| 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!

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9. Moto Boy – A Different Kind of Love

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.

8. J. Cole – I’m On It

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.

7. jj – My Way

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.

6. Sleigh Bells – Rill Rill

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. 

5. Phantogram – Mouthful of Diamonds

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.

  4. Kanye West f. Rick Ross – Devil In a New Dress

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.”

3. The Morning Benders – Excuses

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.

 2. Drake f. Young Jeezy – Unforgettable

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.

1. Vampire Weekend – Diplomat’s Son

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.

| best of 2010: 19 - 10 |

19. Kanye West f. Rick Ross, Jay-Z, Nicki Minaj & Bon Iver – Monster

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.

18. Ariel Pink’s Haunted Graffiti – Round and Round

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.

17. Kanye West f. Pusha T – Runaway (Live)

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.

16. Vampire Weekend – Taxi Cab

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. 

15. Kid Cudi – Mojo So Dope

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.

14. Phantogram – Let Me Go

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.

13. J. Cole – Who Dat

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.

12. Sleigh Bells – Infinity Guitars

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.

11. Janelle Monae – Oh, Maker

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.

10. Gorillaz – On Melancholy Hill

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 |

29. Lil’ Wayne f. Drake – Right Above It

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).

28. Lupe Fiasco – I’m Beaming

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.

27. Big Boi f. Yelawolf – You Ain’t No DJ

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.

26. Arcade Fire – We Used To Wait

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.

25. Kanye West f. John Legend – Blame Game

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.

24. Quadron – Baby Be Mine (Cover)

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.

23. Edward Maya & Vika Jigulina – Stereo Love

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.

22. Janelle Monae – Say You’ll Go

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.

21. T.I. f. Kanye West & Kid Cudi – Welcome to the World

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.  

20. Corinne Bailey Rae – The Sea

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.