Various Artists - TripleJ Hottest 100; Volume 12

Thu 7th Apr, 2005 in Music Reviews

The annual Hottest 100 countdown is always controversial – perhaps even more controversial is which songs are chosen to represent the hundred on the compilation CD. Generally speaking, the Hottest 100 – Volume 12 has something for everyone. Whether you’re verging on pop lover or you’re feeling a little avant garde, this year’s selection just about has you covered.

Those dapper lads Franz Ferdinand – unsurprisingly – took out the number one spot with their highly infectious Take Me Out. If you’re not familiar with this song, you’re clearly totally in denial of the current mass media. Seemingly effortlessly, the Franz seemed to leap out of the alternative music depths, fashioned in sharp suits and equipped with even sharper hooks, and launched a successful attack on mainstream radio.

Ditto for The Killers really. Somebody Told Me was as much of a mainstream hit as it was on alternative radio (although, granted – categorising the station as alternative radio seems to generate a bit of debate lately). And, like Take Me Out, The Killers’ track is just as dance floor as it is rock ‘n’ roll.

Surprising many with their dexterity and newly discovered maturity, Eskimo Joe sail in with From the Sea. It’s an example of exquisite pop rock songwriting, and serves as somewhat of a milestone of the Perth band’s graduation from the Sweater days to songwriting adulthood.

Spiderbait’s cover of Black Betty is their track chosen for the compilation, although personally, I would have gotten a lot more excited for You’re Fuckin Awesome. Modest Mouse’s lovely psych-ballad Float On is a surprising inclusion, but it’s well-placed and a good reminder of the diamonds in the rough of the last year’s airplay.

What would the Hottest 100 compilation be without something from the Scissor Sisters. Campy, disco, and absolutely the most charismatically successful group to emerge to the Triple J world of late. They have such a bevy of gloriously pop-driven songs it would have been difficult to choose one – Take Your Mama – but it’s a relevant choice, considering the band’s breakthrough Laura appeared on the airwaves some time ago.

One thing that’s become evident in the first disc of the compilation is the expanse of genres covered. From the relatively straightforward, Ben Folds – Adelaide, to the more left-of-centre, The Dresden Dolls’ Coin Operated Boy to the mildly irritating, The Streets – Fit But You Know It to delicate minimalism of Decoder Ring with Somersault, the broadcaster evidently has a wider listener appeal nowadays in comparison to the strictly indie/rock based compilations of former years. 

The sensuously sinister Lotion by Greenskeepers has to be this reviewer’s pick of the litter. It’s a strangely hypnotic narrative, based around seductive basslines and muted clapping, and at the same time it’s darkly amusing. It’s also weirdly satisfying that a song of this style could be appreciated enough by the general public to make it to number 90, but more to the point, onto the annual collection.

Dallas Crane make a well-deserved appearance with Dirty Hearts. It’s about bloody time, as these guys have been relentlessly slogging it out on the stage for far too long now with limited radio recognition. Staples Grinspoon wrench another riff heavy track out with Hard Act To Follow. The Hives launch another brutally melodic punk hit with Walk Idiot Walk and Sarah Blasko re-emerges triumphantly onto the airwaves with Don’t U Eva.

Led Zeppelin-esque track Woman by Wolfmother injects some heavy guitar grooves and sex appeal into the mix, and overall the second disc of this collection really showcases some of the relative newcomers as well as notable new releases from veterans. The hugely popular Dogs Die In Hot Cars track Godhopping serves a subtle nod to the local success of the group, and Ramones obsessed girl band the Spazzys get a look in with Paco Doesn’t Love Me.

Interpol’s Slow Hands was an obvious choice – since the band’s last visit to Australian shores in 2003, their popularity has been steadily growing to its current epic proportions. Although it’s interesting to note that the track entered at #74, closely followed by their equally brilliant Evil at #76. Maybe this is an indication of the tastes of voters this year: if the local street press is anything to go by, Interpol are revered far more enthusiastically than some of the other bands featured on the list.

While on the topic of list controversy, why on earth is the Von Bondies’ C’mon C’mon included in this year’s collection? The single, and album Pawn Shoppe Heart for that matter, was released in 2003. Nonetheless, it’s a great song. Perhaps listeners just seem to be a little behind the eight ball.

Elliott Smith may – or may not – have been heartened to see his track Memory Lane included on the compilation. It must be said that, among the dance-to-guitar tracks and synthesiser-happy releases heard in great proliferation during, it’s refreshing to hear something as genuine and emotive as Mr Smith’s tunes still being played, and appreciated enough to feature on this release.

Nobody’s ever going to be completely happy with this collection - it’s the nature of the release. The great thing about the Hottest 100 – apart from coincide with Australia Day and inevitable drunken barbeque affair – is the lengthy debates which follow the final countdown, and perhaps the opportunity to discover something new thanks to other voters’ efforts.

Argue with your friends, post dissatisfied letters to street press and various Internet forums (hell, send one to Rolling Stone, they love that shit), declare victory over your favourite band getting in the top 10, be reassured or disgusted in the taste of your fellow Australian. Ah, the magic of the institution known as the Triple J Hottest 100.

Visit the Hottest 100 list where you can check out the full track listing of the compilation.