What are the best old pieces of music

It was published on March 13, 2014, the no less than 700th edition of the Musikexpress. And it was tough: we had a prominent jury of tens of musicians such as Lana Del Rey, Mark Lanegan, Danger Mouse, Marteria, Thees Uhlmann and Judith Holofernes as well as authors, journalists and experts from other magazines, daily newspapers, radio stations and record labels asked about her all time favorite songs. The result of painstaking detailed work was nothing less than a list with the 700 best songs of all time including lyrics for each (!) Of these songs. We gradually presented this list online at Musikexpress.de.

We served you the seats 700 to 651, 650 to 601, 600 to 551, 550 to 501, 500 to 451, 450 to 401, 400 to 351, 350 to 301, 300 to 251, 250 to 201, 200 to 151, 150 to 101, 100 to 51.50 to 11 and, finally, places 10 to 1. Because so many parts of the list are too confusing for us in retrospect, we have a service provided by the house: Instead of the 700 best songs of all times, we only present you the first 100 places on this list here and now, i.e. the 100 best songs of all time. If you are interested in the 600 other songs, you will find various links to choose from above.

By the way: Spotify user Dennis Vorortmann was kind enough to create a playlist from our 700 best songs of all time. The order there is not that of our placements, so it's still worth reading on!

We voted: These are the 100 best songs of all time

100th Hot Chip - "Over And Over"

Little was left of the electro-soul leaned back from the previous record. May it be danced! Reason enough to play with expectations in "Over And Over". "Laid back? / I'll give you laid back! ", It says, while a repetitive groove, high-pitched guitars and a chorus that is firmly anchored in the ear ensure that the DJs are still following the record today (insert the name of your home club here) to grab. And the end is especially good training for the next spelling competition: k-i-s-s-i-n-g-s-e-x-i-n-g-c-a-s-i-o-p-o-k-e-y-o-u-m-e-i.

99. The Byrds - "Eight Miles High"

In fact, the song is about the flight across the Atlantic and the arrival in rainy London, but US stations suspected drug propaganda and boycotted the piece. The style-defining equation is: Folk rock plus Far Eastern flair plus solo jazz fragments = "Eight Miles High".

98. The Beatles - "Helter Skelter"

The music of the Beatles in 1968 was considered poppy, artistic and innovative, others were responsible for the harder pace. Until McCartney of all people, often ridiculed as a ballad writer, turned the corner with this piece of proto-heavy rock. Classic rock & roll is the basis, but Paul's singing at the screaming limit, the sawing guitar fragments, powerful runs and the archaic rolling beat sound like a template for Led Zeppelin.

97. The Supremes - "You Can’t Hurry Love"

Somehow reassuring that real, great, fulfilling love is sometimes a long time coming even with such a magical creature. Or? In any case, the gigantic deception and hope-making machine Pop has not run much more smoothly. The perfectly played sigh of Diana Ross, who was then married to Berry Gordy. The distinctive tambourine beat (see also Iggy Pop's “Lust For Life”) from the hit guarantors Holland / Dozier / Holland. That incredibly catchy hook. If you don't want to put your arm around to comfort you, you will definitely kick kittens.

96. Simon & Garfunkel - "The Sound Of Silence"

The original album version - and of course only the original album version counts for real fans - is the epitome of Paul Simon's art of transforming big topics into huge songs with small gestures. The delicate naivety in the lines of the then barely 20-year-old from New Jersey, who tries to bring a world-historical event like the murder of John F. Kennedy into his cosmos in order to survive in the folk clubs of the large neighboring city, is in its sincerity touching rather than disturbing.

95th Sonic Youth - "Teenage Riot"

The history of alternative rock can be divided into a time before "Teenage Riot" and a time after. The first song on Daydream Nation marks the turning point. The New York noise terrorists leave their bulkiness behind and pour their innovation and roaring volleys of feedback into their first pop song: It opens the door to Nirvana, it enables 1991 - the year that punk broke, it heralds the most exciting phase of rock music since the seventies a. And it's still an insane song that has worn off zero.

94. Love - "Alone Again Or"

This song is one of the few that Arthur Lee's Sidekick MacLean wrote for Love, but as the opener of their masterpiece FOREVER CHANGES, it is one of their best known today - and one of their most beautiful to boot. The then unheard mixture of baroque melodies, mariachi elements, string pomp, quasi-punk R’n’B and folky psychedelia still sounds like flown in from another reality. Lee let his second voice louder, while MacLean's lead vocals were barely audible in the background and renamed the piece (originally it was called "Alone Again") in order to submit it to himself and his vision of Love. MacLean left the band in 1968, frustrated with non-career and addicted to heroin. In the 1970s “saved” from a revival (by the same group that drove Bob Dylan into the arms of Christianity), he released music with a Christian-spiritual orientation and even briefly ran a Christian rock club in Beverly Hills. To capture the drama that ultimately tore Love apart and made it so artistically exciting, but also its grandeur and its impact on generations of later bands, this dreamlike song is perfect.

93. Suicide - "Cheree"

With the same attitude as The Velvet Underground ten years earlier and also in New York between seedy back alleys and high art, but with the new means appropriate to the time, Suicide invented a sound that would have far more influence than commercial success. Trained in the melody and drama of early rock & roll, “Cheree” is undisguised a rip-off of Serge Gainsbourg's and Jane Birkin's “Je t'aime… moi non plus” (198), transplanted into the ominous backdrop of minimal electro and distorted organ. Most threatening love song in the world.

92. The Smiths - "This Charming Man"

Steven Patrick Morrissey's sexual preferences have been discussed for 30 years. "This Charming Man", the Smiths' second single, is about a young but penniless cyclist who is picked up by an older, rich, charming driver after a breakdown - and is very tempted. Strong guitar, passionate singing and a text that relies on sophisticated English. Swell, my dear ...

91. Public Enemy - "Fight The Power"

No more millions can stop Public Enemy: What Rosie Perez pulls off, her shadow boxing, at the beginning of Spike Lee's film “Do The Right Thing”, while the beat squadron of the Bomb Squad spreads like shock waves, is a war dance. Chuck D, as Richard III of HipHop, gives the battle speech about it: Elvis was a "straight up racist"! Holy cows are slaughtered. Take this, White America! Malcolm X or Martin Luther King? That asks Spike Lee's film. Public Enemy give their answer before it even starts: Rebellion without a break in the fight against those in power!

90. Peter Gabriel & Kate Bush - "Don't Give Up"

Gabriel's plan sounded exciting: he wanted to sing his duet, in which a desperate man is given hope in the chorus by his duet partner, together with the country's national saint Dolly Parton - deliberately in the tradition of American folk music. The first lines spoke for themselves: "In this proud land we grew up strong / We were wanted all along." Parton canceled. But who would want to speak of a compromise when Kate Bush sings the consolation: "Don’t give up / You still have us"?

89. Noir Désir - "Le vent nous portera"

The language is not that important: You can understand what this song is about even without knowing French: about letting yourself drift, about love, about transience. The clarinet plays a wonderful solo, Manu Chao plays the guitar, and even if you follow bad clichés: This sounds like two glasses of red wine, a few cigarettes and a warm summer evening.

88. Bob Dylan - "Tangled Up In Blue"

The sound of a broken heart - nothing else is BLOOD ON THE TRACKS, the most painful, cynical, touching and - yes - wonderful break-up album ever. A "story about the war between an adventurer and his wife" is what the critic Greil Marcus called this song series, which begins with "Tangled Up In Blue", whose downright labyrinthine lyrics, including various changes of perspective, are contrasted by a gorgeous melody played in casual folk rock mode become. Domestic happiness is a thing of the past, the drifter is back on the street, "headin 'for another joint".

87. My Bloody Valentine - "Only Shallow"

The fall of man for My Bloody Valentine, because with the work on "Only Shallow" the madness began, which ultimately led to LOVELESS. Kevin Shields' tremolo guitar is style-defining and unmatched, the vocals seem to come out of nowhere - and so it was: Shields and Bilinda Butcher hid behind thick curtains during the recordings and immersed themselves so much in their world that they didn't talked more to the sound engineers. A complicated process, an ingenious recording.

86th Blur - "Out Of Time"

A humble looking song that you almost overlook at first glance. Over time, however, it becomes more dear to the heart than any other Blur song. Damon Albarn's slightly brittle voice opens, supported by xylophone and a reduced Middle Eastern instrumentation, rooms, a shimmering atmosphere spreads. Then a delicate guitar solo that makes you feel like you are being taken by the hand. The piece was the first release after the addiction-related departure of guitarist Graham Coxon.

85. Lou Reed - "Walk On The Wild Side"

The five short, sparsely orchestrated stanzas dealt only superficially with the subject of prostitution (the “walk on the wild side”). Rather, Lou Reed's quiet narrative was about the lost happiness of city dwellers in search of identity. A ballad about those outsiders and eccentrics that New York in the early 70s just spat out. By the way, this single A-side ends up in our list after its B-side “Perfect Day”.

84. The Beatles - "Penny Lane"

Penny Lane has long been the destination of bus tours in the footsteps of the Beatles in Liverpool, and even if places like the “shelter in the middle of the roundabout” are torn down - it will stand in this gem of a song forever. Sunny childhood memories of old England, poured into the piccolo trumpet solo, which is probably unique in pop history and which successfully asserts itself against full wind movements. Yes, the invention of what is now called “Hypnagogic Pop” is also due to the Beatles.

83. Simon & Garfunkel - "America"

The most romantic protest song of all time? Nothing has shaped our idea of ​​the real America, our diffuse longing for the supposedly infinite space in between, as this story of the two lovers who try to fathom the essence of an unfathomable country by hitchhiking and bus. It scares you, this great America, but the breath of organ and saxophone always brings you back to this big, warm, but ultimately hopeful song.

82. The Church - "Under The Milky Way"

They are the eternal insider tip: a band from Sydney that has outlived its companions from INXS to Midnight Oil as well as a brief period of success at the end of the eighties. And that with a song that sees itself as a homage to the “Melkweg” club in Amsterdam, shines with a fake bagpipe solo and has real catchy tunes. Mystical, spherical and downright addicting. In other words: the perfect pop song that also made it onto the score for “Donnie Darko” (2001) and “Miami Vice” (1989).

81. The Velvet Underground - "Pale Blue Eyes"

On the third Velvet underground album, Lou Reed's voice sounds more distant, but also more vulnerable (or hurt) than ever before. He openly lived out his love for 50s rock and roll in sweet avant gospels like “Jesus” or this one. The two-chord pattern, the loud tambourine, the whirring organ and the fragile, elegant guitars by Reed and Sterling Morrison became the blueprint for large parts of Jason Pierce's oeuvre (Spacemen 3, Spiritualized) and one of the most whimsical, spooky love songs of all time . "Sometimes I feel so happy, sometimes I feel so sad, but mostly you just make me mad."

80. Wrong colors - "Paul is dead"

With the last track on their first album Monarchy and Everyday Life, Fehlfarben put the rules of punk out of action. The clock is ticking while the lament "Paul is dead" is played for eight minutes, after which German pop music will be different. Melancholy sets the pace, ominous synthesizer formations envelop Peter Hein's vocals, who never again formulates directly what a whole generation might feel: “I can't get what I want / I don't like what I can have . "

79. Neil Young - "Heart Of Gold"

Bob Dylan once said that he hated "Heart Of Gold". He was in agreement with all Neil Young fans back then, who suddenly had to share their hero with the mainstream. In fact, what happened was what was overdue: Young, who had always been inclined to the well-kept lard, reached deeper into the kitsch box - and struck gold. How great the song is in all its simplicity was proven by Boney M. in 1978 when they couldn't break it.

78. Leonard Cohen - "Famous Blue Raincoat"

Leonard Cohen, a poet by nature, is said to have written 80 verses for this, written by the way in a verse footer called Amphibrachys, which was already rare in antiquity and which suited Cohen's elegant spoken chant. The narrator lives in New York, where it's cold, “but I like where I'm living”, while the woman he sings to has built herself “a little house in the desert”. Distance becomes tangible, spatially and temporally. Your famous blue raincoat, it was torn at the shoulder long ago ...

77. Prefab Sprout - "Bonny"

Paddy McAloon's great talent is to use his songs to express moods for which there are no full sentences. “Bonny” is not a story either, but lives from fragments. The protagonist misses this Bonny, although there was an argument: "Shaded feelings, don't believe you". Now he's gone, and the only thing left are the flowers for the funeral. The wonderful thing: You don't know until the end whether the song makes you happy or sad. The production by Thomas Dolby is also ingenious, a genius in the mid-1980s when it came to teaching white bread a kind of synthetic funk without diluting their feel for pop melodies.

76. The Kingsmen - "Louie Louie"

A major, D major and E minor - even non-guitarists can do this in one afternoon, as long as their fingers are complete. Which explains the success of this three-chord wonder, which has been one of the standards of countless amateur bands since the 1960s. The song was written in 1955, there were all sorts of rock and Latin pop versions circulating, but the wonderfully bumpy and muddled recording of the Kingsmen from Portland / Oregon made the race and marked the birth of garage rock.