The past ten years have been a incredible decade of music. It was an era where audiophiles had more resources to discover new music and seek out non-mainstream bands. While MTV began to drool, music discovery in the 00’s are where technology ruled.

The Strokes and the White Stripes have developed into two of the biggest rock bands of the decade. Unknowingly, both bands pioneered their definitive garage-style “hipster rock” sound into a lifestyle in Silverlake LA and Williamsburg Brooklyn. The release of “Last Nite” and the 9-11 controversy over “New York City Cops” on their debut album immediately gave the Strokes a major buzz. In 2003, the single “Elephant” from Seven Nation Army broke the White Stripes into the mainstream. Seeing both the White Stripes and the Strokes together twice in the summer of 2002 go down as some of the most memorable shows I’ve seen.

By the end of the 90’s, AFI’s Davey Havok started applying copious amounts of makeup and added a bit of goth with the The Art of Drowning thus shedding some of the band’s punk persona.  AFI reached cult status in 2003 with the massive appeal of “Girls Not Grey”.   The year after, the Killers released Hot Fuss while “Somebody Told Me” became a Guitar Hero III favourite. Concurrently, “Swing Life Away” gave Californian punk band Rise Against their first taste of mainstream success.

Arcade Fire’s debut album Funeral filled with an rich musical array was released to critical acclaim in 2005. “Float on” became 2005’s summer rock anthem and Modest Mouse found themselves in a position where they were helping to commercialize indie rock. “Supermassive Black Hole” by Muse became the song of the summer of ‘06 while Yeah Yeah Yeahs fans obsessively listened to Show Your Bones. “Cheatin’ Hearts” also became the anthem for broken-hearted hipsters that year.

Last but not least, MIA’s Kala gave the third world a voice through music. The film Slumdog Millionaire transformed the hit single, “Paper Planes”,  from a hot modern rock track into a certified #1 dance hit. Currently, “Paper Planes” continues to be heard on Top 40 radio within the USA.

OK, here we go!!  These are the staff’s picks for what we feel are the top “B-Sides” tracks for the entire decade.

STAFF BEST OF THE 00s LIST:

1. Five prep school boys started off the ought’s by sparking the one of the largest record label bidding wars in history. Plucked by RCA in 2001, The Strokes debut LP, Is This It, was at the forefront of the reintegration of rock to mainstream play. Scruffy crooner and writer Julian Casablancas crafted a brand of pop-palatable garage rock, heavily influenced by NY’s early days of punk, an homage to their hometown.

Viral from the start, The Strokes were everywhere. Room on Fire (2003) and it’s polished bravado saw endless club and radio play, but by 2006’s First Impressions of Earth, there seemed to be something off. Several solo projects later (we will support Casablancas in any venture, have you heard Phrazes for the Young?), The Strokes reunited to record this past summer with, as of yet, nothing to show for it. Due to some minor spats, the release date keeps being pushed back. Just don’t keep us in suspense too long- hipsters like to dance too.

The Strokes- “Last Nite”

2. They’re the band that even my dad likes (let’s face it- just not his decade). With their simple formula, Jack and Meg White proved that all you need is a guitar, a beat, and some mystery to reinvent rock. By 2000, the one-time husband and wife (although at times claiming to be siblings) had two raw garage rock albums under their belt and a cult following. 2001’s White Blood Cells launched mainstream hype with “Fell in Love With a Girl” and it’s legoland fantasy video, quickly followed up by Grammy’s for Elephant (2003) and “Seven Nation Army,” darker and more driving then their previous releases.

Although the dynamic duo’s mid-decade experimentation with instrumentation and inspiration resulted in yet another Grammy grabbing album (2005’s Get Behind Me Satan), audiences’ calls for group’s brand of stripped down rock were answered with 2007’s Icky Thump (yah- there was a Grammy for that one too). At the height of popularity, The White Stripes did just what we expected, stepped out the spotlight. With Meg suffering from anxiety attacks, Jack’s laundry list of side projects (The Raconteurs, Cold Mountain, The Dead Weather, etc.) have kept us satiated for the last few years, but rumors (okay- Jack White himself) claim a new Stripes album isn’t far off. Just keep your fingers crossed that Meg gets over her stage fright.

White Stripes- “Seven Nation Army”

3. The second husband-wife duo on our list, Arcade Fire’s strategy is the exact opposite of Band Number Two’s. Intricate orchestral pairings, numerous vocalists, and a flair for the dramatic gave the ought’s a whimsical heady collection. Canadian founders Win Butler and Regine Chassagne undertook coordinating guitars and drums with a xylophone, French horn, accordion, piano, double bass, glockenspiel, and various other pieces. The epic result was presented to the public as 2004’s Funeral. Somewhat somber but endearing, the album (plus singles “Wake Up” and “Cold Wind”) graced every top ten list that year, and forced the band to ante up on bigger venues.

In addition to live shows featuring a full stage of instrument swapping members and an evangelical exuberance, the band gave us a sophomore album as good as the first with 2007’s Neon Bible. Critically acclaimed and commercially successful, the band lit up arenas and festivals for the next year, taking a break in 2008 to campaign for Obama and produce a live concert DVD, Miroir Noir (2009). And, of course, none of us can forget the trailer for 2009’s Where the Wild Things Are featuring “Wake Up.” May 2010 promises a third full-length release, and it’s fair to say- we’re excited.

Arcade Fire- “Rebellion (Lies)”

4. For a band that started out this decade breaking up with their label, suing Nestlé and Celine Dion (and winning), Muse’s triumph in the American mainstream means that much more.  Refusing to release music that was anything but their own, Muse’s introduction to the American public was stalled when a disagreement halted the release of 2001’s Origin of Symmetry.  We were quickly caught up in 2003 with Absolution, an homage to the proportions of Queen and Pink Floyd.

Hundreds of live performances and a European explosion later, the three Brits (Matthew Bellamy, Christopher Wolstenholme, and Dominic Howard) stormed the charts with 2005’s Black Holes and Revelations, boasting five singles including “Supermassive Black Hole” and “Map of the Problematique.”  With guitar riffs reminiscent of Jimmy Hendrix a live show that’s better then the album (hard to find these days), Muse’s popularity is only beginning to peak.  2009 saw the a worldwide treasure hunt prior to the release of the anthemic The Resistance, the band’s first TV appearances in the states, and a calendar that’s booked out through late 2010.  The 21st Century British Invasion is only getting started.

Muse- “Time Is Running Out”

5. The fraternity of bands that make up this decade’s top ten is a tight knit one, not excluding our #5.  Out of the heart of NYC, the Yeah Yeah Yeah’s spent the early ‘00’s supporting The Strokes and The White Stripes (not to mention shacking up with 2009’s darlings Metric).  The world at large was introduced to Karen O’s iconic love of ponchos and haunting vocals with 2003’s Fever to Tell and the breakout hit “Maps,” perhaps the most overplayed alternative song of the year.

As YYY’s sound evolved, they released 2006’s Show Your Bones and 2007’s Is Is EP, both garnering critical acclaim for their brand of post-punk pop, danceable beats with meat.   It’s Blitz! released in March 2009 proved the group’s staying power with a more polished showing, featuring “Heads will Roll” (tapped by MTV for those pop culture indicators The Hills and The City) and “Zero” (which topped numerous “Song of the Year” lists).  Karen O is also the second artist on our list to be featured on (ex-boyfriend) Spike Jonze’s soundtrack for Where The Wild Things Are.  With Freddy Mercury inspired live shows and a penchant for Top 40 singles, the Yeah Yeah Yeah’s gave us a reason to hit the dance floor.

Yeah Yeah Yeahs- “Maps”

6. The band that all emo youngsters in North America aspire to emulate, AFI (aka A Fire Inside) may be the most stable band of our generation.  Eighteen years (the same line-up since 1998) and eight studio albums in, the group that formed in a suburban California high school has managed to make hardcore palatable for mass consumption.  It wasn’t until the 1999 single “Total Immortal” and their fifth LP, The Art of Drowning (2000), that AFI started seeing interest in the mainstream (although they’d been punk sensations for some time).

Front man Davey Havok’s ability to spin soul-clenching lyrical pieces into driving anthems shook the airwaves with 2003’s Sing the Sorrow, boasting three singles- “Girl’s Not Grey,” “The Leaving Song Pt. II,” and “Silver and Cold.” 2006’s Decemberunderground followed up with the more heavily produced “Miss Murder” and “Love Like Winter” (both popular with the TRL crowd), and a return to their Gothic roots (we have Havok to blame for boys sporting eyeliner).  At the end of the decade, AFI has been enjoying some hard won success with the release of Crash Love (2009) and the break of “Medicate,” an anthem for an isolated generation of listeners.

AFI- “Girls Not Grey”

7. Arguably one of the most, if not most popular new bands of the decade, The Killers gleaned much from their New Order video inspired name to craft their debut, Hot Fuss.  Combining the ’80s synth pop sound with skinny jeans and their native Las Vegas glitz, The Killers single-handedly opened the door to the retro-influenced music of the mid-2000s.  After signing with a U.K.label, the buzz built almost instantaneously with their signature track, “Mr. Brightside,” and it didn’t take long for news to travel back to the States.  Hit after hit, there was no avoiding the band nor their influence on fashion.  Soon enough, manscara was even more prevalent, as were skinny ties.  Led by their stylish and bold lead singer, Brandon Flowers, The Killers took a detour with their second album, Sam’s Town, and brought the Americana sound to the forefront that reminded many of Bruce Springsteen.  Lead single from the album, “When You Were Young” would go on to give many carpal tunnel playing the song on the Guitar Hero 3 or Rock Band games.

Releasing a collection of B-sides, rarities, and remixes, Sawdust, showcased different sounds from the band, as well as their very well received remake of “Shadowplay”, originally done by Joy Division.  Credit must be given to the band for not sticking to the tried and true formula that catapulted them to the forefront.  Their penchant for evolving continued on their 2008 release, Day and Age.  Rather than doing back to the synth pop sound of Hot Fuss, the band mined the dance rock sound similar to Duran Duran of the 80s, and did so successfully with the help of Stuart Price, a veteran producer who had previously worked with Madonna and Gwen Stefani.  There is much to look forward to from The Killers in the new decade, but one cannot deny their strong presence in the 00s.

The Killers- “Mr. Brightside”

8. After producing quality music in the mid-late 90s, Modest Mouse seemed to have come out of nowhere in the 2000s.  It wasn’t until the band released their sixth album, Good News for People Who Love Bad News, did everyone get to know “the Mouse.”  Thanks to the track, “Float On,” the band got asked to play The Bait Shop on the television show, “The O.C.”  and elevated Seth Cohen’s place in indie rock history.  Forming in suburban Washington state, the band got noticed in the Seattle music scene for music that ranged from quiet folk to near punk blues riffs.  As a compliment to the 80s inspired bands that flooded the decade, Modest Mouse provided a refreshing change with its various album themes from driving, flying, and nautical themes.  The band was able to recruit former Smiths guitarist Johnny Marr, to join in the recording process and subsequent tour for their nautical themed album, We Were Dead Before the Ship Even Sank.  We think the band would’ve been just fine without the Seth Cohen influence, but it sure didn’t hurt.

Modest Mouse- “Float On”

9. After spending the first part its career on the Fat Wreck Chords label, Rise Against gained momentum throughout the decade thanks in part to its participation on the Warped Tour and signing to major label, Dreamworks, which later was absorbed by Universal Music Group. The band continued to hone its signature hardcore sound with strong melodic vocals by lead singer, Tim McIllrath.  Their major label debut, Siren Song of the Counter Culture showcased the band’s new fuller sound and accessibility, especially with the release of “Swing Life Away,” an acoustic ditty that was on many a teen fan-girl’s mixtape.

As with other politically charged bands during the first half of the decade, Rise Against focused most of their music on political commentary regarding the Iraq War and the Bush Administration.  The subsequent releases throughout the decade by Rise Against would further solidify their presence in alternative rock radio with plenty of sing-along hits from their albums, The Sufferer & the Witness and Appeal To Reason.

Rise Against- “Swing Life Away”

10. Many footsteps have been trekked of incorporating international politics into mainstream music.  The 80s had The Clash and Public Enemy, the 90s had Rage Against The Machine.  In the first decade of the 21st Century, we have London artist of Sri Lankan descent, female rapper, MIA.  As the age of the internet continued its explosion throughout the decade, MIA became a household name through blog buzz and web-mixtapes that had plenty a suburban kid chanting her rebel-rock slogans to the post-rap/post-rave culture of beats and basslines.  The album, Arular, named after her father, brought a new sensibility to the rap genre, one that was innovative with its use of dancehall percussion beats.  “I’ve got the bombs to make you blow/ I’ve got the beats to make you bang,” declares M.I.A. on “Pull Up the People”, the fiery, yet minimally arranged track that kicks of the album. It’s this minimalist sound that gave a new sound to the trendy garage beats of East London.

The follow-up, Kala became an instant favorite upon its release in 2007, and expanded on the minimalist sound MIA brought with her first album. Spanning multiple sounds from the Bollywood style of “Jimmy” to what could be an audio capture of a street festival in “Boyz,” the variety of sounds are pertinent to the tracks and keeps the music interesting, while not appearing as a novelty. Insightful lyrics without preaching, and the depth of the variety that also included the future classic, “Paper Planes”, which was utilized a notable trend in the decade, via the film trailer and TV commercial for “Pineapple Express,” and later on, within “Slumdog Millionaire,” blasting out of the movie theatre speakers in Dolby Digital Sound. MIA’s performance with T.I., Jay-Z and Lil Wayne during the 2009 Grammy awards solidified her status as one of the top performers today.

M.I.A.- “Galang”

11. No one can deny that the indie rock movement, for better or worse, has taken mainstream radio waves by storm in the past ten years, thanks in large part to these guys.  DCFC, with their boys-next-door image and soulful lovelorn ballads, have wooed us through our break-ups, break-downs, and sleepless nights.  Hailing from a small town outside Seattle, the quartet carved out their niche as part of indie label Barsuk Records with 2001’s The Photo Album and 2003’s Transatlanticism, which provided numerous anthems for prime-time dramas and high-school proms.
Reluctantly signing to Atlantic Records in 2004, DCFC never strayed far from their roots, encouraging fans to freely download 2005’s Plans and joining The Anti-Auto-Tune Movement.  Front man and indie poster boy Ben Gibbard, despite losing the coke-bottle glasses, going blonde, and marrying Zoey Deschanel (cue hearts breaking), can still be found crooning in small Seattle clubs and playing poker in darkly lit greenrooms.
Death Cab For Cutie- “Sound Of Settling”