Ranking Every Gorillaz Song (“Gorillaz” – “Plastic Beach”)
Hoo-boy, has this been a long time coming.
For those who don’t know (and I don’t know why you would, quite honestly), Gorillaz is one of my favorite all-time musical acts.
The albums Gorillaz and Demon Days were the 2nd and 3rd albums I ever purchased.
…The first was OutKast’s Stankonia, in case anyone was wondering.
I didn’t know it at the time, but I had stumbled upon one of the most unique (mainstream) artists of the past several decades.
Operating under the guise of animated members allowed the group to use a vast array of different sounds, genres, and guests artists.
This shit absolutely blew my mind as a child. I had no clue that the boundaries which define music could be so forgivingly fluid.
…No wonder I’m so fucking weird.
In any case, I’ve been a fan of Gorillaz since they’ve existed, and have seen the group change and evolve over their 16-year lifespan.
Quick Note: I am well aware that Gorillaz is actually just Damon Albarn, a bunch of random studio musicians, and Jamie Hewlett. But seeing how the four fictional members (Murdoc, 2D, Noodle, and Russel) have been the face of the group from the start, and how talking about one dude would get old really fast, I’m going to refer to them as a group).
Anyway, one thing that has always remained constant with the band is their pristine track record. Their first three studio albums and included singles collectively fall between the range of “Very Good” to “Modern Classic”
With that in mind, I decided to rank every single Gorillaz song from their first three studio albums: Gorillaz, Demon Days, and Plastic Beach.
“Why not include Humanz?”
A few reasons:
- I haven’t heard the entire album yet
- What I have heard, I don’t like
- There hasn’t been enough time to properly evaluate the album
While I’m at it, here are a few exceptions and such that I made:
- Nothing from any B-sides album (G-Sides, D-Sides), because that would be just way too much content
- No intros, because duh
- Nothing from The Fall, because that was more of an experiment than an actual album
- I included the additional songs from the Gorillaz: Deluxe Edition CD because that was actually the copy I first purchased.
Alright, that’s enough. You probably didn’t read any of this anyway. Let’s get to it:
I…hate this fucking song.
I think its heart is in the right place, but the end result was just way too ambitious. The combination of an overly-simplistic drum beat, distracting synths, and a horrid misuse of Mos Def led to a song that’s just…ugh.
The only saving grace is the Hypnotic Brass Ensemble, but they don’t show up until about 2 minutes in. If you can make it that far–hat’s off to you.
Man, that underlying synth beat sure is amazing.
It’s just too bad that little else about this song is.
Starshine definitely grows on you as it progresses, but if you honestly aren’t missing out on much if you press “skip” 45 seconds in.
45. “Welcome to the World of the Plastic Beach”
This song almost ruined the entire album for me.
….Well actually, for a few weeks, it DID. It’s a pretty groovy beat, but the inclusion of Snoop Dogg is just way too awkward to kick off an album that was so heavily anticipated.
Talk about blue balls.
44. “Glitter Freeze”
Where’s north from here?
This track isn’t too bad at the start, but slowly progresses too far down the path of self-indulgence.
…Like, Quentin Tarantino far.
We get it. You have a cool laser sound. Please stop looping the fucking sample so much.
I’m playing this song right now, and all I want to do is break my work-issued keyboard.
43. “All Alone”
We’re slowly approaching the “meh” section of the list.
Tracks that weren’t remarkable in either direction, good or bad.
All Alone is an okay song. The bridge is very captivating, yet brief. The only reason for its relative obscurity was its supporting cast on the near-perfect Demon Days album.
…Oh, you didn’t know All Alone was on Demon Days? Exactly.
42. “White Flag”
This song’s introduction is downright amazing.
The Arabic Orchestra was a fantastic change of pace for a synth-dominated Plastic Beach.
….and then the track just regresses to nonsense.
Nothing against rappers Bashy and Kano, but I would have been very pleased if the song just stuck with the Orchestral portion.
41. “White Light”
White Light is a lot of fun.
Driven by a badass bass groove and equally competent drum track, this track will have any rhythmically capable person bobbing their heads.
The relentless brashness of it all, interrupted by a heavenly bridge, somehow perfectly captures what it’s like to be drunk as f*ck.
40. “Cloud of Unknowing”
Bobby Womack. The end.
No…seriously, Womack alone makes this song worth listening to. The perfectly complementary ambiance definitely helps, but…..yeah…it’s Bobby Fucking Womack, so you should listen to this song.
39. “Rock the House”
I really, REALLY liked this song when I was 10 or so.
I’m not quite sure what’s happened since then, but any song that features Del Tha Funkee Homosapien is still worthy of praise.
This song, along with another that’ll show its head later, makes me wonder why Gorillaz didn’t collaborate with Del more since their debut album.
Oh, and the music video is pretty hilarious, too.
38. “Pirate Jet”
This track is definitely more of an “experience track”.
You have to be sitting down and paying full attention to really get immersed in it, but it’s well worth it.
The conditions to fully enjoy it caused a tumble down this list, but it’s a sugary-sweet song that’ll leave few engaged listeners unsatisfied.
37. “M1 A1”
This song is for anyone who forgot that Gorillaz is a band.
After a “Dawn of the Dead” sample that somehow never gets old, the group kicks into high-gear with a crazy drum/bass combo and an over-the-top chorus.
The *official* final song of the first album, M1 A1 makes sure that the band ended its debut on a high note…and a high tempo.
36. “Don’t Get Lost in Heaven”
This song is very pleasant, but it seems like more of an interlude than a full-on track.
That being said, it’s a fantastic segue between “Fire Coming Out of the Monkey’s Head” and “Demon Days”.
There’s nothing wrong with this song, like at all, but I just wish it were a little bit longer.
35. “Man Research (Clapper)”
Oh, what a difference a deep bassline makes.
While the repetition of “Yeah yeah yeah yeah yeah yeah yeah yeah yeah yeah yeah” would undoubtedly have us frisbee-ing the CD on its own, the surrounding music actually makes the chorus tolerable–if not outright enjoyable.
At the crux of it all is that bassline, that’s booming to the point that it’s barely audible.
It’ll at least carry you to the chorus variation, which is a lot easier on the ears. The fact that this song works despite being potentially horrid is what lands it here on the list.
“This is the Breakfast Club!”
34. “Some Kind of Nature”
What a magnificent stroke of luck it was for this track to feature the legendary Lou Reed just years before his death.
In his role as a rugged pacer to the electronic song of Plastic Beach, Reed shines far beyond the twilight of his life.
I don’t think it’s a mistake that Reed was chosen to sing the lines “Some kind of nature, some kind of soul”, because he gives life and flavor to an otherwise passable track.
Immediately following the bouncy Man Research (Clapper) on Gorillaz’s debut album is Punk, which–true to its title–is a swift punch in the gut.
You only get three claps in between the verse lines to catch your breath, and before you know it, the song ends, leaving you wondering what just hit you.
Punk is definitely a favorite among newbie Gorillaz fans.
…at least, it was for us in 6th grade, anyway.
32. “Last Living Souls”
Most of us didn’t know what to expect when we listened to Demon Days.
Luckily, this song…did absolutely fucking nothing to help.
The lyrics, the beat, the everything are all very cryptic and unsettling.
Which, given the infinitely eclectic range of genres the album covers, is actually a perfect way to kick the album off.
Also–that acoustic bridge followed by the string measure is absolutely amazing.
This song is fucking great. So, why is it one of the lowest ranked from the album?
Simple: it was merely a great introduction to a great album. No harm there.
31. “Latin Simone (¿Qué Pasa Contigo?)”
For being featured on the band’s first album, this track is really fucking ambitious.
Not only are the lyrics completely in Spanish, but the entire song itself is a direct reply to the English version sung by 2D–which isn’t even on the album.
For example, the line in this version “¿Qué pasa contigo?” (“What’s the matter with you?”) is a direct reply to the line from the English version “What’s the matter with me?”.
That’s…fucking genius. This song is genius.
Not the remix–that comes later.
Like many Gorillaz songs that would come after, 19-2000 surprisingly gets your head bobbing to its unconventional rhythm.
I actually don’t have much else to say about this song. It mostly ranks this high because one of my best friends, Edwin Carrillo, named it as his favorite in the band’s entire catalogue. He’s always noticed elements in great songs before I could, and I’m still waiting for it to happen this time.
….Any day, now.
29. “O Green World”
With Last Living Souls being a good start, and Kids With Guns (yet to be listed) serving as an incomparable follow up, surely the third song off Demon Days would be a dud, right?
While perhaps not as accessible as its preceding tracks, O Green World brings an incredible layering of samples and original sounds to continue propelling Demon Days towards Masterpiece status.
Seriously though–that string/distorted scream combo in the into is ridiculous.
16 years after being featured on Gorillaz’s first album, I still think that 5/4 is a very “necessary” track in the band’s discography.
I say this because the track always serves as a nice reminder that Gorillaz is technically still an Alternative Rock band.
With a mere 4 chords, gibberish lyrics, and a bass groove that only appears in the chorus, this is about as Alternative Rock as it gets.
27. “Double Bass”
A personal favorite of mine.
“Why?”, you ask?
…Eh, I don’t know, actually. I just really like the Double Bass instrument. That’s it. Go home.
But in all seriousness, the best part of this song is its unrelenting commitment to the main refrain. It maintains throughout the ENTIRE song, only stopping for a brief second to let 2D get in a hilariously well-timed sentence:
“All of which makes me anxious, at times unbearably so”
And then BAM, back to the regularly scheduled program.
I love this song.
In terms of fictional frontman 2D’s singing, this track might be the pinnacle.
He displays a range and clarity that instantly stands out from the band’s entire discography.
It truly is a joy to listen to–which is good, since the vocals dominate the entire song.
25. “New Genius (Brother)”
Repeat after me: “Tragically overlooked”
Gorillaz fans who are new to the game might need to give this track a listen, since it perfectly captures the ambiance of the group’s early days.
Early 2000s Gorillaz was ominous, smoggy, and dreary–the kind of sound you’d think of while walking under an overpass on a rainy day.
An awesome throwback to Gorillaz’s gloomy days of yesteryear, New Genius is about as important to the band’s current history as any.
Oh–and my sister loves this song, so there’s that.
This song wasn’t actually on the first release of Gorillaz, but it was on the “Deluxe Version”, which is the one I first bought at age 11, so it’s an official song as far as I’m concerned.
But anyway, this track is quintessential Gorillaz–obscure pop culture references, a muddy bassline, and a great harmonica riff.
It reckon that it was left out of the first edition because of how it sort of meanders through its second half, but it’s still a very solid track regardless.
If you couldn’t tell by now, I really didn’t like how the Techno sound dominated Plastic Beach.
However, Rhinestone Eyes actually got it right.
The reason why is simple: you can actually here 2D singing without getting drowned out by laser nonsense. Rather, both musical spheres trade off, creating a harmonic experience that stands out in a chaotic album.
Oh hello, old friend.
While technically not the first Gorillaz song that most of us ever heard (word to Clint Eastwood), Re-Hash is still the first track off the group’s first album.
And, unlike many songs of this classification, this one has held up spectacularly over time.
The main guitar riff is joyfully inviting, creating the same vibe you’d feel while cruising with great friends. It also perfectly compliments the album’s artwork, for what it’s worth.
Nowadays, Re-Hash is more of a nostalgia trip, transporting us to the same carefree days that the song’s sound embodies.
A true classic in the group’s catalogue.
21. “Slow Country”
In terms of sheer atmosphere, this might be Gorillaz at their prime.
The tempo is slow by most standards, but the freeway-like background noise makes it feel….fast. The lyrics (and basically everything else) take a backseat to this incredible balancing of two polarizing speeds.
Just don’t listen to this song while skateboarding high–you’ll feel like you’re going a million miles a second for 3 hours straight.
…not that I would know, or anything.
Most Gorillaz albums have “that one song”.
You know, the track most people will recognize even if they’re not fans of the band.
For the group’s 3rd album, Stylo was that song.
And in that sense, it definitely serves its purpose. That tech-bass beat gets more catchy the more times you listen to the song–which, ya know, isn’t normal.
I don’t think this song was meant to serve much of a purpose besides being recognizable and drawing people to the rest of the album.
But it has Bobby Womack–who we’ve already established as being able to increase any song’s quality by 30%.
19. “Left Hand Suzuki Method”
Talk about a “hidden gem”.
Another track that was only found on the US Deluxe Edition, Left Hand Suzuki Method is a 3-minute clinic on sound arrangement.
Most people wouldn’t expect a grungy beat, a violin measure, and a Japanese voiceover to blend together so well. However, seeing how deep we are in this list, we shouldn’t be surprised at this point.
There’s also apparently a sample of Muddy Waters’ Mannish Boy somewhere in there, but I’ve never been able to hear it. Unless the omnipotent website known as Wikipedia is lying to me…
Anyway, it’s just a very, very pleasant song to listen to. I even used it for a video project that I once did for a college course.
…But I’m not going to include it because that project fucking sucked.
18. “Fire Coming Out of the Monkey’s Head”
Not so much of a song as much as it is a story interlude.
That’s not a slight by any means, though. Rather, it’s a testament to how the 13th Track off Demon Days contains a narrative so immersive that you forget that it’s technically music.
Narrated by the legendary Dennis Hopper, Fire Coming out of the Monkey’s Head is a somber tale outlining the corruption of greed, as well as the doomed fate that awaits anyone who adamantly pursues it.
It’s yet another example of how Gorillaz has consistently transcended both genre and medium.
17. “Empire Ants”
There are three main portions of this song: A pleasant introduction with 2D singing against a soft beat, an electronic bridge, and Yukimi Nagano floating over the bridge portion to close it out.
I’m not quite sure how well any of these elements would have worked on their own, but they combined to create a fantastic experience on Empire Ants.
16. “Sound Check (Gravity)”
Admit it: you probably skipped through Gravity on your first listen of Gorillaz.
However, like myself, you eventually went back to it and could only utter: “Damn”
This track relies on a bass track so deep and muddy that it’s barely audible at times. Mixed it with some timely scratching, and a hypnotic vocal refrain, Gravity–fittingly, pulls you into its sound.
My sister also loves this song as well. So there’s that.
15. “To Binge”
Yukimi Nagano was totally the magic bullet for Plastic Beach.
This time, she brings the rest of Little Dragon along to bless another Gorillaz track.
To Binge is about a relationship between an alcoholic and a drug addict, and how their independent struggles affect one another.
But not just on a surface level, no. This track goes in on the inner-mechanisms behind substance abuse, all set to the angelic voices of Yukimi and 2D.
It’s a very pretty-sounding song about a very grim topic, which causes it to sneak up on you during the first listen.
To Binge is amazing, and an absolute gem of a track in Gorillaz’s catalogue.
14. “19-2000 (Soulchild Remix)”
The Soulchild Remix is the original song’s cooler older cousin.
Fast, carefree, and with fierce momentum towards the future, this track was an indicator of great things to come back in 2001.
While not quite on the same artistic or intellectual level as the other songs in the top 15, this song picks up the slack by being a white-hot track of pure fun.
And let’s face it–we could use some fun every now and then with this band.
As an official throwback at this point, the Souldchild Remix blasts you back to not only the band’s past, but our own.
Full of spirit and ready to take on the world, this song is f*cking awesome.
13. “Plastic Beach”
Plastic Beach is one of the few songs off the album that created an immersive electronic ambiance that was also full and flavorful.
Seriously, though–those pendulum scales are downright mesmerizing.
The lyrics are just a continuation of the album’s narrative–which I’ve admittedly never paid too much attention too.
But story recognition or not, Plastic Beach is about as well-produced of a track as they come. It has such a sense of finality to it that I thought it was the album’s final track for several years.
And by “several years”, I mean just up until last week when I looked it up.
Oh, and here’s a fun fact: it was also the 13th track off Plastic Beach.
12. “Demon Days”
Definitely the “sleeper hit” off of Demon Days.
And I’m not just saying that because I fell asleep the first time I heard it, either.
Just when most listeners were expecting this big climax of an album ending, similar to M1A1, Demon Days pulled the rug right out from under us with this committed orchestral sound.
And you know what? It worked really well.
The gospel choir is indeed riveting, but the lyrics of the song help bring the album’s theme full circle:
“Pick yourself up, it’s a brand new day,
So turn yourself around,
Don’t burn yourself, turn yourself
Turn yourself around into the sun”
11. “Tomorrow Comes Today”
The grandaddy of them all.
While many people’s first exposure to Gorillaz was Clint Eastwood, Tomorrow Comes Today was actually their first ever release (released as an EP in 2000), as well as their first ever music video.
That significance alone is justification for it making the Top 15, but there’s more.
Literally and spiritually, Tomorrow Comes Today set a template that Gorillaz would eventually go on to perfect.
The new-age music videos, obscure sampling (Allen Toussaint’s “Get Out Of My Life, Woman” in this case), and an overarching drooping ambiance became the backbone of the band’s early career.
The song’s title wasn’t just a clever paradox–it was a foreshadowing of what was to come from the band.
As the 12th track off Demon Days, following the alcoholic-inspired White Light, Dare catches you off-guard.
Which, oddly enough, is exactly what its purpose was. Dare is both a tonal and lyrical counter to the gloom and sorrow that dominates most of the album.
Noodle (voiced by Roses Gabor–a Black woman *gasp!*) urges 2D and–by proxy–listeners to stop moping around and take action to improve our lives.
The song’s title was originally supposed to be “It’s There”, but Shaun Ryder’s thick pronunciation of it on the track led to it being renamed “Dare”.
Speaking of which–Ryder’s live performances have become a thing of hilarious legend, as his accent and BAC seem to triple when compared to the studio recording.
All that in mind, Dare is a pop masterpiece: never losing steam, layered like an onion, and as catchy as pinkeye.
By the way–I have pink eye as I’m typing this.
9. “Superfast Jellyfish”
Of all the social commentary sprinkled throughout Plastic Beach, this track seems to be the most personal to the band.
Superfast Jellyfish lampoons the money-hungry music mainstream, likening its craving for shitty pop songs to the Fast Food industry.
Walking the walk, Gorillaz has always taken their time with releasing music (up until the most recent album, anyway). But as their popularity has grown, so has the pressure to keep cranking out hits, and do so quickly.
Supported by the always-conscious De La Soul, Superfast Jellyfish is the band’s middle finger to the powers that be.
Don’t waste time!
8. “Every Planet We Reach Is Dead”
I’m willing to bet you $5 that this song will come up if you Google “underrated”.
Just kidding, I don’t have enough money for that.
…See what I did there? I just assumed that we have lots of readers here. Ha-ha!
The reason why Every Planet is so underrated is because it’s the 8th track in the ridiculously front-loaded Demon Days album.
That being said, make not mistake: this song is a freaking masterpiece.
A true space-age Blues song, Every Planet presents a masterful sound arrangement behind an agonizing tale of longing.
Buried under the layers of synths, strings, and keyboards lies the classic stomp-clap foundation of Blues music.
Speaking of keyboards, this track features one of the very last piano pieces ever recorded by the legendary Ike Turner–who absolutely brings the house down.
This is about as good as it gets, children.
7. “Dirty Harry”
Dirty Harry was a pleasant surprise.
When most of us listened through Demon Days the first time we did so in anticipation of Track 6–Feel Good Inc.
And then we got to Track 5, and were forced to stop and only think “Damn, this is REALLY good”.
With eclectic company such as the San Fernando Valley Youth Chorus and Bootie Brown (of the Pharcyde), Dirty Harry is musical fusion at its finest.
Contrary to its title, the track is actually a pacifist’s plea, outlining the apprehensive adoption of weapons by people who simply want to be left in peace.
“Remember when I used to dance? Dang, all I want to do is dance”
6. “November Has Come”
I’m going to just come out and say it: this song has the best guest appearance in Gorillaz history.
November Has Come is about the penultimate moments before something’s demise–in this instance, the Hip-Hop Genre as a whole.
Guiding the narrative is the mysterious MF Doom, whose smooth voice flows at the exact same wavelength as the track’s beat.
Doom delivers a two and a half minute sermon on Hip-Hop’s current diluted state. The talent, realness, and production of the genre has been watered down in favor of mainstream appeal, and its days are now numbered.
However, as the chorus sung by 2-D points out, it might already be too late: “When you know November has come, it’s gone away”
November Has Come is a fan favorite, for its effortlessly masterful execution, poignant message, and one of the best choruses in the band’s entire catalogue.
5. “Kids with Guns”
Effortless greatness. Absolutely effortless.
Or, at least, it certainly sounds so.
Last Living Souls was a good start, but Kids With Guns is what really instigated Demon Days’ ascension into greatness.
With 4 bass notes, two tempos, and a straightforward message, Kids With Guns is a song without much to hide behind. The structure is so simplistic and void of any crazy effects that it just comes down to execution.
It’s typically a bit of a gamble to do this, since a song with this structure can easily suck–and suck bad.
But this is Gorillaz we’re talking about, and they execute this song with such smooth finesse that it’s become a favorite among fans–and me.
4. “Clint Eastwood”
Where it all started.
There isn’t much I can say about this song that hasn’t already been said.
The mellow bass/drum arrangement, set behind 2D’s vocals and the always-appreciated Del Tha Funky Homosapien, sparked off the cartoon band’s worldwide takeover.
Clint Eastwood as a track is now a modern classic, but it probably wouldn’t have received its well-deserved acclaim if it weren’t for the music video, which formally introduced us to the band members that have continued to evolve for 17 years.
After all, it was the band’s animated battle against zombie gorillas that had me watching MTV for hours on end, waiting for it to get replayed. It was the music video that led me to buy the first cd, and ultimately what led to me making this list at all.
The melodica on the track had a lot to do with it, too. That shit is amazing in this song.
For bringing us all together to experience this fantastic band, we thank you, Clint Eastwood.
3. “El Mañana”
My personal favorite Gorillaz song.
Right from the get-go, you feel that there’s something…different about this song. It doesn’t have the same, somber-but-cheery vibe that most Gorillaz songs have.
Rather, the minor scale and feint alarms at the beginning communicate something else: descending sadness.
In the simplest terms, El Manana is a very sad song. In fact, it’s one of the saddest songs that I’ve ever heard in my entire life.
This is only partially due to the lyrical content, which is generally about unrequited love and the seemingly endless grief that comes with it.
The real star of this show is the musical arrangement–particularly the strings, which contain an absolutely heartbreaking cello solo.
A YouTube comment reads, “Brings back memories of a very specific time and place that can never be replicated”. That could not be more true for me. Call it timing, or adolescent emotional immaturity, but El Manana has consistently stricken an emotional nerve within me that no other song ever has.
This track has a very special place in my heart, for how it digs deeper into the human heart than any other song in the catalogue.
2. “Feel Good Inc.”
A few years after the release of Gorillaz, when most thought the band was a gimmicky one-off, Feel Good Inc. dropped out of nowhere to make one thing clear: This band was here to stay.
Rather than continuing to get by on what was already working, Gorillaz used Feel Good Inc. to improve on absolutely every element possible.
The production was cleaner, the music video was sharper, and the track was ridiculously catchy despite centering on a poignant message.
Feel Good Inc. deals with escapism, and the ignorant bliss that people thrust themselves in to convince themselves that they are happy and free.
Layering on the symbolism is De La Soul, who continue to push the social commentary but also provide encouragement to those who aspire to achieve true happiness.
The portion of this song that has captured me since the age of 11 is the second bridge. Because, in a song about such existential dread, the immersive pause acts as a brief glimmer of hope–a ray of sunshine in a gloomy world.
These are the kinds of experiences that you never forget–how something made you feel…good inc.
Sorry, I had to.
Anyway, Feel Good Inc. is likely the quintessential Gorillaz song. It combined everything that has made the band so great and, 12 years later, still sounds ahead of its time.
1. “On Melancholy Hill”
Yeah, Feel Good Inc. had the Grammy nominations. And sure, this list probably wouldn’t exist if it weren’t for Clint Eastwood.
However, no other song in the band’s history has demonstrated how far they’ve come than On Melancholy Hill.
For perhaps the first time, this song gave us a resolution–an action plan to deal with what other songs have described.
Yes, there are issues in the world–major ones, to the point that it’s almost paralyzing. However, 2D reassures us that there is always light to be found, so long as we’re with our loved ones.
Guiding us down from Melancholy Hill is an absolutely lovely instrumental arrangement, made up of a heart-pulse bass line and an invigorating synth section.
It’s a very sweet song about bittersweet topic–digging deep into our emotions without being too invasive, and tactfully reminding us of what being human truly is.
A big reason for this song being ranked 1st is, oddly enough, the lack of a featured artist. It’s simply Gorillaz displaying all they’ve learned, proving that they can do it on their own, and creating the most beautiful song in their catalogue in the process.
“‘Cause you are my medicine when you’re close to me”
All these things considered, On Melancholy Hill is the culmination of the band’s entire career, and is the song I’m proudly declaring as their best ever.
Normally, I’d have something witty and/or fun to say. But after 5,000 words and over a month of working on this, I’m really fucking tired.
I hope you enjoyed reading this list as much as I loved putting it together.
If there’s another artists you’d like me to cover, let me know!
…but hopefully one with a smaller discography, tee-hee.