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The Top 100 Singles: 2000-04
Now entering its second half, we revisit the decade's best singles so far
We don't know whether it's due to the holy triptych of mp3, file-sharing, and Steve Jobs' little iPod, or to hip-hop sending both pop radio back to the drawing board and Celine Dion-esque adult contemporary pop to the dustbin, or to the overall genius of producers like Timbaland, the DFA, and the Neptunes, or hell, to the entire indie rock community seemingly rediscovering that EPs are a pretty damn good way to enter the public consciousness, but the 2000s have been an abnormally healthy time for singles.

This week, Pitchfork celebrates this era by selecting our 100 favorite singles of the past five years-- a group that includes everyone from a pair of French robot rockers and at least three former TV stars to about three dozen Southern hip-hop MCs and nearly four dozen groups of New Yorkers with guitars, all communicating unimpeachable wisdom: It's getting hot in herre so take off all your clothes, shake it like a polaroid picture, move your feet and feel united, I'm like so what I'm drunk, fire in the disco, harder better faster stronger, the subway is a porno, fo sheezy my neezy, galang-a-lang-a-lang, ga-donk-a-donk-donk, uh oh uh oh uh oh oh-no-no, the sonics the sonics the sonics the sonics... What a time to be alive.

THE South Bank Centre’s annual Ether festival is dedicated to music on the edge, new directions and new fusions; but along the way the London Sinfonietta’s concerts devised with Radiohead’s guitarist-composer Jonny Greenwood also proved the continuing potency of the past. Forget for a moment Greenwood and the band’s vocalist Thom Yorke, greeted with whistles, cheers and a digital-camera blitz. The real wonder, welcomed with relative quiet, was that syrupy French electronic marvel created in the 1930s, the Ondes Martenot. And not the usual one specimen: we had seven of them, grouped at the back like a city skyline.
Crack French executants put six to work on the languorous, ecstatic melody and twiddly accompaniment of Messiaen’s Fête des belles eaux, a showpiece of 1937. Hollywood may have forged a link between the Ondes and science-fiction, but with Messiaen the instrument is used for horticulture. In this Fête you’re in a magic garden, lush and becalmed, unusual blooms and tendrils swaying in the breeze. Wonderful to hear this rare piece.

The wonder of hearing all seven Ondes, with Greenwood added, failed to arrive: during the new arrangements of Radiohead songs, the concert’s climax, the tender creatures became submerged in the sound mix. Still, if you came for fusion, here it was. Arpeggi and Where Bluebirds Fly pulsed and oscillated impressively, with the Sinfonietta supplemented by the Arabic colourings of the Nazareth Orchestra and the sunburnt vocals of Lubna Salame.
These Radiohead numbers were Greenwood’s finest minutes. And we needed more of them, especially after the 12 eaten up earlier by his new concert piece Piano for Children. The motivating idea here was intriguing, with an out-of-tune piano soloist (the unflappable John Constable) clumsily proceeding like a child, cradled by strings. Nothing intriguing, though, about the gauche music. Better results followed from his recent Smear, with smeary sounds dangling in the air from an ensemble and two Ondes (a favourite instrument, obviously).

Elsewhere on this crowded bill the cerebral niceties of Dutilleux’s string quartet Ainsi la Nuit felt out of place, especially with amplification distorting and coarsening. But the sound experiments of Ligeti and mid-1960s Penderecki slotted in neatly. The conductor of this uneven, bitty, but useful carnival was Martyn Brabbins; what a cool dude he is.

The amazing soundtrack to one of England's most controversial films of 2004, with tracks from The Streets, The Libertines, The Rapture, Razorlight, The Jam, The Buzzcocks, & more. Based on the best-selling novel by John King, 'The Football Factory' is a study of middle England, football violence, & male culture.

The Football Factory is more than just a study of the English obsession with football violence, its about men looking for armies to join, wars to fight and places to belong. A forgotten culture of Anglo Saxon males fed up with being told they're not good enough and using thier fists as a drug they describe as being more potent than sex and drugs put together. Shot in documentery style with the energy and vibrancy of handheld, The Football Factory is frightingly real yet full of painful humour as the four characters extreme thoughts and actions unfold before us.

Very few hip-hop groups make it to their fourth full-length recording, and perhaps only the Roots have made it to that level while still ascending. Although lyrical and musical vision is sorely lacking from most hip-hop (as Puff and Master P have proved, vision isn't necessary to bum-rush the mainstream goldmine), such qualities are cornerstones of the Roots' music. Their second recording, 1995's Do You Want More?!!!??!, and its follow-up, 1996's Illadelph Halflife, intelligently linked hip-hop to its musical forebears funk and jazz, and their lyrics provided unique, postnationalist hip-hop critiques. On Things Fall Apart (named for the Chinua Achebe novel) the sextet takes on a more somber tone, but at no cost to their musical innovations. "If we had to depend on black people to eat, we'd starve to death," says Denzel Washington, sampled from Mo' Better Blues, at the outset of the recording. It's not self-pity--rather, the group frequently returns to the theme of how many African Americans confuse uniformity with unity. Musically, the group is at its best with guests like Mos Def and Talib Kweli from Black Star contributing some old-school fun and technique to "Double Trouble." Erykah Badu's supple vocals on "You Got Me" are offset by innovative percussion, including an organically developed jungle beat. At a point when most rappers are running on fumes, the Roots are synthesizing new ideas.

On their sixth album, the Roots backslide a bit on the creative promise they showed with 2002's Phrenology. Instead of expanding into more ambitious and experimental areas--the way Outkast has, for example--the Roots tend to fall back to basics with vigorous, but ultimately conventional, lyricism. There are definitely some truly great moments here: the album opens with near-magic on "Star," a mesmerizing song that is one of the finest of the group's career, and Black Thought is a one-man tour de force on "Boom!" where he mimics Big Daddy Kane and Kool G Rap down to their velour sweats. But The Tipping Point also has some of their blandest production ever, and, at 10 tracks (plus two hidden cuts), the compactness of the album makes the problem spots stand out more than usual. "I Don't Care" and "Duck Down!" in particular seem derivative and commercially tailored. The main thing missing here is an overall guiding concept, something the Roots have never lacked before.

U2 Opens Vertigo Tour In San Diego

U2 opened its wildly anticipated Vertigo tour last night (March 28] at the San Diego Sports Arena, performing seven songs from its latest Interscope album, "How To Dismantle an Atomic Bomb," plus a number of tracks that have not been featured in its live set in years. The 115-minute show opened with new song "City of Blinding Lights" and closed with "40," from the band's 1983 album "War."

Beyond the singles "Vertigo" and "Sometimes You Can't Make It on Your Own," the band played "Atomic Bomb" tracks "Love and Peace or Else," "All Because of You" and the meditative "Yahweh," which featured drummer Larry Mullen Jr. on keyboards.
But the real treat was the appearance of such back catalog favorites as "The Cry / The Electric Co.," "An Cat Dubh" and "Into the Heart," which were played third through fifth in the set. The group also emptied its sizable bag of classics, including "One," "Where the Streets Have No Name," "Pride (In the Name of Love)" and "New Year's Day."

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