Over time, certain songs prove with their chart longevity just how good they are, and, to commemorate songs that have stayed high on my chart for a long time, I've come up with DG's Hall Of Fame, where songs that spend a long time in the top 20 get recognized here. Before September 27, 2002- when I had a Top 20- songs that spent 13 weeks in the Top 20 got retired, allowing newer songs take their place. However, in my quest to truly define what are the best songs of Top 40 radio, I felt retirement should be retired, and so I changed my page to reflect that. What I've now decided is that songs that spend 13 or more weeks in the top 20 of the chart (after September 27, 2002) get listed here, along with the songs that were "retired" beforehand. The "post-retired" songs will also have a listing for how long they spent in the top 20.
Anyway, here's the list, complete with the date honoured, where they peaked, and my thoughts on the song:
Michelle Branch- All You Wanted (August 4, 2002. Peak: 1x13)- The perfect pop song. Exceptionally written, deep, thoughtful, none of the instrumentation (including vocals) are misused and, at the same time, catchy, as Branch's crafty songwriting sacrifices none of the art in order to go pop. Well done.
Lifehouse- Breathing (August 4, 2002. Peak: 2x1)- Arguably the best quality song on Lifehouse's "No Name Face", this is another beautiful, thoughtful and deep songs, showcasing Jason Wade's extraordinary writing skills. Another classic.
Goo Goo Dolls- Here Is Gone (August 4, 2002. Peak: 3x3)- This song isn't exactly as deep as "Iris" or "Slide" were, but it's a catchy tune and deep enough to have long lasting appeal. John Rzeznik has clearly established himself as one of music's best songwriters.
Fat Joe f/Ashanti & Ja Rule- What's Luv? (August 4, 2002. Peak: 2x6)- Yeah, it may not be deep, but it's everything that a toe-tapping party anthem should be: catchy, easy to dance to and with enough substance that it can't annoy. Believe it or not, all songs- including songs like these- do require work to be this good, and Fat Joe, Irv Gotti, Ashanti & Ja Rule certainly did that in producing this slam dunk.
1 Giant Leap f/Maxi Jazz & Robbie Williams- My Culture (August 25, 2002. Peak: 1x1)- Definitely one of the strangest bands to come along in a while are 1 Giant Leap, and in a good way: their sound, a combination of sounds from all over the world, is a breath of fresh air and allows one to escape the same tired sounds of standard pop radio. This track certainly epitomizes 1GL's legacy and will definitely be counted among the best 2002 has ever produced.
Carlito f/Viva Latina- Asi Como Mi (September 16, 2002. Peak: 2x1)- Okay, so the indie Canadian basically offers another "sex rap" song, but this time he gets creative. In the second verse, Viva Latina asks, sarcastically, "Remember when I met you?/All you wanted to do/Was take me to some casa and get freaky with you", to which Carlito replies "True/Wanted to do ya/Even before I knew ya." Hey, at least Carlito's admitting his player weaknesses, unlike many of his rap brethren who'd like you to believe getting a girl is just soooo easy. Right. Anyway, this is one of the best party tracks ever done, and, hey, Carlito deserves the spotlight, at least here.
The Rascalz f/Notch & Sazon Diamonte- Crazy World (September 23, 2002. Peak: 1x1)- Again The Rascalz deliver with another solid party track. DJ Kemo continues to prove he's an innovative DJ, lacing beats that are unheard of in the hip-hop world, while The Rascalz and Sazon Diamonte putting down some of hip-hop's smartest rhymes. Add Notch's amazing voice and you have one amazing hip-hop track. These guys continue to show why they're hip-hop's current leaders.
Michelle Branch- Goodbye To You (October 14, 2002. Current Peak: 1x5, 4 consecutive)- She's becoming quite the mainstay here, with her second honoured song here to compliment "All You Wanted", still the chart record-holder for the top position, and it's hard not to see why. "Goodbye To You" is, at first, your standard love-lost song- albeit very beautiful- until Branch throws in a twist and declares "I want you-but I'm not giving in this time." Hey, she may not like leaving the guy but she's not regretting the move one bit. The radio version displays her full vocal talents and cements the fact she's one of pop's best vocalists, singing with exceptionally deep emotion, and writing one that's exceptionally deep as well.
System Of A Down- Aerials (November 4, 2002. Current Peak: 1x1)- System Of A Down's "Toxicity" established System as one of metal's more creative bands, and their form of sarcastic, tounge-in-cheek political satire is one of music's more memorable experiences. However, their style may take a bit to appreciate for all except one song- this one, where the band ditches the pranks and puts on a serious side, producing one of the few real rock gems in ages. It too is political, about North America's water resources, and the dark tones heighten the track's significance as a powerful track, which it is. While the clowning adds an element to System's form of rock, it's their serious side where they shine through best.
Goo Goo Dolls- Big Machine (November 18, 2002. Current Peak: 1x4)- If there's anything the Goo Goo Dolls are known for, it's kicking the listener in the teeth with their driving alternative/rock style. Perhaps that's what makes "Big Machine" the joy it is, as it is the most blatant example of this style and allows songwriter/lead vocalist/guitarist John Rzeznik to fully attack his lover's sickening ways. "I'm in love but you don't care," he sings in one verse, and "swallow all your bitter pills/That's what makes you beautiful," he sings in another. If the albums don't exactly live up to expectations, the Goos' singles always do, just like this one did.
Nas f/Amerie- Rule (November 18, 2002. Peak: 3x3, 2 consecutive. Wks. in Top 20: 13)- One of the smartest rap songs to come out in a while is this song, a rarely-played (wrongly) track released earlier this summer. Not content with the usual "bling bling" and sex talk that pervade too much of rap these days, Nas takes aim at society today and proceeds to blast it to smitherines. "How can he (George W. Bush) fix all the problems when he ain't fix home yet?" asks Nas in one verse, later urging Colin Powell to "throw in the towel". He's a little off in saying "nothing compares to what Nas write down" (Eminem's rhymes are stronger), but, in closing the third verse, he expresses his wish for his "homeys" to fight the injustices of the world, almost calling all rappers to put their rhymes to good use (he couldn't have been more right in this regard). Plus, rising star Amerie absolutely nails the chorus, adding another element to this riveting track, and, while "Why Don't We Fall In Love" didn't exactly work out for her, the R&B singer displays that she does have singing talent, as opposed to the normally dry Ashanti who's occupying the spotlight too much these days.
E-Type- Life (December 2, 2002. Peak: 1x2)-Simply put, there's never been a dance song with this kind of quality in quite a long time. With a pulse that goes straight to the bone, "Life" is one of those songs where you simply lose yourself dancing to it, one of those "feel good" songs where you actually feel better when it is done. Whereas too many dance artists neglect to do the work needed to perfect their craft, E-Type does all he has to do to get it right, providing an immediate breath of fresh air and providing a real dance song to put alongside all the other dance trash that pervades too much of today's dancefloors.
Disturbed- Prayer (December 9, 2002. Peak: 1x3)- In a rock world full of lifeless guitar riffs, generic sounding bands and various rip-off efforts, one wonders if a real rock band could emerge through all this. Well, emerge it has, and what a stunning effort it is: Disturbed, a Chicago band, emerged with a stunningly, dark, personal, deep and reflective "Prayer", the lead-off single to the equally stunning "Believe", blowing away, in those three minutes, every other rock band that came before them. Not to mention "Prayer" and "Believe" are practically quantum leaps of improvements for Disturbed, catapulting them into the arena of established and real rockers. With a band this good it should be no wonder that they managed to debut at No. 1 on Billboard.
Lifehouse- Spin (December 23, 2002. Peak: 8x1)-The Lifehouse boys get their second entry here with a deeper, more mature version of "Hanging By A Moment", and, while the song has yet to blow up like "Hanging By A Moment" did, it should only be a matter of time. Perhaps what made "Hanging By A Moment" the hit it was is the fact that Lifehouse's music has so much energy that it remain fresh years after it was released, and this is the case with "Spin". Plus, Lifehouse- with this track and with "Stanley Climbfall"- mature into an adult band like the Foo Fighters and 3 Doors Down, shedding their kiddie image and proving that they are a band that's here to stay.
Stone Sour- Bother (December 30, 2002. Peak: 1x2)- Before Slipknot, frontman Corey Taylor and guitarist Jim Root had a band called Stone Sour. After Slipknot took off, Taylor and Root left Stone Sour behind but never forgot them, always looking for a chance to restart the band. So when it came time to make the Spider-Man Soundtrack, Taylor pounced on the chance, penning this deep and thoughtful song about a man on the edge. Not only does Taylor show that he can sing- all that yelling with Slipknot doesn't count- he proves he can emotional without being stupid or overwrought. In a world with too much of that (Creed?), a song like this is a good thing.
Eminem- Lose Yourself (December 30, 2002. Peak: 1x1)- Probably the only artist today whose success matches their level of greatness is Marshall Mathers III, or Eminem. He's easily the smartest (and the best) rapper alive, and here he puts out his strongest single since "Stan" with this song, a song Rolling Stone describes as "part warm up song", which it is. It's a song telling Eminem's character in 8-Mile, Jimmy Rabbit, to get over his failures and try again, and he does it in stunning fashion here, using world-class rhymes and a very powerful and emotional message. No wonder it's been a No. 1 single on Billboard for so long.
Michelle Branch & Santana- The Game Of Love (Decemember 30, 2002. Peak: 1x2)- Carlos Santana has this strange habit of releasing summer-time songs in the middle of fall, but, can we blame him? They're all good anyway. This song, similar in vein of "Smooth", features singer/songwriter Michelle Branch on vocals, displaying her improved and powerful range on this track and, as always, Santana's great guitarwork. The lyrics- which Branch didn't write- are a little questionable ("A little bit of this/A little bit of that/Start it with a kiss/Now we're up to bat" ???"), but the song's light-hearted and fun, making it a slam dunk.
Chad Kroeger & Santana- Why Don't You And I (February 10, 2003. Peak: 3x1)- The biggest fault with Santana is the fact most of his songs are just excuses for him to show off what a wonderful guitarist he is. While I can't fault him when the songs are fun- like "The Game Of Love" and "Smooth"- it's still a little disheartening to think there hasn't been a songwriter out there who's used Santana's talents to effectively create more than just a Santana side-show. That is, until "Why Don't You And I", written by Nickelback frontman Chad Kroeger. Here, he molds a very personal and great song about a man who's always teased in love, wondering how he can talk to a girl making him melt, using Santana's guitar to effectively heighten the mood. Furthermore, it proves that "Hero" was a minor blip on the Kroeger camp, and reinforces the fact that Kroeger is one of rock's better songwriters.
Nick Carter- Do I Have To Cry For You? (February 17, 2003. Peak: 3x1)- Radio success may be a little hard to come by for the youngest Backstreet Boy, but that doesn't cut the quality of his work one bit. This song, a Bryan Adams-ish ballad, is gut-wrenching in its emotion and deep in its thoughts, one of the rare pop ballads with actual emotion (unlike the BSB's work, no less). Furthermore, this tune was co-written by Carter himself, suggesting that he's got potential in that area too.
Justincase- Don't Cry For Us (February 17, 2003. Peak: 5x1)- Michelle Branch was on to something big when she started piping Justincase, her labelmates and friends (from before she was signed), on her personal Web Site. She pledged her fans to listen to them and she didn't disappoint, offering a very lively and personal band that's one of the few kiddie rock bands that's actually enjoyable. Of course, it doesn't hurt that this tune was co-written by Branch, but I won't let that diminish it's overall power. The song is a wonderful tune about a couple in dire straits and their pledge to their sympathizers "don't cry for us, we'll be all right". It represents a growth for Branch in the songwriting department- a pleasing thought considering she's got an album coming out later this year- and establishes lead singer Justin Tosco, who also co-wrote it and is the principal songwriter on the rest of the album, as a credible songwriter with a future. Overall, this is a band going places: don't expect this one to be their last entry here.
-DG
Read about a new song that may end up here!
|
