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.
