The nine hundred and twenty-seventh song: Fuck Me Pumps - Amy Winehouse
The jazzy sound of this track shows a good combination of production and vocals. The music is straight forward, in a way that really works, and Amy Winehouse vocals' are clear even though her style of singing does sound that bit drunk. What really stands out are the lyrics, a humorous take on a specific type of girl going out, and they are incredibly engaging to listen to here.
The nine hundred and twenty-eighth song: Strict Machine - Goldfrapp
The heavy electronic beat that underlies the disco beat adds gravity to what would otherwise sound like a light but abstract song that has a darker undertone - although it's about lab mice, it's hard to get some clear meaning out of the track. It's intriguing this way, though, and a really good listen.
The nine hundred and twenty-ninth song: Step into My Office, Baby - Belle & Sebastian
This is a nice poppy song, not far removed from the sound of the Beach Boys with its harmonies and lighter sounds, with production that tells a story of its own as the music goes through a few moments. It feels like a throwback to earlier songs, but in a way that works in the modern world as well - in part due to some heavy innuendo.
The nine hundred and thirtieth song: Run - Snow Patrol
The dark introduction of this song continues to allow for the chorus to break through into a more jubilant sound, starting with the words "Light up, light up" - a musical metaphor supporting the lyrics in a place where I feel ready to sing along. The contrasts are its strengths, the light not quite pulling out of the darkness, but the brightness gets me to sing along each time.
The nine hundred and thirty-first song: Maps - Yeah Yeah Yeahs
Maps isn't that complicated, there's not a huge history, but it's just a strong indie rock song, dark guitars and drums surrounding lighter love song vocals.
The nine hundred and thirty-second song: Toxic - Britney Spears
One of the leaders of pop in these years, Britney Spears' Toxic shows why - it's well produced, with some good vocals, a sultry delivery that adds to the heavily sexualized story of the song, while the violin flourishes are used well to build a sound that doesn't quite fit what you expect from these pop songs. It's big and bold and it works.
The nine hundred and thirty-third song: Destroy Rock N’ Roll - Mylo
There's a lot of boldness in an electronic song - probably more associated with the devilish side of things at this point than rock & roll - sampling a preacher's sermon against rock music. Even more that its samples focus on the long list of artists named in the speech, which creates more of a love song to these artists than a condemnation, even more with the repeated mispronounced names. It's surprisingly strong, even if the concept stays weird.
The nine hundred and thirty-fourth song: Mr. Brightside - The Killers
There's something anthem-like in the lyrics of this, even if a lot of it isn't. The visual language coming from the jealous lyrics are strong, a position you can really feel yourself in, and it's that dark feeling combined with the heavy rock track that works, a weird optimistic facade that is far too easy to pierce. It's so attractive it keeps connecting - weirdly timeless in what it does.
The nine hundred and thirty-fifth song: Televators - The Mars Volta
I don't think I'd come across Mars Volta before, but this track does have me convinced - the dark sound and harmonies creating such a sad feeling it sets up everything well. It's beautiful in how it's put together, with other influences working just as strongly with this composition. It's bizarre at times, but it works.
The nine hundred and thirty-sixth song: Through The Wire - Kanye West
It's odd to have a song about a car accident, jaw surgery and all that involves - and not something you'd expect from the modern Kanye West (or what moniker he goes by now). It's a decent rap track, but not the direction that works for me - the lyrics are more interesting than the music here.
The nine hundred and thirty-seventh song: 7 Nation Army - The White Stripes
This is a track where there's a lot of depth in simplicity - the music is sparse, the lyrics simple but it all creates a clear, strong song with an incredibly engaging riff that suits the message and theming of the song and lyrics.
The nine hundred and thirty-eighth song: Fix Up, Look Sharp - Dizzee Rascal
Dizzee Rascal's sound has always felt a bit unique, a clear throwback to an earlier direction I've come across before. It doesn't feel like it fits the way he's trying to be serious in his lyrics, but his identity is clearly through this song. The heavy drum beat adds to the aggression of the song. On the whole the hooks work, but I don't think the combination ultimately works for me.
The nine hundred and thirty-ninth song: Crazy in Love - Beyonce
Beyonce's solo debut album is topped by this single, her first collaboration with Jay-Z, a power couple that has persisted for a long time. I'm not sure the rap verse works best here, but her polished vocals and the dance beat of this track work well to create a perfectly polished R&B track that would start a massive legacy.