Help decide the truly worthy number 1 song of all times forever and now of Tannenbaum. Ta.

individual write-ups or sb

^what is meaning, this?

l0u1s jagg3r's 23 Best Songs Of The Decade!

Yes. I will do a narrative. It will take a me a while, but I will do it.

I have only knowingly heard 3 of these and of them, I vote Pete Rock.

i like 'Miura' but always felt there was too much build for not enough release if you know what i mean.

favourite 5 out of these: Parrish, MAC, Jones, Cherelle, Kante

I've made a Spotify playlist of 21 of the 28 songs. You Tube links for all coming up with the some elaboration.

http://open.spotify.com/user/emailnp/playlist/3CbhJGTCEKxHettmnVG37b

I love "O Superman" but I cannot imagine losing my shit to it.

voted cherrelle

Voted Bam Bam.

So far it's Rick James

I like a lot of these songs, there isn't one jumping out as being superlative to the others.

I like a lot of these songs...

^^^ This. It's a cruel poll that makes me choose between "Radioactivity" and "The Big Payback." (There's a discussion somewhere hereabouts which postulates that Kraftwerk and JB have been the two biggest influences on music since whenever...)

I'm splitting the difference (or at least that's the way I hear it) and voting "Genius Of Love."

I'll hold my vote for the YouTube links, since I'm not familiar with 90% of these. As of right now, I'm partial to the Talking Heads song though.

Is there anyway to add an entry to the poll? I forgot to include Suicide "Diamonds, Furcoats, Champagne" - massive boob!!

Funalogue sounds so insane to me now!!

Naw options can't be added to polls once they have been born.

Okay, here comes the rambling, defense my selection. Please off your comments until I get to the end, just so that the narrative is uninterrupted.

I'm doing each track as a seperate post 'cos having probs with

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After The Fire "Der Kommissar"

The first clip is the actual video, but the sound quality of the second clip is superior, so I'd turn the sound down on the first and watch whilst listening to the second.

https://www.youtube.com/watch?v=Guvo7gUdUnE

https://www.youtube.com/watch?v=rAiSkaqDt6o

Der Kommissar is German for The Commissioner/Police Captain. There was some TV show on German TV in the 70s called Der Kommissar which was like a German "The Professionals" Anyway this is actually a cover of the Falco song, which had the bracketed adjunct to the title: "(Rap That)" in case you were wondering what style of vocalising Falco was attempting between choruses.

The After the Fire version is far superior due to the fact that rapping in English always trumps rapping in most other languages (Japanese and Spanish excepted). As far as I know their version is pretty faithful English translation of Falco's German.

After The Fire were rock/new wave band (1976-1984ish) and in their time one of the first to make a synth the lead instrument in the band. This rocks my socks: the disco-ey barrow boy "Cha! Cha! Cha! Cha!" But before that the synthbass - fatsynthbassline - then the sweet guitar lick (short and funky) and three note keys before the first verse/rap. One the finest examples of white boy funk. The rap section always makes me think of Malcolm MacLaren's "Double Dutch" but this was an entire year before Malcolm MacLaren "discovered" the Bronx. When I was going through an art-funk/avant-funk phase this was THE song.

Azari & III "Hungry For The Power"

https://www.youtube.com/watch?v=7r6OUj87wPA

Holy fuck! Have you seen this video?! Its awesome, dudes! I love the cannibalism ending!

Don't know too much about these dudes, but they're fairly new. I was mega-disappointed when research revealed that the two magnetic black dudes aren't actually Azari & III. The black dudes are Fritz Helder (with the long hair / wig) who's in a band called Fritz Helder and The Phantoms.

The other guy is a Rwandan emigre in Toronto called Cedric Gasiada, who also sings on another (and more straight up classic house/disco) song called "Reckless With Your Love"

Azari & III - the producers / beat makers - are the white dudes in the video. I don't know why I was so gutted, but I was. I want more house producers to be more extrovert, making and frontin' their music, like Green Velvet used to do.

This is great - it nails so, so perfectly the edgy nervousness I would feel at the start of night before heading out to a new club in an unfamiliar location (especially when clubbing in foreign countries), it perfectly distills the kicks, claps, hi-hats, drum patterns and synth sounds of an era (1984 to 1993 - basically all my teenage years and first forays to house/techno clubs) complete with house diva vocals.

AND I LOVE the dark, raspy proclamations "Crazy For Your Love / Never is NOt Enough" and "Just One Push of The Button / A Taste of Desire" - harking back to the vocals in mid-to-lates 80s house classics like Phuture's We Are Phuture

Maybe warehouse soundsystems back then demanded that vocals be either soaring soulful or low-octave?

Oh, what I wanted to say was it perfectly distills the kicks, claps, hi-hats, drum patterns and synth sounds of 80s electro, early house, the vestiges of Italo influence and proto-techno trax, and yet its totally a pop song! No easy feat.

These dudes are all from Toronto, I think.

Bam Bam "Where's Your Child"

https://www.youtube.com/watch?v=JhZU5a72HJA

LOLz - the first video that comes up on YouTube has a Sims/Second Life bikini girl jackin' to this! Actually, she's not really jackin' and its get a bit annoying to watch after a while. I suggest you start the song again, close you eyes, turn it up.

From the off this is truly spooked-out house music: the banshee, the massive kick drum, and again, the dark, menancing, raspy vocals: "Where's Your Child? Do You Know? Look Around. No where to be found (ominous laughter)," the sound of glass shattering and by now the Boogeyman is rising over the heads of your sleeping parents, to drag them to hell for your acid-house sins.

Of all the great, great acid house records out there its either this or Ecstasy Club "Jesus Loves The Acid," that once I actually got to hear these in clubs some six years after acid-house/summer of love, actually delivered more powerfully than all others the trippy/tracky goodness of 808 + 303.

Bam Bam wins due to the context - the an extra element of turning tabloid horror stories of "the acid craze" on itself and making a cautionary tale for raver's parents - encapsulated forever in this song, as a reminder how revolutionary and socially significant AND shocking this music was.

"No one likes to be left alone. Especially when they don't know right from wrong. Parents, where's your child? You're Allll My Children Now.... (ominous laughter)"

https://www.youtube.com/watch?v=dHn9dngDQ4g

Chaz was the guy on keys and guitar in Ian Dury's band. He also was the guy that brought DA FUNK to The Blockheads. This is his finest work, showcasing that he understands "The One"; musically its multilayered, but a tight-as-funk guitar lick and steady bass grooving underpin pure disco-pop golden good times.

There are many reasons to respect Chaz - this song was the biggest dance hit in 1982/Billboard #1 for six weeks, Quincy Jones covered the B-side of this single, he looks cool, etc etc. - but what makes Chaz and "Glad To Know You" so, so, so great (and always makes me really happy) are the cutesey lyrics.

He's like the Aesop of (again early 80s white boys) disco/funk, telling you via stories about animals enduring some difficult shit before getting eaten, but still maintaining there sense of self and dignity to introduce themselves to their carnivorous new acquaintance. I think the moral of the story here is that vegetarians will probably be able to funk for longer than the rest of us.

Here's a sample lyric:
We rest and kissed and talked and strolled.
A very precious hill
Said knife and fork to sausage roll:
"It's pinky in the middle"
And thus it seems come rain and shine,
The patience still unfolds
Said the pike upon the Angler's line:
"I wish that I could talk"

I wish that I could talk
Glad to know you, and you're very welcome
Pleased to meet you

There's a good Todd Terje mix out there for the beardos

Cherelle "I Didn't Mean To Turn You On"

https://www.youtube.com/watch?v=isoZ2h2BE-0

I once had dream where I met Jay-Z by a grassy river bank. He let me use his wi-fi, (I'm not sure how the wi-fi was there, but it was there) so that I could connect to the interwebs on my laptop) Hov and I then talked about our shared love of Cherelle's "I Didn't Mean To Turn You On"

IMHO this is easily Jam & Lewis' best production work. Robert Palmer covered it exemplary style, add a obviously masculine snarl to it.

But Jam & Lewis, dudes! They actually go wild with their production on this.

Its all there: the polyphonic keyboard/synth, the 808 drums and this HUGE sounding bassline which is sublimely deployed very, very sparingly.

There is Soooooo Soooo much Spaaaace in this song!!

And thats one reason why its awesome. The space: once you get into the initial groove, the thrill is in anticipating what you'll hear next. For the first half of the song, you only get to hear the bass like every 18 bars and then just when the bass fills out the song it stops. Timpani rolls. Jam & Lewis proceed to wig out on electric keys, the beat disappears, the backward vocals come in, the bass is back for a few seconds then gone again, the drums cresecendo.

The whole thing is a master plan in give and take, anticipation building with the sparest of sound pallette. The funkiest minimal music I have ever heard.

Jam & Lewis were in The Time with Prince. Gods!

The second reason its awesome, is that its a cracking song, and subject matter itself makes it kinda sweet: the girl apologising for being well, turning you on. Cherelle does a great job on the vocals.

Daniel Wang "24 To Vector Z"

https://www.youtube.com/watch?v=QKHbRXhLaS4

That bassline! Spacey nu-disco/robodisco - rocks the floor. There's a large part of an ILM thread arguing over Wang vs Geist.

Fela Kuti "Sorrow, Tears and Blood"

https://www.youtube.com/watch?v=hjFJaoPfnZ0

Again, with all the great, great afrobeat records outhere - hell, with all the great Fela stuff out there - I choose this. It was the first Fela track that I heard and in terms of understanding his political significance, his rep, his plight, his spirit it was "Sorrow Tears and Blood" that helped me first/most and the one that I use to turn others onto Fela. And the song is fucking hypnotic, slowly brewing jam.

This is interesting: Sorrow Tears and Blood (1977) accurately depicts the trail left in the wake of the February 18, 1977, raid by 1,000 armed Nigerian army men on Fela Kuti and his Kalakuta republic. In keeping with the format upheld on a majority of Kuti's long-players, this disc contains a pair of extended works, featuring one title per LP side. In contrast to the hard-edged and aggressive Afro-funk that Kuti and his Africa 70 became synonymous with, both the A-side title track and B-side, "Colonial Mentality," are seemingly staid, in light -- or perhaps because -- of the cruel state-sponsored attacks that he and his extended family suffered. "Sorrow Tears and Blood" is neither a full-blown, up-tempo funk drone nor a somber dirge. The even-handed, mid-tempo groove trots along at a steady pace and features some comparatively sedate sax work from Kuti. Even the instrumental introduction -- which has been known to clock in at over five minutes -- is reduced to well under three. His lyrics are starkly direct -- "Everybody run, run, run/Everybody scatter, scatter/Some people lost some bread/Some people just die" -- yet the emotive center is gone. Perhaps this is the result of fear, shellshock, or a combination of the two. Kuti's words, however, remain as indicting as ever: "Them leave sorrow, tears, and blood/Them regular trademark. Lindsay Planer, All Music Guide

Fleetwood Mac "Everywhere"

https://www.youtube.com/watch?v=aT9KfL3u3cE

'cos you know, you can rely on it anywhere to bring out hugs at ends of late night parties, etc. As soon as I hear it, I want to grab someone to hug, raise our clasped hands and wave them to the chorus and smile and wish I was drunk and it was summer. Fuck, without this song existing, I guarantee that people would actually never go home at the end of the night. Yeah, its that important. Your mum and dad and nan love it. Its the Mac! You all know this song. If you don't like it thats okay too.

Gal Costa & Caetano Veloso "Baby" ( the Portugese version > English version )

https://www.youtube.com/watch?v=RTUnRlW_rVE

Two Tropicalia greats, although this is actually a lot bossa. Caetano wrote it for Gal. Gal sang it. I heard it. Played to my boo. Made my moves. We love the song.

Grace Jones "Pull Up To The Bumper (Larry Levan mix)"

https://www.youtube.com/watch?v=XVa1T9N62hQ

Better sound/edit:
https://www.youtube.com/watch?v=Ee6pg95EmIM

How can you not bump to this? That bassline - Sly & Robbie

"Percussive frothy funk, knee-deep in sexual metaphor" “Pull up to my bumper baby/ And drive inbetween” The attraction in this case is less the instant/immediate thrills but more a long held admiration of the icon that is Grace, notwithstanding that this is one hellova jam, especially the longer Larry Levan mix. Basically, its the sex appeal, the amazonian stature of Grace (her vocals alone convey this); most times this song makes me horny and that in itself makes it a significant choice.

James Brown "The Big Payback"

https://www.youtube.com/watch?v=vsOmvSlPuys

Okay, there's been a lot of mentions of 'funk' and 'jams' so far, but those two words would be utterly meaningless if this song didn't exist.

This is the ultimate - the supreme - funk jam, you can sense the sweat on James Brown's brow. You can smell it, taste it, fuck - you can see it - funk oozing relentlessly through its entire seven and a half minutes. Revenge-themed pure gangsta parnoia ("I don't know karate / but I know ker-razay!!) has never been this hypnotic and epic.

The JBs kill it - those hits!! That so, so, so tight rhythm section - fuck machine-funk, these dudes were FUNK MACHINES! This song should be at least another seven minutes longer.

Joey Beltram "Energy Flash"

https://www.youtube.com/watch?v=PQfKFwa-jEY

The greatest techno track of all time. I'm just gonna quote Simon Reynolds here: with its radioactive bass-glow and pulsing loop riff, 'Energy Flash' sucks you into a miasmic maelstrom like nothing since the first acid house tracks. An insinuating whisper murmurs 'ecstasy' like a dealer in the murk.

I used to big into my techno, me, but the closest I've come lately to the big,hard thrills of 'Energy Flash' was probably some Justice or Gun'n'Bombs stuff.

(And truly I have no idea whats great in "big sounding" techno these days. I'm diggin on Actress and Redshape, but my attentions have been grabbed by the whole nu-disco-cosmic-house-minimal thing since the mid-90s)

Even when compared against equally formidable and template casting classics from the early 90s ('Energy Flash' competes with LFO 'LFO', Dave Clarke 'Wisdom To The Wise", Maurizio 'Lyot (Vainquier mix)' and Jeff Mills 'The Bells' all vie for my affections), Beltram suceeds in actually hoovering you up - literally.

Sonically, it sucks you in - that big fat dirty 'hazard alarm' sounding wave synth BuhWow Bwow, Bwow-Bwow/ BuhWow Bwow, Bwow-Bwow," the crashing cymbals, the phantom whispers; Its dark, serious in mood and purpose - proper techno. This isn't 'Strings of Life' chumps. There's no room or time for smiling here. Just fucking lurch to this motherfucker, makes shapes, lose your mind.

Shattering.

Jürgen Paape "So Weit Wie Noch Nie (Original mix)"

https://www.youtube.com/watch?v=KJOIpqJ2VqA

A slightly slower and longer and better version:
https://www.youtube.com/watch?v=f6JrvkDRYnY

It's pretty. It's romantic. Female singing, unlike male rapping, in German is actually very very sexy. It makes me want to soar high above clouds. The sound of the best kind of marshmallowey loved-up happiness.

There's a wholeILM thread discussing the vocals, and translating the lyrics to English:
the vocals on "so weit wie noch nie" by jurgen paape

Listening to the original from which the lyrics and harmony is lifted, Daliah Lavi's "Vielleicht schon morgen", I realise half the magic, the allure and sensuality is entirely down to the (identical) melody in which the lines 'Wir hören ein Singen im Raum / Wir machen aus Stunden ein Jahr / Und Mondschein aus unserem Haar / Wir fliegen so weit wie noch nie' are sung.

English: We hear singing in the room / We make out of hours a year / And moonlight out of our hair / We fly farther than ever before

This song melts me.

Kraftwerk "Radioactivity"

Original:
https://www.youtube.com/watch?v=eaScyfSHc-Y

The Mix: "One point five kilogram of plutonium make a nuclear bomb" version:
https://www.youtube.com/watch?v=kXD6Gtinvbc

Its not easy choosing your favourite Kraftwerk song of all time, but that's not how this selection works. These are songs that on every listen elicit the same emotions, and I would never push stop or fast-forward on.

"Radioactivity" in both its forms: the sublime electronic-folk music of the original, harking to the simple yet significant joys of radiowaves, open communication, the democratic promise of technology. This perhaps is the highest example of Kraftwerk's morality, their intellectual and sonic aesthetic.

And the later, beefed up version from "The Mix," the version that I've had the pleasure of hearing played live thrice now - and ergo, have lost my shit to thrice - actually made me weep when I first heard it live.

Sure, a few songs can make me sad, in sympathy with the sentiments within the music. Sure, many songs have served as mood enhancers to magnify a existing emotion. But, no other song has actually caught me by surprise like "Radioactivity" did and produced such mixed emotions and tears of joy, love of humanity, fear for our collective futures and sweet love for planet earth. And I don't even really have a position on nuclear energy or our nuclear future. If Kraftwerk say it's bad, I'm saying it's bad.

Even odder, it was the omnious vocoder voice that brought on the blubs. By the time the pulse of radio signals and that deep, throbbing, stuttered namecall of nuclear reactor disaster sites was being boomed across the crowd, I was in full on floods.

The second clip above has Florain in it, who I'm sure we are all missing very much.

Laid Back "White Horse"

https://www.youtube.com/watch?v=I8j2ej5jqQw

The sound quality in the clip doesn't do it justice.

More white people avant-funk, which someone online somewhere described it as a "spooky, dirgelike, anti-drug riff," which it is. It's also a dancefloor killer. That delicious low-slung bassline, and mix of post-punk/post-disco, snapping electro-funk grooves custom built for close quartered 80s style shoulder-led stylings on the dancefloor (think Jeff Daniels dance to "Fame" in the film 'Something Wild')

There loads of pubs around called 'The White Horse' and each and every one makes me play this song in head. Its been buried deep in my psyche for the last 5 years, and is probably the song I play out most.

Laura Branigan / Raf "Self Control"

Laura Branigan version:
https://www.youtube.com/watch?v=Y0b_zo3puzc

Raf version:
https://www.youtube.com/watch?v=18-VNpTgANA

Like my thoughts in "So Weit Wie Noch Nie" above, that fact there was actually an older version (by Italian sensitive-stallion, Raf) to Laura Branigan's more famous recording, makes it apparent that the song's power entirely down to the melody. All it needs is the barest pulse of a Euro-pop beat. There's the kicking Italo bass-synth in both versions, with Laura's being a bit more up front with her amazingly dramatic, husky voice and the power guitar riff that introduces her recording.

In both, the verses are almost emotionally vacant in the way that they're sung; coldly European, (even though I always associate this song with warmer Meditterean climates - it probably the "Oh oh woah"s).

There are arguments put forward on Frank Kogan's blog that "Self Control" is basically Joy Division's "She's Lost Control" made more lurid, where she lives "among the creatures of the night," pacing the streets of her soul. Which makes some sense.

Laurie Anderson "O Superman (For Massenet)"

https://www.youtube.com/watch?v=vzYu88jIDYs

Yeah, its hard to imagine going crazy to this, but its utterly capitivating Intellectually and conceptually obviously heavy stuff, and before the internets and wikipedia made it easier to understand stuff, the content/context of 'O Superman' baffled me for so long.

I remember listening to it shortly after 9/11 and being terrified by a prescience the song has.... 'So hold me Mom/ In your long arms/ Your petrochemical arms/ Your military arms...' and "Cause when love is gone, there's always justice / And when justice is gone, there's always force / And when force is gone, there's always Mom" are just so doom-laden.

Linda Clifford "Runaway Love"

https://www.youtube.com/watch?v=2CeFGnb3oQQ

This disco number actually plays games with you, it's that clever. Its starts of all sweet, Linda humming into your ear. Then she pulls away toward the up-lit dance floor and you're in the middle of plush, red-velvet lined disco club in New York. And if you're a dude, be prepared to get a disco earful about why you're a worthless piece of shit. Linda don't need you. Hell, she wonders what she saw in your dweeby sel.

Its all about Linda's voice, the strings and the horns on this on. The rhythm section, the conga/bongo wig-out bit, both so great and keeping that funk/disco ball spinning. But the strings own this tune.

Her spoken ad-libbed conversation with you, just before the last third of the song, is THE sassiest of all female disco emancipation records.

you ain't gotta stay... and besides, you ain't got no money. You ain't never had no money. I'm the one with the money. Honey?! Huh. Now sit on that for a while..... Yeah, go ahead - I'll help you pack your things. Don't forget nothing. I want you to have no reason to come ringing my door bell no more...

All the while as she's asserting herself on your broke-ass, the conga wig-out is making your heart rate rise, the strings are starting to build and they keep building and building and the Jone Girls show up to make sure you give Linda no more grief. Linda gets right in your face goodbye / goodbye / you're a runaway love / you're a runaway love

This song makes me dance and respect women, and it totally pwns "I Will Survivor" in the disco 'Girl Power' stakes.

"I Will Survive" makes me hate women and men and anything else that likes it.

that medina green song is super classic

This is perhaps my favorite of these recent ego polls. The song selection is really cool. I'll have to take some time to listen to those songs I don't know and compare them to the rest but I already have a hard time picking from those I already love. It's always hard to pick the best song amongst such a different array of genres.

And just for the record, i think 'O Superman' is pretty well known and revered, and if I'm right I think it even made it to #1 or #2 on the UK pop charts back in the early 80's. So it's not really hard to imagine anyone going crazy for it.

yeah this is totally an ego poll, but everyone should do one. Inspite of being a pain in the ass, its been equally wonderful trying to convey why i love these songs so much.

I'd totally be into spending time on others' selections and casting votes.

And apologies of the ridiculous amount of typos and grammatical errors so far.

The rest of my narrative will be up by tomorrow morning (UK time)

Laurie Anderson "O Superman (For Massenet)" is a worthy number 1.

Man Parrish "Hip Hop Be Bop (Don't Stop)

https://www.youtube.com/watch?v=Bo_eaCDU8Q4

Bassline, bassline, bassline.

Medina Green & Mos Def "Crosstown Beef"

https://www.youtube.com/watch?v=K345El_Kb7w

For me, Mos Def has one the nicest voices in hip-hop. DCQ is in younger brother, and he shares Mos' skillz and a similar nasality in his voice. Thats like two Mos Defs for the price of one. Together they are Medina Green. Medina is the Asiatic name for Brooklyn.

The production is nice, nice with a Keni Burke sample. Lyrically the subject matter is some depressing-ish about beef and violent encounters among crews, and constantly having to watch your back.

The flow is almost conversational in pace, completely lacking any braggadocio or sense of threat. The characters a louche air; shiftyness and scheming as unavoidable aspects of the life in their neighbourhoods

Its hardcore hiphop, but not. I find it hard to find fault with anything in this song.

Metro Area "Miura"

https://www.youtube.com/watch?v=CNJ3PRqN5s0

Disco stripped back to its funk roots. The way its builds (in an almost too polite way) and only offers the smallest of peaks - At around the 4th and 5th minute is where it happens with 5 seconds of Philly style strings, and then Miura just getting back to its business. This trick makes me just play it on loop.

Today, I found out that there's a Stanton Warriors remix of Miura, and I almost threw up.

Mory Kante "Yeke Yeke"

https://www.youtube.com/watch?v=cIUD1Z3pU1g

I have no idea what he's singing about, but I try and sing along every time.

There's so much joy, happiness, fervour in this. Kante's voice, the kora harp and the backing singers all fighting for space and the propelling electric bass and horns charge the whole thing and give me power.

Pete Rock & C L Smooth "Straighten It Out"

https://www.youtube.com/watch?v=rGl0dRZnygw

My favourite track from my favourite hip-hop album. The album version rather any other version.

C L Smooth is up there with Rakim. Pete Rock is a soul brother and loves horn loops. For me, its that sweet guitar lick, and lolloping bassline and this verse:

Written by the c.l., produced by the p.r.
And add in any credit that you heard thus far
I start from scratch, cuz the bass line’s critical
Better than the original who first made it
But now you want to sue me, but fans never boo me

Rhythm & Sound with Jennifer Lara "Queen In My Empire"

https://www.youtube.com/watch?v=gOQECGcCR_g

Headphones don't to this any favours. You need to feel the bass massaging you in the ribs. The deepest of the deep. Obviously, anything produced by these guys is in an entire class of its own, and largely majestic. The ghostly echo space, the comforting dub bass, and Jennifer's voice (both strong and strident, soft and spectral) are like an enveloping duvet.

Possibly the one song that would work for me at anytime of day in any circumstance.

Rick James "Give It To Me Baby"

https://www.youtube.com/watch?v=JZh8fPKsOQc

Yeah, its derivative and James isn't a great singer but damn, if this song doesn't make me wish I was Rick James and lived in a raunchy Rick James universe of constant funk on the brain, in which hot ladies call you out on your funk fuelled shenanigans, and where the only word in dictionary is "funk"

Round Two feat Andy Caine "New Day (club mix)"

https://www.youtube.com/watch?v=K6utX65C3ow

Deep/Chicago influenced house music via Berlin Basic Channel = excellence.

And Andy Caine sounds so so sad and forlorn: the frustration at the position he finds himself, unable to understand why a relationship is over, is perfectly captured in the finest break-up song in house.

Suicide "Diamonds, Furcoats, Champagne"

I forgot to include this in the poll, but here's the video anyway:

https://www.youtube.com/watch?v=34nu225IX4E

Talking Heads "This Must Be The Place (Naive Melody)"

http://vids.myspace.com/index.cfm?fuseaction=vids.individual&videoid=7184596

I would fail miserably at describing how this song makes me feel, so here's what tigersushi and kristi wishart said:

"It’s a grown-up song that’s innocent and passionate and domestic and strange, all about finding someone you’re happy to settle down with. You’re amazed to find them and their amazed to find you and all you can do is sing about it."

"A real blues song structured around the classic idea of a return to an "heimat" that doesn't exist : "home is where I want to be / but I guess I am already there". Once again Talking Heads hit the perfect blend of spleen, party sounds and leftfield twists."

Tom Tom Club "Genius Of Love"

https://www.youtube.com/watch?v=v6OGy57tmEY

It is suggested that in order for a DJ to rock a party, they need to get the girls to dance, after which the boys and everyone else will follow. I play this song to get girls dance. I love singing along to the "james brooowwnn! james brooowwnn! james brooowwnn!" bit.

Its sweet yet funky, it has a cool girl singing about how cool her boyf is. It namechecks Smokey Robinson, Sly & Robbie and Kurtis Blow. It has weird noises in it (no, not the Japenese bit!). It takes it's time. There's no begining and there's no end

I probably would have voted Diamonds Fur Coat Champagne lolz.

Done.

Part *bump* and part shit: forgot this:

Duke Ellington & John Coltrane

https://www.youtube.com/watch?v=sR13ECD71xU

Maybe I should've let this run for a month : ( ?

So have you voted?

yep. of all those it is laurie for me. i am not so much into techno and stuff like that.

Almost feel I can't vote because there are so many tracks I love on here.

Bam Bam "Where's Your Child"
Mory Kante "Yeke Yeke"
Round Two feat Andy Caine "New Day (club mix)"
Tom Tom Club "Genius Of Love"

One of those ones probably

Automatic thread bump. This poll is closing tomorrow.

!

Automatic thread bump. This poll's results are now in.

i like your new favourite song

so it is written. so it shall be. give it to me baby.

its certainly got more mass appeal than the Man Parrish one I used to swear by

enjoyed reading this thread just now. thanks for doing this!

damn, I missed this thread. it is great