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Released: May 1999

Featuring perhaps the most famous dance intro of recent history, this track has earned The Chemical Brothers the huge festival slots they're continually rewarded with. Starting with a menacing, trance laden groove and building to an absolute dance stomper, there's not a person over the age of 15 who doesn't know what's coming when they hear the first vocoded "Hey boy" filter through the speakers. (TG)


Released: June 2010

The kind of genius Bethany Cosentino displayed was a deceptively simple one: classic songwriting tropes featuring an undercurrent of grunge, brought together all with the endless Californian summer shimmer of Brian Wilson. ‘Boyfriend’ was part teenage longing and part womanly angst (“She’s prettier and skinnier, she got a college degree,”), whilst the guitars chimed together like Phil Spector’s...


Released: August 1997

For an album as near perfect as 'The Colour And The Shape' to have a standout track is pretty astounding, but 'Everlong' is more than worthy of such an accolade. The gentle strums of the first few seconds give way to a bruising riff and a chorus that catapulted Dave Grohl's boys from a curiosity into an arena filling priority. They close with this most nights and, even if its 15 years since it came out, it’s...


Released: November 2008

There aren’t many great songs about platonic male-female friendship, but this is one. Taking a dreamy, presumably mashed-up chat as lyrical source matter, singer Ed Macfarlane perfectly captures that mood of late-night, saucer-eyed scheming: “I’ll find you that French boy, you’ll find me that French girl”, he vows. “I promise, I’m on it”. Yeah, right. You know it’ll all be forgotten...


Released: July 2006

Of course TV On The Radio are never short of a tune or two – they’ve got great credit at the global ideas bank and never fail to turn out something interesting – and their sophomore 9/10 album ‘Return To Cookie Mountain’ was packed full of aural joy, from ‘I Was A Lover’ to ‘Province’, but somehow ‘Wolf Like Me’ is the track that sums them up like no other. Pounding at your subconscious’...


Released: November 1999

Surely the best and most successful song to reference a Nazi symbol in relation to what singer Bobby Gillespie called “American international terrorism”. Not the sexiest subject matter, but when you ally it to such a ferocious sonic assault as the band did than you’ve got a bit of a winner on your hands. It was the first single to be released from the group’s ‘XTRMNTR’, whose pummeling, pile-driving...


Released: November 2006

Another quiet, introspective acoustic number from the band that softly reflects on kitchen sink British life… nah, course not. This is Muse. So this is six minutes of intergalactic horseplay that gallops on enormo-riffs, bombastic vocals, sci-fi western imagery and all manner of other ideas from Matt’s infinite headspace. It also half-inches a riff from his dad’s old band, The Tornados (‘Telstar’). Their...


Released: August 2009

Although it climbed the chart slowly, and only hit the Top 40 for a fortnight, Mumford’s debut single from their debut album is perhaps their best known, and certainly their best. If anyone had told us in spring 2009 we’d be bellowing along in unison to a banjo-plucked stomper about regrets in relationships we’d have laughed you all the way to Johnny Borrell’s gaff. But what do you know, sometimes the best...


Released: October 2007

Inextricably linked to Chris Cunningham's horrific, genetically mutated 'kids' in the video, 'Come To Daddy''s thrash pop gloom was one part ghost train camp ("COME!TO!DADDY!") and many parts compressed, lo-fi, drum and bass riffing. Inventive as always, Richard D James admitted he composed it whilst listening to some 'crap death metal', but in fact its brilliance was how it morphed genre into genre like a...


Released: June 2008

OK, it’s possible this song might have been overplayed just a touch. Elbow’s stirring, carpe diem ode to long-term love has been used to inject gravitas into everything from the Beijing Olympics to the British Parking Awards (probably). But it’d take a heart of flint not to be moved by Guy Garvey’s tender and truthful observational eye (“Shaking off a heavy one”).

Plus, the song is...

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