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12/17/2021

Top 25 Songs of 2021

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Top 25 Songs of 2021

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Now, more than ever, we need good music in our lives. We’re almost into our third year of this pandemic, and while 2020 was all about while living in the moment of our supposed “new normal,” the ongoing length and stress of the pandemic influenced 2021’s music in a totally different way.

It’s no longer about how our creative minds flourish when locked inside all day; it’s now about envisioning the possibility that our world and our individual lives have the possibility to be better. We’re looking back and looking forward at the same time.

This year brought us back some of our favorite artists, while also introduced us to new ones. Some stirred controversy, some are parody. But all of them (at least the ones on this list) are great.

I considered so many songs this year. What started as a list of nearly 60 was trimmed down to just 25 with a few honorable mentions. In fact, the music was so good this year that I’ve included an entire ALBUM on this list. So get ready for that.

As usual, these songs from 2021 are those that reached their peak popularity in 2021. There are a few songs from 2020 that spilled over into this year, but that’s probably just because I missed them. And of course, this is just one guy’s opinion. I have my likes and dislikes, the most I can do if your favorite isn’t on here is apologize and say: ¯\_(ツ)_/¯

On with the show! Here are my selections for the best songs of 2021.
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Honorable Mentions:

​"Get You Down"

Sam Fender
Kicking off our list is a true heart-churning banger of a song- Sam Fender’s third single from his new album, Seventeen Going Under. Reminiscent of Ed Sheeran mashed together with Bruce Springsteen, this song has urgency that just never lets up, right from the opening guitar lick. What follows is a beautiful explosion of sound and an unusual but perfectly blended array of instruments, including a saxophone solo that is the true highlight of the track.
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"Immune"

Jensen McRae
In January of this year, Jensen McRae tweeted: “In 2023, Phoebe Bridgers is gonna drop her third album and & the opening track will be about hooking up in the car while waiting in line to get vaccinated at Dodgers Stadium and it’s gonna make me cry.” And so McRae went and just… made the song herself instead, dropping it as a single later in the month. “Immune” is equal parts funny and sad, caught between the line of a harsh reality of the pandemic and how it has shaped our world forever, and the ridiculousness of hooking up in the back of a car while waiting to get vaccinated.
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"Avalanche"

Migos
Another year, another excellent Migos opening track. “Avalanche” samples The Temptations’ “Papa Was a Rolling Stone,” to great effect, if not a little on the nose, considering they’re Quavo’s opening lines of the song. While “Avalanche” is a great opening track to Culture III as a whole, it also showcase what Migos does best, as all three flex on the world with their quick signature triplet flow and biting, witty lyrics. It’s hardly the first song to sample “Papa Was a Rolling Stone,” but this smooth track does it in a way that no one has before.
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"Mailbox"

Cola Boyy feat. John Carroll Kirby and JGRREY
NME describes Cola Boyy’s sound as “a disco ball melting or the after-effects of some particularly potent hallucinogenics.” I’d say that about checks out for “Mailbox,” which hits hard with its chunky bass lines, and punctuates with some groovy keyboard and smooth horns, which take the stage for the entire last minute of the song.
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"Just a Notion"

ABBA
ABBA returns with their new album, Voyage, and… I’ll be honest, they definitely sound like they’ve been away from music for 40 years. There is one exception to the songs on the album, and that is “Just a Notion,” which was actually recorded as part of the sessions for Voulez-Vous back in 1979, and left unreleased as Bjorn Ulvaeus and Benny Andersson deemed the song “unmixable.” But now that music technology has advanced, the group was finally able to get it on this new album, four decades later, with new backing music. It has that ABBA feel we all know and love: bouncy piano, a groovy disco beat, and excellent vocals from Frida Lyngstad and Agnetha Faltskog, which… are pretty much untouched from the original recording of the song. Maybe we’ll find this song on Mamma Mia 3.
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The Top 25:

​25."It's Good to Be Back"

Metronomy
Isn’t it? I missed these lists. Metronomy’s bouncy, keyboard-centric bop keeps you smiling all the way through. For me, this song serves as a kind of dream as to what life will be like- or, at least, the life we’ve seen flashes of as virus cases fall every so often and we can resume a little of that normalcy- once the pandemic is finally over.
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24. "Introvert"

Little Simz
This song is called “Introvert,” and yet it starts with a cinematic wave of drums, choir, and horns, which carries the song throughout. Little Simz busts out a near-breathless recollection of the last year, which cycles through countless introspections, including stark admissions of her own vulnerability, the inner tumult she feels about her own identity, and echoing sentiments of conflict against government corruption and poverty. At just over six minutes long, this personal manifest is an iron-fisted statement about rebirth and being honest about who you are, how you feel, and what you believe in. It’s the perfect opening to a fantastic album, Sometimes I Might Be Introvert.
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23. "Tiptoeing"

Hope Tala
We love a good bossa nova. West London based singer Hope Tala infuses the cool piano and guitar that begin the song and adds her own unique R&B flavor, and we’re grooving along with her by the end. Tala collaborates with Greg Kurstin, who also produced Adele’s “Easy on Me.” The song is as layered as it is buoyant, and just like discovering a new relationship, there are equal parts excitement and apprehension.  “[It’s] about the dance we do when we’re at the threshold of romance,” said Tala, speaking of the new record.
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22. "Transparent Soul"

Willow feat. Travis Barker
I couldn’t believe this was the same Willow who did “I whip my hair back and forth” when I heard this song for the first time. Genuine SHOCK, you guys. ”Transparent Soul” is a breath of fresh air, and not that I don’t like “Meet Me at Our Spot,” but this one is definitely better. Taking influence from bands like My Chemical Romance and Paramore, it’s also no surprise that Avril Lavigne is one of Willow’s biggest musical heroes, considering she could definitely sing a song like this.
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21. "Friendly Fire"

Holly Humberstone
This lovely tune from Holly Humberstone’s first EP, The Walls Are Way Too Thin, deals with the singer no longer being fully invested in a relationship, although not wanting to hurt the person on the other side when doing it. Humberstone uses instrumentation that goes from personal and intimate to a bit more urgent and emotional, which supports her careful, deliberate lyrics to great effect. Personally, I’m a big fan of the lyrics in the chorus: “If I burn you, it’s just friendly fire.” I’ve been there, girl, I know that feeling.
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20. "I Did It"

DJ Khaled feat. Post Malone, Meghan Thee Stallion, Lil Baby and DaBaby
This is one of those songs that’s sung in all caps, as most DJ Khaled songs tend to be. From the “Layla” sample right on down, I love this one. It’s great to hear a rare non-autotuned hook from Post Malone, as I’ve always found his vocals to be great. Meg Thee Stallion, Lil Baby and DaBaby all add their unique splashes of lyrics to this track, never letting up from start to finish. Khaled always has the best music. Another one.
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19. "Easy On Me"

Adele
What “Easy on Me” doesn’t do is fall into the trap of a typical power ballad- it doesn’t build and pile instruments on top of instruments until we get some sort of cliché key change in the last chorus. It knows what it is and stays reserved and content in its minimalism- and that’s the best thing about it. Just a piano and some light bass, that’s all it takes to get the point across. Not to mention when you have Adele’s beautiful- and in this case, hauntingly desperate- vocals, it’s hard to mess up. Put this one on the shelf along with “Someone Like You” and “Hello” of “Songs that Feature Adele’s Best Hooks”.
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18. "Be Sweet"

Japanese Breakfast
“Be Sweet” is grounded in alternative indie pop, but it has almost this outer-space-like feel to it, as the bass and guitar lie underneath the numerous layers of synth over the top of it. It’s so cool. The chorus is just as joyful-sounding as the rest of it, especially with the line “I wanna belieeeeeve in you” giving us an almost child-like energy. There are some album covers that just nail the tone of the song, and I think yellow is a fantastic choice. Alive and vibrant, Japanese Breakfast hits a happy-go-lucky home run with this one.
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17. "Stay"

The Kid Laroi & Justin Bieber
This Billboard-topping song made the rounds on TikTok, inspiring a fun, hip-shaking trend across the internet. Musically, the vocal lines are the star of the show, as both Laroi and Bieber effortlessly switch between chest and head voice through most of the song. Underneath, we get this really cool synth-pop beat right out of the 80s. I know Beiber’s the secondary artist on the track, and I’ll talk more about him later, but this song allows him to really lean into his strength as a master of creating melodies.
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16. "Solar Power"

Lorde
Get your sunscreen, kids, because it’s time to go to the beach. This song starts chill, and no matter how much it builds, it stays in the warm sunlight for its duration. The soft and airy vocals, which are unlike what we’ve heard from Lorde in the past, flow through the song like tropical breezes, and when the percussion comes in about 2/3rds of the way through the song, you feel like you’ve been transported to a party around a bonfire. Doesn’t it just make sense that this song is called “Solar Power”? You can just about feel that warm, positive energy flowing throughout the track.
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15. "Save Your Tears"

The Weeknd
So I usually have one or two songs that are technically from the year before- and this one of them. The Weeknd and Ariana Grande put out a version of this song this year, which would qualify it for entry, so I’m going to use that technicality to put the original- which I like better- on the list this year. “Save Your Tears” is an unusually warm love song from The Weeknd, and is far and away the most pop-friendly song from After Hours.
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14. "Astronaut in the Ocean"

Masked Wolf
TikTok is now the hotbed for new music. In the case of “Astronaut in the Ocean,” it’s really a re-discovery of music. Released originally in 2019, the song was re-released in 2021 upon Masked Wolf’s signing with Elektra Records. It achieved viral success thanks to circulation through TikTok, and reached #6 on the Billboard Hot 100. With such a great beat and bass line, it’s easy to look past the fact that this song touches on depression and mental health… but MAN is this song a bop.
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13. "What's Next"

Drake
Everyone’s favorite emotional Canadian rapper returns. Technically he returned twice this year, once with the EP that “What’s Next” is from, and the other with Certified Lover Boy later on. This song resonates with me big time. You can flex your achievements, but at the end of the day, it’s all about looking forward to the next thing. “I did x, y, and z. And I am STILL grinding.” And Drake has reason to flex, especially with this song. Along with the other two songs from the Scary Hours 2 EP, all three debuted in the top 3 of the Hot 100- the first artist to achieve such a feat.
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12. "Pressure Machine"

The Killers
The album Pressure Machine is an extremely personal album for Brandon Flowers and the rest of the band. A concept album inspired by Flowers’ upbringing in a small town life in a tight-knit, deeply spiritual town in Utah, the songs are interspersed with real-life recordings of townspeople describing their lives. While some songs from the album like “Terrible Thing” and “Runaway Horses” deal with things like the opioid crisis and a gay teenager contemplating suicide, the pure wonder, if not melancholia, of Americana and heartland rock is on display no better than in the title track to the album. With Flowers’ haunting falsetto and some lonely fiddles throughout the song, this song paints pictures of life in that part of the country with such detail that you feel like you truly know what it’s like to live there.
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11. "Up"

Cardi B
This woman rhymes “ug-a-ly” with “fuck on me.” She is at the top of her game and I will not be taking any questions about it. Did I discover this song on through a TikTok of two guys doing various impressions while rapping the song? I did. Am I ashamed? I am not. I  gotta be honest- I’m not sure what Cardi’s rapping about, like 70% of the time, but I do know that when it’s up, it is, in fact, stuck.
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10. "Last Train Home"

John Mayer
Props to John for embracing his forties, embracing the memes, and embracing the 80s along the way. I have to admit, I wasn’t quite as taken with Sob Rock at first (although it’s grown on me, because I can’t stay mad at him), but my love for “Last Train Home” has never wavered. Like something spawned from “Africa” by Toto, the song has a delicious synth chord progression throughout the song, which is the perfect complement to Mayer’s guitar playing. The two are even more at play in the near seven-minute ballad version of the song, released a few months after Sob Rock was released.  Throw in some Maren Morris on background vocals toward the end, and this is the summer anthem to end all summer anthems. If this song isn’t 10 minutes long when I see him in concert in April, I’m going to be very upset.
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9. "Happier Than Ever"

Billie Eilish
It’s a tale of two songs in this title track to Billie Eilish’s latest album. The first half of the song is reminiscent of her first EP- she sings quietly over a single guitar- while keeping a smoky, dreamy air that is right in line with this “golden age Hollywood” concept that the album art gives off. The second part transitions into a 6/8 feel, and brings Eilish’s vocals into the foreground of the song. As her anger builds, the song does too, before eventually exploding into a hurricane of rage and frustration, amplified to the max by electric guitars and their feedback. The song puts a large exclamation point on the end of this album, and much like When We All Fall Asleep, I’m so excited to see what she does next.
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8. "Levitating"

Dua Lipa feat. DaBaby
The second song to overflow from the end of last year into this year is Dua Lipa’s fantastic collaboration with DaBaby. With more of that excellent pop-disco sound we love from “Don’t Start Now,” “Levitating” takes it to the next level by having… dare I say Dua’s best hook ever? It is straight up impossible not to want to dance to this one. Impossible.
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7. "Don't Freak"

The Aces
Just in time for Mental Health Awareness Month- and that’s not even a joke- lead singer Cristal Ramirez wrote this unabashedly honest song about mental health struggles, using music to strip back stigmas and advocate for taking care of yourself. In addition to being an important message, the song just sounds amazing. From the opening guitar lick to the ear worm of a chorus, to the a capella “just gotta do what they told me” at the end (which seems to say “we’re all in this together)” “Don’t Freak” encompasses both the positives and negatives of life, and lays them out for us in a powerful, rocking tune.


6. "Industry Baby"

Lil Nas X feat. Jack Harlow
Most pop songs that feature marching bands have a special place in my heart- not because I was in band myself, but because I just think the college marching band is one of this country’s best pieces of culture. “Industry Baby” has this incredible horn line that continues all the way through the song, underneath both verses from Nas and Jack Harlow. It’s great. Nas and Harlow are great. This song is great.


5. "Peaches"

Justin Bieber feat. Daniel Caesar and Giveon
You want chill? “Peaches” is the song for you. It’s a laid-back love song that’s quintessentially west coast, with its easy drum beat, smooth bass line, and catchy hook. I mentioned Bieber’s ability to construct melodies earlier, and that’s on display here once again. Giveon, the deep baritone voice you hear about halfway through the song, is a fantastic addition, providing a darker timbre as contrast to an already bright-enough song.
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4. "Body and Mind"

Girl in Red
“Body and Mind” goes HARD, and we are all blessed by its existence. It keeps a slow but steady beat underneath a menacing descending bass line, which adds to the spookiness of the lyrics, which delve into the human mind and the acceptance of an inevitable mortality. Hell, even the music video gives off all the witchy, Wicker Man-y vibes. It’s a frighteningly beautiful song, and a jam, especially when Girl in Mind reaches the high notes in the song about halfway through.
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3. "Leave the Door Open"

Silk Sonic
What started as me thinking “Oh! Look! Bruno Mars is back with more baby-making music, he’s really good at that,” has evolved into the recognition that Silk Sonic- the team of Bruno Mars and Anderson .Paak- will likely be around for a long, long time, because whatever this is is working and it is brilliant. Silk Sonic’s entire debut album is great, but it’s the initial single that takes the cake. Its classic R&B sound transports us right back to the 1970s, with iconic drum fills, funky guitars, sweeping violins, all encompassed by the silky smooth vocals of Bruno and Anderson. Listening to it, I truly feel like this song made love to me. Mark my words- this is the first of many for this iconic duo.
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é2. The entire Sour album (special points to "Good 4 U," "Déjà Vu," "Driver's License," and "Traitor")

Olivia Rodrigo
I couldn’t choose just one, come on now!

“Driver’s License” came out in January 2021. You started this year not knowing who Olivia Rodrigo was. And now she’s one of the biggest stars on the planet. So yes, because every song on her debut album, Sour, is amazing, it’s ALL going on here. I’d like to call attention to a few songs in particular:

“Good 4 U”
I’m still waiting on Hayley Williams to jump on this track and do some sort of mashup between this and “Misery Business.” The pop-punk, jump-around-in-your-bedroom feel the song has is infectious, and if I had to be held at gunpoint to choose one song from this album, this would be it.

“Déjà vu”
Yep. Been here. Knowing that your ex doesn’t have it any better with their new partner is a fun kind of power to have, isn’t it? If “Driver’s License” was Taylor Swift’s sentimentality, “Déjà vu” is Lorde’s melodramatic and Florence and the Machine’s grandiosity.

“Driver’s License”
The one that started it all. From the car dings into the piano, and all the way through the song both musically and lyrically (an 18-year old saying “I still fucking love you”? INCREDIBLE- that wasn’t a thing when I was growing up), this one is generational. The biggest song on the planet during the month of January.

“Traitor”
“You didn’t cheat…. But you’re still a traitor.” Fucking OOOOOOF. Chills.

I cannot emphasize enough just how deep every song on this album cuts. Sure, a lot of them are about the same thing, but in the same way Taylor Swift appealed to millennial teenagers, Olivia Rodrigo appeals to Gen Z teenagers (and me, a male millennial) in the exact same way. To go through your first real heartbreak at the age of 18? And to feel all those dumb overly romantic, sentimental feelings about what could have been and wondering about how you’re supposed to go on without the other person? It’s real! Of course, not all breakup albums are fueled by a juicy subplot that all of this took place behind the scenes of a Disney TV show, but you get the idea. They’re still feelings that everyone who’s experienced heartbreak can relate to. My hat’s off to you, Olivia Rodrigo.
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1. "Montero (Call Me By Your Name)"

Lil Nas X
If you thought “Old Town Road” was the end of the road for Lil Nas X, you don’t know my son.

Lil Nas (real name Montero Hill, hence the song title) entered the public spotlight once again this year, but for a drastically different reason- this man broke the internet for giving Satan a lap dance (at least, in the music video). It certainly got people’s feathers riled up.

Firstly, the song is a banger. A queer anthem for the ages, we get this really cool latin-inspired guitar line over a great beat, and a memorable hook. What’s not to love here? Apparently, the content.

People want to contest that the song is the problem, and say that it’s harmful to children, which I think is bullshit. Nickelodeon gave a Kid’s Choice Award for best song to “Can’t Feel My Face” by The Weeknd. Which is about cocaine. Don’t tell me that the song is the problem. Lil Nas did nothing wrong with this song. He’s being honest and calling attention (and really, just poking fun at, because it’s true, it’s ridiculous) to a religion that oppressed him as a child, and people have a problem with that. Laughable.

Don’t ever come for my son again.


You can find the entire list below, along with some songs that didn't make the cut but I still really loved from this year.

What songs from this year were your favorite? Leave a comment down below.
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12/30/2020

Top 25 Pop Songs of 2020

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Tastes like strawberries.
2020 didn’t give us much to work with in terms of sports or movies- But music? Boy, 2020 came to play with some of the music it brought us this year. 

From TikTok to K-Pop and beyond, the music came from everywhere this year. It was far-reaching and generation-defining. It was a good year when it came to the sounds that graced our ears. 

As done in previous lists, any song that reached peak air or play time in 2020 qualifies for this countdown. And because I typically determine the entrants in late November-early December, there are some songs from 2019 that qualify, because I either didn’t include them on last year’s list, or because their peak popularity was from this year. 

And of course, this is all personal opinion. Sorry I’m not Billboard magazine. 

Let’s run back the year that was with some of the 2020’s best music:
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Honorable Mentions:
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​"Sour Candy"

Lady Gaga feat. Black Pink
“Sour Candy” is my second favorite song from the Chromatica, behind another song we’ll get to in a little while. Props to Gaga for linking up with Blackpink for this one- the joint popularity of both artists saw commercial success in multiple countries, including Malaysia, Singapore, Australia, Estonia, Hungary, Lithuania, and Greece, as well as here in America. While I will admit, “Sour Candy” is similar to another track from Chromatica, “Rain on Me,” in that I could walk into any bar in Hells Kitchen and hear a beat that is strikingly similar to it, I don’t find “Sour Candy” to be quite as annoying as the former.
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"Go Stupid"

Polo G & Stubbs 4 Vegas feat. NLE Choppa & Mike WiLL Made-It
References to Peja Stojacovic, James Harden, David Ruffin and the Temptations. Some deep cuts  about struggling with the police in Chicago and having a target on your back as a rapper.  Three incredible verses from Polo G, Stubbs 4 Vegas and NLE Choppa. This song has no reason to go as hard as it does. Shout out to my brother Nick for recommending this one.
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"Aries"

​Gorillaz feat. Peter Hook and Georgia
Because my knowledge of Gorillaz is limited (literally- “Feel Good Inc.” and “Clint Eastwood,” pretty much), “Aries” is so cool and different from what I’m used to. It has this cool, synth-driven, 80s beach vibe to it, that makes me feel like driving down the California coastline at sunset. I feel lots of melancholy “Bojack Horseman” and “San Junipero” energy from this song. The virtual band connected with Peter Hook from New Order and Georgia from Joy Division as part of their Song Machine project- which is an ongoing web series featuring the release of various Gorillaz songs featuring different guest artists. Bless Russel, Murdoc, 2-D and Noodle for this one.
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"Practice"

DaBaby
Just one sentence: “I do my lil dancey-dance.” That is all. Thanks for coming to my Ted talk about Allen Iverson.
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"The 1"

Taylor Swift
I give Taylor a lot of credit for dropping the amount of music she did this year. Two full albums, five months apart, with NO prior warning for either? And both are brilliant? Talk about iconic. Folklore, the first of the two albums begins with “The 1,” another opening song that knocks it out of the park, similar to the way “I Forgot That You Existed” did for Lover. I love the minimalism of the song- a piano riff that has some indie-pop and electronic elements slowly infused with it. I also think the writing on Folklore is some of the artist’s best, and “The 1” is no exception to that- with witty lyrics like “in my defense, I have none.”
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"Willow"

Taylor Swift
Speaking of records Taylor Swift drops without notice, here’s “Willow,” the lead single from Evermore, Folklore’s companion album, released just weeks ago. I, again, want to take this chance to say just how impressed I’ve been lately with Taylor Swift. She constantly makes choices that surprise me and work. The relaxed nature of her songs on both albums are excellent- I think her overall experimentation with the indie genre is a solid turn for her at this stage of her career. “Willow” features more of a measured tempo than many of the songs on Folklore, but it has that same, melancholic feel to it. Swift also directed the music video of the song, which picks up where “Cardigan,” Folklore’s best-performing single, left off. Surprise-dropping a career-redefining album in the middle of a pandemic is astounding. Doing it again five months later is nothing short of legendary. A+, Taylor.
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The Top 25:

25. "Level of Concern"

Twenty-One Pilots
“Panic on the brain, world has gone insane,” are the opening lines to this bop by Twenty One Pilots. Pretty apt, considering that the song came out in early April, when the world wasn’t sure to do about this pandemic which had caused us to live our lives in ways we never thought we would. “Level of Concern” addresses those fears and feelings head on, but also attempts to assuage them with feelings of strength and hope with a dance-rock bop. Just like the rest of the world, the band recorded this song in self-isolation. The proceeds from the song’s sales were donated to Crew Nation, a global relief fund made by Live Nation for touring and crew personnel who were out of work due to the pandemic.
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24. "Do It"

Chloe x Halle
You’re going to notice a theme on this list, and that theme is “try not to let the stress of the pandemic get to you.” Sisters Chloe and Hallie Bailey’s song “Do It” brings us back to a simpler time of going out and feeling yourself during a night on the town. The song features some slick, understated harmonies that you might not get on a first listen- you’ll have to get past the infectious, danceable rhythm of the song first.
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23. "Stuck With U"

​Ariana Grande & Justin Bieber
Could we get anymore on the nose than a song about being cooped up with somebody? Enter “Stuck With U,” a duet between Ariana Grande and Justin Bieber released in May of this year. I’ve always loved Ariana’s slower material, and “Stuck With U” has that 50s doo-wop feel to it, as we’re treated to a world that is equal parts cutesy romantic and sexy. Pair it with Bieber’s voice in the second verse and it’s just what we’re looking for in a slow jam for this day and age.
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22. "Say So (Remix)"

Doja Cat feat. Nicki Minaj
I had gone back and forth on which version of this song was better- the version with or without Nicki Minaj. Altogether, I think the remix with Nicki adds some more variety to the song, as the instrumentation has this cool breakdown during some of the Nicki verses. 

“Say So” blew up on TikTok, and ended up reaching the top of the Billboard charts back in May. I’m sure by now you’ve noticed a pattern for most of the songs on this list, and it’s that many of them have amazing bass lines. The case is no different for Doja and Nicki, as we get this cool funk bass line with Dojo’s floating lyrics over the chorus.  One thing I will say- this track was co-written and produced by Dr. Luke. I just don’t know how much I can get behind the song knowing that this likely brings him back into the forefront of music production, considering what he did to Kesha and the subsequent lawsuits. Obviously I’m giving Doja and Nicki all the credit, but with some side eye. Not sure how anyone could work with that guy again after what happened.
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21. "What a Man Gotta Do"

Jonas Brothers
January was a simpler time, wasn’t it? The Jonas Brothers return with this bright, pop-filled single following their highly successful album Happiness Begins. “What a Man Gotta Do” has this guitar rhythm driving the whole things, which gives it an “I Want Candy” sort of vibe. It’s just the sort of thing we’ve come to expect from the JoBros: no mess, no fuss, just straight up fun.
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20. "The Last Great American Dynasty"

Taylor Swift
Sometimes when you’re tired of writing songs about the men who hurt you or other failed relationships, you write about the woman who used to own your Rhode Island estate. That’s what “The Last Great American Dynasty” sets out to do, giving a fun third-person perspective about Rebekah Harkness, a socialite who was subject to immense scrutiny for “ruining” the Harkness name after her husband, Bill Harnkess (heir to Standard Oil) passed away, while implying the relentless gossip that plagued Rebekah Harkness throughout the rest of her life (filling her swimming pool with champagne, for example, is one of the more famous rumors about her, when in reality she used champagne to clean the pool). “She had a marvelous time ruining everything” is the motif of the song Swift uses to draw comparisons to herself, and how both people are famous for “not fitting in”- I can’t judge if Taylor has ever been famous for “not fitting in”- but the comparisons are certainly there with Harkness- the bevy of celebrity friends, the lavish parties (although I understand that the folks in Watch Hill might be concerned with the level of notoriety their town receives because Swift owns that house), and the highly scrutinized personal life. It’s a cool story with a complex meaning. As for the musical content, it sounds great, but it pales in comparison to the story it tells.
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19. "Therefore I Am"

Billie Eilish
Billie Eilish has almost singlehandedly brought “Dark Pop” to the forefront of popular music- it’s all coming off the success of When We All Fall Asleep, Where Do We Go? “Therefore I Am,” clearly taking inspiration from Descartes’ famous “Cogito, ergo sum,” is a counterpart to “Bad Guy,” that just has a lot more swagger to it. Where “Bad Guy” was about herself and what she can do to you if you decide to let her in, “Therefore I Am,” is about the other people surrounding her life, and how those people just don’t matter at all. “You think that you’re the man, I think, therefore I am” is cutting. Where “Bad Guy” feels frenetic, this track feels grounded and confident. You are not on the same level as Billie Eilish. She writes and produces songs from her house and wins tons of Grammys for them. She doesn’t have to cater to anything anyone says. She knows who she is and she doesn’t give a shit what you think about her. So keep trying. See where it gets you.
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18. "Exile"

Taylor Swift feat. Bon Iver
Taylor Swift’s collaboration with artists like The National and Bon Iver have clearly paid off, as Folklore has featured some of her best songwriting. “Exile” features more Bon Iver front man Justin Vernon than it does Taylor Swift, but that’s not necessarily a bad thing. I, personally, had no idea that Vernon could sing as low as he does on the track, with melodies stretching as low as  C♭3. What makes “Exile” great is its duet nature- as most Taylor Swift songs deal with heartbreak and the ending of relationships, “Exile” evolves from a conversation between two former lovers into full on arguing, with Swift and Vernon singing over one another, adding fuel to the fire of the conversation over a flurry of piano and synth. It’s one of the better duets Taylor has done.
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17. "Dynamite"

BTS
Korean pop group BTS crossed over this summer with their first song completely recorded in English, “Dynamite.” Actually, I don’t know if “crossed over” is the right phrase- the group was already incredibly popular the world over… I guess their mainstream appeal here in America has finally become “officially” widespread thanks to the success of “Dynamite.” In my opinion, the song doesn’t do anything for me lyrically- it’s a joyful romp about enjoying the little things that make life worth living (and then again, “Dynamite” is one of the few songs in which the members of the group did not contribute to the songwriting or production). But it’s the pleasantness of the beat and catchiness of the melody that really makes the track enjoyable to listen to. I think in any other year, “Dynamite” would be the song of the summer- and I mean the “roll down the windows” song of the summer. But considering we’re all cooped up inside our homes, I will give BTS some credit for providing an energetic and, I think nostalgic summer bop. I’m happy I was able to enjoy some BTS this year. Thanks for giving me a look at the world from a different eye, boys.
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16. "WAP"

Cardi B feat. Meghan Thee Stallion
Honestly, if you don’t like this song, you need to get over yourself. Sorry we’re not in your grandfather’s America anymore- this is what the music sounds like now- it embodies female empowerment and sex-positivity. Plus, the innuendos in this song are amazing. Making a reference to a vine from like six or seven years ago (“macaroni in a pot”) is straight up GENIUS. We have the truck horn sound because of this song. Everyone knows what the uvula is now because of this song. “WAP” isn’t meant to impress any men- it’s only meant to demonstrate what it takes to please both of these women- and how if you can’t, you ain’t shit.

Speaking of both women, there could not be a better duo for this song than Cardi and Meghan Thee Stallion. Their voices are compliments to one another, with each new verse elevating the hardness of the song as it progresses. Just as a final word- people have been singing about sex forever. You all thought Elvis was going to ruin your children with his gyrating and singing about hound dogs.  Elvis’ swiveling hips can’t hold a candle to the openness and expression of this song.
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15. "Starting Over"

Chris Stapleton
Try to ignore the fact that you’ve heard this one in tons of car commercials this year. Chris Stapleton’s first single from his fourth album comes on the heels on him wiping his entire social media clean in late August, which- and I’m not sure if was just intentional to promote the single- is a solid marketing technique, in my opinion. “Starting Over” is just full of hope and brightness, signaling the dawn of a new day, with this feeling throughout of a perpetual motion. The stripped down nature of the song, featuring just an acoustic guitar with some subtle instrumentation layered on top, punctuated by Stapleton’s signature vocal sound (not to mention his wife Morgane, who joins him on the chorus) just makes you smile. “Starting over.” It just feels good to say to yourself after a nice deep breath. Today is a new today. Let’s do it.
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14. "I Love Me"

Demi Lovato
Demi’s songs cut deep, and “I Love Me” might be the most introspective of them all. Take some of the lyrics that are A) super clever and B) super relatable. “I’m a blackbelt when I’m beating up on myself but I’m an expert at giving love to somebody else” rings so true not just for me personally, but I’m sure for a lot of people who are extremely hard on themselves for a variety of reasons. The chorus has the largest explosion of sound, as we get an overflow of synth and electro pop in a clear release of emotion: “Why do I compare myself to everyone?/And I always got my finger on the self destruct” before the instrumentation almost drops completely away and the title line of the song becomes incredibly poignant: “I wonder when ‘I love me’ is enough”. The song is very much on the same level of promoting self-love as “Sorry Not Sorry” was, but feels a little more elevated, even though it might not have the same mood to it. I’m sure many of us are aware with Lovato’s battle with her mental health, and “I Love Me” is an affirmation that it’s okay to love yourself, even if you’re just gradually becoming okay with saying it.
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13. "Supalonely"

Benee feat. Gus Dapperton
We love a good upbeat-but-really-about-depression song. Benee came out of the woodwork this year with “Supalonely,” which is, well, about being “a sad girl in this big world.” It has an excellent baseline (as many of the songs on this list often do), and (at least, vocally) evokes moods of artists like Billie Eilish and Nicole Millar, among others. The 20-year old New Zealand native wrote the song after a breakup, using it as an attempt to mock her own sadness. By the tone of “Supalonely,” I’d say that goal was achieved- you can tell by the “I’ve been lonely” followed immediately by Benee getting into the music by going “mm, ah, yeah.” It’s sad, but in a delightfully comical way.
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12. "Midnight Sky"

Miley Cyrus
Every couple of years, we get the sense that music- at least, popular music- is branching off into sub-genres. Whether it be trap, indie singer/songwriter, or funk, all of these contribute to the genre of pop music as a whole. In one corner- one big corner- we have the sub-genre of retro-pop. In the last few years, it’s been the 80s that have become the decade that most artists want to evoke. Look no further than Miley’s “Midnight Sky,” which has that California glam cyberpunk feel to it, starting with a lone synth before erupting with a pulsating electro-pop disco beat that Lady Gaga would be proud of. Miley has taken influence from other female songwriters like Joan Jett, Blondie, and Stevie Nicks, clearly taking inspiration from “Edge of Seventeen” to get the effect of “Midnight Sky.” Cyrus describes the song as an anthem for “taking back your narrative,” with a desire for the it to also encourage people not to live in fear of rejection over their authentic selves, not to mention normalizing pansexuality. Picture yourself being fed up with all that pressure, getting in your car and just going. With just the road and the darkness at your side, this song makes you feel unstoppable.
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11. "How You Like That"

Blackpink
I mistakenly left out the Blackpink song “Kill This Love” on last year’s list. Thankfully, they delivered another banger, “How You Like That,” this year. As most of this list consists of very minimal analysis on songs lyrics, composition, and the like, and more just general feelings on how the song strikes me- I can say that “How You Like That,” strikes me very strongly indeed- even if I haven’t bothered to look up the Korean lyrics. Still, when the song breaks down into its trap-inspired chorus, it shakes me to my very core. A menacing K-Pop song? Absolutely. And then- AND THEN- the bottom completely falls out and drops us in the middle of a banging club beat. This song is truly excellent. If the question is “How You Like That?” The answer is “very much so, thank you, Blackpink. Please be ‘in my area’ more.”
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10. "Adore You"

Harry Styles
“Adore You” was the first song I added to this list this year, way back in January. This mid tempo pop ballad has everything we’ve come to expect from Harry Styles- a classy, jazz-like rhythm guitar, a solid bass line, understated synth, driving percussion, and some of the coolest harmonies you’ll ever hear in a mainstream pop song. I honestly could see Justin Timberlake doing a song like this- which should be taken as a compliment. Much like another song we’ll see in a little bit, “Adore You” is about the initial excitement of meeting someone, as evidence by the high-flying vocal lines during the chorus, which includes both some cool falsetto and some rock-tenor stylings. There is nowhere to go but up for Harry Styles, as far as I’m concerned.
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9. "Sunday Best"

Surfaces
I, personally, feel FANCY when I hear this song. Like everything in the world is coming up bright and summery and COOL. And, judging by the music video, you’d think that’s just what the song was about or for- people who have never had any problems ever in their life. According to Surfaces member Forrest Frank, the song holds a bit of a deeper, darker meaning than that- “Imagine you go through the darkest stuff of your life, like depression, anxiety or suicide… things that are really tough. It’s like getting out of that and seeing the light of day and accepting who you are end accepting your situation and saying, ‘I’m just going to breathe this air and have a good day.’” Powerful stuff.
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8. "Break My Heart"

Dua Lipa
Dua Lipa’s newest material is incredible. Her Future Nostalgia album features bangers like Physical, another song we’ll get to in a minute, and this one, released as a single back in March. This funk-based track has one of those ear worm hooks, which is punctuated by all the other instruments dropping out and letting Dua patter over the vocal line “I would have stayed at hone, ‘cause I was doing better alone, but when you said “Hello,” I knew that was the end of it all.” All the while, the song’s bass line echoes that melody, and everything sort of builds on top of it, exploding into an all out disco carnival. Throw in some strings to accentuate the starts and ends of the choruses, and you’ve made disco-pop cool again. If it weren’t for another track on this same album, this one might even be higher.
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7. "Holy"

Justin Bieber feat. Chance the Rapper
Okay, so we know that Bieber has come a long way from his “Baby” and “Never Say Never” days. And we know that his more subdued songs like “Love Yourself” are where he thrives. While “Holy” definitely has that feel of being like “okay I’m so in love with my spouse that I want the world to know it,” it has that subdued, introspective feel that makes it feel more mature. And maybe it’s just the gospel elements talking there. Overall, I really like the song. The piano that provides the through line of the song, punctuated with lyrics like “running to the altar like a track star” and references to “Can’t Help Falling in Love With You” are super catchy. Is it basic? Maybe. But does it work? Absolutely. And then there’s the verse with Chance, and you know anything that man touches turns to gold. Throw in a choir at the end and you’ve got a made-for-radio hit. Older Bieber as an artist is just better- sorry about it.
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6. "Savage (Remix)"

Meghan Thee Stallion feat. Beyoncé
I have heard countless lyric substitutions for “I’m a savage,” in this bop by Meghan Thee Stallion. “Carole Baskin,” for example, was popular on TikTok. In my fantasy football circle, it’s “Myles Gaskin.” The success of this song is just a testament to the power that TikTok has begun to have this year, with artists like Lil Nas X and Lizzo blowing up because of their song making it big on the short-form social media site. Doja Cat’s “Say So” also made an appearance on TikTok this year, but Doja was already established as an artists- The success of “Savage” on TikTok has thrust Meghan Thee Stallion into the spotlight and shown us all just how great her music is.
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5. "The Box"

Roddy Ricch
“Eee err…”

You know it, you love it. This song made it big on TikTok before being named Apple Music’s song of the year. As someone who doesn’t listen to a lot of hip hop or trap music, I think the choice to have the entire song sung is a great decision- despite the fast nature of the lyrics, the fact that it’s a melody underneath makes the song accessible- I can follow it all the way through. In addition, the way Roddy Ricch switches between vocal modes, whether it’s flipping into a higher register for one note out of a line: “I got the pink slip, all my whips is key-less, Compton I’m about to get the key to the city,” or if it’s a powerful, straightforward line “I won’t ever sell my sooouuuuulllllll, and I can back that,” “The Box” gets more interesting with every listen. And every time you remove yourself from the deeper meanings and intricacies of the song and listen to in on a surface level, you hear that squeaking “eee err” throughout. The 2020 election may have already passed, but if I had had a chance to vote for this 2020 President candidate, I would have.
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4. "Stupid Love"

Lady Gaga
In my opinion, Chromatica features some lows (I’m not a fan of “Reign on Me,” sorry y’all.), and it also features some highs. The highest of the highs is this song right here- “Stupid Love” is peak Gaga- it’s right up there with “Bad Romance,” and “Born This Way,” based on what I can hear. Just the powerful “I want your stupid love,” before diving into a hook full of pulsating synth and percussion… it’s what I’ve been missing most about Gaga’s music. Sure, her subdued and soulful Joanne album gave her a chance to experiment with softer moods and different genres, and that point that she can do it all is driven home by her turn in A Star is Born. But “Stupid Love” and Chromatica brings us back to where it all began. Encouraging and powerful, making statements about being fearless not only in life, but in love, all underscored by that trademark electronic, disco-pop sound. While “Bad Romance” and “Born This Way” are songs defined as Gaga “anthems,” I think “Stupid Love” could also be included as one of the more underrated defining songs for the artist.
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3. "Watermelon Sugar"

Harry Styles
I’m sure the big question on everybody’s mind is “what exactly is watermelon sugar?” This fruit-and-berry themed track is actually inspired by Richard Brautigan’s 1968 novel In Watermelon Sugar, a postmodern post-apocalyptic story about a commune that builds many things out of watermelon sugar. How this relates to the song other than being “watermelon sugar high,” I don’t know. The song has a very different feel from how the novel sounds- a guitar and horn driven rock song that feels as chill as it does immersed in California rock as it does in jazz. It has this really cool guitar lick that drives the song throughout, and the punctuation of the horns and the vocals through the chorus make the song. If this is what being high on Watermelon Sugar feels like, I don’t think I ever wanna come down from it.
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2. "Don't Start Now"

Dua Lipa
Bass lines. Bass lines forever. 

Keeping with the tradition set forth by “Physical” and “Break My Heart,” “Don’t Start Now” keeps the disco beat alive, and subsequently goes harder than any other song on the Future Nostalgia album. And she did it for us. For me, the song is simply made by the bass line, a funk-inspired, disco-themed lick, jumping between octaves to achieve peak danceability. What’s also great is that the song basically has two moods- the verses and chorus that have that incredibly effective bass line, and the pre-choruses that have a building synth under Dua’s lyrics which begin the song “If you don’t wanna see me dancing with somebody/If you wanna believe that anything could stop me,” almost like it’s leading up to the bass drop at a Skrillex concert or something. And, of course, when you combine the two, it’s simply perfect. This is a perfect example of why simpler is just better. Dua Lipa knocks its out of the park with this one.
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1. "Blinding Lights"

The Weeknd
Did it have to be this one? Yes, it had to be this one.

I’m sure I say this about most songs that make it this high on this list- but we’ll be remembering “Blinding Lights” for a long time. It doesn’t have the cookie-cutter feel of a retro-pop song the way an “Uptown Funk” does or a “Happy” does. It’s more complex than an “Old Town Road.” What makes “Blinding Lights” great is its sheer ability to paint a landscape of a hazy night in the city from its opening line. It’s a melancholic, melodic, hypnotizing song that draws you in with its signature synth hook, and then knocks you out with the sheer force and feel of its lyrics, the same way The Weeknd does in songs like “Can’t Feel My Face.” The first time I heard this song, I could have sworn it was something right out of Uncut Gems, which The Weeknd was a part of, due in large part to the heavy synth that occupies most of the song. 

Another thing that makes the song so good is the tempo. It’s steady but way more pressing than any other song on this list. It’s a heart beating quickly- whether on drugs or in the presence of a significant other (although with The Weeknd, he’s shown us through his music that that line is ver much a blur), I can’t decide. The way the beat continues through the highs and lows of the song, the more minimalist verses to the sound tsunamis of choruses, that beat continues all the way through the song. It makes you want to run, dance, whatever- it makes you feel something. Even if you can’t see anything (“Blinding Lights,” lol), this song grabs you and never lets you go. 

The Weeknd nails it. Now give him a Grammy for it, you cowards.


What songs from this year were your favorite? Did I leave any out? Leave a comment down below. 

Don't for get to check out the rest of my "Best" of 2020 spread by clicking HERE, and you can check out the entire playlist below:

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12/13/2019

Top 25 Pop Songs of 2019

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Top 25 Pop Songs of 2019

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This is the fifth year of this blog. It is the fifth year I’ve been doing lists like this one. This particular one is very special to me, because it’s really the one that started it all- the Top 25 Pop Songs of the Year. It is always the first one to come out, and it’s often the most excruciating to publish just because of the number of entries. But after careful consideration and many edits, I finally feel good about what you’re about to read here.


It’s been a really good year for music this year. Sure, lots of artists we know dropped more material, but we also had a slew of new artists make their way onto the scene this year- as you’ll see in reading. 


Much like in years past, pop music production has become more and more complex just as the songwriting has. Happy sounding songs mixed with melancholy lyrics, artists branching out and trying new things with their sounds, and even songs that come from the most unlikely of places- 2019 had it all. 


We’ll lead off with some honorable mentions, but there is the best 2019 had to offer in music.
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Honorable Mentions

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"No Such Thing," Sara Bareilles

Sara Bareilles’ second track from her newest album “Amidst the Chaos” is a delicate, tender, stripped-down ballad. But the things that would ordinarily make it a Bareilles ballad are sort of stripped away. We don’t hear a constant drum beat, and the piano is featured not in the warm heart of its range, but rather way up in its higher register. The percussion is bare bones: mostly a few bass drums and a snare. What makes this song unique is the use of strings: acoustic guitar is replaced by echoing violins, and perhaps the most unique of all- a harp finds its way into much of the song. The subject matter is pretty standard for Sara- try as she might, she can’t imagine a world without her partner.
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"Highwomen," The Highwomen

In 1985, Johnny Cash, Willie Nelson, Kris Kristofferson and Waylon Jennings formed the supergroup The Highwaymen, and their song “Highwaymen,” reached the top of the country charts. Nearly 40 years later, a new group comprised of Brandi Carlisle, Maren Morris Natalie Hemby and Amanda Shires formed, known as The Highwomen, and their debut studio album features a cover of sorts- a re-written version of the Highwaymen’s 1980s hit.

This song is crucially important, and dare I say that it is infinitely more interesting than its predecessor. The song sung from the point of view of women carry way more weight than the men who sang it in the 80s. Lyrics like “we are the daughters of the silent generations” and “We’ll come back again and again” have far more importance. Pair it with the stripped down instrumentation and the beautiful four part harmony being served by these women, and there is no comparison. Sorry, Johnny.
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"I Forgot That You Existed," Taylor Swift

This song is the quintessential Neo-Taylor track- it’s a playful, dismissive, and witty pop song about moving on from a man that (probably) broke her heart. Personally, I love seeing Taylor in f-you mode. That’s exactly what we get here, as she chalks up her sudden realization that this man doesn’t matter to simply “indifference.” The lyrics are simple, but not in a way that makes you think she didn’t try when writing them. They’re refreshingly honest, similar in tone to “Shake It Off,” though probably a bit more on the nose. An excellent opening track to “Lover.” So, yeah.
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"Panini," Lil Nas X

Clocking in at just under two minutes, Lil Nas X’s “Panini” gets the point across quickly. Aimed at his fans who then became his haters, the song is less of a diss track, and more of an expression of anger towards those who loved him when he was a small-time rapper, but don’t love him as much now that he’s blown up (thanks to another song I don’t have to name on this list).  

For some backstory, Panini is a character from the Cartoon Network show Chowder, who doesn’t want to be anything other than friends, despite having a huge crush on the show’s title character, being overly possessive and wanting to get closer to him. Sounds pretty on the nose, as specific as the reference is.

Also, the music video is hilarious.

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The Top 25:

25. "Back to You"
Selena Gomez
Featured heavily in the promotional material for the second season of Netflix’s “13 Reasons Why,” Selena Gomez’s hit from early 2019 starts with a cool guitar intro that ultimately explodes into a more traditional pop sound during the song’s hook. Maybe the subject material is a bit dicey- going back to the relationship that really hurt you- but hey, it sounds excellent, so who am I to judge?


24. "Carry Me Away"
John Mayer
John Mayer makes another appearance on another of my lists, because, hello, have you met me? With three singles released in the last two years, “Carry Me Away,” the second one this year, is the better of the two (the other being the melancholic “I Guess I Just Feel Like”). Mayer embraces the mood of the song- a chill 90s-esque slow jam, but very much leans into his own maturity (he’s 42 now) with lyrics like “take me out and keep me up all night” and “put some of your tequila in my coffee cup.” Man, some of the images he continues to evoke even in his third decade of writing music are to die for.


23. "All My Friends"
The Revivalists
Sometimes, life in your twenties can be hard. Sometimes, it can be the death of you. But if you’re like The Revivalists (and I assume you are), you’ve got your friends to help you out. On this first single from “Take Good Care,” the New Orleans roots artists explain that to us in an explosion of sound that includes a slick horn section that punctuates each line of the chorus.


​22. "Bury a Friend"
​Billie Eilish
This song from “When We All Fall Asleep, Where Do We Go?” Is told from the perspective of the monster under Billie Eilish’s bed. That is, until we discover that the monster is actually Billie herself. It’s got all the good twists and creeps of a scary movie, while also infiltrating our minds with cool vocal lines thrown through a Prismizer, used to get some cool harmonies, as well as witty lyrics thrown in for good measure. Fans have speculated that “Bury a Friend” was inspired by an episode of sleep paralysis, but it’s entirely possible that the mind of everyone’s favorite teenage nightmare is just at it again with another intelligent song.

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21. "Hit the Back"
​King Princess
King Princess teased this song on Twitter as “the anthem for bottoms everywhere” before it was released back in October. Featuring a cool ascending piano intro before evolving into a pulsating bop, we get some sly suggestive lyrics about being… well, a bottom. It’s a slick fifth single off King Princess’ debut album, “Cheap Queen.” Pair it with an appearance on SNL, and it seems that we’ve got ourselves a star in the making. More, daddy!

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20. "Fire"
​Sara Bareilles
“Amidst the Chaos,” at least the first few tracks, is all about how creative Sara Bareilles can get with her music production and instrumentation, and nowhere is that more evident than on the first track, “Fire,” where she sings about a relationship that may have existed, but was never going to result in anything different than boring normalcy. Fun percussion and hardly any piano, combined with an INCREDIBLE vocal harmony line on the song’s title make this song hot. With an opener like this, Sara attempts to differentiate herself from the hits that established her, and in the years between “The Blessed Unrest” and “Amidst the Chaos,” it’s clear that external issues have had a major influence on her music. The album deals with the feminist struggle in today’s world, and this more rugged take on a failing relationship is the first notch in what could be a career-defining record for Bareilles.

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19. "Bridges"
Johnnyswim
From the repeated single guitar note right on through the song, you know you’re in for something special with the first single from Johnnyswim’s “Moonlight” album which dropped in April (although the single dropped in the first week of January). “Moonlight” saw a definite crossover into pop and perhaps even R&B for Abner and Amanda, and that’s on display in “Bridges,” as we hear the synthesizers so prevalent in the rest of the album, working to excellent effect in the record’s opening track. It’s a more direct approach than we’re used to from Team Swim in regards to the “we’re in this together” song, and though it may be a simpler approach as far as composition is concerned, it is an A+ folk/pop banger.

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18. "Sucker"
Jonas Brothers
The long-anticipated return of the Jonas Brothers was finally met with this sexy single, “Sucker.” Since it’s been over a decade since the three played music together, we are met with some cheeky, suggestive, mature subject matter. For anyone who loved the JoBros as a kid, it’s almost like they’ve grown with you- and it’s clear that they haven’t fallen out of practice or musical sync. I guess that one Vine was right. The Jonas Brothers can’t break up, they’re brothers! You’ll be whistling right along with Nick, Kevin and Joe on this one every step of the way.

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17. "Lover"
Taylor Swift
This is a love song unlike anything we’ve ever heard from Taylor Swift. It’s steep in simplicity, rife with plain, unadulterated love for the man she’s singing about. “Lover,” like “Blank Space” before it, is another notch of maturity from Taylor, as she’s not singing about men she’s lost or men who have ruined her life, but it’s about someone that she’s actually found a comfortable relationship with. And then there’s the SOUND of the song which makes it even more unlike anything T-Swift has done before- the stripped down, echoey production lends itself to that of a wedding dance, an atmosphere we’ve not experienced before. In my opinion, this is one of Taylor’s best. Although, leaving the Christmas lights up until January isn’t exactly daring, which means that Swift hasn’t completely lost her "edge" when it comes to writing lyrics... Which is good, I guess.

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16. "Blind Leading the Blind"
Mumford & Sons
Originally meant to be part of “Delta” but released as a standalone single, “Blind Leading the Blind” works incredibly well on its own. There are so many production elements that could lend the song to both “Delta” and “Wilder Mind,” from the heavy percussion that explodes during the core of the song, to the infusion of banjo that was a delight to have heard on the band’s latest effort, to even the old Mumford harmonies during the chorus. It has the ability to be both wildly intense and tender at the same time, so we get the best of both worlds from the ever evolving Gentlemen of the Road.

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15. "The Greatest"
Lana Del Rey
This is my first Lana Del Rey entry on any of these lists I’ve done, but “The Greatest” really spoke to me. Lana’s voice is peak Southern California millennial experiencing the end of the world, although “The Greatest” is the epicenter of her newest album, “Norman Fucking Rockwell!” It’s delightfully tender, almost in the peaceful type of end of the world where the sun’s going down for the final time. Her lyric “the culture is lit, but I had a ball,” is a sort of resignation to the end of the world, while recognizing that it’s been a hell of a ride for the young people inhabiting the world today. It’s the song’s best lyric.

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14. "Circles"
Post Malone
Starting with a lazy guitar chord progression, “Circles” is a lot deeper than it appears on the surface. Post Malone serves us some real feels with his crooning vocals, some unique instrumentation, and a relatable story that will break your heart. As he tries to preserve this relationship he sings about, he makes you really feel what’s he’s going through, the tracing, circular effect that couples do when the relationship isn’t working. I am continually impressed by Post’s vocal prowess, and “Circles” is a perfect example of why he’s one of the best musical artists working today.

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13. "Lose You to Love Me"
Selena Gomez
Selena’s second song on this list is about Justin Bieber, apparently. Who knew? Not me. The clearly emotional piano intro sets the tone for the rest of the song, as Selena sings a painstakingly heartbreaking but ultimately empowering song about the freedom from a relationship and how being without someone lends itself to soul searching and ultimately a greater truth about oneself. Sometimes (and by sometimes, I mean usually) self love is better than love from another person. I hope that whatever Selena is looking for, she finds eventually. As evidence by this song, she deserves it.

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12. "Cruel Summer"
Taylor Swift
“Cruel Summer” is the best song from “Lover” that never got released as a single, and it’s a crime that it never did. It’s a shamelessly Swift-y song that fits right at home in the “pop Taylor” catalogue. It might not be as revolutionary or as jarring a change of pace as “Lover,” but “Cruel Summer” is still a very clear sign that T-Swift is maturing through her music. She’s had enough, as evidence by the exasperated bridge about “crying like a baby coming home from the bar,” and her almost primal growls toward the end of the song. It is a fast, sharp, explosion of feelings with a capital F. Another quintessential Taylor Swift banger that deserves your respect, dammit.

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11. "Harmony Hall"
Vampire Weekend
I am new to Vampire Weekend, I will admit. But “Harmony Hall” is unlike anything I’ve ever heard. It is reminiscent of both Phish and The Rolling Stones, and its lyrics are layered and complex. The song has a jam-band feel to it, infusing percussion like bongos with piano and a choir. I can hear a little of “You Can’t Always Get What You Want” in it. But then when you delve into the meaning of the song, it takes on a whole new light. Frontman Ezra Koenig discusses his changing world, particularly seeing hate groups arise in upscale universities, like Columbia University, where the band attended and graduated. The song has blatant references to Charlottesville and the corruption in the Catholic Church. Lyrics like “Wicked snakes in a place you thought was dignified” thrown against the backdrop of what appears to be a celebratory song is just a testament to the complexity and maturity of the music Vampire Weekend brings to the table. “Harmony Hall” is truly one of the more unique entries on the list this year, and for good reason.

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10. "Juice"
Lizzo
Lizzo is the best human. She’s the best. That’s it. 2019 has been her year since her music has gone unappreciated for almost three years, and she’s finally in the spotlight with her studio album “Cuz I Love You.” With “Juice,” she throws us off the deep end into the funky positive world the song introduces us to. The confidence of the lyrics could be compared to a Bruno Mars song like “Uptown Funk,” but Lizzo extends the badassery to everyone listening to the song, and how we all have our own “Juice” that makes us all awesome. Also, the line “somebody come get this man, I think he got lost in my DMs” is LEGENDARY.

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9. "Lights Up"
Harry Styles
Harry Styles has returned and it is glorious. He continues to take his music forward, but via a different route, and nowhere is that more true than in “Lights Up,” as evident by brilliant instrumentation and some unusually melodic vocal lines that leave phrases hanging in the air- and by proxy, make us want him so much more. That chorus too, though. Melancholy as the lyrics might be, it’s that harmonious chorus that makes us swoon.

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8. "Cool"
Jonas Brothers
“Cool” was the second single dropped by the Jonas Brothers in their triumphant return to the mainstream music scene, after “Sucker.” They got it right with this one. The chord progression is just more aesthetically pleasing, the hook is catchy, and the way the song builds and builds into this wall of sound is fantastic. With references to Post Malone, Game of Thrones, Jane Fonda and James Dean, the JoBros straight up let loose and let you have everything you’ve been waiting for for the last decade with this banger of a song.

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7. "7 Rings"
Ariana Grande
Who thought “My Favorite Things” could be cool again? Ariana, apparently. “Thank U, Next” is all about embracing single, and nowhere is that on display better than “7 Rings.” All it takes is one phrase to understand the meaning- “I see it, I like it, I want it, I got it.” There’s nothing wrong with a little retail therapy to really feel yourself- I just can’t relate to having enough money to buy an entire house just for the closet. For me, I see it, I want it, I take it, I put it back because I can’t afford it. But live your life, Ari.

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6. "Happier"
Marshmello feat. Bastille
Where did Bastille go? Here with Marshmallow on this smooth collab, apparently. “Happier” has an amazing hook reminiscent of the ear worms of The Chainsmokers… though probably with better quality lyrics. Speaking of lyrics, this one’s actually really depressing when you listen closely- “Happier” is about a failing relationship, but ultimately wishing the best for your lover… even if it means the best means letting them go, or allowing yourself to see them be with someone else. The bridge, a very simple, repeated “I’ll go,” is utterly heartbreaking. It’s still a bop, though.

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5. "Sunflower"
Post Malone & Swae Lee
I listen to this song a lot, so perhaps there’s a bit of personal preference here for me with “Sunflower.” This song was featured on the soundtrack to Spider-Man: Into the Spider-Verse, and eventually reached enough success to make it all the way to the top of the Billboard charts in mid-January. Both Post Malone’s and Swae Lee’s vocals are on display here in the pleasant melody and high-flying hook to the song. It’s bursting with good feelings, some really cool percussion, and a hook that even though you might not know the lyrics to, you’ll know that all the ends of the lines rhyme with “sunflower,” and that will be enough for you. This one straight up just makes me really happy.


​4. "Break Up With Your Girlfriend, I'm Bored"
Ariana Grande
Well, shit, Ariana. Be a little more blunt, why don’t you? “Thank U, Next,” is all about Ariana getting to do whatever the hell she wants, which includes telling us to break up with our girlfriends simply because she knows (and knows we know it too) that she’s a better option… who cares if it’s really because she’s bored? This song is straight up hot as fuck. Not sure if you’re trying to listen to it in the bedroom though. Does anyone think it might kill the mood?

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3. "Bad Guy"
Billie Eilish
Where do I begin with “Bad Guy”? It has probably the most famous bass line this year. It’s deliciously evil in the most playful, taunting, witty way possible, as Billie flaunts her own toughness while mocking her partner’s (likely) less-than-aggressive nature. With lines like “‘make your mama sad’ type, ‘make your girlfriend mad’ type, ‘might seduce your dad’ type,” we see that Billie Eilish is unapologetically unafraid of… well, everything. With her meandering vocal lines and seemingly lazy, but always sharp tone, we see that she really is all of us to a certain extent: a living nightmare just waiting to be unleashed. “Bad Guy” is the song of a generation, very similar to a “Smells Like Teen Spirit,” as we feel her standing bloody-nosed and bruise-kneed. If only we could only be so bold as Billie is. We all strive to be her, because she’s the bad guy. Duh.

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2. "Truth Hurts"
Lizzo
“I just took a DNA test- turns out, I’m 100% that bitch.” Talk about an opening statement. “Truth Hurts” came out in 2017, but for some reason went unnoticed until this year, blowing up to reach number one on the Billboard charts toward the end of the summer. This song is full of cutting lines, where Lizzo describes getting rid of her man via a hair wash, having a new man that plays for the Minnesota Vikings, and putting the “sing” in “single.” It’s a jab-per-minute banger that has taken Lizzo to the upper echelon of pop stardom. Lizzo is a model of positivity and individuality, and I would be shocked if “Cuz I Love You” is the last we hear from her.

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1. "Old Town Road"
Lil Nas X feat. Billy Ray Cyrus
Raise your hand if you had a country-trap song featuring Billy Ray Cyrus on your radar for this year in music. Didn’t think so. It began when a small-town rapper from Georgia bought a Nine Inch Nails sample from a Dutch guy he’d never met online and sang a lonely cowboy song. The song became popular on TikTok, but then it earned so much merit Billy Ray Cyrus did a remix of it. And then the world exploded. “Old Town Road” redefines the country song, having controversially “defeated” the country charts after it was taken off the list. It is an absolute banger of a song that has the rare quality of both being catchy and also having “everyone-friendly” lyrics. Billy Ray Cyrus, who everyone thought was dead, honestly, has a verse that is FIRE. “Old Town Road” has spawned about a million remixes, some going so far as to include Mason Ramsey (the yodeling kid from Wal-Mart) and Korean pop group BTS. Hell, even Dolly Parton has said she wants in on the action. Let me just put it this way: you will be remembering “Old Town Road” as long as you live.



What was your favorite song from this past year? Which songs did I leave out? Leave a comment down below.

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5/20/2019

Top 10 "Schoolhouse Rock!" Songs

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Top 10 "Schoolhouse Rock!" Songs

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“As your body grows bigger, your mind must flower!/
It’s great to learn, ‘cuz knowledge is power!”

ABC graced us with Schoolhouse Rock! back in the 1970s: a series of three-minute songs dedicated to educating the youths on math, history, language, science, and much more. It was a staple of Saturday morning cartoons, distributed intermittently between longer programming.

The show has come a long way from Saturday morning cartoons, though. The Schoolhouse Rock! team has had songs come out in five different decades over six different topics. The series has even spawned a stage show.

As it pertains to me on a personal level, I had the Multiplication and America Rock! sets on VHS when I was a kid. Without them, I wouldn’t have a lot of the knowledge I had as a kid. Thanks to Schoolhouse Rock!, I learned valuable lessons like multiplying by 5s, or what adverbs were, or how the government works.

If you're familiar with the show, hopefully you'll enjoy this list. If you're not familiar, maybe you still have that spark of little kid joy in you and you'll enjoy the songs when you hear them for the first time.

And so, for no other reason than wanting to pay some homage to a highly influential kids program, here are my picks for the top 10 songs from Schoolhouse Rock!.


Honorable Mentions:

"Fireworks"

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This New Orleans-inspired celebration tells the story of the signing of the Declaration of Independence by the Continental Congress. “Fireworks” is one of three songs in the entire series to feature the vocals of Grady Tate (“I Got Six” and “Naughty Number Nine” are the other two), whose silky-smooth voice may not have the same bravado or range as someone like Jack Sheldon, but is able to ground this particular song in contrast to the horns and background vocals that fly above it. Favorite moments included the listing of the signers of the document (“Benjamin Franklin, Philip Livingston/John Adams, Roger Sherman, Thomas Jefferson”), and the rhyming of “Declaration of Independence” with “Seventeen Hundred Seventy-Six.” Those two don’t rhyme, but I’ll be damned if “Fireworks” isn’t one of the catchiest, most underrated songs in all of Schoolhouse Rock.


"Dollars and Sense"


Suppose you’re a country singer. Suppose you’re a musician of any kind. You’ll probably need to make money because the arts are among the least lucrative professions and have hardly any job security. This is where “Dollars and Sense” comes in, as Bob Dorough and Val Hawk teach us how banks calculate interest on deposits and how loans are given out. A word of common “sense,” though. If you’re going to buy an electric guitar, just make sure your farm has electricity. Or buy an acoustic guitar. Country singers play those, right? Just a thought.


"A Noun is a Person, Place, or Thing"


Lynn Ahrens is the best, isn’t she? She made Ragtime, Once on This Island, Anastasia, and a host of others, but Schoolhouse Rock is where Ahrens got her start in 1973. The study of nouns is a simple premise but can be complex to explain, and Ahrens constructs melodic phrasing that is easy to follow, so she can take you on a journey to meet many people (like a bandit, Mrs. Jones, a sea captain, or the Beatles), see many places (like Hudson Street, Liberty Island, or her neighborhood corner store), and many things (like Mrs. Jones’ dog, the Statue of Liberty, or a jukebox). I’ve always wanted to direct a version of Schoolhouse Rock Live!, just so I could open it with this song. ​


"Elementary, My Dear"


I respected “Elementary, My Dear” for going farther in its multiplication tables than most of the other songs on Multiplication Rock!. All the way up to 20? As in 2 x 20? That’s some intense action right there, as most of the other songs multiply only up to 12. I love that as the song continues, and each simple math question is answered and followed by an “elementary,” we get a cute little “clap-clap” to go along with it. As we count the animals on Noah’s Ark, we learn that every time you multiply by 2, you get an even number- something I sometimes find interesting even though I learned my twos tables many many years ago. Number are cool, aren’t they? ​


"Electricity, Electricity"


This one is in the same vein as “Conjunction Junction,” but I can see how its constant “Electricity, Electricity” after every line can get inside your head. It doesn’t want you to forget what this portion of Science Rock! is discussing, and that’s all well and good. The song makes some good points that I, who was not great with science in school, will hold onto forever, such as how electric generators have magnets and magnetic fields inside, and how currents transfer electricity to vessels to use it in a variety of ways (like in lightbulbs!). ​


"Interjections!"


FINE! (see what I did there) I added this one right at the very last minute. The refrain is obviously inspired by Handel’s “Hallelujah Chorus,” a fitting set of interjections for this track from Grammar Rock! “Interjections show excitement or emotion. They’re generally set apart from a sentence by an exclamation point, or by a comma when the feeling’s not as strong.” That is an ACTUAL line from the song. I also love how much they toned down interjections at sporting events. “Aw! You threw the wrong way!” and “Darn! You just lost the game!” are tame compared to what we hear as adults. Shoutout to the guy who has the best part of the song: that one poor dude who meekly (but proudly) shouts “Hooray! I’m for the other team!”


The Top 10:


10. "My Hero, Zero"


Leave it to children’s television to show us that every number is important- and that even the numbers we think are valueless actually have more importance than we could possibly imagine. Enter: “My Hero, Zero,” which educates us not just on the number zero, but on all the powers of ten, and how they can add so much value to all the other numbers we know and love. Shoutout to The Lemonheads, who do a fantastic cover of the song for Schoolhouse Rock Rocks! ​

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9. "The Preamble"


Truthfully, I find “The Preamble” a little hokey for me, with its banjo and slower tempo than most of the songs on America Rock!. But I give this song sole credit for teaching me the opening section to The Constitution, and that is what lands it on this list. What I love most about Schoolhouse Rock! is that they don’t try and make up cheesy rhymes to get you to remember terms, dates, or meanings of things. Instead, the music is just so well-written and clever (and don’t get me started on the animation) that you end up remembering the songs as wholes. Their melodies get stuck in your head, and while you may be humming a tune, the information they’re trying to convey to you kind of neatly fits in the space. Is that what learning is? I think that’s what subconscious learning is. ​

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8. "The Shot Heard 'Round the World"


Ah, the American Revolution- one of my favorite eras in history. This one tells a story highlighting all the important parts of this country gaining its independence from Great Britain. From Lexington and Concord, to Washington’s crossing of the Delaware, to Valley Forge, to the Battle of Yorktown, “The Shot Heard ‘Round the World” makes it evident that the war wasn’t easy, but instead a hard-fought campaign that shaped the infancy of this country. The war-like snare drums and flutes during the song get me SO hype about fighting for independence.

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7. "Ready or Not, Here I Come"


I never would learned how to multiply by fives had it not been for this song. It’s such a simple concept, with the lines literally being “5, 10, 15, 20, 25, 30, 35, 40 (etc)” based on a game of hide and seek. The quick tempo and walking bass are features of music that I appreciate, both of which are featured in the song. Counting on fingers to determine how many fives are in a certain number was also incredibly helpful for me. One thing still boggles my mind, though. When those two kids run into each other between 40 and 45… do they switch clothes? Or do they swap bodies? These are important questions. They are. Educate me on THAT, Schoolhouse Rock.

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6. "Interplanet Janet"


It would be one thing to tell us about the planets in our Solar System from the perspective of an Earthling. It is quite another to give us the perspective of an extraterrestrial. And so, Interplanet Janet, brought forth from the mind of the mighty Lynn Ahrens, was born. With a catchy hook and quirky, colorful animation, “Interplanet Janet” takes us through the local planets, each one with its own adorable characteristics. Much like Janet herself is an astronomical wonder, so too is the universe, and Ahrens’ music and lyrics get us all riled up about the cosmos with its bouncy melody and rock n’ roll beat.

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5. "Lolly, Lolly, Lolly, Get Your Adverbs Here"


A father, son, and grandson masterfully take us through the world of adverbs, brilliantly utilizing another of Schoolhouse Rock’s timeless hooks. I, for one, had no idea that places and times could be adverbs, and thanks to Lolly, I can use my adverbs to accurately tell my friends where and when to meet me to go nut picking. There’s also something about the way the phrase “Everything described will be described some more” being so fun to sing along with. Is “Lolly” an all-timer? Indubitably. ​

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4. "Elbow Room"


This is a personal favorite of mine, as this melody just would not leave my head for years after I heard it for the first time. Lynn Ahrens wrote “Elbow Room,” but it’s performed by Sue Manchester. In this really cool country Western style, echoing the theme of Westward Expansion found in the song, we learn about the Louisiana Purchase, Lewis and Clark’s expedition, the transcontinental railroad, and more. The song builds and builds and builds in instrumentals and in scope until it reaches the present, where Ahrens suggests a newer, perhaps bigger (and darker?) problem: overpopulation. But humans have always found room to spread out before, and perhaps the Moon maybe is the next place for folks to settle down- although I doubt it will be with stagecoaches and horses.

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3. "Three is a Magic Number"

The pilot episode of Schoolhouse Rock! did not disappoint- Ever wonder where a number being called a “magic number” comes from? That was because of this right here. For an odd number like three, everything seems to fit together perfectly in this song. The melody is iconic, as is the multiplying by three, both forwards and backwards (football players and all). They all compliment each other, and everything seems to fit in place perfectly. We even get an incredibly poignant moment: “A man and a woman had a little baby… they had three in the family.” You can feel the magic in the song.

 

2. "I'm Just a Bill"


Everybody loves “I’m Just a Bill.” It’s been parodied time and time again. Thanks to the political climate we live in now, it’s even more of an educational tool- dare I say a reminder to those who may have forgotten how the government operates. The vocals on this song are done by the great Jack Shelton, who has this Droopy-Dog-esque quality to his bluesy singing and speaking voice. Even the animation is iconic- that sad little scrap of rolled up paper sitting on the Capitol steps will forever be ingrained in my mind. Now if only Schoolhouse Rock! would make a song about executive orders. May some kind of extension of the song is in order. Just me?


1. "Conjunction Junction"


The horns. The trains. The HOOK. “Conjunction Junction” is the best song Schoolhouse Rock has ever done: there is no question about that. The words “and,” “but,” and “or” are probably three of the most important words in the English language, as they do what Jack Shelton purports they do; they hook up words, phrases and clauses, allowing your sentences to grow and flourish. You know you’ve made it as a song when Schoolhouse Rock decides to make Conjunction Junction the setting for the show. As we hook up all the train cars at the station to make them run, the jolly music reminds us just how fun learning is. That, and it reminds us that jamming out to “Conjunction Junction” is absolutely acceptable because this song is a straight up bop.


If I've omitted one of your favorites, I can only apologize. This list should be full of all the positivity. Leave a comment down below. 

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4/8/2019

Top 10 Muse Songs

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Top 10 Muse Songs

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I’m seeing Muse in concert tonight, and I could not be more excited for it.

I’ve been obsessed with their newest effort, Simulation Theory, and I have no doubt that this concert at Madison Square Garden is going to be a techno-synth-metal-glam rock showcase.

But since I neglected to publish a March Wrap Sheet, I thought I would make it up to both you and myself by publishing some lists I have long been meaning to publish- and, most importantly, get back to my roots of writing countdown lists.

So, since my life takes me to see one of my favorite bands live, let’s take a look at the Muse catalogue and count down my ten favorite songs.

I did my best to try to include at least one song from each studio album, and if I omitted one, I can only say that I am well aware that a majority of the band’s work is excellent, and my brain will only allow my attention span to write about ten plus a few honorable mentions.

So, plug in, baby. Let’s count em’ down.

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​Honorable Mentions:

"Mercy"

Is it “Starlight?” Is it a Weezer song? It could be both. It starts out with a piano melody present throughout the song, doubling Matthew Bellamy’s vocals, but transforms into this emotional hook, with warm, full guitar power chords, and soaring falsetto from the lead singer.

I also really love the first line of the song about the singer “fallen from the inside,” noting that the dark forces introduced in another song on this album are starting to take hold. That’s one of the reasons I love this band and its albums- they never forget what the themes are, and each album and subsequent song is carefully crafted to tell a story. It’s incredibly intricate and intelligent storytelling and it should not be taken for granted. Isn’t it great when pop music can be both fun and dramatic at the same time?

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"Map of the Problematique"

This one reminds me of Depeche Mode, based on the wholly electronic sound (which was originally a synthesizer and transferred to guitar in later sessions)- it’s got this really interesting, almost mechanical sound, which intensifies in urgency during the chorus as piano and strings (I think?) fly above everything else happening.

This was one of the later singles to come from Black Holes and Revelations, released almost a full year after the first single from the album, a song we’ll get to later.
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"Stockholm Syndrome"

It is no surprise that this song is often paired with “Plug in Baby,”- the two are similar both in tempo and sound. But “Stockholm Syndrome” definitely gets more metal as the track plays on, not to mention the theme.

If you’re not familiar, Stockholm Syndrome is the term for when hostages feel sympathy for their captors. Think the Norrmalmstorg bank robbery in Sweden in the 70s for where the term is coined, or Beauty and the Beast, if you’re less familiar with that historical event.

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"Time is Running Out"

More vague meaning, but a continuation of overarching themes from the band here. Since the song comes from Absolution, much of the album (and “Time is Running Out” is no exception) echos an impending apocalypse, the feeling of emergency or even chaos. “Time is Running Out” could also be about some kind of strained relationship, but the instrumentals suggest something much more dire taking place in the background.

Also, it’s got this really cool groove featuring Bellamy’s eerie falsetto during the chorus that I can certainly get down to.

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"Dig Down"

“Dig Down” reminds me a lot of another song on this list- an uplifting anthem for people to get up and fight for what they believe in. It’s got this steady beat that harkens to a pickaxe or a shovel piercing the dirt below (hence the title, duh).

Like most of Muse’s softer stuff, the song builds and builds slowly, before erupting into a shout from the rooftops, complete with harmony and a guitar solo. There’s also this really great alternate version from Simulation Theory that is an acoustic version featuring a gospel choir. It’s pretty moving.

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"The 2nd Law: Unsustainable"

“Unsustainable” tells the tale of a planet strapped for resources that are finally beginning to dwindle. It features this really cool instrumental section arranged and conducted by David Campbell, who has worked with Metallica, before exploding into this dramatic techno-inspired section.

What I love most about “Unsustainable” is the dubstep aspect of it, and how all of it is done using actual instruments instead of a laptop. When that drop happens, it’s impossible to not want to bang your head. This song was some of the first sampling from The 2nd Law, although the song was never released as a single.

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"Something Human"

I love it when we see Muse’s softer side, as evidence by “Something Human,” from Simulation Theory. It’s about a robot breaking free from his circuits and wanting to experience something real in this world- something human… or at least, that’s how I feel about it. The lyrics also make mention of being on the road for way too long, another reason for a possible lighter tone.

The peaceful keyboards and acoustic guitar make for a more chill road song- and if you listen to the alternate acoustic version, you get right down to the mood the band is going for.

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​The Top 10:

10. "Panic Station"

The same people who worked on “Panic Station” also worked on “Superstition.” Yes, that “Superstition.”

“Panic Station” bring the funk, as shown by its synth and disco-inspired bass and percussion during the chorus. Chris Wolstenholme’s bass is heavily featured, as we get some rare bass chords in the main lick. 
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9. "Plug In Baby"

Muse’s very first hit, “Plug In Baby” is not techno-infused like in songs from Black Holes and Revelations or The 2nd Law, nor is it very politically themed like in Drones or The Resistance. Instead, we get way more of an early 2000s alternative, bare bones feel from the band’s first studio album, Origin of Symmetry. “Plug In Baby” feels raw and authentic, and we hear some early Bellamy falsetto here, right where it all began for the group. Obviously this was a step in the right direction.

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8. "Psycho"

Is it a coincidence that this song is legitimately a march? I don’t think so. “Psycho”, and even Drones as a whole sees the band return to its rock roots, and focuses way more on those guitar riffs we love so much.

Told from the perspective of a military higher-up, the song essentially tells the listener, a soldier, that “your ass belongs to me” and that you’ll be turned into a killing machine, or “human drone.” And if that wasn’t subtle enough, the drill sergeant literally yelling in the background will probably drill the message home. This song is simple but incredibly effective.

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7. "Pressure"

A horn section in a Muse song? What??? I mean it’s not totally unheard of, they did use it in songs like “Panic Station” and “Supremacy.”

“Pressure” is excellent. We don’t see many of these “stomp-clap” songs from the band, so this pop-friendly track from Simulation Theory is a breath of fresh air. ​

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6. "Hysteria"

From the opening bass lick right on down, “Hysteria” rocks. Wolstenholme definitely carries the entire song with his bass work, laying down a platform for Bellamy’s frantic guitar work, both of which blend beautifully during the chorus. The song’s lyrics come from someone who’s lost their mind over craving the love of another. You can almost feel the terror and insanity take over during the course of the song, especially as one of the songs many bass riffs descends dramatically. This song is chilling, and a banger to boot.

Okay, one more fact about the bass in this song (just because it’s so good), Wolstemholme’s bass was voted the best bassline of all time in a poll by MusicRadar. Cool.

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5. "Starlight"

As the second track from Black Holes and Revelations, “Starlight” is a jarring, more pop-friendly change from the edgier, more techno-infused “Take a Bow,” from which it emerges. From the friendly piano melody over the chorus to its more light-hearted lyrics and softer crooning from Matthew Bellamy, it becomes clear that “Starlight” is first and foremost a love song. According to Wolstenholme, “Starlight” was the hardest song to record, but it is clear that all that hard work paid off, as it has become one of Muse’s most recognizable songs.


4. "Supermassive Black Hole"

This industrial-rock track from Black Holes and Revelations has a very interesting, unique feel about it. It’s got that dance-funk-sex appeal song to it that a band like Franz Ferdinand would do very well. But of course, because it’s Muse, what kind of song would it be if it didn’t equate sexual desire with cosmology? Think Prince combined with Marilyn Manson on this one. Regardless, it’s all excellent. I wouldn’t even think too deeply about this one. It’s best to just relax and let the “glaciers melting in the dead of night/and the superstars melt into the supermassive” take you away.

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3. "Madness"

This song is a turn, fully immersing the band into this electronic mood they were in for the building of The 2nd Law. Starting with this brilliant “ma-ma-ma-ma-ma-ma-ma-ma” that carries through the song, “Madness” is mostly this silky smooth R&B tune that forms a warm relationship with the synthesizer. Every so often we get these treats of vocal harmony, even one that builds on top of each other in dramatic fashion. What I notice is that most (if not all) the harmonies take place on the word “Madness,” almost as if the song’s narrator is slowly spiraling out of control, like his mind is sprawling, just on that singular word.

And then there’s that guitar solo. That beautifully out of place guitar solo. It’s crunchy, distorted and frantic, but it works so well, always coming back home at the end of each phrase. And by the end of the song, we get this dramatic, desperate last iteration of the chorus.

God, I love this song. Who said madness didn’t have to be orderly?

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2. "Uprising"

I can always bop to “Uprising,” no matter my mood. A song about taking down the powers that be, the chorus is this glorious anthem that you just want to shout from the rooftops. By the sheer fact that almost everyone knows the words to the hook, this is probably Muse’s best-known song. I personally love the rhythm guitar patterns in the verses myself, paired with the increasing urgency of Bellamy’s vocals with every line. Lines like “if you could flick a switch and open your third eye” and “rise up and take the power back/it’s time the fat cats had a heart attack” just inspire me. And then there’s that quintessential Muse guitar riff in the bridge. This one’s got it all for a successful pop song, as well as a song that fits right in with the band prog-rock style. ​

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1. "Knights of Cydonia"

This was the first Muse song I ever heard. It was a part of the Guitar Hero 3 song list, and it featured these really hard quick strums and scales. It clocks in at just over 6 minutes, Muse’s longest until “The Globalist” came along. It’s got elements of Spaghetti Western film soundtrack, surfer rock, synthesized techno, and modern hard rock. The lyrics tell about the Cydonia region of Mars, make reference to the Four Horsemen of the Apocalypse, and even a self-empowerment anthem. “Knights of Cydonia” truly has it all.

It has been described as “Forty years of rock history in six minutes,” which I will absolutely concede. This song goes through so many moods, it’s incredibly easy to get lost in, especially because there aren’t many lyrics in it. It’s like riding a horse through space, then through hell and back, and into this dark arena with lasers flying everywhere. And then it explodes into this fantastic barrage of hard rock and vocal harmony. On many live performances (most notably in the band’s concert at Rome’s Olympic Stadium), the intro is paired with “Harmonica” by Ennio Morricone, inspired from Once Upon a Time in the West.

“Knights of Cydonia” is everything I love about Muse. The dramatics, the themes, the instrumentation, the balance between intricacy and simplicity, and just power of it all. This song is truly great, and you’re lying to yourself if you think it’s not.

​
What's your favorite Muse song? Drop a comment down below. 

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12/13/2018

Top 25 Pop Songs of 2018

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Top 25 Pop Songs of 2018

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What a treat. 2018 saw literally everyone and their mother release new material.

If you’re like me, and you’re selfish, your three favorite artists all released new music this year: John Mayer, Muse and Mumford & Sons.

Also, if you’re like me, you’re a Leo. And Leos shamelessly listen to top 40 pop music (I filled out a horoscope bingo sheet and that’s what it told me and boy do I agree WHOLEHEARTEDLY with that).

As I was putting together the lists for this year, and, in particular, this list, I found myself assembling them without a front runner for the top spot. There were some heavy hitters that dropped new music, but not many singles rose to the height of “obvious number one selection for song of the year.”

But to be fair, that’s how it was last year.

So, with no front runner, let’s do some talking.

This was the list that started it all. Here are my top 25 songs of 2018.

Honorable Mentions:


​"Say Something"
Justin Timberlake feat. Chris Stapleton
Does anyone else feel like Chris Stapleton is being used as the token “indie/country star thrown in to a pop song for crossover appeal” artist here?

That could be just me.

I like “Say Something,” I do. It’s got just enough of both artists, while blurring the line to make me say “wait, this isn’t something Justin Timberlake normally does,” or “wait, this isn’t something Chris Stapleton normally associates himself with.” I listen to this song, and I know both artists, but it’s like I’m hearing two people I’ve never heard before. It’s crunchy, it’s got some groove, some acoustic guitar, some slick harmonies, and a catchy hook to boot. This is a combo that should not work by any means, but it does to great effect. Sometimes the greatest way of saying something is by doing a collab that nobody expects.

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"Thought Contagion"
Muse
I included “Dig Down,” on my Best of 2017 list, which was the first single from Muse’s Simulation Theory album. I hoped for more and boy, did I get it. “Thought Contagion” is on par for what we’ve come to expect from Muse- futuristic, mystifying, smooth, and gritty. When you realize that Simulation Theory is all about a robot and his struggle to break free from his wires, you realize that “Thought Contagion” fits right in with the theme. With a simple guitar lick and Matt Bellamy’s futuristic lyrics and high-flying falsetto, the song is as infectious as the title suggests.


"Mooo!"
Doja Cat
Bitch, we’re all cows. This song started as a meme but is a BOP. Silly lyrics, mooing, a Kelis sample, and all the mooing. Also, the video is adorable. What’s not to like about this song?

Got milk, bitch? Got beef? Got steak, ho? Got cheese?

These are legendary lyrics and Doja Cat deserves your respect.

​
"In My Blood"
Shawn Mendes
Okay, be honest, how many times have you wanted to punch a wall every time you heard one of Shawn Mendes’ intros or high vocals?

I’m right there with you. I think he’s a YouTube singer who managed to sneak his way into mainstream society and the throngs of screaming girls decided they liked him too much not to let him go.

But I really like “In My Blood.” It sounds very Kings of Leon, and his songwriting feels a lot more vulnerable and damaged than much of his other work. Props to Mendes on this one. Hopefully, as he gets older, we see more of that maturity come up in his songwriting.

​
"No Angel"
Charli XCX
I missed Charli XCX. We don’t get enough of her in our lives and I believe we should. And so, we got “Focus” and “No Angel,” which released together as part of a series of single and EP releases for Charli. The message of the song is simple- maybe she’s not perfect, but (and I’ve said it before) she deserves your attention… and maybe you’re into a little bit into “bad.” Also, “No Angel” is a bop. Something about the synth-heavy beat really butters my bread.


"Money"
Cardi B
Cardi B is helping the death of capitalism and I think we’re all here for it. Okay, so maybe that’s not entirely what the song is about. It’s pretty much what we’ve come to expect from Cardi, following along the same lines as “Bodak Yellow”: a hard beat paired with intense lyrics; not to mention the timbre of Cardi’s voice, which I think works well in her favor during her stratospheric ascent to the top of the pop music genre.

​
​"Beloved"
Mumford & Sons
In their newest release, Delta, Mumford & Sons built on their alternative rock sound from Wilder Mind. How did they do that? By incorporating instruments used in Sigh No More and Babel. We hear a lot of banjo in “Beloved,” which is blended finely with electric guitar. While much of the album has a lot of alt-rock, and even electronic-based sound on it, it’s nice to hear that the Gentlemen of the Road haven’t completely lost their roots. The hook is so pleasant to listen to, in contrast with the verses and pre-chorus filled with tension, resulting in an explosion of Marcus Mumford’s vocal lines soaring above the rest of the music. I close my eyes and see sun over a mountain. Could just be me. Whatever. A+ effort from the boys on this one.

​Edit: They were commissioned by National Geographic to have their music featured on some animal footage. Yay bears!


The Top 25:


25. "Ahead of Myself"
X Ambassadors
X Ambassadors always seem to find themselves on my lists. “Ahead of Myself” is the next in a long line of solid hits for the Ithaca-based band. Much like some of their other songs like “Renegade,” “Ahead of Myself” begins with an acoustic guitar, then morphs into a cool synth-based track with pulsating drums and a dynamic chorus. Lyrically, it’s personal and internally revealing, giving us a glimpse into the emotional life of a man going through a lot of relationship issues. “Ahead of Myself” notched spot #8 on the U.S. Adult Contemporary charts.


24. "Sober"
Demi Lovato
When Demi Lovato was hospitalized earlier this year for a drug overdose, the world was watching, desperately pleading for the singer to pull through. She has, but this song about relapsing cuts deep, and will make even the most hardened music listeners shed a tear. With nothing but a simple piano, Lovato’s lyrics are hard to listen to; the illustrations she paints of drinks on the floor, losing potential lovers, disappointing and worrying her parents, and even thanking her close friends who have stuck with her from one episode to another; it’s heartbreaking. ​


23. "Boss"
The Carters
The masters of unpromoted chart toppers are at it again with this release off their
Everything is Love collaboration album. Beyonce and Jay-Z are at it again with this slow jam, proving to everyone why they are in fact, bosses. When you’re at the top of the music game, you can drop albums unannounced and still sell hundreds of thousands of albums. Hence, this incredible track. Shoutout to Rumi and Sir, love Blue.

​

​22. "Girls Like You"
Maroon 5 feat. Cardi B
Since Maroon 5 is playing the Super Bowl halftime show, this means we’ll probably see Cardi there at some point, right? Maroon 5 throws it back (at least, at the beginning) to its rock band roots, as the track begins with a cool acoustic guitar lick before adding in some keyboards. Truth be told, “Girls Like You” is less spectacular than some of Maroon 5’s other songs, but the chorus of the song still manages to worm its way into your brain and get itself stuck there. Cardi B’s verse is what makes this song, though. It’s a pleasant combination of two artists I never thought would work well together. This is also one of the better music videos of the year.


​21. "Something Human"
Muse
We’re seeing a more tender side from Muse with “Something Human,” harkening back to hits like “Starlight” from almost 10 years ago. This synth-heavy track seems to be about the robot (that I mentioned in the entry for “Thought Contagion”) wanting a little something more from his life- Matthew Bellamy’s lyrics include the phrase “I need something human” so many times, and they’re sung so smoothly that by the end, you get this really warm and fuzzy feeling inside by the time he says “I need your love” right at the end.


​20. "God is a Woman"
Ariana Grande
This is the first of four Ariana songs on this list, which is probably the most for one artist ever in the history of this list. On the surface, “God is a Woman” is a title that looks fairly inflammatory to anyone not familiar with Ariana’s music. But the song is much more complex than that. It’s about the pleasures of sex, not to mention the overarching themes of female liberation and domination. This song is both intimidating and super hot at the same time. Listen to this and you’ll believe God is a woman. Damn.


​19. "Finesse"
Bruno Mars feat. Cardi B
Truthfully, Cardi B also makes a number of appearances on this list too. This cover of “Finesse” is actually a remix of the original version appearing on Bruno Mars’ 24K Magic album. The song features all kinds of ‘90s flair, beats, synth and all, and also has that trademark Bruno swagger to it, with its lyrics dropping all kinds of brags referring to why Bruno (and Cardi) are the two flyest people in the game. Let’s be honest, this is the collaboration everyone wanted to see. And it’s no surprise it works to great effect.


​18. "In My Feelings"
Drake
After hearing the phrase “Kiki, do you love me?” so many times, I gave in and listened to this Drake earworm. Everyone’s favorite emotional rapper released Scorpion this year, and I feel like we got more of a glimpse into the dude’s psyche more than ever. The song is all over the place to the point of being schizophrenic, but I think that’s what Drake is going for with “In My Feelings.” I also love that even though the song was initially not released as a single, it’s probably the most recognizable hook out of anyone this year based on melody alone.


17. "Guiding Light"
Mumford & Sons
Marcus and the boys are back, and their sound continues to progress in their newest album, Delta. Like “Beloved,” this one features more of an upbeat light, similar to the tracks in Babel. At the same time, though, we hear a lot of the alternative and electronic instrumentation in Wilder Mind. It’s not one or the other, however. It’s purely its own. The great thing about this song is that it’s constantly exploding, imploding, rebuilding, and exploding again, with each payoff just as good as the last. I feel like hooks have always been Mumford & Sons’ strong suits, whether musically or lyrically. “Guiding Light” is no different.


16. "Ring the Bells"
Johnnyswim and Drew Holcomb & the Neighbors
Johnnyswim and Drew Holcomb & the Neighbors collaborated for an EP this year, and “Ring the Bells” was the album’s lead track. With a name like “Ring the Bells,” there are a great many musical calls to bell tones in the song, which is what I’m most impressed with. Amanda’s line “if all is fair in love and war” features this stunning descending piano line which is so simple but so incredibly effective. Johnnyswim says that every concert for them is like family gathering around a living room in a big log cabin to sing songs. I think “Ring the Bells” fits the bill just perfectly.


​15. "Whatever it Takes"
Imagine Dragons
“Believer” is the best the Evolve album had to offer for Imagine Dragons. “Whatever It Takes” had to beat me over the head with its fast-moving verses and catchy hook, but it made it. I’m a fan of the band and I suppose it’s their futuristic vibe that hasn’t annoyed me yet that pretty much locks them onto my best of the year list. Like much of their music, the song is a description of being different and achieving your dreams despite your differences and any obstacle in front of you. It’s peak Imagine Dragons. I’d love to see something maybe a little more stripped down in the years to come, but this will do for now.


14. "Breathin"
Ariana Grande
Sweetener is the album of the year. There’s no doubt about that. It has its own feel and musical style that is certainly a career milestone for Ariana Grande. But “Breathin” has a vibe to it that calls back to Dangerous Woman with its jumpy, synth heavy beat. It’s very reminiscent of “Into You,” which is probably my favorite Ariana Grande song. Ariana explained that the song is about anxiety, but is it strange that this song relaxes me?


13. "Missing U"
Robyn 
Robyn has returned to the land of the living with her first album in eight years. From the opening keyboard lick which explodes into this foggy, strobe-filled, 80s-club beat, to Robyn’s light and airy vocals, everything about this song is the explosion of pent up emotion that we’ve (and I’m sure Robyn) has felt over the last eight years of being away. The title also possesses a bit of mystery- on the surface (and in the chorus), Robyn sings about a person she’s missing- maybe a lover. But it could also be herself, as she’s been away from music for so long that she thought she’d lost herself. Well, we certainly missed you, Robyn, and we’re glad you’re back.


12. "Pressure"
Muse
I can’t help but love upbeat Muse songs. “Pressure” is just that. The claps. The horns. The opening riff. Bellamy’s jumping of octaves. This one has it all. “Pressure” makes me think of “Panic Station,” with its disco-like beat and it’s heavy reliance on both a simple guitar lick and keyboard synth. You can’t help it but to clap your hands at this one and whisper “Pressure building” every time it comes along in the song, and sing backup vocals during the chorus. Mark my words, this one will go down as one of Muse’s best.


11. "Thank U, Next"
Ariana Grande
Ariana is one more hit away from getting women to never speak to men again. “Thank u, next” dropped shortly after Ariana’s breakup with Pete Davidson (I’m gonna call it the bonus track to Sweetener), and, surprisingly, Ari took it very well. It’s a song about growth through heartache. If anyone needs a therapist, I feel like this song is a good place to start. When she categorizes her lessons in to “love,” “patience,” and “pain,” and then turns it on herself as she helps herself deal with life is genius. For those of you who don’t consider Ariana to be a generational talent, I urge you to listen to her Sweetener album. Her lyrical content is so mature beyond her years. Also she can sing the doors off anyone in her realm. Also, this music video is awesome.


​10. "Nice For What"
Drake
I didn’t appreciate this song until I heard it for the first time in a club setting, thumping bass, dancing people and all. It deserved a second chance, like most Drake songs I’ve listened to, for me to really appreciate it. “Nice for What” was a number one hit on the Billboard Hot 100 for quite some time this year, although ordinary people like me thought it got lost behind “In My Feelings.” Truthfully, this song is a lot deeper than the former, examining female empowerment in the age of the internet and social media. With a strong sample from Lauryn Hill’s song “Ex-Factor,” Drake raps about what it means to garner a social following online, all while being met with resistance and hate because of gender. It’s a really great homage to those strong women out there hustling every single day.


9. "Perfect"
Ed Sheeran
Ed calls “Perfect” the greatest song he’s ever written. I don’t know about that, but it is cute as hell for sure. There are two or three duet versions of this song, one featuring Beyonce, the other featuring Andrea Bocelli, but we’re focusing on the original for this entry. Similar to “Thinking Out Loud,” Sheeran sings about finding his love and all the ways in which she is strong, beautiful, and everything to him. It’s got this sweet 6/8 slow-dance rhythm that I anticipate will be played at many weddings from now until the end of time, and also has this catchy chorus that Ed has become known for, as he cascades down magnificently from the top of his range, letting all of the emotion pour out of his soul as we’re told what love really is like.


8. "New Light"
John Mayer
John Mayer is a dad. I mean, he’s not, but he is 40, so that’s pretty dad-like, right? How lucky are we to have gotten Muse, Mumford and Mayer music all in the same year? “New Light” goes along the same track as “Love on the Weekend” from The Search for Everything album, as a mellow love song with some flairs on a synth keyboard. Where it differs is when it explodes into a funk bridge- the shuffling of the guitar is iconic, and gives it that 2010s John Mayer flair while not devolving into a song like “Your Body is a Wonderland.”

Also, the music video is INCREDIBLE. Well done, John. I hope you become a star soon. The dude is now a meme and I’m here for it.


7. "No Excuses"
Meghan Trainor
I know, I know, I know. There’s a Meghan Trainor song in- not just the top 25, but the top 10 section of a list that I wrong. Ever since “All About That Bass,” I’ve had this vendetta against Meghan and her songwriting style. But something changed in “No Excuses.” I appreciate that Trainor has embraced the all-out pop style instead of a more R&B feel. Harmonies on her songs have always been her strong points, and I think having a full range of them in “No Excuses” works well to her advantage, as the beat of the song will make you tap your feet from the very first moment the guitar hits.


6. "Apeshit"
The Carters
It’s Jay-Z and Beyonce’s world- we’re all just living in it. From the outset, the song takes a few simple synth chords and builds into a full-out attack of bass and sick verses about the Carters’ lifestyle, and the way the world views black musical talent. Jay-Z and Beyonce know they’re the best. “Apeshit” is the anthem we all knew was coming from these two. Everything is Love is much like Jay-Z and Kanye’s collaboration album, where we get two megastars taking the music world by storm.


5. "Africa"
Weezer
This cover is that good and Weezer deserves this spot on this list. What’s there to say about this one? Well, if you look at the cover for the single version of the song, it all started with a tweet last year telling Weezer that it was “time to bless the rains down in Africa.” And what did Weezer do? They covered “Rosanna,” another Toto song, just to mess with their fans. Finally, in May, we got a long awaited version of “Africa,” and it was amazing. The cover keeps everything we know and love about the song in it, while also adding those juicy Weezer power chords to truly bring back to life an old classic.


4. "The Middle"
Zedd, Maren Morris and Grey
Some more personal preference here: this song is a bop and just makes me happy. Before country singer Maren Morris was selected for the recording, there were more than a few names in talks to headline the track, among them Demi Lovato, Carly Rae Jepsen, Tove Lo, Camila Cabello, Bebe Rexha, Bishop Briggs, and Charli XCX. That’s some pretty good company to rise above if you’re Maren Morris. Similar to Zedd’s previous hit song “Stay,” the chorus is an unexpected mix of EDM, pop, and country, where the aesthetically pleasing chord progression and melody reach all kinds of great heights.


3. "This is America"
Childish Gambino
At the start, “This is America,” is jaunty and fun- a small chorus of singers paired with an acoustic guitar and Caribbean drums sing about wanting to “party just for you.”

But when the beat drops, this song gets really scary really quickly. And it only escalates when Gambino comes in on the verse, rapping about what it means to be a black man living in America, juxtaposed with world’s perception of it on social media. The beat during the verses is dark and sinister, a rumbling of bass and synth, with some spooky overtones on top as the song progresses. But Gambino doesn’t address the issue outright- at least not at first. Lyrics like “I’m so dope like yeah,” and “I’m on Gucci, I’m so pretty,” while the next lines for some of the happier ones include: “Guns in my area, I got a strap, I gotta carry em,” and “I got the plug in Oaxaca, they gonna find you like ‘blocka.’” Also, watch the music video. You’ll see what I’m getting at here with how creepy and powerful this song is.


2. "I Like It"
Cardi B, Bad Bunny and J Balvin 
Leave it to Cardi B to take a great song and only make it better. Using “I Like It Like That” by Pete Rodriguez, Cardi simply explains to us what she likes. It’s peak Cardi. “I run this shit like cardio” is incredibly clever. The song is also a great nod to Cardi’s latin heritage, as further exemplified by verses from Bad Bunny and J Balvin. Following in the footsteps of “Bodak Yellow,” “I Like It” peaked at number one on the Billboard Hot 100 back in July.


1. "No Tears Left to Cry"
Ariana Grande
2018 was the year of Ariana Grande- there is no further debate on that. With her album Sweetener dropping in the early fall, along with a steady stream of singles following afterward, Ariana continues her dominance of the mainstream music scene. Her first single from Sweetener is this one, “No Tears Left To Cry,” which, despite not reaching the top of the Hot 100, is a wonderful mix of 90s R&B and vocal prowess we’ve come to expect from Ariana Grande. Ever since a terrorist bombing took the lives of 22 people at one of her concerts in Manchester, England, we’ve seen a massive change in Ariana. But “No Tears” is not overtly about that- it’s about living life lushly an joyously. With this song and even Sweetener as a whole, Ariana has thrust herself into the upper echelon of generational talents in the 2010s. She’s matured so much since her last album was released, and it’s no surprise why Sweetener was such a massive success, and why “No Tears Left To Cry,” tops my list for 2018.


What songs from 2018 were your favorite? Leave a comment down below, and be sure to check out more of According to Andrew's Best of 2018 spread by clicking HERE.

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12/30/2017

Top 10 Most Annoying Songs of 2017

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Top 10 Most Annoying Songs of 2017

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For every great song, there are at least two songs you wish you would never hear again. 2017 was a really solid year for music, but there were quite a few shortcomings by more than a few artists as well. As part of According to Andrew, we're counting down the top 10 most annoying songs of 2017.

Now, to clarify, it's not that these songs are bad per se (I mean, some of them are pretty bad), they're just annoying. They're songs you would be okay never hearing again. Mostly, this is just a forum for a bunch of straw man arguments against these songs, but some of them I actually have legitimate grievances with.

Okay y'all. Let's suffer through this together. Hold your breath now.


Dishonorable Mentions:

"These Heaux," Bhad Barbie
I think the Cash Me Outside girl gets a bad rap. She’s internet famous for being a little shit, and now she’s a rich, extra famous little shit. And now she’s just trying to make her way in this world before her fame wears off and her money runs out. The way she spells “Heaux” gets me, but this song is garbage. Just like her.


"Water Under the Bridge," Adele
The reason this song is on this list (and I in no way mean to put Adele and Danielle Bregoli in the same category- they are not even remotely close) is simply because of oversaturation. I heard this song far too many times this year to like it. It definitely isn’t one of Adele’s best either, as it doesn’t really branch out into anything more than a heartbroken-acceptance song. Adele is still the queen, but for my taste, I would be okay never hearing this one again.



The Top 10:

10. "Most Girls," Hailee Steinfeld
The Pitch Perfect star is a talented singer. There’s no doubt about that. But “Most Girls” is just a little bit too late, when you look at all the feminist anthems that have come out in the last two years or so. I find this song just too generic; it’s your typical “it’s cool to not be like most people” song. Your standard song that if you’ve heard it once, you’ve heard it a thousand times.


"Bon Appetit," Katy Perry feat. Migos
A preface to this entry- it was not a good year for Katy Perry. Witness rightfully received mixed reviews, and this second single from the album only showed how much of an unsuccessful departure from previous material this was for her. If you like songs with as many sex metaphors crammed into three-and-change minutes as possible, this one might be for you. Other than that, hard pass.


8. "Feels," Calvin Harris feat. Pharrell Williams, Katy Perry & Big Sean
I’m not feeling it with this one. Mostly, I’m just not feeling Katy Perry in this one, as she repeats “don’t be afraid to catch feels/don’t be afraid to pop pills” over and over in the most excruciatingly annoying way possible. I’m not really sure what it is about her this year. “Feels” has a pretty cool funk beat to it, but that’s really about all it has going for it.


7. ​“Havana,” Camila Cabello feat. Young Thug
Sometimes, all it takes is one hook, even one line, to put you on this list. If I have to hear one more slurring “Havana” or anything that rhymes with it in that atrociously garbage melody, I’m gonna scream.


6. "Swish Swish," Katy Perry feat. Nicki Minaj
Another one in the trash can. So the music video for this song is actually mildly entertaining. We’ve got a lot of big celebrities both from the entertainment and from the sports worlds, including Rob Gronkowski, Terry Crews, Gaten Matarazzo from Stranger Things, Molly Shannon, Bill Walton, the entire cast of Glow, Doug the Pug, and even the Mountain from Game of Thrones. But all the celebrities in the world can’t save this earworm of a track. Okay, so maybe Nicki Minaj’s verse is pretty decent, but even so. Put this one in your backpack and never take it out again, kid.


5. “Chained to the Rhythm,” Katy Perry feat. Skip Marley
I promise I am almost finished hating on Katy Perry. I said in my Top 25 Pop Songs of 2017 list that this year was the year of Caribbean House, with many pop stars employing the island vibe to some of their new music. No stranger to this was Ms. Perry, as her first single from her Witness album featured the help of Bob Marley’s grandson Skip. In short, there’s nothing good about this song. The repeating beat in this horrendous minor key (I’m not really sure why the minor key for a song called “Chained to the Rhythm”) almost sounds like an out-of-beat synth trying to catch up with the rest of the song. And as for Skip, let’s just say he’s definitely not his grandfather. One can only guess what Bob would think of this collaboration. Okay, you’re off the hook, Katy, I’m all done. Better luck next year!


4. "Rockabye," Clean Bandit feat. Anne-Marie and Sean Paul
I found Sean Paul after all these years of being irrelevant! He’s in a collab with Clean Bandit and someone named Anne-Marie!


3. "Body Like a Back Road," Sam Hunt
Nope. Nope. Nope. Nope. All the cliches. All of them. I mean, bless Sam Hunt for wanting to obey speed limits and 15 miles per hour in a 30 mile per hour zone, but that’s a little obnoxious. Speed the hell up. I mean, I know you’re trying to take it easy, but you can take it easy at a pace that is respectful to other drivers on the road. And then there’s all the metaphors for the curves of this woman he’s talking about. WE GET IT. She’s hot. God, why can’t country singers just say that instead of needing to go into all this overreaching detail? Is it just easy to remember? How much are you getting paid to write these awful lyrics? Jeez. I’m turning my car around and going home.


2. “I’m the One,” DJ Khaled feat. Justin Bieber, Quavo and Chance the Rapper
We already have one overcrowded hip-hop song featuring the Biebs this year, and that one was called “Despacito.” I’m good on this one. Far too overhyped, far too overplayed. Skiiiiip!


1. "Look What You Made Me Do," Taylor Swift
Okay, let me rant a little bit here, Tay-Tay. This is the same woman who created 1989, one of the best albums to come out in the last few years. It was Taylor saying “yeah, look at all my haters talking shit about me and how I live my life, I honestly could care less.” And it worked. It showed maturity. It showed honesty. I could get behind her being a role model for young women. “Bad Blood” was a little aggressive, but it was still a solid song to listen to (mostly because of Kendrick Lamar, but who’s counting?) And then she drops this. I’m confused. It sounds to me like it’s the same haters she was shaking off really got to her, and she’s now caring far too much and trying to act like a real badass in order to exact her revenge. As far as I know, she was the one who got called out for trying to start shit between Kim and Kanye, right? I don’t get the image change, because literally no one person made her do anything. It only comes off as fake to me. Image changes that work are typically what make revolutionary and transcendent talents. Beyonce. Lady Gaga. These two have transformed their personal and musical styles to great effect. They are generational talents. Taylor is not. “Look What You Made Me Do” is a prime example of how not to do an image change. You don’t make a huge deal out of it (the trademarking of the snake… really?), you just go ahead and do it and don’t give a shit what other people think. It’s almost like she put this one out in order to stay relevant or something. If the old Taylor is truly dead (and I really hope she isn’t because embracing pop music was one of the best things to ever happen to her), I really don’t want the new one. A major shortcoming for an artist who was beginning to feel like the real thing. Also, you can talk about how you love the image change all you want. She’s still going to end her concerts with “Shake It Off,” no matter how much you might want the image change to stick.


Rants over. Thank you for indulging me for a minute there. Which songs from this year do you never want to hear again? Leave a comment down below. 

Feel free to check out According to Andrew's Best of 2017 spread by clicking HERE.

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12/28/2017

Top 25 Pop Songs of 2017

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Best of 2017- Top 25 Pop Songs of 2017

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This year was a truly great year for mainstream music all the way around. There wasn't just one song that dominated the airwaves for the last twelve months (okay, maybe there was), but instead, a great many songs made their way into the spotlight and made us all feel, dance, or sing along in different ways. 

Yes, I shamelessly listen to pop music, and I'm not ashamed of it. I'm just really happy that I got to experience more music than I've ever listened to before this year.

For the third year now, here are the top 25 pop songs of 2017.

Honorable Mentions:


​"Dig Down," Muse
Muse’s newest single features lyrics that we’ve come to know and love from the English rock band. We know about Matthew Bellamy’s goal to inspire power in his listeners. But what makes the song great is its instrumentation. It begins with a repeating synth, slowly oscillating in intensities, almost like a faint radio signal going in and out. The second verse pads the beat with some strings, before Bellamy’s sharp guitar punctuates the sound and it explodes into a fulfilling final chorus. Muse’s patented layered backup vocals are also on full display here.


"DNA," Kendrick Lamar
“DNA” is not a single from Kendrick’s new album Damn. But it is one of the album’s best. This punchy electric mantra features genius-like lyrical flow, featuring lyrics about identity and individuality. There’s something about Kendrick’s lyrics, with just about every line ending with the phrase “inside my DNA.” that makes the song truly legendary. Plus, the music video features Don Cheadle!

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"First Try (Team Swim Remix)," Johnnyswim
Abner and Amanda are at it again with this fantastic second mix of their song “First Try” off their Georgica Pond album. This version features a more balanced chorus between Abner’s “I’ll get it right…” and Amanda’s “Don’t want no…” sections, as well as a brilliant addition of a choir on the sweetest backup vocals you’ll ever hear. They may not have gotten it right on the first try, but this remix is evident that if you ain’t evolving your music, you ain’t grinding hard enough.


"Still Breathing," Green Day
Green Day’s newest album, Revolution Radio is further demonstration that God’s favorite band has grown so much since their early power trio days. “Still Breathing” is a great example, and it is the most contemplative song out of the three singles released from the new album so far. It explores finding strength within oneself in the face of personal struggles, and features an uplifting chorus with a descending bass line, structurally reminiscent of another emotionally packed song, “21 Guns.” I love it when Green Day gets emotionally mature and personal, don’t you?


"Paris," The Chainsmokers
I still find it fascinating that the Chainsmokers still started their mainstream careers with “#selfie.” Sure, their songs may have overstayed their welcome due to the amount of airtime that “Closer” received, but I’m still a big fan of their club-mystique/electropop sound. “Paris” is one of those. It’s a lot like “Closer,” in that we’re remembering some kind of lost love in a scenic locale along with a basic four chords in the back. Sometimes you can’t really explain what you like about a song. Maybe the repeating “we go down together” is an earworm, or maybe it’s the aesthetic of driving at night while the lights rush past, listening to this song that’s appealing to me.


"In the Blood," John Mayer
A bit of personal preference here. This song means a lot to me. John Mayer takes his musical style in a new direction with this one, fusing Americana country with a mainstream alternative sound. Lyrically, I enjoy the themes of not really knowing who you are yet, not really sure if your parents or family has anything to do with why you are the way you are, and hoping not to repeat any mistakes your ancestors made, while being okay with being unsure of your way. This one’s up there in emotional weight just like “Stop This Train.” Also, that voice on background vocals in the chorus is Sheryl Crow. So that’s fun.


"Galway Girl," Ed Sheeran
Never did I think that an Irish drinking song could have mainstream success. “Galway Girl” takes the Irish fiddle motif and adds in Sheeran’s sharp, quick, punctuating vocals. Thanks to the help of the Irish band Boega, the chorus relies heavily on traditional Irish music, as we hear a familiar “she played a fiddle in an Irish band, but she fell in love with an Englishman,” which is inspired from just about every Irish jig known to man. “Galway Girl” also has Sheeran’s vocal prowess embedded into the track, with a tone very reminiscent of his previous songs like “Sing” and “Shape of You.” “Galway Girl” was the third most streamed track on Spotify from Sheeran’s ÷ album.

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"It Ain't Me," Kygo & Selena Gomez
This is the first entry on this list to signify a major theme in just about every song to come: tropical house has become a big thing in the last few years, and 2017 was just about the peak period of the trend. The song begins with a basic acoustic guitar riff, and then goes into a really cool chord progression on the piano in the pre-chorus. The hook of “It Ain’t Me” features that Caribbean flavor heavily, as Gomez’s previous lyrics are reduced to clipped, repeating syllables to go along with the pulsating synths, piano, guitar, bass, and pan flute (if you listen hard enough).


The Top 25:

25. "All the Pretty Girls," Kaleo
A very sweet song to begin our countdown, “All the Pretty Girls” is comprised of an acoustic guitar and a whole lot of vocal emotion from JJ Julius Son. You can throw many different labels on the genre of the song, anything from indie-folk to alternative. Kaleo has that European-style rock sound, and the two songs on this list are evidence of their range as a band. As the chorus of this song hits, we’re treated to the gorgeous falsetto of JJ Julius Son, with the repeated line of “won’t you lay me down,” which is a delightful earworm to go with the kind acoustic solo line after each chorus. As the song presses on, you can hear the intensity in Son’s voice, as it just teeters on the edge of full intensity, while still maintaining that air of fragility.


24. "Heatstroke," Calvin Harris feat. Young Thug, Pharrell Williams & Ariana Grande
This pleasant hit from Calvin Harris will heat up any dance floor. Harris provides the bouncy beat, and the styles of all three artists on the track are indelible. Young Thug provides the first verse, Ariana Grande the sultry second verse, with Pharrell’s multi-layered vocals filling in the spaces. A solid bop all around.


23. "Stay," Zedd & Alessia Cara
Another DJ-singer collab from this year, “Stay” features one of the catchiest choruses of the year. Alessia Cara, fresh off a breakout year highlighted by four Grammy nominations, provides the vocals on the track. This is not Zedd’s first go around with talented female vocalists, as he was featured on Ariana Grande’s song “Break Free.” The hook Zedd provides for Cara cuts strips away everything, and brilliantly messes around with vocal effects. As Cara climbs her way through the pre-chorus, Zedd masterfully adds some synthesized vocal harmonies, which explode their way into the hook of the song. “Stay,” is nominated for a Grammy for best Pop Duo/Group Performance in 2018.


22. "Issues," Julia Michaels
Julia Michaels’ debut single is one of the more personal songs from this year, as it serves as a raw ode to some of Michaels’ own anxieties. The symptoms are laid out in front of us: “I’m jealous, I’m overzealous, when I’m down I get real down, when I’m high I don’t come down.” It’s also got this genius string line through the verses. Michaels also gives us one of the catchiest hooks of 2017, from her smooth “I would judge you too,” to her “I got issues, and one of them is how bad I need you.” Not bad for a first timer, reaching as high as 11 on the Billboard Hot 100 charts.

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21. "Slow Hands," Niall Horan
The first of our One Direction singles, “Slow Hands” is a fantastic, bluesy second effort by Niall Horan, and a major turn from his previous single, the contemplative “This Town.” I appreciate the effort made by Mr. Horan to broaden his musical horizons appealing to both the sensitive side and sexy-party-loving sides of his (and 1D’s) fan base. It’s very Ed Sheeran of him. Rock out to the killer baseline, bouncy percussion, sexy guitar, and crooning vocals. And that chorus, though. *swoon*


20. "Attention," Charlie Puth
Charlie Puth is silently climbing the ladder of success. This takes the previous entry, “Slow Hands,” and puts a darker twist on it. Clearly a song with a bite of abandon and bitterness in it, Puth sings about his partner’s love for his success, but not so much him. I mean, how can you resist that beautiful voice? The way he is able to switch back and forth from an airy falsetto into full voice during the last chorus is astounding. The best part of the song comes just before the last chorus, when Puth adds an extra half measure to take a breath. It leaves us wanting so more, and then we’re fulfilled when he lays into that final dagger of the track.


19. "Something Just Like This," The Chainsmokers & Coldplay
I will admit- the lyrics to this song make no sense to me. I’m not really sure why Chris Martin is singing about Spiderman or Batman or whatever. But in that way, it makes total sense that the Chainsmokers and Coldplay would get together on a collaboration. It’s a happy-go-lucky EDM-infused song, and the hook is catchy as hell. Maybe I indulge a bit, but we all have our guilty pleasures, am I right?


18. "Feel It Still," Portugal. The Man
I love this song. And yes, while I’m sure that fans of Portugal. The Man before they gained mainstream success would like to have him back. But he’s here now, so you can’t. This one brings us back to the glorious era of 60’s rock and roll, R&B and soul music. We’ve got elements of “Mr. Postman” in the melody of the chorus, one of the slickest guitar licks you’ll hear in a while. And those horns in the back? Pure sweetness. I feel like I’m in an Apple commercial whenever I listen to this song for some reason.


17. "Redbone," Childish Gambino
As if we couldn’t love Donald Glover anymore than we do, he comes out with this gem of a song. This one is five and a half minutes of straight up sex. Sorry, not just sex. Love making. Man. Damn.
I digress.
Redbone is featured in the opening and closing of the film Get Out, and became a sleeper hit this year, thanks to the switch in style from Gambino. He’s entirely in falsetto for this one, and the funky, psychedelic guitar takes us on a journey. This single from Gambino’s second album, Awaken, My Love! Is nominated for a Grammy for Record of the Year. A well-deserved honor.


16. "Way Down We Go," Kaleo
With very little effort, Kaleo makes a second appearance on this list due to the Icelandic band’s (oh, by the way, they’re from Iceland… way cooler) powerful single from their second album, A/B. The track was featured in the trailer from the film Logan, which is probably where many people have heard it before. Originating from a piano, the song evolves into a heavy drum line and JJ Julius Son’s gritty, emotionally charged vocals. The song is very much in the style of a Hozier or an X-Ambassadors, as we feel the earthy tones surround us. Go ahead, try not to tap your foot and bob your head when listening to this one.


15. "Castle on the Hill," Ed Sheeran
This one is so pure, I can’t help but smile when I listen to it. I’m really hoping that this is what all Americans think northern England is like when Sheeran describes his childhood to us, and paints a gorgeous picture of said castle on the hill during the emotional, uplifting chorus. Reflecting on both the good and bad of his childhood and journey into adulthood, Sheeran is at his most pure form. We have his quick-strumming guitar patterns, the trademark gritty, strained notes at the top of his range, and the fantastic chord progression that pervades throughout and ties the gorgeous ode to growing up together.


14. "Sorry Not Sorry," Demi Lovato
On June 29th, Demi threw a house party. And it was good. And we all bowed down. This is just another example at how much of a champ Demi Lovato is. Ever since “Cool For the Summer,” we’ve really gotten to see the real Demi come into her own, and it’s just straight up brilliance. The range this woman is able to produce is absurd. She’s the baddest. We all know this. “Sorry Not Sorry,” received an MTV Music Video Award nomination for Song of the Summer. Because Demi is the queen of songs of the summer.


13. "Too Good at Goodbyes," Sam Smith
Did anybody else miss Sam Smith? I sure did. I can never figure out what his schtick is, but I think I’m totally okay with that. It’s not quite full-on lamenting over heartbreak, it’s not pure “I will get through this,” and it’s not overly braggadocious. Whatever the case, “Too Good At Goodbyes” is just another example of how well Smith can hold us in the palm of his hand and make us feel so many emotions- he pulls away from a strained, up-and-down relationship, while also finding a bit of melancholy solace in the fact that he’s grown up enough to move on. This is a gentle reminder that Sam Smith’s voice is also not of this earth.


12. "Still Feel Like Your Man," John Mayer
I am pleased and honored to finally be able to put John Mayer on one of these lists. His first album in four years, The Search For Everything really encompasses just about all eras of Mayer’s career, from his roots as a blues guitar player, through his mainstream pop phase, to his more mature Americana-folk-rock phase. “Still Feel Like Your Man” is a combination of the first two, as we’re treated to this funky guitar riff throughout the track. It packs more of a punch than the lead single, “Love On the Weekend,” and that’s why it earns a spot here on this list, from its sensual vocals about leaving shampoo in the shower (we’re aware this is about Katy Perry, right?), or enjoying the letters in a former lover’s name. Also, take a watch of the music video. A 40-year old John Mayer dances with giant panda bears. Still feels pretty ageless to me.


11. "Down," Marian Hill
Marian Hill’s debut single was a sleeper hit this year, coming from nowhere to reach as high as number 21 on the Billboard Charts. The group gives us elements we’ve seen before in songs like Kiiara’s “Gold” from last year, including a fairly basic instrumental riff through the verses (in Marian Hill’s case, it’s a fun piano riff), and a hook where lyrics are run through a vocoder to give the ears a treat. Marian Hill takes it a step further by adding this odd-sounding pan flute-type instrument to the hook, but it only invests us further in the song. The music video is also brilliant, as director Jack Begert uses the elevators and fun camera angles to compliment the song’s trip-hop sound.


10. "Green Light," Lorde
I think I asked myself what happened to Lorde on the day this single was announced. Apparently, this is what happened to Lorde- she was off making more awesome music. “Green Light” is different from her past hits like “Royals” or “Team,” but it’s definitely her most dance-friendly song thus far in her career. This break-up anthem is not something we’ve seen from Lorde before. Initially, “Green Light” is very dark, as we can see those bottled up emotions taking shape, ready to unfold in front of us. And unfold they do. The song explodes into a neo-disco dance party, as we hear some piano, a reserved yet forward-pressing drum beat, and that good old pulsating synthesizer to round it out. “Green Light” fires strongly into its chorus and makes us all want to dance along, as Lorde lays it all out for us- it’s as if everything she’s been feeling- not just in the situation of the song, but perhaps in all the growing up she’s done since Pure Heroine- explodes into the music. This song is glorious. The metaphor of the green light serving as Lorde’s blessing to move forward in her life is one powerful image. Good to have you back, girl.


9. "Million Reasons," Lady Gaga
We are in the midst of a renaissance for Lady Gaga. “Million Reasons,” delves into sides of the pop icon that we’ve never seen before. It’s almost a country song, really. The song deals with heartbreak as well as hope, but also shows us a more spiritual, more religious side of it. Perhaps we’ve never seen this outright from Gaga, but I think it works really well. When you strip away all the synths and the costumes and just let it be about the music, simplicity can work just as well. “Million Reasons” is just that. It just might be one of Gaga’s best songs since “Bad Romance.” Allow me to be cliché for a moment- with the promotion of Joanne, I was about ready to clock out on Lady Gaga. I found “Perfect Illusion” annoying and lazily written. But I really just need one good reason to keep with it. This was it.


8. "Sign of the Times," Harry Styles
Our second One Direction defector, Harry Styles, made a statement with his debut single. In an interview with Rolling Stone, the way Styles describes the writing of the song is this:

“The song is written from the point of view as if a mother was giving birth to a child, and there’s a complication. The mother is told, ‘The child is fine, but you’re not going to make it.’ The mother has five minutes to tell the child, ‘go forth and conquer.’”

If that’s not lyrical maturity, I don’t know what is. Style’s song sounds almost apocalyptic at first listen, with his “just stop you’re crying, it’s the sign of the times,” almost like a message to people ready for 2017 to be over, as well as a swirling of multiple synthesizers, pianos, bass, and percussion in a slow-moving power ballad. It’s a great spinoff from an artist with what appears to be a bright future as a singles artist. I’m still not fully convinced that this isn’t a ploy by One Direction to have many successful singles careers and then get back together, though.

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7. "Bad and Boujee," Migos feat. Lil Uzi Vert
Rain drop, drop top, seven away from the top top. Donald Glover gave a shout out to Migos during the Golden Globes back in January, and that spike this unlikely hit into the top spot on the Billboard Hot 100. In a song that owes a lot to James Brown’s song “Super Bad,” Offset, Quavos and Uzi launch a full out attack on the bourgeois, as they use their new money to switch their flows like clothes, cook up dope in a crock pot, and order chicken with blue cheese. It’s one of the year’s most bizarre and ultimately ubiquitous songs, but damn, is it catchy. Also, if you have a second, take a listen to Migos, Jimmy Fallon and the Roots play this song using only office instruments. It’s baller.


6. "That's What I Like," Bruno Mars
This is what we’ve come to love from Bruno Mars. All kinds of bragging with no kinds of issues from us. This song marks Bruno’s seventh number one single- a 90’s style song featuring lots of synth, some crooning vocals from Mars, and an extra treat- some brilliantly placed trap drums. This song is just plain old fun to listen to. And the best thing about it- you couldn’t escape it this year.


5. "Bodak Yellow," Cardi B
“Bodak Yellow” is straight up vicious. We’ve got the simple keyboard riff and hip hop beat through the whole song, but it’s really Cardi’s lyrics that make the track, as they get more and more aggressive as the near four-minute track. Spawning inspiration from Kodak Black’s song “No Flockin’,” Cardi B makes the song her own by simply rapping about herself and why she’s the best. As far as I know, it’s not a diss track, and she’s not out to get anybody. We’re simply seeing Cardi’s no-holds-barred personality on full display. This bop held the number one spot on the Billboard Hot 100 for three weeks back in October- and it showed. I have never seen so many people know every word to a song like this before. Praise B. We can’t fuck with her if we wanted to.


4. "Believer," Imagine Dragons
A bit of personal preference here. I love me some Imagine Dragons. I love that this track is featured in more than one place on my gym playlist. The movie wasn’t very good, but this was featured on the trailer to Murder on the Orient Express, and that certainly piqued my interest. “Believer” is the band’s best work since “Radioactive,” and it has all the electronic percussion we could want to get us pumped up. The verses are measured and meticulous, with a sole guitar riff underlying Dan Reynolds’ vocals. The choruses let loose, a full on ignition of sound and emotion that we’ve come to love from the band. The melody of each “believer” in the choruses isn’t something I’ve ever heard in a top-40 song before, which makes the song delightfully different from most pop tracks in the last few years.


3. "Shape of You," Ed Sheeran
We are into the obvious songs now. Of course “Shape of You” is on this list. This may very well be Ed Sheeran’s most popular song yet, although it’s a major shift from his well-known Irish rock and acoustic guitar work. Perhaps a bit more condescending than his other tracks (at least, the way I hear it), but this one was inescapable this year. That percussive synth opening is iconic, and the hook is an earworm you won’t soon forget. With the success of ÷ and specifically “Shape of You,” I can only wonder what direction Sheeran is going to go next.


​2. "Despacito," Luis Fonsi & Daddy Yankee feat. Justin Bieber
Our second prize goes to the song that brought reggaeton back into the mainstream. I mean, all in all, they didn’t really have to include Justin Bieber for the American release, because the original is just fine as it is. However, if you’re going to branch outside Latin pop stations and into the Top 40 circle, you’re going to need a relevant name to do it. This song was everywhere this year, and was the longest-reigning top song on the Billboard Hot 100 this year, staying at number one for fifteen weeks this year, the entire duration of the summer. This song broke all kinds of barriers. It’s pretty cool when a song can increase tourism in Puerto Rico by nearly 45%. “Despacito” also made Daddy Yankee the most listened to artist worldwide on Spotify in November of this year. The song also paved the way, as previously mentioned, for latin and reggaeton music into the American mainstream. Eleven primarily-Spanish songs made their way onto the Billboard Hot 100 this year, an upgrade from only two in 2016. Say what you want about it being everywhere, but this is one of the more culturally important songs of the year.


1. "Praying," Kesha
We have reached the top of the mountain. Kesha is at the peak. The first single off her newest album, Rainbow, “Praying” is a song filled with more emotional meaning than many of us would know what to do with should we own those feelings too. In order to have a song with this much power, one would have to experience a dark, dark place first. If you’ve read anything about Kesha, you know that the last few years have been just that. Musically, the setup is simple. It’s very much a piano with a very soulful, gospel feel to it. Added later to the mix are violins, backing vocals and drums. Lyrically, it’s much more complex. Kesha has admitted to the song stemming from suicidal thoughts she’s had in the past, identifying the meaning of the song as “hoping that everyone, even someone who hurt you, can heal.” Many have speculated that the song is about Dr. Luke, Kesha’s former record producer, who she accused of sexual assault and emotional abuse in a lawsuit in 2014. “Praying” is Kesha’s message of hope to anyone struggling, and the emotion is so honest and so raw, we hear her nearly screaming at the top of her register during the climactic moments of the song. A bone-chilling, heartbreaking, tearjerking song to say the least. This was not only the best, but also the most important song of 2017.


What were your favorite songs from this past year? Leave a comment down below.

Also, take a look at According to Andrew's Best of 2017 by clicking HERE!

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5/4/2017

Top 10 Star Wars Music Themes

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Top 10 Pieces of Music from the Star Wars Franchise

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The Star Wars franchise is the best for many reasons. It’s the characters we know and love (except for Jar-Jar Binks). It’s the story lines and memorable quotes we’ve come to cherish. It’s the lightsabers, the spaceships, the idea of good vs. evil.

Tying it all together is the music- seven scores crafted by the brilliant composer John Williams, who’s been with the franchise since A New Hope came out in 1977. Williams has written some of cinema’s most memorable music, and some of his scores are so iconic, you don’t need to have seen the movies to know the sounds of greatness. His work on Star Wars is no exception.

On this Star Wars Day, May the Fourth, we’re counting down the best Star Wars music. These tracks encompass the franchise, getting us pumped for battle, hopeful for the fate of the galaxy, and torn between the light and dark sides of the force. Overall, Williams’ films scores are iconic, and even the snippets of these tracks get stuck in our heads for days.

For this list, we’re excluding the opening theme song. I 1,000,000% acknowledge that this track is one of the most important pieces of film score ever composed.
I’m also excluding music from Rogue One: A Star Wars Story. I know it’s technically in the canon, but John Williams didn’t write the music for it (and on top of that, nothing really stood out from the film score to me).

So here we go. Lock S-foils in attack positions.


Honorable Mentions:

"Scherzo for X-Wings" (from The Force Awakens)
Like I said, lock s-foils in attack position. Even at 83 years of age (which is how old he was when he wrote this score), it is evident that Williams can still kick ass with his battle themes, and this tune appearing toward the end of Force Awakens is no exception.


"The Asteroid Field" (from The Empire Strikes Back)
It’s got an air of danger surrounding it, which is, well, what it has in common with most asteroid fields. Found as Han, Leia, C3PO and Chewie are attempting to evade an Imperial Star Destroyer by taking it on a trip through an asteroid field, this piece gives us all the anxiety of being struck by a flying object at a moment’s notice. The best part of the song comes at 2:18 of the above video, where the tension is at its height. The odds of successfully navigating an asteroid field are approximately 3,720 to 1. This piece hits that stat home.


"Ewok Celebration" (from Return of the Jedi)
When George Lucas re-released the prequels in 1999, he made a bunch of changes, some of which were unnecessary (see Vader’s added “nooooo” during the final lightsaber battle), to say the least. One of the best changes he made, though, was adding this gem to the very end of Return of the Jedi, replacing that fakakta “Yub-Nub” victory dance. Lucas’s replacement for the song was this uplifting, hopeful, and triumphant piece that ties the original trilogy with a nice little bow, as celebration shots of many of the planets seen in the prequel trilogy were also added for extra time. This is a much better fit than gratuitous shots of dancing Ewoks to a traditional Endorean folk song. Also, I like the touch of adding Hayden Christiansen as ghost Anakin to the re-release. I enjoy continuity. Bite me.


"Finale" from (The Empire Strikes Back​)
The Empire Strikes Back is not only the best film in the Star Wars franchise; it may also have the best music. Found at the end of the film, as Luke recovers from having his hand chopped off and learning that Darth Vader is his father (pain both physically and emotionally), Lando and Chewie prepare to regroup and eventually find Han Solo’s frozen body, all while the Rebel fleet prepares for the next battle with the Empire. While the film certainly is light on the action, it’s heavy on the drama, and would certainly leave the audience member disheartened, and scrambling for answers to the question “what comes next?” This piece of music provides us a little bit of closure for the film. The sweeping violin theme at around 1:00 makes me feel like Williams and the filmmakers were hiding something, as if to say “something big is coming. And you’re gonna love it.” 


​"Activate the Droids" (from The Phantom Menace)
So if The Empire Strikes Back is the best film in the canon, The Phantom Menace is unequivocally the worst. Plagued by wordy dialogue and bad acting (mostly from Jake Lloyd as Anakin and whoever the hell voices Jar-Jar Binks), the film does have some pretty solid action sequences. One of them comes at the beginning of the film, as the Separatist Droid Army invades the peaceful planet of Naboo. This march appears again as the droids unfold themselves during the battle with the Gungan army. This is the version I’ve chosen, which features some glorious French Horn slides at 0:53. Paired with the thunk-thunking of metal footsteps to the beat of the music, the droid invasion theme is a LIT battle anthem. Hey, at least one person knew what he was doing for this movie. John Williams is the man.



​The Top 10:

10. "Rey's Theme" (from The Force Awakens)
Our newest hero, Rey, is exemplified perfectly in this moving piece. She's the silent scavenger; the quiet, scrappy hero, discovering new and creative ways to stay alive among the desolate landscape of Jakku.


9. "Throne Room" (from A New Hope)
It's almost like a wedding march, at first listen. This tune, from the end of A New Hope, occurs as Luke, Han and Chewbacca are honored for their valiant efforts in destroying the Death Star. 


8. "Cantina Band" (from ​A New Hope)
Of course the Cantina Band song is on this list! No Star Wars music list would be complete without this bouncy romp, which features more electronic instruments than any other piece of scoring in the franchise. As Luke and Obi-Wan journey into the Mos Eisley cantina to find a pilot, the cheerful song juxtaposes the slimy, dark atmosphere of the wretched hive of scum and villainy.


7. "Order 66/March at the Jedi Temple" (from Revenge of the Sith)
Much like the droid army before it, the execution of Order 66, and subsequent march on the Jedi Temple is accompanied by intense music. The image of Anakin Skywalker/Darth Vader and his intimidating army of clone troopers is chilling, made more menacing by the piercing trumpets and pulsing bass. A truly badass procession deserves an even more badass fanfare.


6. "Across the Stars" (from Attack of the Clones)
Attack of the Clones is not even close to the best film in the Star Wars franchise. Hayden Christiansen is about as good an actor as Jake Lloyd. His romance with Natalie Portman's Padmé seems forced. But one thing that helps, of course, is music. Thank God for John Williams, who developed this love theme for Anakin and Padmé. Featuring a lonely oboe which builds slowly to a full orchestral swell, while also illustrating for us the backdrop of war midway through the song, "Across the Stars" is one of the more underrated themes in the canon. It's haunting, and it makes the romantic scenes between Anakin and Padmé a little more bearable.


5. "Battle of the Heroes" (from Revenge of the Sith)
If you listen closely to "Battle of the Heroes," you can slowly hear the crumbling of everything we've seen in the first two prequel films, as this final battle tune accompanies two major battles: Yoda against Emperor Palpatine, and Obi-Wan against Anakin. Featuring a choir sound that was also featured heavily in "Duel of the Fates" from The Phantom Menace, "Battle of the Heroes" makes us feel like everything is falling down around us, spiraling toward a cruel, inevitable heat death (get it? Because heat death- Mustafar- lava? Never mind.)- which is actually what's happening. When I hear this, all that comes to mind is Obi-Wan's constant pleading with Anakin to see the errors of his ways, only to have Anakin's twisted mind pull him further toward fully becoming Darth Vader.


4. "Battle of Endor" (from Return of the Jedi)
I'm cheating a little bit with this one, as the Battle of Endor music actually has many different themes within it. The first occurs in the first few minutes. You may know it better as the "It's a trap!" sequence, as the Rebel forces attack the Second Death Star, only to find that the Empire had been expecting the attack, and had prepared an ambush for them. The half hour long track takes us through all the tension of this lightsaber-space-and-land battle, throwing in themes like the Ewok theme, the Imperial March, and others. If you feel like listening to all 32 minutes, you'll see the tension rise and fall, and you'll actually be able to imagine the Rebels turning the tides of the war, all while Luke, Darth Vader, and the Emperor face off in one last showdown. The other best part of this song comes in the last 10 minutes, as Lando leads the charge into the main reactor of the battle station. We hear this as a reprise to the TIE Fighter dogfight sequence from A New Hope, but I think it sounds a little fuller in Return of the Jedi. That's just me though. That sequence takes place in the second video, at the start of Part III of the track. Part III also features Vader's death, which is sad in its own right.
​

3. "Duel of the Fates" (from The Phantom Menace)
"Korahhhhhh... Matahhh..... Korahhhh... Ratahmah......"

Doors opening on Darth Maul. The double lightsaber. The ensuing triple battle. Everything about this sequence from The Phantom Menace is epic. Taking original Sanskrit chants translated from the Celtic epic poem Cad Goddeu, and using the powerful London Voices choir as ammunition to its frantic orchestrations, "Duel of the Fates" is one of the best battle themes in the Star Wars franchise. It also makes a return in Revenge of the Sith, as Yoda and Palpatine throw senate chairs at one another during the battle of Coruscant. 


2. "Imperial March," (from The Empire Strikes Back)
Well, here we are. Yes, the Imperial March is probably one of the most well-known pieces of film score of all time. But the bad guy never wins in the battle of good versus evil, and so, the Imperial March ends up as the #2 on this list. A fiercely menacing tune, this song personifies everything in this world (yes, the real world, not just the Star Wars world) that is bad or evil. Your boss. Donald Trump. The New York Yankees. Whatever is bad in your life, you can personify them or their arrival with the Imperial March. And as if the well-known first 30 seconds weren't intense, it only builds from there, adding syncopations and really ramping up the volume at the end. How those flute players and brass players manage to play all those extremely fast rhythms for three minutes I'll never be able to fathom.


1. "The Force," (from A New Hope)
I could genuinely listen to this on loop for hours and get goosebumps with every orchestral swell. This song exemplifies everything that Star Wars is: an escape to a long time ago in a galaxy far, far away. This theme accompanies Luke on Tatooine, as he stares out at the binary sunset against the soft twilight, hoping for a way out. This is my favorite Star Wars theme, and what makes it special is how often it is played throughout all of the films in the canon. When I hear this song in trailers for The Force Awakens and The Last Jedi, I truly get emotional. If the Imperial March is the theme song for the dark side of the force, this is the theme song for the light.

There is no emotion, there is peace.
There is no ignorance, there is knowledge.
There is no passion, there is serenity.
There is no chaos, there is harmony.
There is no death, there is the force.

That chill that you get while listening to this: it's the force flowing through you.

Which musical themes from Star Wars are your favorite? Leave a comment down below.

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12/29/2016

Top 10 Most Annoying Songs of 2016

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Top 10 Most Annoying Songs Annoying Songs of 2016

There are many, many great songs that found their way to the airwaves in 2016. But there are some that one can hear far too many times before they’re ready to punch a wall. I’m not saying any of the songs on this list are bad (okay, maybe I think some of them are bad), and this is one person’s sole opinion, but I wouldn’t be mad if I didn’t hear them for a while after this year.

​It’s also my opportunity to rant, because I really haven’t had a chance to do a not-so-PC opinion piece this year.
 
These are the top 10 most annoying pop songs of 2016. 


Dishonorable Mentions:


"Lost Boy," Ruth B
Cliché. Cliché. Cliché. Make one more Peter Pan reference and see if I’ll get it. Try me, Ruth B. I appreciate your attempt to be Christina Perri, but I’m going to pass. The entire song feels like it was written by someone in middle school, from the basic piano, to the juvenile lyric writing. I also heard it far too many times this summer, especially in a time when there was such great summer music going on. Ruth B’s voice is pretty, but I think she can do much better than this one.



"This is What You Came For," Calvin Harris feat. Rihanna
This one’s not that bad. It’s a reasonable club banger. It’s got some interesting editing done during the hook with Rihanna’s vocals. But it’s annoying as hell. It’s everywhere. I can’t get the hook out of my head, and the tension-filled buildup before the drop isn’t that great when it’s for the 19th time in one car trip. 



"Don't Let Me Down," The Chainsmokers feat. Daya
These two are both featured on my Top 25 Songs of the Year list. This one is not one of their best. It's mostly because the song doesn't have too much to offer, not really doing anything in the lyrical department, and offiering a less-than-stellar instrumental hook. I expected better from these two, who had stellar years despite this omnipresent earworm.



The Top 10:

10. "Black Beatles," Rae Sremmurd feat. Gucci Mane
Am I missing something with this song? This was a number-one hit? This is the song that accompanies the viral “Mannequin Challenge” videos on YouTube. I read a Rolling Stone article ranking this song as the best pop song of 2016, stating that it was the pop song “we needed,” in spite of everything going on with the election and all that. But I’m not sure this is the one we needed. I mean, I get the need to make a name for yourself, but if you call yourselves the “Black Beatles” with your “John Lennon lazers,” and you fizzle out as a one hit wonder, you’re gonna look pretty stupid. Also, I'm pretty sure that neither of them are playing actual instruments.


9. "Perfect Illusion," Lady Gaga
Cue the rage quits in three, two, one. I don’t like this song, kids. For all the hype of the Joanne album, one would have expected “Perfect Illusion” to be Gaga’s magnum opus. Unfortunately, it’s anything but that. It’s nothing she hasn’t already sung about in her previous albums, not to mention the unimpressive melodies and desperate key change at the end of the song. I respect the hell out of Lady Gaga. I think she’s ridiculously innovative, dare I say revolutionary. A generational talent. But she can do better. “Bad Romance” still remains the best song she’s ever done, and it isn't close when you pit this song against it.

​
8. "Broccoli," D.R.A.M. and Lil Yachty
First thing’s first. The names. D.R.A.M. stands for (and I’m not joking): Does. Real. Ass. Music. And what kind of a name is “Lil Yachty”? I.... I don’t know. I’m also not sure what either of them look like, but one of them has beads from 1999, and it looks like someone put a red mop on his head. ANYways. The tone of the voice in comparison with the high piano and extremely deep bass is so out of left field. It sounds lazy. Drake kind of does the same thing, but he’s established himself as a great rapper, so I’m okay with it. But this? Eh. Can’t do it. I'm not even going to talk about the Fifty Shades and Hulk Hogan reference.


7. "Don't Wanna Know," Maroon 5 & Kendrick Lamar
For those of you who are still with me, I promise there will be a lot more for you to hate me for by the end of the list ;) I like Maroon 5, I really do. This is not one of their better songs. From the opening, overly repetitive lyrics, there’s not much I can do from restraining my fingers to change the radio station. The addition of Kendrick to a Maroon 5 track is a nice touch, but it can’t save the song as a whole. NEXT.


6. "Hymn for the Weekend," Coldplay
The most notable thing about this track is that Beyoncé has uncredited vocals on the track. And even then, there’s not much that’s impressive about this one, other than the fact that it managed to find its way onto every top-40 station imaginable. We’re all aware that Chris Martin likes to play the piano. And it’s not bad, for the most part, except for the abrasive lick where he plays some kind of melodic scale from the top of one octave in the bass down to the bottom. And Coldplay singing about “feeling drunk and high?” Come on. You’re the last band I would expect to do any kind of hard drugs. Also, I’m not sure why Beyoncé would want to collaborate with Coldplay, but I suppose the queen has her reasons.


5. "Just Like Fire," P!nk
Do you think Alice would have wanted to set fire to her radios after hearing this song for the millionth time? This was written for the 2016 film Alice: Through the Looking Glass, the sequel to the 2010 Tim Burton version of Alice in Wonderland. I’m not sure why the filmmakers got P!nk to write a song for them for a movie that literally takes place between Victorian England and LSD-world. Regardless, if I hear the out-of-tune guitar intro to this song, and P!nk’s fake rapping one more time, I will destroy all speakers in the world. Just like fire.


4. "Let It Go," James Bay
James Bay listened to “Stitches,” by Shawn Mendes, “Love Yourself,” by Justin Bieber, “Thinking Out Loud,” by Ed Sheeran, and “Let Her Go,” by Passenger, and thought “yeah, writing a sad-boy love song isn’t so hard! Let me try!” And so, we got “Let it Go.” It begins with a whimpering, almost crying Bay crooning about walking home and talking with someone who isn’t giving him the love he wants. Not to mention the unsurprisingly catchy chorus. Or perhaps it’s too catchy. Either way, I could pass never hearing this one again. SKIP.


3. "Treat You Better," Shawn Mendes
Shawn. “Stitches” was amazing. And then you tried to do pretty much the same thing with “Treat You Better” and pretty much fell flat on your face while trying to turn all your vowels into the first vowel sound in the word “apple.” Once again, you begin with a soft acoustic guitar that’s on the off-beat, so your listeners get delightfully thrown off. Then, you’re singing us a song literally all of us have heard before. “I’m a better guy for you than that guy.” And then there’s the “bahtah thahn ‘ee caaahn” during the chorus which is flat-out annoying. And hard to listen to. 


2. "Cheap Thrills," Sia feat. Sean Paul
And this is probably where I lose the people I didn’t after putting Lady Gaga on this list. Remember Sean Paul? The dude who did “Temperature?” Well, he’s back, and he’s collaborating with Sia… for some reason. No, I don’t mean to knock Sia. She’s the first woman over 40 since Madonna to have a number one at the top of the U.S. Charts. But I hate how much this song caught so much momentum, especially when “Alive” is a much better track from the “This is Acting” album. Sia’s high flying vocals are nowhere to be found in this one, and it makes her seem like every other female pop star these days. “Chandelier” is one of the most important songs of this century, and “Cheap Thrills” just feels like an attempt at a second hit, but falls way short. And don’t even get me started on Sean Paul. I don’t know why he’s there. 2007 is over, dude.


1. "Stressed Out," Twenty-One Pilots
top-25-pop-songs-of-2016.htmlAlright. So Twenty-One Pilots is reasonably okay. Their lyrics are pretty good. I’m not the biggest fan of their sound, but “Ride” and “Heathens” aren’t half bad. Then there’s this mess of a song, as the guys pander to the hipster-millennial generation. “I wish we could turn back time to the good old days,” sings Tyler Joseph, putting far too much emphasis on the letter “d” in “good old days.” The hook bugs the crap out of me. Of course, everyone wishes life was simpler when they were a child. But people grow up. Deal with it. Get a job like everyone else. It’s part of being an adult. You get stressed out. What's more interesting is how you work through being stressed out instead of whining about the times when it was easier for you. The alternative/rap/rock/indie-EDM thing is too much for me in this one. And it goes without saying that I could not escape this track when it first hit the airways in early 2016. I know the beginning thumps of this song so well, it’s become muscle memory to change the station as soon as I hear them. “Stressed Out” earns the top spot on this list for the year.


What songs drove you crazy this year? Leave a comment down below.

Be sure to check out our list of the top 25 pop songs of the year HERE.
​And be sure to check out According to Andrew's full "Best of 2016" spread HERE.

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12/29/2016

Top 25 Pop Songs of 2016

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Top 25 Pop Songs of 2016

Picture
 2016 featured some great music from artists both old and new; some making their debuts onto the music scene, others adding onto their already impressive resume. In this list, we’re counting down the top 25 pop songs of 2016.

These songs made their way onto this list via their amount of peak radio exposure, likeability, and commercial success during the 2016 calendar year.


Honorable Mentions:

"Heathens," Twenty One Pilots
I didn’t like Twenty-One Pilots to start this year. I didn’t understand their music, or their appeal, and I couldn’t stand hearing them on the radio wherever I went. Then I heard them perform on Saturday Night Live, and something clicked. “Heathens,” features a somber piano lick throughout, with Tyler Joseph’s aggressive bass dispersed throughout the song, almost mimicking the sound of a shotgun being reloaded. The track was the lead single off the soundtrack to the 2016 film Suicide Squad. It reached as high as #2 on the Billboard Hot 100 charts.

Best line: “We don’t deal with outsiders very well, they say newcomers have a certain smell”


"No," Meghan Trainor
The song, in my opinion, should have been called “Untouchable,” because that’s the catchiest part of this Meghan Trainor earworm. “No” is a major departure from Trainor’s first album (Title), as it lends itself to more of a hip-hop vibe with more apparent sexual undertones. It works perfectly as a hip-hop track, and even draws comparisons to songs from Brittney Spears, Madonna, and NSYNC.

Best line: “My name is ‘no,’ my number is ‘no,’ my sign is ‘no,’ you need to let it go”


"Don't Mind," Kent Jones
Hate on this one if you want, I think it’s so clever. Kent Jones takes us on a journey through the land of geography, remarking on women he meets from every corner of the globe. And then we get to the chorus, which features a sloppy, but catchy and ultimately very effective pairing together of different languages, including Spanish, Japanese, English, and French. The song features elements of the Barry White song “Practice What you Preach,” as Jones sings “Telling me this, telling me that” in the chorus numerous times.

Best line: “She from Africa, but she fuck me like she Haitian”


“Cold Water,” Major Lazer, Justin Bieber and MØ
This EDM track by Major Lazer features some big names, including Justin Bieber and MØ, but also Ed Sheeran, who is featured on the main guitar lick throughout the verses of the song. The track isn’t really anything all that profound, but its synth-heavy chorus made ”Cold Water” a fine summer anthem this year.

Best line: “And if you feel you’re sinking, I will jump right over into cold, cold water for you”


"HandClap," Fitz and the Tantrums
Whether you’ve heard it at sports games or during commercials or video games, “HandClap” gets you up and moving. Fitz and the Tantrums’ third album featured this leading single, an indie-dance-pop anthem that’s clearly aimed at getting people to, well, clap their hands. But it’s not the chorus or the earworm bassline that is featured throughout the song. It’s the fast moving vocals of Michael Fitzpatrick that really make it unique.  With a healthy balance of sharp and pulsing verses and a pre-chorus that has a perfect breakdown feel, “HandClap,” is a great jam song. Just don’t forget to clap on the right beats during the chorus.

Best line: “Get on my knees and say a prayer to James Brown”


"Side to Side," Ariana Grande feat. Nicki Minaj
A last-minute entry on this list, "Side to Side" marks the first of three Ariana Grande songs on this list. She had another big year with "Dangerous Woman," what can I say? This reggae/R&B tune features the always-wonderful Nicki Minaj on a strong verse midway through the song, paired with another strong vocal performance from Ariana herself (that riff in the hook? UN. REAL). I can just see the club materializing around me as I listen to this song, can't you? Or maybe this one makes me want to take a spin class, I don't know.

Best line: "Tonight I'm making deals with the devil, and I know it's gonna get me in trouble"


"Panda," Desiigner
Never has a song about a BMW sounded so good. “Panda,” the debut single by rapper Desiigner, features an incredible hook painting the image of the artist’s lifestyle. His line about “having broads in Atlanta,” is probably a nod to Desiigner’s rapping style, as it’s very similar to that of rappers who hail from that city. As a whole, though, “Panda” is about Desiigner’s love for the BMW X6, which he describes, lyrically as “the panda is the black X6 and the white X6. The black X6 looks like a Phantom, the white X6 looks like a panda.” This trap song has been widely praised critically, as it was hailed as one of the 30 best songs of the first half of 2016 by Rolling Stone, and reached the top spot on the Billboard Hot 100 at the end of April. It was even so good, Kanye had to sample it for his own album.

Best line: “Man I’m the macho like Randy, the choppa go Oscar for Grammy”


The Top 25:

25. "Unsteady," X Ambassadors
Does anyone else think someone is shaking a rattle in front of the microphone for a majority of this song? This hit, the third single from X Ambassadors’ debut album “VHS,” features stellar vocals from Sam Harris, as he switches back and forth from belting high notes to reaching into his falsetto, giving the chorus an eerie sound as he moves back and forth between his two vocal registers. In fact, nothing about the lyrics to the song suggest stability, and Harris’ vocals perfectly exemplify such unsteadiness, much like the crinkling of whatever-it-is throughout the song. Watch the music video, and let the story of an alcoholic rip your heart out, paired with Harris’ stunning vocals (he’s so damn good). This one reached #20 on the Billboard Hot 100.

Best line: “Mama, I’m here, approach, appear”


24. "Say You Won't Let Go," James Arthur
A man and his guitar. Nothing better than that, am I right? James Arthur, winner of the ninth season of The X Factor, gave us this single off of first studio album. This simple, folk tune is a beautiful love song about the prospects of a potentially long-term relationship. Arthur’s smooth voice slips in some of the best, most natural riffs you’ll hear this year, and his lyrics will make you cry. Eventually, the song swells to feature a little percussion and some backing strings, and Arthur reaches the depths of his emotions and lets them all pour out during the last chorus. I anticipate that many first dances at weddings will be to this song.

Best line: “I’m gonna love you till my lungs give out, I promise till death will part like in our vows” and his riff before “Oh, and you look as beautiful as ever”


23. "Sledgehammer," Rihanna
“Sledgehammer” was written to promote Star Trek Beyond, but had been written and worked on for two years prior to the film’s release. It makes total sense that this song was written by Sia, as her vocal patterns and tendencies are found in both the pre-chorus and chorus to the song. Stylistically, the song is perfect for a Star Trek film, much like the way most James Bond theme songs are stylistically appropriate for their films, featuring the signature Bond chord progressions. “Sledgehammer” gives off the vibe of a majestic adventure film, and the music video only drives that point home more. The lyrics suggest something different, in that Rihanna describes how she moves past someone who hurt her. The chord progression from D to Bb in the chorus is chilling.

Best line: “You’re just another break and I’m a sledgehammer”


22. "Body Moves," DNCE
As is typical for DNCE, their funk-rock and dance-pop origins are fantastic and can get anybody moving. Featuring a thumping bass line found in a lot of pop music recently, and the highly underrated vocals of Joe Jonas, “Body Moves” reminds us of the fun-loving stylings of MKTO, while giving us sexy undertones like that of Justin Timberlake’s earlier albums. Then we’ve got the horn-inspired bridge, which is incredible. The synth and the trumpets blend perfectly together. The music video features a lot of making out, and a lot of half-naked hot people. A lot of hot people.

Best line: “Come and roll with me, we’ll rock them body moves, me and you, body moves”


21. "New Romantics," Taylor Swift
Another hit from Taylor’s 1989 album is “New Romantics,” which, as the music video shows, follows her on the road toward the end of her tour, as she reminisces on the good times she’s spent with her fans. It makes sense that it takes place at the end of her tour, because the song is a bonus track on the album. Why it was ever left off the album in the first place is completely beyond me. Much like “Blank Space,” or “Shake it Off,” “New Romantics” does reference Taylor’s perceived personality (as she likes to do), but it offers itself back to the fans that she’s addressing.

Best line: “Heartbreak is the national anthem, we sing it proudly”


20. "One Dance," Drake feat. Wizkid and Kyla
Drake, the almighty one, has come to save us. With this follow up to 2015’s “Hotline Bling,” “One Dance” is more of a dancehall tune with some afrobeat flavor, as it mixes in some vintage-sounding echoing piano, shades of tropical music, and a solid, club-worthy beat. The additions of Nigerian artist Wizkid and British singer Kyla make the song even more complete. It’s a great representation of the spiritual energy two people can share together while dancing at the club. The song is a gorgeous array of multiculturalism that evokes some of the stylings of 80s Lionel Richie. The song reached #1 on the Billboard Hot 100, and reached #1 as well in the UK.

Best line: “Grips on your waist, front way, back way, you know that I don’t play”


19. "Hide Away," Daya
“Hide Away” was Daya’s coming out party. The Pittsburgh native had a big year this year, as she released both her self-titled EP, as well as the Sit Still, Look Pretty album, on both of which this song appears. “Hide Away,” features Daya’s near flawless vocals, as she effortlessly pops back and forth from chest voice to head voice, a la your prototypical indie-pop singer. However, there’s something about Daya’s voice that’s extremely unique, which is why “Hide Away” received so much love at the outset. The synth-pop song has a catchy hook, with the phrase “Where do the good boys go to hide away, hide away” being repeated numerous times, not to mention the phrase “tell me where the good boys go” during the bridge. If you listen to her music, Daya the artist is extremely likeable, and it’ll be fascinating to see where she goes next.

Best line: “Boys seem to like the girls who like to kiss and tell, talking them up about the things they do so well”


18. "Scars to Your Beautiful," Alessia Cara
A powerful anthem about body image, Alessia Cara’s “Scars to Your Beautiful” was released as a single from her album “Know-It-All” in July 2016. The Canadian singer’s song is unconventionally dark for a song about body image addressed toward women (much unlike Meghan Trainor’s “All About That Bass”), but it is able to tackle the subject with scathing introspective lyrics like “What’s a little bit of hunger? I can go a little while longer,” and then blow the doors open with a powerful chorus, reflecting on the fact that all of us are stars in our own way. Musically, Cara’s voice is silky smooth, with riffs in all the right places, reaching high and low points effortlessly. The synth-pop foundation for the song paired with the subject matter draws some comparison to Rachel Platten’s “Fight Song,” but also draws comparisons to singers like Beyoncé due to the dark yet powerful style of the song.

Best line: “There’s a hope that’s waiting for you in the dark, you should know you’re beautiful just the way you are” and “No better you than the you that you are”


17. "Let Me Love You," DJ Snake feat. Justin Bieber
The big year for the Biebs continues with this collaboration with “Lean On” producer DJ Snake. This one’s a little more bearable than the aforementioned “Lean On,” as Bieber’s vocals and riffs throughout the track make it easy to sing along with. The musical hook uses some kind of synth piano, and, while annoying for a time, it gradually becomes likeable and memorable. Due to Bieber’s work with both DJ Snake and Major Lazer, he’s definitely solidified his status a feature fixture of the EDM world. This track may be the most romantic club banger we’ve heard in a while.

Best line: “Say go through the darkest of days, heaven’s a heartbreak away”


16. "Send My Love (To Your New Lover)," Adele
A pregame song from Adele. Who knew? The release of 2015’s “25” saw Adele once again embrace both the somber and glorious upbeat sides of breaking up. Last year, it was “Hello,” this year, it’s “Send My Love.” The 10-time Grammy winner walks the line between biting passive-aggression and unapologetic truth telling, all while swelling into a bittersweet hook. The harmonies of the chorus really help drive the point home. While it might not be her best up-tempo in her career (because the “21” album was and always will be her best work), “Send My Love (To Your New Lover)” gets us all feeling some kind of way about our ex-loves and the night of drinking ahead.

Best line: “I’m giving you up, I’ve forgiven it all, you set me free”


15. "My House," Flo Rida
Is it just me, or does every Flo Rida song make you want to throw a house party? Finally, the guy wrote a song about a house and throwing a party inside, and it’s great. When that piano riff hits for the first time, you know it’s time to turn on the colored lights and pop the champagne. The hook is absurdly catchy, and the beat is just right to jam to in all parts of the party stage, whether before, during, or even after it.

Best line: “Mi casa es tu casa so it ain’t no holding back, another shot of vodka, you know what’s in my glass”


14. "Gold," Kiiara
Kiiara’s snap-pop single “Gold” is fascinating, particularly during the chorus, as she runs samples of her own songs backwards and mixes them up, ultimately creating some weirdly unmelodic but strangely catchy hook. This one gives us flashbacks of Sia’s “Chandelier” (at least thematically) and Lorde’s “Royals.” While we’re waiting for the latter to come back to us with another album, Kiiara was the perfect person this year to step into the spotlight with this smooth and smoky hit.

Best line: “Gold up in my teeth, tastes like money when I speak”


13. "Me Too," Meghan Trainor
Yes. I have put a Meghan Trainor song in my top 25. This is finally the one that Ms. Trainor got right, as she finally comes away from her faux-doo-wop-and-bubblegum-pop music from “Title”. The second single from her “Thank You” album, “Me Too” gives us much more of a club vibe, while also giving us soulful sections full of tambourines and great three part harmony (and yes, she’ll throw in a great riff or three in there as well). While some of the lyrics aren’t the best things ever, a lot of it is really, really great. Hopefully she’ll stick with this kind of music from now on. Bless you, Meghan. Bless you. Also, she's in a onesie for the majority of the music video. So that's fun.

Best line: “My life’s a movie, Tom (Cruise), so bless me baby, Ah (Choo)”


12. "Adventure of a Lifetime," Coldplay
The first single from the British group’s colorful “A Head Full of Dreams” album features a disco and funk-infused beat, a pulsing bass groove from Guy Berryman, and a catchy guitar solo that highlights its intro and choruses. Much like their other leading singles from previous albums, “Adventure of a Lifetime” has the energy to be that quintessential quirky, yet mainstream pop hit. It works as a car jam song, a workout song, and it can even pass for existing in a club setting. The music video is a little weird, though, as shown by all these monkeys running around playing instruments. The high, echoing “woo-hoo’s” by Chris Martin during the outro of the song are infectious. You’ll find yourself singing along even if you’ve never heard the song before.

Best line: “Under this pressure, under this weight, we are diamonds taking shape”


11. "24K Magic," Bruno Mars
Bruno and the boys from Uptown are back, this time with another flashy, delightfully arrogant 80s-style groove. It has all the same retro-funk stylings of “Uptown Funk,” but Mars’ solo turn on lyrics turns up the heat on the amount of swagger oozing from the lyrics of the song. “24K Magic,” has all the nostalgia of the 2013-14 Billboard chart topper, but doesn’t do very much to top it. In fact, I’m not sure there’s any party song that could top “Uptown Funk” at this moment. But it does keep the party going, and it does so in the fun, bouncy way that we’ve come to love Bruno Mars for.

Best line: “Take your sip, do your dip, spend your money like money ain’t shit; We too fresh, got to blame it on Jesus, #blessed”


10. "Dangerous Woman," Ariana Grande
Ariana takes the art of the slow jam and makes it her own with this first single off her second album of the same name. The waltz-time feel and ever-present guitar solo, combined with Ariana’s lyrics make “Dangerous Woman” her most mature song yet. It begins as a seductive whisper, and finishes with a full out, no marking, belt-and-riff fest, as she flaunts her obvious range and vocal control. The extended guitar solo in the middle of the song gives it that little bit of edge it needs as both a pop song, an R&B tune, and a rock song. When Ariana sings that final chorus, the chill will set in. Tell me about how good she is, will you?

Best line: “Taking control of this moment, I’m locked and loaded, completely focused, my mind is open”


9. "Ride," Twenty-One Pilots
Okay, so they snuck up on me and made me fall in love with this track. “Ride” is a combination of many different genres of music. It’s part reggae/afrobeat, part rap, part alt-rock (think FUN.), and part EDM. And I like a lot of the parts that make up this song. The lyrics are confusing, as the listener’s not sure what “Ride” Twenty One Pilots are talking about- the ride through life, or the ride toward death? They experiment with the deeply philosophical along the way, making us take a quick analysis of our closest friends and loved ones, and then circling back to ourselves as a whole, with the simple but poignant “I’ve been thinking too much” during the bridge of the song. In the song’s final act, when the bass drops into the hook of the song, and Tyler Joseph belts his little heart out for the final chorus, it’s a well-earned catharsis for the song. Finally, it settles on a warm, but ultimately somber tone, leaving us to wonder about our lives in the process.

Best line: “We all have a list of people we would take a bullet for them, a bullet for you, a bullet for everybody in this room, but we don’t seem to see many bullets coming through”


8. "Sorry," Justin Bieber
I will admit that, traditionally, I am not the biggest fan of Justin Bieber. I didn’t like his music, he was a jerk in real life and had no remorse for his actions, and I didn’t take him or his fame seriously. That was until he released his “Purpose” album, and I understood, especially when his first major single from the album was literally apologizing to a girl that he had wronged. Bieber’s voice has matured a lot since his days of singing “Baby,” and all this life experience he’s had has certainly done him well, at least in the development of his music. This is a lot like when Taylor Swift released her “1989” album, and we all finally really understood what she was about. I think the “Purpose” album is Bieber’s real coming out party. The hook of the song is undeniably catchy, but also very deep, as Bieber acknowledges that there’s more to a woman than just her body and putting titles on a relationship. It’s good to see Bieber grow up, for once. I’m a fan of this incarnation of the pop star. Hopefully he can keep it going in 2017.

Best line: “I know you know that I made those mistakes maybe once or twice; by once or twice, I mean maybe a couple of hundred times”


7. "Into You," Ariana Grande
Ariana is back and explosive as ever. This sexy jam features incredible bass, along with some of the best synth in pop music this year. The music is both aggressive and smooth simultaneously, and creates a delicious musical soup when paired up with Ariana’s incredible voice. It goes without saying that the lyrics for “Into You” are hot as hell (as are most of the lyrics on the “Dangerous Woman” album), as she keeps the focus of her song completely focused on her through her quiet whispers at the beginning of the song, all the way through the powerful belting notes at the end. Also, her nod to Elvis is much appreciated. Say what you will about Ariana. You can like her, you can dislike her, but you can’t that she’s got talent, and can sing and perform circles around most other artists in music today.

Best line: “A little less conversation and a little more touch my body”


6. "Sit Still, Look Pretty," Daya
Daya dealt a one-two punch with her debut album this year, with her second single being the better of the two. “Sit Still, Look Pretty,” keeps that bubbly pop feel of “Hide Away,” but adds a quicker barrage of vocals during the hook, which make it a little more pleasing to the ear. On top of that, Daya keeps the same message in both tracks: following one’s dreams no matter what other people think, and dismissing any notions or expectations that women will act or look a certain way, or depend on other men in order to find self worth. It’s a delightful, bouncy middle finger to the people who expect girls to just “sit still and look pretty.” Daya nails it with this one.

Best line: “And I might love me some vanilla but I’m not that sugar sweet, call me HBIC”


5. "I Took a Pill in Ibiza," Mike Posner
2016 was a strange year. Nowhere is that feeling more exemplified than in Mike Posner’s first top-10 hit in nearly six years, “I Took a Pill in Ibiza.” The title to the song, firstly, is very misleading. It’s not about how awesome everything gets when one takes drugs. In fact, it’s the exact opposite, as Posner describes how he feels awful after taking a pill to seem cool (because I guess Avicii disapproves of him). It goes on to describe how Posner views himself as a “singer who already blew his shot,” as well as a dismal life that being a low-life of a celebrity who makes all this money and attention, but finds a way to screw it up. The juxtaposition of the lyrics and the vibrant hook make you want to stop and take a second look at the song, because doing so will make you realize exactly how disappointed Posner has become with his life. While it makes the song really sad, at least we know that we should never be high like Mike. It’s a shame this one never reached the top of the charts in the United States, but it did go double platinum, and is one of the top-selling singles of the year.

Best line: “I’m just a singer who already blew his shot; I get along with old timers ‘cuz my name’s a reminder of a pop song people forgot”


4. "Cake by the Ocean," DNCE
Just when we were all ready for a good summer song, along came “Cake by the Ocean,” the first single released by ex-Jonas Brothers member, Joe Jonas, and his new band, DNCE. The song begins with a creeping guitar line, reminiscent of 1950s surfer songs, and worms its way to an unsurprisingly catchy hook with lots of repeating phrases, including the always-memorable “ah-ya-ya-ya-ya-ah.” Okay, so the song isn’t really about anything. There’s cake, and there’s an ocean, and I guess it could be about butts or sex or whatever, but the point is this: Doesn’t it make you want to go to the beach and scream your lungs out to this pop-punk gem?

Best line: “Red velvet, vanilla, chocolate every night- confetti, I’m ready, I need it every night”


3. "Love Yourself," Justin Bieber
An unexpectedly stripped down feel for the Biebs, “Love Yourself” might be the best thing he’s ever done. Ed Sheeran makes a guest appearance on the track, featured throughout as guitar player and background vocalist. The tender track is a very honest break-up letter to an ex, giving a self-assuring mantra that says: “If you don’t think I’m good enough for you, go ahead and love yourself.” Written with scathing burns, “Love Yourself” also features some interesting musical elements, including a set of trumpets which give the song a blues side midway through. This isn’t Bieber’s first outing with Sheeran, as he is also featured on “Cold Water,” Bieber’s collaboration with Major Lazer. But the two make really good music together, that much is clear. The tongue-in-cheek song keeps us laughing at the jabs, but crooning along with the lyrics. “Love Yourself” may have only been at the top of the Billboard Hot 100 for two weeks out of the year, but it was the top-performing single of 2016, going double-platinum, selling over 2.7 million times.

Best line: “My mama don’t like you, and she likes everyone”


2. "Can't Stop the Feeling!," Justin Timberlake
JT’s newest hit is a feel-good party jam that just makes you feel happy all over. From the opening beats with overlaying piano, JT puts his signature style on the song, making a super bouncy and colorful song (because it was written for the Trolls movie, after all) super cool, only the way the “Suit and Tie” superstar can. The pre-chorus of the song is the best: soft at first, then descending into a really neat tension-filled section, and finally sliding up to the hook, where it explodes with vivacity, life, and good, wholesome fun. Just like “Shut up and Dance,” was last year’s song of the summer, so too is this one. You can try to forget this song, but you might be too busy dance, dance, dance, dancing to do it.

Best line: “I got that sunshine in my pocket, got that good song in my feet”


1. "Closer," The Chainsmokers feat. Halsey
After I heard this song for the first time, I already knew the words to the hook. That’s how catchy this song has been this year. It was a little bit of a sleeper hit (keep in mind that The Chainsmokers had the incredibly profound song “#Selfie” last year), considering all the new albums put out by artists like Beyonce, Justin Bieber, Ariana Grande, Sia, and Kanye West this year, which really highlighted pop music in 2016. However, “Closer” remained the pesky single that no one could get out of their heads or escape from. The combination of synthesized strings, the keyboards, and bass is fantastic, and the tension of the dramatic musical and lyrical duet between Andrew Taggart and Halsey is palpable. The amount of millennial nostalgia and late 90s-early 2000s zeitgeist will make all us pique our ears and listen (especially when they throw in that line about a Blink-182 song). The sweet melodies of the verses and emotional final hook of this song will be memorable long after this song fades into the background of pop music. When this song comes on the radio in 10 years, you’ll still be nodding your head in rhythm and respect. “Closer” was the longest-running Billboard #1 this year at 12 weeks, and it earns the top spot on this list for 2016.

Best line: “Stay and play that Blink-182 song that we beat to death in Tuscon, okay”


What were your favorite pop songs from this year? Leave a comment down below!

Don't forget to check out the list of the top 10 most annoying songs of 2016 HERE.

Take a look at the rest of According to Andrew's "Best of 2016" spread HERE.

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