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FBG'S TOP 100 PINK FLOYD SONGS - #01 - Comfortably Numb from The Wall (1979) (1 Viewer)

Just curious what the peanut gallery thinks. Which album will have more songs on the countdown . . . The Final Cut or AMLOR?
 
Anarchy99 said:
Just curious what the peanut gallery thinks. Which album will have more songs on the countdown . . . The Final Cut or AMLOR?
Click to expand...

I think it will be closer than people think. AMLOR has some good stuff, and the songs appearing will likely be ranked much higher, but I tend to think The Final Cut will have more songs. Not necessarily better, but more in quantity.
 
Anarchy99 said:
One more Tinder and then I have other stuff to do. @Dwayne Hoover . . . come on down.

SWIPE RIGHT / TWO UNIVERSES COLLIDE
@lardonastick (19 similar songs - 9 of the same Top 10) 👩‍❤️‍👩
@New Binky the Doormat (17 + 9)
@Desert_Power (17 + 8)
@Yo Mama (17 + 7)

SWIPE LEFT / NOT IF YOU WERE THE LAST MAN ON EARTH
@jabarony (4 + 2)
Next on the list was @Anarchy99 (11 + 9) . . . and many of my selections were picks just to get songs on the countdown. Obviously with 9 of the same Top 10, we were on the same wavelength.

CHALK RANKINGS (Average songs per list)
Dwayne Hoover - 14.29
FatMax - 14.16
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Oh this is nice, I had no Tinders at all for Led Zepp countdown
 
AMLOR came out when I was a kid, before I actually got into Floyd. I really liked the first single.......if you asked teenage me I'd have said I liked AMLOR better than The Final Cut.......now, I'd probly go with Final Cut but not by much. Neither are great Pink Floyd albums for different reasons.

For this I think FC has more entries and we will see them all very soon. AMLOR will have a couple higher scoring ones though I bet.
 
Manster said:
AMLOR came out when I was a kid, before I actually got into Floyd. I really liked the first single.......if you asked teenage me I'd have said I liked AMLOR better than The Final Cut.......now, I'd probly go with Final Cut but not by much. Neither are great Pink Floyd albums for different reasons.

For this I think FC has more entries and we will see them all very soon. AMLOR will have a couple higher scoring ones though I bet.
Click to expand...
I expect the first AMLOR single you mentioned you liked to do well.
 
I didn’t pick anything from AMLOR or Final Cut. But if I ranked everything and added up scores for all albums, AMLOR would rank higher than Final Cut by a lot.

I don’t hate Final Cut to the same extent as PIK — likely no one does — but with the exception of one song, I don’t find it to be a pleasant listening experience at all.
 
Pip's Invitation said:
I didn’t pick anything from AMLOR or Final Cut. But if I ranked everything and added up scores for all albums, AMLOR would rank higher than Final Cut by a lot.

I don’t hate Final Cut to the same extent as PIK — likely no one does — but with the exception of one song, I don’t find it to be a pleasant listening experience at all.
Click to expand...
So basically the Final Cut = Pats and Eagles fans? I don't hate them, just don't find them to be a pleasant listening experience.

I honestly would say describing a record as not a pleasantly listening experience is probably as harsh as hating something.
 
Dr. Octopus said:
On my list it would be a tie but my sense is Momentary Lapse in a landslide.
Click to expand...
I'm really surprised that SO MANY people took the cheese on The Final Cut / AMLOR question, the answer was pretty obvious.

I said we have a road paved with nothing but dreck for the immediate future. AMLOR really only has 6 fully developed songs on it. The rest are entirely or mostly instrumentals (ie, filler). More people liked the core of the AMLOR songs. But there were WAY MORE outliers that came from TFC. Final tally, AMLOR 5 songs, Final Cut 9 songs.
 
Anarchy99 said:
Dr. Octopus said:
On my list it would be a tie but my sense is Momentary Lapse in a landslide.
Click to expand...
I'm really surprised that SO MANY people took the cheese on The Final Cut / AMLOR question, the answer was pretty obvious.

I said we have a road paved with nothing but dreck for the immediate future. AMLOR really only has 6 fully developed songs on it. The rest are entirely or mostly instrumentals (ie, filler). More people liked the core of the AMLOR songs. But there were WAY MORE outliers that came from TFC. Final tally, AMLOR 5 songs, Final Cut 9 songs.
Click to expand...

reaction. :lmao:
 
#89-T - Waiting For The Worms from The Wall (1979)

Appeared On: 1 ballot (out of 32 . . . 3.1%)
Total Points: 4 points (out of 800 possible points . . . 0.38%)
Top Ranker: @BrutalPenguin
Highest Ranking: 225

Live Performances:
PF: 31 (Uniondale - 1980-02-27, London - 1981)
DG's PF: None
DG: None
RW: 225 (Berlin - 1990, San Francisco - 2012)
NM: None

Covers: Billy Sherwood, Out Of Phase, Luther Wright, Twinkranes, Whitenails, Trevor Exter

Back to Side 4 of The Wall. Waiting For The Worms started out as Follow The Worms. After the Animals tour ended in the summer of 1977, Waters spent the next year writing and recording demo tracks for two concept albums. One was The Wall. The other was The Pros and Cons of Hitchhiking. I think we know which one won out.

By that point on the album, protagonist Pink has lost hope ("You cannot reach me now") and his thinking has decayed, bringing to mind the "worms". In his hallucination, he is a fascist dictator, fomenting racist outrage and violence, as begun in the preceding song in Run Like Hell. The count-in Eins, zwei, drei, alle is German for "one, two, three, all". In the beginning and end the crowd chants, "Hammer", a recurring representation of fascism and violence in The Wall.

Waters, who I'm sure is a hoot at parties, wrote lyrics that deal with the Nazis and The Holocaust. "Waiting to turn on the showers and fire the ovens" refers to the Nazi death camps. The lyrics also mention the people the Nazis killed: "Waiting for the queens and the coons and the reds and the Jews. Pink wars withing himself as his insane dictator rants culminate in shouts of ethnic cleansing, effectively turning him into the very sort of force that killed his father.

In the movie of The Wall, the imagery features a live action segment with some teenagers (the same ones from In The Flesh?) trampling over a rag doll replica of Pink. He then shouts through a megaphone while his followers march through the street. Following the images of the fascist crowd, the screaming face and the fascist bashing a man's skull from "What Shall We Do Now?", a dog biting meat off a hook then consumed by a larger one (from the Animals tour), and the famous goose-stepping hammer sequence, Pink is seen yelling "Stop". Version from Pink Floyd - The Wall film

In the concerts of The Wall, a member of Pink Floyd, often Waters, would wear a leather trenchcoat. Gilmour would provide the high pitched "Ooooh, you cannot reach me now, ooooooh!" The song would build up until the lights extinguish in preparation to introduce the "Pink puppet" that sings "Stop". The marching hammers animation would be displayed on a circular screen above the stage during concerts.

Vulture Ranking (out of 165 songs): 50
Ultimate Classic Rock Ranking (out of 167 songs): 76
Louder Ranking (out of 50 songs): NR
WMGK Ranking (out of 40 songs): NR
Ranker Ranking (out of 132 songs): 45
Billboard Ranking (out of 50 songs): NR

Vulture Ranking (50 out of 165 songs): More doo-woppy stuff, before lurching over into something of a slog on record. In the film, of course, this is where director Parker and animator Gerald Scarfe turn it up to 11, as Pink’s fascist visions continue. Highly effective, and indelibly tied, in the minds of a generation, to Scarfe’s animation of the marching hammers.

UCR Ranking (76 out of 167 songs): The best extended use of the “Beach Boys” aesthetic comes across here, where it stands it blissful contrast to Waters’ Holocaust-referencing megaphone barking and Gilmour’s malevolent “Another Brick in the Wall” guitar pattern. The sweet-and-sour vocal interplay between Gilmour and Waters is disconcertingly effective, with each of them delivering dark ideas in completely different tones.

Next up, another one of my picks (which I was surprised no one else went for). Another older track.
 
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#89-T - A Saucerful Of Secrets from A Saucerful Of Secrets (1968)

Appeared On: 1 ballot (out of 32 . . . 3.1%)
Total Points: 4 points (out of 800 possible points . . . 0.38%)
Top Ranker: @Anarchy99
Highest Ranking: 22

Live Performances:
PF: 204 (Philadelphia - 1968, Amsterdam - 1969-08-09, Essen - 1969-10-11, Rotterdam - 1970-06-28, Pompeii - 1972)
DG's PF: None
DG: None
RW: None
NM: 156 (London - 20019-05-03)

Covers: Rob Gould, Waltari, E.X.P., James Anastasakis, Vibravoid, Atomato

Originally called The Massed Gadgets of Hercules, A Saucerful Of Secrets (the song) helped set up PF for their future sound and success. It was one of the first songs the band developed with the addition of DG. Gilmour said, "'A Saucerful of Secrets' was a very important track; it gave us our direction forward. If you take 'A Saucerful of Secrets,' 'Atom Heart Mother' and 'Echoes' - all lead logically to Dark Side of the Moon. The song was inspired when Roger and Nick began drawing weird shapes on a piece of paper. We then composed music based on the structure of the drawing."
The instrumental is broken up into 4 parts: Something Else, Syncopated Pandemonium, Storm Signal, and Celestial Voices. The song was Gilmour's first songwriting credit with Pink Floyd.

Gilmour later said he initially wasn't sure what to play. Many years later, when asked about the techniques he used to get such unusual guitar tones, Gilmour commented: "On the middle section, most of the time the guitar was lying on the studio floor. I unscrewed one of the legs from a mic stand... You know how mic stands has three steel legs about a foot long? I just whizzed one of those up and down the neck - not very subtly. Another technique, which came a bit later, is to take a small piece of steel and rub it from side to side across the strings. You just move it and stop it in places that sound good. It's something like an E-bow."

Roger Waters once stated in an interview that the song was about a battle and the aftermath. "Something Else" represents the setup of the battle. "Syncopated Pandemonium" represents the actual battle. "Storm Signal" represents the view of the dead after the battle has ended, and "Celestial Voices" represents the mourning of the dead.

Their live performances of the song varied greatly compared to the studio version, including the one contained on Ummagumma. Their 1969 tour was billed as The Massed Gadgets of Auximenes – More Furious Madness from Pink Floyd, which later was renamed The Man And His Journey tour. That tour featured a lot of new material that did not make it on to album releases at the time (a full performance of those songs ended up on The Early Years box set).

Vulture Ranking (out of 165 songs): 63
Ultimate Classic Rock Ranking (out of 167 songs): 64
Louder Ranking (out of 50 songs): 43
WMGK Ranking (out of 40 songs): NR
Ranker Ranking (out of 132 songs): 62
Billboard Ranking (out of 50 songs): 40

Vulture Ranking (63 out of 165 songs): The band was stretching the patience of its producers as its second album was being recorded. Wright said: “Producer Norman Smith gave up on the second album. He was forever saying things like, ‘You can’t do twenty minutes of this ridiculous noise.’” Ah, but they could. The real issue was the tonal discrepancies. “Corporal Clegg” on Secrets is a badly conceived, poorly executed dance-hall-style goof. And then you have 12 minutes of stuff like this, the origins of space music, in four parts, which I won’t bother delineating here, except to note that one is entitled “Syncopated Pandemonium,” which for some reason reminds me of the seven-part “Ballet for a Girl in Buchannon” from Chicago’s first album. If you really want to experience this, there are more convincing versions available, on video in the concert movie Pink Floyd: Live at Pompeii (highly recommended to anyone with a passing interest in the early band) and on record as a live track on Ummagumma. There you get a sense of the band improvising within the different sections. As a studio recording it feels pointless. The longest of the Ummagumma live tracks is probably the most trying, though there’s a pretty credible psychedelic freakout after the four-minute mark. Maybe I’m being unfair, but I swear, whenever I really concentrate on some of this band’s “heaviest” stuff, I come away thinking, Jesus, the drummer and keyboardist are sort of low energy.

UCR Ranking (64 out of 167 songs): The members of Pink Floyd had only just stopped trying to mimic Barrett’s twee-pop sensibility when they lurched in a completely different direction with this heady, four-part suite. There’s enough room in the saucer for both chaotic noise and enchanting beauty – a rough blueprint sketched out by Waters and Mason kept it from becoming a formless blob. With distinct segments and epic sounds, the instrumental is the first rung in the ladder that would culminate with the band’s most celebrated LPs.

Louder Ranking (43 out of 50 songs): Roger Waters remembers A Saucerful Of Secrets as “a turning point. It gave us our second breath. It was the first thing we’d done without Syd that we thought was any good”. Gilmour remembers that “it started with Roger and Nick drawing weird shapes on a bit of paper. We then composed music based on the structure of the drawing. My role I suppose was to try and make it a bit more musical, to create a balance between formlessness and structure, between disharmony and harmony”.

Nick Mason believes that the track that ended up giving the album its title “contained ideas that were well ahead of the period and very much a route that we have followed. Even without using a lot of technique, without being particularly able in our own right, we were finding something we could do that other people hadn’t tried, like provoking the most extraordinary sounds from a piano by scratching around inside it.”

Billboard Ranking (40 out of 50 songs): Takes over seven minutes for this one to hit its groove, but that’s nothing for late-’60s Pink Floyd — especially on this superior 13-minute live version of the Saucerful of Secrets title track, from the experimental Ummagumma double LP. It’s worth the wait, anyway — by the time the full band takes flight in the instrumental’s final quarter, the outright sorcery being conjured is enough to inspire a stadium full of raised gothic candles.

Back to The Wall next to see if anyone can remember an 8-line, 95 second song.
 
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Anarchy99 said:
Bottomfeeder Sports said:
Anarchy99 said:
Back to The Wall next to see if anyone can remember an 8-line, 95 second song.
Click to expand...
I cannot criticize others for submitting list because I couldn't set an order with 5 thru 20, but I will be hypocritical anyway and say this belongs much, much higher. Sure, ultimately my fault!
Click to expand...
Just curious . . . what song do you think is next?
:popcorn:
Click to expand...
95 seconds, 8 lines...

The show must go on was already listed and has more than eight lines
Outside the wall is a bit longer and has too many lines
The Happiest Days... is too long, too many lines, and maybe combined anyway
Empty Spaces is too long time wise and too few lines
Stop is only about 1/3 of 95 seconds
Part III could be a candidate depending on how you count the 7 lines, but a bit too short
ETA: Good Bye Cruel World is same as Part III - 7 lines and a bit too short
Bring the Boys back home is close (and the comment would still apply) but only four lines

That to me, unless I'm forgetting something from the movie (which were usually longer) only one 8 line, 1:33 (on my copy) song left. I also took the "remember" as a clue. Does anyone else in here feel the way I do?
 
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Bottomfeeder Sports said:
Anarchy99 said:
Bottomfeeder Sports said:
Anarchy99 said:
Back to The Wall next to see if anyone can remember an 8-line, 95 second song.
Click to expand...
I cannot criticize others for submitting list because I couldn't set an order with 5 thru 20, but I will be hypocritical anyway and say this belongs much, much higher. Sure, ultimately my fault!
Click to expand...
Just curious . . . what song do you think is next?
:popcorn:
Click to expand...
95 seconds, 8 lines...

The show must go on was already listed and has more than eight lines
Outside the wall is a bit longer and has too many lines
The Happiest Days... is too long, too many lines, and maybe combined anyway
Empty Spaces is too long time wise and too few lines
Stop is only about 1/3 of 95 seconds
Part III could be a candidate depending on how you count the 7 lines, but a bit too short
Bring the Boys back home is close (and the comment would still apply) but only four lines

That to me, unless I'm forgetting something from the movie (which were usually longer) only one 8 line, 1:33 (on my copy) song left. I also took the "remember" as a clue. Does anyone else in here feel the way I do?
Click to expand...
That's the right song . . . your comment that it belongs much, much higher is what surprised me. Not sure how much higher it would be . . . almost every song from The Wall made the list. What bandwidth would you guess it might rank? Top 50?
 
Anarchy99 said:
Bottomfeeder Sports said:
Anarchy99 said:
Bottomfeeder Sports said:
Anarchy99 said:
Back to The Wall next to see if anyone can remember an 8-line, 95 second song.
Click to expand...
I cannot criticize others for submitting list because I couldn't set an order with 5 thru 20, but I will be hypocritical anyway and say this belongs much, much higher. Sure, ultimately my fault!
Click to expand...
Just curious . . . what song do you think is next?
:popcorn:
Click to expand...
95 seconds, 8 lines...

The show must go on was already listed and has more than eight lines
Outside the wall is a bit longer and has too many lines
The Happiest Days... is too long, too many lines, and maybe combined anyway
Empty Spaces is too long time wise and too few lines
Stop is only about 1/3 of 95 seconds
Part III could be a candidate depending on how you count the 7 lines, but a bit too short
Bring the Boys back home is close (and the comment would still apply) but only four lines

That to me, unless I'm forgetting something from the movie (which were usually longer) only one 8 line, 1:33 (on my copy) song left. I also took the "remember" as a clue. Does anyone else in here feel the way I do?
Click to expand...
That's the right song . . . your comment that it belongs much, much higher is what surprised me. Not sure how much higher it would be . . . almost every song from The Wall made the list. What bandwidth would you guess it might rank? Top 50?
Click to expand...
For me it is top 15. I'd have expected top 50 for list since it never really had airplay. But as a song it just rips you apart with its sentimental arrangement simultaneously expressing the bitterness of betrayal and commenting on the gall of any optimism at the start of any war. I could only guess what this song would have been like during the Invasion of the Malvinas. And then you get the next song.
 
#85-T - Vera from The Wall (1979)

Appeared On: 1 ballot (out of 32 . . . 3.1%)
Total Points: 5 points (out of 800 possible points . . . 0.63%)
Top Ranker: @joeschmo
Highest Ranking: 21

Live Performances:
PF: 31(Is There Anybody Out There?)
DG's PF: None
DG: None
RW: 402 (Berlin - 1990, RW The Wall, Arnhem - 2011)
NM: None

Covers: Tommy Shaw, Ruby The Hatchet, Ken Lasaine, Curtis Stigers, Leslie King, Luther Wright

The title is a reference to Vera Lynn, a British singer who came to prominence during World War II with her popular song We'll Meet Again. The reference is ironic, as Roger Waters (and his fictional character Pink) would not meet his father who died in the war. The song's intro features a collage of superimposed audio excerpts from the 1969 film Battle Of Britain. Among the used clips are a piece of dialogue ("Where the hell are you, Simon?"), a BBC broadcast and battle sound effects.

Lynn was a very popular British singer during World War II who hosted a BBC radio program called Sincerely Yours. Her morale-building ballads were extremely popular with servicemen; she appeared in an armed forces stage revue and toured Burma in 1944. She also made three wartime films. Nicknamed "The Forces Sweetheart," she appeared in a revue called Applesauce! at the Holburn Empire Theatre, but the venue was badly damaged during the German's bombing Blitz campaign.

Roger Waters started recording demos for The Wall album in 1978 (originally called Bricks In The Wall). The band took the first 7 months of 1979 to record it (mostly in France and then completed in NY and LA). In France, Wright and Mason lived at the studio, while Waters and Gilmour stayed in nearby houses. It took over 2 months of additional work with the New York Philharmonic Orchestra.

The Wall had many issues from the beginning, as the band's financial managers tried investing in things to limit their tax liability, but that backfired and instead they owed millions. Despite the success of their previous albums including TDSOTM and WYWH, Pink Floyd had financial difficulties. Their financial planners invested millions of the band’s monies into high-risk venture capital, and the investment failed. Not only that, they faced taxes as high as 83%. That put them under the gun to record and pressured them to release something quickly so they could straighten out their finances.

Vera demo
Wall Rehearsals
Water's 2022 version
Film version

In Pink Floyd's film The Wall, the music heard playing during the opening credits is The Little Boy that Santa Forgot performed by Vera Lynn. That song is about a fatherless boy.

Vulture Ranking (out of 165 songs): 87
Ultimate Classic Rock Ranking (out of 167 songs): 140
Louder Ranking (out of 50 songs): NR
WMGK Ranking (out of 40 songs): NR
Ranker Ranking (out of 132 songs): 72
Billboard Ranking (out of 50 songs): NR

Vulture Ranking (87 out of 165 songs): A Wall fragment; Vera is a reference to a British World War II pop singer. Waters is bringing memories of the war into Pink’s psyche. In Alan Parker’s Pink Floyd The Wall, it’s set against the film’s grimmest and saddest scenes.

UCR Ranking (140 out of 167 songs): This eight-line poem, backed by a stark orchestra, is the quiet before the bluster of Bring the Boys Back Home. The track features a yearning Waters struggling with the optimism of Vera Lynn’s legendary wartime ballad, We’ll Meet Again. Like his character, Waters didn’t get to meet his father after World War II. He wrote better-realized songs about this emotional hole in his life, but the singer’s plaintive emotion comes through here.

Up next, another Wall song (albeit with an asterisk).
 
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The Wall is so hard to break into individual songs. I like Vera, but as part of the collection of songs leading into Comfortably Numb. They're kinda all linked together in my mind. That said, I've got one of those on my list as well.
 
Joe is my alter-ego and I am kind of surprised Vera didn’t make it higher. BFS makes my case for me spot on. The plaintive call to a now missing Vera is the gut wrenching equivalent to where have you gone Joe DiMaggio. As with many Wall songs this songlet works magnificently as part of the whole and makes me continue on each time I hear it.
 
dutch said:
Joe is my alter-ego and I am kind of surprised Vera didn’t make it higher. BFS makes my case for me spot on. The plaintive call to a now missing Vera is the gut wrenching equivalent to where have you gone Joe DiMaggio. As with many Wall songs this songlet works magnificently as part of the whole and makes me continue on each time I hear it.
Click to expand...
Back in the day, I would have agreed with you. I still do, but I got away from playing albums / CD's years ago. Almost all my music is in folders on computer . . . meaning I practically never listen to full albums anymore. I listen to individual songs (normally on shuffle play). I agree that makes the short in duration table setting and mood driven toss in's on The Wall hard to listen to as random standalone songs. They don't link anything, and they aren't a lead into anything either.
 
Yeah in this digital age album listening is just not a thing anymore for the most part.But a song like Vera still puts me in time place and I can hear the echoes of the album if that makes sense. Goodby Blue Sky is another like that and I guess and it’s sort of the same as breaking down side to of Abbey Road where you can just anticipate the next beat from the next song, even if it doesn’t come up.
 
Bottomfeeder Sports said:
dutch said:
the gut wrenching equivalent to where have you gone Joe DiMaggio.
Click to expand...
I deleted a similar reference before posting my reply. Vera Lynn in '78-''79 the person was not really forgotten or no longer visible (I think she had just released an album.)
Click to expand...
Oh I get that but it’s the wail for the time Vera represented that’s missing and that to me is just as affecting.
 
Anarchy99 said:
Back in the day, I would have agreed with you. I still do, but I got away from playing albums / CD's years ago. Almost all my music is in folders on computer . . . meaning I practically never listen to full albums anymore. I listen to individual songs (normally on shuffle play). I agree that makes the short in duration table setting and mood driven toss in's on The Wall hard to listen to as random standalone songs. They don't link anything, and they aren't a lead into anything either.
Click to expand...
Funny, I once wrote on here that The Final Cut holds a special place as it was the first (and really) only Pink Floyd album I heard as an album before I had heard countless times the songs that got airplay. So I knew Another Brick (as well as the "long version"), Run, Young Lust, Comfortably Numb, and Hey You pretty well before I heard the whole album. So for me this kind of reverse. Not counting where someone else programs the listening choices, I seldom listen to any part of the Wall as a single song. I might not listen to the whole album, but I'll always listen to at least three or four songs in succession. And other than Crack the Sky, I probably listen to Pink Floyd more than any other group.

That being said, Pik Floyd is the exception. CD killed the album experience for just about any other artists. From time to time I'll play an album and rediscover that I really liked a "fill in" song way back when (usually early to mid '80's - just before CDs and the new, accurate way record sales were recorded ruined everything.)
 
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FatMax said:
The Wall is so hard to break into individual songs. I like Vera, but as part of the collection of songs leading into Comfortably Numb. They're kinda all linked together in my mind. That said, I've got one of those on my list as well.
Click to expand...
Same problem I had with picking The Wall songs among my top 25. Numb is clearly there, but I went in other directions for the rest of my list.
 
dutch said:
Bottomfeeder Sports said:
dutch said:
the gut wrenching equivalent to where have you gone Joe DiMaggio.
Click to expand...
I deleted a similar reference before posting my reply. Vera Lynn in '78-''79 the person was not really forgotten or no longer visible (I think she had just released an album.)
Click to expand...
Oh I get that but it’s the wail for the time Vera represented that’s missing and that to me is just as affecting.
Click to expand...
I guess I truncated my post. What I tried to say was Vera Lynn the person wasn't lost, Vera Lynn the idea of "some sunny day" was.
 
@PIK95 is up . . .

SWIPE RIGHT / WHERE WERE THESE DATING APPS WHEN I WAS ACTUALLY DATING?
@Yo Mama (18 similar songs, 9 of the same Top 10)
@DocHolliday (18 + 9)
@New Binky the Doormat (18 + 8)
@lardonastick (18 + 7)
4 tied at 17 songs

SWIPE LEFT / I NEVER LIKED ANARCHY TO BEGIN WITH
@Anarchy99 (8 + 7)
@jabarony (9 + 2)
1 with 12 songs
3 tied with 13 songs

CHALK RANKINGS (Average songs per list)
Yambag - 15.10
PIK95 - 14.90
Dwayne Hoover - 14.29
FatMax - 14.16
 
Anarchy99 said:
@PIK95 is up . . .

SWIPE RIGHT / WHERE WERE THESE DATING APPS WHEN I WAS ACTUALLY DATING?
@Yo Mama (18 similar songs, 9 of the same Top 10)
@DocHolliday (18 + 9)
@New Binky the Doormat (18 + 8)
@lardonastick (18 + 7)
4 tied at 17 songs

SWIPE LEFT / I NEVER LIKED ANARCHY TO BEGIN WITH
@Anarchy99 (8 + 7)
@jabarony (9 + 2)
1 with 12 songs
3 tied with 13 songs

CHALK RANKINGS (Average songs per list)
Yambag - 15.10
PIK95 - 14.90
Dwayne Hoover - 14.29
FatMax - 14.16
Click to expand...
I’m guessing I’ll be pretty high on the chalk rankings since I seem to be on lots of the swipe right lists so far. Either that or I’m just dreamy.
 
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