yes, indeed. It’s that time of year again when every publication attempts to take stock, attempting to tell their readers their version of the year. We, at Stylus, don’t really subscribe to that whole idea. In fact, there’s a strong faction of Stylus contributors that hate lists. Hates the idea of rating one song as better than another, hates the idea of forgetting something at the last minute, hates the idea of an immutable canon of music that stands as the “Stylus view” of the world. Of course, there’s an equally strong amount of writers that love lists. Love categorizing things, seeing them as they unveil throughout the week, loves creating and knocking down canons each and every year. That’s why each year, we try to split the difference by putting in safeguards to our list that make sure that it isn’t merely the most popular songs picked by all the writers. We attempt with all of our year-end lists to merely give a snapshot of what our particular passions are and the breadth of the tastes that contribute to the site.

This year was no different. Over 30 writers lists were turned in and 300 singles were tallied, and now we’re left with 40 singles that spoke the most deeply to our collective taste this year. And each day this week we’ll be presenting ten of them, culminating in the unveiling of each writer’s individual list on Friday. So without further ado: Stylus Magazine’s Top 40 Singles of 2004:

*** 40-31 *** 30-21 *** 20-11 *** 10-01 *** Lists ***





Hip-hop was party music, but you don't have to go all the way back to its roots—or even pick subject matter in the same ballpark—to do it right. Forget the 80s, California rapper Johnny Five has a laconic mid-90s flow that you can't imagine fitting into a song extolling the virtues of Charlie Chaplin movies until you actually hear it. You can shake it to the simple beat, sing along to the ridiculously catchy chorus or, as I was, just be amazed that in 2004, a song with samples from, and a co-credit given, to an actor who made his name in silent movies can be a huge hit in a number of countries.
[Edward Oculicz]


Look, indie dudes, you may miss your blowjob queen, but you weren’t giving her much reason to stay on her knees anyway. She doesn’t want to sit in the basement and write cryptic, awkward tales of frustration and sexual ennui. She’s done that. She’s a lot more confident now, and you guys, well, you’re still sitting in the basement and writing cryptic, awkward tales of frustration and sexual ennui. Maybe if you tried to get out of your shell and come to terms with the world outside, you wouldn’t be so sure she’s singing about somebody else’s H.W.C. Maybe you wouldn’t be so bothered by her vibrant, catchy declarations of personal power. You know, you used to claim you liked her “popcraft”, which is still idiosyncratic, frank and detailed. She’s just not into indie clothes. Besides, what exactly do you do? Have you ever thought it’s you that’s boring? Who the hell are you? Liz, I know. She’s extraordinary.
[Anthony Miccio]


It doesn't really make any significant amount of sense as far as a casual listening can reveal—the ponderous opening verse is shifty enough to discourage appeal and since the second is the same with a few word changes here or there, it's agonisingly, addictively unclear. This is every single one of The Mo's good ideas burned up in one fell swoop: the Jim Steinman-esque ascending and descending piano, the almost ludicrously over-sung chorus, the dramatic inflections (even "choo-choo" gets the treatment) and especially the clattering, clunking drumming. Hooks too, and plenty of them, scattered throughout the verses before the playful histrionics of that chorus: "The nostalgiaaaaa locomotive! Gives you a hell of a ride!" As does the song, all without getting the tempo out of first gear.
[Edward Oculicz]


The reason, of course, that this is so unbelievably magnificent, has everything to do with how beautifully it binds together the two campest achievements of 2004. Namely; the continued musical existence of His Tetchy Mozness, and the sexually turbulent cries of Mighty Brad’s beskirted Achilles beneath the ineptly portrayed gates of Troy. Hector! Hector!! Oh, such a silly boy. First with a gun. First in the clink. First to get dragged behind a chariot for an unfeasibly long time. Proof, if proof were needed, that firearms are merely a gateway drug to historical re-enactment societies of questionable merit. Crime romanticism shouldn’t feel this right, but it can and it must. Who knew that even gangland killings could benefit from a curt witticism or two? Not I. Thus it came to pass—with a strut and a sigh, with a staged wink and a cheeky couplet, with a pip and a veritable dandy—that Morrissey stole my heart clean away.
[Peter Parrish]


Maybe we like the misery. Then again, maybe we don't. It's been a good year for singles, but with the odd exception (Annie, The Delgados, Girls Aloud and, er, that's about it) September pretty much sucked—until this, which saw Sweden's Alcazar positioning themselves as the new kings and queens of “shiny”, via the far-more-genius-than-it-sounds concept of marrying the backing from “Upside Down” by Diana Ross to the lyrics from “Land Of Confusion” by Genesis. A good enough idea on its own, but it’s all in the little tweaks to the formula—the swoopy intro, the extra bits of echo on the backing, the "Oh-ohhh!"'s in the chorus, not to mention this century's finest handclaps. The best bit of all, though, is the pre-chorus: "So come on make it right / To-night / Gotta get in the light!" (clap-clap!) "Doesn't matter who you are / When you're moving up with Alcazarrr!" Best fun ever.
[William B. Swygart]


Recording it must have felt wildly satirical; listening to it certainly felt like coarse voyeurism. Pete and Carl toyed with their tabloid audience and played out their ruin in joyously shambolic fashion on “Can’t Stand Me Now”, distilling their conflict with perfect honesty and providing us with their most addictive single yet. Bodyguards in the studio, daggers drawn, Mick Jones trying to maintain some order… reading the lyrics, the rumours seem to make perfect sense. But this isn’t an argument; it’s a song, and it’s worth remembering that a couple of guys sat down in peace long enough to craft its catchy interchanges and its desperately sad riffs. “Can’t Stand Me Now” is proof that there’s life in the Albion yet—if only its sparring trailblazers can work things out. And that closing harmonica? Images of the pair having a mental time onstage shimmer frenetically between each and every breath. If you can’t hear that, then you have my deepest sympathy.
[Colin Cooper]


Gimme the booze, not the blues! It’s liquidly refreshing to hear an ode to alcohol and hedonism coming from a duo of chirpy Scandinavian teenagers instead of a sweaty rock band. I don’t know if anyone asked for it, but “Youth Alcoholic” now makes it possible to have all the boasting and bravado of Oasis in a spastic package of girly electro. Hyperactivity knows no bounds here. No bounds! Backed by manic Commodore 64 keyboards, rapid-fire vocalist Mirejam Shala is so wired she practically slobbers all over her tales of nightclubbing. It all rushes by in such an infectious flash that it’s easy to miss Shala’s amusing lyrical narrative: girl steals beer, tries to start a riot, taunts boys in a ripped off t-shirt, works up a sweat on the dance floor and unknowingly wakes up with all her clothes on the floor. Even if it only last for a few minutes, “Youth Alcoholic” can sure make your next glass of beer taste a lot frothier.
[Michael F. Gill]


Hindsight’s 20/20. Six months ago I wrote the following about "Move Ya Body": "This is a sexy song. I like this. The rhythm's fun. The girls are hot. It'll probably still sound good by the end of the summer." Little did I know back in June that "Move Ya Body"—like Lumidee's still-stunning, similarly diwali-based "Never Leave You" the summer before—would not only still sound fantastic by the end of the year, it would somehow manage to sound better. The hook sounds hotter, Natalie and Nicole's (get it—NiNa?) voices more tantalizingly coy and that "Can you feel the beat?" bridge just might be the most sublime stand-alone moment in a year full of them. In a year that the mainstream acceptance of dancehall cooled off, compared to diwali’s stranglehold on 2003, this was a reminder of the heights it could still reach.
[Josh Timmermann]


Helping to remind us that in 2004 rap doesn’t have to be over-stylized, under-realized and performed at the behest of an annoying man dressed like a debate club captain, in the video to “Fuori Dal Tunnel” (a tribute to The Prisoner which also finds space to drive a car down a corridor and offend the Village People at a dinner party) Caparezza eschews preppie-chic, and instead rocks the 1990 England World Cup shirt, the Terry Butcher edition. Fitting, as this is a full-blooded slice of music that goes in for all tackles hard, and still winds up smiling about it at the end. Starting off as a communist work anthem before going sideways on some tuba-based circus tip, and then heading onwards as a the first example of marching band-hop (a genre sure to break big in the 05), the man uses the Italian language as his own gym, and barely works up a sweat as he pretzels the hell out of the language with a skill not seen since Dante.
[Dom Passantino]


Forget Cabaret Voltaire: this is the real future primitive music. The Diplomats have often cultivated an image of pre-modern savagery as a means of emphasizing extreme machismo—in 2003 Juelz Santana went so far as to describe the crew as "animals, orangutangs". On what could be termed 2004’s “Dipset Anthem”, Jim Jones ratchets up the unpredictability. Tablas, removed of any of the playfulness of Timbaland, churn; sci-fi synths, removed of any of the sexiness of the Neptunes, blare menacingly. All of this while Jones lays out impressionistic, slang-ridden dealer rap in flows that might jump the rails at any time. If "Dipset Anthem" hailed a conquering nation, "Crunk Muzik" is the soundtrack to the bloodthirsty jungle militias that took it in the first place.
[Gavin Mueller]


It's more than slightly daunting to wade through the crates of German vinyl that circulate around a throbbing 4/4 bass kick each month. So when a pair of Spaniards dropped one of the most refreshing takes on the Schaeffel riddim at the end of the summer, it became difficult to swallow the standard minimal-house fare afterward. From the song's atmospheric swirl of pulse waves that sound like a lump of clay swiveling askew on a pottery wheel to the barely audible finger snaps hidden under the collection of tambourines and loose high-hats, "Happy Monday" plays with the song's minor-key melody, which is somehow neither self-loathing nor uplifting. During all of this, Undo provides a hushed and blank delivery that let you throw your projected emotion onto the refrain's chants of "Happy Muuunday". While groups like M83 are trying to re-conceive shoegaze at every opportunity, it only took Undo and Vicknoise one song.
[Nate De Young]


Ciara's first single, "Goodies," was the third generation of tracks derived from the super-hit of the year, Usher's ubiquitous "Yeah!" It’s also a perfect example of the myriad musical possibilities a simple formula can provide. Here, Lil Jon rewrites his signature "bubble-crunk" tune, this time emphasizing negative space. Guitar distortion builds up and then vanishes just when the ears expect it to explode, and the synths seem incidental, decorations floating around what exactly? Well, Ciara's voice is the only thing that really fills that void, taunting us from the cookie jar, proving that crunk is not limited to massive party anthems and can be subverted into minimalist R&B tracks of tremendous playful beauty.
[David Drake]


Oh, Steven, how we've missed you. This song roars out with all of the long lost Mozzer's hallmarks—which of course is just what everyone secretly wanted, even though his critics will always lament that he is a one-trick moping (Tony the) pony. That conflicted, without-a-true-identity feeling of alienation, the rushing chorus, the whole anti-Marr construction of the tune, even the Oliver Cromwell reference—it’s textbook Morrissey, albeit with a new production sheen and a slightly better trained voice. Welcome back, and don't leave us ever again.
[Todd Hutlock]


Animal Collective have it easy. They don't have to make sense. But for me to convince you of that, I do. That's hard work. Explaining the absurd with rational thought is like describing colors to the blind. It doesn't help that the group is invariably mentioned alongside the likes of Black Dice and Lightning Bolt, when the group’s have the slightest of similarities. Hopefully, its inclusion this pop- and hip hop-heavy list clears things up a bit. Because, like any of the best of those genre’s songs, Animal Collective’s lyrics might not make sense (and only a third of them may be decipherable), but when Avey Tare yelps, I yelp right along. "Hungry bread-and-butter hustle?" Don't ask me, but if I'm in the car, I scream it. "You've been doing it a while. It was only fair?" Say what? My best guess is that this song's about slowing down your life and not being so competitive (hence the tortoise/hare video), but I'm usually too busy bouncing around to think about it.
[Mike Shiflet]


Like so many other great hip-hop singles of 2004, "Slow Jamz" was a group effort. Kanye, with his gorgeous sped-up soul samples and clever-the-first-couple-times pop culture references, laid the ground work. Twista, given one of the great introductions in hip-hop history ("damn, baby, I can't do it that fast, but I know somebody who can!"), broke out his lightning-fast delivery, tongue twisting verses and pinchable cherubic cheeks. And Jamie Foxx, with his still-hysterical crooning about some of the lamest music in history and surreal overacting in the music video, provided the slam dunk. While the three would ultimately go on to even bigger and better things throughout the year—Foxx, for instance, shows distressingly little of the subtlety he would later bring to his performances in Collateral and Ray—with "Slow Jamz", the mission statement of three of the biggest crossover stars of 2004 was unleashed.
[Andrew Unterberger]


HIT ME! Cue drums. Okay, so it's the most brilliant sample since…what…ever? But what the jaw-dropping drum loops mask is the underlying economy of the riddim. I mean, take out the marching band and what's left? Well, there's an additional kick drum, just to beef up the beat and make sure dancefloors everywhere quake with fear (just like the poor inadequate sap being addressed in the lyrics). You've got a pair of repeating orchestra hits, followed a by a dramatic swell every fourth bar that increases the already unbearable tension before throwing us right back where we started. And that's it. No wavering trills, just a straightforward ooooh and a few subtly perfect harmonies in the third verse. And perhaps even more amazing, no bass, positing the track as a distant descendant of Prince's minimalist masterpiece "When Doves Cry". Of course, he never dared contend with that drumline. Can you?
[Bjorn Randolph]


With the silent, creeping homophobic majority winning eleven “victories” in states around the country this past November, it’s a joy to hear a song about taking your mother on a trip inside the closet and showing her “what it’s all about”. As such, it shouldn’t surprise anyone that this piano-driven number that perfectly embodies the Scissor Sister spirit sounds most like their openly-gay 70s counterpart, Elton John. And like the gay issue itself, opinion on the song is heavily divided. But, ultimately, “Take Your Mama Out” avoids novelty status by virtue of the fact that it speaks universal truths. You know, the one about undermining tradition by winning over stubborn converts, one party at a time. Now if only Jake Shears could find some way to take the other joyless 52 million Americans out for a night on the town.
[Gabe Gloden]


It’s called “10 Amazing Years” and it’s composed entirely from classic rock samples? This song has got to be some nostalgic throwback that’ll never recreate those glorious walls of sound The Who built thirty-odd years ago. But what’s this? I don’t remember those guitars crashing that hard. This is nothing like the rock music from which the samples are lifted, but it’s no closer to today’s dance music either, at once too epic and too brash. Unlike most electronic composers, Forrest has little concept of build and release, and although he provides a few moments of respite on “10 Amazing Years”, the song bites and stabs relentlessly, almost aimlessly. The man says he makes “cock rock disco”, but this is surely an exception, a chaotic and unresolved mess whose unbridled energy urges you to throw off your clothes and dance, but whose jarring rhythms strip you naked and leave you awestruck and paralyzed instead.
[Kareem Estefan]


An epic that clocks in under four minutes, as Est’elle drops the apostrophe and hits the pop charts. “1980” takes that most basic of hip-hop mainstays, the “reminiscing about the old days” track, and uses it as both a therapist’s couch and the announcement of a genuine talent. Half-gospel track, half-confessional, it’s truly a song for those who’ve “seen fifty pounds last for three months solid” by someone who’s “seen fifty pounds last for three months solid”. For such a heartbreaking track (I cried at two things in 2004: this and the general ineptitude of Francesco Totti) she comes more with quotables than Oscar Wilde: “Dynasty was re-runs and Dallas was faded” in particular. Indeed, the only criticism one could make is that in a song that namechecks a number of influential black sitcom characters, there’s no shout-out to steady-macking dominoes master Porkpie. A truly grave oversight, I’m sure you’ll agree.
[Dom Passantino]


We've all been there—well, at least most of us have. Memories, regrets, wondering about what might have been on that road less traveled. In fact, most bands have been there—ever heard of emo? But what sets Stuart Murdoch & Co. apart from their peers is that innate ability to marry those staggering, emotionally insightful lyrics with nearly criminal pop hooks, ensuring that both of them haunt you for days/weeks/years. The cloying double-tracked guitar riff here is no exception. Special bonus points for the totally unexpected Avalanches remix, which you all owe it to yourselves to hear.
[Todd Hutlock]


S Club 7 had two good tunes—the Motown-lite kidpop number that made up most of their early singles, and "Don't Stop Moving"—and approximately no memorable members. Bradley? Paul? Hannah? Who was going to make a go of a solo career once the next generation assumed the name, identity and fanbase? The sensible money was on Rachel Stevens, beloved of the likes of FHM and romantically linked with b-list television doctors. Her first solo steps were inauspicious in the extreme, then came this—this double-tap electro pop of the utmost quality, slightly meta, slightly funky, slightly tipsy with champagne (you know, when the bubbles go straight to your head). What made it so good? Well the beat was danceable in a mild way, the production about six months behind the zeitgeist, but the chorus—that double-enunciation on "wanna-wanna" was delightfully sexy (in a strictly non-threatening way), the way the melody breathlessly tried to race past its own ends. Of course she followed it with one of the worst singles of the year (her ill-advised cover of "More More More") and her album stiffed not once but twice, but "Some Girls" was great while it lasted.
[Nick Southall]


Through this soul-tugging anthem of cathartic eloquence, The Arcade Fire either 1) gives us the illusion that our unimportant lives are otherwise or 2) genuinely restores our faith in the value and significance of human existence. Singing with a conviction comparable to that of a “Golden Slumbers” Paul McCartney or pre- suck Bono, Win Butler reaffirms that lyrics are more than just a medium for melodies. The 21st century’s empty cries for intangible seven nation armies or houses of jealous lovers are pushed aside, as “Neighborhood #1 (Tunnels)” delicately confronts the iced over bleakness of tragic childhoods. As Butler claws through the focused, rhythmic pace toward an emotional resolution, we’re pulled closer and closer to the despondent situation, only to be released into a gorgeously breathy outro—just before tissues become a necessity.
[Kyle McConaghy]


Although there's been plenty of ink and pixel spilled about the Junior Boys' influences during the past year, mostly touching on the skittering Timbaland drum programming or Hall and Oates blue-eyed synth-soul, little of it captures what makes "High Come Down" so irresistible. Under a carefully thin sheen of delay, Jeremy Greenspan sings with an earnestness and fragility that makes me reconsider my negative associations with "indie". In fact, "High Come Down," makes indie sound beautifully underwhelming again. And while the Boys take on UKG just as effortlessly, the group takes away the aggression, leaving the space (and weight) of longing as the perfect condolence. While having a cache of hip influences always ends up contrived, "High Come Down" instead sounds content making a slow jam into something both calm and effortless—and that’s no small feat.
[Nate De Young]


The first time I really hated it: “bitch” is the last word I need to hear out of Sinatra, I mean, Jigga’s mouth. The second time I reveled in how loud and deep—like a buzzsaw in the Grand Canyon—that Billy Squier riff sounded atop Jigga’s boasts. Rick Rubin, what a guy, I thought, making sure we got no sleep till Brooklyn. Now I think it’s Jay Z’s “Tangled Up in Blue”, a manifesto to speed, privilege, and the authority you can summon when you have the money to rebuke cops and pay Rick Rubin’s salary.
[Alfred Soto]


From the opening vocal sample—“I been rapping for about seventeen years, okay / I don’t write my stuff anymore / I just take it from my head”—“Seventeen Years” is full-throttle, unabashed bravado, two scraggly kids from Brooklyn brandishing their guitars like a pair of yet-to-be-invented weapons, hitting effect pedals until the sound emanating from their machines is as unrecognizable as their band is hard to pin. But “Seventeen Years” is pure rock n’ roll, dripping with swagger and machismo. Wait, no, it’s hip-hop at its bravest and most skeletal, a minimal beat holding up a hook that rises like a riot in the streets. No, this is a gorgeous electronic symphony, swelling and fading for its final minute. Fuck it, this creature breathes, sprints, and slurps up everything in its path, and it’s a damn good thing Ratatat didn’t fence it in.
[Kareem Estefan]


Which country was more surprised? England, when another nominal reality show group unleashed one of the best albums of 2003? Or America, when blogs and peer-to-peer networks carpetbombed the Internet with those jet fuel singles? Who on either side of the ocean would have guessed that a heavily-marketed group backed by a production powerhouse—a group that in every way was the antithesis of traditional, conservative ideas of musical quality—would make such purely distilled music? People don’t need an essay on rockism; they just need to turn up the volume on “The Show”. They drop searing beats, they pause for finger-wagging breakdowns, they hang around the kitchen in their underwear. Each hydroplaning synth, each dab of reverb has been surgically added to build this six million dollar song. “The Show” is the Girls’ best single, and delivers on every implied ideological promise superimposed on their perfectly smiling faces.
[Erick Bieritz]


Somehow or another, this one slipped by the gatekeepers. You know, the guys that wear charcoal grey suits with straight black ties over stiff white shirts that prevent all music with imagination from reaching the masses. Seriously, how did this become a hit? How did Good News For People Who Love Bad News turn Modest Mouse into a household rockin’ name? I don’t think anyone can argue that Isaac Brock has a traditionally beautiful voice or that the echo chamber honk of a guitar hook that “Float On” is built around is something usually heard on MTV. But there’s an irresistible charm to “Float On”, a bouncy beat mated to a sing-a-long chorus that makes you want to root for these guys to succeed. And, this time, they did.
[Peter Funk]


"Jesus Walks" is the summation for all of the opposed characteristics in Kanye's work: the faith, the drugs, the humor and the crime. He lays it out for us in the intro: "Most of all we at war with ourselves". But forget the lyrics for a moment (yeah, forget the spiritual battle and the wordplay: "Chi where / Shadow" and the doubt and the hope) and look at the production and delivery: it opens with a chant that the Wicked Witch's soldiers could have inspired, followed by a martial drumroll that Mel Gibson only wishes he had for his last movie. Check the restraint on the violins and listen as Kanye shifts his vocal rhythm around the beat just enough to build intensity (supported by baritone back-up vocals). And right when the track builds to its peak, Kanye drops out—that recurring synth line holding the spot—and then he comes back. Hard.
[Justin Cober-Lake]


How can one be touched by what they can't understand? Emotion crosses the barrier of comprehension, and with "Galang", M.I.A.’s amalgam of party rap, dancehall chatting and VH1 cratedigging ultimately sounds like a love letter-cum-distress signal. Evidently, this is the youth beat for the old school: shattered diction and slang editorials are painted over broken beats, making for the aural equivalent of drawing a self-portrait and purposely coloring outside of the lines. If the clap-and-bump framework of this building comes from an old Roland drum machine, the rest is supplied by dirt merchant synth crashes and ascending carnival highpass. The words are barely coherent, but when you focus in the sarcastic jab "work is gonna save you" and "suck a dick can help you / Don't let 'em get to you", the dots get connected: the Bomb Squad beats are no accident, this girl borrows the party for the right to fight from PE and turns it into an abstract painting. A gutter funk manifesto in every regard, "Galang" is altogether confusing, disorienting, exciting and completely necessary.
[Rollie Pemberton]


Mike Skinner's narrators are always pricks, but, then again, they're the type of pricks you get a kick out of. This one’s out looking to cheat on his girlfriend, but his drunken, post-head-knock ramblings somehow excuse his weak morals. Just as bad, though, his latent misogyny creeps out—he's hating on a beautiful girl ("Maybe even nine-and-a-half in four beers time") just because she must know she's hot. Or, as he reveals less intentionally, because she's with someone else. Skinner's character makes a fool of himself, denies it,and takes his embarrassment out on a unwitting participant in the night's activities. He makes us angry, guilty, and, most of all, laugh. All over a bouncy guitar and simple drum line that adds to the harmless night-out feel (even if Skinner's hardly harmless). In a career full of stunning singles, this is Skinner’s best.
[Justin Cober-Lake]


The self-reflexive debut single/modus operandi of this year’s most prodigious pop star—think “Are You Jimmy Ray?” sans solipsism and rockabilly guitar—“Chewing Gum” reinforces the theory of pop while it conks you on the head with its impeccable, synthetic amalgam of la-la-las, oh-oh’s, and snap crackle beats. Annie wants you to quit conjecturing about the circumstances behind Anniemal’s seemingly inhuman barrage of hyper-catchy, post-Kylie soon-to-be singles. Subtext is no currency on the dance floor. However, the exuberance of “Chewing Gum” does belie a kind of rebirth for the young Norwegian diva. After all, didn’t Annie used to be “the only girl to take it seriously?” This rebirth is palpable in the song; all who hear it feel the urge to toss aside their books and embrace that nagging Dionysian impulse. Flavor doesn’t last forever and neither will “Chewing Gum”, but this year Annie provided an ideal four-minute edifice of pop immortality.
[Akiva Gottlieb]


Don’t overlook the two stiff-armed drum machines, or the sliding falsetto “Snoop”s, or even the rising steam and cheek popping in the background. Oh, and definitely don’t forget the grainy synths that drop like bombs. But really? This is all about Snoop. There’s an utter lack of affect in both vocalists that Snoop’s always done (and usually done well) that means that as weirdly compelling as the stretchy chorus is, this is really worthwhile for the deadpan verses. Even Pharrell acquits himself well, claiming “I’m a nice dude” so flatly that you feel bad for the guy. Snoop, on the other hand, is funnier and scarier than he’s been for years: “Your family’s crying / Now you on the news / They can’t find you / And now they miss you / Must I remind you I’m only here to twist you” is the coldest set of lines delivered all year. When Snoop tells you to drop it, you drop it, hot or not.
[Ian Mathers]


“The Rat” plays like a four-and-a-half minute advert for the continuing relevance of heartfelt guitar music in the 21st century, somehow managing to warp the very fabric of reality to drag even ardent dance music fans onto the dancefloor to mosh to an “indie tune”. It's impossible not to be carried along by this song's bunker-busting attack on the listener's emotions—there's a wonderful dichotomy between the anger of the verses (“You've got a nerve to be asking a favour!”) and the shrugging resignation of the chorus (“When I used to go out I would know everyone that I saw / Now I go out alone if I go out at all”) as hi-hat hits fall like snowflakes in a blizzard. It's a hymn both to the joy of being alive and the messy ups and downs of modern relationships, where the neighbouring emotions of anger, sadness and joy jockey for position in your brain. Unlike an errant partner, The Walkmen'll always be there for you. Return their love, and give “The Rat” a place in your heart.
[Dave McGonigle]


When all the struggles of two people building a meaningful relationship from scratch pay off, the rewards can even trump divine intervention. ”Heartbeats” celebrates that moment as well as acting as a sighing examination on how easily that notion of perfection can be shattered. It gives clarity, in a way that only music can do, to a set of conflicting and intangible emotions that are generally out of our basic reach. The key line is in the chorus: “To call for hands from above / To lean on / Wouldn't be good enough for me.” That is to say, at the very extremes of our psyche, nothing (not even a higher power) can touch us; this wall of emotions we have created around us is the only thing we listen to and abide by. The music does well to mirror the lyrics perfectly, plodding along with huge 80’s synths and yearning, wide-eyed vocals portray an almost clumsy melancholy. It’s awkward, kind of dorky, and terribly un-hip. Just like love.
[Michael F. Gill]


I still don’t know what it’s about. A mating call (synth blare as whooping crane or something)? A masterpiece of reflexiveness, worthy of Derrida (Usher knowing full well he’s got the hit (and hook) of the year six months before its end)? Either way, don’t tell my ass.
[Alfred Soto]


The two-step Tetris Youngsta production here merges a rumbling bassline to a trebly Spectrum 128k loading melody, which couldn’t sound any cheaper if it really wanted to, that provides the song’s contagious hook. “Stand up Tall”’s hard digital 80s electro feel packs a punch, but lyrically pushes positivity, action and making moves with his chirpier tattoo pace yelping flow (at some points giving Twista a run for his bling). Even when Dizzee nears his most defensive (in between exhortations to get up and “get paper”), he still manages to sound like he’s half-grinning, more concerned with smart lines than serious threats. “Stand Up Tall” is the sound of a rapper getting more comfortable in his own skin, less intent on justifying his presence than on the simple act of entertaining. I’d say he’s earned it.
[Scott McKeating]


The last few weeks of 2004 have seen a nice holiday-season spike in celebrity felony, so while the rest of y’all live in the club with Lil Jon or retire to the boudoir with Usher, my guess is Young Buck and Ron-Ron wake up in a cold sweat with this flee-from-the-five-oh anthem in their heads instead. The beat is just about the only worthwhile move the Rza’s made this century besides his chop-socky circle jerk with Quentin Tarantino, the sound of pure human adrenaline, paranoia and urban fear replicated better than anyone ever without sirens or bullhorns. Meanwhile, Pretty Tony not only deftly mimics the out-of-breath panic of an in-pursuit suspect, he also kindly takes the time to call a play-by-play AND narrate the internal turmoil of the potential perp. If that wasn’t enough, then Jada takes his shirt off and goes in, methodical and pragmatic (and asthmatic) where Ghost was all reaction. If anyone still doubts the greatness of this track, I urge you to proceed directly to Launch and peep the video. Once you catch a glimpse of THAT FUCKING HAT, there’s no turning back.
[Josh Love]


A great single should either sound fantastic on radio and make you sing-along without realising it OR realign your entire consciousness and/or perception of ROCK ‘N ROLL/music from the bottom up. "Yeah" would do both, were you ever to hear it on the radio. The first part is accomplished simply—more hipper-than-though posing from James Murphy (irony optional, fun mandatory), spitting nonsense over a dumb beat while all hell slowly worms its chaotic way up the mix around him. It's only 303—nearly impossible to do wrong—but MY GOD it sounds good, shredding from your speakers with the kind of energy and wantonness that stodgy old classic rock fans curse as having died with Hendrix. The second part is more complicated: "Yeah" acts as the final nail in the coffin of discopunk—all that energy and potential dissipated in the wake of The Rapture’s hype overtaking their ability, Radio 4’s stumble and fall and Franz Ferdinand’s co-option on the way to the top of the charts. “Yeah” does everything that those three couldn’t: delivers on the hype, ratchets up the level of creativity attained by “Losing My Edge” and…well…that last one will have to wait until 2005. But something tells me Murphy’s up to it.
[Nick Southall]


Local H’s rendition affirms that this melody could have been a smash for anyone, but its performance only makes sense as the culmination of Britney’s non-ballad efforts; regaining the snap of her early pyrotechnics while maintaining her “Slave 4 U” sultriness. “Toxic”’s coils, sighs and snaps are as enlivening as anything off of Kish Kash, only streamlined into three brisk minutes that embody the intrigue and temptation Britney sings of. Its unexpected twists and immaculate choreography reveal the melodic monotony and deadening bombast of the songs that bracket it on the radio. Once it rubs its hand over your crotch and breathes in your ear, you may be ruined for life, pressing “repeat” and chasing a high that never comes.
[Anthony Miccio]


Torn between those twin pillars of crippling insecurity, emo and nu-metal, the modern rock world has recently been missing the necessary confidence, swagger, and BIG FUCKING RIFFS to give us youths a couple rock anthems to throw back in the faces of our Nirvana and Green Day-listening older brothers and our Zeppelin and Floyd-listening fathers. Enter, surprisingly enough, a group of fey, indie post-punkers from Scotland. Who came and saved the world in 2004 with "Take Me Out", one of the best and biggest rock singles of the year, and the first true classic rock tune in ages. Everything about the tune screams MASSIVE—the chant-along chorus shout, the transition from indie rock to disco at the :50 mark, and most importantly, that BIG FUCKING RIFF. It was classic the first time you heard it and it was classic the 100th time you heard it, and in 2004, not even the emo kids or nu-metallers could deny it. We'll brag to our kids about "Take Me Out" someday.

But what really makes it the single of the year is how modern it sounds. Whereas recent entries into the rock pantheon like Jet's "Are You Gonna Be My Girl?" and The Darkness' "I Believe in a Thing Called Love" resurrected the spirit of the classic rock single through direct inspiration from rock legends like Iggy Pop and Boston, "Take Me Out" stuns with the sound of the NOW. The band is not without influence, of course, but more than anything, "Take Me Out" is the culmination of almost a half-decade's worth of underground rock finally bubbling to the surface, from the angular guitar drama of Spoon and Interpol to the riotous discopunk of Radio 4 and The Rapture. In a year when the usual bipartisanship of modern rock broke down to offer a third way that included Yeah Yeah Yeahs performing at the MTV Movie Awards, The Walkmen and The Killers scoring guest spots on the biggest show in primetime and Modest Mouse having an honest-to-god #1 hit rock song in the United States, Franz Ferdinand's "Take Me Out" still looms the largest, and for this reason, remains the clear choice for the number one single of 2004.
[Andrew Unterberger]


Individual Writers Lists

Clem Bastow
01. Britney Spears – Toxic
02. Franz Ferdinand – Take Me Out
03. Pink Grease – Fever
04. Christina Aguilera – The Voice Within
05. The Darkness – Love Is Only A Feeling
06. Johanna Newsom – Sprout And The Bean
07. Dallas Crane – Dirty Hearts
08. Kings Of Leon – Bucket
09. Scissor Sisters – Laura
10. Darren Hayes – Pop!ular
11. Black Keys – 10 A.M. Automatic
12. Neon – A Man
13. Ashlee Simpson – Pieces Of Me
14. The Hives – Walk Idiot Walk
15. Young Heart Attack – Starlite
16. Fiery Furnaces – Tropical Ice-Land
17. The Killers – Somebody Told Me
18. Emma Bunton – Maybe
19. Gretchen Wilson – Redneck Woman
20. Jet – Cold Hard Bitch

Erick Bieritz
01. The Knife – Heartbeats
02. Girls Aloud – The Show
03. Mannie Fresh – Real Big
04. Alan Braxe & Fred Falke – Rubicon
05. Shapeshifters – Lola’s Theme
06. Fiery Furnaces – Tropical Ice-Land (Single Version)
07. Ce’Cile – Hot Like We
08. Obie Trice ft. Nate Dogg – The Set Up (You Don't Know)
09. United States of Electronica – Emerald City
10. Lali Puna – Micronomic
11. Dizzee Rascal – Stand Up Tall
12. Alegria – La Luna
13. Cut Copy – Saturdays
14. Kelis ft. Andre 3000 – Millionaire
15. Bubba Sparxxx – Back In the Mud
16. Jay-Z – Dirt Off Your Shoulder
17. Girls Aloud – Love Machine
18. Paps ‘N’ Skar – Mirage (La Luna)
19. The Yeah Yeah Yeahs – Y Control
20. Britney Spears – Toxic

Todd Burns
01. Undo and Vicknoise – Happy Monday
02. Jim Jones – Crunk Muzik
03. Fox and Wolf – Youth Alcoholic
04. Liz Phair – Extraordinary
05. Ada – Lovelace
06. J-Five – Modern Times
07. Wonder and Kano – What Have You Done
08. Caparezza – Fuori dal Tunnel
09. Girls Aloud – The Show
10. The Mo - Nostalgia Locomotive
11. Gwen Stefani – What Are You Waiting For?
12. Magnet / Wighnomy Brothers – Speicher 19
13. Dr. Phil Stumpf – Praxis
14. J-Kwon – Hood Hop
15. Lil Flip – Game Over
16. Junior Boys – High Come Down
17. Minimal Man – Chicken Store
18. Basement Jaxx – Good Luck
19. Kaito – Soul of Heart
20. Slipknot - Duality

Justin Cober-Lake
01. Kanye West - Jesus Walks
02. Arcade Fire - Neighborhood 1 (Tunnels)
03. LCD Soundsystem - Yeah
04. The Streets - Fit But You Know It
05. Jason Forrest - 10 Amazing Years
06. Mountain Goats - Palmcorder Yajna
07. Sufjan Stevens - The Dress Looks Nice on You
08. Kanye West - All Falls Down
09. Jim White - Static on the Radio
10. TV on the Radio - Staring at the Sun
11. The Walkmen - The Rat
12. Dizzee Rascal - Stand Up Tall
13. John Vanderslice - Pale Horse
14. The Ponys - Let’s Kill Ourselves
15. Jay-Z - 99 Problems
16. Rilo Kiley - It’s a Hit
17. Xiu Xiu - I Luv the Valley OH!
18. Joanna Newsom - Sprout and the Bean
19. Madvillain - All Caps
20. Franz Ferdinand - Take Me Out

Colin Cooper
01. Obviously – McFly
02. Ashes – Embrace
03. The Show – Girls Aloud
04. Take Me Out – Franz Ferdinand
05. Girls – The Prodigy
06. Mass Destruction – Faithless
07. Do They Know Its Christmas? – Band Aid 20
08. Friday’s Child – Will Young
09. Milkshake – Kelis
10. Good Luck – Basement Jaxx
11. The Man Don’t Give A F*** - Super Furry Animals
12. Can’t Stand Me Now – The Libertines
13. These Words – Natasha Bedingfield
14. Irish Blood, English Heart – Morrissey
15. Dream – Dizzee Rascal
16. Thank You – Jamelia
17. Golden Touch – Razorlight
18. Toxic – Britney Spears
19. This Love – Maroon 5
20. Jesus Walks – Kanye West

Nate De Young
01. Justin Kohncke f/ Meloboy – Hot Love
02. Mouse on Mars – Wipe that Sound
03. Britney Spears – Toxic
04. The Knife – Heart beats
05. MIA – Galang
06. Usher ft/ Lil Jon – Yeah
07. Junior Boys – High Come Down
08. Spektrum – Kinda New
09. Animal Collective - Who Could Win a Rabbit
10. LCD Soundsystem – Yeah
11. Undo & Vicknoise - Happy Monday
12. Scissor Sisters – Comfortably Numb
13. Swayzak – Another Way
14. Jason Forrest – 10 Amazing Years
15. Annie – Chewing Gum
16. Rex the Dog – Prototype
17. Nellie McKay – The Dog Song
18. Diplo – Diplo Rhythm
19. Ada – Lovelace
20. Ratatat – Seventeen Years

David Drake
01. Brandy - Who is She 2 U
02. Slim Thug feat. Bun B and T.I. - Three Kings
03. T.I. - Rubber Band Man
04. Nina Sky f. Vybz Kartel - Move Ya Body (Remix)
05. Lil Wayne - Go DJ
06. Ying Yang Twins - What's Happenin'
07. Trillville ft. Twista - Neva Eva (Remix)
08. Usher - Yeah!
09. Justus - Frei/Hot Love
10. Slim Thug, Mike Jones and Paul Wall - Still Tippin'
11. Teedra Moses - Be Your Girl
12. Ghostface Killah ft. Missy Elliot - Tush
13. Crime Mob - Knuck if you Buck
14. Vybz Kartel - Picture This
15. Ce'cile - Hot Like We
16. Lil Scrappy - No Problem
17. H20 Phlo - A Little Closer
18. Tanya Stephens - Can't Breathe
19. Jay-Z - 99 Problems
20. Gwen Stefani - What Are You Waiting For

Kareem Estefan
01. Yeah Yeah Yeahs – Maps
02. Ratatat - Seventeen Years
03. LCD Soundsystem - Yeah
04. Britney Spears – Toxic
05. Usher, Ludacris & Lil' John - Yeah
06. Annie - Chewing Gum
07. Kanye West feat. Twista - Slow Jamz
08. Dizzee Rascal - Stand Up Tall
09. Jason Forrest - 10 Amazing Years
10. Walkmen - The Rat
11. Franz Ferdinand - Take Me Out
12. Modest Mouse – Float On
13. Junior Boys - High Come Down
14. Ghostface feat. Missy Elliott - Tush
15. Taking Back Sunday - A Decade Under the Influence
16. Ferry Corsten - Rock Your Body Rock
17. Jay-Z – 99 Problems
18. Devendra Banhart – At the Hop
19. The Streets – Blinded by the Lights
20. Bjork - Who Is It?

Peter Funk
01. RJD2 & Ric Ocasek – Through The Walls
02. Tube & Berger w/ Chrissie Hynde- Straight Ahead
03. Annie – Me Plus One
04. Groove Armada – I See You Baby
05. Sage Francis – Slow Down Ghandi
06. Gwen Stefani – What Are You Waiting For
07. Beastie Boys – Ch Ch Check it Out
08. Modest Mouse – Float On
09. Morrissey – Irish Blood/English heart
10. Franz Ferdinand – Take Me Out
11. Bjork Feat Kelis – Oceania
12. Outkast – Roses
13. Snow Patrol – Run
14. Green Day - Boulevard of Broken Dreams
15. The Go! Team - The Power is On
16. Junior Boys - High Come Down
17. Destinys Child – Lose My Breath
18. A.C. Newman – Miracle Drug
19. Arcade Fire - Neighborhood #1 (Tunnels)

Michael F. Gill
01. The Knife - Heartbeats
02. Joanna Newsom - Sprout & The Bean
03. Stina Nordenstam - Get On With Your Life
04. Steve Barnes - Cosmic Sandwich
05. Wonder ft Kano - What Have You Done
06. Fabolous - Breathe
07. Alcazar - This Is The World We Live In
08. Ada - Lovelace
09. Rex The Dog - Frequency
10. Kiki - The End of the World
11. Fox and Wolf - Youth Alcoholic
12. Ellen Allien - Astral
13. Whigfield - Was A Time
14. Three Of A Kind - Babycakes
15. Divine Comedy - Come Home Billy Bird
16. Twista w/ Kayne West & Jaimie Foxx - Slow Jamz
17. Snoop Dogg ft Pharrell - Drop It Like Its Hot
18. Rachel Stevens - Some Girls
19. Annie - Chewing Gum
20. Wiley - Pies

Gabe Gloden
01. Modest Mouse - Float On
02. !!! - Pardon My Freedom
03. Mis-Teeq - Scandalous
04. Usher - Yeah
05. Scissor Sisters - Take Your Mama Out
06. Franz Ferdinand - Take Me Out
07. Ghostface - Run
08. Madvillian - All Caps
09. Mouse On Mars - Wipe That Sound
10. The Futureheads - Meantime
11. The Streets - Fit But You Know It
12. Kanye West - Through the Wire
13. Lloyd Banks - On Fire
14. Twista - Slow Jamz
15. Ciara - Goodies
16. Akon - Locked Up
17. LCD Soundsystem - Yeah
18. Kevin Lyttle - Turn Me On
19. Komeda - Blossom (Got To Get It Out)
20. Von Bondies - C'mon C'mon

Akiva Gottlieb
01. Eminem - Just Lose It
02. Taking Back Sunday - A Decade Under the Influence
03. Annie - Chewing Gum
04. The Walkmen - The Rat
05. Twista f/Kanye and Jamie Foxx - Slow Jamz
06. Animal Collective - Who Could Win a Rabbit?
07. LCD Soundsystem - Yeah
08. Junior Boys - High Come Down
09. Ghostface Killah - Tush
10. Scissor Sisters - Take Your Mama Out
11. The Arcade Fire - Neighborhood #1
12. Franz Ferdinand - Take Me Out
13. The Streets - Fit But You Know It
14. The Von Bondies - C’mon C’mon
15. The Killers - Somebody Told Me
16. Ratatat - Seventeen Years
17. The Mountain Goats - Palmcorder Yajna
18. Dizzee Rascal -Stand Up Tall
19. Iron & Wine - Naked as We Came
20. The Magnetic Fields - I Thought You Were my Boyfriend

Todd Hutlock
01. Two Lone Swordsmen - Faux
02. Belle and Sebastian - I'm A Cuckoo
03. Morrissey - Irish Blood, English Heart
04. LCD Soundsystem - Yeah
05. Usher - Yeah
06. J.O.Y. - Sunplus
07. Fatboy Slim w/Lateef - Wonderful Night
08. The Streets - Fit But You Know It
09. Bjork - Who Is It
10. Blonde Redhead - Elephant Woman
11. Belle and Sebastian - Your Cover's Blown
12. The Futureheads - Decent Days And Nights
13. Paul Weller - Wishing On A Star
14. Annie - Chewing Gum
15. The Walkmen - The Rat
16. Franz Ferdinand - Take Me Out
17. The Hives - Walk Idiot Walk
18. Isobel Campbell - Time Is Just The Same
19. The Charlatans - Up At The Lake
20. Shystie - One Wish

Josh Love
01. Ghostface f/ Jadakiss - Run
02. Usher f/ Ludacris and Lil Jon - Yeah!
03. Annie - Chewing Gum
04. The Knife - Heartbeats
05. Twista f/ Kanye West - Slow Jamz
06. T.I. - Rubberband Man
07. Mya f/ Chingy - Fallen (Zone 4 Remix)
08. Kevin Lyttle - Turn Me On
09. Avril Lavigne - My Happy Ending
10. M.I.A. - Galang
11. Dizzee Rascal - Stand Up Tall
12. Nelly f/ Tim McGraw - Over and Over
13. Lloyd Banks - On Fire
14. Dem Franchize Boyz - White Tees
15. Mike Jones f/ Paul Wall and Slim Thug - Still Tippin’
16. Rachel Stevens - Some Girls
17. Dogs Die in Hot Cars - Godhopping
18. Justin Kohncke f/ Meloboy - Hot Love
19. Gretchen Wilson - Redneck Woman
20. Nina Sky - Move Ya Body

Ian Mathers
01. Six By Seven – Ready For You Now
02. The Walkmen – The Rat
03. Ciara feat. Petey Pablo – Goodies
04. Snoop Dogg feat. Pharrell – Drop It Like It’s Hot
05. The Killers – Mr. Brightside
06. Lloyd feat. Ashanti & Scarface– Southside (Remix)
07. Snow Patrol – Run
08. The Hives - Walk Idiot Walk
09. Destiny’s Child – Lose My Breath
10. Big & Rich – Save A Horse (Ride A Cowboy)
11. Basement Jaxx - Good Luck
12. Franz Ferdinand – Take Me Out
13. N.O.R.E. feat. Tego Calderon, Nina Sky, Gemstar & Big Mato – Oye Mi Canto
14. Belle & Sebastian - I'm A Cuckoo
15. Kanye West - Jesus Walks
16. Death From Above 1979 – Romantic Rights
17. Blink 182 - I Miss You
18. Von Bondies - C’mon C’mon
19. Scissor Sisters – Take Your Mama Out
20. Green Day – American Idiot

Kyle McConaghy
01. The Arcade Fire – Neighborhood #1 (Tunnels)
02. The Go! Team - The Power is On
03. Art Brut - Formed a Band
04. The Walkmen - The Rat
05. Gwen Stefani - What You Waiting For
06. Jay-Z - 99 Problems
07. Max Richter - On The Nature of Daylight
08. Xiu Xiu - The Valley OH!
09. Interpol - Slow Hands
10. Kanye West - Jesus Walks
11. Ratatat - 17 Years
12. Death From Above 1979 - Blood On Our Hands
13. The Strokes - The End Has No End
14. Annie - Chewing Gum
15. Devendra Banhart - At The Hop
16. Franz Ferdinand - Matinee
17. Loretta Lynn - Portland Oregon
18. Madvillain - All Caps
19. The Mo - Nostalgia Locomotive
20. Jason Forrest - 10 Amazing Years


Dave McGonigle
01. The Walkmen – The Rat
02. Franz Ferdinand – Take Me Out
03. Subtle – F.K.O
04. Les Savy Fav – The Sweat Descends
05. Two Lone Swordsmen – Faux
06. M83 - America
07. Block Party – Bloc Party EP
08. The Delgados - Everybody Come Down
09. Super Furry Animals – The Man Don’t Give A F*** (Live 2004 Version.
10. Trick Daddy f/ Lil Jon - Let’s Go
11. Jason Forrest - 10 Amazing Years
12. Belle and Sebastian - I'm a Cuckoo
13. The Libertines – Can’t Stand Me Now
14. Basement Jaxx – Good Luck
15. Pink Grease – Fever
16. Modest Mouse – Float On
17. The Futureheads – Meantime
18. Ferry Corsten - Rock Your Body Rock
19. LCD Soundsystem - Yeah
20. Wolfman feat. Peter Doherty - For Lovers

Scott McKeating
01. Beastie Boys - Ch-Check it Out
02. Bjork - Who is It
03. Destiny's Child - Lose my Breath
04. Dido - Sand in my Shoes
05. Dizzee Rascal - Stand up Tall
06. Estelle - Free
07. Ghostface - Run
08. Green Day - American Idiot
09. Keane - Bedshaped
10. Kelis - Milkshake
11. Beverley Knight - Not too Late For Love
12. Nas - Bridging the Gap
13. Alex Parks - Cry
14. Slipknot - Duality
15. Travis - Walking In the Sun
16. Usher - Burn
17. Usher - Yeah
18. Kanye West - Jesus Walks
19. Young Buck - Let Me In
20. Will Young - Friday's Child

Charles Merwin
01. Hilary Duff – Fly
02. The Mo – Nostalgic Locomotive
03. Estelle – 1980
04. Fox and Wolf – Youth Alcoholic
05. Katy Rose – Because I Can
06. Ashlee Simpson – Pieces of Me
07. Liz Phair – Extraordinary
08. Fiery Furnaces – Tropical Ice-Land
09. John Mayer – Clarity
10. Avril Lavigne – My Happy Ending
11. Destiny’s Child – Lose My Breath
12. Stars – Ageless Beauty
13. J-Five – Modern Times
14. Jim Jones feat. Cam’ron – Crunk Muzik
15. Ashanti – Only U
16. Undo and Vicknoise – Happy Monday
17. Maroon 5 – This Love
18. Blackstrobe - Chemical Sweet Girl
19. Air – Cherry Blossom Girl
20. Mylo – Drop The Pressure

Anthony Miccio
01. Usher - Burn
02. John Mayer - Clarity
03. Britney Spears - Toxic
04. Yeah Yeah Yeahs - Y Control
05. Pitbull feat. Lil Jon - Culo
06. J-Kwon - Tipsy
07. Missy Elliot - I'm Really Hot
08. Liz Phair - Extraordinary
09. Bowling For Soup - 1985
10. Mario Winans feat. Enya & P. Diddy - I Don't Wanna Know
11. Modest Mouse - Float On
12. Counting Crows - Accidentally In Love
13. Fall - Theme From Sparta F.C.
14. Beyonce feat. Lil' Flip Naughty Girl (Remix)
15. Franz Ferdinand - Take Me Out
16. Travis Tritt feat. John Mellencamp - What Say You
17. Ying Yang Twins - Salt Shaker
18. D-12 - My Band
19. Usher feat. Lil Jon & Ludacris - Yeah!
20. Janet Jackson - All Nite

Gavin Mueller
01. LCD Soundsystem - Yeah
02. Jim Jones feat. Cam'ron - Crunk Muzik
03. J-Kwon - Hood Hop
04. Wiley - Wot Do You Call It?
05. Elephant Man - All Out
06. Cam'ron - Get 'Em Girls
07. Ghostface feat. Jadakiss - Run
08. Crime Mob - Knuck If You Buck
09. Christina Milian - Dip It Low
10. Taz feat. Marga Man - Just Walk
11. N.O.R.E. feat. Nina Sky and Tego Calderon - Oye Mi Canto
12. Dizzee Rascal - Showtime
13. Destiny's Child - Lose My Breath
14. Ciara - Goodies
15. Pastor Troy feat. Ms. Jade - Are We Cuttin It?
16. Lil Jon feat. Lil Scrappy - What You Gon Do
17. R. Kelly - Red Carpet
18. Kanye West - Jesus Walks
19. Franz Ferdinand - Take Me Out
20. Terror Squad - Lean Back

Edward Oculicz
01. Caparezza - Fuori Dal Tunnel
02. The Mo - Nostalgia Locomotive
03. Annie - Chewing Gum
04. J-Five - Modern Times
05. Britney Spears - Toxic
06. Rachel Stevens - Some Girls
07. Girls Aloud - The Show
08. Pay TV - Trendy Discoteque
09. Courtney Love - Mono
10. Alcazar - This Is The World We Live In
11. Big & Rich - Save A Horse (Ride A Cowboy)
12. Scissor Sisters - Take Your Mama
13. The Delgados - Everybody Come Down
14. Anastacia - Left Outside Alone
15. Charlotte Hatherley - Kim Wilde
16. Yellowcard - Ocean Avenue
17. Phoenix - Everything Is Everything
18. Rammstein - Amerika
19. Emma Bunton - Crickets Sing For Anna Maria
20. Dogs Die In Hot Cars - Godhopping

Peter Parrish
01. Morrissey - First of the Gang to Die
02. Nick Cave & The Bad Seeds - Nature Boy
03. Black Wire - Attack, Attack, Attack
04. The Fall - Theme From Sparta FC #2
05. The Cure - Taking Off
06. All About Eve - Let Me Go Home
07. The 5678s - Whoo Hoo
08. Morrissey - Irish Blood, English Heart
09. Belle and Sebastian - I'm a Cuckoo
10. Libertines - Can't Stand Me Now
11. Finn Brothers - Won't Give In
12. The Fall - (We Wish You) A Protein Christmas
13. Dizzee Rascal - Dream
14. Gary Jules & Michael Andrews - Mad World
15. The Cure - The End of The World
16. PJ Harvey - The Letter
17. Faithless - Mass Destruction
18. Kelis - Trick Me
19. REM - Leaving New York
20. The Alarm/The Poppyfields - 45 RPM

Dom Passantino
01. Courtney Love- Mono
02. Caparezza- Fuori Dal Tunnel
03. Est'elle- 1980
04. Bubba Sparxxx- Back In The Mud
05. Belle and Sebastian- I'm A Cuckoo
06. T.I.- Rubber Band Man
07. Adam Green- Jessica
08. Big and Rich- Save A Horse (Ride A Cowboy)
09. Alcazar- This Is The World We Live In
10. Girls Aloud- The Show
11. Gretchen Wilson- Redneck Woman
12. Nick Cave- There She Goes My Beautiful World
13. Boogie Pimps- Somebody To Love
14. Westside Connection- Gangsta Nation
15. Emma Bunton- Crickets Sing for Anamaria
16. Ma$e- Welcome Back
17. Jae Millz- No No No
18. Hillary Duff- Come Clean
19. Pet Shop Boys- Flamboyant
20. Blink 182- I Miss You

Rollie Pemberton
01. LCD Soundsystem - Yeah (Stupid Version)
02. The Walkmen - The Rat
03. The Streets - Blinded By The Lights
04. Bloc Party - Banquet
05. M.I.A - Galang
06. Sonic Youth - Unmade Bed
07. Ghostface ft. Jadakiss - Run
08. Diplo - Diplo Rhythm
09. Blood Brothers - Love Rhymes With Hideous Car Wreck
10. McLusky - She Will Only Bring You Happiness
11. Ill Bill - God Is An Atheist
12. More Fire Crew - Forward Riddim
13. Cut Copy - Saturdays
14. Madvillain - One Beer
15. Nas - Thief's Theme
16. RJD2 - Exotic Talk
17. Lil' Wayne - Go DJ
18. Trick Daddy ft. Lil' Jon and Twista - Let's Go
19. De La Soul ft. MF Doom - Rock Ko.Kaine Flow
20. Modest Mouse - Ocean Breathes Salty

Bjorn Randolph
01. Destiny’s Child – Lose My Breath
02. Hope of the States – The Red, the White, the Black, the Blue
03. Shapeshifter’s – Lola’s Theme
04. Morrissey - First of the Gang to Die
05. Jens lekman - You are the Light
06. Emma Bunton - Crickets Sing for Anamaria
07. J-Kwon - Tipsy
08. Fiona Apple - Extraordinary Machine
09. The Streets - Dry Your Eyes
10. Rachel Stevens - Some Girls
11. Avril Lavigne - My Happy Ending
12. Scissor Sisters - Take Your Mama
13. Scooter - Jigga Jigga
14. Kelis - Trick Me
15. Lil Jon - What U Gon' Do
16. Kanye West - Jesus Walks
17. Interpol - Slow Hands
18. Snoop Dogg - Drop it Like It's Hot
19. Gretchen Wilson - Redneck Woman
20. Blonde Redhead - Elephant Woman

Mike Shiflet
01. Animal Collective - Who Could Win A Rabbit
02. Guerilla Black/Beenie Man - Compton
03. Usher - Burn
04. Wolf Eyes - Stabbed in the Face
05. Kanye West - Jesus Walks
06. Devandra Bahnart - At the Hop
07. MF Doom - Hoecakes
08. Jens Leckman - Maple Leaves
09. Thurston Moore - Jong
10. Xiu Xiu - Clowne Towne
11. Modest Mouse – Float On
12. Arcade Fire - Neghborhood #1 (Tunnels)
13. Christina Carter - Untitled
14. Snoop ft. Pharrell - Drop It Like It's Hot
15. Nas - Theif's Theme
16. Terror Squad - Lean Back
17. Joanna Newsom - The Sprout and The Bean
18. Crank Sturgeon - E-Z Voice Recorder
19. Ashlee Simpson - Pieces of Me
20. Twista/Kanye West - Overnight Celebrity

Alfred Soto
01. Jay Z - 99 Problems
02. Britney Spears - Toxic
03. The Libertines - Can’t Stand Me Now
04. Franz Ferdinand - Michael
05. Usher featuring Lil Jon - Yeah!
06. Destiny’s Child - Lose My Breath
07. Ghostface featuring Jadakiss - Run
08. Morrissey - First of the Gang To Die
09. Modest Mouse - Float On
10. Streets - Fit But You Know It
11. Kanye West - Jesus Walks
12. Loretta Lynn - Portland - Oregon
13. Beyonce - Naughty Girl
14. De La Soul - Shopping Bags
15. Kanye West - Through the Wire
16. Prince - Musicology
17. Dizzee Rascal - Stand Up Tall
18. The Mountain Goats - Your Belgian Things
19. Sleepy Brown - featuring Outkast - Can’t Wait
20. Nellie McKay - Sari

Nick Southall
01. LCD Soundsystem – Yeah
02. Britney – Toxic
03. Deep Dish – Flashdance
04. Girls Aloud – Love Machine
05. Eminem – Just Lose It
06. Robbie Williams – Radio
07. M.I.A. – Galang
08. Kelis – Trick Me
09. Kylie – I Believe In You
10. Embrace – Ashes
11. Scissor Sisters – Laura
12. Rachel Stevens – Some Girls
13. Blink 182 – I Miss You
14. Ghostface – Run
15. The Streets – Dry Your Eyes
16. Nas – Bridging The Gap
17. Natasha Beddingfield – These Words
18. Dizzee Rascal – Stand Up Tall
19. Franz Ferdinand – Take Me Out
20. Kanye West – Jesus Walks
21. Khia – My Neck, My Back
22. LCD Soundsystem – Movement
23. Girls Aloud – The Show
24. Embrace – Gravity
25. Snoop Dogg – Drop It Like It's Hot
26. Delays – Long Time Coming
27. The Zutons – Don't Ever Think
28. The Streets – Blinded By The Lights
29. Jamelia – DJ / Stop
30. Scissor Sisters – Mary
31. Snow Patrol – Run
32. Usher – Yeah
33. Goldie Lookin' Chain – Guns Don't Kill People, Rappers Do
34. Nelly – Flap Your Wings / My Place
35. Delays – Lost In A Melody / Wanderlust
36. Green Day – American Idiot
37. Destiny's Child – Lose My Breath
38. Avril Lavigne – My Happy Ending
39. Shapeshifters – Lola's Theme
40. The Killers – Mr. Brightside

Josh Timmermann
01. M.I.A. - Galang
02. Jay-Z & Linkin Park - Numb/Encore
03. Usher f/ Li'l Jon & Ludacris, Yeah!
04. Nina Sky - Move Ya Body
05. Britney Spears - Toxic
06. Ciara f/ Petey Pablo - Goodies
07. David Banner - Crank It Up
08. Terror Squad - Lean Back
09. Kanye West - Jesus Walks
10. Snoop f/ Pharrell - Drop It Like It's Hot
11. Courtney Love - Mono
12. The Magnetic Fields - I Thought You Were My Boyfriend
13. Scissor Sisters - Comfortably Numb
14. Pitbull f/ Li'l Jon - Culo
15. Kevin Lyttle - Turn Me On
16. M.I.A. - Sunshowers
17. Big & Rich - Save a Horse (Ride a Cowboy)
18. Christina Milian - Dip It Low
19. Avril Lavigne - My Happy Ending
20. Britney Spears – Everytime

Andrew Unterberger
01. LCD Soundsystem - Yeah
02. Franz Ferdinand - Take Me Out
03. Ratatat - Seventeen Years
04. Usher f/ Lil' Jon & Ludacris - Yeah!
05. Soulwax - NY Excuse / This is the Excuse
06. Taking Back Sunday - A Decade Under the Influence
07. Yeah Yeah Yeahs - Maps
08. Twista f/ Kanye West & Jamie Foxx - Slow Jamz
09. The Walkmen - The Rat
10. Snoop Dogg f/ Pharrell - Drop It Like it's Hot
11. Britney Spears - Toxic
12. Nina Sky - Move Your Body
13. Modest Mouse - Float On
14. The Killers - Somebody Told Me
15. The Streets - Blinded By the Lights
16. Young Gunz - Friday Night
17. Jay-Z - 99 Problems
18. Alicia Keys - You Don't Know My Name (Reggae Remix)
19. Dizzee Rascal - Stand Up Tall
20. Junior Boys - High Come Down





By: Stylus Staff
Published on: 2004-12-06
Comments (84)
 

 
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