Daveportivo's Cultural Evaluation Facility

It seems bewildering to think that this track came out ten years ago, it seems this decade has flow by remarkably swiftly and I now feel very old indeed. In many ways it's a shame the Dandy Warhols are now remembered as one hit wonders, when once upon a time they were consider the height of cult song writing chic. Well I'm sure they'll happily settle for the royalties from his gem.

It seems weird even writing Tool alongside the likes of Shakira and Daft Punk on a greatest singles list, yet whether it be singles or LPs Tool have been one of the most consistent bands in rock music. Always intriguing, always intense and always expansive. The only real weakness to a classic Tool single like Parabola is that you get so engrossed trying to take in the video you almost lose sight of the music all together.

Faithless will never be acused of being the most creative band on earth, they know their formula and they stick to it and never deviate, and to be fair it works. Their relevance may be fading dramatically but they can still garentee to pack out festival fields with super sized anthems on the scale of We Come 1.

The words cool and Dragonforce don't really go together, and to be honest they never will, but Dragonforce suddenly became the toast of the town in 2007 when Through The Fire And The Flames became the hardest end track on Guitar Hero III. It earned them a legion of admirers and helped line their pockets with a resurgence of downloads.

So in my quest to be as fair as possible I've included a second dose of Audioslave, I still can't endorse them critically but I won't be bashing Show Me How To Live, it's not the best work I've ever heard but it is a bouncy bass driven beast with a fully powered Chris Cornell chorus, and an eye catching video to boot.

Who would have thought that in 2006 we'd discover that Nickelback had a sense of humour? Well apparently it's true, although I for one refuse to believe it. While their wit is debatable the sheer epic scale of Rockstar is not open for debate, it's a track for the ages, aimed squarely for the middle of the road and karaoke nights world wide. It's one of those songs that whether they like it or not everyone in the world has at one time or another been caught singing along to.

In 2004 Mylo proved that electronica was alive and well in bonnie old Scotland. This track appeared to drop out of heaven unexpected and totally thrilling, it wouldn't be his best work or his best single but Drop The Pressure was Mylo's anthem and it took the world by storm with one slick old school beat.

In the early 2000s it appeared Robbie Williams couldn't put a foot wrong and Take That was a distant memory, oh how times change. Now in 2009 Robbie is making his comeback but while he may not be the hit maker he once was, with singalongs as epic (albeit dated) as Come Undone there will always be a place for Mr. Williams for as long as he wishes to stay in the lime light.

After the big breakthrough pop singles Whenever, Wherever and Underneath Your Clothes, it was Objection (Tango), ironically the least successful of the three singles, that made the world realize that there might just be something a bit special about this Shakira lass. Her lyrics were sharp and punchy and the song had the goofy wink and a nod that would become a trademark of hers. Plus it's great to see a girl who consistently sticks up for girls with real boobs and Tango continued that theme.

From crazy sexy glamour to erh...ugly gritty monotony...hmnn...doesn't sound to appealing does it? Well Hard-Fi never really were appealing, or particularly good, but on their debut Stars of CCTV they proved they could bring the big hits based around the grudery of the daily grind. Living For The Weekend was their most aspirational and irresistible offering.

Some tracks are just memorable, there have been so many mindless dance tracks over the last decade, so many that have soared to the top of the charts, so much interchangeable Euro-dance, that it seems hard for any single track to stand out. Yet Toca's Miracle remains memorable, maybe it was the bizarre lo-fi video, or the sheer dated sound of the track, but there seems to be a wealth of rosy sentimentality towards this charming slice of cheese. http://www.youtube.com/watch?v=kOHG5_HixdI

Jeezy never really developed a convincing flow, his rhymes were never quite slick enough, but he did deliver the big hooks and Put On was a sure fire smash. Yet Jeezy only needed to bring the hook because Kanye was on hand to steal the show with a visceral and introspective verse, to put it bluntly, he kills it.

Vitalic sure does know how to make a point, having synthesised every inch of My Friend Dario, yes even those vocals are created by machines not samples or a vocoder, he decided to go a step further with a brilliant OTT air guitar, air drums and lip sung video. Yet more importantly, the song rocked hard, and was a sure fire indie disco slayer, guitars or no guitars.

Oh Fiddy, Fiddy, Fiddy, it's been a rough road hasn't it, from a break through debut, to being bottled off stage drench in urine at Reading Festival, to losing a ridiculous PR war with Kanye West, why would you bet against Ye? I Get Money seemed to get buried underneath the media firestorm, which is a shame, because the track is a beast, and it's the most energised Fiddy had sounded since his debut.

A perennial stalwart of indie discos across the world, from that opening drum line you just knew you were dealing with a sensation. Hot Hot Heat were destined to wallow as one hit wonders, but what a hit. After so many listens it really grates but this track just finds a way to sneak its way into the mix time and time and time again.

Wow Christina Millian sure was erh...pretty, well okay so she wasn't the most talented of pop sensations and the majority of her singles seem regrettable in hindsight, however Say I was the exception this track simply refused to die in 2006, it was everywhere. Now that Say I is no longer thrown in our faces every five seconds, a sleek sharp pop anthem can emerge and take it's rightful place in the top 1,000.

2009 saw Depeche return with a new album and while it was no great shakes, we all got more than a little excited. Wrong was so good we thought Depeche Mode were due a renaissance. It wasn't to be but regardless Wrong sits along Enjoy The Silence, Personal Jesus and I Feel You as one of Depeche Mode's true classics. Wrong also provided the world with Depeche Mode's best ever video, what more could you possible ask for?

There's one thing you can take as gospel, if there's a single with the word "sexy" in the title there's a 98.6% chance that Akon will somehow be involved. Sexy Chick is more annoying electro courtesy of David Guetta in the late 2000s mould, but it's Akon who makes this track, without his powerhouse pre-chorus this track would blend in with the crowd but his performance elevates this track to true epic club banger status.

Kano burst onto the scene fully formed with his debut Home Sweet Home he didn't have the quality of Mr. Rascal but he wasn't far behind. Reload It saw Kano going through the UK grime scene of '05 and ripping his targets to shreds; horrible promoters, other MCs, producers all got the treatment, while Kano simultaneous gave props to fellow scene leader Wiley. Reload It was one of the first signs that other MCs could follow Dizzee from the underground to the mainstream. http://www.youtube.com/watch?v=W7FkgQEK92Q

"You Hit Me Once, I Hit You Back, You Gave A Kick, I Gave A Slap, You Smashed A Plate Over My Head, Then I Set Fire To Our Bed" that ladies and gentlemen is how Florence Welch said hello to the world on her debut single. While she went on to craft greater music the simple visceral thrill of her debut has yet to be topped, this is how you make an impact.

When The Last Time was riding on an almighty Neptunes beat, there was no way this track could possibly fail. It wasn't Clipse's best lyrical performance but this was a club jam from it's conception, it held little pretence. It marked the height of the Neptunes dominance of the air waves in the first half of the 2000s.

Back in the world of the one hit wonders we have The Bravery, their heavily indebted retro rock was never going to catch fire, but luckily they had an ace up their sleeve in An Honest Mistake a sure fire hit which they combined with an inescapable video to assure world wide air play. It's still thrills nearly five years later.

NME have a habit of over hyping up and coming acts and Ladyhawke got the treatment in 2007 and her debut album could only disappoint in 2008. Yet her singles never did, establishing herself as one of the world's best young female hit makers, if not one of the her generations best artists. Paris Is Burning is a richly textured powerhouse ballad (well powerhouse by indie standards) and easily Ladyhawke's most effecting work.

A winding grinding sexual satanic rock and roll romp, it could only be QOTSA. Josh Holme loves this type of music, Burn The Witch is a long deep slow screw of a song. It's remorseless it just keeps churning and churning, live it turns your average festival field into a swirling ocean of mosh pits as they up the bpm to unholy levels.

Another track another lost band who could not live up to the hype, the 2000s are fast become the decade of the lost opportunity. The Datsuns were touted as the next big thing, the heavy answer to the Strokes revolution, unfortunately they didn't even come close but they did leave behind this one dance floor demon. Still in indie club rotation today because this track truly does rock like a mother fucker from Hell.