The 333 Best Pop Songs of the 2000s: #199

#199: "Things Have Changed" (2000) - Bob Dylan

Bob Dylan won his first Academy Award with this one (from the soundtrack to the The Wonder Boys), and the award was not only deserved, but it also served as a monument to his artistic resurgance over the past ten years, where his last three studio albums can be ranked near his mid '60s albums (Bringing It All Back Home, Hwy 61 Revisited, and Blonde on Blonde were all recorded--or at least released--one after the other, a consecutive three-album tour-de-force that only the Beatles and the Stones have ever matched) in terms of consistent excellence.

On this track, Dylan gives us his best lyrics in over ten years. He sings from the p.o.v. of a man whose distance from the world--a world he might soon be leaving--gives him a fresh perspective on the ridiculous nature of vanity and pomposity of the self-important artist (where he sees himself as being one once), the banality of chic causes and those who espouse them, and the importance of finding joy where one can when one can, 'cause folks, we're all doomed to die.

David Byrne said that this ain't no party and this ain't no disco and that there wasn't time for fooling around; Prince said that foolin' around is all we have left because the party's already over. Dylan listens to both his peers, and takes a little advice from both. He's gonna go ahead and dance like it's the apocalpyse, but he's not quite given up hope yet. It's not exactly the end of the world as he knows it; it's just the realization that he's not going to change the outcome, so he might as well have a little fun while he can.

And he does. And we do, too.

The 333 Best Pop Songs of the 2000s: #200

#200: "Underneath Your Clothes" (2001) - Shakira

The highest-selling Columbian artist of all time takes the Bangles' "Eternal Flame," mixes in the Tears for Fears' "Sowing in the Seeds of Love" during the bridge, adds her own very distinctive voice (never more distinctive than when singing English, where some of her vocals are are awkward, some of are nasal, some are pinched, and her typical melismatic phrasing is tempered through her uttering a [then] new language) and produces an almost endlessly fascinating production using a basic cookie-cutter formula.

And that's not to mention the goofy-yet-philosophically-complex lyrics she springles over the top, about the importance of the flesh as not only gateway to the soul, but also as tatamount to existance as the soul: i.e., the surface as depth, whereby our tales and virtues are written--and depending on what culture you're co-opping, this could be meant in both the figurative and literal sense. There's more to the story than meets-the-eye, but most of us don't take the time to observe that the depth of the story is often what indeed does meet the eye...it's just that we don't notice. Aesthetics--if finely enough wroght--can equal substance--are we astute enough to judge? Shakira is.

The Countdown Capsule, Part III: 249-201

133 down, 200 to go! Here's 249-201:

#249: "Sour Cherry" - The Kills
#248: "Ruby" - Troy Campbell
#247: "Honey" - Erykah Badu
#246: "Trouble" - Ray LaMontagne
#245: "Breakfast Club" - Z-Trip
#244: "Sugar (Gimme Some)" - Trick Daddy
#243: "Nothin' No" - David Vandervelde
#242: "All the Way Down" - Oakley Hall
#241: "Dance Me In" - Sons & Daughters
#240: "Devil's Waitin'" - Black Rebel Motorcycle Club
#239: "Locust Street" - The Black Crowes
#238: "I'm Outta Love" - Anastasia
#237: "Georgie Buck" - Carolina Chocolate Drops
#236: "Bible Black Starless Sky" - Andy Fairweather Low
#235: "Next to Me" - The Subdudes
#234: "Wilson Pickett" - Tim Krekel Orchestra
#233: "Fix Up, Look Sharp" - Dizzy Rascal
#232: "Up All Night" - El-P
#231: "Kick, Push" - Lupe Fiasco
#230: "Whenever, Wherever" - Shakira
#229: "Castanets" - Alejandro Escovedo
#228: "Angel of Sin" - Hank Williams III
#227: "What I've Been Meaning to Say" - Merle Haggard
#226: "100 Days, 100 Nights" - Sharon Jones & the Dap-Kings
#225: "In the Late Night Hour" - Ice Cube
#224: "Love of My Life (An Ode to Hip-Hop)" - Erykah Badu
#223: "Anyone Else but You" - The Moldy Peaches
#222: "Big Wheel" - Tori Amos
#221: "The Widow" - The Mars Volta
#220: "Engrish Bwudd" - Man Man
#219: "It Overtakes Me (Single Version)" - The Flaming Lips
#218: "The Way It Is" - Nicole Atkins
#217: "The Christmas Song" - The Raveonettes
#216: "Who's Gonna Save My Soul" - Gnarls Barkely
#215: "Jerusalem" - Steve Earle
#214: "A Lot of Good Ones Gone" - Peter Wolf
#213: "Before I Grow Too Old (Silver & Gold)" - Joe Strummer & The Mescaleros
#212: "Keep Me in Your Heart" - Warren Zevon
#211: "Move Your Feet" - JuniorSenior
#210: "I'll Remember You Long" - Golden Animals
#209: "God Put a Smile on Your Face" - Mark Ronson
#208: "Postcards from Italy" - Beirut
#207: "Cape Cod Kwassa Kwassa" - Vampire Weekend
#206: "Senegal Fast Food" - Amadou & Mariam
#205: "Bulgarian Chicks" - Balkan Beat Box featuring Vlada Tomova & M. Alexiava
#204: "Ultimate" - Gogol Bordello
#203: "Sheepdog" - Mando Diao
#202: "One Mic" - Nas
#201: "Deja Vu" - Beyonce featuring Jay-Z

The list from 250-300 can be found here.
The list from 301-333 can be found here.

Thoughts anyone? Anyone? Bueller? Bueller?

The 333 Best Pop Songs of the 2000s: #201

#201: "Deja-Vu" (2006) - Beyonce featuring Jay-Z

And speaking of Jay-Z...

This contemporary Motown-style song starts with Beyonce calling out for "bass," as she understands (as Aaron Copland did) that music starts with rhythm. She then calls for the "808" (short for the Roland 808, the drum machine that gives modern hip-hop its thump), which shows us that Beyonce's got a mind out for her brothas, bumpin' down the street, propulsed by the bass and 808 and live drums and jazz horns in this song. She sings for the sistas, though, while Jay-Z raps for--well, probably for himself, but that's okay, because Hova is only trying to top himself here, and in doing so, keep Beyonce at his side for just a minute more.

Beyonce: Deja Vu
by ocima7

The 333 Best Pop Songs of the 2000s: #202

#202: "One Mic" (2001) - Nas

John Lennon or Paul McCartney? LL Cool J or Kool Moe Dee? Eminem or Moby? Kid Rock or Radiohead? Liam Gallagher or Robbie Williams? David Lee Roth or Sammy Hagar? Biggie or TuPac? Rock and Rap (and soul, too) have a long history of long-running feuds, often resulting in diatribes of venom and vit on vinyl, instigating even more tirades in the form of answer record after answer record (or public media feud, but I prefer the latter, as the music's better). The Brooklyn born-and-bred gangster rapper Nas is no stranger to professional feuds, as for close to ten years his sparring partner was Jay-Z (the two have since amicably put a stop to it). I mention this here to highlight the difference between the two--the musical difference.

Jay-Z's music is much more poppier than Nas's--and I'm not using that adjective as a pejorative. Jigga has--up to this point in time--the strongest ear for hooks of any one rapper in the history of the business (Kanya West is quickly gaining on him, but Kanye's forte is production anyway; he's nowhere near Jigga--or most other mainstream rappers--in terms of verbal skill and flow and cadence and voice), and therefore, he's had many more singles cross over into the mainstream market (think about it: when's the last time you heard Nas on pop radio?). He understands the contemporary market better than any other rapper ever has, and he likes to have a little bit of fun on record. He's no sell-out, though; he's just a great pop musician who happens to rap really well.

Jay-Z has oft been accused, though, of not being street enough (especially on his latter records), of his music not sounding tough enough. Nas has been one of Jigga's prime accusers (though by no means the only one), and listeners often pay him (Nas) creedence as Nas's music--at least on the Billboard Rap Charts (and on the album charts as well)--has been the only rapper to seriously challenge Hova's supremacy (up until very recently, when Lil' Wayne came along). Nas's records have (mostly) been lauded by critics, and his lyrics are as tough as they come. His music is too, though, and for some, that's a plus; however, Nas has made very little concession to the pop markets, and his music is often not just muscular tough, but thick and (sometimes) inscrutable as well, with the hooks minimal, subtle and nasty, sunk deep within the grooves, and often the only hook is in the verbal cadence, as Nas seems to be a very proud artist, one not willing to let a pop hook overshadow his message or his narrative or the serious nature of his music.

This lack of audio accessibility makes many of Nas's individual records lousy singles; the narratives are often unforgiving, offering either violence, violent fantasy, or inner-city blues with only a nascent ray of hope. These records aren't immediate; they don't offer easy inroads, and they're difficult to like (though not difficult to appreciate, especially upon multiple listens, which most of them require). In Nas's world, Mighty Casey is seemingly always about to strike out; there's little joy in his Mudville, and that's even before the last pitch is thrown. He's rap's Richard Wright.

Most of Nas's music is closest in kin to latter-day Sly and the Family Stone, whose records were swamped with tempered pessimism and a miasma of drug refences and thick-as-molasses production values. The lyrics, though, were honest and hard-hitting (and the music reflected this). Nas's records are similar in those aspects. On each of his albums, 90% of the tracks are album cuts in-and-of themselves. They don't reside in singles charts--at least, not in my world they don't. They just don't fit (and that's not a knock, either). They reside elsewhere. Thus, this single represents Nas's only showing on this chart. Just thought I'd explain why.

Here, in "One Mic," Nas offers us one of his two most positive records (and one of his two or three most accessible, and one of his two-or-three catchiest), but that optimism comes at a price: realization that success will not come easily, and that his inner rage will forever build, and that life in the inner city is never getting better, and that if he ever forgets his saving grace, he'll be dead. Nas also gives us a brilliantly produced and structured song: the matching crescendo of volume and speed in music and voice is masterful, especially when Nas reaches his calming epiphany by religiously chanting his mantra: "All I need is one mic." The chaos and clatter stop for his recitation, the sounds of (near) silence replicating the peace he's found.

Nas may not be the hitmaster (or maybe even rapper) Jay-Z is, but that doesn't mean he's not Jigga's equal. In many ways, he's that and more.

The 333 Best Pop Songs of the 2000s: #203

#203: "Sheepdog" (2003) - Mando Diao

Had so busy a weekend that I almost let one slip in late; tis not the midnight hour yet, so I still have time to drop a line 'fore Mr. Pickett takes me tumbling down.

But let's make it brief, shall we?

The lyrics for this Swedish band's best song (almost said hit; it wasn't--never charted anywhere. Go figure) don't make much sense, but then again, love often doesn't either. What does make sense is singer Bjorn Dixgard's breathless scat-and-scream pleading, the drummer's restless rolling propulsion, and Daniel Haglund's fantastic throwback organ. Yeah yeah yeah!

Pigskin Prognostications, Championship Games

Cardinals 24, Eagles 21 - I've read most of the predictions, and most make this one an easy victory for Philly, most likely based on Philly's thrashing of Arizona a few weeks ago. However, much like the Colts three years ago when they won the Super Bowl, Arizona's defense is peaking at the right time, stopping the run and running it much more then they did during the regular season, playing more ball control. I've heard about the Westbrook factor, but if the Redbirds can bottle up Michael Turner and DeAngelo Williams, then they should be able to contain Westbrook, too. What worries me--'cause I'm a Cardinals fan--is the humungous Philly O-line, the biggest in the league. Arizona's D-line is built more for mauling than it is for jetting around the edges, and I think McNabb will have ample time to throw. If Arizona can bump Philly's receivers at the line, get them off their routes, then I think Arizona's zone schemes can work, 'cause Philly's receivers are rather smallish, and they can be jammed.

On the other side of the ball, Warner's faced Jim Johnson's defense before this year, and I don't think he'll have the same problems, as surely--surely--Arizona will keep a back (or two) to protect Warner on his throws, and if Warner has time, he'll produce more than McNabb will, as Arizona's receivers are much better at running precise routes and catching the ball than Philly's.
I don't think Arizona will run the ball well, but I do think they'll run it consistently--or at least they should, otherwise the Eagles will kill Warner. I think Arizona, though, learned its lesson from its last loss to Philly, and I think the Redbirds will prevail.

Steelers 20, Ravens 16 - If both teams play at about the same level of intensity, discipline, and aptitude this week as they did last, then Pittsburgh will slaughter Baltimore, as Baltimore's offense played an ug-ly game against Tennessee--and the Steeler's are better defensively than Tennessee. Maybe offensively, too. I think, though, that Baltimore improves its offense, and I think they'll cause a couple of turnovers, with Ed Reed returning one for a score, but I really don't see them scoring an offensive touchdown against Pittsburgh (not unless Pitssburgh gives it to 'em in scoring territory), as the Chargers had one good drive against Pittsburgh's starters--and that was the very first one. Heck, San Diego only had the ball once during the third quarter...ONCE! San Diego's offense is much better than Baltimore's.

As far as the Pittsburgh offense--Fast Willie Parker's no longer as fast as he used to be, so he won't gash Baltimore's defense the way Chris Johnson did (before he got hurt), but he can move it well enough to keep Reed and Jim Leonhard close to the line for Roethlisberger to be able to thread the zone or get some single-coverage a few times so that Holmes and Washington--faster than the Ravens' CBs--can fly loose. A think a few big plays is all Pittsburgh will need.

Fifth Down, Divisional Playoffs

The ol' Jake Plummer jersey served me well; the Dan Fouts jersey I got for Christmas did not.

Titans 21, Ravens 17 - Loss. Kyle Vanden Bosch and Albert Haynesworth should be well rested, which should help keep the Tennessee D-line fresh throughout the game. However, Baltimore doesn't live off its offense (though it's better than it has been since its Super Bowl days), so Tennessee shutting 'em down shouldn't matter much. What will matter is how well Baltimore's D handles Tennessee's offense. Tennessee's offense is much more traditional than Miami's, so Baltimore should have an easy time planning against it; stopping it, however, is a different matter, as Titan RB Chris Johnson is the big home-run hitter that Miami didn't have. Like Adrian Peterson, he'll explode at least once for a touchdown (or for monster yardage). Unlike Minnesota, Tennessee's got an experienced quarterback who's been efficient throwing the ball, and--unlike Miami--Tennessee's got a quarterback that can launch it downfield and not underthrow his receivers (as much as I like Pennington, his underthrows killed the Fish today), and Collin's efficiency, experience, and rocket arm are why I like Tennessee in this one. Chris Johnson performed great for Tennessee...until he got hurt and didn't return in the second half. Kerry Collins threw the ball deep, and he threw it well. He also turned it over. As did Alge Crumpler. On Baltimore's nine. Ouch. Total turnovers: Tennessee 3, Baltimore 0. That stat, plus two-missed field goals, in the playoffs, against the Baltimore D....well...Actual score: Ravens 13, Titans 10.

Panthers 27, Cardinals 24 - Loss. Carolina beat Arizona earlier this year, but it was close; I expect this one to be close, too. Carolina's DeShaun Williams' running style is somewhat similar to what Atlanta runs in that Williams thrives off the cut-back. If Arizona can manage to maintain the gaps against Williams--just like they did against Turner--while remembering to attack and pursue the other great Carolina RB (Jonathan Stewart, who's much more of cut-once bruiser), then they'll likely win. Of course, over the last half of the season, teams have been trying to stop the two-headed panther, and they haven't been very successful. You know what? There was no need for Arizona to focus on stopping Carolina's running game when Carolina's quarterback turns it over six times. On his birthday, too. Gotta hurt. Actual score: Cardinals 33, Panthers 13.

Giants 24, Eagles 17 - Loss. Eli Manning is much better than Tavaris Jackson. Much better. He wasn't better than Philly's D, though, who actually played to stop the run and dared Eli to beat them; without a sure-handed deep threat, he couldn't, and he threw into too many zones. Actual score: Eagles 23, Giants 11.

Steelers 28, Chargers 14 - Win. Let's see how San Diego fares against this defense. Not too well. Actual score: Steelers 35, Chargers 24.