Tuesday, March 29, 2011

| the single life: issue sixteen |

// Pusha T - My God //

 

Leaked as a single in early February, "My God" is the crown jewel of Pusha T's recent mixtape effort, Fear of God. There is no catchy hook or chorus here, just Push oozing conviction and laying his proverbial foes to rest. Between the electric guitar riff and the measured snare rolls, the track plods along almost at the pace of a funeral procession. The tambourine and organ add a little flare, but there's no mistake that this cut is weighty and dark. The simplistic yet powerful "Yes, my God..." hook fills so much space the way it echoes. This is a man with confidence at an all-time high, and we are listening to his self-affirmation.


// Frank Ocean - Songs For Women //

 

California-based hip-hop collective Odd Future (Wolf Gang Kill Them All) have made many a-wave in the last couple of months. In a nutshell, they're as bizarre as their name might suggest. If their outlandish approach isn't for you, it may help to know that there's at least one apple in the bunch providing a little bit of mellow flavour. Frank Ocean is the group's resident R&B singer/songwriter, known to some for his previous work writing for John Legend and even Justin Bieber. He's another unfortunate case of a talented young man, signing a major label deal and never getting the chance to shine. The story is documented briefly here. Off his self-released album titled Nostalgia, Ultra., "Songs For Women" is a super chill track which showcases Ocean's production talents. He's got a pretty decent singing voice to boot. Does he sing songs to win over the ladies? Check it out for yourself.


 // Daft Punk - The Son of Flynn (Ki: Theory Remix) //

 

The soundtrack for Tron Legacy was already pretty sweet. Last week, we were treated to a reworking of Daft Punk's original score by a gamut of electronic heavyweights. From Crystal Method to Paul Oakenfold to M83 and Kaskade, there are plenty of familiar names on the bill. My favourite track from Tron R3C0NF1GU3D is Ki:Theory's remix of "The Son of Flynn". That electric guitar just about makes me lose my shit every time. For those of you looking for a new powersong to freshen up your workout playlist, here you go.
 // The National - You Think You Can Wait //


Now completely changing gears, here is an utterly wonderful track from The National. The title track for the upcoming film, Win Win, "You Think You Can Wait" has a sort of grounding effect on me. It's music for your moment of clarity. The question,"you think you can wait?" is perhaps one of the hardest and most honest questions a person can ever ask him/herself. This song challenges you on a different level than what you would expect from a mere song. It's spooky, but you can't deny good music. What effect does it have on you?

// Shlohmo - Places //


Loosely categorized as "experimental", Shlohmo's "Places" is a peculiar piece of work that I can't put down. The LA-based producer seems to have various hip-hop influences in his work. Most notably, I'm hearing a lot of D'Angelo in here. The cool thing about "Places" is its movement - it seems to be constantly going somewhere, blossoming. It's chill, ambient, and simply relaxing. I'm a fan.


// Funeral Party - Car Wars //

 

I could be a bit off on this one, but Funeral Party really reminds me of The Rapture. In any case, the Cali indie rock quartet can at least groove like the now-defunct dance-punk band. Funeral Party's first album, The Golden Age of Knowhere, released earlier this year to generally warm critical reception. Boosting a boogy-down bass groove and some electric vocals from frontman Chad Elliot, "Car Wars" will definitely get a few people up and cutting a rug.

Wednesday, March 23, 2011

| bad, real bad: rebecca black |



...... how does this have 36+ million views, and when did Michael Strahan and Flo Rida fuse to become a single person?

You know, there are just some things you can't unhear.

| the single life: issue fifteen |

// James Blake - What Was It You Said About Luck? //

 

The biggest breakout artist of the last half year or so has got to be James Blake. Heralded as the pioneer of post-dubstep, the electronic wunderkind is a fixture in any discussion of what's the shit right now. His more recent work seems to have taken a more soulful turn, with Blake providing the vocals himself instead of sampling. Thought the album is a masterwork, I've decided to post "What Was It You Said About Luck?" - a B-Side from the "Wilhelm Scream" single. It is a minimalistic yet hearty 2:20. As with much of Blake's work, categorizing or even concisely describing this song is very hard to do. There are elements of songs you know and like, but they put together in eye-opening fashion. Gem status.


// Wiz Khalifa - The Race //

Download

I've had doubts about Wiz Khalifa's staying power in the industry. He'll always have "Black and Yellow," but what else does the super rook have up his sleeve? With Rolling Papers due out at the end of this month, the stoner rapper fom PA figures to keep the momentum going. With "The Race", Wiz pretty much has a sure radio-friendly hit. There's no doubt in my mind that you'll hear this at every BBQ you go to this summer. The super chill vibe (courtesy of ID Labs) is absolutely perfect for that laid-back afternoon.


 // The Strokes - Taken For A Fool //


Download

Since their meteoric rise to fame in the early-mid 2000's, The Strokes have largely failed to fulfill the enormous expectations cast upon them by their supporters. The after putting out First Impressions of Earth in 2006, the group cited artistic differences and went on an extended hiatus. After years of jerking their fans around, the group somewhat unexpectedly put out Angles. The album has glimpses of the sound that brought them to prominence, but also falters in its experimentation with new sounds. Among the winners on the new album is "Taken For A Fool." The track is energetic and sounds like a complete effort (which, sadly, is an accomplishment considering the band's lack of cohesiveness). The guitar licks in the chorus are classic Strokes, and Julian Casablancas vocals actually mesh with the instrumental track instead of just hovering somewhere above it. Hey, it might not be "Reptilia", but I'm just glad they've still got some of the magic left.


// Robin Pecknold (w/ Ed Droste) - I'm Losing Myself //


 Download

For fans of Seattle-based folk sextet Fleet Foxes, Robin Pecknold is recognized as a gifted and honest singer and songwriter. Enlisting Grizzly Bear frontman Ed Droste for a duet is a great look for fans of the two bands. "I'm Losing Myself" is a tale of insecurity and romantic contentment. The two singers' voices in harmony is spot-on, delivered with agonizing purpose. Despite the apparent simplicity of the song, there's an overwhelming quality to it. As the listener, I couldn't escape the crushing weight of Pecknold's confession: "He's a smooth talker, and he shaves his face / And I wonder if you look at me and instead see him taking my place." The song is so undeniably honest; I can't seem to pry myself away from it.


 // Red Cafe f. Lloyd Banks & Fabolous - The Realest //


Download

I've been riding with Red Cafe for years now. He's been on his grind for what seems like an eternity, and I hope that he'll find a way to break through. Off his recent mixtape entitled Above the Cloudz, Caf unites with Lloyd Banks and frequent collaborator Fabolous. Nothing fancy here, just a lot of chest thumping over a typical street beat with air horns and fake flutes... and it's great.

Monday, March 21, 2011

| the single life: issue fourteen |

// The Civil Wars - I've Got This Friend //


 The Civil Wars are an indie folk duo comprising of Joy Williams and John Paul White. Best known to date for having their heart-wrenching ballad "Poison and Wine" featured on Grey's Anatomy, the pair recently released their first full-length studio album. Barton Hollow features many soaring harmonies that Williams and White have seemed to perfected in the relatively short period of time they've been performing together. "I've Got This Friend" is a folky number about that friend who just can't seem to find love. The tone of the song meanders between playful and melancholic, while both singers let loose vocally. Great stuff.


// One Republic - Secrets (Oblivion RMX) //


Download

I've got to admit, the release of One Republic's Waking Up two years ago totally flew under my radar. I've got a ton of respect for frontman Ryan Tedder, but One Republic's stuff has always seemed a bit one dimensional to me. Enter: Oblivion. Quite a few blogs have been showing much love to Oblivion's dubstep reinterpretation of One Republic's "Secrets." As we've seen lately, dub is slowly but surely creeping its way into mainstream pop. The glitchy robotic beeps and buzzes hit hard and enliven the polished (but relatively pedestrian) strings and percussion of the original. Check this out if you're curious about dub, but can't stomach whole tracks of it (yet).


// Big Sean f. Chris Brown - My Last //


Download

To the average casual music listener, the name Big Sean probably isn't considered a household name. Still a relative unknown compared to his famed GOOD Music stablemates, the Detroit native comes full-value on his latest single, "My Last." Assisted by a classy No ID production and catchy Chris Brown hook, the slick emcee raises his glass to life in the bigs. It's a feel-good track with a few whip-smart lines that'll crack a few smirks: "Since I signed the con’, I’m Louie Vuitton shine/ Up in Benny Han Han eating all the Wonton / Rose rose over a little Chandon / Put her hands down my pants, now she rocking Sean John." Look out for Finally Famous, due out early May.


 // Lupe Fiasco - All Black Everything //


Download

With LASERS, it's clear that Lupe Fiasco had to go for a more radio-friendly aesthetic. With Atlantic breathing down his neck, it's not surprising that album sales became the focus. Thankfully, Fiasco's lyrical pedigree is still front and centre for the majority of the album. On "All Black Everything", the Chicago emcee reimagines Black History had the cards been dealt differently. Set to a glamourous sample of the jazz standard "I'll Be Seeing You", the track soars as Lupe ultimately rallies for a brighter future. The other side of the coin, then, is a criticism of modern day Black culture. Take from what you will, but it's at least an intriguing conversation starter. What if...?

Wednesday, March 16, 2011

| R.I.P. Nate Dogg |




The best hook man in the business, period. 
Rest in Peace.

Friday, March 4, 2011

| best of 2010: 9 - 1 |

24 pages and 12,500 words later, I give you the final installment of my much overdue 2010 wrap-up. Hope you've enjoyed counting down with me. Regular posts will resume this weekend!


If there was one song of the one hundred to grace this list, Moto Boy’s “A Different Kind of Love” would be the one you’d never heard of. Obscure, yes. Worthy of a spot in the top ten? Absolutely. Moto Boy is a bit of an odd character, perhaps better known in his native Sweden for his fondness of wearing lipstick than his pristine falsetto. Thankfully, his inclusion here is based on his musical accomplishment and not his choice of lip liner. The distinctly feminine quality of his voice is definitely one of the first things you will notice, but hearing it is like watching HDTV for the first time. His voice has the rare kind of clarity and timbre that simply sparkles. “A Different Kind of Love” is a hair-raising throwback to pop ballads of the 80s and early 90s. The song begins like fog pouring out of dark forest, but is cut abruptly by the shimmer of Moto Boy’s voice. At around the 2:30 mark, the song gives way to a towering passage featuring violins and a rumbling set of synths. The combined effect stirs the soul.  Check out his album, Lost in the Call. It’s got a few more good ones.



These days, it’s like a thing to say hip-hop is dead. Though the genre is evolving with the lines being blurred with indie rock and electronic trends creeping into hip-hop, there are still a few dudes putting it down for the old school. J. Cole knows when to cut the bullshit and just slay a beat like a true rapper should. With respect to the cats working the street corner ciphers and basement freestyle battles, it’s been a while since someone of note threw down this kind of skill and conviction. His flow takes me right back to one of my favourite early Jay-Z joints, “I Can’t Get with That.” This shit is the b-i-z-n-e-s-s. It embodies exactly why I feel J. Cole is the next big thing in hip-hop. I just gave myself neck pains bobbin’ along to it. Again.



One of 2009’s nicest breakout artists was jj. In 2010, they continued to baffle and impress with their slick method of warping contemporary hip-hop staples to blend with their compositions. On “My Way,” they kick things off with an audio clip of a Charles Manson interview and later manage to splice in an old Lil’ Wayne verse. I’m not sure how the Manson clip compliments everything to follow, but it seems to add to jj’s mystique. I was surprised that “My Way” didn’t find its way onto the group’s second studio album, no. 3, seeing as it is far and away better than anything else they put out last year. jj again incorporated a a heavy tropical flavour with steel drums and a diabolical calypso groove. Weezy seems to appear out of nowhere like a hologram, spitting his verse before the cutting away into thin air. One he departs, the song draws to a slow end with singer Elin Kastlander disarming the listener with her soft coos. Oddly enough, “My Way” feels like an amusement park ride. It begins curiously, has its wow moments, and gently lets us down at the end. I’ve been on this one too many times to count.



Although Sleigh Bells will always be known for their raw, uninhibited thrashers, I think “Rill Rill” will continue to stand as my favourite off of their debut album, Treats. Amidst  the madness-inducing mosh anthems we find a welcome diversion in “Rill Rill.” Again, the lyrics fail to make any sense. Again, no one cares. The girliness of Alexis Krauss’ vocals is perfect over top the fantastic acoustic guitar groove they have going. Throw in some bells and finger snaps and you’ve got yourself a song that I cannot sit still to. 



When a friend of mine introduced me to Phantogram, it took me almost another 3 months to actually listen to the album. I sometimes get into these moods where I have very little patience when listening through new music. There’s a chance that I might’ve given Eyelid Movies the old Recycle Bin treatment if it weren’t for “Mouthful of Diamonds” being the album’s first track. I could not possibly describe my love for this song any better than by saying it is what I hope the future of indie pop sounds like. There are so many awesome things going on in this song, I don’t even know where to start. If you only listen to one Phantogram song for the rest of your life, make sure it’s this one. ‘Nuff said.


Picking the best song from My Beautiful Dark Twisted Fantasy is like choosing a captain for Team Canada. Really, there are no losers here. I have “Devil In a New Dress” locked in at #4 mostly because I feel it best embodies the different styles of Kanye we’ve seen over the years. The sped-up Smokey Robinson sample harkens back to his earlier material, while the thinly-veiled barbs at his ex-flame(s) in his lyrics are in line with the Kanye of late. The Good Friday version of the song didn’t feature the bridge or the Rick Ross verse, and both added considerable value to the final studio cut. The former provides a nice moment for contemplation before the song returns to form with Rick Ross co-signing West and doing a little chest thumping of his own. The track is big and almost regal - befitting of a man who shrugs and admits, “it’s hard to be humble when you’re stuntin’ on a jumbotron.”


One of the most talked-about indie albums of 2010 was The Morning Benders’ Big Echo. Personally, the album didn’t really do it for me, but the intro track and lead single, “Excuses”, is a diamond in the rough. Lead singer (and presumably songwriter) Chris Chu explains the song as a story about the contrast between the wonderment of first fall and eventual familiarity and comfort of old love. While the lyrics themselves are quite ambiguous, the melody and harmony lines of the arrangement practically beg you to sing along. I talk a lot about the “singability” of songs, but I’ve got to give the crown to “Excuses” this year. The introduction is like a “may I have this dance?” leading up to a thrilling snare roll, likely symbolizing the first kiss. “Excuses” makes me happy. It’s a celebration, and an achievement in encapsulating the spirit of love.


This year, it’ll have been 10 years since the death of Aaliyah. The world still mourns its R&B princess, her name still the subject of “what if” conversations. By sampling her cover of the Isley Brother’s “At Your Best (You Are Love)”, Drake pays homage to a true contemporary R&B star but also endears himself to all who still have a soft spot for her. The song itself is nice. Producers Boi-1da and 40 should be credited for maintaining that distinct Drake flavour while finessing Aaliyah into the mix. Drake is sincere and intimate with his subject matter, while Jeezy does his usual swag show. Really though, “Unforgettable” owes its appeal to Aaliyah. It sets the stage and immediately puts listeners in a position where their hearts are wide open. Call it a cheap trick, mere transitive property, or just genius production on the part of Boi-1da and 40. It may well be all three, but the result is magical.


There are many reasons why I had “Diplomat’s Son” pegged at #1 even before I started to compile this list. I know I’ve probably used up my “this song is so awesome I don’t even have words to describe how awesome it is” already, but I’d ask that you forget what I said previously and apply that statement here. My impression of this song is as if Vampire Weekend thought they only had time to make one song ever and decided to put all of their best ideas together into one 6-minute-long track. As far as I’m concerned, it’s a masterpiece. It’s their “Bohemian Rhapsody.” A lofty comparison, yes, but the length and segmented structure of the song always seemed to strike me in the same way. There are different sections, but it all fits together neatly and seamlessly. If you’ve never bothered giving Vampire Weekend a chance, here’s your chance to experience what their best work sounds like.

Wednesday, March 2, 2011

| best of 2010: 19 - 10 |


As the name suggests, Kanye West’s “Monster” is big, ugly, and heavy. Between ‘Ye, Jay-Z and Nicki Minaj, all three take the form of a monster: West (playing himself) as an egotistical, womanizing asshole; Hov as an ice-cold titan in a thankless music industry; and finally Minaj putting in a verse of a lifetime as a schizoid Barbie/Bitch. All in all, this is a monstrous effort truly deserving of the title.

Without a little perseverance, “Round and Round” could be quickly dismissed as a corny attempt to cash in the current popularity of lo-fi, weird-but-cool hipster pop. After giving it an honest chance, though, I saw why the track has been ballyhooed one of the coolest and most interesting of 2010. “Round and Round” is structured: it has a distinct beginning, middle, and end. Starting off, the listener is greeted by dreamy vocals and a 80’s exercise video groove – not much to get excited for. Thankfully, it builds towards an utterly glorious chorus. At the 2-minute mark, the song erupts into a shout chorus that challenges everyone without earshot to not join in. It is simply infectious, and strong enough to make up for any lulls or gaps elsewhere in the song. Upon repeated listens, it’s easy to fall in love with. In fact, the chorus is now my ringtone. So good.

When Kanye premiered “Runaway” at the 2010 MTV VMA’s, he smartly announced that the song represents an apology to Taylor Swift. He stood in front of the world in a bright red suit and proceeded to (indirectly, at least) call himself a douchebag. Though fleshed out on the album, I always found that the studio version of “Runaway” lacked the same energy and passion compared to the live spot. The vision of Kanye grooving on his sampler like a madman, ballerinas strutting around him, and Pusha making his electrifying cameo just about exploded my world. I still listen to the live version regularly.

Considering it was only a few years ago when members of Vampire Weekend were still working full-time jobs and doing music in their free time, I’d say things have turned out pretty nicely. Scoring a chart-topping record with last year’s Contra, the New York-based quartet have suddenly found themselves as the “it” band of 2010. As we can see with “Taxi Cab,” Vampire Weekend is known for drawing from all sorts of musical genres for influence. I particularly like the down-tempo style here, paced by the measured heartbeat bass kicks and echoed handclaps. The piano and harpsichord riffs also add a touch of elegance to the track. Ezra Koenig continues to be one of the most sought-after voices for cross-over collaborations. He can do fun and loose, but as “Taxi Cab” shows us, he’s comfortable being a little more reserved as well. 

For some reason, Man on the Moon II just didn’t really do it for me. The lead single was pretty wack and I just felt like the album made less of an impression than his first. Regardless, the album wasn’t without its winners. Over the past little while, we’ve become accustomed to hearing Cudi as the hook guy on other people’s tracks and kind of forgotten that he’s entirely capable of stealing the show on his own. “Mojo So Dope” reminds us that he’s among the elite when he’s bringing his unique blend of rap and slurred singing to the table. His rebellious disposition is still his edge, and he continues to milk that “just don’t give a fuck” angle. Will he flame out before evolving into a more mature artist? We’ll see.

For those who don’t know, Phantogram is electronic/rock duo hailing from New York. They had put out a couple of EP’s in North America before, but the 2010 release of Eyelid Movies was their first true introduction. Widely varied in their styles, one can tell they have an ear for melody but they still strive to create their own unique sound. My ear tells me there are hip-hop influences at work here as well. “Let Me Go” speaks to me as a song for the tortured soul. I’m haunted each time Sarah Barthel lets loose with that long, drawn-out “...let me go.” Musically, the song features diverse instrumentation and rich layering. I like busy music, as long as it’s easy on the ears. Thankfully, Phantogram delivers everything I like and more on this one. I look forward to more great things from them in the future.

After making his mainstream debut on Jay-Z’s Blueprint 3 in 2009, J. Cole’s cred has exploded exponentially. The dude is in prime position to become the next face of hip-hop: I can’t remember the last time I heard something like “Who Dat.” It combines an announcement of sorts, but Cole comes out swinging for the fences. Whip-smart punchlines, gaudy flow and sheer relentlessness power “Who Dat” Cole declares, “Bitch, I got that flame, so don’t worry ‘bout my name.” When’s the last time you heard it like that? Most newcomers will say anything to get their name in your mouth. J. Cole proves that if the shit is fire, people will clamour to be able to put a name to the face. Real talent.

Who would’ve thought that people would enjoy listening to noise this much? Normally, noise is garbage, ignored by anyone who values their eardrums. What Sleigh Bells did was take the novelty of the noise genre and infuse it a little bit of pop rock sensibility. Though the lyrics of “Infinity Guitars” don’t make a lick of sense, they don’t really need to because the listener is so preoccupied drumming or clapping along with the beat. The rawness of the guitars, tambourine and drums is also something to behold. With 40 seconds left, the lid gets blown off at song explodes and fires off its remaining payload, leaving scorched earth in its wake. In a few words: it’s fucking awesome.

It’s fitting that within the grandiose scope of The ArchAndroid, Janelle Monae would pen a letter to an unnamed deity, trying to make sense of our existence. Philosophy and music don’t always mix that well, but Monae strikes a harmonious balance. The folk-ish guitar sets a warm, earnest tone and is later joined by a catchy R&B groove. Monae’s soaring vocals are the ribbon and bow that bind “Oh, Maker” together and make it a pleasure to experience. Dynamic range is there as well, as Monae bounces from low to high, soft to loud. “Oh, Maker” will go down as one of the lesser talked-about tracks from the album, but I’m so glad it caught my attention. Really though, I can’t imagine how something this sincere wouldn’t catch someone’s attention.

While most people would only know Gorillaz for “Feel Good Inc.”, the UK-based group really has a solid body of work. Last year’s Plastic Beach continued the group’s penchant for the weird and eclectic, but the creative minds behind Gorillaz are still alive and well. I’ll admit that I’m warmer to their more poppy material, such as “On Melancholy Hill.” The synth-heavy tune is probably up there with “Stereo Love” in terms of how easily it’ll get stuck in your head. It’s perfectly singable, and that little chirpy synth riff is impossible to forget. The video’s pretty cool too (click above to check it out). To me, “On Melancholy Hill” is road trip music. I would make a slide show to this song. I don’t know why, but I would. It just has that vibe to it.

| best of 2010: 29 - 20 |


As hip-hop continues to be dominated by punch-line rap, it should come as no surprise that Young Money honcho Lil’ Wayne and top protégé Drake continued to feast like kings throughout 2010. While some may think the emphasis on one-liners takes away from storytelling and actual rhyming, no one can dispute the fact that these two are the leaders of the pack. “Right Above It” is boastful, but still has a positive tone to it. Weezy’s hook is almost like a call to all Young Money fans (of which there are plenty these days), smartly milking the cult-like following the fledgling label has earned over the past few years. This kind of “you’re either with us or against us” philosophy isn’t new by any means, but it sure is a powerful tool when used properly (see: The Miami Heat).

If you can’t tell, I’ve got a jones for positive rap. As long as rap exists, there will always be a market for the hard, dark, grimy aspects of hip-hop culture. What we should celebrate is artists who want to change the game and help it evolve. While he doesn’t always hit the mark with his highly-opinionated lyrics, Lupe Fiasco should be applauded for using his voice to create change. His forthcoming album, L.A.S.E.R.S. is an acronym for “Love Always Shines Everytime, Remember 2 Smile.” On the single, “I’m Beaming,” the Chicago-bred emcee bangs a drum for today’s young dreamers, imploring them shed their dark futures and join him in the metaphoric spotlight. Whatever your calling is, Fiasco empowers you to march to the beat of your own drum.

On an album chock-full of winners, I could not possibly ignore “You Ain’t No DJ.” The ATL hip-hop ambassador teamed up with Yelawolf to basically talk shit to wannabe emcees and DJ’s, trading verses seamlessly and scorching the competition. The off-kilter Andre-3000 production is a perfect platform for the two unconventional emcees. As the words fly like expertly-thrown daggers, the condescending tone is ironically welcome. The difference this and some bum rapper’s diss track is that Big Boi’s pedigree commands respect. It’s no coincidence that no one dared to respond to this track. “You Ain’t No DJ” is the first and last shot fired. It’s a one punch knockout made possible by lyrical acrobatics and a history of excellence on both the street and mainstream levels.

There’s a good chance Arcade Fire’s “We Used To Wait” wouldn’t have made it this high (or at all) on this countdown if it weren’t for the brilliant music video. Whether by streaming concerts for free online, or being the first to stage a music video website built on HTML 5, Arcade Fire stayed on top of emerging online trends to push their popularity to wild heights. Each strike of the piano is instantly given life as you see the opening scene of the music video – the character (yourself) literally running home. It hits on many levels: nostalgia, loathing of adulthood, regret, etc. “We Used to Wait” is also on the tamer end of Arcade Fire’s musical spectrum, which is a nice departure from their normally-raucous sound.

As My Beautiful Dark Twisted Fantasy is Kanye’s most intimate work to date, no other song on the album is more personal than “Blame Game.” Magic always seems to happen when Kanye and long-time collaborator John Legend jump on a track together. The content reminds me much of one of my all-time favourites by Eminem, “Love You More.” The volatile nature of Kanye’s high-profile romances (i.e. Amber Rose) no doubt provided plenty of fodder for him to tell this tale. Legend’s piano accompaniment is heart-touching: delicate, sombre, and almost mournful. Chris Rock appears to lighten the mood for the final 2:30 of the track. His presence isn’t all that important aside from adding insult to injury for Yeezy’s former flame. Yeah, Yeezy’s enormous ego taught you.

When covering any of Michael Jackson’s classics, one must be sure to provide an interesting twist. If done in the same style as the original, the song dies a quick and furious death as soon as anyone with a shred of music intelligence identifies it as a shitty imitation. I was mildly interested when I saw that Danish electro-soul duo Quadron had tried their hand at MJ. I read the description and saw that the response was actually quite favourable. Whereas MJ’s “Baby Be Mine” was funky and up-tempo, Quadron brings things to a slow crawl. Replacing MJ’s charisma is Coco’s subdued yearning. The song’s transformation is remarkable – almost to the point where the connection between the two isn’t readily apparent. A spoken piece from the King of Pop creeps in just before the end of the song as a nice homage to the fallen icon. A must-have.

This is a bit of a cheater pick because the song actually came out in Europe during Summer 2009. The dance anthem didn’t hit North American shores until early 2010 (which is when most of us finally heard about it), so here it is. “Stereo Love” is the first single from Romanian musician/producer/DJ Edward Maya. This collaboration with DJ/singer Vika Jigulina has turned into a global hit, spending a record 52 weeks atop the European Billboard Hot 100 chart. The song was also re-released in Canada as a cover New Brunswick’s Mia Martina replacing Jigulina. Though popular, Maya never the Mia Martina version and openly debunked it on his webpage. If you have a problem with Vika Jigulina’s accent, then the Mia Martina version might be a better pick. My vote goes to the original.

How Janelle Monae can generate such huge sound from such a tiny package never ceases to amaze me. In 2010, the petite siren finally broke into the mainstream with The ArchAndroid. Combining a unique musicality and enough vocal chops to fill a football stadium, Monae’s album was more than satisfying for her fans and was spot-on in displaying her diverse artistic repertoire. Much like most of the album, “Say You’ll Go” is spectacular in every sense of the word. Theatrical and extravagant in composition, it even manages to incorporate “Claire de Lune,” which caught me by surprise. Classy, dramatic pop courtesy of an out-of-this-world talent.

Thanks to his latest incarceration, T.I. finds his role diminished on what was easily the best song off No Mercy. “Welcome to the World” is a splash of cold water to face of those living life through rose-coloured glasses. T.I. and Kanye relate their stories of the street life and the dark side of celebrity while Kanye and Cudi caution obsessed females on the hook. “If you’re lookin for real love, it ain’t here my dear,” groans Cudi. T.I. rips his verse, filling his bars with series of visceral, stuttering rhymes aimed at pretty much anyone in his way. Kanye spends his words on the subject of gossipmongers and conspiracies against – what else? – Black people.  

No one personifies “delicate” more than Corinne Bailey Rae. Even looking at her wiry frame, you feel like tossing her a Whopper or two. Sure, she has decent pipes, but what makes her unique is her ability to drop down to that whisper-quiet level and draw us into the song. “The Sea” seems to be about cheating, and the feelings of foolishness and disbelief that accompany the moment you realize the truth. The crushing defeat is penned as beautifully as one could ever imagine. Bailey Rae proves once again and soulful doesn’t necessarily mean louder.