Marling’s as subtly cryptic as ever. (PE),, Are we human? To disappear is all,” she sings in one of the song’s most affecting lines). (PE),, After a lengthy break, En Vogue returned with this track from the soundtrack of the little seen film Set It Off. ‘Razzmatazz’ as it happens, the night I saw them. (PE), (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. Everyone – which is probably why ‘Dry Your Eyes’, the centerpiece of Mike Skinner’s stunning concept album ‘A Grand Don’t Come For Free’, hit the nerve of a nation with the force of a sledgehammer to a foot. Jazz and download 15 Years Ago … Surely the best and most successful song to reference a Nazi symbol in relation to what singer Bobby Gillespie called “American international terrorism”. Karin delivers perhaps the prettiest vocal of her career and equally Olof’s synth playing sounds rather quaint considering what they would come up with later. (AW), And lo, with a stripped back Joy Division bassline and a chirpy whistle The Drums made themselves known. Their robo-personas were put into full effect as they intoned the Presbyterian work ethic of the lyrics, slowly going out of their tiny, worker ant minds as the words became disjointed and rotten by the climax of the track. 15 Songs You Loved (But Forgot About) From 10 Years Ago. 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. This opening shot from the duo that used myth and obfuscation as their own media breadcrumb trail was appropriately strange and brilliant. 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. It would be a hard challenge to go through this Top 150 song list and find a more influential British track than this one. 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. The first single from ‘Heathen Chemistry’ combines all the hard rock bluster of early Oasis with the forays into mysticism that marked Oasis 2.0. A cocky, strutting, monster of paranoiac ego-puffing, Jack frets and frays (“And I’m talking to myself at night because I can’t forget/back and forth through my mind behind a cigarette”) then seethes and spits at mysterious adversaries in a strop-storm of whipping and squalling guitar, before deciding, as you do, to up sticks to Wichita and work on a farm. Strong physical foundations of your place of abode (that matched the strong emotional bonds between kith and kin), “four strong walls and Abode slats,” sang Noah Lennox. The first – and arguably best – single from Beck’s breakthrough album ‘Odelay’ sees subdued Hammond synths introduce an idea-packed treat of a track that takes in all manner from samples, from obscure sex ed album ‘Sex For Teens’ to the classic Mantronix call of “we got two turntables and a microphone” and The Frogs’ “that was a good drum break”. If there’s one lesson to be learned from this post is of course to enjoy life and the precious moments that come with it. It ended up being NME’s album of the year, and can lay claim to being one of the decade’s most unexpectedly brilliant surprises. But in reality, it was exactly this mix that helped produce their very modern music. 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. (MW), Debut smashes don’t come with much more swagger and bombast than The Big Pink’s breakthrough did. 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. Thank God for reunion tours then. The chorus was a different matter entirely, as the band shifted the KLF-esque rave down in favour of a messy, grot rock doom-down that had more in common with Test Icicles’ messy jam/meltdowns than anything involving green lasers or unironic neon. Yea, this song probably isn’t a good one for that. ‘Goddess…’ is the biggest pop moment of the record, like a Disney theme tune if it had been fucked up by a cult US indie band. But in ‘F.E.A.R.’, everything fell into place for King Monkey, the repeated acronym expansions (“Forget everything and remember”, etc) tumbling deftly over the kind of anthemic strings The Verve would murder for. It felt like an effortless, on-the-money evocation of genre barriers melting down into one multi-coloured mass of beauty. Nicky Wire wrote it about the aftermath of Richey Edwards’ disappearance, wanting to escape, get as far away from home as possible. OK, it’s possible this song might have been overplayed just a touch. Five years ago, Madonna scores her 40th No. It looked like they were completely washed up, and then they came back with this, the first single from their 1998 album ‘Deserter’s Songs’. (MW), On this date 15 years ago, Destiny's Child began its longest Billboard Hot 100 reign, as "Independent Women Part I" spent its first of 11 weeks at No. It was more of a journey than a song – a dance music-inspired canter with that twinkling intro riff, as Jimi Goodwyn relayed the emotions of a man coming to terms with life passing him by and the feeling of melancholic undertow that accompanied it. 15 Years Ago - instrumental is a popular song by Louis Vanroy | Create your own TikTok videos with the 15 Years Ago - instrumental song and explore 0 videos made by new and popular creators. Pounding at your subconscious’ door from the outset it’s a handful of minutes of frantic genius, split in half with one of those classic slow-it-down breakdowns that only serves to intensify its main thrust. Time flies by so quickly that sometimes you glance at the date when your favorite TV show was first released, and you’re left astonished: it seems like you discovered it only yesterday, but it actually appeared many years ago. Their third single from ‘Black Holes And Revelations’ it’s been turned into a Guitar Hero track and used to accompany Britain’s Olympic triumphs. It’s a biting evocation of personal collapse (“My cheeks are too yellow, think I’ll take another pill”), powered by a toweringly anthemic chorus. Find out what date was 18 years ago from today. Are we dancer? There’s a reason why six years on, ‘Wake Up’ still remains one of the biggest guns in the AF live arsenal. (PE), A disco song which called to mind the gaudy gold furnishing of Studio 54, the hedonism of the late 70s gay scene and a glitter ball spinning endlessly into musical infinity. A beautiful mess, like all our closest relationships are., In amongst Natasha Khan’s obsession with storybook fantasy and delicate experimental songwriting, there beats the heart of someone who’d actually quite like to be a pop star. 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. (JF),, 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. Where were you when you first heard it? 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. ‘Spanish Sahara’ – the first track to be revealed from the record – was as big a curveball as Yannis and co could have mustered. Words: Priya Elan, Luke Lewis, Tim Chester, Mike Williams, Tom Goodwyn, Rebecca Schiller, Krissi Murison, Emily Mackay, Matt Wilkinson, Laura Snapes, Jamie Fullerton, Alan Woodhouse. “The single seemed to have a strange life of its own where people kept returning to it,” Alexis Taylor said of the track. Fifteen Years Ago. Jay-Z’s tale of a narrow escape after being pulled over by a patronizing cop while carrying coke is the ultimate ‘in your FACE’ anthem. Why? The thought of someone doing that sort of heavingly romantic Shangri-Las style melodrama girl-group ballad about the sort of small, yet horribly huge dramas, that make up and break up the lives of so many people… before the song even got started, it was genius. (TC), For years known as an ‘on the up’ producer and songwriter, ‘The College Dropout’ revealed Kanye to be a brilliant, unique MC. Frances Quinlan Indie. Guitars sounded like cars veering off the racetrack whilst Alex Turner’s lyrical dexterity hit with thrilling but entirely gob smacking levels of ingenuity. That the band have become so huge yet this remains their live trump card tells you everything you need to know about the raw power at the heart of the tune. INSIDER looked at Billboard's year-end No. Time for some serious throwbacks. C. Conway Twitty Lyrics . A song that balls a lump in your throat as bulky as, say, the Manics’ ‘Ocean Spray’, Richard Ashcroft’s heart-quaking song for his father, tackling the emotion of watching him succumb to cancer, ‘The Drugs Don’t Work’ is a thing of devastatingly downbeat beauty. (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. ‘All These Things That I’ve Done’ is just one such sky-scraping moment among many. 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. It took some months before we could muster the self-control to stop sneaking up on people and saying ”BONKERS” in their ear in that stupid robot voice. “I promise, I’m on it”. Lies!”. But I don’t care about any of that. The opening swooshingly sounded like an airplane descending (memories of 9/11 were still percolating in our heads) and the track soared above our heads for the next three minutes, never quite coming into land. (JF), It called to mind zombies, death cults and the Tin Man from The Wizard Of Oz, but Andersson’s brilliance was that she never revealed the full identity of the song’s evil. ‘With Every Heartbeat’ was typical of this; Kleerup’s trancey music came with an orchestral accompaniment and Robyn’s vocal came with the mature knowledge of love attained, then lost but never forgotten. (TG), It’s the song that made them huge, making Union Jack dresses and platform heels all the rage in the late 90s. Pat Pemberton Pat Pemberton Reporter. “You’re a slave to money then you die,” is Dickie Ashcroft’s cruel payoff as he howls his way through his sermon of frustrated lament. Quite. And this scuzz bass, shape-shifting disco anthem was the clarion call, seeing The Rapture firing on all cylinders and leading indie kids off into the night like drainpipe jeaned pied pipers. They were dipping their toes in melodic musical waters they would, disappointingly, make infrequent visits to. A set text for any budding DJ to this day. They close with this most nights and, even if its 15 years since it came out, it’s easy to hear why. Frances Quinlan Shares Three Songs From Fifteen Years Ago. “Hopefully people won’t want to kill us” – the words of Yannis Philippakis, contrary-bastard-in-chief of Foals, breaking the news that their most beloved early track wouldn’t get near their debut album. ‘Mr Brightside’ was the very first song The Killers wrote together, at their very first rehearsal session (you can hear the original 2001 demo version on YouTube). Justin Timberlake was on top of the charts, everyone was … Endless feedback! “We as System Of A Down have just released new music for the first time in 15 years. So clearly, you all like it. Well to do, world-wise, Ivy Leaguers with boners for vintage Ralph Lauren jumpers, Vampire Weekend were an unworkable proposition on paper. The Scream’s ‘XTRMNTR’ album was a boundary-pushing mesh of industrial chrome-rock-pop, but this was simply a punk blast that shook the walls of the charts and sent one of the most influential labels of all time off in raucously jagged style. The indie-prog behemoths made one perfect, bloated double album of endlessly ambitious guitar rock before imploding (although they resurfaced a year ago for a reunion that’s still seeing them play to a small hardcore across the country). 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. And the music! Their 1995 album ‘See You On The Other Side’ had flopped, and several band members were nursing drug problems. I’ll never forget. ‘Charmer’, along with the rest of the tracks on that album (‘Because Of The Times’), proved that KOL were still arguably one of the best things in American rock at the time. Heavy as shit and utterly unrelenting, it’s become synonymous with the desert rockers, and quite rightly so. Piledriving a path for a legion of grime-dance crossover pretenders, no one ever really topped Dizzee and Armand’s armour-plated radio-eater for sheer ridiculous fun. Add some cowbell and a million handclaps in unison and you had arguably 2003’s defining hit. Its guitar riffs seem to have been soaked in Relentless and its chorus makes you want to jump around the room. (LL). The results are line-for-line authentic (the track begins like ‘The Modern Age’ played in a different key); whilst Clarkson’s vocals – steeped in the over-emoting Mariah Carey school (via American Idol) – sound both bruised but surviving and incredibly soulful. He may be in love with the glamour of the gunpowder, but he’s also familiar with the rulebook of the street; the shocking non-emotionality of it all. Those drums! On which Matt finds his funk. April 30, 1997, a Wednesday night: the first exclusive play on Radio 1’s Evening Session. The result was a track which can justifiably claim to be a ‘Heart Of Glass’ for the 21st century. From the off, Kele sounded hounded by the pressures of urban living. Catchy as Hell and never taking itself too seriously, Blaine and co. channel their inner intellect with a Doherty-esque reverence, referencing Television’s ‘Marquee Moon’ along the way (not to mention introducing the wider world to Ms. Laura Marling). The drumbeat is based on the flipping Amen Break, for god’s sake. In fact the track, their only single to top the US Modern Rock charts, makes itself known with the force of the US Army in total ‘destroy nations’ mode from the outset, all whipcrack crash cymbals and crunchy riffs that dissolve into a series of freefalling drum triplets and even more thunderous guitar abuse. This and Del The Funkee Homosapien’s rap suggested a world of brave new possibilities, not least of all for Damon Albarn, who has managed a re-invention much more all-encompassing and successful than even his biggest fans could have ever imagined. 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 What day was 18 years ago. But the best thing about ‘Dreaming Of You’ is… well, The Coral themselves., 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. Post-‘Silent Shout’, many wondered out loud as to where The Knife would go next. 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. Catching the air of post-9/11 disenfranchisement, the verses find Kanye taking in police prejudice, the poverty trap and the irony of religion being the only no-go area on radio. What day was 14 years ago. 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. Jay-Z’s appearance on the track worked on one level as a guest spot from her boyfriend but on another it was a music mogul doffing his cap to a classic in the making. As well as all this, it’s easily the best song ever to be named after a vodka/Red Bull. 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. Half of your brain is going, What is going on? Dawn, Terry, Cindy and Maxine pummeled this song into submission with the same focus that they used to power the likes of ‘My Lovin’ (You’re Never Gonna Get It)’ and ‘Hold On’. No wonder we were confused. 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. "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. “You know where you are,” he coos over and over in his best choirboy voice. Although, it sadly serves as a reminder of what the band could have achieved if they hadn’t imploded a few months later. A twirling chunk of The Clash’ ‘Straight To Hell’ gave the track a lilting sense of wanderlust; lifting MIA’s pan-globalism and making it something universal. Each of the two dozen songs and ballads originated in British and American music halls and theaters, and were popular as the 1800s turned into the 1900s. “Ain’t no stopping me. The synths play like a musical shadow in the background: doomy specters, ominous preludes of what’s to come and what’s waiting at the end of the honeymoon period. 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