When CroutonBoy (one of my erstwhile comrades-in-DadCentric) threw down the gauntlet with a brand new music meme last week, I was both helplessly fascinated and horrified. Fascinated, in the sense that I'm a music junkie — and any excuse to talk about the topic while boring you silly in the process is always welcome. Horrified, in the sense that the task called for me to choose my Top 25 Songs of the Past 25 Years.
25? That's it? All the tens of thousands of songs that have been recorded and touched my life – for better or worse – since 1984… and I had to boil it down to a mere 25? As you might surmise, this was quite a challenge for me — in fact, it consumed an unconscionably large part of this past weekend, when TheWife was out of town living it up in NYC, my kids were running away like wild horses over the hills (in true Bukowski spirit, mind you) and the world was collapsing around me as a result. But did I care? Did I stop? Did I waver for even a moment? No, gentle reader… my mind was solely on you and your needs, and how mine own quiet efforts to bring you entertainment and edification might enrich your own life, even if only in the most subtle and peripheral manner. Because that's how I am: I give and I give and I give. I offer you love.
Given which: what were the parameters of the meme? None, beyond choosing 25 songs from the last 25 years, and only one song per artist. That's it: CroutonBoy left it purposefully open to interpretation. Which, of course, only served to further frustrate me… do I choose only songs that are available on video (as he did)? Do I choose only songs that had real, in-the-moment significance for me? Do I choose the best representations of my favorite artists, or do I look at each individual song as a sui generis thing: to be viewed only in the light of what I hear coming through my speakers, and how it consistently moves, affects and/or transports me?
Ultimately, that's what I decided to do. I went through the nearly 16,000 songs currently on my iTunes and culled it down to a preliminary list of 65. And then… I started chopping. And it got harder and harder and harder to remove songs. By the time I was down to 45 or so, I felt like I was betraying loved ones by removing them from the list. By the time I reached 30 – and had to select the final 5 candidates for removal – it was just impossible. Which children are your favorites? That's not too far off the level of difficulty this achieved for me. (I don't claim to be rational about music, but you can't question my passion.)
Finally, this morning, following at least five days of effort, I wiped the blood from my eyes and gazed at my final list of 25. Not a song on there that doesn't mean the world to me. The fact that there are at least two dozen other songs that I could just as easily have used doesn't make these any less important or meaningful or great. To me. And I get it (believe me: I get it) — this is all entirely subjective. But that's kind of the point of the exercise… what defines great music to you?
The one things I could not do – and neither could CroutonBoy, apparently – was to create an order to our Top 25. Which is just as well: I think attempting that would have taken me another full week and, quite possibly, driven me irreparably mad. And thus, it is with all this in mind… that I offer you the first fifth of my Top 25 of the Last 25.
Okay. I hate to do this, but Sweetney made me cry a point I couldn't argue with: a list like this that fails to offer a legit countdown to a #1 is a cop-out. As such, I'm going back in and retroactively assigning these first five songs as #s 25-21. Am I copping out again by doing this, and not assigning these songs distinct ratings between 1-25? Maybe… maybe not. If I was starting over again, Richard Buckner and Killing Joke might rise a little higher, but overall I don't feel bad about where these rank.
So… there you go. A list the way a list should be listed. A list you can respect, and live by. A list that will kick Sweetney's and CroutonBoy's lists' asses — as well as those of any other poor simps foolish enough to attempt this errand. (Feel free, btw, to add yourself to the list of the damned tagged.)
25. Adorable: Sunshine Smile
Yeah, I know… I just raved about them last month. So what? Adorable created some truly remarkable music during their brief moment in the sun, and this song – probably their best-known – gives you every idea why. I've attached the video rather than a sound file here because… well, because only a handful of these songs have videos, so I might as well give you one when it's available. But really, I think the video itself is kind of counterproductive: it's too easy to focus on the bad haircuts and goofy expressions, body language and direction, and in the process miss the thunder-crash impact of the guitars and drums when the chorus kicks in… the wondrous spiral of sound as the song reaches its climax… the echo and reverb and gorgeous, warm glow that the song as experience creates. Sunshine Smile isn't about the lyrics: it's about getting swept away in the sound. Personally, that's something I seek out. Something I crave. Something I love.
24. Richard Buckner: Lil Wallet Picture
There's a great, lonesome ache to Richard Buckner's voice that is awesome to behold, especially when coupled with lyrics as brilliantly fragmented and heartbroken as those in Lil Wallet Picture. At first blush, it's easy to lump this song in with the alt-country/no depression types, but that does it – and Buckner – an immense disservice. Yes, there are certainly strong elements of country music throughout this song (primarily in the instrumentation), but don't let genre-identification habits get in your way of soaking up the haunted tone in his voice as he details the desolate, anguished inner dialogue of a man sent back through the years by a photo to a time and place where love and the infinite hope it suggested were real, tangible and capable of redefining his world… and how it all slipped so easily away. "This stretch of '99," he sings, "It takes so many lives… one of 'em was mine."
23. Killing Joke: You'll Never Get To Me
Anger, as John Lydon once sang, is an energy. He was right, of course, and this song exemplifies why. Jaz Coleman is in fine voice and fettle here, raging against a world determined to fuck him over with a spirit of absolute defiance: it's impossible not to hear him rumble through the chorus – "You'll never get to me… survival is my victory" – without imagining both middle fingers raised as high as they will go to the world, to the heavens, to any and all that would stand between him and his dreams. I loved this song fiercely from the first time I heard it, and it took on new meaning and inspirational potentcy after I got laid off last autumn: I listen to this, and I am filled with the spirit of fuck you. And I am left energized, agitated, ready to run through walls and let nothing nothing NOTHING stop me.
I need that, sometimes.
22. Not Drowning, Waving: Albert Namatjira
Ah, yes… the old Killing Joke-to-Not Drowning, Waving segue. I'll bet you saw that coming. Damn, I hate being predictable.
That being said… this is easily my favorite song about the heartbreaking life and premature death of an Aboriginal artist that uses his story as a metaphor for the mistreatment of Aboriginals as a whole by the Australian government and culture in the first half of the 20th century (and beyond) as performed by a large, multifaceted and sublimely skilled Australian band and produced by the legendary Hugh Jones with a sheen and passion that allows it to grow from a single voice over simple tones to a howling, swirling wall of sound that envelops and fills you with pain and wonder and white light. Granted, there are plenty to choose from that match that description… but I'd say this one is right up at the top.
21. Slowdive: Waves
As part of the holy trinity of early 90s shoegaze – alongside My Bloody Valentine and Ride – Slowdive was, for a time and within certain circles, one of the most influential bands on the planet. Their gorgeous debut album Just for a Day still stands as a high-water mark in the genre, nine songs that fuse the swirling echo and reverb of their shoegaze peers with the darker, more subdued tones and perspective of sadcore to produce music that – when played at the high volumes originally intended – achieve a kind of music transcendence: an experience near-physical as much as aural, where shimmering waves of sound and cathedrals of guitar and understated, closely-harmonized vocals become absolutely transportative… close your eyes, and a song like Waves lifts you up and away to higher, rarer airs where beauty and sadness go hand in hand, and become all that much more beautiful and sad for it.