41. “We Are Farmers”- Three Loco feat. Diplo
I was torn on this one because Three Loco, former child star
Andy Milonakis’ rap group, is clearly not meant to be taken seriously but, on
the other hand, they had a pretty good song with an absolutely killer sample by
Diplo. I’m going to compromise on this one and keep it at number 41 but you
really should listen to it. The beat is bananas.
40. “Want U Back”- Cher Lloyd
As one of the few Americans left who enjoys the Ting-Tings,
it’s only natural that I was captivated by Cher Lloyd. She has the trademark
spunk and delivery that made Ting-Tings frontwoman Katie White so appealing and
the pop music production that would make anyone in the business swoon. Written
and produced by Shellback, the author of Britney Spears’ comeback and Adam
Lambert’s relevancy- neither of which I’m sure were necessary- “Want U Back”
describes Lloyd feeling remorse for dumping her boyfriend, who appears to be
better without her. An insanely catchy slice of bubblegum pop that can only be
appreciated by anyone who puts aside their superiority complex for 3.5 minutes
and can have fun.
39. “I’m Different”- 2 Chainz
“I’m Different” is the definitive 2 Chainz song. It gives
him the chance to do everything he does best: yell during the chorus- best seen
here with his boisterous “Pull up to the scene with my ceiling missing” shouts-
and self-reference, which is done in spades. 2 Chainz is a loveable idiot and,
compared to the rest of his G.O.O.D. music cronies, he really is different. Dude
looks ridiculous and his style is distinctly different from pretty much
everyone else’s- like Lil John with less intelligence. He really is the only
one who could pull of lines like “2 Chainz but I got me a few on.” This is pure
id rap, not necessarily done well, but done right.
38. “Baby’s on Fire”- Die Antwoord
Everyone’s favorite Afrikaans speakers were back in 2012
with an album that wasn’t great but did have this gem on it. Equipped with a
great music video and some classic Yolande snark (I rock more bling than Mr.
T/I make it look easy because it is to me), this is one of the best Die
Antwoord songs in recent memory. However, it gets a bit repetitive and gets a
little old after 10 listens.
37. “One More Night”- Maroon 5
This is the best song that Maroon 5 has made since Songs About Jane was released nearly a
decade ago. With a sugary hook and a deliberate verse orchestrated to let Adam
Levine’s voice absolutely bounce off the walls and back again. The instruments
are stripped down to the point of near non-existence but it doesn’t matter
because this song is all about Levine and “One More Night” is really the first
time that model has worked in a Maroon 5 song. It’s a shame more of Overexposed didn’t sound like this.
36. “Thank God for Sinners”- Ty Segall
Twins was a
pleasant surprise this year and its opening track “Thank God for Sinners”
proved to be the brightest spot on it. The guitar riffs are blistering and
Segall’s voice sounds just right layered on top of them. This is the way that
lo-fi garage rock stuff should be made.
35. “Rooster in My Rari”- Waka Flocka Flame
Triple F Life was
a huge disappointment coming on the heels of Flocka’s brilliant debut Flockaeli, mostly due to its reliance on
club-friendly beats and weak guest appearances. “Rooster in my Rari” is a
blistering three minute anthem about a woman who will perform oral sex on him in
his Ferrari. This song is rooted entirely in excess and pleasure, and that’s
all the listener gets when it’s over.
34. “Comin For Ya Head”- Wu Block
Wu Block may not have been a collaboration made in heaven,
but it sure sounded like it on “Comin For Ya Head.” Ghostface Killah turned in
his most memorable verse since 2010 and his streetwise sentiments sound as good
as they did back in 1994. Sheek Louch, Styles P and Raekwon all come along for
the ride and there isn’t a single dull spot or bad verse- even the production
on this track rules. A home run from the Wu Block.
33. “Thrift Shop”- Macklemore and Ryan Lewis feat. Wanz
This song, in no way, shape, or form, belongs anywhere near
the 33rd best of the year. So why is it here? Well, Wanz throws down
the most killer hook of the year- his voice is smooth as silk- and Ryan Lewis
is a actually a really solid producer. Macklemore brings the song down with his
weak rapping, but he has to get some credit for coming up with the theme; he’s
always at his best on the joke songs, so at least the rapping is better than
usual. This joint is pure fun and, if you haven’t jumped on the much hyped
Macklemore train yet, this is the first song you should listen to.
32. “Vices”- Memphis May Fire
Over the years I’ve learned to appreciate the clean vocals
in Memphis May Fire a lot more than their harsh ones. Matty Mullins is a great
vocalist and puts on a live show that can’t be missed but, on record, his voice
often comes off as too much. This isn’t the case with “Vices.” The song is
varied enough, with a breakdown within the first minute of the song and a
smattering of clean vocals in the middle, to keep Mullins sounding fresh. The
lyrics also aren’t as lame as usual, which is always a plus.
31. “Bath Salts”- A$AP Mob
Part of me hates this song because it made me believe that
the A$AP Mob would be a lot better than it was. This song is flawed, A$AP
Ferg’s verse is lacking compared to his other ones and the beat is a little bit
disjointed, but for the most part it’s the kind of rough-around-the-edges trill
that the A$AP Mob should stand for. Rocky’s verse is also one of his best on a
non-Clams Casino song.
30. “Bitch Don’t Kill My Vibe”- Kendrick Lamar
Good Kid m.a.a.d. City
was really just a smorgasbord of the best songs of the year but I had to
pare it down for this list. “Bitch Don’t Kill My Vibe” is a chilled out, laid
back joint that gets the album on the right note. It doesn’t have the tension
or moral message that many of the other songs come with, it’s merely
introspective: Kendrick Lamar dishing about himself, his career, and how he
feels about the rap game right now. It’s important thematically only because it
establishes Kendrick as the narrator but as a rap song itself it’s one of the
strongest on the album.
29. “Call Me Maybe”- Carly Rae Jepsen
Look up ‘ubiquitous’ in the dictionary and you’ll probably
read the lyrics to “Call Me Maybe” under the second definition. This song was
everywhere during the warm months of last year; the Harvard baseball team did a
cover, the U.S. National Swim Team did a cover, Jimmy Kimmel and The Roots sang
it with Carly Rae- it just wouldn’t go away. The reason it wouldn’t, of course,
is that nobody wanted it to go away. The song is devastatingly simple and the
message universal, literally everybody above the age of 12 can relate to it.
Not to mention Jepsen can actually sing and the production is top-of-the-line;
people will look back at 2012 and remember “Call Me Maybe,” and I guarantee you
those memories will be fond.
28. “Lamborghini Angels”- Lupe Fiasco
I wouldn’t exactly classify this song as a banger but I kind
of want to. This kind of song reminds me why Lupe Fiasco is an exciting rapper.
After a pair of dud albums where he tried too hard to commercialize his sound,
Lupe came back in 2012 with a sleek album that harkened back to the good old
days and “Lamborghini Angels” was the hottest track of them all. Rapped
non-stop at a blistering pace, “Lamborghini Angels” is a thrilling song that
sounds one-note at first but is actually really solid.
27. “Lakeside View Apartments Suite”- The Mountain Goats
Almost obligatory pick for The Mountain Goats here. John
Darnielle does such a consistently good job that it’s almost hard to make
distinctions between what makes his songs good and bad. Accessibility and
lyrics are often my tie-breakers and “Lakeside View Apartments Suite” ultimately
rose above the other songs on Transcendental
Youth in those respects.
26. “Grown Up”- Danny Brown
Danny Brown promised the world that he was done making dick
jokes all the time and, on “Grown Up,” he makes good on his promise. A
surprisingly mature and introspective track, Brown makes reference to the
trials and tribulations of growing up in Detroit, doing things like “eating Cap’n
Crunch for dinner,” and considers what he has to do now that his career has
taken off. Although his voice sounds ill-suited to perform a song like this
one, “Grown Up” shows a mature talent who’s ready to take the game by storm.
25. “I Knew You Were Trouble”- Taylor Swift
A downright blaspheme to anyone who loved Taylor Swift as a
country darling, “I Knew You Were Trouble” is as in-your-face as Swift can
afford to get and packs a huge punch. Armed with a dubstep-influenced chorus
and some venom to spit, Swift pulls off her trademark change of style between
the chorus and verses admirably well and the dubstep doesn’t sound out of
place. This isn’t a direction many people were expecting her to go in and
seeing her own it was a surprise in itself.
24. “Holy Ghost”- Rick Ross feat. Diddy
When Rick Ross rolled out his Rich Forever mixtape in early January, I assumed it was just a way
to keep his fans satisfied until the release of God Forgives, I Don’t. Honestly, I couldn’t have gotten a worse
read on what was to come. “Holy Ghost,” the opening track, opens on Diddy
imploring “fuck yo dreams” and then transitions to Rozay’s huge voice “some say
I’m getting money/must be Illuminati.” The song is littered with Christian
imagery, and even church bells in the background, as Ross turns in one of his
most creative performances of the year. He jests “my teacher told me that I was
a piece of shit/saw her the other day/driving a piece of shit,” pleads “can you
hear me father?” and brags he’s “certified, 8 digit.” The beat is big, but Rick
Ross is bigger, and “Holy Ghost” cements him as a force to be reckoned with.
23. “Swimming Pools (Drank)”- Kendrick Lamar
A criminally misinterpreted song about the dangers of alcoholism,
“Swimming Pools” became an accidental frat party anthem by virtue of the phrase
“Drank.” Anyone listening past the chorus will hear about Kendrick’s struggles
to avoid the trap that many of his fellow Comptonites fall into and how his
family was consumed by alcohol. Carried by a smart, subtle metaphor and a beat
that dictates the flow without being bossy, “Swimming Pools” is one of the
catchiest and smartest songs of the decade. Ultimately, the song is dragged down
by its bloat and repetitiveness, but it’s still good enough to warrant many
listens.
22. “Cold”- Kanye West
For the most part, Cruel
Summer was a sampler album, but nobody was going to stop Kanye from having
a song all to himself. Kanye raps over a rare DJ Khaled beat that sounds like
it wasn’t made to be overnight shipped to the local dance club and is even more
over-the-top than usual. Some brags are bizarre “Dinner with Anna
Wintour/racing with Anja Rubik,” while others are merely factual; in fact, “$6000
pair of shoes” sounds out of the ordinary only because the price isn’t higher. The
last 40 seconds or so almost sound like a skit, with Kanye affecting a cough to
add some sense to his product placement of cold medicine Theraflu, but we can
only shake our heads and laugh: it's just Kanye being Kanye.
21. “Lines”- Big Boi feat. A$AP Rocky and Phantogram
Trap beats and loud production sure are cool but there’s
something to be said for the power of minimalism. With just a staccato piano
beat with a semblance of a drum beat, the focus is all on the rapping. Big Boi
and A$AP don’t play around, they go in, state their case, and leave. Phantogram
drops a haunting hook with ethereal sounding delivery. Both calming and upbeat,
“Lines” manages to blur them in a way that only Big Boi can.
20. “Teardrop Windows”- Benjamin Gibbard
With Death Cab for Cutie already toeing the line between
unique and complacent, frontman Ben Gibbard decided to fly solo and cross the
line directly into complacent territory. “Teardrop Windows” sounds like a cut
that could have been on Codes and Keys
but didn’t fit the album’s theme. With the opening verse sounding reminiscent
of less-than-memorable Death Cab song “Portable Television,” Gibbard takes it
in a different direction by cranking up the volume to six and going at it. It’s a
trademark song about loneliness and longing- Gibbard’s favorite emotions and he
navigates these not-exactly-uncharted waters like a cartographer: pulling the
right strings when he needs to and knowing when it’s too much. More an exercise
in moderation than anything else, “Teardrop Windows” never tries to make a
statement and just exists, in a sort of stasis, where everything is perfectly
in its place.
19. “Swing Lo Magellan”- Dirty Projectors
As barren as a couple taps on the snare drum and some light
guitar strumming, “Swing Lo Magellan” is simple and straightforward, blunt and
enchanting. The wilderness has long been a favorite setting for indie records
but this isn’t Justin Vernon’s landscape, this is bright and vivid; the imagery
invokes a sense of yearning and listlessness but David Longstreth’s vocals
inspire hope. This kind of contradiction isn’t a new phenomenon but it sounds
fresh coming with such a minimalistic soundscape.
18. “Myth”- Beach House
This song is a bit difficult to describe beyond the basic “this
is a perfect slice of dream-pop that sounds exactly how you would expect Beach
House to sound except done more precisely than usual.” Hence, I’m going to just
leave it at that and let you do the deciding for yourself whether or not this
song delivers.
17. “Wildest Moments”- Jessie Ware
It would be a bit too convenient to say that Jessie Ware
sounds like a white Alicia Keys on “Wildest Moments” because she’s so much more
than that. Her voice is dynamic and can fill the room with its presence. At the
most basic level, “Wildest Moments” is a simple love song with all of the
contrived elements that come with it. When performed, however, “Wildest Moments”
has you hanging on every word. It flips the conventions of the love song on its
head and turns it into something so much more significant.
16. “Take a Walk”- Passion Pit
Perhaps best known for its appearance in the Doritos Locos
Taco commercials, “Take a Walk,” the opening song from Gossamer, was a sign that Passion Pit are both changing and
ever-the-same. The differences are clear- the synth is basically absent from
the song, when it carried nearly all the songs on Manners, with the guitars taking over as the driving instrument;
laying down sharp notes for pacing. Then, of course, the band couldn’t change too
much: everything hinges on Michael Angelakos’ vocals, perhaps now moreso than
ever since they aren’t gratuitously autotuned, and his autobiographical lyrics
have taken on newfound importance.
15. “Poltergeist”- Deftones
“Elite” will always be my favorite Deftones song because it
has it all: drumming that refuses to quit, strong vocals from Chino Moreno and
blistering guitars that refuse to let up. “Poltergeist” fits into the same mold
that “Elite” had in place for it but with a little bit less of everything.
Deftones have grown and thus have learned to be more economical with the
resources that they have. However, they’re still playing the game, Chino’s
still shouting and Deftones can still make a powerful record.
14. “212”- Azealia Banks
Kind of cheating with this one since it’s been floating
around in single form for nearly 13 months now, but “212” became a can’t-miss
track in 2012. Cut from the same cloth foul-mouthed, fast-talking as Nicki
Minaj, Banks proves she isn’t messing around: throwing around ‘cunt’ like it’s
no big deal (and perhaps it isn’t, considering her British roots) and claiming
that when she appears “the end of your lives are near.” “212” is naughty, crude
and brilliant, with disses and rhymes flying so quickly they’re nearly impossible
to process in the moment. Banks does not enjoy the comparisons to Nicki Minaj
and “212” proves why: because she’s a lot better.
13. “Comeback Kid”- Sleigh Bells
When this song was released as a single from the ultimately
disappointing Reign of Terror, it
seemed cheeky. Sleigh Bells would be having no sophomore slump seemed to be the
message with this one. Although it ultimately proved untrue, “Comeback Kid” has
all the discomfort and cacophony that one would expect from the speaker-busting
duo with a smattering of melody thrown in to smooth out of the edges of the ‘clap-and-guitar’
main line and whirling synths that would make Crystal Castles jealous. The fact
that Alexis Krauss’ vocals are decipherable for the first time in a long time
is only an added bonus.
12. “Toxic”- Childish Gambino feat. Danny Brown
Pretty much everything about this song is infectious. The
SKYWLKR sample of Britney Spears’ “Toxic” is warped in a way that puts a cool
spin on the song while maintaining the original flavor of the track. Danny
Brown of course makes good on his promise that his flow is “so pneumonia,” and
Gambino forgoes his usual punchline rap in favor of cleverness and
free-association: “got the Yakuza in my Jacuzzi.” This song bounces off all the
walls during Danny Brown’s verse and then slows down greatly during Gambino’s,
but the change of pace pretty much suits the song. Gambino gets shown up, but everyone expected that, didn’t they?
11. “The House that Heaven Built”- Japandroids
The revitalization of rock continues to happen everywhere
but the radio as Japandroids released one of the best rock-minded albums since
perhaps the 1990s. The centerpiece of the album was charged rocker “The House
that Heaven Built.” It’s a punky song that is written almost poetically; a bit
of beauty among the chaos that the song provides. It’s an almost orgiastic mix
of mostly guitars and shouting that will get anybody up and moving.
10. “Oblivion”- Grimes
“Oblivion” is an enigma of a song. On the surface, it
appears to be a very simple, poppy melody with Claire Boucher’s vocals
sprinkled throughout for flavor. Over time, it becomes apparent just how
layered and intricate the song is. It’s nearly impossible to describe; the
complexities, layers and apparently random vocal utterances are all calculated
to an extreme degree but still sound spontaneous. “Oblivion” is truly smart pop
music with a great vocalist.
9. “Little Talks”- Of Monsters and Men
I have a friend who is obsessed with all things Icelandic:
their language, their people and their music are all blips on his radar that he
tends to become obsessed with. My friend, however, is not a fan of Of Monsters
and Men- they’re a pretty hit-or-miss group. That said, “Little Talks” is a
nifty little DIY-style song that heavily features, of all things, an accordion.
The male-female trading vocals are always a nice touch; written as if the two
are talking to each other about how much they miss conversing. The song
structure is solid and the energy of the group is palpable. Very fun,
sing-along type song.
8. “Pyramids”- Frank Ocean
There were plenty of mammoth songs this year but “Pyramids”
has them beat by a wide margin. A nearly 10-minute long, self-produced epic of
a song, “Pyramids” is one of the most smartly written songs ever penned. The
song, about a woman who was once revered as a queen but is now a common
prostitute that seems to function as a metaphor for how women are treated in
America, relies heavily on metaphor and historical allusion: both Cleopatra and
Samson are name-dropped as if they’re fellow members of Odd Future. “Pyramids”
is one of the rare songs that combines meaning, entertainment and the hottest
R&B talent this side of The Weeknd.
7. “All the Rowboats”- Regina Spektor
A Regina Spektor song that sounds nothing like Regina
Spektor, “All the Rowboats” has a huge sound in the chorus that gets diminished
greatly during the verse, when it’s just her and the piano. The song is fast
paced and exciting- with Regina alternating between something barely above a
whisper and a booming shout into the upper register. Her dynamism and the
racing piano bars make “All the Rowboats” at times thrilling and at others calming; it's almost the antithesis of the style that Spektor is known for performing, but there's nothing wrong with a little experimentation, as shown here.
6. “New God Flow”- Kanye West and Pusha T
“Clique” and “Mercy” might have captured everybody’s
attention but “New God Flow” was easily the best collaboration on Cruel Summer. Pusha T’s arrogance is on
overload- “I believe there’s a god above me/I’m just the God of everything else”-
and his flow is top notch. His verses go hard and then Kanye comes in and blows
the roof off with the beat reduced to stomps and claps. Kanye’s head is big as
ever and it fits perfectly into this behemoth of a song. This is the kind of
song that we would have expected to be on Watch
the Throne, and for good reason.
5. “Some Nights”- fun.
“We Are Young” might have catapulted fun. into the public
conscious but it was “Some Nights” that showed the group had staying power.
Driven by the internal conflict of singer Nate Ruess, “Some Nights” finds him
questioning his values and decisions that he has made over the past few years.
Underscored by the omnipresent question of ‘is fame worth it?’ “Some Nights” is
an airy song for such introspective theme, buoyed by the autotune on Ruess’
voice (so seamlessly done it sounds like an instrument in itself) and a rhythm
section mostly composed of hand clapping, “Some Nights” is unique and layered,
much like the album itself.
4. “I Like It”- Foxy Shazam
Eric Nally really does want to be Freddie Mercury and I’m
totally ok with it. This song, an ode to “the biggest black ass I’ve ever
seen,” rivals Queen’s best silly songs and Nally’s vocal performance is one of
his best. He hits soaring highs like it’s easy and Foxy Shazam provides all the
chaos and sonic dissonance needed to make this song a winner. Not to mention
that it’s absolutely hilarious and a showcase of some serious talent. I like it
indeed.
3. “Fuckin Problems”- A$AP Rocky feat 2 Chainz, Drake and
Kendrick Lamar
So much can be said about this song. It’s a showcase of
Who’s Who in the world of young rappers and exactly why they are the go-to guys
that the blogosphere points to when pointing out “hip-hop ain’t dead.” 2 Chainz
goes full retard on the hook, A$AP says whatever he feels like and Kendrick’s
voice is elastic as ever, morphing line by line. Drake verse is the most
pedestrian of them all but it’s still can’t miss. This was very nearly song of
the year, with the right blend of humor, cleverness and talent making it the
best hip-hop song of 2012 by a wide margin.
2. “Modern Age”- Anberlin
Maligned by minor production flaws in the chorus, “Modern
Age” is flawless in nearly every other way. Led by a powerful synth line and,
of course, Stephen Christian’s vocals, “Modern Age” sounds like the future of
Anberlin’s music. Drenched in production and with the most basic hook of all
time “Don’t we all/want to be loved,” this is far from the most complex thing
that Anberlin has ever done, but its bluntness works in its favor. The
instruments are used economically and Christian sounds like he’s going a
capella occasionally. The production is ultimately the best and worst parts of
the song, the vocal effects are that cool, but what ultimately makes this song
so good is that nobody but Anberlin could have done it. It’s their unique flair
that makes you overlook the bad production on the chorus and just feel the
music.
1. “45”- The Gaslight Anthem
Oh man this song has everything. Absolutely trademark vocals
from Brian Fallon, a scorching riff from Alex Rosamilia and the most solid
rhythm section in rock holds it down admirably well. This song hits the ground
running and doesn’t let up. From the second Fallon enters the mix, asking us
“have you seen my hands/just look at them shake,” you know this will be a fun
song. By the time the chorus of “oh hey/turn the record over/oh hey/see you on
the flip side” hits, your head will be bobbing uncontrollably and you might
just be singing along. This is one of the rare songs that infects you; it grabs
your attention and, for the 3 and a half minutes it’s playing, utterly consumes
the listener. Not only is this the best song of The Gaslight Anthem’s career,
it’s the best song of 2012.
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