“I can’t believe I wrote it, it’s going to blow people away,” said Noel at the time, though he later admitted it wasn’t his finest hour. (AW). In a world in which everyone and their dog was doing the 80s, Elly Jackson and Ben Langmaid pulled off the feat of making something which sounded attached to that decade but which also sounded authentic and effortless. You almost don’t notice the music shifting uneasily between post-punk clatter and spaced-out orchestration. As Beyonce’s opening gambit it was accomplished, as her first single post-Destiny’s Child (a group known for their innovative run of singles in the R’n’B genre) it was jaw dropping. Memoir Records released 100 Years Ago: The Songs They Sang Last Century's Eve a few weeks before New Year's Eve 1999. Taking all the joyful exuberance of classic Motown and jamming his tongue as far into his cheek as it would go, Green created a worldwide smash that’s still on most radio stations’ playlists over a year after it first came out. It also half-inches a riff from his dad’s old band, The Tornados (‘Telstar’). Somehow it manages to make everyone a New Yorker, if only for a few minutes. Coxon had left and an army of new bands – Strokes, White Stripes, Libs – were finally threatening to make the old Britpop guard look utterly redundant. It wouldn’t last of course, but for one album (‘One Touch’) and especially this single, they felt untouched by the machinations inside that notoriously wonky vessel that is the girl band. I’m listening to it now and it still sounds like the most important call to arms since forever. They’re going to have trouble topping this with album number two. (MW), Lyrically the message was very simple. Few songs capture the post-break-up knifepoint between rattled fury and enduring manic obsession better – one minute frontman Hamilton Leithauser spits “You’ve got a nerve to be asking a favour/You’ve got a nerve to be calling my number” before confessing that he’s doing exactly the same thing back: “Can’t you see me? It encapsulated the grotty, on-edge romanticism that defined Pete Doherty and Carl Barat’s band greater than any other of their songs – the poetic twists of “stylish kids in the riot” and “truncheons and shields… oh how I cherish you my love” now serving as tear-jerking snippets of what made the band so great. Yes, it was that good. Subtract 18 years from today. British indie-disco’s very own year zero. So what if it’s the soundtrack every other wedded couple’s cheesy first dance? It’s been imitated thousands of times since, but nothing’s come close to this perfect two and a half minutes. (TG), It’s the song that made them huge, making Union Jack dresses and platform heels all the rage in the late 90s. 6th October 2011. I’m pounding on your door”. It still sold 720,000 copies, and remains one of the standout tracks from Oasis’ not-as-good phase – a titanically self-assured work of blustery-bollocks brilliance. 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. Saw this a couple weeks ago, the top 150 songs of the last 15 years, and I haven’t been able to get it out of my head. The riff itself is pure NYC: a little bit VU, a lot Yeah Yeah Yeahs. (RS). Well, bollocks, frankly, the evidence of their genius was there right from the start, as well as of the omnivorous and exquisite musical taste that would blossom darkly in the years to come. And what’s more, we lived until 2001 without Wikipedia. Which is probably why it stuck with us for so long and earned a spot in the top ten. It stands strong as one of the cornerstones of the noughties’ indie stronghold and a bittersweet reminder of that youthful, us against the world optimism: “Oh my friends, you haven’t changed… (LS), Round about spring last year, it’s safe to say MIA had our attention. Perhaps that’s because it’s not really all about Thom Yorke’s falsetto vocal (though it’s one of his warmest and most understated); but more the ensemble playing: the whispering percussion, the syncopated guitar, the sumptuous strings that emerge at the three-minute mark. Everyone remembers Jeff Buckley as a sensitive alt-singer-songwriter type – an influence on Radiohead, Keane et al. Undoubtedly this was the sound of the Klaxons riding high, catching a wave that would lead to the pop peak of ‘Myths Of The Near Future’). With lyrics that essentially boil down to a listing of illegal drugs available at your local street corner, it’s no surprise the song was banned by most radio stations. There’s a reason every ad-buyer and TV soundtrack creative across the globe borrowed snippets of Florence’s true clarion call: it’s one of the most startling, original and simply powerful tracks in recent memory. But then this came along – all sombre and otherworldly and different sounding, and released smack bang in the middle of the Iraq war. Our generation’s ‘Bohemian Rhapsody’. That the whole thing was a very real account of mental illness gave it a subversive edge, with Cee Lo singing that eternal refrain: “Does that make me crazy?” like the internal dialogue of the Indian Chief in One Flew Over The Cuckoo’s Nest’. The collection is an amazing time capsule of tunes that were popular one hundred years ago. But after hearing this, all skepticism was chucked out the window. Throughout LCD Soundsystem’s career, James Murphy cornered the electronic mid-life crisis market, and this was the first, explosively brilliant, burst of that. Falsetto-led in that then-modish post-‘OK Computer’ way, and aching with a sense of puppyish romantic devotion, it was – and is – scientifically impossible not to like. The video? Copywritten so don’t copy me.” she hollered. What ‘Last Nite’ did more than any other song from 2001 was prove that guitars could still be king, that the sound of some dude with greasy hair singing nonsensical guff about spaceships could come across like the most important thing you will ever hear. A pure moment captured perfectly on her first (and best) single. 10am - 1pm, What You Know Bout Love Having made her comeback with ‘Born Free’ and its attendant ginger-assassinating video (a Romain Gavras creation that created about ten billion views and no end of controversy) she was back in the game. The funniest thing about this song is that Katy Perry, bless her, actually believes that ‘California Gurls’ is some kind of Westside riposte to it. Alain Whyte gives Morrissey his best hooks since the ‘Vauxhall & I’ days. Undone by the glare of the spotlight? (PE). Fifteen years ago and I still feel the same why did he have to mention your name I'm as broken up inside as if it's been a week or so It takes a mighty strong love To keep a man thinking of A girl he hasn't seen since fifteen years ago Submit Corrections. There are few things more satisfying that publicly scoring a lot of points off someone who’s made you feel small. (LL), Who’s ever felt their stomach drop through their legs during the moment they get dumped for the first – or at least worst – time? Inspired by the fact that the records he was DJ-ing with had become co-opted by others, Murphy sliced things with a large dollop of humour but also a sprinkling of tragedy. 15 Songs You Can’t Believe Are 25 Years Old Guns N’ Roses, Morrissey, New Kids on the Block and more. This is Muse. The musical equivalent of clobbering a stranger in the face with a rubber mallet, ‘Club Foot’ introduced the world to Kasabian with the same level of subtlety that Tom and Serge have been trotting out in the seven years since its release. (AW), Bereaved following the death of her father, Philadelphia-dwelling Santi White traveled to New York, following the Madonna trail, to make it as a musician. Viva the 21st century and all who sail within it! The song that would become Kylie’s signature track (soz ‘I Should Be So Lucky’) was the musical equivalent of a roomful of minimalist Scandinavian furniture. BuzzFeed Staff. It still rules. By. 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. The flip side of ‘Time To Pretend’’s existential rock star angst, ‘Kids’ was joyously light. If you read our feature on songs turning 10 this year and couldn't believe was you were seeing, prepare to be blown away because Eminem's 'Without Me', Usher's 'U Got It Bad' and Mary J Blige's 'Family Affair' were all released in 2002, which turned out to be quite an iconic year for Hip Hop and RnB jams. (AW), A classic trip down pop memory lane, ‘Two Doors Down’ is like a bubblegum version of Lloyd Cole And The Commotions for the iPod generation. Those drums! Kanye would later re-visit the track on his own ‘Stronger’, but the effect was nowhere near as compelling as Daft Punk’s bold and futuristic original. 15 Songs You Loved (But Forgot About) From 10 Years Ago. How Well Do You Remember Lyrics From 15 Years Ago? (MW). OutKast played so far away from rap’s boundaries, it’s no wonder they were so warmly welcomed by the hipsters. OK, it’s possible this song might have been overplayed just a touch. (RS), What a way to go out – ‘Accelerator’ was the last single released on Alan McGee’s Creation label, and in terms of exits, it’s pretty much as dramatic as leaving a party in a fighter jet. (PE), https://www.youtube.com/watch?v=7zW9R9sj894, After a lengthy break, En Vogue returned with this track from the soundtrack of the little seen film Set It Off. (PE), https://www.youtube.com/watch?v=LoQYw49saqc. 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. https://www.youtube.com/watch?v=Cor3wjbS4Gg. 15 Years ago - Lyrics is a popular song by Louis Vanroy | Create your own TikTok videos with the 15 Years ago - Lyrics song and explore 0 videos made by new and popular creators. Heavy as shit and utterly unrelenting, it’s become synonymous with the desert rockers, and quite rightly so. AZLyrics. (PE). Calculate when was eighteen years ago. But the best thing about ‘Dreaming Of You’ is… well, The Coral themselves. A sense of the joyous over-rides as Gary piggybacks onto Ryan’s vocal and yet, lyrically we’re in familiarly dark Jarman territory: the gloomy specter of machismo, power and powerlessness all rearing their ugly heads. The grand, string-swept sway of it, the romance and rage, James’ raw-throated bellow. “Look at the shakies, what’s with the blush?/Fresh off the plane in my fuzzy rush.” Something about a balding 18-year-old? ‘The Scientist’ grew from there – as simple and beautiful a piano ballad as you’ll ever hear. Nothing screams Britpop louder than Gaz Combes’ magnificent mutton chops, and while the big musical movement of the 90s may well have died on its arse by this point in time, Supergrass were still believing. (JF), https://www.youtube.com/watch?v=G_Ck0bDAQ7E. She crafts the musical equivalent of seeing the horror behind the white-picket fence and walking on. But his genius moment was recruiting Antony Hegarty as its vocalist. Timbaland always saved his best beats for his ‘baby girl’ and ‘…Resolution’ was no exception. No-one else could simultaneously sound as world-weary and mischievous as Lily Allen delivering that line about her emotionally-retarded ex “fucking the girl next door…what d’you do that for?“. The pinnacle of the Manics’ blockbuster phase, ‘Australia’ sounded grandiose and full of confidence – no wonder it got hammered on the radio for months – but lyrically it was the opposite: full of paranoia and self-doubt. Like so many great songs, it started life as a mistake: suffering from writers’ block, Chris Martin was sat at the piano trying to play George Harrison’s ‘Isn’t It A Pity’ when he hit upon a chord that sounded “lovely”. (TC), Few tracks announce themselves with quite such headbutt-to-the-face ooomph as Queens Of The Stone Age’s first single from their third album. Innovative in unexpected ways, here was a refreshingly bright slice of experimental pop as Brooklyn seemingly morphed into Sunnyville over the course of a song. He looks out for them. It was with this that Khan proved she wanted to be more than just a blogosphere favourite and a name in her own right. The fact it was (oh dear) used as David Cameron’s campaign song during the 2010 general election should not detract from its amazing power to uplift and exhilarate, even if – as Bill Bailey likes to point out (“I’ve got ham but I’m not a hamster”) – the lyrics are a load of old guff. Although, it sadly serves as a reminder of what the band could have achieved if they hadn’t imploded a few months later. I saw a man today who said he talked to you not so long ago, I think a month or two as my mind raced back in time I prayed oh, Lord, don't let it show he thinks I forgot you fifteen years ago Half of your brain is going, What is going on? Game changing. Time for some serious throwbacks. Deep synth chords ruminate, as processed drums click off whilst someone plays the cowbell as if it were a steel drum. Not so Daft Punk, whose genius manipulation of just three words and five instruments created an almost illegally infectious club classic that’s survived nearly fifteen years of so-called innovation in dance music. Don’t blame a track for its ubiquity. A Serge guitar lick so catchy it replaced ‘L.S.F.”s outro as the biggest bellow-along at the band’s shows, it demonstrated that you can keep things dark-eyed while still taking the roof off Wembley. slightly playing away from her strengths, dumbing down, even; wrapped in the gangsta hip-hop tradition but on subsequent rotation the track revealed itself to be so much more. (JF), https://www.youtube.com/watch?v=NHOf3s70w-c, The punk-funk movement of the early noughties might have lasted only a breath longer than electroclash but there was a time when it ruled the world. It still sounds awesome. Dig deeper, though, and the lyrics reveal a divided state of affairs. There’s a reason why six years on, ‘Wake Up’ still remains one of the biggest guns in the AF live arsenal. The whole thing was piqued by an underwater, Egyptian-riff that gave the song a disorientating, three-dimensional atmosphere, as if the whole crisis was a bad dream and the ‘resolution’ was to be found by waking up. How about this for serendipity? And repeat. It’s also an extremely good example of how a great band can bring the most uncool reference points into a song (in this case 80s ‘big music’ exponents The Waterboys) and have it sound like the most cutting edge thing around. OK so it may not have a proper name but who cares when it had that riff? They let Lego Rock Band take it though. When Karen O exhorts us to “shake it like a ladder to the sun” we don’t know what the hell she’s on about, but it still manages to sound like the filthiest thing in the world. The lead-off track from Blink’s phenomenally successful album ‘Enema Of The State’, this is everything pop punk does well. Plus, the song is part of a broader heartwarming narrative: it made Elbow massive, after years of semi-obscurity. “Our lives are changing lanes…You’re no longer laughing,” feel eerily prescient and seem to describe the current, passive aggressive mentality of the band. And ‘Clocks’ is the sound of the band finding their voice in heroic style. https://www.youtube.com/watch?v=i6J-hxmjqII, Wunderkind producer Rodney Jerkins seemed to peak early before disappearing behind less-than-stellar work that came later in the decade, but 2000’s ‘Say My Name’ found Darkchild at his innovative best, only rivaling Timbaland and Missy Elliot in the bold sonic innovations department. And you can’t ask for anything more than that from a pop song really. Faris’ splenetic, taught yowls (“She hates everyone/She knows no one”), that hammy horror organ… it’s thrillingly brilliant. And by golly, it’s true. It was a place where the cold and inhuman meet the warm, and all too relatable. This opening shot from the duo that used myth and obfuscation as their own media breadcrumb trail was appropriately strange and brilliant. 3 in the Official Top 40 singles chart (back when those kind of things still really mattered), the re-establishment of the word ‘angular’ into the pop lexicon, and enough money to allow their record label Domino to sign some band called the Arctic Monkeys a few years later. In many ways it’s hard to believe that Hop Along has been around fifteen years. What exactly did they do for an encore? They’re tight as fuck – the true embodiment of what it is to be young, talented beyond belief and in love with the dustiest corners of 60s beatpop. Featuring an introductory rap from her Def Jam boss Jay-Z (giving the song his weighty stamp of approval) ‘Umbrella’ was Rihanna’s irresistibly simple statement of intent that set her apart from her contemporaries. The lyrics may have been desperate and unresolved but their performance was gutsy and full of knowing gravitas. It would take most people a decent-sized novel to get close to touching the subtle anger, the apt analysis of post-war social history and the flamboyant defiance that Nicky Wire lays out with classical concision here. (JF), How We Wrote ‘The Drugs Don’t WorkRichard Ashcroft. Post-‘Silent Shout’, many wondered out loud as to where The Knife would go next. 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 shape shifting time-traveler. It also became SFA’s regular set closer and arguably their most popular song. (MW). Dangerously attached to the zeitgeist it may date worse than David Brent but for now, a top track. "When I Grow Up" by The Pussycat Dolls “I’m on fiiiiiire!” Kasabian singer Tom Meighan yelled at the multiple climaxes of this, the lead single from the band’s 2009 arena-filling psycho masterpiece ‘West Ryder Lunatic Pauper Asylum’, a justified statement of confidence if ever there was one. To conceptual opera, it turned out, but as a solo artist, Karin Andersson went further into the dark, petrol-coloured altitudes hinted at on ‘Silent Shout’ with Fever Ray. (TC), Ian Brown likes to write lyrics about the grander philosophical topics that run through his brain, and the results are often as cringe-inducing as being forced to watch every episode of The Office back to back while strapped in a Clockwork Orange-style seat and eyelid-priser combo. (PE). Like that time some gormless bint yelled “Lesbian!” at me in the street as if it was an insult and I yelled back “Yeah, you wish love” and all her mates laughed at her. (TG). The frustration Pete Doherty and Carl Barat felt at the un-workability (to say the least) of their relationship was played out over arguably their finest musical moment. While the band has always had their own touch, lead singer Frances Quinlan has steered that ship based off of her own inklings. Although it wasn’t the last thing he recorded before his death, this Nine Inch Nails cover has become accepted as The Man In Black’s swansong. “Ain’t no stopping me. https://www.youtube.com/watch?v=5Az_7U0-cK0. Posted by 5 years ago. And it’s here we find her, with her defenses up, restless, singing about those moments where your personality feels annihilated by a big city (“What am I here for? (RS), By far the pinnacle of Tellier’s career to date, ‘La Ritournelle’ is also one of the most beautiful love songs of the last decade. 1 pop and R&B singles going back to the 1940s along with their Hot 100 list to collect the top singles. 1. And repeat. The time to do this is now, as together, the four of us have something extremely important to say as a unified voice. There are subtle sonic touches, with the sparse piano chords, the brush of drums and the sole cello that add to the sense of unease. Some say this was a “joke” or a “social experiment” to test the waters of public acceptance of drugs, but who cares, really? “The single seemed to have a strange life of its own where people kept returning to it,” Alexis Taylor said of the track. Let Down sounds so…simple and unassuming. Karin and Olof would never sound this human again; caught in the grip of broken promises and infidelity, ‘Heartbeats’ become a sort of unofficial template for the Scandinavian pop that would follow in the next decade. Thank God for reunion tours then. As guitars twirls like dance floor partners in the background, Olly and Romy skirt around their loyalty (“I am yours now, so I don’t ever have to leave,” they sing) sounding half in love, half bewitched by Stockholm Syndrome. To disappear is all,” she sings in one of the song’s most affecting lines). Grounded by an about-to-explode bassline and a spinning guitar riff, ‘Standing In The Way Of Control’ was The Gossip’s glammy moment in the sun. "Fifteen Years Ago" is a song written by Raymond Smith, and recorded by American country music artist Conway Twitty.It was released in September 1970 as the first single and title track from the album Fifteen Years Ago.The song was Twitty's fifth number one on the U.S. country singles chart. OK, the rest of ‘Angles’ turned out to be a bit undercooked, but – on this song at least – The Strokes regained their long-lost songwriting mojo, and it was glorious: bursting with that weirdly chirpy, heel-clicking Strokes spirit that always seems so at odds with their taciturn hipster demeanour. Calculate when was fourteen years ago. All tied together with a hook that sounds like it should be a National Anthem. Because life is short and we still don’t have the technology to go back in time. Of course, placement on Twilight, Doctor Who and all manner of films and video games didn’t hurt either. Forget the lazy video, or those nagging Stereophonics comparisons that have haunted the track over the years (ie that it sounds like ‘Same Size Feet’), this is classic Oasis songwriting at its best. The results put them up there with all of those guys, and they’ve never looked back. This is intense, desperate and, like the wine you’re probably necking while boo-hooing along to it, gets better with age. (PE), Aided by a balls-in-the-air guitar riff the size of Australia and a production sheen that was the sonic equivalent of looking directly at the sun, Hole’s return showcased Courtney Love’s effortless way with words. As well as all this, it’s easily the best song ever to be named after a vodka/Red Bull. (PE), https://www.youtube.com/watch?v=1HvjK29Gpn0, Are we human? An ever-so-slightly offbeat Go Go rhythm, some sparsely inputted horns and a lyric about a control freak undone by the instinctive, tempestuous power of love/lust. “Oh nothing’s going to change my love for you / I wanna spend my life with you,” he croons at the outset like only a Frenchman can over twinkling glocks, that immemorial piano riff and of course a funky breakbeat from Tony Allen (of Fela Kuti’s band). Compare, though, the original track on HEALTH’s debut album with Ethan Kath’s reworked version and it’s amazing how it subtly smoothes a jagged, brutalist and tortured thing into a melancholy, gently blooping and squelching, 8-bit mooch of some beauty, bringing the soft fear in Jake Duszik’s actually rather lovely voice to the fore. Get enough of breakthrough did tunes that were popular one hundred Years Ago from today so unapologetically.. A spot in the loneliness of the media Division of BandLab Technologies very modern music sounds like the downloaded... Turning 15 Years Ago, just to Remind you how great this song that ’. Before a massive samurai fight – of course that immortal “ woo-ooh ” on indie rock ’ s the every. Vintage Ralph Lauren jumpers, Vampire Weekend were an unworkable proposition on paper neither! We are your Friends ’ was Eminem at the absolute peak of his powers Other ’... She wanted to use the track at the launch of a broader heartwarming narrative: it Elbow! 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