yet. Tim Wheeler‘s knack for placing catchy vocals & big guitar solos over fun chord progressions is divine.
4/15/20 – “Gimme Shelter” by The Rolling Stones (Let It Bleed; 1969)
I’ve never loved the Stones the way many others do, but when they hit their mark, they HIT it. The paired vocals from Jagger and Merry Clayton play off each other perfectly.
4/14/20 – “Gimme Danger” by The Stooges (Raw Power; 1973)
The influence of the Stones is full effect on this track, and features an incredible guitar riff that drives the first half of the song. Then, naturally, Iggy Pop screams it home.
4/13/20 – “Ghost Mountain” by The Unicorns (Who Will Cut Our Hair While We’re Gone?; 2003)
It’s a campfire song with a twist. The trippy synth opening sets the band off on a structure-less journey through what feels like the dream sequence of a sugared-up Oompa-Loompa.
4/12/20 – “Ghost” by Neutral Milk Hotel (In The Aeroplane Over The Sea; 1998)
Picking the third song from In the Aeroplane Over The Sea is an excruciatingly tough decision, but it’s this fast-paced journey through death and what comes next that makes the cut.
4/11/20 – “Get In Or Get Out” by Hot Hot Heat (Make Up The Breakdown; 2002)
The streak of albums Chris Walla touched from 2002 to 2005 was insane. This was the most upbeat of them and though this song wasn’t a single, it sums up the record’s spirit.
4/10/20 – “Game Of Pricks” by Guided By Voices (Tigerbomb; 1995)
Of all the songs we used to cover, this was the most fun to play. The lo-fi vibe made GBV endearing but this classic is the intersection of their best writing and production.
4/9/20 – “For the Widows in Paradise, For the Fatherless in Ypsilanti” by Sufjan Stevens (Michigan; 2003)
A hauntingly beautiful song that doesn’t need anything more than a banjo, some slight brass/piano accents and pitch-perfect vocals.
4/8/20 – “For Me This Is Heaven” by Jimmy Eat World (Clarity; 1999)
You’ve written a true emo ballad when it’s referenced in lesser emo ballads. The waltz backdrop is a gorgeous and the harmonies envelop the simple but powerful lyrics.
4/7/20 – “Flagpole Sitta” by Harvey Danger (Where Have All The Merrymakers Gone?;1997)
How many other late-90s hits do you recall as well as this? As the drum intro and guitar riff blast off, you surely can sing along as if you’re still rocking ripped, baggy jeans.
4/6/20 – “First Night” by The Hold Steady (Boys and Girls in America; 2006)
This was the band’s first headfirst jump into the 21st century power ballad and man they stuck the landing. The break and build of the last two minutes is the peak of 2006 music.
4/5/20 – “Finest Worksong” by R.E.M. (Document; 1987)
Document may fall off a bit, but it starts with one heck of a bang. The drums explode, the bass and guitar fill up the room and Michael Stipe brings it home with his punchy vocals.
4/4/20 – “Film-Maker” by The Cooper Temple Clause (See Through This And Live; 2002)
There’s probably not another band on this entire list with fewer 50-grade songs but for these three minutes, they were elite. This track is a banger all the way through.
4/3/20 – “Fell On Black Days” by Soundgarden (Superunknown; 1994)
This song may not have the pomp of Superunknown or the stickiness of Black Hole Sun, but its guiding 6/4 riff and building vocals make it the record’s best track.
4/2/20 – “Favorite Thing” by The Replacements (Let It Be; 1984)
It’s incredible how much variation they inject into the 2:20 run time of this song. Its energy is unstoppable from start to finish and it’s long been my favorite on Let It Be.
4/1/20 – “Fall On Me” by R.E.M. (Life’s Rich Pageant; 1986)
They had long perfected the jangly-pop sound when 1986 rolled around, but this song is when they first began to perfect the harmonious-minor-key-pop sound. It’s one of the best songs ever.
3/31/20 – “Fake Plastic Trees” by Radiohead (The Bends; 1995)
The beauty and build of this song is unmatched in the band’s incredible catalog. It also houses the vocal melody that spawned a million British indie bands over the next decade.
3/30/20 – “Fake Empire” by The National (Boxer; 2007)
The first 1:15, when it’s just Dessner’s simple piano and Berninger’s perfectly paired vocals floating through a faux-waltz is the band at its best. Of course, the rest is great too
3/29/20 – “Everywhere You Turn” by Longwave (The Strangest Things; 2003)
This first introduction to the band is all about the bass from the jump and it drives the whole song. That hook after the first verse and the first half of the chorus is sublime.
3/28/20 – “Everything Must Go!” by The Weakerthans (Left And Leaving; 2000)
The opening track on the best album to come from the Great White North, it’s a beautifully hushed introduction to the introspective lyrics and triumphant melodies to come.
3/27/20 – “Everyone Choose Sides” by The Wrens (The Meadowlands; 2003)
When punk is an attitude & not a musical genre, this driving song is as punk as it gets. The band was entangled with its awful label and this was a middle finger to them all.
3/26/20 – “Everlong” by Foo Fighters (The Colour And The Shape; 1997)
[Hot Take Alert] This is the best song Dave Grohl has ever played on. The chorus is indelible, an ever optimistic mark on the soul, but it’s beautifully set up by the perfect prechorus.
3/25/20 – “End of the Century” by Blur (Parklife; 1994)
One of my favorite tracks from one of the best albums of the 90s. The combination of Damon Albarn’s vocal melody and the creative chord progression makes this an instant classic.
3/24/20 – “Emergency! Emergency!” by The Promise Ring (Very Emergency; 1999)
The incredible thing about TPR is that they never tried the same thing twice. Davey & Co steered into the pop skid on this album and spit out an upbeat, catchy classic.
3/23/20 – “Elderly Woman Behind the Counter in a Small Town” by Pearl Jam (Vs.; 1993)
It wasn’t supposed to be the best song on Vs. yet there it is. It wasn’t released as a single but charted anyway. When you sing along, you know why.
3/22/20 – “El Scorcho” by Weezer (Pinkerton; 1996)
The relative failure of this single was baffling to me in high school but it led directly to the relative insularity of the band in the Pinkerton era. And it was a big deal to a lot of us.
3/21/20 – “Dry the Rain” by The Beta Band (Champions Version; 1997)
The groundwork on this song is laid in the first two minutes, but the instrumentation and vocals build into an epic finish. Extra credit for being in one of my favorite movies.
3/20/20 – “Don’t Walk Away Eileen” by Sam Roberts (The Inhuman Condition; 2002)
It’s one thing to have a song this polished and catchy, it’s another to have it be literally the first song on your first recording. He’s only under-appreciated in the US.
3/19/20 – “Don’t Look Back In Anger” by Oasis [(What’s the Story) Morning Glory; 1995]
Usually when someone tries to prove they don’t need their brother, they do something smaller than write one of the decade’s best songs. Noel Gallagher, always the overachiever.
3/18/20 – “Don’t Call Me Whitney, Bobby” by Islands (Return to the Sea; 2006)
The fast burnout of The Unicorns led to two of its members transitioning to a more exotic sound. RTTS is a hit-or-miss record but this catchy track is its finest moment.
3/17/20 – “Divorce Song” by Liz Phair (Exile in Guyville; 1993)
Exile in Guyville is a very sum-of-its-parts record, and a brilliant one at that. However, this song stands out by blending Phair’s most gutting lyrics with her most singable melodies.
3/16/20 – “Distopian Dream Girl” by Built To Spill (There’s Nothing Wrong With Love; 1994)
This has long been my favorite BtS song. The verses are built on an ingenious guitar progression, but it’s impossible to resist singing along to the chorus when it hits.
3/15/20 – “Decent Days and Nights” by The Futureheads (The Futureheads; 2004)
The cleverness of the vocals and harmonies from all four members on their debut record made it special and its first single rolled that sound up into a pop masterpiece
3/14/20 – “Debra” by Beck (Midnite Vultures; 1999)
Long a staple of his live show, this epic love song (of sorts) finally snuck in as the final track on Midnite Vultures and its raw energy was captured. Shouts to those Hyundai drivers out there.
3/13/20 – “Debaser” by Pixies (Doolittle; 1989)
Doolittle may have been the hardest album to trim down to three songs for this list, but its opener is an incredible tone setter as it is both weird and catchy as hell. That’s the band to a T.
3/12/20 – “Dead Leaves and the Dirty Ground” by The White Stripes (White Blood Cells; 2001)
Sometimes music can be groundbreaking with its simplicity. The best of Jack White‘s songwriting, thick guitar tones and energy come together on this track.
3/11/20 – “Day Tripper” by The Beatles (1965)
Their catalog depth is so stupid that they chose not to put this song on Rubber Soul and instead released it as a single concurrently. It’s also got one of the best guitar riffs ever.
3/10/20 – “Danger! High Voltage” by Electric Six (Fire; 2003)
Disco sucks and all but the best song in the genre’s history was penned not in the 70s but earlier this century in Michigan. It contains a secret Jack White vocal to boot.
3/9/20 – “Cut Your Hair” by Pavement (Crooked Rain, Crooked Rain; 1994)
One of the two Crooked Rain tracks on this list, it’s a not-so-subtle reminder of just how perfect of a pop song Stephen Malkmus could pen and a non-lyrical chorus for the ages.
3/8/20 – “Crown of Thorns” by Mother Love Bone (Apple; 1990)
The Apple version of this song is my favorite, and it remains one of the classics out of the Seattle music scene. It’s a precursor, a peak and another voice lost too soon.
3/7/20 – “Crosstown Traffic” by Jimi Hendrix (Electric Ladyland; 1968)
Most of his material causes me to say “damn he could really play.” But my reaction to this track has always been “damn this is a great song.” Naturally, he shreds on it too.
3/6/20 – “Crackerman” by Stone Temple Pilots (Core; 1992)
For all of the singles on Core, this song best captured the spirit of the record. The driving guitars building to the dual vocals in the chorus—the catchy and the distorted.
3/5/20 – “Cosmopolitan” by Nine Black Alps (Everything Is; 2005)
At a time when most UK bands were getting softer, this Manchester group put out a record that would have fit in early-90s Seattle. This first single was the peak of their powers.
3/4/20 – “Communication Breakdown” by Led Zeppelin (Led Zeppelin; 1969)
When I was 14, I saved up enough money to buy my first drum set and this was the first song I played at home. It is 2.5 minutes of pure rock and meant to be played LOUD.
3/3/20 – “Commerce, TX” by Ben Kweller (Sha Sha; 2002)
It’s strange that at 20, Kweller was already on his second act. His first solo record was full of great writing, and this catchy single captured how well he could write a pop song.
3/2/20 – “Come Sail Away” by Styx (The Grand Illusion; 1977)
Dunk on them if you must but at their peak they were underrated songwriters, and this track is their finest. Even if you know it, it’s worth another listen to remind you of its grandeur.
3/1/20 – “Circle. Square. Triangle” by Test Icicles (For Screening Purposes Only; 2005)
Yes that’s their name. They’re three British teens who joined forces for a hot minute in the mid-00’s to create one genre-defying record featuring this dance-punk opus.
2/29/20 – “Child Killers” by The Delgados (Hate; 2002)
Perhaps no other song on this list sounds more different than you’d expect from the title. It’s soaring and melodic—and pone of the best tracks out of the 00’s UK indie pop scene.
2/28/20 – “Chicago” by Sufjan Stevens (Illinois; 2005)
At its most stripped down, this song is great but the orchestration and production make it special. The strings, the horns, the subtle bass melody, the choir. It’s an aural experience.
2/27/20 – “Carry the Zero” by Built To Spill (Keep It Like A Secret; 1999)
It all led up to this. The different pieces that made BtS great—the layered guitars, the quirky vocals, the sneaky melodies, the clever drumming—summed up in these six minutes.
2/26/20 – “Carpetbaggers” by Jenny Lewis (Acid Tongue; 2008)
Written by Johnathan Rice, her collaborator on much of Acid Tongue, it’s a duet between Lewis and Elvis Costello that is 3.5 minutes of timeless pop with clear folk-rock influence.
2/25/20 – “Carparts” by The Long Winters (The Worst You Can Do Is Harm; 2002)
John Roderick is one of the best and most underrated songwriters of the century, and this track on their debut album set the stage for the melodic and lyrical brilliance to come.
2/24/20 – “Car” by Built To Spill (There’s Nothing Wrong With Love; 1994)
TNWWL was the album they really came into their own, and this song showcases why. It starts slow but when the drums kick in, the vocals and guitar raise their game in perfect union.
2/23/20 – “Can’t Hardly Wait” by The Replacements (Pleased To Meet Me; 1987)
This song has a classic guitar riff to start and a super melodic horn section, but what makes it so special is that it’s simply one of the most fun songs to sing along to.
2/22/20 – “Cannonball” by The Breeders (Last Splash; 1993)
Opening with an instantly recognizable bass line, this track is extremely 90s because of the bands that the Deal sisters would inspire. It was also in the Pants sketch from The State.
2/21/20 – “California One / Youth and Beauty Brigade” by The Decemberists (Castaways and Cutouts; 2002)
There are many great songs on Castaways and Cutouts, but they all gaze upward at the nearly 10 minutes of beauty and charm that keeps it as a lyric.
2/20/20 – “Breakfast in NYC” by Oppenheimer (Oppenheimer; 2006)
This unheralded two-piece band from Belfast spun some of the best indie pop of the 00’s, and this track is 2.5 minutes of their finest work. It’s simply catchy and poppy as hell.
2/19/20 – “Brain Damage / Eclipse” by Pink Floyd (Dark Side of the Moon; 1973)
Always skirting the rules, this one. The two-track song closes Dark Side of the Moon in perfect fashion, building to its final peak of layered vocals, guitar and organ.
2/18/20 – “Borne On the FM Waves of the Heart” by Against Me! (New Wave; 2007)
The backdrop is simple for these 2 distinct voices (the 2nd being Tegan Quin) to mesh perfectly both in call/response verses and a chorus with grand harmonies.
2/17/20 – “Born to Run” by Bruce Springsteen (Born to Run; 1975)
As someone born, raised and living in Jersey, this song is in our blood here. One of the most meticulously recorded songs ever, it’s cathartic, anthemic and larger than life.
2/16/20 – “Bone Machine” by Pixies (Surfer Rosa; 1988)
The opening track on an album that was ridiculously ahead of its time, its off-kilter rhythm section sets the table perfectly for the incoming guitar and Black Francis’ fitful vocals.
2/15/20 – “Bohemian Rhapsody” by Queen (A Night At The Opera; 1975)
This song should not exist. It’s part piano ballad, part metal, part opera and it flows together to create one of the most unique and recognizable songs ever written. A true classic.
2/14/20 – “Bleed American” by Jimmy Eat World (Bleed American; 2001)
The band chose right when it made this track the 2001 record’s first single. It’s an aggressive start to an otherwise pretty tepid record and just kicks from start to finish.
2/13/20 – “Billie Jean” by Michael Jackson (Thriller; 1982)
It’s only one of the most instantly recognizable songs ever written. A killer bass line wrapped with synth accents and a classic vocal melody that ties it all together.
2/12/20 – “Big Boys (Demo Version)” by Elvis Costello (This Year’s Model, Deluxe Version; 1978)
The Armed Forces version is an easy 60, but this early, stripped-down take is one of my favorite recordings ever. Just Costello, a few chords and a lovely melody.
2/11/20 – “Between Planets” by The Jesus and Mary Chain (Automatic; 1989)
When you think a song builds, it’s usually a sonic measure; a soft start to a big finish. This song is a fun oddity: it starts big, then gets catchier with each beat.
2/10/20 – “Begin The Begin” by R.E.M. (Life’s Rich Pageant; 1986)
This song is on the very short list of one of the best album openers of all time. Right from the jump, Peter Buck’s guitar riff makes it clear that you need to stop and pay attention.
2/9/20 – “Become One Anything One Time” by The Promise Ring (Wood/Water; 2002)
With their final album, TPR calmed their sound but never lost a step. This track is representative, as the slower pace allowed their mastery and depth to shine.
2/8/20 – “Because the Night” by Patti Smith (Easter; 1978)
In some form or another, you know this song. Maybe it was the 10,000 Maniacs cover on MTV Unplugged, but the unpolished original (co-penned by The Boss) sounds fresh even today.
2/7/20 – “Barbara H.” by Fountains of Wayne (Fountains of Wayne; 1996)
There have been so many great pop songs penned by Adam Schlesinger and company, but this track always stood above the others to me with its casual vibe and synth accents.
2/6/20 – “Banquet” by Bloc Party (Silent Alarm; 2005)
The song kicks off with an attack on the drums and throughout its too-short, 3-minute run it is accented by jabbing guitars, soaring vocals and a super melodic bass line. It is energy.
2/5/20 – “Ballroom Blitz” by Sweet (Desolation Boulevard; 1975)
This song is just pure, unadulterated fun with one of the most recognizable guitar riffs and vocal melodies of the 70s. Doesn’t hurt that it’s central to the best movie ever made either.
2/4/20 – “Back In Black” by AC/DC (Back In Black; 1980)
Another classic, and just an unmistakable rhythm driving the band into the Brian Johnson era with a bang, while paying tribute Bon Scott, to the singer who helped put them on the map.
2/3/20 – “Baba O’Riley” by The Who (Who’s Next; 1971)
Classics are classics for a reason, when they’re actually classics. This one is, and the band’s bombast is on full display from the moment those iconic first three chords come in.
2/2/20 – “Aside” by The Weakerthans (Left and Leaving; 2000)
The song itself is nearly perfect power pop, but it’s the lyrics that set it apart. The pacing is beset by such yearning and fear of an unknown future; a feeling we can all relate to.
2/1/20 – “April 29, 1992 (Miami)” by Sublime (Sublime; 1996)
I was not nearly as into this album when it came out as those around me, but this track stood well above the rest as a memorable and anthemic tale of policing and the LA riots.
1/31/20 – “Apple of My Eye” by Ed Harcourt (Here Be Monsters; 2001)
It’s really incredible how seamlessly Harcourt can mix the saccharine with the dark, and the emotional push/pull of this brilliant song between verse and chorus is tremendous.
1/30/20 – “apparitions” by Matthew Good Band (Underdogs; 1997)
The US version of Beautiful Midnight felt like cheating because it culled this brilliant song (and others) from Good’s prior album, but it’s an absolute staple of Canadian rock.
1/29/20 – “Answering Machine” by The Replacements (Let It Be; 1984)
The closing track on a raw and classic album, this is where Paul Westerberg drives Let It Be to its emotional peak. Lyrically, this song is unmatched in their collection.
1/28/20 – “Angels Of The Silences” by Counting Crows (Recovering the Satellites; 1996)
It was all downhill from here for the band, as this first single from their second album held the writing quality of their debut and packed a real rock punch to boot.
1/27/20 – “Angel Interceptor” by Ash (1977; 1996)
Two things boggle my mind about Ash. First, that 1977 was written while the majority of the band was only 18. And second, that they never blew up in the US. This track is a pop classic.
1/26/20 – “Amity Gardens” by Fountains of Wayne (Utopia Parkway; 1999)
It may not be as good as their eponymous debut, but Utopia Parkway has some very bright spots, with this catchy-as-hell track being the brightest in all its falsetto glory.
1/25/20 – “American English” by Idlewild (The Remote Part; 2002)
The separator between these Scots and the rest of the Britpop contingent is the unparalleled vocals/lyrics of Roddy Woomble, and this ballad is their most accessible entry point.
1/24/20 – “Ambulance vs. Ambulance” by The Blood Brothers (Burn Piano Island, Burn; 2003)
This band is about as scream-y as my tastes get, but they are deceivingly catchy and their song structures are unique. Plus, having two dynamic singers helps.
1/23/20 – “Amateur” by Nada Surf (The Proximity Effect; 1998)
Daniel Lorca’s bass is a huge part of the band’s sound, but it truly takes the lead in this Proximity Effect track. From the top-hand intro to the chorus’ melodic carry, it’s a masterclass.
1/22/20 – “Almost Crimes” by Broken Social Scene (You Forgot It In People; 2002)
As you can tell by the two BSS songs on this list, the band is at their apex when they are most aggressive, and this track’s urgent vocals and pacing form its best example.
1/21/20 – “All You Wanted” by Michelle Branch (The Spirit Room; 2001)
Look, I told you that this list wasn’t contrarian or elitist. I am a sucker for a great pop song that transcends genre and this song is just that. Also, yes I’ve covered it.
1/20/20 – “All Things Must Pass” by George Harrison (All Things Must Pass; 1970)
It may be hot take-y, but I think this song is the best one written by any member of the Beatles after the band broke up. Harrison remains under-appreciated to this day.
1/19/20 – “All These Things That I’ve Done” by The Killers (Hot Fuss; 2004)
One of the century’s finest debut records, Hot Fuss had bigger hits but this song remains its most memorable musical journey while keeping that anthemic spirit.
1/18/20 – “All For Swinging You Around” by The New Pornographers (Electric Version; 2003)
Apologies to the Mass Romantic devotees, but this is my favorite Neko Case-led track in the band’s catalog and features them at their bounciest and most fun.
1/17/20 – “Alive” by Pearl Jam (Ten; 1991)
It may not have been the most culturally impactful introduction to a Seattle band in 1991, but it remains the best—led by its impeccable guitar work and sheepishly-delivered, soulful vocals.
1/16/20 – “Alison” by Elvis Costello (My Aim Is True; 1977)
Not only is this just beautifully written musically, but it’s been lyrically impactful for me; my band was once named after a lyric and it had non-zero influence in my daughter’s name.
1/15/20 – “Alex Chilton” by The Replacements (Pleased To Meet Me; 1987)
The former Big Star icon himself appears later, but he serves as the subject of this super catchy anthem—a wake-up call to those who don’t know and a testimony for those who do.
1/14/20 – “Across the Sea” by Weezer (Pinkerton; 1996)
What’s more inner than inner circle? I’ve worn it out, covered it and even wrote a college paper on it. It hit me at a time that has made an indelible impact on me and how I view music.
1/13/20 – “Acid Tongue” by Jenny Lewis (Acid Tongue; 2008)
This is easily one of the most beautiful and haunting songs ever recorded in the singer/songwriter mold. A perfect vocal track (and harmonies) paired with a simple guitar progression
1/12/20 – Abbey Road Medley by The Beatles (Abbey Road; 1969)
At any given time this is 1 of my 3 favorite albums ever and this medley is a huge reason why. It’s 16 minutes of perfection; the CliffsNotes of the band’s mighty power & talent
1/11/20 – “A Perfect Teenhood” by …And You Will Know Us by the Trail of Dead (Madonna; 1999)
I once counted the number of times Conrad Keely audibly screams “fuck you” in this song and got 64. I listened to it A LOT at my first day job.
1/10/20 – “A Life of Possibilities” by Dismemberment Plan (Emergency & I; 1999)
They were already good, but this opener was a clear message to listeners that Emergency & I was going to be something different and special. And oh boy was it.
1/9/20 – “A Life Less Ordinary” by Ash (Nu-Clear Sounds, U.S. Version; 1997)
One of the true great power pop bands, this was their first track as a four-piece. Danny Boyle asked them for a song in his 1997 movie, and they casually dropped a classic in his lap.
1/8/20 – “A Favor House Atlantic” by Coheed and Cambria (In Keeping Secrets of Silent Earth: 3; 2003)
Buried in the final quarter of a sprawling, sometimes-metal concept album lays a three-minute power pop adventure that’s jarringly catchy and straightforward.
1/7/20 – “A Day in the Life” by The Beatles (Sgt. Pepper’s Lonely Hearts Club Band; 1967)
This song marks the point of transition into the final stage of the Beatles’ musical arc. It’s somehow a masterclass in writing from both a complexity and simplicity standpoint.
1/6/20 – “A Better Son/Daughter” by Rilo Kiley (The Execution of All Things; 2002)
An intensely visceral song that builds from Jenny Lewis’ personal experience to a brilliant fucking anthem that fits us all when we fight our own demons, whatever they may be.
1/5/20 – “80 Windows” by Nada Surf (The Proximity Effect; 1998)
A true beauty of a song, and long one of my favorites, it’s a slowed-down and stripped-down version of the band that ultimately foretold their direction, but never quite as well.
1/4/20 – “7/4 (Shoreline)” by Broken Social Scene (Broken Social Scene; 2005)
The constant driving beat on which the rest of the song is built allows the band to layer urgency with every track, culminating in a brass hook for the ages to see us off.
1/3/20 – “16 Military Wives” by The Decemberists (Picaresque; 2005)
A protest song of sorts, it’s the Portland band at its most bombastic. The vocals soar, the brass blares and it’s all paired with one of my all-time favorite music videos.
1/2/20 – “100 Degrees” by Shout Out Louds (Howl Howl Gaff Gaff; 2003)
Off their excellent 2003 debut, this song has all the melody and frenetic pacing of the most upbeat and poppy Cure songs. I dare you to get the synth line out of your head.
1/1/20 – “(White Man) In Hammersmith Palais” by The Clash (The Clash, U.S. Version; 1978)
The link between their raucous debut and their musical expansion to follow, this song contains incredible guitars, dynamic vocals and elite shade throwing.
The Alphabetical Addendum (12/30/20):
365.a) “Aneurysm” by Nirvana (Smells Like Teen Spirit, CD Single; 1991)
I feel shame for omitting this, as at times it is my favorite Nirvana song. It’s still crazy to me after nearly 30 years that this was a B-side and not a standout track on Nevermind.
365.b) “Drums In Der Night” by Seal Cub Clubbing Club (Seal Cub Clubbing Club EP II; 2006)
This was ineligible as it’s not on Spotify. The underproduced track is as endearing as the band’s name is terrible. The explosive chorus 2:00 in is delightful.
365.c) “Freedom ’90” by George Michael (Listen Without Prejudice, Vol. 1; 1990)
The best trick you can pull in pop songwriting is giving the listener a great chorus, tricking them into thinking that’s it and then hitting them with an even better one.
365.d) “Jet Black New Year” by Thursday (Five Stories Falling EP; 2002)
I vividly recall jumping in the mosh pit at Roseland to this song after a shit day at work. It was amazing. A tornado of a song, it punches with little care for structure.
365.e) “No Sensitivity” by Jimmy Eat World (Jebediah / Jimmy Eat World Split; 2000)
This would had been a no-brainer if Spotify hadn’t weirdly pulled the deluxe version of Bleed American last year. It’s back now and this B-side has one hell of a chorus.
Top Five Cover Songs (12/31/19):
“Alone” by Heart (Bad Animals; 1987) – original by i-Ten
“Don’t Let The Sun Go Down On Me” by George Michael feat. Elton John (Duets; 1993) – original by Elton John
“Hounds of Love” by The Futureheads (The Futureheads; 2004) – original by Kate Bush
“Sloop John B” by The Beach Boys (Pet Sounds; 1966) – Nassau folk song
“Superman” by R.E.M. (Life’s Rich Pageant; 1986) – original by The Clique
Honorable Mention (12/30/19):
“4am” by Our Lady Peace (Clumsy; 1997)
“A Boy And His…” by Matthew Good Band (Beautiful Midnight; 1999)
“Anna Begins” by Counting Crows (August And Everything After; 1993)
“B Is For Bethlehem” by The Promise Ring (Nothing Feels Good; 1997)
“Bats Over The Pacific Ocean” by Jaguar Love (Take Me To The Sea; 2008)
“Blank Generation” by Richard Hell & The Voidoids (Blank Generation; 1977)
“Casimir Pulaski Day” by Sufjan Stevens (Illinois; 2005)
“Claire De Lune” by …And You Will Know Us By The Trail Of Dead (Madonna; 1999)
“Cream And Bastards Rise” by Harvey Danger (Little By Little; 2005)
“Dialtone” by Saturday Looks Good To Me (Every Night; 2004)
“Driver 8” by R.E.M. (Fables Of The Reconstruction; 1985)
“Everybody Wants To Rule The World” by Tears For Fears (Songs From The Big Chair; 1985)
“Exit Music (For A Film)” by Radiohead (OK Computer; 1997)
“Fucking’s Greatest Hits” by The Blood Brothers (Burn Piano Island, Burn; 2003)
“Hateful” by The Clash (London Calling; 1979)
“Head On” by The Jesus And Mary Chain (Automatic; 1989)
“I Could Never Take The Place Of Your Man” by Prince (Sign O’ The Times; 1987)
“I’m Waiting For The Man” by The Velvet Underground (The Velvet Underground & Nico; 1967)
“In Bloom” by Nirvana (Nevermind; 1991)
“Inside of Love” by Nada Surf (Let Go; 2002)
“Jenny Was A Friend Of Mine” by The Killers (Hot Fuss; 2004)
“Jude Law And A Semester Abroad” by Brand New (Your Favorite Weapon; 2001)
“Karate Chops For Everyone But Us” by Piebald (We Are The Only Friends We Have; 2002)
“Left And Leaving” by The Weakerthans (Left And Leaving; 2000)
“Let Me Sleep (Next To The Mirror)” by Idlewild (100 Broken Windows; 2000)
“Life During Wartime” by Talking Heads (Fear Of Music; 1979)
“Like Only Lovers Can” by Ed Harcourt (Here Be Monsters; 2001)
“Little House Of Savages” by The Walkmen (Bows + Arrows; 2004)
“Love In Wartime” by Eastern Conference Champions (Love In Wartime; 2015)
“Mars Loves Venus” by The Brunettes (Mars Loves Venus; 2004)
“Mirror Kissers” by The Cribs (The New Fellas; 2005)
“Natalie Portman” by Ozma (Rock And Roll Part Three; 2000)
“No Danger” by The Delgados (The Great Eastern; 2000)
“No One Else” by Weezer (Weezer; 1994)
“No Radio” by Dirty On Purpose (Hallelujah Sirens; 2006)
“Oh! Darling” by The Beatles (Abbey Road; 1969)
“Outshined” by Soundgarden (Badmotorfinger; 1991)
“Parklife” by Blur (Parklife; 1994)
“Pattern Against User” by At The Drive-In (Relationship of Command; 2000)
“Radiation Vibe” by Fountains of Wayne (Fountains of Wayne; 1996)
“Santa Cruz (You’re Not That Far)” by The Thrills (So Much For The City; 2003)
“Song For Myla Goldberg” by The Decemberists (Her Majesty The Decemberists; 2003)
“Stabbed In The Back Of The Heart” by Burning Brides (Fall Of The Plastic Empire; 2001)
“Suffragette City” by David Bowie (Ziggy Stardust And The Spiders From Mars; 1972)
“Summerland” by Everclear (Sparkle And Fade; 1995)
“The Commander Thinks Aloud” by The Long Winters (Ultimatum – EP; 2005)
“The Execution Of All Things” by Rilo Kiley (The Execution Of All Things; 2002)
“This Place Is A Prison” by The Postal Service (Give Up; 2003)
“Tie Your Mother Down” by Queen (A Day At The Races; 1976)
“Trouble” by Coldplay (Parachutes; 2000)
“Understanding In A Car Crash” by Thursday (Full Collapse; 2001)
“Wake Up” by Arcade Fire (Funeral; 2004)
“Wave Of Mutilation” by Pixies (Doolittle; 1989)
“We’re Going To Be Friends” by The White Stripes (White Blood Cells; 2001)
“Your New Aesthetic” by Jimmy Eat World (Clarity; 1999)
A big thank you to Ken Maeda for creating the logo for this project.