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Post by Deleted on Mar 22, 2019 7:16:11 GMT -5
"Now she want a photo, you already know, though You only live once: that's the motto, n*gga, YOLO And we bout it every day, every day, every day Like we sittin on the bench, n*gga, we don't really play Every day, every day, f**k what anybody say Can't see 'em cause the money in the way, real n*gga, what's up?"Review: A chorus that can just sneak up on you. It's like the kind that's so minimalist and sells on monotony that I didn't even realize how iconic it's been all along. That old-school urban sound really is something, as Drake's approaching the mid-decade that brought us Kendrick Lamar and that midwest urban street visual. It's one to be on top of an era, Drake's "doing it for the bay", the whole song's one adrenaline-soft-burnin' scenic driving experience, and the chorus' the biggest catch, from "Now she want a photo, you already know, though" line, it's like entering into Drake's showmanship, some needy self-indulgence, the smug badass swag in his tone, typical urban stuff. The lyrics falls into that "hyperbolically stupid" territory, the cult-ish YOLO, the overuse of the n word from someone that's more like, neutral-colored, the on-your-face "money is everything" douchy urban guy attitude that f**ks through the final lines of the hook, that makes one go like, "Omg, this is like the most pretentiously shallow sh*t ever, he gotta be doing that on purpose!" But yeah, it's almost pretty hard to make the chorus sound so iconically douchy and polarizing. But yeah, it sounds cool. Like, it sounded really cool for a while. It got claps, kicks, the shakers with swing that sounds like chugging along a choo-choo railway. But with all that urban sophistication it's one crazy jam to drive along bay area to, that hardcore Californian driveway city visual. The coolest part is Drake himself, though. You see, when the instrumental's minimalist as this, the chorus would accentuate on the protagonist, he's playing a showman there, he's not really selling how to drive or YOLO, he's selling his showmanship while driving, his car, himself and the chorus are one. Like, the only one at dat moment. He's like a trendsetter that cockily tells you what's the sh*t that year and it's like he made up the term YOLO, life is one, doesn't feel like much bigger than that, and how he and his crew "bout it every day, every day, every day". The way he squeezes the "every day, every day, every day" out of his smug teeth is f**king epic, in the video he's like, cutting from night to the day to the night to the day and it's one 24/7 swagger. He's always there, as if trying to imply that what's within the surface of being the star that he's trying to sell is feel-good chills, feeling like lost in the streets, driving for days feeling like an experience you don't get too often. Drake makes it sound attractive, like what's supposed to be, it's about feeling good and being the one, it's about f**k what anybody else say, because they're nobody to see to begin with.
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Post by Deleted on Mar 22, 2019 7:55:26 GMT -5
"Ooh, look what you made me do Look what you made me do Look what you just made me do Look what you just made me— Ooh, look what you made me do Look what you made me do Look what you just made me do Look what you just made me do"
Review: In the August/September transition of 2017, solar eclipse hit America, the music scene's energy suddenly got drown to a subdue, it's like silent before a storm, something's shuffled... by somebody. That few months' probably the biggest era transition yet. Despacito's king, and then Taylor Swift released snake venom and Look What You Made Me Do instantly got the #2 song on iTunes pop bar to 0.06, something even Hello couldn't achieve. Look what you made me do indeed! It's probably the most polarizing song of 2017, but also one fine iconic moment. Damn. From the get-go, this chorus gave me the impression that it's gonna be polarizing. Who's gonna expect a lead Taylor Swift single to have the rap-styled monotony and the biggest anticlimactic hook, unlike any old Taylor Swift song, unlike any old song of any kind, unlike anything you've ever heard. It's so memorable that it's almost horrifying. The hook sounds so on-your-face just how anticlimactic it is. That rap sample is such a minimalist one, only a pulsating drum beat with kick sound, outstandingly stiff, basically a slight R&B groove-infused four-on-the-floor. And she's chanting nothing but that "look what you made me do" gig. It's the Closer of late summer 2017, the mechanical loop of a chorus almost has zero melody, throwing on your face how flamboyantly zero melody it has, it's the type of sh*t that I knew's gonna piss some people off, it's gonna be polarizing for sure yet it's been sounding iconic and I wanted to listen to it a lot. Initially it was honestly so inexplicable what was it that they did to music scene of that era and why it worked. But now I know, it's nothing but the word "iconicity". It's like, Swift trying to bring a live dictionary definition of the word iconicity. Fashion icon, celebrity feud icon, catchphrase icon, polarizing lyrical icon... That "look what you made me do" delivery's like, fashionable, fit to be in the forefront in one fashion show. The catchphrase's beggin' to be on a T-shirt on the mannequins in Time Square. Swift's in such a high point of stardom at that point that it's obvious why the iconic energy's being channeled, around the catchphrase and it's repeated over and over. And that's not all, if you're keen you should notice that she added the word "just" on half of these lines, and that "look what you just made me do"'s even more fit to be in a commercial or T-shirt or something. It's a sense of responsiveness, a sense of things are always happening so to speak. There's drama, feud, venom-infused darkness in mind and body so to speak. And there's always that dignified initiative to deal with that darkness, whether people buy it not. But you don't need to be holy to know, the only real beginning of time is right now.
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Post by Deleted on Mar 22, 2019 8:47:48 GMT -5
"I got that summertime, summertime sadness S-s-summertime, summertime sadness Got that summertime, summertime sadness Oh, oh-oh-oh-oh" (Instrumental drop)Review: Just to be clear, Lana Del Rey has a few choruses that are more iconic (Video Games comes to mind, obviously), but since this one is her only hit song this decade in Hot 100 to be eligible for this list, I figured why not give this a proper shoutout. It's a shame that Lana didn't have more hit songs, because she would really keep the list of iconicity going. She's like, among the top 3 acts this decade to carry the term "American dream", you can really tell from the visuals of her music and video, straight out there to retro-repurpose likes of The Great Gatsby and how it relates to 2010s midwest relaxed and open city and town linked resonance. Summertime Sadness seems to more blend in the electromagnetic field of mid-2010s, the popular version's an electronics remix, for chrissake! But it's a fine one, a fine chorus. The light machine roaring sound, the high riser, the four-on-the-floor beat, the synth organ-ish sound are provocative enough, but never to the point of real menace, those sh*ts are toys, almost sounding rollicking and festive, fit to be played in a retro arcade. But the vocal here's probably the bigger attention-catcher. It's a casual and effortless Lana vocal, with slight passion within the layers of Born To Die apathy. Sad's the tone of the most in this decade, and Lana's one emotional and emotionless carrier of that quality. What kind of sadness can a high-action warmer season, with more positivity than cold weathers would offer, bring? Simply from this song, we don't know. Whatever emotional entanglement and uncanny depression's not seriously tapped into here, as this chorus' on the periphery, stating and meandering a mood set in an artistic way, the big electronics rocking up a violent storm inside, and Lana's resonant voice sneaks up through repetition and fits in the violent storm. Each line's cut off short and sharply for electronic effects, the machine sound on and off abruptly. "I got that summertime", "I got that summertime", "I got that summertime", the line's really catching on and intro-dramatically climbing up the ladder of mechanical and catchiness.
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Post by Deleted on Mar 22, 2019 9:25:33 GMT -5
Quick survey:
1. Any pick that surprised you so far?
2. I know it's a long way there, but can you boldly guess what's gonna be #1? If each of you guys can submit up to 10 guesses, I'm curious to see if any of you can guess it right. Haha.
3. A (very controversial) Charlie Puth RD is happening in the Game section so to speak, would you have guessed my favorite songs from him, like, how many Charlie Puth choruses do you see in this list's top 50? What would be his highest ranking on this list?
4. Only 1 country chorus makes the top 10. Only 1 chorus from a predominantly rap song is in the top 10. What would you anticipate them to be?
5. It's intriguing to ponder about the gap between Hot 100 and my personal preferences. A great number of songs that I liked are not among the biggest charting presence of Hot 100. As such, there's only 1 entry in this ranking's top 10 that made it to Hot 100's year-end top 10. What could it be?
6. Two song titles yet to be revealed start with the letter "A". What are the A kings of this list?
7. An artist has 3 choruses in the top 10, who could it be? What if it's not Puth?
8. What would your version of this list look like? What would you like to see to be up there?
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Post by Deleted on Mar 23, 2019 12:34:08 GMT -5
"'Cause girl, you're perfect You're always worth it And you deserve it The way you work it 'Cause girl, you earned it, yeah Girl, you earned it, yeah"
Review: The Weeknd's one fascinating superstar starting mid-decade. One of the very few kings the Hot 100 and my personal chart seemed to overlap on. Earned It's The Weeknd's first hit as a lead artist, you think I'm gonna let it slide? I remember the most lit pun on Grammy's. How did The Weeknd land a spot on an iconic list like this? He earned it, earn-earn-earn-earn... earn-earn it! Maybe it depends on the way you say it, but it did feel hard for music scene to arrive at a generally bright point of 2015 (remember 2015's the year with most entries on this list). It almost took too long. The 2014/2015 decade's midpoint transition got some Hollywood and L.A. urban fantasy, amid the parking lots and run-down outlets, the scene gladly pushed into that budding spring where Earned It gently hit the charts. In the wake of hardcore rebellious years, someone wanna be a superstar and compete with Taylor Swift's mega-hit album 1989! Earned It's more like a sentiment to himself. Why this chorus' aesthetics has to be like a theatrical musical number that's almost like, a mixture between ancient and modern theater, only nature knows, the orchestral sound is like a natural statement, all these organic strings, drums, straight snare gently weaving an ambience, sure, something about the orchestra's just like everything else, a cliched royal marching band sound, but still, you don't get that stuff too often, it sounds very human, as if all these instrumental elements were meticulously conducted right on spot to fit The Weeknd hand-in-gloves, or at least that's what it's trying to sell. It's like a music equivalent of a stew processed with moderate fire, classed up by some various electric piano sounds, just like those nostalgic elements from an old Weeknd song from Trilogy, teetering between natural and artificial. Even when the beat's playing it straight, it's not completely straight, it's more triangular in a measure, giving him a subtle playground to deliver a chorus that sounds very intentional. Every line's delivered so carefully as if energy communication between him and the audience's delicate. Every line ends with suspense, having that very spacey feel between two lines. Suspense, theatricality, human sentiments to deliver... The Weeknd's such a showman here. He carries the energy so attractive that it's hard to believe, trying to emulate that suit-and-tie gentleman persona, though met halfway, something's so interesting about that round and falsetto-like voice that's among the top 3 memorable voices of the decade. And the way he's letting his vocal glide and ease into another line... it's like, a serious attempt to take the crown. It's not enough for him to just sing "earn it", he had to be like, really f**king stretch the word like a f**king obsessive catchline, the way he sings "earn-earn-earn-earn... earn-earn it!" has been so up there in my mind for iconicity that there's just no denying he's one king. Trying for scholar, a dude of cultural appeal. Seriously, when a chorus' so much about "earn it", who can't smell tinges of going for establishment and the definitive American dream because that's how one essentially gets to the top of existence?
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Post by Deleted on Mar 23, 2019 13:21:42 GMT -5
"And we'll never be royals (royals) It don't run in our blood That kind of luxe just ain't for us We crave a different kind of buzz Let me be your ruler (ruler) You can call me queen bee And baby I'll rule (I'll rule, I'll rule, I'll rule...) Let me live that fantasy"
Review: I remember listening to this so f**king frequently years ago. It's one slice of meaningful self-empowerment anthem that's so up there in terms of lyrical content, as in, music scene has been so shallow that Royals' almost like, among the top of anyone had ever heard. I remember Royals' the one with one seriously iconic chorus. Amid all that money/love cliches in a world so lack of respect for individuality at that era, who wouldn't think this as one breath of fresh air from the advent of a teenage Lorde? The bar of early 2010s' energy resonance's so low and pathetic that a simple song with introspection of "don't wanna be cliched luxurious" almost sounded something written by Socrates. Just how simple-minded and one-dimensional existence can be sometimes! Royals' chorus knows such simplicity, and does it well. It's pronouncedly indie and plain, hi-hats and mechanical chords make up one serious minimalist beat, but it's blended so well and pro that it's almost shocking to realize its such simple nature. It's like a game. I like it how the chorus really does its thing, the message is very straightforward, royalty's not in their blood, they wanted something different. What's the most profound part of this chorus is that, it comes with a twist that seems to stump some people: despite its proclaim of being ordinary, it doesn't deny or resist a sense of aloofness and iconicity ("Let me be your ruler", "And baby I'll rule (I'll rule, I'll rule, I'll rule...)/Let me live that fantasy"). It's about being royals in a different sense, it's about being the king of one's own real corners. It's about individuality. It's about pursuit of fantasy. The chorus' some high ground after the pre-chorus building up momentum like a running race. Its melody's plain but an experience to sing along to. "That kind of luxe just ain't for us/We crave a different kind of buzz" are slightly relegated to melodious modesty, yet dat harmony on "royals" and "ruler" give the chorus an instant catch to connect. It's like a generation's bonding moment. It could be something bigger in implications, that type of techno indie aesthetics, like a polarizing doll and caves fairy-tale of colder seasons, yet somehow turning itself into an adventure through the mechanical. Just for the record, the iconicity of this chorus could be a wild card to land top 10 of the decade, but it's compromised at #36 because it had mediocre longevity in my playlist history and stiffly morphed into a mere ritual.
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born
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BLACK LIVES MATTER
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Post by born on Mar 23, 2019 13:31:47 GMT -5
Surprised LWYMMD is in here over other Taylor Swift songs. Also, glad that “Royals” is here. And I remember that Max Martin said the song structure is incorrect as the pre-chorus is the catchiest section. It worked more than fine!
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Post by Deleted on Mar 23, 2019 14:14:23 GMT -5
"I'm only one call away I'll be there to save the day Superman got nothing on me I'm only one call away"
Review: This is the second Charlie Puth appearance on this list! Eventful, huh? For the record, this chorus' by no mean Nine Track Mind's best effort, as I find Some Type of Love, Up All Night, Losing My Mind all hold their iconicity in their hooks, despite their melodies might fall into that shallow catchy category. In any case, Nine Track Mind's still one solid pop guy album right in the wake of Taylor Swift's 1989 era. From there, Charlie has seemed to have even more makings of a pop star than Taylor. One Call Away's my favorite hit from that album, it has more of an essential Charlie Puth chorus from that era, it number-checked "1" almost first thing first in 2016. It's the start of something new, to put it in a cliched term. It's like, everything gently started there. I remember it being the "it" chorus of early 2016, sounding like a fresh young generation's bonding moment, like, gonna be a warm spring and summer, the generation's popular and iconic jam. It got four-on-the-floor drum beat, the chugging shakers with swings (reminds me of The Motto's), and the chord-breakdown of a recurring piano melody adds so much color and catchiness. These production choices are so pop-sounding, like, it's its definitive quality. It's basic, but it's music, it's melodious, it's one that plays around the music and makes sweet sound simple. Vocal melody got that progressive feel (reminds me of Demi's Really Don't Care) of a generation, and a sense of nuanced personal connection coming from an individual ("Ah-I'll be there to save the day"). Charlie's delivery's almost hypnotizing, he's so beta-male and looking so much like a model that the chorus came across as a fine one from a dollish fine-breed gentleman from the get-go. He's cute, he made "superman got nothing on me" sound like "soup-a-man got nothing on me", and how we should all drink soup on it. It's relaxed, it's fun and appealing to vibrant young audience with longings for feel-good relationships. It's so casual and light-hearted that I've appreciated how no pressure it seems to give anybody, as if darkness and oppressions are not really there to press on you. Charlie Puth's meant to be a king of mid-late decade's music scene. His wave of influence in music industry's something unique, more subtle, with more personal tinge to it rather than stereotypically loud and flashy. One Call Away's really about feel-good Hollywood scenery, it's timed to carry that specific era's energy: mid-decade, the bright side's that a real pop scene seemed to have its place beyond all the phony and darkness. What can I say? When you can really capture and enjoy that midwest pop scene resonating around the music studios of comfy colorfulness, good feelings' the real superman.
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Post by Deleted on Mar 23, 2019 14:15:05 GMT -5
Surprised LWYMMD is in here over other Taylor Swift songs. Also, glad that “Royals” is here. And I remember that Max Martin said the song structure is incorrect as the pre-chorus is the catchiest section. It worked more than fine! There will be more Taylor Swift songs... Just wait. :)
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Post by Deleted on Mar 24, 2019 13:36:11 GMT -5
"But if you close your eyes Does it almost feel like nothing changed at all? And if you close your eyes Does it almost feel like you've been here before? How am I going to be an optimist about this? How am I going to be an optimist about this?"
Review: You know, I was hesitant to put polarizing choruses on this list because they're wild cards and could get dark and depressing. Pompeii's one of the polarizing cases. But I included it because it was just so big at its peak. It's both with incredibly dark undertone and among the most thought-provoking one in its era. I remember it being the "it" chorus of 2014, the "it" polarizing chorus of 2014, something I'd never heard that it's honestly very uncanny. From "if you close your eyes" and that pronounced British accent in distressed flow, it's entering into something so hardcore, it's like survival mode, running along, intimidated by everyone else with darkness within. That tropical "eh, eheu, eheu" on the background's adding a lot of ancient mystical flavor as if Easter island's haunting him and some singing statues are egging his on to run like it's a challenge. The instrumental creates the urgent feel, the percussion with toms all roll along pretty fast like vicious rains, and Daniel's just a protagonist trying to run from darkness from existence around. Put aside all these complications, put aside all those fake history, the real Pompeii apocalypse's from the little world around you, something so hardcore personal-sized yet when you put it out there, it's one serious shot of inducing deja-vu that's uncanny timelessly. Lyrics like "Does it almost feel like nothing changed at all?", "Does it almost feel like you've been here before?" are from deja-vu itself, as if some sort of subconscious script. When it's trying for human connection, it's actually raising a lot of uncanny stuff. Are things ever changing? Close your eyes and it's like those apocalyptic feelings are merely hypes. The catchiest line is "How am I going to be an optimist about this", with dat cello sound adding to the survival mode as if a game, the intense pace the line's delivered with backup harmony filled with reverberative introspection. This chorus gets depressing, huh? So... let's just move on.
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Post by Deleted on Mar 24, 2019 14:16:15 GMT -5
"Hello from the other side I must've called a thousand times To tell you, I'm sorry for everything that I've done But when I call, you never seem to be home Hello from the outside At least, I can say that I've tried To tell you, I'm sorry for breaking your heart But it don't matter, it clearly doesn't tear you apart anymore"
Review: You'd expect this song with volcanic chorus at a high ground of power to be here, right? After all, it had the third-largest week in this decade's Hot 100 (only after Harlem Shake), and it's hard not to be somewhat moved by the cathartic release of power in this chorus. Its commercial performance almost made it something from the above, from the establishment resonating through music. From the first line, Adele goes on full blast, "Hello from the other side"'s immediately something big, like a power station, she holds the notes on "side" and "times" to make the energy linger and reverb, to the point it's going a little too hardcore, one two-track chorus selling on vocal prowess over simple piano. But other than the singalong quality as a song to practice your vocal to, my favorite part about the chorus is the nuanced pacing. The aforementioned Pompeii got too much intensity scrambling along, and Hello's the opposite: the pacing's loose, delivered in a down tempo, 1 or 2 seconds per chord hitting a cathartic spot. You can really tell the powerful chords are trying to chugging along the lines ("To tell you, I'm sorry for everything that I've done") to the point it's almost intentional, trying to hit a dramatic spot each second. But it did once have that damn catchy quality, so much chugging along the way in slow motion, just like the history itself. It's loose, it's spacey enough to channel air flow to turn into power. It's a stardom's high point. It's trying to be the high point of the era, but can one really buy the high-power slightly vintage (New) England aesthetic it's trying to sell? It even shook out the line of the lines ("Hello from the outside"), a state of on the outside looking in, looking at the past, roaming wistfully along, the around's an ongoing establishment teetering on the conceptual apocalypse and the much anticipated brand new start. But the thing is, along all these years I've found that this chorus can be reduced to cliches somewhat easily. It might not worth its salt to set real history, but it did chug through the cold and dreary 2015-2016 transition era and other transition eras beyond that point. It's a matter of time before a real hero roaming wistfully along the streets, watching for the establishment at a real high point.
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Post by Deleted on Mar 24, 2019 14:22:22 GMT -5
My next pick's gonna be among the most controversial ones, ready?
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Post by Deleted on Mar 24, 2019 15:12:07 GMT -5
"And she loves the attention That she get when she moves, yeah Showin' out with her home girls Hypnotizing all the dudes, oh And she knows (She knows, she knows, she knows) She knows (She knows, she knows, she knows) She knows (She knows, she knows, she knows) I know, I know, she knows (She knows, she knows, she knows) And I know, I know, she knows" Review: It's hard to forget that epic Uptown Funk winter to spring transition toward the golden 2015. Music scene shook out some surprisingly fresh and Californian visuals: funky dancing in Hollywood's New England set (Uptown Funk!), retro-arcade-styled L.A. urban roaming (Jealous), a pop star's driving on a pop highway within a timeless midwest artwork (Style), even the urban-leaning tunes like the previously mentioned I Don't Mind or Time of Our Lives have cleaner instrumental or concept and more about simply having fun. I know this chorus would be a controversial pick given how other critics have treated it. But to me, it's one frontrunner of that transition era toward golden 2015, it's a subtle epic being written kind of situation. I mean, just listen to it. Ne-Yo's vocal's out there and broad: "And she loves the attention/That she get when she moves, yeah" The saxophone's keeping up on the background, very ambient, just like that synth string with a bright sound, making quite an atmosphere. It could really sell as a feel-good pop tune, beat's straightforward, almost aboveboard, he got that suburban guy's charisma that he's almost a guy with cultural tinge and power. And on that "She knows" breakdown part, the hi-hat adds a little R&B nuance to a four-on-the-floor beat that gets more intense with percussive clear beat, some harmony, and just as it's shuffling to a brand new verse, I realized it's really about it, it's really like an epic song being heard, in its corners having its own right. I know you wouldn't believe to a shallow polarizing song like this, I would say something like "this chorus has persona influence". But it does. It just sounds so spacey and comfortable, persona so cool that there's no haters or darkness. It's like, he's very out there, having fun, skywalking on those haters, even when the lyrics is kinda about strippers, it's not really about strippers. It's about the impression the narrator gives, Ne-Yo's the one that's really "showin' out". It's about the ambience the instrumental creates and how much of an adventurous bright scene it channels through.
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Post by Deleted on Mar 25, 2019 18:16:01 GMT -5
"Oh-oh-ohhh, oh-oh-ohhh, I'm falling So I'm taking my time on my ride Oh-oh-ohhh, I'm falling So I'm taking my time Taking my time on my ride woah oh oh Oh-oh-ohhh, oh-oh-ohhh, I'm falling So I'm taking my time on my ride Oh-oh-ohhh, I'm falling So I'm taking my time on my"
Review: Shoutout to 21 Pilots! Stressed Out still stands as my most-played and favorite 21 Pilots song, but it doesn't really have a proper chorus, as its chorus' too much like a filler. So that leaves Ride as their lone entry on this list. D-amn! Ride might not be among my top 10 most played song of that year, but when it connected, its resonance just worked and it's on another level compared to the rest of music scene. The melody's supposed to be easy, a lighthearted kiddy rhyme as "oh-oh-ohhh, oh-oh-ohhh", it's supposed to be alternative kind of idiosyncratically catchy, that siren-like attractive vocal's bearing down on "so I'm taking my time on my ride" like it's pitch-bent, playing half-electronics. Tyler's so f**king out there on this chorus, it's that obsessive passive-aggressive bearing down on emotions, that "ride-ee-ya-ee-ya, oh-oh-wooh-oh-oh", f**king all over the place of expression. It's that striving as a passionate macho man, yet playing that strained and whipped beta-male that he can only be relegated to when darkness itself's the crazy one that's doing it to him. That tropical reggae-infused instrumental's adding a sense of suspense. Every other step it's making your heart on edge, until it's totally plunged into an alternative ocean of percussion, hi-hat, recurring alternative-sounding percussive synth. What's he worrying about? Can mundanity get to stare at infinity? Somewhere among the mundane details of dealing with you and people around you in one's mundane memory of decades, there's a sense of always got something to worry about, it's the byproduct of pondering about existence itself, timeless means timeless insecurities sometimes. Worry too much is like the hype to create the illusion of falling. How else would anyone drop that statement of falling and only taking time on the ride to hold on to the moment of security? That final f**king "So I'm taking my tiiiiiiiiiiiiiiiiiiiiime!!!!!!!!!!!!!!!!!!!!!" gives so much credit to the song. Best music artist moment of 2016, honestly. That belting is so long overdue, it's cathartic, it's beyond passionate, it's to fight back, it's to strike at insecurity itself. Belting's a rush of blood on his mind and he's gonna f**k his way to the top through the psychotic, too much uncanny pounding on your doors of mental world, the blood stains, the mechanicals of existence. But he should know, he's never falling.
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Post by Deleted on Mar 25, 2019 18:56:44 GMT -5
(Instrumental) "Don’t believe me, just watch Don’t believe me, just watch Don’t believe me, just watch Don’t believe me, just watch Don’t believe me, just watch Hey, hey, hey, oh!"
Review: The biggest commercial powerhouse of Hot 100 this decade. It pretty much carried golden 2015 on charts. It calls to memory that very mid-decade Californian scene, the typical bright sound for a comparatively bright era, suburban white-light aesthetic, moderately-paced beat just like the rhythm of the neighborhood of a Hollywood set. It's introducing the "fun" in "funk" as in the coastal island-ish musical fantasy. To me, it's more like an anthemic leader than a catchy one. It's uncanny that its reign's almost right in the middle of the decade (early 2015), some playing that "middle" card of the decade. And it f**king worked! Really iconically. Its iconicity's the biggest driving force behind my consumption of Uptown Funk with such an anthemic chorus, it's big, mastery, almost like, something higher. A f**king hardcore instrumental chorus. A non-electronic instrumental chorus has been so rare on charts this decade that the rich musicality of it almost sounds like a fantasy. Doesn't it sound like the biggest chorus or what? The highest chart statement in a while, what's the chorus to really power the master? Horns. The horns playing the anthemic four notes in a loop, a big celebration, something from god, a big source of bright tone. Trumpets and saxophones are no short of delicacy and winding classic timelessness powering through the biggest part of a song. The beat's four-on-the-floor, short on monotony, rather naturally channeling its way through the bright ambient strings, funky electric guitar and bass buzzing like a fresh Hollywood fantasy of feel-good stardom. "Don’t believe me, just watch"'s signaling the real deal, planting the seed for something even cooler along the road. It's going for mastery, something royal, as well as filled with playful accessibility. The dorky "doh doh doh doh doh doh". And that they're playing around with the top-notch "don’t believe me, just watch" line quite a few times playing call and response with horns, camera's spinning around and around. And just like that, a brand new era's going New England.
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Post by Deleted on Mar 25, 2019 19:03:42 GMT -5
The year distribution of top 30:
The top 30 has... 2018 * 3 2017 * 6 2016 * 1 2015 * 9 2014 * 4 2013 * 3 2012 * 2 2011 * 1 2010 * 1
2015 and 2017 account for exactly half of the top 30!!!!!!!!!! Expect a more hardcore 2015 and 2017 show from this point of the thread onward
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Post by Deleted on Mar 27, 2019 11:59:31 GMT -5
"I hold back, sometimes I won't, yuh I feel good, sometimes I don't, ayy, don't I finessed down Weston Road, ayy, 'nessed Might go down a G.O.D., yeah, wait I go hard on Southside G, yuh, wait I make sure that north-side eat"Review: Speaking of going New England... Here's Drake, and y'all know his biggest chart success God's Plan with its daringly iconic name-check of "God", has the "it" chorus of early 2018. Though its references seems to be about Canada, it's the song for me to go New England to, got that high and aloof air that I could just smell fresh from winter to the spring and followed along its lead the whole year. The chorus' another classic case of shoving its anticlimactic sh*t in your face, but what can I say, it's probably the catchiest one yet in that category. "I hold back, sometimes I won't, yuh/I feel good, sometimes I don't, ayy, don't", the motion seems to be throwing itself around yet so centered on the protagonist. Sure... he holds back and sometimes he doesn't... very funny, what other situations are there? It's straightforward to the point where it's just... filled with these broad and general statements, he's kinda like, showing how he's opening up about his feelings, but it ultimately was a phase and time era of scratching the periphery that he seemed to be on to before fleshing out real details. But as a quintessential chorus of the era of recovery right after the incredibly dark period of late 2017, it's doing fine, with a classic R&B beat with that spacey sound straight from an industry-standard midwest music studio, linear hi-hat elements, and of course, that loop of a synth string, almost siren-like and fit to be in a car commercial, that's Headlines 2.0 they seemed to be pulling off, dude! Headlines' hook's like something to drive along a moderate highway to, so is God's Plan's, so moderate, workaday, its "melody"'s like the case where even the biggest star of the 2010s' Billboard music scene sounds as ordinary as the traffic around you, it all sounds the same same same same same. Same seven notes in one line followed by a Drake of ennui's chillin' and burping out some sounds like "yuh", "ayy", "yuh, wait". Isn't it just like a most... ordinary song? Yet, just like that, it has hypnotized its way toward the top, because it's another classic example of ordinary sounds actually carry the most iconicity. This is the case where I was like, who the f**k made that "melody"? Can't believe they made a half-melody something so catchy first thing in 2018! I mean, the melody doesn't even sound like a melody. It's that hovering between the singing and rapping spectrum, playing around with pitches for human ears to perceive as "catchy". But it really is catchy. Those notes that don't sound like real notes, yet it's still more iconic than most of the music scene. It's Drake's presence. In his early 30s, the biggest star of the music scene based on actual music consumption... This lead single's chorus' hard not to sound like something from such a high point, even though it's too compromised and messed-up and schizophrenic to know any better, it's still like, something from a bona-fide high point of stardom. It sounds both low and high, f**king white inversion of a chorus. Drake going hard and implying the hard techno sound he's going with Scorpion in that urban beat, even for the second half of a chorus, they removed the hi-hat and tried to move the actions to a halt, it still had my attention just like what a real chorus does. Although not quite on a holy level, he meant something when he recorded the song. When Drake's like, "I finessed down Weston Road", "Might go down a G.O.D", "I go hard on Southside G", it means something. It's like, the real godlike figure's just about around one and implying messages from these non-specific words of periphery. I almost tried to figure what connotations and references he seemed to carry and it's honestly the taste of that era.
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Post by Deleted on Mar 27, 2019 13:10:12 GMT -5
"Whatever it takes 'Cause I love the adrenaline in my veins I do whatever it takes 'Cause I love how it feels when I break the chains Whatever it takes Yeah, take me to the top I'm ready for whatever it takes 'Cause I love the adrenaline in my veins I do what it takes"Review: Speaking of that era... Whatever It Takes! You might recognize Whatever It Takes from the 2018 Year-end RD thread, where I was the only one to rank this as #1 hit song of that year. It's probably not #1 for me anymore, I still have some fondness for this chorus, especially that it's the something to push from spring to summer to in a polarizing city and year waiting for larger-than-life hope. You know, the music scene in 2018's a nihilistic one, had pretty much tapped out of artificial catchiness padded from the illusions of earlier years. It didn't really have a great sense of content or adventure like 2017. I felt the complaint about the music scene having too much hi-hat, too much mumbling rap, too much one word repeated over and over, too much electronics. There's a sense of craving for real music, the real singer-songwriter art statements, the real pop scene if you will. I've been rooting for a real pop scene for a while now, a sense of recurring pop energy that can finally well-roundedly stand on its own and purge the fake-ass Hollywood parties and illusions from the early decade. On 2018's Hot 100, one chorus broke through layers of grey and dreary darkness like a race horse. Whatever It Takes! Daniel sings with power, the backup vocals went full-blown effort to accompany a true hero's quest to the top. It's so passionate, something going for an era's penthouse. The chorus opens up such an empowerment stage, opens up the tension from the verse's schizophrenic delivery. Verse and pre-chorus seem to logically lead to the high point, a straight up "take me to the top" moment! It's straightforwardly four-on-the-floor in the style of a classic pop song. The claps, hi-hats being actually used to create a sense of action-packed high drama, it's intense, just as a brighter drum sound with a sense of swing, all serving the one, the protagonist. What Daniel's singing carries emotion so fiery and full-blown, decisive to do what it takes to be on top to find real brightness. The adrenaline's pretty great, when it truly feels like an adventure, in the forefront and center of something that feels larger-than-life, top-of-establishment. Every line of vocal delivery is followed by a wave of chorus harmony, so intense, so dramatic, complements the lines quite well, it's playing so catchy. True hero's never really silent, he carries his passionate vocal delivery through the entire chorus, fighting for human being the real protagonist over instrumentals. And that third "Whatever it takes" leads to the harmony going high, synchronizing to the most iconic real melody moment of the era. "Yeah, take me to the top/I'm ready for whatever it takes" strikes such nostalgic yet futuristic feelings. Takes me to the time I'm really feeling it! Upon dat power release, it retro-repurposed and captured the music scene's singer-songwriter spirit, sounding real pop, with Imagine Dragons' classic alternative rock band edge as to add power. It's leading that old-fashioned pop scene yet a sense of that the real positive pop scene's actually in the future. Through all that ambient schizophrenia of the instrumental and flounder forward, someone's gonna be a real protagonist. It feels so larger than it is. Gotta earn and fight for the brightness. Because that's what real Mr. Brightside does.
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Post by Deleted on Mar 28, 2019 22:55:16 GMT -5
"I'm like, 'Hey, what's up? Hello' Seen yo pretty ass soon as you came in the door I just wanna chill, got a sack for us to roll Married to the money, introduced her to my stove Showed her how to whip it, now she remixin' for low She my trap queen, let her hit the bando We be countin' up, watch how far them bands go We just set a goal, talkin' matchin' Lambos At 56 a gram, 5 a hundred grams though Man, I swear I love her how she work the damn pole Hit the strip club, we be lettin' bands go Everybody hatin', we just call them fans though In love with the money, I ain't never lettin' go"
Review: It's one long-ass hook. It doesn't feel that relevant anymore, but it's fun to feel the nostalgia sometimes. It's one f**king catchy hook, so up there, so swelling up to a fantasy of its new brand of earworm. It's a holy grail of a hook. It's like something of the era, something the mid-decade midwest urban scene would bring that's hard to replicate outside of that time frame. It's at the time where urban techno beat and streaming's not completely taking over Hot 100, The hook's not going hardcore badass, but instead, as the most iconic Fetty Wap hook, it's dorky, fun to be alive, it's actually humming a melody and it might just as well be among the catchiest ones. I don't know if those 40-second sections are meant to be the hook, as they are more like catchlines that start the song along to get comfortable, but then the they ring pretty well along the way, and you can tell it's by far it's best selling point, it's just like yodeling, kiddy kind of melody, Fetty's trying to sell the lighthearted persona, over the short burst of crisp synth string attacks, the trap beat with uncertain pacing, the siren urban sound ebbing and flowing, and then twenty seconds in when the beat drops, the faster linear hi-hat, the douchily iconic "bang bang" in the background. There's something harmonious about that, as if that's what it's supposed to be, it's almost natural to the point it's effortless coming from Fetty. It's some hook, that really captured my attention throughout, even though the melody's some two lines back and forth. He's yodeling and having fun. The catchiness could make up for the shortcomings from Fetty's patented blend of murky production and murky half-wailing vocal. Who really cares about the lyrics, whatever stove, trap queen, bando, 56 a gram, pole are referring to? It's clearly not a mental f**kboi of a deep song. For some moments in a dreary day, one would just wanna chill and listen to a holy grail of a catchy hook, and this one was it for a while, I like what it's trying to be, finding its way up, each line's naturally building up momentum, the hillbilly yodeling's finally swelling to such a high, king status at "Everybody hatin', we just call them fans though/In love with the money, I ain't never lettin' go", such punchlines that ease through and bring the chorus to a fore, call them fans though, 'cause it's some effort that would be up there for a while.
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Post by Deleted on Mar 28, 2019 23:19:02 GMT -5
"You show the lights that stop me turn to stone You shine it when I'm alone And so I tell myself that I'll be strong And dreaming when they're gone Cause they're calling, calling, calling me home Calling, calling, calling home You show the lights that stop me turn to stone You shine it when I'm alone"
Review: As I consistently ranted, early this decade's a disgusting era. Did that automatically make whatever artwork came along in that era something affixed by that dreadful putrid energy, between the stereotypically western modern pop, flashy Hollywood movies, and hallucinated parties from teenage dreams, too glum and lack of self-awareness to have any glimmer of goodness? On some levels. A delusional pop scene, blowing up millions of audience while the real energy itself's the size of a little room, and at a bad era like that, the scenery's actually confined and stuffy, the only "friend" one would get sometimes was just neon lights, string lights that would blink and decorate a tree or the whole room up. Sometimes they would get uncanny, yet sometimes I realized that it's actually what can make a personal room personal. With standard drum beats, sweet vocal, some charm, fluidly self-grooving the entire hook, it's a party at a dreary existence. Isn't that the something to address? Purge darkness!!!!!!!!!! Or I'll f**king beat the world up.
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Post by Deleted on Mar 29, 2019 21:10:12 GMT -5
"I'd like to make myself believe That planet Earth turns slowly It's hard to say that I'd rather stay awake when I'm asleep 'Cause everything is never as it seems (when I fall asleep)"
Review: Let's get one of the final songs from early decade out of the way... It was some fairy tale in a bedroom, a fairy tale for this chorus-driven nighttime light ballad to enter my playlist years ago, and it was being an instant supreme leader. It really was the most f**king moving thing of that year, when the hook struck, I was absorbed from 0 to the f**king kingdom come, instantly being hit by a classic-sounding wave of nostalgia and warmth, it felt so close to heart in that year. The drums, symbol, the symphony... the sequencer to bling like a cute little processor just like the lightest and softest use of the mechanical. It's such a mix of warm and nostalgic ambience. "It's hard to say that I'd rather stay awake when I'm asleep" sees the melody curves back in, and made my heart go like "Oh yah! It's like from melody itself." At that time it almost defined what the word "nostalgia" sounded like... Even though Owl City had that plastic lightweight sanitized sound that ultimately didn't stand test of time, this hook still sold pretty well on what it's trying to be, the beauty inside and outside of bedroom, the softness of mechanical, the "planet Earth turns slowly". It's so personal-sized, that DIY feel's all it needed anyways, from an era where everything's big and phony, crowd's crowding out the sense of clean personal space. And this chorus was my hero of that dark era. It's art decor of a song, I was picturing that robot and toy theme and beyond that there's a sense of passion at the sea beyond a bedroom of one playing piano even during a dark era where the big and phony was pressing on one. But yeah, "everything is not as it seems", there's gap between face value and the real nature. I didn't know what it really meant back, but I have remembered this song as the one I fondly wanted to click with its lines, it's one fine little corner cut for me at that dark era before I fell asleep and got swallowed by the morose monsters of night terrors of always trapped in such uncanny dimension of dark-ville.
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Post by Deleted on Mar 29, 2019 21:56:25 GMT -5
"You got that James Dean daydream look in your eye And I got that red lip classic thing that you like And when we go crashing down, we come back every time 'Cause we never go out of style, we never go out of style You got that long hair, slicked back, white t-shirt And I got that good girl faith and a tight little skirt And when we go crashing down, we come back every time 'Cause we never go out of style, we never go out of style"
Review: I've always remembered Style as the most feel-good Taylor Swift song I've experienced. From that same well-rounded pop album that's bolstered by that golden era, Shake It Off's hook's more of the lead of the era, more of iconicity itself, it's more catchphrase, and Style, in comparison, has a simpler hook, straightly catchy, more like a melodious chorus to hum to. Convincing points for Style to be at the helm of an era: guitar clicks on the background in the wake of the ambient sample loop, well-mixed straight beat, the risers to heat up like waves of chorus passion, '80s sequencer synth sound that sticks the hook's impression as hovering between electronic and natural side of spectrum. What it's directly going for is to be a melodious product, a melodious singer-songwriter effort, a melodious hook, a fashion statement, in a different way from Look What You Made Me Do. Obviously it's much more like music than LWYMMD. Every line's pronouncedly catchy and iconically climactic. Granted, the melody's somewhat repetitive, basically the same line for a few times. It's holding the same note and then reaching some hype at the end of each line, that might be relegated as a cheap attempt for catchiness, but when the sense of climax and catchiness and style come to a good balance, it certainly can't really feel cheap, can it? That James Dean daydream, red lip classic, long hair, slicked back, white t-shirt, good girl faith and a tight little skirt... it's more detailed and descriptive than what the dusty mundanity's calling for. It's about something cute, a sense of being human with stylish hobby that hard objective nature ought to not mess with. Some euphoria. Its timelessness does have a sense of ever-present calling on it. Its biggest potential for philosophical implications here? "We never go out of style". Style has something to do with infinity. You know how something feels larger than life? The visuals in the music video: Taylor and the guy are a part of the infinite artwork, and the infinite artwork's a part of them. It's all of a sense of profound stuff's implied from there. It's like a set pattern. The delivery's ultimately something aloof, blended right in the objective state of the ever-present ambience. Everything's a part of number pattern, and numbers build geometry, colors, some infinite artwork just like a gallery. Through the woods, them at the beach... or in some half-illusional shapes and mirrors of '80s or even vintage aesthetics. You can perceive the style side of spectrum within numbered nature. And we never go out of style. Style never goes out of us. Is this really a chorus of an artist, a scholar, or an advanced thinker? Or it's just that, you stare at a mirror in the music video, and it stares right back, all you can feel is implied timelessness.
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Post by Deleted on Mar 30, 2019 23:52:44 GMT -5
"If you're gonna be a homebody We're gonna have a house party If you wanna be a homebody We're gonna have a house party"Review: The "it" moment of Montevallo. Sam Hunt's one country hunk of mid-decade, so likeable, Montevallo has such likeable and accessible sound for southern music. The title, the attractiveness, the melody... It's the whole package. Sam Hunt does have that ability to distract you from whatever uncanny darkness' haunting your crib. Dat hook for House Party's like the house party of a hook. When it didn't hit, it's staying fair to middlin', a shell of a hook. A debatable "chorus" that sounds like a transition. But when it did hit like the most close-to-heart f**king thing ever, it's gonna take all that energy of iconicity and I was listening to it on repeat and dancing to it like a goofy idiot. "If you're gonna be a homebody, we're gonna have a house party" Sam Hunt may sound just like a typical dude, but this hook does sound pretty intentional and subtle for something to hit just the right spot, the guitar clicks hit three times at each lines, the percussion loop chugs along and sounds organic and human. It's mere 4 short lines, but they make the word "generic" sound high af. It's some Sam Hunt magic, you don't get hunk playing attractive music very often. It's such a Sam Hunt hook, the energy resonated around him, in a bar, in a club, in a small town resort covered in snow or immersive summer air. "Homebody" and "house party" aren't the best rhyme, but then tell me why do they hit my heart every time? It's like a charming call and response, such a f**king punchline, two lines alternating, one throw and one catch, and my brain went: "Oh, yeah!" The sh*t's ambient, Sam's vocal blends right in, but when you live for scenery and ambience, his vocal's a harmonious part of the ambience. His intention's not one to dominate the beat, it's to be in and around the melody with style. He's playing it half-blurred, half-baked delivery, but he's playing it adorable, the mixed southern accent and tone in that greatly memorable "house party" line. The way he sings the phrase "house party", is like the best thing from country music in a while. It's probably just an attempt to make an enjoyable hook, but the classic electromagnetic field really caught on to it, it's just what Sam Hunt does, jump around, clubbing with a melody, being homey, having that white teeth and big square face that's just... ideal for a house party within itself, red and wooden star-studded scenery in a clubhouse. Remember skiing from high mountain? That's how much it's gonna f**k people's mind off with chills. Every time I heard this hook was like a celebration, like, damn, I didn't even see such a simple melody could be on the forefront of southern and midwest suburban spirit, yet it is, always has been, sometimes you don't even wanna ask for more.
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Post by Deleted on Mar 31, 2019 0:31:52 GMT -5
"'Cause the players gonna play, play, play, play, play And the haters gonna hate, hate, hate, hate, hate Baby, I'm just gonna shake, shake, shake, shake, shake I shake it off, I shake it off Heartbreakers gonna break, break, break, break, break And the fakers gonna fake, fake, fake, fake, fake Baby, I'm just gonna shake, shake, shake, shake, shake I shake it off, I shake it off"
Review: The most iconic Taylor Swift hook, period. Can't think of any TS effort to top this big eventful lead single from the TS commercial powerhouse 1989 from the New England high point. It's more like an anthem and a movement, when it was just released like an event in 2014, I picked up something so fresh and different in this hook from the rest of the music scene. It's been years, the edge of this hook still stands. You want big iconic talks about American dream and how an East Coaster would keenly pick up on that aloof elite energy, then Shake It Off would be one of the songs to be on topic. One can accuse the hook as another catchy nothing hook that sounds the same same same same same. But this has a different edge from the word "generic". They went all out to emulate something classic, the so-called '80s motown-style with lush trumpet, saxophone sound that goes off short and brisk like it's from a lighthearted marching band, the brassy synth string is like a fresh sanitizer, when it hits it's more self-ambient than any other Swift lead single, and while the drum and percussion are in a mechanical loop reminiscent of Umbrella, but it's a fun loop, with a fun edge, like something in a city role-playing game's soundtrack. It's music being made there. As the hook hits, you can immediately feel the elevation from a generic realm to somewhere that can be characterized as musical and artistic, shuffling the energy of the music scene to align with the New England high point, fit that bright white light scenery of the music video. It's the case of iconicity where the artist did that, something that sounds so rad cool that it's hard to use words to explain. "'Cause the players gonna play, play, play, play, play/And the haters gonna hate, hate, hate, hate, hate", she's like, holding one word over and over, notes dropping like a celebration that curves back up, the pacing's so straight to the point that it's almost like, not how English naturally paces, it's like, flipping human speech pattern spectrum. It's too action-packed and cool to be just about haters. It's about having fun itself. There's too much urban action-driven jumpy grooves to enjoy. She's dorky half of the time, goofing around the rigorous ballad dancers, never really fitting in, but hey, it is what it is. It's just them, they're just doing their own... thing, no one's really ever fitting in, because the only type of fitting in is the time I realize my self-consistency.
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Post by Deleted on Apr 1, 2019 0:35:52 GMT -5
Who's the real "21"... savage??!
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Post by Deleted on Apr 2, 2019 3:41:54 GMT -5
“Body like a back road, drivin' with my eyes closed I know every curve like the back of my hand Doin' 15 in a 30, I ain't in no hurry I'ma take it slow just as fast as I can” Review: F**k haters. Critics got united front to put BLABR as the worst song of 2017. But I like the biggest Sam Hunt hit, a lot. I defend this chorus, always have been. Why such pretense? Don’t you all already know what garbage music scene and the world in general has been? Body Like a Back Road knows the trap influence, knows the murky and watered-down production, knows some type of half-baked lyrics that’s walking the line of weirdness. But it does it well. In fact, it’s one level more melodious and elevated than the dusty music scene. You just look down at those haters. Speaking of New England vantage point, this chorus is basically Red River Valley 2.0, a jam to play along suburban East Coast drive-by. It’s one step up from the southern energy from the patented Sam Hunt country music, and it was going urban in an adventure-packed 2017. Granted, it sounds like a demo, the production doesn’t scratch the industry standard sound quality, sounds like something made in an urban-influenced bedroom studio. Got that exposing minimalist quality. The tracks sound a little blurry and mixed in and not clear-cut enough… as the haters gon’ say. But when the beat drops, the hook hits at a chillin’ tempo, it does make a difference between urbani-sation and urbani-sensation. Guitar chords strike with R&B groove, the snappy beat hits very straight. But on the background there’s sounds of instruments raising a voice, at some point there’s that fresh sense of melody drizzling in from the background, what an ambience! It’s an enhancement to the Red River Valley, with that classic and nostalgic edge, it sounds red, it sounds like creeks, lawns and houses, outlying part of a big city. The melody curves around and curves back in, resonating, lining out the back roads, the creeks and culminating just around the town streets. Just like House Party, Sam sounds just like a regular dude that’s gonna know better. But the “typical dude” some people usually portray is somewhat different from the face value. Again, during the peak of the song “Doin' 15 in a 30, I ain't in no hurry/I’ma take it slow just as fast as I can” it just sounds… so intentional. Like, he subtly knows what he’s trying to sell, he knows what he’s doing and he’s f**king with your brain in a melodious way of iconicity. Sam sings with that routine voice, but he is kind of a trendsetter at this point, a routine kind of voice that defines the word “classic”. I mean, just listen to what he’s saying when the more dramatic second part kicks in and the crowd’s chanting just like the urbani-sensation it’s trying to emulate, each phrase, each line it’s like a punchline, having a sense that it has tried, yet it’s effortless to sound like a subtle classic. “15 in a 30”, “ain’t in no hurry”, “take it slow just as fast as I can”… Every line it shimmers with some half-reference, half-metaphor, half-oxymoron… Being fast yet it’s still taking it easy, hurry yet no hurry, desperate yet feels how it’s gonna go… being generic just as iconic as it can. Ain’t that the best f**king line from country music this decade? “Take it slow just as fast as I can”… it’s like an immediate eargasm. So clever. I’ll say it’s that classic electromagnetic energy really caught on to this hook and it sounds like a progression of its own, from summer 2017 to beyond. It literally sounds like riding toward a fantasy, as the car pulls up from a small town scenery’s tranquility and chamber and commerce toward the city of highest power and dreams…
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Post by Deleted on Apr 2, 2019 3:43:15 GMT -5
“You just gotta let my love Let my love, let my love adorn you Ahh, le-le-le-let it dress you down You gotta know, you gotta know Know that I adore you Just that, baby Oh, let my love adorn you, baby Don't you ever, don't you let nobody tell you different, baby I'll always adore you, you gotta know now” Review: When the rest of the urban scene’s messed up and about drugs, Adorn’s about an art dealer. Adorn’s basically the art dealer of this decade, a periphery Hot 100 hit, but haven’t you seen Adorn’s name being mentioned too many times in professional critics’ best songs of the year/decade lists already? It’s the one to suck you right in with its… art and how much it sounds like art and talent being channeled in music form. Adorn’s is like the king of fluid songs, the verses and hooks are one and they blend in so harmoniously that it’s hard to not feel impressed when the hook hits and it feels both like the verse and oh so dramatic. It’s really hard not to feel impressed by this hook. Every single layer sounds fine, intentionally made from scratch by musical and production talents. It sounds like the model example of something straight from L.A.’s industry standard music studio’s pro-tool session. The beat’s among the most intentionally-crafted yet, it’s supposed to sound like moderate-tempo four-on-the-floor, with kicks cut abruptly every other turn for effects, yet it’s trying to be not completely flat and straight, trying to have that nuanced triangular motion, with a hold right before the kick, and that kick drum fill beats in and wraps up each 4 measures. And whenever I listened to this hook, it immediately hit me with how much it sounds like music. It hits right with the harmony, it’s a lush one, real lush, the type of sh*t that’s recorded one note per layer, yet they sound like one rich wave of warm stuff that’s uplifting toward a theatrical fantasy, and that harmony’s suddenly succeeded by that lush choir of “ooh”, all shimmering with emotions, interspersed with Miguel’s schizophrenic loop of rhythmic speaking of dat art dealer line as well as sparse bell sounds and that “woo-wah” to add on to how fluid the chorus flows through. Restrain’s low, emotions are wild, then he’s doing that “ahh-ahh-ahh-ahhhhhh” thing, which, if you ask me, it’s both like a f**king caterwauling with unrefined edge in voice, and one cathartic blast. That sh*t with that harmony’s like, out-caterwauling each other, and it’s so hilarious to listen to, a full-on effort of exhaustion within the bigger bound of totally under control of artistry of human nature. Miguel made urban music sound more human than ever, that art dealer line, the aforementioned harmonies, the intentionally crafted beats all reflect some qualities of being human, to add on to the conversation, his laughter on top of the next line’s adorable, hit me just about when I was trying to align with the concept of being spontaneous. The full chorus lasts more than 40 seconds long, it’s not just a succinct burst of emotions, but instead, it’s more like half the song, the warmer half of the song, the warmer half of everything.
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Deleted
Joined: January 1970
Posts: 0
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Post by Deleted on Apr 3, 2019 4:55:40 GMT -5
"We could have had it all (You're gonna wish you – never had met me) Rolling in the deep (Tears are gonna fall, rolling in the deep) You had my heart inside of your hand (You're gonna wish you – never had met me) And you played it to the beat (Tears are gonna fall, rolling in the deep)"Review: For the record, the reason this 2011 Hot 100 hit's high on this ranking is that I don't really consider this as an early 2010s hit, because I connected with it more strongly just last year as a song to retrospect dark times with, so I would consider this as a recent hit. I mean, surely you can hear it for yourself just how big of a profile and energy source it has been over the years, it's the lead single of an enigmatic era-defying album name-checking such a badass number "21", with a chart run in Billboard 200 that's just hard for human to really understand at the time, it took the rolling in dark and ominous years this decade to crack this polarizing behemoth's movement over the years with 84 weeks in album chart's top 10. Its chart run's like a story. Rolling in the deep... It doesn't just carry a volcanic chorus, it carries a story. Early 2010s sucked, so hard, you seriously expect that sugarcoated Hollywood cheap candy music scene at the time to have any sense of self-awareness or reality? Who really knows Avatar in real life or spaceship or big and phony action movies? 2012 apocalypse theory was just about that era, remember the chorus of Pompeii? That's how much buildings were run-down, to be paralyzed by darkness, zombie-ish people with strange eyes. That serious larger-than-life disastrous feel started to sneak up on people. Was there ever an ark? What the scenery really felt like was trash in the alley, stickiness in the air, all was crumby, the real teenage dream was trapped in the somber nightmare-ville. A city was a nightmare-ville, inside and outside of a house, to find light from that grey and feverish scenery's gonna take a miracle. Who's not having a heartbreak, who's not having fever pitch in a dark and grey room with depressing scenery around in that era? The biggest singers of that era practically all fell into that tragedian category. Adele's a definitive tragedian in that era. Rolling in the Deep's chorus, tho. Adele's with one of the thickest and heaviest voices in music scene in 2010s, charging with a heartache on top of the powerful yet surprisingly minimalist beat, plucks, incredibly low staccato piano notes, four-on-the-floor percussion, drum fills... But it's all it needed anyways, to drive the emotion to the fore, such gloominess and feverish pitch in mind and body. That thudding guitar-driven plucks were charging forward at every step like thunder, "We could have had it all/Rolling in the deep", seriously, who would really buy it as just a love song? Its implications are more serious. It's like Kendrick Lamar's To Pimp a Butterfly, where he's taunting America. I'm talking about the general sentiment here. Rolling in the Deep's energy feels like it's in similar vein, sounding just like the world's all gonna hear. The singer's crooning along obsessively with such passive-aggression that's hard to use words to describe. I mean, listen to the groove on "We could have had it all/Rolling in the deep" line. "You had my heart inside of your hand/And you played it to the beat"... It's like, foreshadowing Kendrick Lamar and the like to turn that powerful emotion itself to more substantial societal statements. Fever pitch and pelt-up passion's high, and the world's gon' be someone's oyster. The gig sold 11m copies in America alone as a part of the album, and another 8m copies as a single. Only the bearer of some iconic energy wanting to rise above abject conditions could be rolling in the sales market and f**k its way to the top. Imagine the hero's a businessman to taunt the world, even when the entire ambience of the room's grey, with old-fashioned British aesthetics, but more blended in something universal in tone. It's almost like, businessman-ship of a chorus. It made me wanna find the businessman in me during dark times.
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Deleted
Joined: January 1970
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Post by Deleted on Apr 3, 2019 5:13:33 GMT -5
Oh, I almost forgot to post:
The year distribution of top 20:
The top 20 has... 2018 * 1 2017 * 5 2016 * 1 2015 * 5 2014 * 3 2013 * 3 2012 * 1 2011 * 1 2010 * 0
2015 and 2017 still account for exactly half of the tally!
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Deleted
Joined: January 1970
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Post by Deleted on Apr 3, 2019 5:18:33 GMT -5
Thanks you guys for supporting this thread! Especially born, you seem to like a lot of the reviews.
Now that there're only 18 songs left, the higher up on the list, the more details I obviously wanna get into for the review, and it's a tougher effort than I thought to do so, so that means I can only post 1 daily from this point. So it'll take about 3 weeks for this thread to wrap up.
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