100 TRACKS OF THE DECADE

 

We've already shared our Albums Of The Decade. Now it's time to list the 100 best tracks of the noughties, as compiled by a jury made up of NME critics.

Disagree with our choices? You can vote your own favourite tracks to the top in our Tracks Of The Decade Readers' List - and let us know what you think by piling into the debate over on the NME office blog.

NME's 100 Tracks Of The Decade was written by Tim Chester, Jamie Fullerton, Luke Lewis, David Moynihan, Hamish MacBain, James McMahon, Emily Mackay, Ash Dosanjh, Ben Patashnik, Alan Woodhouse, Martin Robinson, Matt Wilkinson.

 
 
 
 

A firm live favourite with Scream fans that is often played at lightning velocity

Bobby Gillespie has long been vocal about his belief in “high energy rock’n’roll” of the type popularised by the likes of The Stooges or MC5. On this – the final single to be released by Creation Records, fact fans – he out-noised even the most abrasive moments of his idols, thanks largely to some...

 
 
 

Gruff and co's finest, most fist-raising seven minutes

Super Furry Animals' greatest song amalgamated all their biggest strengths (slow but anthemic melodies, fist-punch choruses and techno bleep-outs) into a seven-minute wonder vastly more magic than the sum of its parts. Cian Ciaran, the dance expert in the band, built a pupil-dilating intro that built until – when played live – the band would cut in with the instruments, anthemic harmonica heralding a career...

 
 
 

The precursor to 'Youth And Young Manhood' showed KOL's true colours

As introductions go, Kings Of Leon's paean to the plights of prostitution told you everything you needed to know about the band. Four hickey rabblerousers fresh from ma's farm in the deep south and with a penchant for three minute guttural blues pop; it's as close to the Southern Strokes as they ever managed. Deftly produced, Caleb Followill's scream at...

 
 
 

Short and belligerent introduction from the Aussie coulda-beens

The debut single proper from The Vines propelled Craig Nicholls and co to instant stardom in 2002. Clocking in at just one minute 34 seconds, it remains as instantly infectious now as it did upon its release. But while Nicholls' sneering vocal shows him at his nonchalant best, it's Rob Schnapf's clean-as-a-whistle production that's really clever. The man...

 
 
 

Dance-guitar tune with a secret history stretching back to '70s prog

Before their obsessions with carnival rhythms and cowbells really took off, Friendly Fires had this 2007 single to propel them skywards. What's it about? Well, basically, moving to Paris and going clubbing forever. It's that simple. But more than anything, it proved that guitar bands in the noughties could 'do dance' credibly (or should that be the other way...

 
 
 

Indie's self-proclaimed Rimbaud and Verlaine come up trumps on solo single

It seems strange to think of it now, but when Pete Doherty released 'For Lovers' in 2003 it seemed genuinely different and exciting. Up until then, he was best known for being a podgy Julian Casablancas wannabe with a penchant for talking rubbish in interviews. But 'For Lovers' changed everything. Most of all, it made people outside

 
 
 

Grim tales from the city, but they sound so sweet

As genial and comforting as a friend’s arm round your shoulder on the night bus home as you weep into your chips, ‘Sheila’ is the male counterpart to Lily Allen’s 'LDN' – smart, warm magpie pop that could only have been made in the capital. The gentle old-school beats and the romanticism of Jamie Treays’ melody make it more than token ‘urban...

 
 
 

Pete Doherty proves there's life after The Libertines

"What became of forever?" Pete Doherty asked at the tail end of The Libertines career. Here, he gave the world (and Carl Barat) his answer. How deliciously potent a message it must have been for Doherty, who by the song's release in 2005 was revelling – like a true Libertine – in the ludicrousness of his own self-propagated soap opera. Or, of course, it...

 
 
 

Classic neck-scarves-and-intrigue indie pop

Oh, but the girl couldn’t play guitar! Shut up. Time will vindicate believers in one of the funniest, smartest, most missed indie bands this country’s produced in years. ‘Giddy Stratospheres’, in its original Angular Records version, was probably their finest movement, a moody, shambling thing that was about five per cent aptitude and 95 per cent attitude technically speaking, but was perfect in its...

 
 
 

The darkest of heartbreak and the richest of voices

Rehab had the one-liner bellylaugh, but it was the title track to Amy Winehouse’s second album that really proved its depth and worth. Hard faced and broken-souled, its knowing wallowing spoke to anyone who’d ever had a bunnyboiler moment. It smoothly chronicled the lowest of lows (drawing on Winehouse’s first break-up with Blake Fielder-Civil) with...

 
 
 
 
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