Palma Non Sine Pulvere

The Top 100 Songs of 2011 -- #1: "Helplessness Blues" -- Fleet Foxes

2011-12-31T21:25:00.000-05:00

The best song of 2011 came to us relatively early in the year, when 2010 was still fresh in our minds. There was still quite a bit of music to be released, including the album on which it was released. Hell, many of us even had the silly notion that despite the fact that the year as a whole had been a bit of a letdown, we might still pull through. Score one for optimism, right? Haha, yeah. About that.

But Robin Pecknold has a strange way of keeping one hopeful, despite what has occurred and what is yet to happen. How this occurs is anyone's guess, be it the good vibes his band emits or the generally upbeat music they create. But somehow, no matter how bad it got in 2011, we always had Fleet Foxes.

"Helplessness Blues," from the album of the same name, begins with the gentle strumming of an acoustic guitar. Pecknold, his voice by now unmistakable after the runaway success of his band's debut record, sings of the uniqueness he was told he possessed as a youngster, before releasing that perhaps it is best to become a part of "some great machinery, serving something beyond me."

Fleet Foxes set the bar high for their second record, and "Helplessness Blues" far surpasses it. The song soon balloons into a more plugged-in affair, with drums and electric guitar complementing the sudden slash in tempo.

"What good is it to sing helplessness blues?" Pecknold asks, holding up the inherent optimism of the song. In an age where no one really knows where we're heading, Pecknold remains hopeful, and knows that doing otherwise will bring no good tidings. It's a lesson from which we can learn -- instead of pessimism reigning in our lives, why not have a healthier outlook on life? What good is it to live otherwise?

With beautiful harmonizing and instrumentation, Fleet Foxes created a song that may just define the decade with its message. It's tough to say where we're going, but perhaps if all of us had an orchard or two in our lives, we'd be a little happier.

The Top 100 Songs of 2011 -- #2: "Midnight City" -- M83

2011-12-31T21:05:00.000-05:00

2011's best electronic fare came from a French artist that isn't Daft Punk or Justice. Who'd've thunk it?!

M83, a.k.a. Anthony Gonzalez and a score of backing musicians, released Hurry Up, We're Dreaming in the final quarter of 2011, a double album of epic proportions. Gonzalez utilized big guitars to go with his skyscraper synths, creating some of the loudest and most epic music to hit the airwaves this year.

"Midnight City" features a bouncing synth that sounds like a strange mutated scream at its onset, which keeps appearing time after time whenever the song needs extra 'oomph.' To this day, I'm still not sure quite exactly what M83's doing there, but its addition to the wall of sound the band creates drives the song over the edge.

Featuring monolithic synths and drums, "Midnight City" is every bit as huge as any other song released this year, especially in the electronic genre. The song quiets slightly when Gonzalez's vocals come in, but there's always the grandiosity lurking. The album as a whole was called one of the biggest of the genre in a while, and it's easy to see with "Midnight City." This is electropop on possibly its grandest scale yet.

And again, Year of the Sax alert! "Midnight City" features a jazzy sax solo toward its end, rising above the cacophony of electronic sounds. Its addition only furthers the strangely '80s vibe the song emits.

Do yourself a favor and listen to this entire album -- yes, the whole thing! It's a double album, but one of the most brilliantly conceived of its kind. "Midnight City" is only the beginning of this incredibly grandiose electronic opus.

The Top 100 Songs of 2011 -- #3: "Someone Like You" -- Adele

2011-12-31T20:55:00.000-05:00

As this is a countdown that features a mere song per artist (with a few technical exceptions), it was tough to choose one song from Adele's miraculously great 21 that stood out above the rest.

In fact, when I was creating this list, I decided that no matter which of the two songs I was considering ended up being on the list, the order of the countdown altogether would not change. "Rolling in the Deep" and "Someone Like You" are both better than any other song I've mentioned thus far, but I don't find either of them to be of a higher quality than my top two. I hope that puts into words how much I love both of these songs.

In the end, I had to go with "Someone Like You." Weepy? Yes. But my god, can this woman write a breakup song. Well, soooort of a breakup song. I suppose the breakup's already technically happened, but this is the final separation, so to speak.

It's a song many can relate to. Adele's been separated from this lover for quite some time, but still harbors feelings for the object of her affection. But we are led to believe that it's been years since the fling, as said object has settled down, found a girl and is married. While that in particular may not have happened to all of us, I'm sure many can relate to the concept of rediscovering a lover for whom one still has feelings, only to find that they're quite happy without them and have moved on.

That said, unlike "Rolling in the Deep," this is not a song of anger. Adele only wishes "the best" for her former lover, claiming that she'll find someone like him one day. It's a refreshing spin on the subject matter, as many instances find the artist decrying the object of affection and denouncing him/her instead of wishing good tidings for them.

Adele crossed a lot of boundaries in 2011, and this is the song that solidified her as more than a one-hit shocker in America. Her brand of pop inexplicably caught on in America this year (not that I'm complaining!), and with "Someone Like You," she was vaulted to star status with one of the best ballads of the young decade.

The Top 100 Songs of 2011 -- #4: "Losers" -- The Belle Brigade

2011-12-31T20:35:00.000-05:00

If you're looking for the underdog song of the year, this is your jam.

The Belle Brigade appeared on the scene this year with their self-titled debut. The duo, consisting of the Gruska siblings Barbara and Ethan, flew under the radar for the most part, but were still acclaimed critically by those that happened to come across their music.

The album itself was a wonderful 2010s take on '60s folk rock tunes -- understandable, given that the band has named Paul Simon's solo work as one of their biggest influences. In particular, "Losers" invokes the harmonizing of Simon & Garfunkel, with an updated folk rock sensibility for the times.

"Losers" is defiant, a harmony-laden song that takes a stand against the social mores of our generation -- or really, any generation... the song is fairly ambiguous when it comes to its timeframe. "There will always be someone better than you," they sing at first, changing later to "There will always be someone worse than you." "Don't care about being a winner," they sing, before laying out the list other things they simply don't care about being.

Possibly the most telling lyric of the song -- "I'm removing myself from the queue," they sing. The song is all about going against society's constructs, even if it means being called a 'loser.' In terms of messages, it's one of the best of the year, and the catchy melodies certainly don't hurt.

It's inspiring and timeless, a song which rises and rises to its inevitable climax, with howling vocals from the Gruska siblings. "Losers" was among the best indie rock had to offer this year, a telling prelude to a duo who will hopefully be around for quite some time.

The Top 100 Songs of 2011 -- #5: "The Edge of Glory" -- Lady Gaga

2011-12-31T19:59:00.000-05:00

Many found Lady Gaga's Born This Way to be overly preachy, overproduced and a significant departure from her early material -- too significant, in fact, that some jumped the ship of Gaga around the release of the album's eponymous first single.

On the other hand, if you were me, you loved the new direction Gaga took, and didn't mind the craze that hit around February one bit. As a cohesive album, Born This Way is one of the best records to come from the new electronic music craze, and it's nice to see an artist that believes that pop music can resonate and make a statement in an age where the concept is increasingly rare.

Some might argue that "Born This Way" ended up the biggest single from the record, given its huge impact on the Billboard Hot 100 upon its release. However, while I am a big fan of that song (potential Madonna knockoff? Who cares, it's catchy as fuuuuck), I argue for "The Edge of Glory," which didn't hit No. 1 but maintained its allure for months into summer.

The electro rock production from Fernando Garibay cannot be understated. Gaga's contribution is, of course, highly important to its success, but the pounding techno of the song makes it one of the best pop songs the genre has recently produced.

Gaga's edge-of-the-world vocal is one of her best to date. The song is already huge, and on the chorus, she rises to the occasion and then some, with a magnificent vocal run that furthered its grandiosity.

The late Clarence Clemons makes an appearance, too -- on the song's bridge, with a larger-than-life saxophone solo. Speaking of which -- 2011: Year of the Sax, yes? Of course. This song, "Last Friday Night," "Mr. Saxobeat," "Something to Believe In," "Midnight City"... what on earth was everyone's infatuation with the instrument this year? Me, I'm still waiting on the accordion resurgence. "Stereo Love" got us started, let's get this shit going.

Even the title of the song suggests an epic soundscape, and that's exactly what Gaga pulls off with "The Edge of Glory." A few of her singles may not have performed up to the ridiculously high standards of many, but looking back on the 2010s, it will be hard to avoid talking about this song as one of its best.

The Top 100 Songs of 2011 -- #6: "Yonkers" -- Tyler, the Creator

2011-12-31T19:37:00.000-05:00

2011 was the year of Odd Future, and Tyler, the Creator, the collective's ringleader, led the way. The center of attention in almost every respect, the 20-year-old rapper released Goblin, which garnered him praise from a number of publications and a Best New Artist award at the 2011 MTV Video Music Awards.

I think something we can all agree on when it comes to Tyler is that, as he says himself on "Goblin," he's "not that great a rapper." No one's falling head over heels for Tyler's flow or rapping skills. So, what's the allure? Why was Goblin arguably the most talked-about rap record of 2011, and maybe even the biggest had it not been for Watch the Throne?

Part of it has to be the DIY nature of Tyler's music, itself seemingly a backlash to the sleek, polished nature of modern rap. For those disillusioned with the direction of the genre, this can only be a breath of fresh air. Don't count out the rawness of the music, either -- and not just in terms of his vocal. There's an edge to the music that most mainstream rappers today wouldn't even dare to gravitate toward.

"Yonkers" was the song that propelled Tyler into the stratosphere, and should have scared every living rapper out there -- except, perhaps, for artists like Jay-Z and Kanye, whose appeal is all-but-solidified no matter what at this point. This was not only a backlash to overproduced rap, it was a full-frontal assault.

Tyler's always been under scrutiny for his misogynistic, sometimes overly-vulgar lyrical content, which targets basically anyone and everyone, and at times features lyrics that can be construed as insensitive toward the homosexual community. With "Yonkers," his lyrics aren't exactly as controversial as some of his other tracks, but it's still a shock to anyone who's hearing his music for the first time.

In keeping with the theme of Goblin, during which Tyler talks to his therapist about his problems and life, "Yonkers" is introspective, but also a song about the abandon he experiences in New York City. And while Tyler disputes the fact some call his music horrorcore, tell me that backbeat under his rap doesn't creep you the fuck out.

2012 will be an interesting time for Odd Future, as it's still to be seen whether the collective will actually remain relevant or if they're a passing fad. Frank Ocean seems to have something to say about this and may end up the more relevant in the long run, but for now, Tyler, the Creator is one of the biggest new rappers in the game, as well as one of its most provocative figures. What will he do next? It's rumored Wolf, his follow-up, comes out in 2012.

The Top 100 Songs of 2011 -- #7: "Lonely Boy" -- The Black Keys

2011-12-31T16:45:00.000-05:00

We got a taste of Danger Mouse-produced Black Keys last year with Brothers lead single "Tighten Up," which found the band sounding its most polished yet, for better or for worse. With 2011's El Camino, the producer stepped into the mixing booth for the duration of the record -- and again, for better or for worse. While some found the band's progression to be altogether appealing and the sign of a band coming into its own as an act, others pined for the straightforward blues rock of the band's earlier releases.

"Lonely Boy," the first song released from the new record, is interesting in that it's possibly the least retro song the band has released. And that's saying a lot, because if this were most other artists, we'd be considering this a throwback affair. But with "Lonely Boy" in the Black Keys' case, the band is sounding its most with-the-times.

Make no mistake, though -- this is not necessarily a bad thing. Whatever one's opinions on the new record, it's difficult to deny the allure of "Lonely Boy." It begins with one of 2011's best riffs -- a garage-y lick, the bottom of which drops out almost instantaneously before it rises again, without warning. Pat Carney's drumming is a good time here, too -- very rarely these days (or ever, really) do we find a drummer that keeps time basically only with the snare and bass (sans cymbal), but that's exactly what he does on the verse. What results is a clattering rhythm that runs wild beneath Dan Auerbach's polished riffing.

"I've got a love that keeps me waiting," sings Auerbach on the chorus, joined by a smattering of backing vocalists. It's tough not to pay attention to him -- besides the clever lyrical content, the chorus is one of the catchiest you'll find in rock all year.

"Lonely Boy" proved to mainstream artists what seasoned veteran fans of the band have known for quite some time -- that The Black Keys are no fluke band trapped in olden times. Instead, their status as one of the biggest American rock bands of the day was cemented.

The Top 100 Songs of 2011 -- #8: "All of the Lights" -- Kanye West feat. ALL THE PEOPLE

2011-12-31T16:07:00.000-05:00

No, that headline's not exactly that false... this song pretty much has everyone in it. Or, at least, a lot. Too many? Maybe. Eh, whatever.

I'm also aware that the song technically was released in 2010. That said, "All of the Lights" found its largest audience in 2011, so I feel compelled to include it.

Kanye's criminally-underrepresented-at-the-GRAMMYs My Beautiful Dark Twisted Fantasy is still talked about to this day as one of the biggest rap releases in a while, and its status as a critically-acclaimed piece of work only helps it along.

One of West's biggest strengths has been his ability to create beats and rhythms that are more than the simplistic drum loops and chords that many hip-hop artists resort to. "All of the Lights" is one of the best examples of this trend yet.

Featuring a majestic choir of horns and driving drums, the song features a plethora of different artists in addition to Kanye. 14 guest vocalists in all. Can you imagine the money spent on this song?

Luckily, things don't get too crowded -- probably due to the fact that only a few of the artists actually have individual parts. Rihanna is featured on the song's chorus, Kid Cudi on his own verse about halfway through, Fergie following Cudi. Elton John, of all people, features on the song's chorus toward its end, and Alicia Keys adds a few well-placed 'oh's.

In addition, Drake, Charlie Wilson, Ryan Leslie, John Legend, The-Dream, Tony Williams, Elly Jackson, Alvin Fields and Ken Lewis provide backing vocals. Damn. Daaaaaaayum.

It's incredibly over-the-top and excessive, but that's become something to be expected from West. And as the end result is beautifully conceived and features some of the top rhymes in rap from the past two years, I think we can give Kanye this.

The Top 100 Songs of 2011 -- #9: "Down in the Valley" -- The Head and the Heart

2011-12-31T15:53:00.000-05:00

I firmly believe 2011 was a fantastic year for folk music -- as has been the last two years. One of the resurgence's biggest benefactors so far is Seattle's The Head and the Heart, who makes delightful indie-folk with a slight pop element.

The band opened for The Decemberists in 2011 and scored a hit single in the form of "Lost in My Mind." However it is "Down in the Valley," perhaps the band's most outdoorsy song, that rises above the rest.

With "Down in the Valley," we are introduced to Johnathan Russell's totally-suited-for-folk voice, slightly raspy but totally deserving of the throngs of indie-inclined fans he's sure to garner due to it. As evidenced throughout the song, harmonies are a big part of the band's success, and other members of the six-piece are able to hold their own against Russell's tenor -- including Josiah Johnson, who trades off on lead vocals with Russell.

Lyrically, the song brings to mind a roving fellow whose travels have led him afar -- but in the end, he always comes back to the valley that he calls home. "Lord have mercy on my rough and rowdy ways," Russell sings, the tagline that I'm sure now adorns a thousand Tumblrs everywhere.

Along with warm folk instrumentation, the vocals on "Down in the Valley" create a sound that many will find appealing in this new age of folk music, provided by one of the rising stars of the genre.

The Top 100 Songs of 2011 -- #10: "No Light, No Light" -- Florence + the Machine

2011-12-31T15:37:00.000-05:00

After Florence Welch and her lovely machine released Ceremonials lead single "Shake It Out," it wouldn't exactly have been an unsound assumption to make if one said that the singer had spent all her grandiosity on that one song. It was huge, with resonating choirs and a commanding vocal performance from Welch herself.

And then, we got "No Light, No Light."

Florence's newest single features a plethora of backing vocalists and orchestral backing, including a harp, and bombastic percussion. All this combines to create one of the most dramatic and altogether epic performances of 2011.

Welch has always had a penchant for going all-out, but this is ridiculous -- and I mean that in the best way possible. Secondary vocalists and organ give the song a church-like hymnal feel from its onset, and things can only go up from there. The tense drama of the song only rises with each second, the emotion in Welch's voice becoming more and more desperate.

"Heaven help me, I need to make it right," she sings, invoking the religious imagery ever-present in the song's music video.

One of the few times I truly got chills listening to music this year comes toward the song's end, when all other instruments cut out save for Welch's voice, following with the re-addition of bass and drums. It's one of the most powerful instances captured on record this year.

Florence + the Machine may forever be known in America for "Dog Days Are Over" and nothing more, but if there's any justice in this world, "No Light, No Light" will break out big as well. After Adele paved the way for grandiosity in pop music once more, the time is ripe for Florence to take her spot at the top, and this is the song with which to do just that.

The Top 100 Songs of 2011 -- #11: "June Hymn" -- The Decemberists

2011-12-31T15:21:00.000-05:00

Sometimes, your favorite band releases an album that is steeped in the music you've grown to love since starting college. And when that happens, you're powerless to resist.

That's exactly what happened with The Decemberists and I in 2011. After the overblown prog rock of The Hazards of Love, the Portlanders toned it down with The King is Dead, a straightforward country-folk romp that ended up their most accessible record yet. Part '80s R.E.M., part Harvest-era Neil Young, The Decemberists created a record that will, along with Southeast Engine's Canary, always remind me of college and Appalachia as a whole.

The band stripped down to very minimal instrumentation on the two "Hymn" songs of the record -- "January Hymn" and "June Hymn." The former finds frontman Colin Meloy singing of clearing away the snow in the dead of winter. The latter, set on a sunny summer day, is among the prettiest the band has recorded.

Armed with a harmonica and his acoustic, Meloy is backed by Jenny Conlee's wafting accordion and Chris Funk's sparse guitar on the chorus, while Gillian Welch provides singsong harmonies. It's a rustic affair, with the band at its best when they're as pastoral as possible.

All this comes to greatest effect on the song's bridge, at which Meloy's and Welch's voices blend to create some of the sweetest-sounding harmonies created in 2011. Meloy launches into a harmonica solo after, poignant and emotional as ever before.

The Decemberists' music has always had its pretty moments, but it's hard to top the harmonies Meloy and Welch provide. And against the rustic background the rest of the band provides, "June Hymn" becomes one of the most hopeful songs about the summer months. "And years from now / When this old light isn't ambling anymore / Will I bring myself to write / 'I give my best to Springville Hill,'" sings Meloy, painting a vivid portrait of pastoral summer we won't soon forget.

The Top 100 Songs of 2011 -- #12: "Get Away" -- Yuck

2011-12-31T15:02:00.000-05:00

Dear Yuck: You're about 20 years late, but seriously, thanks for coming out anyway.

The young Londoners released their self-titled debut in February, and were immediately compared to the likes of Sonic Youth, Dinosaur Jr. and more. And it's easy to see why -- beside the catchy guitar licks, the distortion here is astounding -- especially on "Get Away," my personal favorite from the album.

It's as though the band wanted to sound as authentic as possible -- and if that's the case, it worked. The sound of music is steeped in '90s grunge, so much so that it sounds as though the song could have been released in 1991 rather than 2011.

The fuzzed-out tune also features one of the biggest earworm choruses of the year, one that rises over Mascis-esque guitar that squeals beneath vocalist Daniel Blumberg.

As far as retro goes (what?! we're actually calling the '90s retro now?!), this one took the cake this year. Welcome back, grunge. We missed you.

The Top 100 Songs of 2011 -- #13: "Sail" -- AWOLNATION

2011-12-31T14:43:00.000-05:00

When Under the Influence of Giants frontman Aaron Bruno resurfaced in 2011 as AWOLNATION, most didn't bat an eye. His band had never captured the success many had predicted it to, with "In the Clouds" being their only, albeit modest, hit.

But many, including more than a few on pop radio, were forced to listen when the anthemic "Sail" marched onto radio. A departure from his earlier, poppier material, "Sail" is rough around the edges, with Bruno's voice cracking more than a few times in his higher register.

Dreamy synths punctuate much rougher, bass-ier electronics that lie beneath. In fact, the song itself is kind of like a dream, with an ever-present nightmare looming. It's sometimes sweet, but there's an inherent darker side that comes out at times with Bruno's vocal.

Electronic-based music may have never been this harsh in 2011. The juxtapositions within "Sail" made for an incredibly popular alt-rock track, one that is still sticking around on the charts to this day. With "Sail," Aaron Bruno finally had his taste of mainstream popularity -- and all he had to do was stretch his voice a little.

The Top 100 Songs of 2011 -- #14: "Civilian" -- Wye Oak

2011-12-31T14:21:00.000-05:00

Baltimore duo Wye Oak had their best year yet in 2011, capped off with the release of new record Civilian on Merge Records. The band also opened for The Decemberists at the beginning of the band's North American tour (side note: SUPERB sets at the Beacon Theatre in New York as part of that tour), and played an acclaimed set at this year's Sasquatch Music Festival.

The song "Civilian," which was featured in a promo for The Walking Dead's season two premiere, is the duo's best to date. "I am nothing without pretend," sings Jenn Wasner to begin the song, as the sounds of percussion and ambient guitar fill the air behind her.

The guitar lick Wasner provides is intriguing, to say the least (and I say the least mainly because I don't really know what else to say). It's not especially catchy, but I couldn't stop listening to the song at first simply because of Wasner's guitar parts. It's quite unlike most other guitar sounds in rock this year.

"Civilian" eventually launches into a much louder segment, in which drummer Andy Stack provides train-clatter drum hits, all the while playing the keyboard part underneath it all (seriously, this guy plays so many different instruments even live, it's astounding). Soon after, we have a solo from Wasner, who distorts the thing to Kingdom come.

It's one of the moodiest, backwoods songs of 2011, and establishes Wye Oak as a force to be reckoned with in the future. While the rest of Civilian didn't match the highs its title track experienced, it showed us the genius Wye Oak can provide, even as a mere duo. That's a lot of sound coming from just two people.

The Top 100 Songs of 2011 -- #15: "November" -- The Wilderness of Manitoba

2011-12-31T13:57:00.000-05:00

Canadian folk act The Wilderness of Manitoba remains, as they were at the beginning of 2011, one of the genre's best-kept secrets. A younger brother of Fleet Foxes with poppier sensibilities, the band finally came to America this year with the release of debut record When You Left the Fire, which came out a year earlier in native Canada.

Throughout the record, the subtle sound of a furnace can be heard crackling beneath the music -- a nice touch, considering that many might call some of the songs "fireplace worthy"... that is, the kind of song one would want to hear sitting around a campfire or fireplace, especially in acoustic form.

One of The Wilderness's best is "November," a song frontman Will Whitwham wrote while traversing the Trans-Siberian Railway in Asia. It's a song of solitary longing, complemented by ear-pleasing four-part harmonies. Acoustic instrumentation presides, with different instruments taking a turn depending on the version to which one is listening. The recorded version features a wailing slide guitar, while others more prominently feature the banjo.

"November" exemplifies The Wilderness of Manitoba at their acme. They're a band that can pull off some beautiful harmonies, catchy melodies and warm instrumentation. They're one of the rising acts in folk today -- especially within the smaller subdivision of chamber folk. Again, it's a record that slipped under many's radars, but is a must-listen for any self-described folk music fan out there.

The Top 100 Songs of 2011 -- #16: "No Church in the Wild" -- Jay-Z/Kanye West feat. Frank Ocean & The-Dream

2011-12-31T13:37:00.000-05:00

Watch the Throne, the highly-anticipated collaboration between rap giants Kanye West and Jay-Z, lived up to its potential -- and then some. Its singles were huge, and its reach was astounding. There may not have been any other rap release this year that folks not as enamored with the genre listened to -- save, perhaps, for anything released by an Odd Future member.

Hey, speak of the devil -- "No Church in the Wild."

The lead track from Watch the Throne featured Odd Future crooner Frank Ocean on its hook. The album's densest, heaviest song, it featured prog rock-esque instrumentation over Ocean's vocal, an Auto-tuned segment from The-Dream and a steady flow from both rappers.

The song sets the scene for a grandiose record, for sure. Just check Jay-Z's opening lines, which make mention of mausoleums and coliseums. This was one of the biggest releases in rap in years, and 'Ye and Hova made sure it sounded that way.

An essay could be written on the song's lyrical content, arguably the best on the entire record. The rappers tackle religion on the song, with a plethora of religious imagery popping up, beginning with Ocean's opening chorus, which mentions the Great Chain of Being concept of Christianity.

Both are also concerned with power, and the song makes them appear pretty damn powerful indeed. The two biggest rappers in the world say some things, and you listen. That's power already for you.

Watch the Throne in general is an album that can take quite a bit of time to decipher. "No Church in the Wild" is the perfect starting point. Enjoy the rhymes these titans provide, and then look deeper into what they're really trying to say.

The Top 100 Songs of 2011 -- #17: "I Have Never Loved Someone" -- My Brightest Diamond

2011-12-31T13:13:00.000-05:00

It's really quite tough to put into words how beautiful "I Have Never Loved Someone," from New York singer-songwriter My Brightest Diamond (aka Shara Worden), is.

Written as a love song to her young son, the song features eccentric instrumentation (always a mainstay in MBD songs, really) over Worden's surreal vocal. There's multiple versions of the song out there, including the instrument-laden record version, plus takes that are guitar-based.

But no matter the arrangement, the adoration in the lyrics is still there. A must-listen for anyone who's ever really been in love.

I would include the album version of the song, as I usually do with these posts, but 1) I couldn't find it on YouTube, and 2) Even if I had found it, this is the superior version. Recorded as part of La Blogotheque's Takeaway Shows, the performance is one of the most poignant performances I've ever seen put on tape.

The Top 100 Songs of 2011 -- #18: "The Birds" -- Elbow

2011-12-31T13:02:00.000-05:00

British rock band Elbow returned in 2011 with Build a Rocket Boys!, fairly standard output for the Mercury Prize-winning five-piece. That's not to say it was a bad year for the band, but in no way did they really stand out, either.

Sometimes it takes an eight-minute lead song off the album to really catch one's attention. And that's exactly what Elbow pulled off with "The Birds."

The song's allure lies in the beauty it creates with its many supporting instruments. Singer Guy Garvey doesn't have too much to do throughout the song's first five minutes, his melody fairly stagnant and in a lower register. It's the instrumentation slowly building behind him that really makes the song. Its rising nature is a prelude to the explosion of sound that occurs at the five minute mark.

"The Birds" hits its stride when the strings arrive. Elbow does orchestral rock better than most, and they show it off here. It's the fusion of older stringed instruments and newer rock instrumentation that makes the song so intriguing.

Eventually, the song transforms into a sun-drenched, string-laden opus, with Garvey finally launching into his higher register. One might have expected that things would have gotten to that point before, but it's nonetheless a harrowing experience when the band is at full volume.

What I enjoy most is that the song doesn't even feel eight minutes long. Time well spent, I suppose.

The Top 100 Songs of 2011 -- #19: "(Not So) Sad and Lonely" -- DJ Shadow

2011-12-31T12:33:00.000-05:00

We can chalk DJ Shadow up to another one of those artists still looking to recapture the glory of his or her critically-acclaimed debut album. In Shadow's case, Endtroducing hit big at a time when using just samples to create entire albums was a new concept. He revolutionized the art form with the album, and paved the way for many like-minded artists to do the same.

Alas, creating another release on par with Endtroducing has proved difficult for Shadow. In 2011, 15 years after his debut release, he released The Less You Know, The Better, his first album of new material since 2006. Compared against other records of the genre, it's a solid effort. Compared to Endtroducing or The Avalanches' landmark Since I Left You? It left much to be desired.

Still, the good DJ gave us reason to be excited. He showed that he still has the ability to produce great singular songs, even if they're separated by less-satisfying material. In particular, the album features a two-song combo, one of which appears toward the album's beginning; the other, toward its end. "Sad and Lonely," featuring a sample of Susan Reed's "I'm Sad and I'm Lonely," begins this cycle, with Reed's voice seemingly distant against piano and violin.

Later in the album comes "(Not So) Sad and Lonely," a rebuttal to its predecessor. This song also features Reed's vocals, but to a lesser extent. Here is where the record ends, and on an incredibly poignant note.

The majority of Reed's vocal that is utilized comes from a particular point in the usual song in which she sings, quite simply, "I'm troubled."

The violin present in "Sad and Lonely" returns here, but there's much more atmosphere to be found on the latter song. Most notably, slowly-rising guitar thunders beneath Reed and the strings.

(Not So) Sad And Lonely by DJ Shadow on Grooveshark

DJ Shadow has always been able to create a lush, atmospheric soundscape, sometimes ambient and sometimes a little more jarring or melodic. Here, he combines the two into a song that should please both folks interested in pleasant background music and connoisseurs of a beautiful vocal from the late Reed, who passed away last year.

If there's any part of The Less You Know... that anyone actually listens to, it should be these two songs. Both tunes are soothing and altogether beautiful.

The Top 100 Songs of 2011 -- #20: "Honey Bunny" -- Girls

2011-12-31T11:59:00.000-05:00

If you're not a big fan of indie rock, one of the best rock records of 2011 might have passed you over. In a year where pure, straightforward rock was in one of its weakest states to date, bands like Foo Fighters and Cage the Elephant rose to the forefront, with little competition. Thus, it was as good a time as any for San Francisco duo Girls to stand out above the rest.

They definitely took the opportunity and went with it. Father, Son, Holy Ghost may not be as hard-rocking as some of the others mentioned, but it features some of the plain-and-simple best rock songs written all year, including the best Sabbath-inspired fare with "Die."

But it's "Honey Bunny" that resonates most purposefully. It's rooted in the music of the 1960s, with singer Christopher Owens a dead ringer for Buddy Holly.

Throw in a jangly-as-fuck guitar riff and pulsating drums, and you have a recipe for success even before the sunny chorus and surf rock guitar run kicks in.

Indie rock denizens: this was your best summer song of 2011, even though it wasn't actually released during the summer months. Quite simply, nothing was better.

The Top 100 Songs of 2011 -- #21: "Goodbye" -- Apparat feat. Soap & Skin

2011-12-30T13:47:00.000-05:00

Sometimes the best records of the year are the ones that slip through the cracks of public consciousness -- just ask Germany-based electronic artist Sascha Ring. As Apparat, Ring released The Devil's Walk this year, an album that almost no one talked about. Hell, we even received the record at ACRN and put it into consideration at the music meeting, and it was turned down with little more than a 30-second listen.

And that's a shame, a real shame -- because The Devil's Walk is required listening for anyone out there that considers themselves an electronic music fan -- especially, I'd wager, if you have any sort of love for James Blake. I'm not saying they're exactly the same; I'm just saying that the kind of person who likes Blake is probably going to enjoy Apparat as well.

"Goodbye" is possibly the record's most well-known song, if there is one. It was featured in Breaking Bad's season 4 finale (Gus Fring's death), after all -- so that's something. This honor is greatly deserved, as "Goodbye" is one of those songs that simply sounds as though it should be set to a scene of a TV show or movie.

The intro to the song features strange stringed instruments before Ring's whispered vocal comes in: "Let's go into bed / And turn out the light." From there comes singular strikes of piano, and soon after, Ring's understated, hushed voice.

At the chorus, the song comes into its own. "Neither ever, nor never, goodbye," sings Ring against a rising choir of strings and backing vocals, with the sound of thunder appearing occasionally in the background.

"Goodbye" is one of Apparat's quieter songs, but also one of his most beautiful. Atmospheric and moody, it captures the drama of the occasion while refusing to resort to overblown tendencies. Such is the music of Apparat. Ring makes some of the smartest electronic music out there, and it's always a delight to take a listen -- and, subsequently, to take a journey across the vast musical plane Apparat creates.

The Top 100 Songs of 2011 -- #22: "Ice Cream" -- Battles feat. Matias Aguayo

2011-12-30T13:25:00.001-05:00

Despite losing guitarist/singer Tyondai Braxton in 2010, New York experimental/math rock band Battles trudged on in 2011 with the release of Gloss Drop, their first record in four years. And in releasing the record, they showed that while Braxton's contributions were obviously appreciated, the now-three-piece could get along quite well without him.

Chilean singer Matias Aguayo joined Battles on "Ice Cream," Gloss Drop's second track. He provided vocals pretty much no one can understand to this day, but damn if they weren't catchy as all get out.

But of course, this is a Battles song, so one can almost always expect some fantastic instrumentation to go under the vocals -- if there even are any. The men of Battles did not disappoint in the slightest.

Slowly but surely picking up pace at its beginning, like a train rolling to life, the song exploded with a jangly riff, followed by the systematic drumming of John Stanier. From there, "Ice Cream" is pure chaos -- but with an underlying precision that keeps the whole thing from falling apart.

It doesn't matter what walk of life you come from, or even what language you speak -- "Ice Cream" is universal. Now, altogether now -- "Dame un helado derritiéndose!" (...that's what he's saying, right...?!)

The Top 100 Songs of 2011 -- #23: "Civilization" -- Justice

2011-12-30T13:12:00.000-05:00

Had it not been for M83's Hurry Up, We're Dreaming, Justice's Audio, Video, Disco may have been the most epic electronic release of 2011. This is something we've come to expect from the French duo, whose 2007 debut featured a big guitar sound piled atop its synths.

On Audio, Video, Disco, Justice rises to the occasion yet again, with just as much synths, guitar and electronic strings as before. The album picks up where Cross left off, evidenced with lead track "Horsepower." For fans of the duo, things couldn't have gone any better.

"Civilization" drops in after "Horsepower" as the album's second song, and its first with vocals. Ali Love, whose claim to fame prior to now was singing the vocal on The Chemical Brothers' "Do It Again," provides a robotic (in sound, not in terms of an inability to change pitches!) lead vocal against screeching electronic sounds and video game-esque synth work.

It's yet another song that would do well on a dance floor, but not because it's dumb club fare that has no other use other than to get the crowd moving. "Civilization" simply has such a rhythm and feel to it that dancing is basically encouraged. It's a disco tune updated for the 2000s, with '80s vocals thrown in for good measure.

Elsewhere on the record, Justice show why their mastery of combining synths, strings and guitar was feverishly missed for the past four years. Welcome back indeed.

The Top 100 Songs of 2011 -- #24: "Satellite" -- The Kills

2011-12-30T12:54:00.000-05:00

The Kills very quietly made one of the best records of 2011 in Blood Pressures. The fact that the album was not included on very many year-end lists is puzzling -- after all, it may just be the duo's greatest release yet.

Whatever the reasons for the band's lack of notoriety in 2011, The Kills seem unfazed. There's a lot of dark, bluesy jams to love on Blood Pressures, beginning with lead single "Satellite."

With a grooving bass and drum part accentuated by one of the dirtiest guitar riffs of the year, "Satellite" features a dual vocal attack from Alison Mosshart and James Hince, though as per usual, Mosshart is the main focus here. But Hince's swagger-inducing instrumental accompaniment cannot be under-appreciated. The guitar work on the song, while not flashy, demands your attention from the very beginning.

On the chorus, Mosshart and Hince are joined by multiple voice to create a choir of "oh"s that is unsoundly intimidating atop Hince's riff. And it only seems to gain in intensity throughout the entire song.

This song is a perfect stepping-off point for new fans of The Kills, and it's easy to see why. With dreary rock riffs and sultry vocals, it's one of rock's best releases this year.

The Top 100 Songs of 2011 -- #25: "Adeline of the Appalachian Mountains" -- Southeast Engine

2011-12-30T12:40:00.000-05:00

In 2011, Athens, Ohio legends Southeast Engine released Canary, their ode to the region some of the band still calls home to this day. Appalachia is an area with a rich musical history and diversity, but not too often do we hear about entire records inspired by the region that ends up resonating on a large scale. Unfortunately, Canary wasn't exactly that sort of album, as its appeal didn't run too far past Ohio. Though it was reviewed in Pitchfork and did receive accolades from Allmusic, the band itself is still not much of a household name.

But that certainly doesn't deter from the quality of the record. When I leave Athens in a few months to move on to wherever the hell I move on to, Canary is the album that will always remind me of Athens. If ever I find that I am missing the town, or simply need a fantastic representation of the region and its music, this is the music I will go to first.

Canary is a cohesive album in an age where making such a record is no longer exceedingly common. As is its nature, it is tough to pick out one song to talk about, because the songs roll together as one. It's healthier to talk about Canary as a whole rather than break it down into specific sections. The album tells the story of an Appalachian family living in Athens County during the Great Depression and the hardships they faced. For the record, Southeast Engine added more obvious alt-country influences to their usual folk rock fare. It fits the lyrical content like a glove.

But because this a song countdown, I must choose a song. Well then, why don't we go with "Adeline of the Appalachian Mountains"?

A largely acoustic song, "Adeline" brings singer Adam Remnant's wavering voice to the forefront. He sounds like an everyman here, the kind of guy you'd expect to find in Appalachia with a guitar in hand and a song to play upon request. That's, of course, something that helps Canary along -- it feels authentic, even if it was very obviously not recorded during the time period in which it is set.

The band doesn't utilize banjo too often on record, but "Adeline" does feature the instrument behind Remnant's acoustic guitar. It's a low-tempo song, with percussionist Leo DeLuca doing little more than simply keeping time behind his kit with bass and cymbal hits.

Also worth mention is Remnant's harmonizing with younger brother Jesse. Their sweet-sounding vocal blend fortifies the song's stripped-down chorus magnificently.

As said, Canary is an album to listen to for anyone interested in Appalachian music and stories. "Adeline" is the perfect starting point, if one isn't interested in jumping in head first just yet. It represents the back-home spirit of the record as a whole, and is simply a beautiful song altogether.

The Top 100 Songs of 2011 -- #26: "Pumped Up Kicks" -- Foster the People

2011-12-30T12:03:00.000-05:00

It's tough to choose a favorite song off Foster the People's debut record Torches, because there's a lot to love on the album. From the piano-driven pop of "Houdini" to the greatest MGMT song MGMT never wrote in "Helena Beat," Torches will leave you downright obsessed within just one listen.

But it's hard to picture a better song than "Pumped Up Kicks." It's the song that garnered Foster the People its big break to begin with, and the song still makes its rounds on radio over a year after its initial release.

Plus, as Billboard associate director of charts/radio Gary Trust has said, "It's the perfect song." This is due to the song's inherent ability to transcend multiple genres and time periods. "Pumped Up Kicks" has elements of music dating back all the way to the midpoint of the 21st century. Folks were drawn immediately to its throwback feel, which can resonate on multiple levels for multiple types of people. Whether it's your five-year-old nephew or your 60-year-old grandmother, everyone played "Pumped Up Kicks" this year. It was everywhere.

Hilarious above all is the song's subject matter. A sunny, upbeat pop song on the surface, lyrically the song is actually about a young person's homicidal killing spree -- be it in a school, a mall... you decide.

That doesn't make "Pumped Up Kicks" an evil song, as frontman Foster has insisted that the tune is meant for discussion on the subject and preventing such an occurrence, rather than glorifying it. Of course, music is all about taking one's own interpretations from music. As such, it's easy to see why some were offended.

Although Torches is an incredibly poppy record by itself, "Pumped Up Kicks" is its chef d'oeuvre. Make no mistake -- years later, this is one of 2011's songs we'll still be singing.

The Top 100 Songs of 2011 -- #27: "Read All About It" -- Professor Green feat. Emeli Sande

2011-12-30T11:43:00.000-05:00

Though not yet a notable figure in American rap, Professor Green has already built a steady following in his homeland of Great Britain and throughout many other European countries. After his certified-Gold debut Alive Till I'm Dead (featuring a fantastic song in the form of "Jungle"... check it out if you've never heard of Prof. Green), Green released his sophomore effort, At Your Inconvenience, a little over a year later.

Already, the record has garnered the rapper his first No. 1 single in the UK, in the form of "Read All About It." One of Green's most introspective releases, the song has the feel of one that could break out in other countries, should it get released there.

This is due in part to Green's delivery, which is strikingly similar to that of American superstar Eminem. That doesn't mean this holds true on every song Green releases, but here, the anger and emotion reminds one of a young Mathers.

Here, Green rhymes about his past -- particularly his relationship with his family. In 2008, his father committed suicide, and the tensions seem to still be tight three years later.

The song is brought to life by a big chorus, courtesy of Scottish R&B songstress Emeli Sande, one of the UK's rising stars. Combined with Sande, Green creates a song with the emotion of Eminem's angrier fare, but sans as much of an edge.

The Top 100 Songs of 2011 -- #28: "Paradise" -- Coldplay

2011-12-30T01:31:00.000-05:00

Did anyone expect Coldplay to follow up the success of "Viva La Vida" with anything worthwhile or nearly as spectacular? I'm not sure I did. How much more progression could the same band that began with sappy (unrequited) love song "Yellow" achieve?

Apparently, quite a bit. Mylo Xyloto was another step forward for the British rockers, with an expanded electronic influence and a more noticeable pop sensibility than ever before. It was even experimental at times, as evidenced by lead single "Every Teardrop is a Waterfall."

"Paradise" is the point at which the new Coldplay meets the old. A piano-driven ballad laden with Chris Martin's falsetto, it is also one of the band's poppiest records, and shows off the subtle electronic influence Mylo Xyloto possesses.

Synths seemingly destined for the stars. Falsetto 'whoa-oh' group vocals on the chorus. A Bono-like vocal performance from Martin. Hell, it's no wonder "Paradise" ended up so popular, as well as so damn good.

The Top 100 Songs of 2011 -- #29: "April Fool" -- Manchester Orchestra

2011-12-30T01:03:00.000-05:00

Atlanta rockers Manchester Orchestra returned in a big way in 2011 with Simple Math, the newest progression for a band that's been a rising star since 2006. Led by bearded wonder/seriously-though-he-should-be-in-Fleet-Foxes Andy Hull, the band created a record that likely would have hit numerous year-end best-of lists, had 2011 simply not have been as good as it ended up being. A contender early on, sure. Maybe next time, boys.

But of course there were high points, and at the highest sits "April Fool," a rollicking firework of a song that features some of Hull's most on-the-edge vocals and the rest of the band's most devastating guitar riffs.

Hull's hoarse howl is ever-present here, as it often is when the band is at its best. And when he delves into impassioned screams, you know he's singing his heart out. That's not to say "April Fool" is necessarily a highly emotional tune, but Hull really means what he's singing, and puts his entire being into it.

The guitar hooks, while perhaps not as memorable as "Pride"'s down-and-dirty riffage, provide the song with a chugging centrifuge that speeds the song along at a sometimes blistering pace. Of course, this is helped along by the percussion, much looser here than ever before -- likely due to original drummer Jeremiah Edmond's departure.

The energy here is astounding, and is yet again a signifier of what Manchester Orchestra could accomplish if they could string together an entire album of gems such as this. One day, Manchester's going to write one of the best rock records of our generation -- I still stand by this statement years later. But until then, a fantastic song here and there isn't bad.

The Top 100 Songs of 2011 -- #30: "White Limo" -- Foo Fighters

2011-12-30T00:43:00.001-05:00

I've been waiting for this post for a good while, because... well, here goes: I'm incredibly unimpressed with Foo Fighters' Wasting Light. There, I said it. I'M SORRY. Sorry. I know this is one of the most beloved releases by the band and of rock music period in 2011, but I was put off immediately by the band's incredibly subpar choices for lead singles: "Rope" and "Walk." At least the former grew on me. The latter? Oh come on, you call that a chorus? Mr. Grohl, you're better than that. You're better than BOTH those songs. And "These Days"? Yawn.

Unpopular opinion continued: the best song off Wasting Light is the most un-Foo Fighters song ever. Yep, you already know what I'm talking about. It's "White Limo," of course.

Grohl is a self-professed fan of '80s hardcore punk, and with "White Limo," his love finally found a tangible form -- within the confines of a Foos song. After hearing the band due such songs as "Times Like These" and "DOA," I think the band's ability to replicate anything even remotely close to the genre could be reasonably questioned.

This rager of a tune explodes from almost out of nowhere on the record, certainly making it out of place, but I can recall interviews earlier in the album's production where it sounded as though this would actually be the sort of sound Grohl was going for with the entire album. So, understandably, "White Limo" got be pumped for the record. Maybe that's why I was so let down. OK, that could certainly be part of it.

If you're a fan of Dave Grohl's singing voice, "White Limo" won't have much to offer. Instead, the frontman presents a throaty howl that's surfaced on occasion on multiple other Foos songs. That said, he's never really done an entire song with it. Sure, there's a chorus in there, in which he attempts to bring some order to the chaos that is the rest of the song. But it doesn't really do any good, and that's quite alright.

Along with Grohl's impassioned growls, there's heavy guitar riffs, which occasionally remind one of the band's earlier works, but mostly recall the density of hardcore and metal releases 20-to-30 years prior.

For whatever reason, it's fun to listen to Grohl and company try to be something they're not. It was a step above the formulaic effort they produced otherwise. Give me this and "Bridge Burning," maybe throw in a little "Arlandria" for ballads' sake, and you've got something. Otherwise... mediocre. Sorry, Dave. Still love your videos, though.

(Speaking of which, PLEASE, if you know what's good for you, watch the music video for this song.)

The Top 100 Songs of 2011 -- #31: "Changed the Way You Kiss Me" -- Example

2011-12-30T00:18:00.000-05:00

London singer/rapper Example enjoyed his greatest success yet in 2011 with Playing in the Shadows, his third release. Released in September, the album hit No. 1 on the UK Albums Chart, and to date has charted two singles atop UK's music chart.

Certainly part of Example's recent success is his transition into more electronic-based sounds. The dance genre is on fire right now throughout the entire world, and to pass up on the opportunity to cash in would be asinine. Example sure didn't waste any time with the transition. "Changed the Way You Kiss Me" sounds like the release from a genre veteran.

Also part of the rapper's allure his ability to hold a tune, for the most part. Unlike many other contemporary rappers, Example's voice is good enough that his sung verses are not grating and unlistenable. In fact, while his rap on the song highlights his talents as an emcee, he's actually doing more singing here than anything.

Thanks to expert trance-esque production from Michael Woods, "Changed the Way You Kiss Me" is shot into the stratosphere by a huge electro sound backing Example's vocal -- and it's impossible to avoid moving to it. This is the club fare America has yet to replicate to its fullest potential.

As one of Britain's best releases of the year, "Changed the Way You Kiss Me" is everything electronic music should be. A killer hook, move-your-feet production, and even a driving rap for good measure. If you were unfortunate enough to miss this song this year, consider this your wakeup call.

The Top 100 Songs of 2011 -- #32: "Barton Hollow" -- The Civil Wars

2011-12-29T23:44:00.000-05:00

Is it folk? Is it country? Is it Johnny Depp's new musical vehicle? Ah, who cares -- terrific is what it is.

The Civil Wars emerged in 2011 as indie's answer to Lady Antebellum. A male-female singing duo with twangy vocals and a penchant for sweet-sounding harmonies, Joy Williams and John Paul White caught everyone's attention -- including one Taylor Swift.

And it's easy to see why. Both Williams' and White's voices are exceptionally good. Slightly rootsy, slightly country -- very cross-genre, all in all, which presents the opportunity for crossover appeal. Sure enough, the band was nominated for two GRAMMYs this year, and in two different genres -- folk and country.

"Barton Hollow" is the duo's best song for a number of reasons. Its alt-country thud is highly appealing, the driving rhythm beneath a bluesy guitar riff. The duo's voices mix and mingle effortlessly, especially hitting a stride in each's higher register. Lyrically, it's dark. "I'm a dead man walking here / But that's the least of all my fears," White sings at the song's onset, setting us up for a lively Americana jaunt.

Elsewhere on the record, The Civil Wars tread a line closer to alt-folk or straight Americana, but with "Barton Hollow," it's easy to see why some consider the band to be a candidate for future country prominence. And to be quite honest, since this is where the band hits its stride most noticeably, perhaps a career move is in order -- that is, let's see an entire album of "Barton Hollow"s.

If The Civil Wars can do that, look out.

The Top 100 Songs of 2011 -- #33: "Get it Daddy" -- Sleeper Agent

2011-12-29T22:32:00.000-05:00

On the heels of shows with fellow Kentuckians Cage the Elephant, Sleeper Agent began its ascent to probable future fame in 2011 with debut record Celebrasion. Deemed a 'band to watch' by Rolling Stone just a few short months ago, the six-piece caught on with howling frontwoman Alex Kandel, who fills out a double-pronged vocal attack along with Tony Smith.

Our introduction to the band came with "Get It Daddy," the album's lead track. And what an introduction it was.

An energetic, raucous slice of polished garage rock, "Get It Daddy" features a bouncing bassline and pounding drum beat over chugging guitars. Kandel and Smith trade off on vocal duties, with the former getting the most time front and center.

The amount of energy in 19-year-old firecracker Kandel is astounding, and Smith's yelp toward the song's end complements Kandel's slightly less edgy vocal.

Garage-punk never sounded this good in 2011. Sleeper Agent announced themselves as a force to be reckoned with on this blistering rocker, performed with the swagger of a band much older than they.

The Top 100 Songs of 2011 -- #34: "Colder Weather" -- Zac Brown Band

2011-12-29T11:01:00.000-05:00

Country music has always been best known for about four different types of songs (that is, unless you listen to David Allan Coe's "You Never Even Called Me By My Name," which sheds light on a few more topics) -- the drinking song, the so-country-it-hurts song (which is sort of hard to explain, but just think of about any song that doesn't fit into the other categories and you're on the right track), the patriotic song and the impassioned ballad. Sometimes these mix.

Within the latter topic, there's a lot of sappy, whiny songs (as there are in any genre) that are either laughably bad or totally unmemorable. That said, occasionally a good one sneaks through. Example: "The Dance," "Whiskey Lullaby," that sort of thing. In 2011, a new classic joined their ranks.

Zac Brown Band's You Get What You Give was released in 2010, but the majority of its singles impacted radio the following year. "Colder Weather" was the band's second single, released last year but being slow to catch on, finally erupting earlier this year.

One of the band's biggest strengths has always been its harmonizing, which is put to good use in almost every song. "Colder Weather" is no exception, with downright beautiful harmonies coming through during an impassioned chorus.

Of course, there's also bandleader Brown's crossover appeal -- not only does he not really fit the look of a country star, but his voice is only slightly so. Plus, when it comes to a country jam band, Zac Brown Band is about the closest the genre has these days. The band has been able to reach many people, many of whom aren't regular country listeners.

"Colder Weather" is one of those songs that appeals quite soundly to that kind of person. Many can relate to the tale of a long-gone, long-distance, wayward lover, and the song is not so explicitly country musically-speaking that it's a turn-off for the non-country-inclined.

In terms of ballads of any genre, "Colder Weather" ended up one of the best of 2011. While it didn't match the runaway success of earlier band hit "Chicken Fried," it's the kind of song we'll be hearing from years to come on radio from the band.

The Top 100 Songs of 2011 -- #35: "Heartbeat" -- Childish Gambino

2011-12-25T20:52:00.000-05:00

Donald Glover: one of the most polarizing figures in hip-hop. Who'd've thunk it?

One side finds Glover, under the rap alter ego Childish Gambino, one of the genre's fresh new faces, and a talented one at that. Others? Joke rap, degrading toward women, take your pick.

Whatever people's opinion on Gambino, he was definitely one of the biggest names in rap for the final quarter of 2011. Camp was acclaimed by many, unless you write for Pitchfork. Sometimes it was hilarious ("You See Me"), sometimes introspective ("That Power"), sometimes raucous ("Bonfire"). And then there's "Heartbeat."

Featuring spitfire rhymes and Drake-esque vocals, Gambino tells the tale of a girl he used to be with exclusively. These days, they're apart, but still come together for the occasional rendezvous. A love song it ain't.

This all is over a quick electronic beat, seemingly ready-made for radio play. Whether that actually happens is yet to be seen, but one thing's for sure -- Gambino came out swinging on his debut major label release, and it'll be fun to see what he can do in years to come, given that he stays relevant and in the public eye.

The Top 100 Songs of 2011 -- #36: "The Lament of Coronado Brown" -- Pearl and the Beard

2011-12-25T20:18:00.000-05:00

After a stellar debut in 2009 entitled God Bless Your Weary Soul Amanda Richardson, Brooklyn indie folk three-piece Pearl and the Beard returned in 2011 with Killing the Darlings, after having road-tested much of the album's material in the months preceding its May release.

The record found PatB trying some different things compared to their debut, opting for an altogether less sunny experience in favor of Americana, different song structures, and even more eclectic instrumentation than ever before.

"The Lament of Coronado Brown" sticks out as one of Pearl and the Beard's best. A low-tempo, subdued performance in comparison to the band's usual fare, "Lament" is, put simply, simultaneously one of the loveliest and most heartbreaking songs released in 2011.

Pearl and the Beard features three vocalists, all astounding in their own rights, but with "Lament," it is cellist Emily Hope Price that shines -- both vocally and musically. Along with her sweet, impassioned voice, there's the dulcet tones of her cello, the lead instrument of the song. The performance exudes melancholy.

By the time Price's cello hits its final note, you'll instantly be back for more. Despite the song's intrinsic beauty, you can't help but feel a bit down after listening -- but it's an addicting down. Plus, it's followed on the album by the uproariously fun "Douglas Douglass." The contrast is superb, and it gets me every time.

The Top 100 Songs of 2011 -- #37: "MoneyGrabber" -- Fitz & the Tantrums

2011-12-25T19:51:00.001-05:00

Plenty of throwback performances were put in this year, but perhaps none were as intriguing as that of Fitz & the Tantrums. The LA neo soul six-piece released their debut Pickin' Up the Pieces last year, but word-of-mouth didn't really reach the general public until earlier this year.

Featuring the charismatic Robert Fitzpatrick, himself an indubitable cross between soul singers like James Brown and the theatrics/look of David Bowie (basically, think of Bowie doing soul, and here's your result), the band broke onto the scene with "MoneyGrabber," a fitting example of their retro-ish musical tendencies.

The song is incredibly funky, a welcome breath of fresh air to this year's rock music charts. An air of classic Motown precedes it, and that's before Fitzpatrick and singer Noelle Scaggs enter into the fray.

Its energy is infectious, too. Joyous youth abounds on "MoneyGrabber," despite its lyrical content.

And speaking of that lyrical content, I think everything can be summed up in the chorus: "Don't come back anytime, you've already run me dry / This is your payback, money grabber." Oh, snap!

The Top 100 Songs of 2011 -- #38: "Blind Faith" -- Chase & Status feat. Liam Bailey

2011-12-25T19:28:00.000-05:00

After gaining modest acclaim with debut More Than a Lot in 2008, British drum and bass production duo Chase & Status roared back in 2011 with No More Idols, regarded as one of the biggest electronic albums of the year. All in all, seven singles found their way onto the UK's Singles Chart. A good year? Yeah, I'd say so.

"Blind Faith" was the album's third single, released in January. It's also, along with earlier single "Let You Go" (an entrant on my countdown last year), among the best the duo has ever produced, both for themselves and otherwise.

Featuring an exceptional vocal from rising star Liam Bailey, "Blind Faith" is a club track for the ages, one that was probably inescapable in Great Britain and would have been in America, too... had Chase & Status broken out in the country.

Its chorus is perhaps its strongest suit. Loleatta Holloway's 1980 disco track "Love Sensation" is transformed into an enormous club melody. Just listen to the '90s-ness ooze from her vocal. Holloway may not have recorded the vocal in the '90s, but its place in the era would have been cemented had it been set to music like this.

Along the way, the duo uses elements of house, dubstep and drum and bass to send the song to the stars. In a year of club music (and really, just clubs in general) glorification, here's where the genre hit its highest note. Brilliant production, and staggeringly good vocal performances.

The Top 100 Songs of 2011 -- #39: "Victory Dance" -- My Morning Jacket

2011-12-25T17:37:00.000-05:00

Some people have this unconditional infatuation with My Morning Jacket, regardless of what the band puts out. While some prefer the bands Southern rock past, and others the matured rock sound of recent years, still more seem to enjoy the five-piece no matter what they decide to do on their most recent record of the time.

For me, MMJ's allure comes from their live show -- they're one of the best live rock bands out there, especially effective in a festival setting. That said, I don't feel they've ever been able to recreate that live aesthetic in the studio. Their sound off-record is so much more gripping and affecting than on-record. And (mainly because going to shows isn't exactly the easiest situation for someone in my financial situation) I just want to hear a record that doesn't let me down when I stack it against the live show, plain and simple.

OK, but that said, My Morning Jacket's new record Circuital isn't a poor effort. But aside from two songs, including the title track, there isn't much to really keep the listener's interest. If you've listened to the new record, I'm curious -- which songs, if any, do you actually still listen to? I know not everyone's the same, but I'd wager that it's not too many.

"Victory Dance" is the other track that piques my interest each and every time.

The song is a mainly chilled-out affair, despite its rising intensity all throughout. It's sinister, too. Above a deep, brooding bass, grooving guitar lines fade in and out of Jim James' vocal. The psyched-out jam gains in volume from start to finish, both instruments and vocalists following accordingly.

All in all, the song is a formidable opener to the album that, followed by "Circuital," creates an astounding one-two punch that should have been the beginning to a classic record. Instead, the rest of the album falters in comparison. But hey -- think of it as a two-sided single, and you've got a winner.

The Top 100 Songs of 2011 -- #40: "Beth/Rest" -- Bon Iver

2011-12-25T17:18:00.000-05:00

2011 will be marked as the year everyone went ALL THE FUCK OUT for Bon Iver. After For Emma, Forever Ago's runaway success and his collabs with Kanye on My Beautiful Dark Twisted Fantasy, the man born Justin Vernon was ripe for a flurry of success with his follow-up.

That said, many expected a return to For Emma form, and that's not exactly what they received with Bon Iver's self-titled sophomore effort. This was to be expected. Vernon didn't record the album basically by himself in a cabin in Wisconsin. He had more tools at his disposal, including more musicians. Those hoping for the intimacy of his debut... well, not to say Bon Iver isn't intimate, but it's so in a totally different way.

Still, the experiment worked, and Bon Iver has been nominated for multiple GRAMMYs, including some of the top honors of the ceremony for song "Holocene."

Disclaimer: I'm actually not a huge fan of Bon Iver. I KNOW, I'M SORRY. There's just something about him that doesn't catch me nearly as much as most others. I can respect and concede that it's a good record, but I didn't go gaga for it (or his other releases, for that matter) right off.

But Bon Iver ended up not becoming a throwaway I'll never revisit again for one reason: album closer "Beth/Rest."

Holy God Jesus Almighty. Christopher Cross called, Justin. He doesn't want his act back. He wants to know how you perfected it.

"Beth/Rest" is basically 30 years behind its time. Remember the yacht rock craze of the 1980s? Most of you probably don't or only do because you decided to revisit the time period because you weren't born yet. Well... it's not exactly the most manly genre out there, but it yielded some good stuff. Cross in particular nailed the genre with "Sailing," arguably the biggest yacht rock song ever.

With "Beth/Rest," Vernon pays a homage to the music. It is completely out of place and comes seemingly out of nowhere, but it's also the only song from Bon Iver that really resonates with me. This could be my secret love affair with Christopher Cross.

Seriously, this could have topped the Hot 100 charts 30 years ago. There's piano, '80s guitar, saxophone... what more do you need? Slide guitar is thrown in toward the end for good measure. It's such a foreign song to Bon Iver himself, but it would have fit right in three decades ago.

And really, when was the last time we had a good yacht rock song, anyway? We're due.

The Top 100 Songs of 2011 -- #41: "Always Gold" -- Radical Face

2011-12-25T16:48:00.000-05:00

It's a truly strange concept to grasp that Jacksonville singer-songwriter Ben Cooper, here going by Radical Face, is not bigger than he currently is. In fact, Cooper (who also appears as part of Electric President) is still a fairly well-kept secret among indie folk listeners.

"Welcome Home" was, and still is, Radical Face's greatest triumph. It's also the song for which he's most known. If you can actually find someone who knows of Radical Face, "Welcome Home" is the song mentioned. And that's not necessarily a bad thing -- it's catchy as all get out, and has perhaps one of the most uplifting, anthemic choruses ever put to the folk genre.

But finally, Cooper has written a song that comes close to meeting "Welcome Home" on its level. Enter "Always Gold."

Coming off the The Family Tree trio of concept albums (this from the first installment, The Roots), "Always Gold" utilizes many of the features that made "Welcome Home" so damn popular in the first place.

First, "Always Gold" is a proponent of hummed or sans-words vocals. Oftentimes Cooper will stick some of the most melodic parts of the song here. But it's only the tip of the earworm, so to speak.

Cooper magnifies his voice by a few times to create a feeling of a much bigger band. He also employs the use of handclaps, which drive the song along at a formidable pace.

Later adding in accordion, Cooper creates a warm, folky soundscape. In the end, "Always Gold" (and many other Radical Face songs, for that matter) sound as though Sufjan Stevens toned down the theatrics and the instrumentation, opting instead for a more minimal sound. This suits me a bit more, and if you're like me, perhaps it will for you, too.

The Top 100 Songs of 2011 -- #42: "Wings of Desire" -- Marketa Irglova

2011-12-25T16:17:00.000-05:00

As one half of indie folksters The Swell Season, Czech songstress Marketa Irglova has enchanted audiences across the world with her dulcet vocal and piano tones. Irglova first rose to prominence in 2007's Once film, starring in and performing on the soundtrack with Swell Season bandmate Glen Hansard. The band's last record came in 2009, but Irglova has certainly stayed busy.

In 2011, she released her first solo record, Anar. As expected, it was a quiet, subdued affair, featuring little more than Irglova and a piano, with the occasional strings to boot.

Let me start off by saying that I HIGHLY recommend this record. It's one of the sleeper hits of 2011, an album that flew under many's radars -- and criminally, if you ask me. If you're into sweet melodies and minimal, classical instrumentation, this is the album you've been waiting for this year.

"Wings of Desire" represents Anar at its absolute best. Featuring a resonating vocal and melody from Irglova, the song is simply the most beautiful thing on the album -- and, after listening to the entire album, you'll note that the distinction is a rather tall order to come by.

A pained love song, "Wings of Desire" showcases the potential Irglova has as a solo artist. The Swell Season are a great act and I hope they get back together to make new music soon, but if Irglova can continue to pull off music at such a high quality as this, I won't be complaining anytime soon, and I'm sure I'm not the only one.

The Top 100 Songs of 2011 -- #43: "I Wanna Go" -- Britney Spears

2011-12-24T15:16:00.000-05:00

After the pop princess returned to form with 2009's Circus, Britney Spears released her highly-anticipated Femme Fatale in March. The record found Spears assimilating into the electronic dance culture that has overtaken Top 40 music, implementing elements of house and even dubstep into the album's songs.

Many were most impressed with "Till the World Ends," with some calling the song the best Britney's done in almost a decade. But besides "Till the World Ends" and first single "Hold It Against Me," there was one other song that really put Spears on the map in 2011.

"I Wanna Go" is that song. A dance tune of a bass-heavy nature, the song cements Spears as one of the top dogs in the genre, regardless of who's writing the songs. The anthemic, throw-your-cares-to-the-wind track features an insanely catchy chorus that may just be Spears' best yet. The fact that this was released as the THIRD single rather than the first is criminal. Had this been released in January to precede Femme Fatale, I can only imagine how much bigger this album might have been.

Vocally, it's not Spears' strongest, but the song doesn't seem to be meant for a powerhouse performance. Her voice sounds more processed than usual, so take that as you will. If you don't mind Auto-Tune or slightly robotic vocals, "I Wanna Go" is going to be totally fine for you. If you're not a fan, head on back to earlier Britney.

Plus, can we talk about that music video for a second?! Hell hath no fury like a woman with an incredibly long microphone wire.

The Top 100 Songs of 2011 -- #44: "Firewall" -- Bright Eyes

2011-12-24T14:52:00.000-05:00

Sometimes I tire of Bright Eyes, even if I don't want to. It's not that I dislike Conor Oberst's introspective vulnerability or his wavering vocals; there are times, such as on "Four Winds," "Lua" and others that I'm absolutely in love with everything Oberst. That said, I've never caught on with the band like many others have.

The People's Key reaffirmed that tendency. I can't say I openly disliked the record, but I found it incredibly forgettable, if something can be incredibly so. I couldn't even talk to you about the album, because I only actually remember one song from it. But that one song, well, let's just say it's a standout by far.

"Firewall" is the opening track to The People's Key. Although led by Oberst, it also features a sample vocal from Denny Brewer, who delivers his lines like an invocation straight from God.

One could see Brewer's monologue as the ravings of a madman, and it's easy to see why. Brewer's talking about some strange things, including aliens and offspring that could phase-shift between dimensions.

But what Brewer does is provide a set-up to one of Bright Eyes' most rocking songs -- relatively speaking, of course. Driving percussion underlines an ominous guitar line. Oberst mentions the Lion of Judah, a hallmark of Rastafarianism.

"Firewall" is without a doubt one of the strangest songs Bright Eyes has ever concocted, but the atmosphere it creates is infectious. If only the rest of the album could have been more of this.

The Top 100 Songs of 2011 -- #45: "Make Some Noise" -- Beastie Boys

2011-12-24T14:26:00.000-05:00

And with perhaps the funkiest synthline released this year, Beastie Boys announced their long-awaited return with "Make Some Noise."

Off their Hot Sauce Committee Pt. 2 record, "Make Some Noise" brought the Beasties back to popular music prominence, after seven years of dormancy. And while it may not reach the highs of past classics such as "Sabotage" or "Intergalactic," it's still a solid release from one of the best out there.

I always have to dwell on that opening synth, which is sort of bass-like. I don't know whether I should make a ton of babies or watch Shaft after listening to it. It's retro, which of course has been a Beastie Boys strength for over a decade now -- with their music almost always sounding as though it was recorded decades earlier.

But rather than talk more about the song itself, I'd like to take the time now to mention the "Make Some Noise" video, arguably the best music video made this year. Short version or 30-minute version -- take your pick. (Actually, I'm picking for you -- I'm embedding the long version. Watch it.) Either way, watch for a homage to the Boys' past, with a plethora of cameo appearances by some big-name celebrities. It's hilarious. I just couldn't get enough this year.

The Top 100 Songs of 2011 -- #46: "Dimming of the Day" -- Alison Krauss & Union Station

2011-12-23T11:44:00.000-05:00

Following 2007's award-winning Raising Sand album with Robert Plant, Alison Krauss returned in 2011 with her first album with backing band Union Station since 2004. The resulting product, Paper Airplane, ended up at number one on Billboard's Top Bluegrass Albums chart at year's end.

Though the album could at times become too formulaic -- unfortunately something Krauss really hadn't fallen into in the past -- there were a few distinct bright spots on the record, and as a whole it was still a beautiful thing from one of country music's best leading ladies.

The song "Dimming of the Day" was originally written and performed by British singer-songwriter Richard Thompson in 1975. Though covered by multiple artists in the decades since, Krauss and Union Station's version on Paper Airplane may be its best rendition yet.

A somber, low-tempo, rootsy ballad, "Dimming of the Day" finds Krauss' saccharine vocals lilting weightlessly over the warm sounds of acoustic guitar and dobro. The song is usually more folk music-based in nature, but Krauss' country twist fits it like a glove.

"Dimming of the Day" is one of the most beautiful, pleasant recordings of the year. If you're like me and a sucker for slow, hushed tunes played with minimal instrumentation and with a gifted vocalist, you won't be able to resist hitting the 'replay' button after first listen.

The Top 100 Songs of 2011 -- #47: "Novacane" -- Frank Ocean

2011-12-22T18:32:00.000-05:00

2011 was all about Tyler, the Creator when it came to Odd Future, but lest we forget, there was still Frank Ocean. Of course, at this point it's sort of easy to forget Ocean is even a part of the collective. He's had collaborations outside of Odd Future, and has even embarked on his own solo live shows.

If Tyler and Ocean's success this year is any indication, the future is bright for Odd Future -- as in, they won't fizzle out after this year. But between the two, Ocean just may possess the most longevity. While it's possible to see Tyler's act dying down in the next few years, Ocean already has a number of artists and producers in the industry behind him. Who knows -- when it comes to Odd Future, maybe it'll soon be the Frank Ocean Show.

Until then, it's easy to enjoy what Ocean has already given us. His Nostalgia, Ultra mixtape was one of the best of its kind this year, and lead single "Novacane" one of the strongest debuts of any R&B crooner. (And for the record, I'm not spelling 'Novocaine' wrong unknowingly -- this is how Ocean spells it on the tape, for whatever reason.)

"Novacane" is reminiscent of R&B production of the early 2000s, a welcome respite from the overproduced electronic glitz currently overtaking the charts. That's always been a strength of Odd Future in general, of course -- things aren't overblown and too complicated. Instead, it's intimate, sometimes sparse. Ocean proves here that you can still write R&B and make it intricate.

In "Novacane," Ocean sings about a porn star who aspires to become a dentist. They met at Coachella ("I went to see Jigga / she went to see Z Trip / perfect"), and proceed to have the most intimate of relations -- but not before getting super, super high.

His mind is still on her, and his emotions as numb as if he were on Novocaine (ah ha!). It's a clever lyric, one of my favorites of the year.

We'll talk more about Odd Future later, but for now, enjoy the smooth, relaxed beats of Frank Ocean while you still can. Who knows where he'll go in the ensuing years, if he'll go more commercial or stay where he's at now. One thing's for certain right now -- I'm digging it.

The Top 100 Songs of 2011 -- #48: "Michael Jackson" -- Das Racist

2011-12-22T17:30:00.000-05:00

You gotta love Das Racist. Toeing that thin line between joke rap and actually having something to say with almost every release, the alt-hip-hop group from New York had their biggest year yet with the release of Relax, full-length release number one.

"Michael Jackson" came from that release, and it immediately overtook "Combination Pizza Hut and Taco Bell" for the Das Racist song most readily screamed at parties. It also features some of the funniest lines in rap all year. Let's look at a few:

"Michael Jackson / A million dollars / You feel me? / Holla!"

Okay... actually, I still don't know what's going on in this. To this day. But it'll be stuck in your head for days, and there's nothing you can do about it.

"Hakuna Matata Pumbaa / Porque esta es la rumba / Yeah, I'm fucking great at rapping!"

Also shouted endlessly at parties. For a brief moment, no matter what, you ARE fucking great at rapping, and it's the best feeling. Also, The Lion King.

"Call me Janet Jackson / I got a hundred dollars"

GET IT? BECAUSE MICHAEL HAD A LOT MORE MONEY THAN JANET. HAHAHA.

And there's dozens more fantastic lines that you'll be screaming until the end of time. It'll be great and all, and then you'll see the music video, and love this song even more. I guarantee it.

Nothing like elderly people rapping with the most serious looks EVER on their faces.

Das Racist, keep 'em coming. Please.

The Top 100 Songs of 2011 -- #49: "L.I.F.E.G.O.E.S.O.N." - Noah and the Whale

2011-12-22T17:10:00.000-05:00

Honestly, considering the sound breakout of folk music of the last two years (called by many a British folk revival, no less!), you would have thought that Noah and the Whale would have had a bigger 2011. Maybe more English success, perhaps heightened popularity in the United States? Something!

But as the dust of the year settles, Noah and the Whale really isn't any further along than they were when Last Night on Earth was released. This isn't necessarily a bad thing, as it also means they didn't take any steps back, but one expected more from them in a year of opportunity.

Still, the band gave us "L.I.F.E.G.O.E.S.O.N." this year, so can we really complain that much?

The track may just be the feel-good song of the year. Behind relaxed guitars -- both acoustic and otherwise -- and a steady mid-tempo beat, frontman Charlie Fink and a band of merry background vocalists sing of living the optimistic side of life.

"L.I.F.E.G.O.E.S.O.N.," sings the band on the chorus, before Fink comes in with the remainder of the verse. "You've got more than money and sense, my friend. You've got heart, and you go in your own way." Add to this a few other positive phrases, et cetera.

Fink should be a motivational speaker or something. Suddenly, I don't feel so bad about looming graduation. And you shouldn't feel bad either, ladies and gents! You got heart. Charlie Fink said so.

The Top 100 Songs of 2011 -- #50: "Super Bass" -- Nicki Minaj

2011-12-22T16:55:00.000-05:00

When it comes to rap, 2011 was the year of Nicki.

Look, OK, Odd Future had a big year, give them that. But commercial success? They paled in comparison to Minaj and most other rappers. Lil Wayne? Come on, we all know Tha Carter IV blew, so let's stop kidding ourselves. Jay-Z/Kanye? I love Watch the Throne, but neither rapper was everywhere this year in the way that Minaj was. Drake had a great year, but he wasn't quite up to this level. LMFAO? LMFAO.

One of the best aspects of Nicki Minaj is that she kind of can sing too -- and she shows it on "Super Bass," easily her biggest single to date. While the song is chiefly rap-based, Minaj unloads a sweet R&B vocal on the chorus and bridge of the song, which may have caused first-time listeners to do a double take and wonder, "Hey, who's that singing on the new Nicki Minaj song?!" No, it's Nicki! For real!

Minaj's singing is what drives the song over the top and into the stratosphere, but every song needs a solid base (LOL OR IS IT BASS), which Minaj provides in the form of her rapping. Minaj is easily one of the most provocative and arguably the top female rapper in quite some time, and it's refreshing to hear such a voice on Top 40 or rap radio.

With "Super Bass," Nicki Minaj proved that she is the total package as a recording artist. And with a hook like that, we were powerless to resist.

The Top 100 Songs of 2011 -- #51: "Beggars Will Ride" -- Larry and His Flask

2011-12-22T16:31:00.000-05:00

Oregon's Larry and His Flask is one of the best fusion acts to come along in a while. After beginning as a punk rock (and a "shitty" one, at that -- their words, not mine!), the band's remaining members reinvented themselves, learning instruments normally associated with bluegrass. Former lead singer Jamin Marshall moved to drums, and Ian Cook took over lead vocals. And lo and behold, we have bluegrass-punk.

The six-piece released their first full-length since the shift in 2011, with many songs that were already live favorites finding their way onto the recording. After years busking and honing their talent on the streets of big cities, Larry and His Flask have not only developed as quasi-bluegrass musicians, but have also translated each song to the studio recording admirably. It was going to be a tall order to capture the magic of the songs on recording, and while the band is obviously still learning what's what, this is a laudable first effort.

"Beggars Will Ride" is actually a holdover from the band's punk days, but with added bluegrass flair. Add in a side of rockabilly, and you have a rip-roaring tune that fits snugly into the Larry and His Flask vein.

Cook's guitar is very, VERY rooted in the days when rock music was first coming to prominence. The airy sounds of accordion are also present, as with, as always, banjo and other acoustic instrumentation.

One of Larry and His Flask's biggest strengths is their vocals. Cook is great as the lead, but just about every member has a pleasant enough voice that harmonies are a breeze.

The band has also been an expert at capturing the most raucous elements of punk and introducing them into bluegrass -- which is already sort of like the punk cousin of country music, isn't it? As with many of the bluegrass-flavored acts that have reached prominence in recent years, the band does not limit itself to what the genre usually offers, creating instead a faction within the music that has its own feel and appeal. "Beggars Will Ride" represents this wholeheartedly. You can already tell that the song is a delight to hear and see live (and it's true, it is!).

2011 was a big year for Larry and His Flask, and 2012 is sure to bring even more notoriety to the fledgling group. But until then, rest easy knowing that you were likely one of the first to hear about them. Aside from some of the Warped Tour crowd and occasional diehards elsewhere, they're still relatively unknown. But one listen to their new record, and one gets the feeling things won't stay that way too much longer.

The Top 100 Songs of 2011 -- #52: "Shakin' All Over" -- Wanda Jackson

2011-12-22T15:28:00.000-05:00

Jack White has had his hand in the musical careers of plenty in the last few years, and 2011 was no different. He featured on Danger Mouse and Daniele Luppi's Rome project, was named the 'Nashville Music City Ambassador' by its mayor, and collaborated with Insane Clown Posse. It was a strange year.

But to talk about White's other big accomplishment in 2011, we must first rewind to seven years ago. In 2004, Loretta Lynn released Van Lear Rose, which resurrected her semi-dormant career. The album's producer? Jack White.

In 2011, White pulled another resurrection act, this time with rockabilly legend Wanda Jackson.

The Party Ain't Over (referencing Jackson's biggest hit, 1960's "Let's Have a Party") featured White on a number of songs as a musician, but the focus was on Jackson, who enjoyed her first major success with a released album in a few decades. The album featured a number of covers of songs by artists including Bob Dylan and Amy Winehouse.

But perhaps her best came with a version of "Shakin' All Over," English rockers Johnny Kidd & the Pirates' biggest claim to fame. Featuring White on wailing guitar, Jackson warbles through the song with a commanding grace unseen by most women of her age (she's 74).

Listen to her voice shake throughout the entire song, most particularly on the chorus. She has total power over what she's doing, and a masterful understanding of the music itself. And despite her age, there's a raspy edge to Jackson's voice that was present even 50 years ago.

Boosted by a solo from White and a raucous horn section, Jackson explodes into the 21st century and ensures that we're not going to be forgetting about the Queen of Rockabilly again anytime soon. This party ain't over, it's just getting started.

The Top 100 Songs of 2011 -- #53: "Hell on Heels" -- Pistol Annies

2011-12-22T08:18:00.000-05:00

When was the last time we had an especially good country music girl group? Does that even ever happen? Certainly not often -- for either gender, really. To be fair, country is better known for its individual stars than its groups or bands -- but regardless, there hasn't been a girl group in country to give a damn about since Dixie Chicks, and despite their being a group, Natalie Maines was their lead singer, with the other two (I call them that because no one actually knows their names, and even if I said who they were, you'd forget within minutes anyway) as backup.

Pistol Annies are a supergroup more so than a normal 'group,' or so I'd say. Granted, Miranda Lambert is the main draw here, and the only one with more than two singles that actually did anything anywhere. Ashley Monroe had two middling singles five years ago, and very few had even heard of Angeleena Presley before this year. Still, Lambert's inclusion brought it over the top, rendering us unable to write off Pistol Annies as a lackluster attempt at chart success for two artists who had had little-to-none.

Luckily, even if that had been the case, it wouldn't have mattered. The group is good. Really good.

In particular, "Hell on Heels," the title track from Pistol Annies' debut album, stands out. The song is a barnburner of immense proportions. Featuring three-part harmonies from the trio and a turn at lead vocals from each singer, Pistol Annies tell the individual stories of each man they've wronged.

It's definitely a "girl power" kind of ordeal. The three are ruthless and downright conniving in explaining their stories. And as Monroe sings on the chorus, "I'm gonna break me a million hearts." "I'm hell on heels," the group continues, "Baby I'm coming for you." We don't really know WHY they're acting this way, but one thing is known -- don't get in their way.

The Top 100 Songs of 2011 -- #54: "Will Do" -- TV on the Radio

2011-12-21T15:05:00.000-05:00

TV on the Radio returned in 2011 with Nine Types of Light, their first record since 2008's Dear Science. Call me a cynic, but I expected this album to be swooned over. It seems like every time the band releases a new record, at least one of the big music publications (see: SPIN) ranks the record at No. 1 on their best-of list at the end of the year. The same thing happens with U2, no matter what. Seriously.

So I was a bit surprised to find that the new album did not connect as much as some of the band's past releases. That said, it's still considered one of the better records of the year, with a number of songs ending up on various favorites lists.

Me, I prefer the easygoing "Will Do." Set against an atmospheric combo of fuzzy guitars and a melodic bassline from late bassist Gerard Smith, vocalist Tunde Adebimpe laments the love he has for a figure who doesn't return the feeling.

Compared to previous material, "Will Do" is a bit more straightforward. There isn't much to the song -- Adebimpe's melody is simple, and the rest of the band provides a backdrop of sound rather than trying to compete with the frontman's hushed vocal.

The song is melancholic, but somehow uplifting. Hopeful, but perhaps in vain. Either way, TV on the Radio ended up with another great record in 2011. The band has an amazing track record.

The Top 100 Songs of 2011 -- #55: "HOINFODAMAN" -- Primus

2011-12-21T01:47:00.000-05:00

Originally, I was going to do a long write-up of this song and its allure, as I have with the dozens of songs that have preceded it on this countdown.

But instead, I figured I'd let the song do the talking, and rather would leave you with six parting words:

"Oh man, that's a juicy burger."

(No, but seriously -- THAT BASSLINE. THOSE VOCALS. THOSE LYRICS. WHAT IS GOING ON AND WHY DO I LOVE IT SO MUCH?)

The Top 100 Songs of 2011 -- #56: "Sabertooth Tiger" -- Cage the Elephant

2011-12-21T01:42:00.000-05:00

Sometimes after creating a debut record that was a runaway hit and marked the emergence of a new voice in Southern-styled rock, you say, "Fuck y'all, we're going '90s, we're doing a complete 180, and there's nothing you can do about it." Enter Cage the Elephant.

After the five-piece's self-titled debut caused quite a stir with two No. 1 singles on Billboard's Alternative Songs chart, Cage the Elephant released Thank You, Happy Birthday as an ode to the '90s scene that influenced them. And somehow along the way, they got better. Basically, they became one of the top American rock bands we have today. Crazy, huh?

From standout single "Shake Me Down" to the soaring chorus of "Aberdeen," Cage crafted an impeccably versatile and endearing record that sits atop many's end-of-the-year lists (or, at least, in many top tens).

What's strange is that, looking past the first three-fourths of the record, there's actually some gems that I think may be easily overlooked. In particular, check out "Sabertooth Tiger." Because... wow.

I don't think anything in rock this year sounded this frantic. Breakneck guitar riffs, some of which sounded like sirens. Unbridled lead vocals. An eerie breakdown mid-song that gives way to head-banging guitars accompanied by Matt Shultz's shrieks.

No one saw this coming. No one expected Cage the Elephant to go insane. But it finally happened, folks. This is insanity in song form.

Enjoy.

The Top 100 Songs of 2011 -- #57: "Truth" -- Alexander

2011-12-21T01:00:00.000-05:00

Alexander Ebert's career trajectory is simply the most amusing thing. Here's a guy who originally wanted a rap career, attained brief buzz as frontman of electronic rock band Ima Robot (for which he occasionally rapped), became disillusioned with LA party culture and withdrew from the world, and reemerged as hippie messiah Edward Sharpe, as whom he finally found worldwide acclaim and notoriety.

After he and his band The Magnetic Zeros' 2009 debut hit "Home" with plenty of listeners (HAH! SEE WHAT I DID THERE?), Ebert took a step back and released a solo record before recording his band's sophomore effort. The self-titled record was a bit more experimental than his past releases, though very clearly influenced by his work as Edward Sharpe. It seems Ebert has taken the messianic hippie figure thing and run with it. This is not necessarily a bad thing.

"Truth" was not only the first song released from Alexander; it was the album's best effort as a whole. It exudes the laid-back vibe Ebert's music tends to gravitate toward these days, both vocally and musically. Western-esque whistling begins the song, followed by harmonic group vocals from Ebert and company, over minimal instrumentation a la guitars and percussion.

When I first heard the song, I knew right away that Ebert's singing on the verses reminded me of another song. And then it hit me -- the cadence on the verse is reminiscent of M.I.A.'s "Paper Planes." Seriously, tell me it isn't. What has been heard cannot be unheard.

"Yes I'm only loving / Only trying to love," sings Ebert, fulfilling a theme well-documented within the song -- acceptance and adoration for all. Damn hippies. Oh, and of course there's truth. Truth is good. Love truth.

If anything, "Truth" only made the general population even more excited for a new Edward Sharpe record. The man has plenty up in his head right now, and the record is supposed to come out next year. Rejoice.

The Top 100 Songs of 2011 -- #58: "Youth Knows No Pain" -- Lykke Li

2011-12-20T23:53:00.000-05:00

Stockholm, Sweden's Lykke Li took a turn for the dark on Wounded Rhymes, her sophomore effort. Oftentimes it was gloomy and moody, other times jolting, anthemic and up-tempo. And then there was "Youth Knows No Pain."

"Youth Knows No Pain" sounds as though it was lifted from a trailer for a western, or perhaps a gritty '70s-or-'80s crime drama. It's got a garage rock edge, well-suited for Li's brooding vocal. And check out that organ!

Seriously, Sweden, you've got it going on. Li's voice is innocent enough, a sweet croon with the slightest edge to it. There's a classic feel to the song as a whole. The vocal is very '60s, maybe '70s. Musically, we've already stated the aura it emits. Take note: this is how you do retro.

Wounded Rhymes as a whole is Sweden's response to Adele's 21 -- a sexed-up version, as it were. "Youth Knows No Pain" is Li's "Rolling in the Deep." Just listen to that swagger.

But seriously, can someone use this as the theme song to some hip crime drama set in Vegas with a smooth-talking deadpan lead, wisecracking sidekick and sassy woman judge? This just needs to happen.

The Top 100 Songs of 2011 -- #59: "The Insomniac's Song" -- The Ridges

2011-12-20T02:24:00.000-05:00

Yes, I know I'm going a bit obscure here, but work with me. Isn't that the point of these lists anyway -- to turn folks on to new music they might not have heard this year? OK, maybe there's more to it than that. Again, work with me.

The Ridges hail from my college town of Athens, Ohio, taking their name from a former lunatic asylum that overlooks the campus. The building itself is haunting, an adjective that describes the band as well. The band features just three full-time members -- a guitarist/frontman, cellist and percussionist. A rotating cast of auxiliary musicians fill out the rest of the band's live and recorded act.

"The Insomniac's Song" is the lead track off the band's self-titled debut EP. To me, it highlights everything The Ridges do best. The song begins with what sounds to be the band's string section effectively warming up (get it?! On the first song! Clever!) before a drum hit launches the song into its mid-tempo rhythm.

The strings are what stand out here. Throughout the entirety of the song, we're hit with a few different melodies from cellist Talor Smith and company. In this case, think of the strings as the lead instrument part -- as in, what the guitar would be in a normal, straightforward rock song. That's the role that's played here. Rather than using more conventional instruments at the forefront of the music, The Ridges utilize more orchestral elements instead. This is a welcome respite from the usual.

As we near the song's end, the percussion gets heavier and singer Victor Rasgaitis' vocal gets pushed to its breaking point, jumping from his normal register at the song's beginning to its upper reaches.

The Insomniac's Song by The Ridges

Orchestral folk rock isn't really a widely known or followed genre, but it seems The Ridges are out to change that. If you're a music aficionado interested in the pleasing pairing of acoustic rock instruments and strings, this is some of the best you'll find in 2011.

The Top 100 Songs of 2011 -- #60: "Several Shades of Why" -- J. Mascis

2011-12-19T19:25:00.000-05:00

While on a break from regular band Dinosaur Jr., frontman J Mascis released his first solo record, Several Shades of Why, in March on Sub Pop Records. The album was largely acoustic, highlighting Mascis' guitar work in addition to his wavering, aging voice.

The title track from that album ended up his most poignant yet.

With nothing more than an acoustic guitar, Mascis questions the world around him in an introspective folk ballad. The occasional violin wafts in and out of existence, but it's Mascis' beautiful guitar playing that really sets this apart.

"Several Shades of Why" is a song for a cold winter day, looking out over the snow as you ponder life. It's harmless and pleasant. A perfect addition to a playlist of 2011's best acoustic fare.

The Top 100 Songs of 2011 -- #61: "Born to Die" -- Lana Del Rey

2011-12-19T18:52:00.001-05:00

Where on earth did Lana Del Rey come from? Does anyone actually know?

One moment, no one had even heard of the 25-year-old New York native. The next, she was the biggest new thing since Odd Future. And as with Odd Future, she's polarizing, too -- seems like folks either love her or abhor her. Currently, the love seems to outweigh the hate. Regardless, the songstress hasn't exactly found universal acclaim thus far. (And as an added note, I'm still skeptical. Manufactured pop star? Very possible. But fuck it, I can't deny my feelings for this song. I just can't.)

After the runaway success of first single "Video Games" (which earned multiple distinctions, including "Best New Music" from Pitchfork), Del Rey released "Born to Die" earlier this month to similar acclaim.

Del Rey's self-proclaimed love of Thomas Newman is apparent. The strings in the song are very film-esque, creating an extra depth. Del Rey's music seems highly theatrical and dramatic, judging by listens to her first few releases, so this fits her.

Vocally, Del Rey is moody, to put it best. There's a classical feel to her voice, kind of a Nancy Sinatra vibe (and yet, Del Rey was once called a "gangsta Nancy Sinatra," something the singer refutes). There isn't much of a range to her voice, but what's there is actually quite pretty.

I don't think anyone can accuse Del Rey of not trying at this point. She's now released two straight low-tempo ballads that have people talking. She's performing on Saturday Night Live next month. And again, she literally came out of nowhere.

The Top 100 Songs of 2011 -- #62: "Good Feeling" -- Flo Rida

2011-12-19T00:41:00.000-05:00

I have a confession to make: I. Love. Flo Rida. Really, I love this man. As in, there may not be another American rapper today that consistently makes me as interested in rap music as a whole as this man does.

It began with "Low," which soon blossomed into "Right Round." It was here that we realized two things: one, Flo Rida is one of the best in the business at working samples of fairly popular songs into his own songs, and two, he will be featured in the soundtracks of Todd Phillips movies until the end of time.

Flo Rida's newest effort, propped up by his coolest sample yet, is "Good Feeling," off his newest (and still unreleased) record.

Credit should be given where credit is due. Tim Bergling, also known as Avicii, was behind the song, and his song "Levels" provides the basis on which "Good Feeling" is built. Have a minute? Check out the song, and compare and contrast.

The aforementioned sample comes from one of the most unexpected of places -- Etta James. Give these guys credit here -- just as Jay and Kanye showed their love of the classics by sampling Otis Redding this year, Flo Rida and company dug deep into the archives to drag this one out. The sample comes from James' song "Something's Got a Hold On Me" -- but only its opening line.

That's what makes this sample even better to me. It's not like the songwriters took a big chorus from one of James' classic songs. Instead, they lifted the opening line, a line not even meant to be repeated -- because in the song, it's never referenced again.

The result is great because let's face it: who expected to hear Etta James on pop radio again? Again, props to Flo Rida, Avicii and the others involved. Regardless of what you think of the rest of the song's facets, at least we have Etta. Oh, and get well soon, Ms. James. Respect.

Luckily, the rest of the song is strong as ever. Grant it that Flo Rida gives in to the trend of writing songs about getting in the club and/or having a good time pretty much constantly, but he simply does them so well. This is the kind of song about a club that I really wouldn't mind hearing at a club -- in fact, I'd scream it at the top of my lungs at said club. But I don't go to clubs, so that's a moot point. But still.

Strange of course is the random, we-did-it-because-we-can/because-it's-the-big-thing dubstep break about two-thirds in. The production on the breakdown is actually not bad, though it feels slightly forced -- though not as much as Watch the Throne's "Niggas in Paris" break. What the fuck was that? WHY the fuck was that?

Make no mistake, my love for "Good Feeling" likely stems from the fact that I tend to be a fan of a lot of what Flo Rida puts out. But sometimes I can't help it -- the dude knows what he's doing when it comes to the current state of American pop music. Like so many others, I'm powerless to resist.

The Top 100 Songs of 2011 -- #63: "Blastoff" -- Reptar

2011-12-19T00:14:00.000-05:00

Let's get it out of the way from the get-go: a band called Reptar? Hell yes.

Regardless of whether or not the Rugrats references will ever abound, the Georgia band is beginning to make a name for itself. The jaunty Oblangle Fizz, Y'all! (I don't get it either) was released in August, and the band opened for 2011 breakout band Foster the People during the year as well.

So far, "Blastoff" is the hallmark of Reptar's career as a band. It's a bouncy jam laden with spacy keys and bombastic percussion, with a helping of looped group vocals on the side. Frontman Graham Ulicny's passionate yelp rises above this cacophony, while guitars, synths and other instruments waft in and out seamlessly.

"Blastoff" is appropriately otherworldly, with its oft-used vocal samples and galactic instrumentation. It is a sound rooted not on the earth itself, but rather as celestial as this countdown may get. Plus, it's plain, dumb fun. There's a lot going on within the song, and all of it combines together to create a song that's easy to dance to and even easier to get stuck in one's head.

In short, "Blastoff" is the kind of song I want to hear in the next video I watch about the solar system. Make it happen, people.

The Top 100 Songs of 2011 -- #64: "You and Tequila" -- Kenny Chesney feat. Grace Potter

2011-12-18T23:49:00.000-05:00

I've made it no secret that modern country tends to trouble me more than excite me. Whether it's laughably bad wordplay, an amazing reliance on cliches, overused storylines or the hundredth song about going down to Mexico to forget one's problems, rarely does country music churn out a star or even a mere song that seems worthwhile to the general populace. The Zac Brown Band is an exception. I would argue for a few others as well, particularly male-female fusions such as Lady Antebellum and Sugarland.

Normally, I wouldn't even dream of adding Kenny Chesney to that list, and as a whole concerning his career, I'm not prepared to do that anytime soon. Even in more recent years, Chesney hasn't changed much (I still don't know how to deal with "The Boys of Fall" without needing a large instrument with which to bludgeon something). But hey, every dog has his day, right? It seems like every mainstream country singer has at least one moment of clarity, during which the music community as a whole is like, "Okay, props to you, this is alright." Note: I don't mean to sound like I'm hating on the country genre, because there's plenty I still like from it. But if your name isn't Zac Brown, Jamey Johnson or Hayes Carll, I tend to approach your music with the utmost of caution.

Anyway, I'm arguing that Chesney finally did something worthwhile after years of mindless drivel. It's not his best effort, but it's good enough for me. It even involves tequila and Grace Potter, which sounds like my idea of a good evening. (Except not really, because FUCK tequila.)

"You and Tequila" is a duet between Chesney and Potter... sort of. Potter's vocal is featured, sure, but in an incredibly limited role. We find her smokey croon on the first rendition of the song's chorus and in a few verses, but merely as a harmony to Chesney's main vocal. So, yes, Grace Potter is here, but she doesn't really get to stretch her wings and go, so to speak. No verse to herself or anything, just harmonizing.

But that doesn't kill the song. The simple fact that Potter makes an appearance here is a joyous occasion enough. The Vermont native has been a rising force in the music industry with her band The Nocturnals for years, and this is undoubtedly the biggest exposure she's received yet. In her day job, she fronts a rock band, oftentimes with a sultry hum that garners her comparisons to female rockers of the '60s and '70s. Here, she's toned down a bit -- partially because she's the featured performer, and partially because this is a different genre altogether.

And you have to give the songwriters credit here -- they came up with some memorable lines, especially on the chorus. "You and tequila make me crazy / Run like poison in my blood," sing the duo. "One more night could kill me, baby / One is one too many / One more is never enough." Never has being compared in likeness to alcohol been so flattering!

Chesney's 'gosh-durn' voice is at its best here, as it often is on some of his slower fare. The song is particularly interesting with its backing instrument choice as well -- check out the accordion!

Especially as he's getting on in age, Chesney may never top this again. Meanwhile, Potter's still young and just beginning on her path to stardom -- seriously, watch out for her next record, whenever it comes. Regardless, their meeting is altogether inspired and very much welcomed. Both were perfect for the part.

The Top 100 Songs of 2011 -- #65: "Lights" -- Ellie Goulding

2011-12-18T23:13:00.000-05:00

After landing a number of singles on the UK Singles Chart, British songstress Ellie Goulding broke into the United States with a performance on Saturday Night Live in May. After singing a cover of Elton John classic "Your Song," Goulding appeared with "Lights," a disco-like pop tune that has proved to be her biggest (and, well, only) hit in America.

"Lights" presents Goulding as a sort-of Robyn figure, a dance pop damsel with a flair for the electronic. The song is synthpop at its finest, with Goulding as the vulnerable female lead whose saccharine vocals preside over electronic blips and a pulsing beat.

The song's airy production keeps it from becoming too dense, as many dance tracks often do. Goulding is not an artist suited for pulsating club tracks, so this befits her. The instrumentation is sparse, slightly growing in volume by its end but never losing sight of the main attraction -- Goulding herself.

2011 marked a year during which many a pop diva threw her hat into the dance-y electronic ring. With "Lights," Goulding shows them how it's done. Few could top this in the genre.

The Top 100 Songs of 2011 -- #66: "Miami 2 Ibiza" -- Tinie Tempah/Swedish House Mafia

2011-12-18T14:00:00.000-05:00

American electronic/house production, meet your older, better cousin.

It's no secret that the current dance music trend in American Top 40 has been bubbling underneath the mainstream for quite some time. It's also no secret, nor surprise, that the genre has been prominent in Europe for well over a decade. Artists like LMFAO and Skrillex may be the frontrunners of America's budding rave culture, but they owe much to the scene that's been big in Europe, especially England, for quite some time.

Swedish House Mafia is a newer entrant into the European house scene. Since forming in 2008, the collective of DJs has taken the genre by the throat with a number of big songs. But perhaps their best effort yet comes alongside rising British rapper Tinie Tempah.

Released both on SHM's 2010 Until One record and Tempah's Disc-Overy (2010 in Europe, 2011 in America), "Miami 2 Ibiza" is a perfect embodiment of the relationship between hip hop and dance music that America has finally caught on to. It begins as an understated tune, before exploding in a big way. The song doesn't really have a chorus, per se, but rather a whooshing synth line that keeps coming back for more.

If you ever have a DJ set and need a real club banger to get the crowd moving, this should be your pick. Take note, American rave culture -- Europe's still doing it better than you.

The Top 100 Songs of 2011 -- #67: "Sparrow and the Wolf" -- James Vincent McMorrow

2011-12-18T13:10:00.000-05:00

You've heard James Vincent McMorrow before. You may not have known it at the time, but such is the nature of "commercial songs," for lack of a better term. In McMorrow's case, chances are you heard his song "Sparrow and the Wolf" in an LL Bean ad. And as always, say what you will about indie artists allowing their music to be used for advertising purposes -- "selling out," as some call it -- but it brought this wonderful folk music to the limelight. Let's give credit where credit is due.

McMorrow's "Sparrow and the Wolf" is a pleasant slice of upbeat folk pop. Featuring a driving, train-like drum beat and airy acoustic instrumentation, McMorrow sings in a tranquil higher register, a register known to go even higher on songs such as his beautiful cover of Steve Winwood's "Higher Love." Adding to the effect are "ooo"ing backing vocals from McMorrow and what sounds to be a lovely female voice.

But despite its catchiness and generally upbeat aura, the song's lyrics are actually quite depressing. "I have seen no joy, only dangers / I see no joy, only strangers / I see no joy, see no joy in this world," he sings on the song's chorus. This is a fucked up world, and McMorrow's here to tell you all about it -- with a happy little tune. It's the "Pumped Up Kicks" effect -- "wait, THAT'S what the song's about?!" More on that later.

"Sparrow and the Wolf" is steeped in the new folk tradition set forth by critical darlings such as Laura Marling and Mumford & Sons. Perhaps chalk up McMorrow as another byproduct of the UK folk revival, but there's something about the young Irish singer that causes him to stand out. He may never catch on in a big way in America, but I'm sure Europe will be glad to have him.

The Top 100 Songs of 2011 -- #68: "Gangsta" - tUnE-yArDs

2011-12-18T12:24:00.000-05:00

I am chronically confused by tUnE-yArDs. Like, seriously. I don't know what the hell is going on half the time. Maybe even most of the time.

But sometimes there's a moment of clarity enough. OK, maybe not even clarity. Hell, I'll say it -- I STILL don't know what's going on in "Gangsta." But I still love this song. Maybe you will too.

The song begins with the sound of sirens, followed by a driving drum loop and bass. And then project leader Merrill Garbus recreates the siren sound, using her own voice. And then layers onto it a harmony to that siren noise. Yeah. Harmonizing human siren noises, basically. And it's all looped.

"What's a boy to do if he'll never be a gangsta?" Garbus asks, thereby asking the real questions in life. Add in saxophone and more drum clicks.

Garbus has always been labeled as experimental, but this is an oddity in the best sense of the words. It's almost as though there's no rhyme or reason to the song. It follows no set pattern. Sometimes she'll start singing the chorus, and then she'll stop. And then she'll begin it again. And stop again. The whole song is delightfully unbounded. Garbus is just doing whatever the hell she wants, and somehow within the cacophony, she makes a cohesive song.

And you know what? It's a great one. Strange sirens and all.

The Top 100 Songs of 2011 -- #69: "Rikki Tikki Tavi" -- Fair to Midland

2011-12-18T12:05:00.001-05:00

Texas prog metal band (and former Serj Tankian proteges) Fair to Midland finally released their long-awaited fourth album, Arrows & Anchors, in 2011. After their major label debut in 2007, the band had built up a following through a heavy diet of touring, but while new music was dangled in front of our eyes as early as 2009, things didn't actually materialize for quite some time -- even after early demos of eventual album tracks were posted that year. A tour bus accident, in which some of the band's equipment was destroyed, did not help matters.

When the album was released this year, it contained a darker side to the band, and was heavier-hitting than the previous chapter in the band's career. Gone was some of the melodicism that made Fables From a Mayfly so great, but there were smatterings of the band's past along the way. One such example -- "Rikki Tikki Tavi," a song that finally saw a recorded version after years of being played live.

The song is a veritable see-saw of dynamics. Sometimes, Darroh Sudderth's vocals are singsong, accompanied by pleasant keys from Matt Langley. And then, in an instant, Sudderth transforms into a deep-voiced, screaming monster over metal-esque instrumentation.

That's always been one of the strengths of Fair to Midland -- unpredictability. And this song, at first listen, is as unpredictable as they come. It jumps from tranquil to volatile seamlessly. It's tougher to swallow than some of the band's more toned-down fare, but that's all part of the fun. "Rikki Tikki Tavi" is the kind of thing that must be an experience to see live. It changes directions so often, it's almost impossible to not be caught off guard when Sudderth and the band launches into its dense riffage each time.

Other songs, particularly "Musical Chairs," showed a Fair to Midland that was more close to the band of before, while more still where almost constantly turned up to 11. "Rikki Tikki Tavi" was the amalgamation between the two sides. Sometimes it was sweet, but man, could it fuck you up.

The Top 100 Songs of 2011 -- #70: "Dazzling Blue" -- Paul Simon

2011-12-18T03:46:00.000-05:00

Some have called Paul Simon's So Beautiful or So What, his first full-length since 2006's Surprise, his best solo record since the possibly unmatchable Graceland. The validity of these statements can and should be tested by you, the ever eager listener, but the fact that anyone at all (especially Rolling Stone) is calling this record such a successful return to form is probably a good idea.

On a few of Simon's newest material, he revisits the sounds of Graceland, experimenting with many of the same elements of music that he enlisted for that album. As a result, many of the songs sound like they wandered off from the Graceland mothership, only to be rediscovered all these years later.

One such song is "Dazzling Blue," the record's third track. The track feels like very classic Simon from the get-go. Easygoing instrumentation accompanies Simon's weathered, laid-back vocal. African or Caribbean percussion underlies the tune. A sparse guitar provides a small solo.

Yep, we're basically in Graceland again.

And that's definitely not a problem. It's good to see Simon stick to his guns, as we can see what happens when bands or musicians decide to deviate from their norm and to try new, potentially risky things (see: Metallica). This is a calling card, so to speak, and Simon seems to have no problem giving in to the man.

Do yourself a favor and check out Simon if you haven't already. Many of the newest generation of teenagers need to discover this band as soon as possible.

The Top 100 Songs of 2011 -- #71: "Stereo Hearts" -- Gym Class Heroes feat. Adam Levine

2011-12-18T03:33:00.000-05:00

Hands down, Gym Class Heroes wrote the catchiest pop song of 2011.

Following frontman Travis McCoy's brief foray into a solo career (which included the smash hit "Billionaire'), he reunited with his band to release The Papercut Chronicles II, the follow-up to the band's 2005 record.

Although the record itself came out a mere few weeks ago, the album's lead single has been making ripples on the airwaves since the beginning of summer. Featuring Maroon 5 frontman Adam Levine, "Stereo Hearts" began picking up major momentum toward the end of summer, and continues its reign of enormous popularity as I write.

Plain and simple, the song has a hell of a hook. It was provided by Levine, who begins the abundance of music metaphors of the song with his opening vocal -- "My heart's a stereo / It beats for you, so listen close."

The metaphors flow freely throughout the song, which is sort of what makes the song so enjoyable and altogether endearing. Along the way, McCoy asks the listener what his/her reaction would be if he was "just another dusty record on the shelf," or "stuck inside your head like your favorite tune." The rapper spits quite a few other clever lines, such as, but not limited to: "And all I ask is that you don't get mad at me \ When you have to purchase mad D batteries" and "I think finally found a note to make you understand \ If you can hit it, sing along and take me by the hand."

I think Levine's part on the bridge sums it all up: "I only pray you never leave me behind / Because good music can be so hard to find." Maybe I'm just easily amused, but that happens to be one of my favorite lines of 2011, period.

The song is put over the top by Levine's vocal, but McCoy's flow is certainly not one at which to scoff. It seems like the emcee improves with each album, and his ear for a good pop song is becoming increasingly effective.

"Stereo Hearts" may not be the best pop record of 2011, but it's damn near close. When it comes to silly fun and songs about love in the form of musical metaphors, Gym Class Heroes have you covered.

The Top 100 Songs of 2011 -- #72: "Something to Believe In" -- Parachute

2011-12-18T03:08:00.000-05:00

I'll admit, before 2011 I was none too interested in Virginia five-piece Parachute. The band wasn't anything to shake one's head at in disgust, but they weren't yet making music that really set them apart from any other young adult-alternative rock act out there.

To be fair, I still don't believe there's much to Parachute that we haven't heard already from a hundred other bands. That said, I gained a new respect for the band with their summer single "Something to Believe In."

The song finds the band with a bit of a skip in its step, at least compared to a few of its more popular singles. "Oh, just give me something to believe in," sings frontman Will Anderson over a hefty combination of guitar, bass, drums and piano. A horn section brings added flair, as does a chorus-esque backing vocal.

And of course, we must recognize that 2011 is the Year of the Sax. The saxophone, to be exact. The instrument was featured prominently in quite a few major songs this year, and "Something to Believe In" is no different. It makes me wonder why this craze seemed to catch on this year, and how. But enough of that -- maybe we'll touch on the saxophone's peculiar rise later on in the countdown.

Best of all, there's an underlying power to the song, one that keeps it moving at a formidable pace. The chorus is big, probably the biggest the band has done. The rhythm section remains tight and focused, allowing Anderson and the backing vocalists to do some big things vocally.

Not that I'm one to go to when it comes to making band decisions, but if I were Parachute, I'd invest more time into making music along the lines of "Something to Believe In." It's their best effort, and it showcases the potential the Charlottesville natives really possess.

The Top 100 Songs of 2011 -- #73: "Promise" -- Romeo Santos ft/ Usher

2011-12-18T02:26:00.000-05:00

Hey, remember Aventura? No? OK, if you're from America, that makes sense. The group was one of Dominican Republic's most successful acts in the 2000s, and plenty of their songs found their way onto the United States Latin music charts. Still, unless you're a connoisseur of such music here in the US, Aventura may be new to you. Sure, the band's "Obsesion" was covered by Frankie J and released in English to a top three position on the Hot 100 as "Obsession (No Es Amor)," but that's about all the group is known for in the United States.

That doesn't really change with Romeo Santos' "Promise." The former lead singer of Aventura released his debut solo record this year, and the half-Spanish, half-English tune marked his personal best in terms of breaking into the US mainstream conscious.

Even without the song's big-name featured player, "Promise" is a delightful little song. Santos sings in Spanish the whole way through, with the song transitioning from mellow R&B to the bachata element Santos is most familiar with from his days in Aventura. Really, he's like the Dominican Usher. He has a sweet-sounding voice, perfect for an R&B slow jam should he ever try to do the crossover.

Oh, speaking of Usher, he's on this track.

Yep, probably the main reason this song really caught on at all in America was due to Usher's presence. The singer is a professed fan of Santos, and the duo's voices mesh soundly.

Whether you understand both Spanish and English, only one of them or even neither, you can feel the passion in each singer's vocal. It's a song to which one can relate or which can elicit emotions, despite the potential language barrier.

The Top 100 Songs of 2011 -- #74: "Death of Communication" -- Company of Thieves

2011-12-17T00:39:00.000-05:00

When it comes to female-fronted rock bands of 2011, I'll think of two -- Kentucky's Sleeper Agent, who we'll talk about later in the countdown, and Chicago's Company of Thieves. Both broke out on college rock radio with catchy singles that highlighted frontwomen Alex Kandel and Genevieve Schatz, respectively.

It's been a rough few years for females in unrelenting, unrestrained rock, but both Kandel and Schatz seem to be ushering in a new era for the lovely ladies of rock music. For Company of Thieves, it was "Death of Communication" that established this notion.

The song is straightforward rock -- a good fit for the band and its record label, Wind-up. It follows the usual verse-chorus-verse-chorus-solo-chorus format, and its instrumentation is reminiscent of the hardest-rocking of indie rock acts.

To be fair, Schatz is what makes the band. With a different female singer (or certainly a male singer), "Death of Communication" may not have been as strong. Behind the song's driving beat, Schatz howls at what seems to be a friendless aggressor.

"Death of Communication" establishes Company of Thieves as a band to watch over the next few years. From a listen to both this song and their newest album as a whole, one can tell the band has a high ceiling of potential.

The Top 100 Songs of 2011 -- #75: "Under Cover of Darkness" -- The Strokes

2011-12-17T00:15:00.000-05:00

Despite being one of the most anticipated albums of 2011, The Strokes' Angles faltered, according to some circles. The reasons for this failure could be disputed for days, but most of all, the album seemed phoned-in. This was not the sound of a band that really enjoyed playing together. It was the sound of a band that recorded new material for whatever reason, be it an obligation to fans or someone else, whoever that someone might be.

Not that Angles was a bad album, but when you have a rock band that basically kickstarted the indie rock movement in the early 2000s with a string of highly successful and critically acclaimed records, that band is almost always going to be judged based on its past achievements. C'est la vie.

But even when frontman Julian Casablancas sounded downright bored or apathetic (see: most of the record), there were times when he and the rest of the crew showed why they were and are as popular and well-respected an act as they tend to be. As an example, let us take "Under Cover of Darkness."

"Under Cover of Darkness" was the band's first single off Angles, as well as the only song that really did anything commercially. To say it's classic Strokes wouldn't be totally accurate, but close enough. These days, getting The Strokes to both actually sound like The Strokes and seem to enjoy doing it is a battle in itself.

The song's centerpiece is its dueling guitar work from Valensi and Hammond. It's always refreshing to see a band with two guitarists that can contribute soundly. Neither is really the rhythm part here. Both seem to be trying desperately to be heard, sometimes meeting midway in harmony.

The chorus is where the fist-pumping begins. I wouldn't necessarily call The Strokes a band known for its catchiness, but here they take anthemic indie rock and perfect it to a t.

2011 will be known as a slightly disappointing year for The Strokes, but with "Under Cover of Darkness," the band showed that they still have a little in them -- when they want to show it, of course.

The Top 100 Songs of 2011 -- #76: "Where's Eddie" -- Drive-By Truckers

2011-12-15T18:52:00.000-05:00

Athens, Georgia southern rock kings Drive-By Truckers kept on rolling in 2011 with Go-Go Boots, the band's ninth release. Though still steeped in the rock traditions the band has presented for years, a little bit of country and soul also worked its way into the final product, creating a well-rounded result containing a plethora of distinct influences.

Sadly, bassist/vocalist Shonna Tucker left the band earlier this month. However, before her departure, she left fans with one of the band's best recordings -- "Where's Eddie," on which she sang lead vocals.

"Where's Eddie" is a cover, written originally by songwriter/session guitarist Eddie Hinton. Hinton may not be a household name these days, but his allure certainly existed in the middle part of the 1900s, as he guested on songs by such artists as Elvis Presley, Aretha Franklin, Otis Redding and more.

The expert Truckers provide a calming backdrop here, which is fitting, because it's Tucker that is meant to shine -- and shine she does. Against a soulful southern rock vibe, Tucker sings the song as though it was written for her. Her voice is highly reminiscent of that of classic female country artists, but with a hint of soulful abandon.

The song unfortunately ends rather abruptly, but nonetheless, here we have a song that best exemplified Tucker's contributions to the band. It's sad that they appear to be long done, but at the very least listeners have a forget-me-not in the form of a beautiful little song.

The Top 100 Songs of 2011 -- #77: "Devil is a Lady" -- The Chain Gang of 1974

2011-12-15T18:11:00.000-05:00

Denver/Los Angeles musician Kamtin Mohager appeared on the scene in 2011 with Wayward Fire, his first release as The Chain Gang of 1974. The album was an exercise in dance-punk -- and possibly the best such exercise of the year. Placing dirty guitars and synths over catchy choruses, Mohager created a record surely to put him on the map when it comes to future releases.

A prime example of Mohager's talent and flair for melodic production is "Devil is a Lady," the album's second track. Beginning with a jaunty guitar riff, and soon explodes into something much larger. More guitars, deep synths, a never-ending drum loop -- and it's nearly a minute-and-a-half before the vocals even begin.

The song veers about as close to disco as the act ever comes. This is not a bad thing by any means -- in fact, Mohager actually pulls it off fairly well. There's even vague hints of The Rapture here. It's unclear what direction The Chain Gang of 1974 will end up taking, but this wouldn't be a bad choice for one. Mohager seems very much in his element here, and that's what matters.

The Top 100 Songs of 2011 -- #78: "Jack Sparrow" - The Lonely Island

2011-12-15T17:46:00.000-05:00

The Lonely Island will always get points for a few things, among them being an eclectic creativity and a simply random sense of humor. Whether you're watching their digital shorts on Saturday Night Live or simply listening to one of their songs, the productions of Andy, Jorma and Akiva always tend to leave folks wondering 1) How they came up with their material, and 2) How they pulled it off to such great effect.

The group released Turtleneck and Chain in 2011, the follow-up to their uproariously popular debut. Following the modest hit "I Just Had Sex" with R&B singer Akon (made better by its hilarious video), Samberg and Co. released "The Creep" with Nicki Minaj, another runaway hit.

So, how to top the first two singles' success? Two words, two very unexpected words: Michael Bolton.

No one saw it coming. No one expected a collaboration so mismatched and with a singer so out of the public eye that not even a new album that charted modestly on the Adult Alternative charts could bring him back to relevance. Bolton's prominence in the last decade had existed solely due to the mention of his name during Mike Judge's Office Space film. Musically, he was dead to the world, a laughing stock at that -- want cheesy '80s and '90s impassioned adult pop rock that will deprive any male who listens, unforced, to it of his man card.

Granted, that still holds true for Bolton's music. But at least we can finally point at something from Bolton's career from the past 15 years and say, "Hey, but he did this. And it was awesome."

In "Jack Sparrow," Bolton promises a hook that will take The Lonely Island's club-banger verses to the next level. But it doesn't exactly work out that way. Bolton takes the song to the next level alright, albeit in a completely different direction. "This is the tale of Captain Jack Sparrow," sings Bolton on the chorus, suddenly making the song about Disney's Pirates franchise. The Lonely boys are reasonably confused.

"Okay, turns out Michael Bolton is a major cinephile," they muse after Bolton namedrops Forrest Gump, Scarface and more (speaking of, the song is worth it if only to hear his Tony Montana impression).

"Jack Sparrow" ends up the best song off Turtleneck and Chain for sheer hilarity. It was uproariously funny during its initial run as a digital short, and while some of the visual comedy is lost in translation, the song is still hilarious. It will be hard for the boys to top this.

The Top 100 Songs of 2011 -- #79: "Post Break-Up Sex" -- The Vaccines

2011-12-14T19:03:00.000-05:00

The Vaccines roared onto the British music scene in 2011 with basically no warning of their arrival. After forming just a year prior and having only a few live shows under their belt, the band released debut album What Did You Expect From the Vaccines? in March. The album's first singles were released in November, and the band made an appearance on Jools Holland's music variety show before year's end.

The hype was enormous for the four-piece by the time their album release rolled around, and The Vaccines delivered with an acclaimed record that drew comparisons to The Strokes and Jesus and Mary Chain, among others.

In January, the band released the second single off their album, "Post Break-Up Sex." In a flurry of catchy tunes, it was the catchiest, the most relatable, and downright the best song the band has released to date.

The song finds singer Justin Young sounding more like Editors' Tom Smith than ever before. His deep, dreary voice is really what makes The Vaccines the perfect amalgamation of the aforementioned Editors and The Strokes. The music has a classic edge, is guitar-driven and sounds as though it was lifted from another time period, and Young's droning voice rises ever-so-lightly above it all.

Plus, the lyrics describe a place to which many have been. Young sings of a certain individual whose recent intimate relationship choices might be questioned due to his/her (I'm guessing her) motives behind said relationship. Really, one line sums up the entire lyric: "What did you expect from post break-up sex?"

The Top 100 Songs of 2011 -- #80: "Second Chance" -- Peter Bjorn and John

2011-12-14T17:32:00.000-05:00

The Swedes known collectively as Peter Bjorn and John have yet to repeat (or really even come close to matching) the success of 2006's sleeper hit "Young Folks," a catchy little ditty with a whistleline for the ages. But with "Second Chance," off this year's Gimme Some, they came as close as they ever have to doing so.

"Second Chance" utilizes one of the facets of "Young Folks" that made it so damn popular and catchy -- an innocuous backing vocal to complement lead singer Peter Moren's retro-ish voice. In "Young Folks" it was the whistling. Here, it's a refrain of "oohs" that creates the earworm likely to be stuck in your head for quite some time.

Of course, that isn't the song's only allure. Moren's easygoing, relaxed vocal (really a standard for him, I suppose) makes the chorus all the more delicious.

Plus, cowbell. COWBELL.

Peter Bjorn and John may always be judged based on "Young Folks" (look! I'm doing it now!), but with music like "Second Chance," along with songs such as the breakneck "Breaker Breaker" off the new record, the three-piece shows they can still hold their own in this always-changing industry.

The Top 100 Songs of 2011 -- #81: "Ethiopia" - Red Hot Chili Peppers

2011-12-08T12:59:00.000-05:00

Red Hot Chili Peppers didn't have a big year in 2011, but I don't think anyone really expected them to. After guitarist John Frusciante's second departure, many people were rightfully worried. Upon Frusciante's first departure, the band picked up Dave Navarro, and the less said about that particular RHCP period, the better. Now, following departure number two, the Chili Peppers enlisted Josh Klinghoffer, himself a close friend of Frusciante and the rest of the band. Already a plus, right?

The band released I'm With You as their new official release sans Frusciante. The result was jumbled and lacking something, and I think I know what that something is (hint: I've mentioned him quite a few times already). Thankfully, at least Klinghoffer's guitar work was not too far-removed from his predecessor's, making his entrance a more seamless transition than that of Frusciante to Navarro.

Most of the members of the band were still on their usual game, especially bassist Flea. His bass work stood out over Klinghoffer's more subdued style; it almost seemed as if the guitarist was content to relinquish a starring role to the bassist rather than go all out with his licks.

"Ethiopia" is a song in which Klinghoffer, Flea and the rest of the game are fairly evenly matched. Flea's bassline is catchy and bouncy, but Klinghoffer's riffs are sometimes mesmerizing. He's not as out on the frontlines with his playing as Frusciante was, but you can hear the Frusciante influence.

The chorus is where it's at here. Following a decidedly Chili Peppers-esque verse, the song explodes in a big way, with the band about as loud as it gets throughout the entire record.

But that's not all to listen to. Take time to appreciate Klinghoffer's subtle guitar stylings, some of which garner more appreciation with each listen.

This is a weird crossroad for RHCP. They've lost arguably the main driving force of their music, but in his place they have a guitarist who takes some pages from his predecessor, but with a subdued approach to his role in the band. Even though Klinghoffer is featured prominently in the song, his licks have the feel of a supporting-role performer, which was not always true of Frusciante.

Many enjoyed "Ethiopia" and the record it was on, with the album garnering the band a GRAMMY nomination. But despite its polarizing nature, I think many can agree on one thing -- this song is big, and it's good to see RHCP still taking that road on occasion.

The Top 100 Songs of 2011 -- #82: "I'm a Goner" -- Matt & Kim, Soulja Boy, Andrew W.K.

2011-12-08T12:24:00.000-05:00

2011 was a year of strange collaborations. Lou Reed and Metallica. Alice Cooper and Ke$ha. Jack White and Insane Clown Posse.

One of the strangest was a Converse-created mix-up that included Brooklyn indie-punksters Matt & Kim, party man Andrew W.K. and none other than "Crank That" rapper Soulja Boy. What the actual fuck?

It's always interesting to see how folks approach this. There tends to either be a mentality of "This is such a strange mix, it only could be the greatest thing ever" or "Holy shit, why? Kill it with fire!" Rarely is there a middle ground in the way people anticipate the music. It's either going to be supremely great or horrifyingly bad.

"I'm a Goner," the collaboration's end result, is actually neither of those things. It's not as bad as some might expect, nor is it an amazing collaboration. But it's endearing enough to deserve mention. The song takes the talents from all three acts and combines them together in a relatively seamless manner, making for a song that, although it sounds like it would be disjointed, is anything but.

Understandably, Matt & Kim shine the most here. The backing music is most susceptible to their musical stylings, so they certainly don't sound out of their element. Their chorus of "Believe me / I said I'm a goner" is incredibly catchy as well, one that will be stuck in your head for hours after.

Andrew W.K.'s part is interesting. As he is usually accompanied by crunching guitars, we have the opportunity to hear his voice in a more toned-down environment. It's strange not hearing W.K. go hard in the paint, as it were. He's more subdued, though, but still with an edge to his voice. Must be all that partying.

Surprisingly, Soulja Boy's contribution is not as poorly-conceived as what some might expect. His flow is tight by his standards, and he doesn't really stand out nor take away from the overall experience. This song is my favorite thing he's been a part of.

Again, 2011 has had its share of strange collaborations, but this and Jack White/ICP were at the top for strangest. In the end, "I'm a Goner" emerges victorious in a battle of the two. Then again, after hearing its opponent, it's not much of a shock.

The Top 100 Songs of 2011 -- #83: "Dear Father" -- Colin Hay

2011-12-08T11:22:00.000-05:00

I will always love Colin Hay both for what he did in the past and for what he's doing these days. Known to most as the lead singer of early-'80s stars Men at Work ("Down Under," guys. Did it get any better?), Hay has maintained a solo career since the band split. Zach Braff is a fan of Hay in particular, featuring his music on the Garden State soundtrack and on Scrubs, and the latter featured Hay onscreen in a few episodes.

Hay's solo career was most notable in the early '90s, but the 58-year-old has remained stagnant in releasing records, with one coming out about every two years. Gathering Mercury is his most recent, following 2009's aptly named American Sunshine. The albums are polar opposite. Where American Sunshine was a brighter, more-upbeat record, Gathering Mercury is one of Hay's most poignant -- and somber -- releases.

After the death of Hay's father, he began writing the new record. While all of its songs follow the familiar themes of loss, some more hopeful than others, "Dear Father" confronts this loss head-on.

Hay is arguably at his best with the most minimal of instrumentation. My favorite song of all time is one of his -- "Waiting For My Real Life to Begin," an introspective about one's place in the world and what the future may hold. Its accompaniment is nothing more than a 12-string acoustic guitar. Another one of his greatest, "I Just Don't Think I'll Ever Get Over You," is also played with minimal accompaniment.

"Dear Father" is about as close to 'minimal' as Hay gets on the new album. Guitar in tow (and the occasional strings to bolster the tune), Hay writes an emotional letter to his recently-deceased father. The song retains the same melody throughout nearly the entire song, but it's the lyrics to really scrutinize and enjoy. "Dear father, I’ve got your photographs," he begins. "Thank God for photographs / hip hip hooray."

What ensues is a similar lyrical structure throughout the rest of the verses. In them, Hay laments his father's death and that he can no longer see him, even though he sees his reflection everywhere.

In one of the most poignant lines, Hay sings, "Dear father, I never got to say goodbye / I was singing on the River Clyde and I didn't know." As it turns out, Hay was miles from his father's birthplace, playing a show, on the night of his dad's death.

One more line, my favorite: "Dear father, you’re starring in my dreams /
And you’re stealing all the scenes / where did you go?"

"Dear Father" is a song for anyone who has experienced loss. One can only imagine how Hay must have felt composing the song, and how he feels each time he performs it. It's a beautiful song about the struggles we face after a loved one has passed, and how we see them in our lives even after they're gone.

The Top 100 Songs of 2011 -- #84: "The Valley" -- Okkervil River

2011-12-08T10:00:00.000-05:00

Okkervil River released their best-performing album to-date in 2011 with I Am Very Far, which reached No. 32 on the Billboard 200 chart. It is noted as a departure from their previous two records, opting for an updated sound and lyrical approach.

Nothing on the new album announces this new direction more soundly than its lead track, "The Valley."

The song is a veritable hodgepodge of instrumentation, complemented by Will Sheff's impassioned vocal. There's a lot going on within the song, much of which may not even be noticeable at first listen. But it's all integral to the success and allure of the song, and creates a depth unmatched by most other songs this year.

From "The Valley"'s first monstrous percussion hits, the driving beat of the song is solidified. Sheff presents the imagery of "our friend," our friend who has taken a gunshot to the head and has "fallen in the valley of the rock and roll dead." At first glance at this lyric, one might worry this song is about to become a nuanced take on rock 'n' roll immortality. Very graciously, 'tis not so.

Sheff's lyrics remain a major centerpiece of his band's appeal. In the vein of The Decemberists' Colin Meloy, Sheff's lyrics are highly literary, though Sheff's may be a bit more accessible. One particular line I love: "Like the water loves lapping at the skin of the shore / hear our friend come tapping at the latches on the door." Set to the stomping tempo and instrumentation of the song, Sheff's vocal is heightened.

Add in a plethora of strings, piano and various other instruments spliced into the finished product, and you're golden. IT'S golden. Okkervil River has done better, sure, but on I Am Very Far, you could do worse.

The Top 100 Songs of 2011 -- #85: "He's a Mental Giant" -- Tech N9ne

2011-12-06T21:28:00.000-05:00

I'm not sure if we can consider Kansas City rapper Tech N9ne "underground" anymore after his FIRST 2011 record (yep, he was prolific this year... we have to pinpoint which album) All 6's and 7's debuted at No. 3 on the Billboard 200 chart in June. I suppose, while the album certainly made some waves in the rap community, Tech N9ne is criminally underrated in mainstream circles, although the artist doesn't seem to mind much. Tech N9ne is the example of the artist that could have been but chose not to be, opting instead for hip-hop that ventures off the beaten path.

"He's a Mental Giant" leads the pack off both the aforementioned record and Tech N9ne's second release in 2011, Welcome to Strangeland. It highlights Tech's prowess as a spitfire rapper, with production that includes thundering bass and a dual percussion/vocal backing that suggest a tribal influence.

Lyrically, "He's a Mental Giant" finds Tech boasting about his intellectual prowess -- not exactly a popular theme in the genre, as if a rapper's going to brag about anything, it seems like it tends to be his/her money or rapping ability.

But it's his flow that stands out here. Let's be real -- take a lot of modern-day mainstream rappers, and have them spit rhymes as quickly as they can. With a few exceptions, you're not going to find too many to write home about. This is not necessarily a bad thing, but rappers seem to be more laid-back on their rhymes in terms of their tempo than in the past (Twista, anyone? Holy shit!).

As per usual, "He's a Mental Giant" packs a punch quite unlike that of other well-known rappers. Its production is decidedly weird compared to the norm, and there's simply something about the rapper that sets him apart from the rest of the pack. And we're not even talking yet about his imagery, both on video and during live performances. I saw him this year at the Gathering of the Juggalos, and wow. What a show. He's a true thrill to watch.

Only a select few songs in the genre have topped this. If you're looking for a good year-end list in the rap genre, take this song for consideration. Tech N9ne just may become your new favorite rapper.

The Top 100 Songs of 2011 -- #86: "Afternoon" -- Youth Lagoon

2011-12-06T20:47:00.000-05:00

Youth Lagoon, the brainchild of Idaho musician Trevor Powers, released their first full-length this past fall with The Year of Hibernation, a synth-laden indie pop affair with understated guitar work and songs that sound like they took the Owl City approach and were recorded in the artist's bedroom (which, I'm going to guess, they probably were).

So of course, the end result is an intimate affair, with the DIY aesthetic that has become quite common in electronic indie pop music. It's not as dreamy, nor does it embrace the weird as some of its peers (see: Nightlands), but Youth Lagoon's music is still something fairly pleasant. It's airy, and at times feels quite sparse, but there's a lot going on, and much to appreciate with repeated listens. One of the best aspects of this genre is its tendency to layer quite a few different ingredients into one final product. A few listens later, you may still find something new to appreciate.

"Afternoon" is a strange tune in that it has a nostalgic feel to it, despite the reasons for this feeling not being too apparent. But the moment I first heard this song, I was immediately brought back to thoughts of youth, and of its simplicities.

There could be a number of reasons for this. It could be Powers' voice, which has a childlike timbre in its near-falsetto, a playfulness and immaturity that lends itself well to happier melodies. Or maybe it's the opening notes of the song, brought into being by what could either be bells or even a music box -- it's hard to tell, frankly. And what about the song's occasional whistling, reminiscent somehow of a child's cartoon from long ago.

Whatever the reason for its allure, the attraction of "Afternoon" pulls it above the rest of the songs on Youth Lagoon's debut album, establishing the band as an up-and-comer in its genre. They already have Pitchfork's stamp of approval, and say what you will about the publication, but they're usually right when it comes to pointing out good music. So take that as you will, and check out the rest of the record while you're at it.

The Top 100 Songs of 2011 -- #87: "The Wait is Over" - We Barbarians

2011-12-06T20:11:00.001-05:00

Brooklyn's We Barbarians may not be a household name just yet, but their Headspace EP has the makings of a much larger band, or at least one whose path to stardom is in progress.

ACRN had the EP in heavy rotation throughout much of this quarter, and with good reason. The band's music is chock-full of catchy indie rock riffs and melodies. Listening to them is a relatively straightforward affair -- unlike a lot of music, where one must whittle a band's sound down into a subgenre (or even further... like, "We need to go deeper," some Inception shit or something) to pin it down directly, you don't have to work much at We Barbarians to understand what they're doing.

Some may like this, while others may abhor or be apathetic concerning the spirit of the band. It's true that We Barbarians are fairly straightforward and don't offer too much originality, but it's also quite alright to keep with the status quo, as long as you're doing it right. And that they are.

"The Wait is Over" is the album's centerpiece, beginning with its affecting opening riff. Its jangly disconnect prevails throughout the song, over David Quon's soaring vocals. The music, particularly the production, has the sound of a band early into its career, but if that is the case, then creating something of this caliber at this point in one's career is certainly something to be complimented.

Check out the rest of Headspace for an interesting cover of David Byrne and Brian Eno's "Strange Overtones," among others. But for the best example of a band who may have something big to say in the next few years in indie rock, "The Wait is Over" is the song to check out.

The Top 100 Songs of 2011 -- #88: "Benfica" - Panda Bear

2011-12-06T19:13:00.000-05:00

Noah Lennox, a.k.a. Panda Bear, is said to be the forerunner to the chillwave movement we discussed as part of No. 95 on this list, Penguin Prison's "Don't Fuck With My Money." Call him a participant in the genre or not, but his influence on the electronic indie music scene is certainly laudable. Particularly important was 2007's Person Pitch, which thrust Lennox into the limelight as a solo artist, rather than as part of the highly experimental Animal Collective.

Four years after that album, Panda Bear resurfaced with new music, which was understandably quite a bit deal in March and April. Tomboy is its name, and a departure from earlier Panda Bear material is its game.

If I can be real for a moment, my brethren, it is on Tomboy that Lennox attempts a transformation into Brian Wilson of The Beach Boys. Or Carl. Or Dennis. Or, hell, maybe all of The Beach Boys. ALL AT ONCE. Either way, vocally, Lennox has gone full-Wilson. Musically it's anything but, with strange electronic jolts, guitars and enough distortion to feed a colony of Smashing Pumpkins fanatics.

Tomboy ends with "Benfica," a spacy, echo-ey jam that exhibits shades of the chillwave scene Lennox is said to have helped enliven, but with a spin that only a member of Animal Collective could pull off. Without Lennox's vocals, one could imagine the song being set to a montage of pictures or video about certain celestial objects.

But it's the vocals that shine here. The harmony-laden performance from Lennox is captivating, rising and falling over the distortion, electronic blips and sounds of crowds cheering. No, seriously on the last one. At first (or second... maybe even third) listen, the latter may seem out of place, but a look at the lyrics will clear things up a bit.

"Some might say that / To win's not all that it's about / It's just not something to say," sings Lennox. "But there is nothing more true / Or natural than wanting to win."

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The Top 100 Songs of 2011 -- #89: "Junk of the Heart (Happy)" - The Kooks

2011-12-04T16:58:00.000-05:00

English indie band The Kooks have experienced resounding success in their home country, but that notoriety has never really translated in America. The band previously had a few singles that charted modestly on Billboard's Alternative charts, but they had never made much of an impact.

It seemed like the four-piece was destined to follow the trajectory of many other British bands in America -- popular in the native land and to the Anglophiles of the United States, but little else.

"Junk of the Heart (Happy)" doesn't dispel that notion, but it's the most distinct step forward yet for the band in terms of garnering American acclaim.

Coming off the new album of the same name released in September, "Junk of the Heart" begins with a slight retro feel and maintains it throughout the entirety of the song. It emits a chill vibe, helped by its minimal instrumentation and yearning lyrics and vocals.

The chorus is where the song finally comes alive. Prior to then, it's pleasant enough, but nothing to write home about. But here, The Kooks have written what may be their catchiest melody yet, one which will be stuck in your head for quite a bit after listening.

A fuzzed-out guitar solo (if you can call it a solo) complements the vocals toward the end, but it's Luke Pritchard's lovesick vocals that knock this song over the edge. It's The Kooks' most accessible single yet, and that's not a bad thing at all.

The Top 100 Songs of 2011 -- #90: "Words" - The Farewell Drifters

2011-12-04T16:20:00.000-05:00

The Farewell Drifters are a country-tinged folk act based in Nashville that is poised to break out in a big way, and they took a step in that direction with 2011's Echo Boom, which debuted at No. 6 on Billboard's Bluegrass Album chart.

"Words" is hands-down the best song on that record, and perhaps the most beautiful the band has ever sounded, save for their cover of The Beatles' "For No One."

A fairly introspective tune, "Words" presents many of the elements that make The Farewell Drifters artists at the top of their game. A sweet tenor vocal, a lofty, meandering fiddle, and lyrics to which many can relate.

Words by The Farewell Drifters

Plus, I'm a sucker for a nice low-tempo song -- you'll see that as a recurring theme in this countdown. The Drifters utilize the instrumentation they possess (here, a plethora of stringed instruments) to full effect in creating a song that exudes simple, pastoral allurement.

"The wicked words just fall out of my mouth / I don't mean to shout," sings Zach Bevill at song's end. Tell me who hasn't felt that way at some point in their lives. The song is apologetic, reflective and altogether endearing -- a recipe for success.

The Top 100 Songs of 2011 -- #91: "Ode to the Bouncer" - Studio Killers

2011-12-04T15:22:00.000-05:00

Sometimes -- though certainly not as much as in the past -- your initial discovery of a song comes from watching its music video. One such example is my No. 2 song on last year's list, Hot Chip's "I Feel Better."

And sometimes, the music video is about all you have to go off for a band. Enter Studio Killers.

The European electropop act surfaced in 2011 with a single, a video, a social networking presence, and not much else. To this day, no one knows the band's origins, or even who makes up its roster -- in real life, that is. Virtually, Studio Killers are made up of singer Cherry, keyboardist/fox/hipster Goldie Foxx, and DJ Dyna Mink.

Studio Killers are kind of the second coming of the Gorillaz, except at least then, we knew Damon Albarn was behind the whole thing. The characters are animated, either in a 2D format or, as with their video, in 3D. Cherry is the only human in the band, a curvaceous thing that, according to first song "Ode to the Bouncer," isn't a big fan of wearing pants.

"Ode to the Bouncer" is the medium through which many know Studio Killers, though the virtual members of the band maintain a strong presence on Facebook, Twitter, Tumblr and the like. The song, released in early spring, caught on due to its undeniably catchy chorus and its entertaining music video, in which Cherry prances around and basically sexually assaults a club bouncer. It's awwwwwright!

Musically, "Ode to the Bouncer" is standard dance fair -- but the producers behind it are at the top of their game. There's some disagreement on the Internet concerning whether the vocal is actually female or an altered male voice, but whatever the gender, the voice is very Ke$ha-esque, only British and with a bit more singing talent.

After a year during which dance music came to the forefront in American music -- with varied results -- "Ode to the Bouncer" was a breath of fresh air, despite its simplicity. It's not doing anything crazy, but it's not trying to either.

It's tough to say whether the focus of Studio Killers will be more on the visual or the audio aspect. But one thing is for sure: this is an act to follow over the next few months. They're one of the more intriguing projects to come out of electronic music in the last few years.

The Top 100 Songs of 2011 -- #92: "Penny" - Duke Junior & the Smokey Boots

2011-12-04T11:35:00.000-05:00

Athens' own Duke Junior and the Smokey Boots continued their ascent to a wider audience in 2011. October saw the release of their second album, a self-titled affair, and as always, the band was highly prolific around Ohio, including a first day main stage performance at the Nelsonville Music Festival.

Perhaps the biggest moment for Duke Junior in 2011 -- or at least the moment at which they were the most visible to the general public -- came in March, when the band was selected as a finalist for the Midwest region of Billboard's 2011 Battle of the Bands competition. As part of the contest, one band (out of three) would be chosen by fan votes to move onto a second round, which included the actual band battle performance at Las Vegas' Fremont Street. The winner earned the privilege of performing at the Billboard Music Awards in May.

Despite a respectable showing and heightened support for the band, especially from those in the Athens area, Duke Junior lost out in the first round. But one certainly cannot say that the band didn't gain some newfound visibility. "Penny," from the band's new album, was posted to Soundcloud as part of the Billboard competition, and has garnered well over 2,000 plays to date.

DJSB Penny by aaronlemley

The five-piece has come up with some captivating tunes in the past, but "Penny" is the highest point the band has reached in their relatively short period of existence. From the first notes of the song, an a cappella vocal performed to superb harmonious effect, to singer Jess Kauffman's sweet, smoky vocals to end the track on a slightly calmer note, "Penny" is captivating from start to finish.

The band has never been specifically country, or even alt-country. Though they can at times lean that way, there are other instances in which they take more of a rootsy, Americana rock approach to music. But "Penny" is certainly more of the former, and it suggests that if the band were to create an almost-completely traditional country record, the results would be stunning. Kauffman and fellow vocalist Kyle Martin's tones mix exceedingly well together, reminiscent of today's country superstars Lady Antebellum.

Add in banjo, bluesy country guitar and a train-like drum beat, and you have a song that best exemplifies Duke Junior's talents. I have a good feeling that had Duke Junior gone further in the Billboard competition, we might have been hearing a lot more about them throughout the Midwest, and possibly further. Regionally, they're one of country-rock's rising stars. It will be very interesting to see the career trajectory of this band. But for now, enjoy the sweet, sweet music.

The Top 100 Songs of 2011 -- #93: "Junior Dad" -- Lou Reed/Metallica

2011-12-03T00:50:00.000-05:00

What the fuck can be said about this project that hasn't been said or written already? Seriously, I'm just going to be rehashing either my own opinions or opinions of others at this point.

Lulu was simply the most interesting record of 2011. Not the best, not the worst -- nothing to do with quality. Its mere existence was reason enough to pay attention, and the end result -- beginning with the release of "The View" in September -- was chock-full of things to talk and write about. If there was any album in 2011 about which someone could write an essay, or even a dissertation, it was this. And maybe Gaga's Born This Way.

It's always tough reviewing music, because if you take a given song, you're always bound to have mixed opinions. Plenty may not enjoy that song, but there's certain to be someone out there who finds it the best thing ever. Such was the case of this album. Despite being panned by a number of critics, there was always those select few voices who called it something much better, and you subsequently begin to question your own opinion. Maybe you're not looking deep enough into the music enough. Maybe there's a level to the songs that you haven't quite reached.

But you know what? Fuck it. I don't care. This album sucks.

Despite this, there were some bright spots, as one might expect. After all, this is still an album created by two of the most well-respected entities in rock history. You don't rise to prominence without having some sort of talent in your bones. This is most evident on Lulu's closing track, "Junior Dad."

Much of the album is at least in some part meditative, or at least it seems that way for Reed. But "Junior Dad" is the best such example, not only for Reed but for the listener as well. At nearly 20 minutes, "Junior Dad" is sprawling, but cohesive. Metallica doesn't go all out on this one, decreasing to their most reserved as they back Reed's meandering vocals.

Reed doesn't overpower Metallica, and Metallica doesn't upstage Reed. One vastly standing out over the other (bear in mind that 'standing out' in this case does not necessarily mean anything good) is an issue the rest of the album struggles with, and Reed and Metallica can scarcely melt together to form a cohesive group. You want collaborations to be seen and heard as one entity formed by two-or-more different, separate entities, not a hodge-podge of whoever can stand out the most.

What "Junior Dad" does is the opposite. In it, Reed and Metallica mesh together beautifully (and at long last -- the song is the last on the album), Metallica creating a solemn score to Reed's spoken-word.

Lulu is one of those albums you should actually listen to the entire way through in order to gain your own understanding of the piece, but if you're pressed for time and need just one song, it's this. It's a symbol of what the album could have been -- introspective, cohesive, and beautiful.

The Top 100 Songs of 2011 -- #94: "Sick of You" -- Cake

2011-12-03T00:13:00.000-05:00

Cake has always been an enigma of a band. A rock band, with simplistic instrumentation, trumpet and those random percussion noises that you can't quite pinpoint but can identify as classic Cake. Add in John McCrea's often-monotonous vocals, and one might think you have a recipe for one or two big hits at best -- if that.

But Cake has proved time and time again that their alt-rock relevance is nothing to be scoffed at. That said, the mid- to late-2000s was a quiet era for the band, with no studio albums released since 2004. The band returned in 2011 with a new album, Showroom of Compassion, and not only did it exceed expectations simply by being released, but it also shocked quite a few people when it landed at No. 1 on the Billboard 200 chart.

"Sick of You" was the first single from that album, and it's classic Cake. Semi-spoken-word vocals from McCrea, the most basic-yet-endearing bassline from Gabe Nelson, the bursts of Vince DiFiore's trumpet, and shouted group vocals from the rest of the band.

There's actually not much else to say about the song -- its allure is simple. It's an embodiment of Cake that we've all come to know and love. It was a return to form for a band that many hold dear to their hearts, and to see them back on the charts -- including on top of them -- was incredibly rewarding.

Oh, and check out the video for the song. It's fairly nonsensical, but I think we've all come to expect that from McCrea and Co. at this point.

The Top 100 Songs of 2011 -- #95: "Don't Fuck With My Money" -- Penguin Prison

2011-12-02T23:42:00.000-05:00

If there's anything the last few years has really brought about in indie music, it's a resurgence of '80s-oriented electropop jams -- for better or for worse. This trend has been particularly noticeable while working as part of a college rock radio station. We get quite a few albums a week for consideration to be put into our rotation, and for whatever reason, this genre has seen a marked revival.

Some of this -- actually, far too much of this -- falls into a genre known as "chillwave." I'm not going to go too much further into this, as this song in particular is not of this particular disposition. Just know that it's kind of the new thing to do these days, and it can be difficult to weed through the not-so-stellar material.

One week, while we were wading through quite a bit of this... stuff, one song caught my ear. It's also of an electronic nature, but more so on the dance-pop level. It comes from Penguin Prison, the brainchild of New York's Chris Glover. The song? The oh-so-subtly-named "Don't Fuck With My Money."

If this song doesn't make you want to dance, I'm not quite sure what will. Deliciously upbeat, gloriously catchy, and delightfully profane, the song is a formidable period piece and a foreboding example of an artist who may one day garner an increased amount of attention.

The music video provides an added depth to the otherwise-upbeat song. Glover journeyed to the Occupy Wall Street movement in New York City to shoot the video, and it's well worth a watch.

Don't stop here -- check out the entire record Penguin Prison put out in 2011, if you like what you hear. When it comes to chilled-out dance-pop tunes with a foot in the glorious (?) past, you can't go wrong with Chris Glover and Penguin Prison.

The Top 100 Songs of 2011 -- #96: "Sunset in July" - 311

2011-12-02T22:46:00.000-05:00

After the unexpected success of their cover of The Cure's "Love Song," it seemed as though 311 had reached their peak. Following the single's release in 2004, the Omaha rock-reggae act had a string of low-selling albums and subpar singles, and the five-piece looked down for the count for good.

2011 saw the band release Universal Pulse, their first record in two years. In June, 311 released the lead single from that album, "Sunset in July."

It was a return to form for the late-'90s stars. It embodies the chilled-out vibe the band has always oozed, slightly updated for the new decade.

And it's one of the best summer songs anyone could ask for this year. We always look for those songs that will be in our heads and on the radio all summer long (this year: "Party Rock Anthem," anyone?), and when it came to rock radio, "Sunset in July" was a fitting nominee. Even the name itself implies a summer-y feel. You can't get much better than that.

It's winter now, and songs like this have long passed their expiration date. But, perhaps you'll be stuck in the dead of winter in a month or so, hating the cold and longing for greener pastures. Should that feeling come about, pop in this song -- and let the memory of sunshine and carefree days wash over you.

Review: Childish Gambino - "Camp"

2011-12-02T16:34:00.000-05:00

This review was originally sent to a music website as a sample review. Figured I'd post it so that it sees the light of day, or something.

Everyone, just forget about Community. No, really. Work with me here.

Whatever the NBC comedy's as-of-yet uncertain fate, actor/scene-stealer Donald Glover is going to be just fine -- after all, at least he has his rap career.

Glover has tendered a number of releases over the past three years as Childish Gambino, and with Camp, artistic respect is imminent. Touted previously by many simply as an actor who could also rap and nothing more ("Oh, he can rap too? That's cute..."), Gambino showcases a penchant for smart, rich lyrics and commendable production. Camp isn't the NYU grad's 15 minutes of fame in the music world. It's his coming-out party. And he has a lot to say.

On the surface, Gambino might seem a Drake knock-off, another pop-leaning rapper who can kiiiinda sing -- never mind the fact that both have a similar path to musical stardom. But where Drake relies on a plethora of guest spots and at times gives in to cliched lyricism, Gambino excels by being the opposite. Camp is all Gambino all the time (a rarity in today's rap sphere), and very rarely does the rapper rhyme about overused themes such as monetary excess, club life and the exact same love stories we've heard a thousand times over.

Album opener "Outside" establishes Gambino as an underdog from the very beginning. "I used to dream every night, now I never dream at all / Hopin' that it's cause I'm livin' everything I want," he begins, with a choral-esque group vocal and bombastic percussion playing the supporting role. He proceeds to detail his childhood, a tough one by all accounts -- with one-bedroom apartments, trying to move up from the projects and alienation from one's peers as a result. It's a letter to his cousin, too, as well as a plea to the black community as a whole: "The world sayin' what you are because you’re young and black / Don’t believe ‘em."

Gambino is a comedian at heart, and at times his lyrics approach that playful nature the actor exudes in interviews and on Community. But the 28-year-old excels when the focus is less on humor and more on social commentary -- even though the two intertwine at times. On "Hold Me Down," Gambino muses about "Culture shock at barber shops cause I ain't hood enough / We all look the same to the cops, ain't that good enough?" "White kids get to wear whatever hat they want," he rhymes seconds later. "When it comes to black kids one size fits all." It's a song of perceptions society holds and the trouble with continuing to hold these notions. And no one is safe -- "Dude you're not not racist cause The Wire's in your Netflix queue," he spits.

Though some songs are reminiscent of earlier, more-DIY Gambino, others feature sleeker production, a sign of the rapper's ascent into the mainstream. "Sunrise," with its jaunty tempo, synth-heavy instrumentation and sunny chorus vocals, is reminiscent of early k-os's indie-esque production, while "All the Shine" features serene orchestral elements beneath Gambino's abrasive, tell-tale lyrics. And "You See Me" is pure dumb fun -- perhaps the purest, dumbest fun in hip-hop this year this side of Das Racist. Janelle Monae has "the funkiest horn section in Metropolis"? Gambino has the brashest. Oh, and asian girls. Everywhere.

And then there's "Heartbeat," album centerpiece and the song most likely to break out in a big way on Top 40 radio. Following a Drake-esque hook at its onset, Gambino unleashes spitfire verses over not-quite-but-almost-dubstep backing. Just listen to the edge in Gambino's vocal rise as each verse goes on. One of the most important aspects of rap is keeping the listener's interest kindled, and this is the kind of vocal that does just that.

Camp's shortcomings partially stem from Gambino's occasional tendency to go into showboating overdrive -- to the point where he goes overboard. And because of this, the album's inherent messages of social struggles and reform suffer. Plenty of listeners were unable to catch on to Watch the Throne's social commentary on first listen because it merely sounded as though Kanye and Izzo were boasting about their excess. While Camp doesn't suffer from the same exact issues, taking Gambino completely seriously is still proving to be a tough task. Perhaps it's his diction, his joking, the fact that he's a comedian/actor first and foremost.

Nonetheless, Camp establishes Childish Gambino as a prevalent force in modern rap. He's not only a lyrical wordsmith -- perhaps the best rap has heard since Kanye. What adds to Gambino's appeal is his ability to bring to the forefront various issues that he faces every day. When his rap career first surfaced, it was evident that Donald Glover was no one-trick pony. With Camp, he becomes the newest dark horse for distinction among the world's most important rappers.

4.5/5

The Top 100 Songs of 2011 -- #97: "We All Go Back to Where We Belong" - R.E.M.

2011-12-01T21:49:00.001-05:00

Before we begin, let's be real -- R.E.M. will be back together for a reunion tour within two years, and another record will come out eventually. This is not the end of R.E.M. as we know it, not just yet.

But that is what was announced in September. After over 30 years as a band, Michael Stipe and Co. have gone their separate ways, releasing this kiss-off as a song to complete the R.E.M. story.

"We All Go Back to Where We Belong" is among the most poignant of R.E.M.'s releases -- a tall order, of course, given the band's longevity. Perhaps it's the knowledge that the band has disbanded, coupled with the wistful farewell lyrics, that creates this feel, or maybe it's the pleasant strings which waft in and out of the low-tempo tune.

"Is this really what you want?" asks Stipe over easygoing guitar and occasional trumpet. The answer to this may be widely disputed among fans, but you have to hand it to R.E.M. for going out this way, with all members seemingly on good terms with one another.

Either way, the song is a triumph, and perhaps one of the most fitting codas any band has given itself. To think that this may be the last time we hear Stipe's retrospective lyrics and Peter Buck's unmistakable guitar timbre together is a strange thought indeed. This is a band many grew up with, mainly college students, over quite a few generations. College rock as we know it may not be the same without them.

The Top 100 Songs of 2011 - #98: "We Are Young" - fun. feat. Janelle Monae

2011-12-01T21:26:00.001-05:00

New York indie pop act fun. has been hard at work on upcoming record Some Nights, set to be released in February, since the beginning of 2011. Quite a few songs have already been tested out at the band's live shows, with one in particular seeing a single release in September. That song is known as "We Are Young," and it lands at No. 98 on this countdown.

"We Are Young" is, as might be inferred by its title, a song of youth. fun. has always been able to capture the feeling of reckless youth, with a pop sensibility that is unusual to say the least, ever since first record Aim and Ignite. Their new material continues this aesthetic. fun. hasn't changed much with their new stuff, but given that they're such a unique band anyway, this can certainly be overlooked.

The song features rising neo-soul star Janelle Monae, albeit in a minimal role. The two acts toured together on this fall's Campus Consciousness Tour (a great show, in case you were wondering!), which probably explains the odd-yet-endearing collaboration. Listen for Monae during the tune's bridge, her singsong vocal adding a sweet disposition to the anthemic track.

The chorus is both the song's inherent strength and weakness, if that makes any sense at all. While the optimistic melody rises the song to anthem status, the song's tempo is cut almost in half when it comes to this chorus. It's a change of pace, something we've grown to expect with fun., but it's not necessarily a good thing in this case.

All told, "We Are Young" is one of those songs that is great on its own, but you can't help but feel has untapped potential. All the elements are there, but there's something -- something minimal in this case -- missing.

That said, you'll be hard-pressed to find a song that better embodies youthful bliss. "Tonight / We are young /" sings frontman Nate Ruess. "So let's set the world on fire / We can burn brighter than the sun." By the time the song ends, young and old alike are left pining for the glory days of yore.

The Top Songs of 2011 - #99: "Dowrn" - Lotus

2011-12-01T17:37:00.000-05:00

Electronic jam bands aren't exactly highly visible entities in music, and chances are that'll probably never chance, lest we receive the second coming of Blues Traveler that decides to throw in synthesizers and the like.

That said, Philadelphia/Denver four-piece Lotus seems to be doing fairly well for themselves. Along with a strict touring regimen, the band has been featured on the cover of Pollstar Magazine and currently possesses over 75,000 Facebook fans. In 2011, the band released a self-titled disc on The String Cheese Incident's SCI Fidelity record label.

If one is looking for a telling example of Lotus' music, one need not look further than No. 99 on this countdown, "Dowrn." And no, that's not a spelling error, at least on my part.

"Dowrn" is harmless enough at its onset, featuring a snaking, almost spooky synth and sparse guitar work. But what seems simple at first soon blossoms into a slightly different animal. More electronic instrumentation enters into the fray, each sounds with more of a dubstep-esque sensibility than the last.

The song retains its jam-rock feel all throughout, with only slight deviations from the main theme occurring. Sampled hip hop vocals weave in and out on occasion, but the focus is mainly on the instrumentation.

What results is a strange amalgamation of rock and electronica, with the occasional hip hop mixed in. And despite the song's inherent unpredictability concerning its electronic aspects, one gets the feeling that Lotus could be going crazier -- and likely do during a live show.

Like what you hear? Check out Lotus' eponymous album, which features much of the same subdued rock/electronic sounds.