ith so much attention payed to the relatively static Top 20, sometimes it’s nice to take a trip to the nether regions of the singles charts. Here near-hits and near-misses slug it out in a battle for your recognition that’s often more dynamic and more interesting than the reliable chart toppers. It’s anything-goes in a demographic free-for-all. Here’s a look at what’s not exactly burning up the charts these days…

Tupac feat. the Notorious B.I.G. – Runnin’ to Live (#26)

The self-mythologizing of Tupac continues with “Runnin’ to Live” (poignant!), a mediocre marketing vehicle for the latest in consumable Tupac media, Tupac: Resurrection. Hype started the West Coast-East Coast beef, and here, hype heals the rift, aligning Biggie and ‘Pac in a gun-toting flight from the law. The two have ceased to exist in reality, existing only in an eerie universe of posthumous abstraction. Zizek’s got to be lovin’ it.

Dido – White Flag (#29)

The modernized trip-hop production is sort of nice, but the arrangement (sweeping strings, tasteful bells, deliberately tentative piano flourishes) are way too adult-contemporary for my tastes. And Dido’s affectations bear an unfavorable resemblance to Natalie Merchant, the scourge of grocery stores and Hallmark shops suburbia-wide. This won’t chart much higher or win many new fans, but her album’s doing well regardless.

Toby Keith – I Love This Bar (#30)

Toby wipes his boot off and gets a little more warm and fuzzy. Now he likes things. His truck for instance, and his girl. And, uh, this bar. Bonus points for being jukebox-ready right out of the package, and having anti-DUI lyrics. Sticking up for the USA and MADD, what a guy!

Staind – So Far Away (#32)

Every Staind song sounds inspired by Aaron Lewis’s lifelong struggle with being ugly.

Stacie Orrico – (There’s Got To Be) More To Life (#33)

A more attractively packaged (both in looks and in production values) shemo act than most, Stacie trades in the increasingly competitive female tween market. The verses are sung with strength and confidence, which distance her stylistically from second-wave authentic girls like Lillix, but the chorus is way too Matrix-ed out. Watch out for the thinly veiled Christian message.

Britney Spears – Me Against the Music (#35)

This song is getting slammed everywhere, but it eventually won me over (the beat!). It’s not doing very well on the charts, and I doubt In The Zone will dethrone The Black Album. After a reflectively sentimental “mature” album, she’s done.

Liz Phair – Why Can’t I (#36)

Why can’t she? Indie cred doesn’t pay the bills. Nude photo shoots and the Matrix writing/production team presumably do. Second-rate Avril, like every other non-Avril Matrix song.

Missy Elliott – Pass that Dutch (#37)

Yeah, it’s great, but I’m somewhat bothered that Missy Elliott is jumping on the “Diwali Riddim” handclapping bandwagon. She should create trends instead of following them; I’m alarmed when Missy looks backwards too much. Her last album was too much old-school and WAY too much mourning for Aaliyah et. al.

Train – Calling All Angels (#43)

The fact that Train fans may be starting bands alarms me.

Sheryl Crow – The First Cut Is The Deepest (#41)

She’s a little bit more country than rock’n’roll this time around; it’s where her demographic (middle-class middle-aged white folks) is moving. Too bad it’s moving to one of the most boring and cliché-ridden (check the title!) areas in pop music, essentially trussed-up easy-listening. Check out the guitar solo for the boys!

Ja Rule – Clap Back (#44)

Ja Rule’s threatening to take ‘em to war, but the war’s already over: he lost. So sorry. And I swear I’ve heard this beat on something before. If you can confirm this, or at least tell me the beat I’m thinking of, please email me.

Beyonce – Me, Myself, and I (#46)

Ah, finally the Beyonce fuck-your-girl track. This wouldn’t be out of place on the smooth jazz radio station that plays at the liquor store that is my current place of employment. Monday they played “What’s Going On” and followed it up with the Muzak version, which I thought was pretty cute.

Marques Houston feat. Joe Budden – Clubbin’ (#48)

Another mindless club excursion constructed by R. Kelly and helmed by generic R&B singer Marques Houston. How mindless? Marques can’t even trouble himself to get any more specific about the club than that it’s “where we do things.” Requisite guest rapper Joe Budden is on cruise control as well, bereft of the infectious energy he injected into his own singles. At least for all his laziness, Kells can write a catchy tune, but I’m curious as to how far he can push his generic Orientalist style. Presumably at least as far as the bank.