It was a bold move that paid off. It was produced by Cypress Hill’s DJ Muggs, another thing you’d never guess, what with all those whistling kettles.Sarah Cracknell’s pipes would eventually become synonymous with Saint Etienne, but it was Moira Lambert who provided lead vocals on their breakthrough single, a classy dance overhaul of Neil Young’s standard ‘Only Love Can Break Your Heart’. Grandiose guitar blowouts don’t come much more epic.A potentially great UK Number One that was robbed of the top spot by cruel coincidence?
A genre-splicing genius was born…The Charlatans’ first Top 10 hit invited the odd unfavourable comparison with Manchester forefathers The Stone Roses and Happy Mondays, and even had them pegged as one-hit wonders. But it was all worth it, wasn’t it?What a greedy swine Bernard Butler is: not content with peppering the upper echelons of this weighty list with tracks from his time with Suede, he also found time to create pop magic with singer David McAlmont.
The decade's best, featuring Radiohead, Neutral Milk Hotel, Lauryn Hill, Nirvana, Emmylou Harris, A Tribe Called Quest and so many more Trump attempts to explain US Covid-19 situation in extraordinary interviewQUIZ: Can you name all the countries beginning with S?TRUE OR FALSE: Do you know all the collective nouns for these animals?QUIZ: Can you answer all of Judith Keppel's Who Wants to be a Millionaire questions? ‘Into My Arms’, a gentle ode that intertwined love and spirituality, was one of his finest heart-on-sleeve efforts – and gained even more emotional heft when he sang it at the funeral of INXS singer Michael Hutchence, although he insisted all TV cameras were switched off.As the dying embers of grunge faded away, Noel Gallagher penned this defiantly optimistic number in direct opposition to Kurt Cobain’s nihilism. The music - always incendiary, forever affecting - speaks for itself.Before he deliberately - and arguably cynically - pivoted to trying to become the biggest pop star on the planet, Abel Tesfaye, aka House of Balloons, later packaged inside 2012's Trilogy, now stands as a reminder of how searing, scathing and stunning The Weeknd can be when he's not pissing about doing an endless Michael Jackson impression.The artwork alone, showcasing the celebratory aftermath of black revolution on the grounds of the White House, is provocative and timely enough.And then you get to the music; a sprawling (yet contained), combative (yet sensitive) and truly defiant fusion of hip hop, jazz and spoken word genius that could only have come from the mind, body and soul of Very much the hipster's choice when it comes to post-metal (it's a thing, don't @ me), San Francisco quintet No easy feat and very much a 'not for everyone' entry here, but goddamn.A contender for the greatest one-and-done album of all time.Steeped in pretentious intrigue, the four-piece would go one step further by splitting up in 2012. Back to the music, The Neptunes’ whipcrack production and ODB’s bananas delivery gave Kelis the perfect platform for a big career.In 1996 the Fugees could’ve released five minutes of Wyclef chanting, “After the demise of the Fugees, Lauryn Hill announced her arrival as a solo star with this startlingly original blend of hip-hop and doo wop. In the Britpop whirlwind, Ash were often overlooked, but ‘Girl From Mars’ is proof that Tim Wheeler and co could write hooks to rival the best of them.Having spent half a decade thumbing their noses at the US invasion, and inventing Britpop in the face of the grunge wave, Blur confounded everyone by turning up in 1997 with an album so American it couldn’t pronounce Edinburgh. The grazing electric guitars provide a pillow-soft melody as Rhys coos, “A wonderful fusion of mad sounds mish-mashed together into one glorious whole, that cemented The Boo Radleys’ place as ground-breaking sonic pioneers. In a just world, ‘Lazarus’ would be a chart-topping behemoth; sadly, it failed to even dent the Top 40, but its seamless blend of dub lines, honking horns and slinky harmonies was all evidence of a band at the peak of their powers.Angelo Badalamenti wrote the music (the instrumental was the theme song for The duo of Guy-Manuel de Homem-Christo and Thomas Bangalter managed to create a dance track that was almost krautrock in its determination not to deviate from the framework of repeated bass line and vocodered hook. It's also a Nonetheless, MBDTF is a modern classic from an artist that, highly divisive personality aside, ought to be regarded as one of the greatest to ever do it.That man Kendrick Lamar Duckworth once again, this time with a leaner workout.You may argue that DAMN.
It’s based, clearly, on a sample from Ann Peebles’ ‘I Can’t Stand The Rain’, but the portly bassline is all Timbaland and the sexy drawl is all down to Missy, an instant star who went straight into the UK top 20.Jason Pierce originally wanted to interpolate Elvis Presley’s ‘Can’t Help Falling In Love’ into the title track of Spiritualized’s grand opus but was denied by The King’s estate. Breathtaking not only in its sonic scope (from Loz Colbert’s drumming to the string quartet featured on the outro) but also in the sullen vocal of Mark Gardener which suggests all sorts of sadness bubbling under the surface. They stamped on the house button, whipping up a storm of pumping beats and nagging bleeps to build something truly vast.
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