Remember the first day that I saw your face? Remember the first day that you smiled at me? You stepped to me and then you said to me I was the woman you dreamed about. Remember the first day that you called my house? Remember the first day when you took me out? We had butterflies, although we tried to hide it And we both had a beautiful night. The way we held each others hand The way we talked, the way we laughed It felt so good to find true love I knew right then and there you were the one Chorus I know that he loves me 'cause he told me so I know that he loves me 'cause his feelings show And when he stares at me, you see he cares for me You see how he is so deep in love.
I know that he loves me 'cause it's obvious I know that he loves me 'cause it's me he trusts And he's missin' me if he's not kissin' me And when he looks at me, his brown eyes tell his soul Remember the first day, the first day we kissed? Remember the first day we had an argument?
We apologized, and then we compromised And we haven't argued since. Remember the first day we stopped playing games?
Remember the first day you fell in love with me? It felt so good for you say those words 'Cause I felt the same way too The way we held each others hands The way we talked, the way we laughed It felt so good to fall in love I knew right then and there you were the one Chorus I'm so happy, so happy that you're in my life and baby Now that you're a part of me you've shown me Shown me the true meaning of love (the true meaning of love) And I know he loves me.
It’s the first day back to work after the Christmas break and you’re probably not feeling your best. Luckily, we’ve got the perfect remedy for New Year sluggishness. Who better to give you a boost than Kanye, Liam G or MIA? Here are 30 motivational anthems to kick start your 2018 and help you conquer the world. 30 Snow Patrol – ‘Run’ Gary Lightbody apparently wrote ‘Run’ after going on a massive bender and falling down some stairs. “The words ‘Light up, light up’ gave this sense of a beacon. There had to be a light at the end of a tunnel,” he said.
27 Doves – ‘There Goes The Fear’ Two important things to know about ‘There Goes The Fear’. It’s imperative you dance like your dad to the jangly bits that sound like the Grange Hill theme tune. Make the most of the track’s passive motivational skills by letting the lyric “You turn around and life’s passed you by” give you the fear factor. 26 La Roux – ‘In For The Kill’ Do what La Roux says (go in for the kill, do it for the thrill, etc.
Etc.) on her sassy electropop debut and you’re sure to tackle whatever naysayers might come your way with aplomb. 25 House Of Pain – ‘Jump Around’ Two parts aggressively energetic, one part hilarious (“I never eat a pig ’cause a pig is a cop”), ‘Jump Around’ has featured in at least two action movies, ‘Daredevil’ and ‘Rush Hour’, so is certified motivation music. 22 Arcade Fire – ‘Ready to Start’ What better way to begin the day than with double-drum-kit, full-throttle Arcade Fire. Just make sure you pick the “Now I’m ready to start/My mind is open wide” lyrics as your mantra rather than the “Businessmen drink my blood” bits. That would be weird.
21 Be Your Own Pet – ‘Adventure’ Containing the word ‘adventuring’ 8 times and the word ‘adventurer’ 10 times, if Be Your Own Pet haven’t convinced you to head off on at least a mini-break by the time you finish listening to ‘Adventure’ you’re a stone-hearted individual. 20 Missy Elliott – ‘Get Ur Freak On’ Question: Wouldn’t life be 100% better if you lived everyday like you were Missy Elliot?
Make sure you “Getcha getcha getcha getcha getcha freak on” and today will be a glorious day. 19 The Strokes – ‘You Only Live Once’ Surely The Strokes have missed a trick by not re-releasing this classic now YOLO’s a thing? Anyway, aside for the obvious hedonistic title, this track has the kind of good vibes that make positive memories scroll through your mind like a ‘Big Brother Best Bits’ video montage. 18 Nas – ‘The World Is Yours’ Don’t be fooled by the laid-back beat, this is a song about winning at life. Its title was taken from ‘Scarface’ in which Tony Montana makes the phrase his mantra. 17 Primal Scream – ‘Higher Than The Sun’ Let’s slow down the tempo a little because even lazy Sunday mornings can be motivational.
The mix of hazy melodies and lyrics like “I believe you get what you give” is potent. 16 Drake – ‘Started At The Bottom’ If Drake started at the bottom and got his whole team here so can you. He used to work all night, drive home through traffic, be hungry, live at his momma’s house and argue with her monthly but now nothing’s poppin’ off without him. 15 MIA – ‘Born Free’ Okay, so this video has that weird ginger genocide storyline but let’s ignore that.
The lesson to learn here is “Yeah I don’t wanna live for tomorrow/ I push my life today”. 14 Florence + The Machine – ‘Dog Days Are Over’ This is probably one to listen to in the secrecy of your bedroom if you don’t want to ruin your street cred. It’s a bit, well, ‘X Factor final’ now (cheers Simon Cowell). Still, listening to ‘Dog Days Are Over’ puts an uplifting summer glow on dull, grey days. 13 Kanye West – ‘I Am A God’ If Kanye’s breathless ‘I Am A God’ doesn’t make you want to get up on your feet, not much will. It’s time to get stacking millions till you’re chilling with Jesus and remember, never ever accept sloppy service when it comes to croissant. 12 Kelis – ‘Bossy’ Life lesson to take from ‘Bossy’?
Stop being nice to everyone. Remember: “You don’t have to love me/ You don’t even have to like me/ But you will respect me”.
Now, dominate the office. 11 Nirvana – ‘Smells Like Teen Spirit’ That riff, that anti-establishment attitude: whether you’re doing a 20 minute crosstrainer sesh or powering through your tax returns, try your hardest to channel ‘Teen Spirit’ in moments of stress. 10 Fatboy Slim – ‘Right Here, Right Now’ The musical equivalent to your mum standing at the bottom of the stairs shouting “No, not in five minutes! Do your homework NOW”. 9 The Vines – ‘Get Free’ If you’re trying to psych yourself into getting out of a mundane job/relationship/town this is the song to scream. 8 Daft Punk – ‘Harder, Better, Faster, Stronger’ Do we really need to explain why we chose this?
No track is more hype than ‘Harder, Better, Faster, Stronger’. 7 Public Enemy – ‘Fight The Power’ Spike Lee commissioned ‘Fight The Power’ for his movie ‘Do The Right Thing’. “I wanted it to be defiant, I wanted it to be angry, I wanted it to be very rhythmic,” he told TIME magazine – and that’s why it’s the perfect motivator.
6 Dizzee Rascal – ‘Fix Up, Look Sharp’ Originally used to slew Asher D in a rap battle, you can now use ‘Fix Up, Look Sharp’ to convince yourself that sweatpants are never office appropriate. Even on casual Friday. 5 The White Stripes – ‘Seven Nation Army’ Egyptian journalist Mono Elthahawy says of ‘Seven Nation Army’: “Every time I hear the opening lines it just takes me to Egypt, where people – I’ve never seen anything like it. Literally, nothing can hold them back.” If it’s good enough for the Arab Spring it’s good enough for you. 4 Beyonce – ‘Run The World’ We imagine that when Beyonce faces the mirror each morning she looks herself in the eye and thinks “Who run the world?
You should do the same. 3 The Gossip – ‘Standing In The Way Of Control’ Beth Ditto wrote Standing In The Way Of Control as a response to a US Amendment which would have outlawed same-sex marriage in the country.
Explaining the ruling made her friends feel “helpless and cheated,” she said: “I wrote the chorus to try and encourage people not to give up.” 2 Kanye West – ‘Stronger’.
Rae Sremmurd’s “Black Beatles” sauntered into the collective consciousness this fall with a stoked, smoked-out air. Undoubtedly the year’s most rewarding sleeper hit, it was released as the third single from SremmLife 2 in early September, but only climbed to the Billboard No. 1 spot two months later.
Much analysis of “Black Beatles” has laid its success, and there’s no doubt that the viral video craze gave it a boost. But there’s something so inherently joyful at its core that it’s easy to imagine why kids and adults alike would desire to be suspended in its moment, one way or another. Mike WiLL Made-It’s economical beat creates a wide open stage for to wild out on, their successes and excesses as casually slung as their Gucci jackets.
The song’s cultural reclamation — rock has its roots in black music — even caught the affection of 74-year-old Beatles founder Paul McCartney, an “old geezer” who knows music royalty when he sees it. At a time when there’s very little to feel good about, “Black Beatles” is an island of optimistic energy; a space in which to shrug off haters, spend generously, and have plenty of sex. No wonder we all keep hitting play. — RUTH SAXELBY. Forget, if you can, Kanye’s capacity for not just saying, but — because he speaks before he thinks; because he’s stubborn in the belief that adoration and fame will shield him; because he’s thin-skinned and full of demons. For all Kanye’s godhead self-regard, it’s surprising how generous of a collaborator he continues to be, attuned to the splendor around him. “Ultralight Beam” is canonical Kanye because it’s magnificent and overblown, the type of song nobody else would ever contemplate making.
It’s also a song propelled by the drama of others: The-Dream, shaken and wandering, casting about for faith. “So why send oppression not blessings?” Kelly Price wonders, resounding and truthful, before lifting her head and looking to the light. There’s Chance The Rapper, all gracious purity; Kirk Franklin extending a hand to all who feel “too messed up”; the choir, shading in Franklin’s words, a glorious reminder that we are weaker alone.
Kanye’s on the side of the stage, admiring his creation. It’s impossible to bracket his failings, for they have become the primary engine for his music. Perhaps it’s the depth of those flaws that compel him to try and make something so large — he’d have you believe this was the case, that it’s the war of desires, the tension between sin and salvation, fame and the scrutiny that comes with it, long-ago aspiration and today’s achievements, that compel him to lunge toward “a God dream.” isn’t the sermonizing, those smears of heavenly synths, the potential rags-to-redemption TV mini-series tucked in those verses. Its spirituality is in its vast field of vision, the fact that it remains a humble gift from an arrogant soul, with a sense of scale and sublime faith that dwarfs even its own creator. I was in Montreal when A Seat At The Table came out. The opening hustle of percussion on “Cranes In The Sky” brings to mind the tawny autumn sun illuminating that city’s curious mix of historic and contemporary architecture, flooding my friend’s massive flat with light, and silhouetting Mount Royal in the evenings.
Like Solange sings, in Montreal I tried: to drink it away and put one in the air, to dance it away, work it away, sleep it away, sex it away, and read it away. I ran my credit card bill up, bought a new dress, and — weeks later, back at home in Toronto — I even changed my hair. I’ve always been reluctant to leave home, but “Cranes” unlocked a deeper pain with the city — and myself — that’s been fermenting. Over the last decade Torontonians have than city-dwellers across North America., but it offered a relatively unobstructed perspective, and so it was my escape.
“Cranes In The Sky” isn’t brilliant because Solange does that genius songwriter thing of articulating and soothing a billion individual expressions of ennui, but because she chronicles how racial and gender identity, money, materialism, the body, travel, and gentrification are intersecting, corroborating factors in modern disillusionment. It is perhaps the first pop record about millennials inheriting tenuous adulthood. Under that weight, distraction is the most accessible of coping mechanisms and for a while, in Montreal, I indulged, while humming along to “Cranes In The Sky.” — ANUPA MISTRY. After unwittingly catching a straight-up transcendent live performance on Valentine’s Day, I spent a lot of 2016 telling anyone who'd listen to check out Deja Carr, the bass-playing 19-year-old from Massachusetts who records bluesy folk songs as Mal Devisa. I drove to her neck of the woods over the summer to report, the eccentric all-boys collective with whom she occasionally collaborates. They spoke of her highly but vaguely; she seems to be a bit of an enigma, even to her pals. Her powerful solo music, homemade and self-released, is just as full of magic and mystery.
She’s got a once-in-a-lifetime voice, rich and unpredictable and heartbreakingly huge. On “Sea of Limbs,” a gospel-tinged highlight off her, she uses that instrument to devastating effect.
When the chorus hits, there will be goosebumps. Frank Ocean’s Blonde sounds like the end of the night feels: tipsy, half-high,. “Self-Control,” a last-call love song about two people who are all wrong for each other, exemplifies this beautifully. It’s a tearjerker in the truest sense, a gorgeously-sung tribute to the ones who got away. “Wish we’d grown up on the same advice/ And our time was right,” Frank sings on the first verse, his glassy voice careening over waterlogged guitar work by Alex G, a Philadelphia songwriter whose homemade rock songs possess a similarly. The song’s atmosphere is cavernous, all pitch-warped hooks and shadowy background croons. Later, muffled wolf-like howls give way to a world-swallowing outro, which might be Blonde’s single most arresting passage.
Despite early theories that the section featured guest vocals from infamous boy-genius Yung Lean, the singing is all Frank, his hymn-like self-harmonizing making the case that grappling with a broken heart can be akin to a religious experience. What does it mean to be an “American,” and who gets to claim that identity? This question permeates the music of the New York-based Mitski Miyawaki, who is half Japanese and grew up across several continents, especially on “Your Best American Girl.” A standout from her, the song begins with languid strumming and Mitski yearning to fit into the life of an all-American “big spoon.” In real time, she turns a pained confession — that she’s tried to conform herself, and can’t be exactly what someone else wants her to be — into a triumph.
The way she was raised, which she used to see as a burden, is now a crucial perspective worth celebrating. “Your mother wouldn’t approve of how my mother raised me/ But I do,” she cries in her forceful vibrato, “I finally do.” The realization, backed by a glorious crescendo of electric guitars, is one of the year’s most cathartic music moments, and will hit home for anyone who’s ever felt like they don’t fit into a mold. — PAULA MEJIA.
For Chance The Rapper, summertime as a black boy in Chicago was liberating and cautious. That’s the message of “Summer Friends,” a wistful standout from. Following a softly sung opening courtesy of Francis and The Lights, Chance digs up imagery that reminds me of my own childhood in Philadelphia, from jumping rope barefoot on the asphalt to playing hard until the streetlights came on. But for all its sun-soaked nostalgia, “Summer Friends” also reinforces that these moments are fleeting: it’s a time of the year that brings change and loss, too. Chance remembers the gun-violence “plague” as clearly as catching lightning bugs, and he sounds more somber than usual as he repeats the hook’s mantra: “Summer friends don’t stay.” This is a song that instructs you to be mindful of your surroundings, but to loosen up enough to have vibrant experiences — even if they end too soon, like those summers always seemed to.
— LAKIN STARLING. A lot of people gave up this year, me included.
For reasons both personal and political, it felt more difficult than usual to believe in the bounty of the universe, to expect that what you put into the world is what you’d receive in return. D.R.A.M., however, believed. When his runaway hit “Cha Cha” spawned an even bigger one in “Hotline Bling” last summer, he was introduced to much of the world and dismissed as a one-hit wonder in the same breath. But the Virginia rapper and singer remained steadfast, and then he made another smash this spring, with “Broccoli,” featuring Lil Yachty, whose this year feels similarly self-manifested. Instead of attempting to replicate the sound people clearly loved in “Cha Cha” — a cynical but all-too-common strategy employed in many early careers — D.R.A.M. Went left, keeping only the heart-happiness that birthed it.
If “Broccoli” is, and it is, think of it as only a sativa, a happy weed. The song climbed to No. Egoland seduccion pdf gratis. 5 on the Billboard charts, without a viral dance challenge to get it there — just a sunlight-bright piano chord, an insanely infectious hook, and a positive mental attitude. — RAWIYA KAMEIR. If Bobby Shmurda’s “Hot Nigga” provided a demarcation point for New York rap in the era of decentralized virality, then Young M.A’s “OOOUUU” stuck close to that line while also charting its own path forward. “OOOUUU,” which was nowhere and then everywhere this summer, is clearly the city’s first post-Shmurda hit.
Its pitter-pat snares felt like an overt homage to the Lloyd Banks beat Shmurda jacked, and M.A even calls him out by name late in the track. But “OOOUUU” has none of the exuberance — naive, it would turn out — that dripped from “Hot Nigga.” Shmurda may have unshackled rap in the five boroughs, but in doing so he became a target of New York’s ruthless criminal justice system and paid the price for his fame. In turn, “OOOUUU” feels ominous and foreboding. It has its own sort of slithery groove, but it also broods and broils in a way that recalls nothing less than “Quiet Storm.” Still, and her runaway hit works as something like gallows humor. An ode to cunnilinguis, essentially, it normalizes same-sex relationships within rap music like perhaps nothing that has ever come before it.
But as importantly, it hinges on an indelible punchline — “Headphanieeeee” — so lovably stupid you can’t help but crack a smile. — JORDAN SARGENT. When the world around you sucks, one way to feel better is by finding solace in a completely different one. For me, Lil Uzi Vert’s imagination, as presented on April’s, provided an escape from this year. Uzi’s is a free, fantastical, videogame-like dreamscape comprised of, pastel colors, and the. The soundtrack is his signature ad-lib-punched rap-singing, paired with stretchy synths, space-like melodies, and the occasional bagpipe harmony. But 2016 wasn’t all ups for Uzi, and he’s real enough to know he’s not perfect.
That much is made clear on “You Was Right,” his hypnotic Metro Boomin-produced apology song. Uzi chronicles the aftermath of being caught cheating — especially significant because the couple has been very open about their love IRL (after one recent break-up, we for their relationship like we knew them personally). “Yeah, alright, alright, alright/ You was right, I was wrong/ Yeah, I should’ve never ever took her home,” he drawls on the infectious hook. The pain is palpable, and the remorse feels honest. The fullest and most authentic version of Lil Uzi Vert’s world, it turns out, is the real one.
— NAZUK KOCHHAR. For a long time, Sampha was faceless. For a long time, all we knew was his voice. A powerful, emotionally precise machine, it would land on top tracks by SBTRKT and Drake and promptly, graciously, yank us into greatness, then disappear again. This year, though, Sampha took the whole stage, and, and on his own songs — proper, solo songs! — made what he had once hinted at abundantly clear.
Take “Blood On Me,” where we find Sampha mid-nightmare. The growling hounds are in pursuit. The dead-eyed creeps are closing in. We do not know if it’s paranoia, or the true, long-dreaded knock on the door in the dead of night. But it is exactly in that askew — in what must be a bad dream — where life these days feels most real. Operating there, Sampha somehow makes the inevitability of violence sound beautiful. It’s Borges, and it bangs.
— AMOS BARSHAD. There were plenty of other indications that Kodak Black had ascended to mainstream visibility before the video for “Lockjaw” came into our lives. But this — this was special. Just years earlier, in his “Project Baby” clip, a skin-and-bones 16-year-old Kodak ran around his Pompano Beach projects in basketball shorts and an Italia jersey, jumping through windows, hanging at the store. Now French Montana was here, at the very same housing projects. This was the industry meeting the phenom on his terms — literally, on his doorstep. Over Ben Billions’s airy vocal samples and driving drum pattern, Kodak and French sound world-weary even when they’re trading flex lines.
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The song is a summer slap about grinding your teeth off on ecstasy — on its own, a bit of brilliance. But in our year of anxiety, it becomes an anthem for any number of jaw-clenching reasons. Amidst the subdued bravado of the song, Kodak reminded us, as he often does, that his 19 years of life. At the end of November, he was released from jail in St. Lucie County, Florida, where he spent most of the fall locked up for misdemeanor drug charges. He was turned over to authorities in South Carolina, where he will face stemming back to an arrest at the beginning of the year. Kodak could face up to 30 years in prison.
If he’s found guilty, we’ll likely stop rooting for him, and he’ll become exactly what he’s always told us he is. “I been tryna change my life/ But the monkey on my back,” he raps here, openly, before locking his jaw once again. — BEN DANDRIDGE-LEMCO. Every time I hear “Father Stretch My Hands Pt. 1,” I know my weary shoulders will slacken — if only for the song’s brief two minutes and 16 seconds. Every time I hear the sample from Pastor T.L. Barrett’s “Do Not Pass Me By,” I think about how, at parties, the bumpy bass line relaxes bodies into a sway.
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And every time I hear the Future-voiced drop — “If young Metro don’t trust you, I’m gon’ shoot,” he says, sounding as if he’s lost in space — I remember the good side of the internet, which turned a catchphrase about into one of the year’s best memes. It is impossible not to feel something about “Pt. 1” because it’s Kanye at his best: an indelible soul sample, religious zeal, a parable about love and lust and ignorance. In July, I drove across the tiny, dusty island of Majorca with The Life of Pablo on blast, giddily aware that Kanye’s dubious, banging gospel was forcing an internal commotion on my companion, a staunch atheist. Kanye got this lapsed Hindu to be his witness and, though I firmly disavow associating masculinity with godliness, in 2016 he nudged me closer to a divinity I forgot I needed. — ANUPA MISTRY.
Drake’s sometimes unruly dabbles in dancehall have earned him no small amount of ire. But when two songs from Views leaked in March, weeks ahead of the album’s release, it was who stole Drake’s shine with a feature on “Controlla.” “Gyal yuh body good and yuh special to me,” he crooned on the song’s intro. “Wan mek yuh mi lady officially.” It was impossibly sexy, a track that demanded its place in the bashment rotation, the sultry slow wine to “Work”’s bubble. It insisted you hold a corner, and Popcaan’s sensuously elongated vowels dared you to risk it all. Not for the first time, Drake’s verses took a backseat: with dated, saccharine sound-bites that have undergirded his career, his chorus evoked ’90s R&B to almost comical effect: “I think I’d lie for you/ I think I’d die for you/ Jodeci cry for you.” When the official version dropped in April with Popcaan scrubbed from the track,. Even the final breaths of the song — a sample of Beenie Man’s “Tear Off Mi Garment” — couldn’t mask Drake’s inability to hold the riddim without Poppy. The leaked version signals what Views as a project went on to prove: Drake is at his best when he gets out of his own way.
— HANNAH GIORGIS. This year women used music to expand the definition of “work” beyond mere physical and professional drudgery. Both Rihanna and Toronto singer-songwriter Charlotte Day Wilson released tracks titled “Work,” the former a jaded love song turned liberating dancefloor directive, the latter a call to persevere through the hard work of emotional labor.
But Fifth Harmony’s toy-synthed tease, “Work From Home,” felt particularly resonant in a year when I spent a lot of time, well, working from home. “Work From Home” feels like a millennial anthem — a song for young hustlers who have inherited the of prior generations. For them, home is no longer merely a site of comfort; it’s the new workplace. — ANUPA MISTRY. If influencing is the ultimate millennial profession, then it makes sense that in 2016 Drake fully blurred the line between rapper and curator. And if “One Dance” was the final phase of this initiative — a dastardly ingenious culmination of his flirtations with dancehall that grafts his own rubbery patois and the mumbles of the Nigerian artist Wizkid onto a slow-mo rework of a British funky house classic — then “For Free,” a three-minute one-off for DJ Khaled’s post-celebrity album Major Key, whips by like a fleeting breeze.
Less weighed down by the burden of legacy, the song could have fit perfectly into the meaty midsection of Views. But Drake gifting it to Khaled carried the implication that he was one-upping the professional curator himself, as if he wanted to make sure that the best song actually made it into the mix. It also happens to be so good that nobody seemed to care that the chorus is an uncrackable logic puzzle, or that Drake spends roughly three percent of the song’s runtime quoting Too $hort.
— JORDAN SARGENT. The XXL Freshman Class always seems to be a point of contention and, when the list was released in June, many wondered why there wasn’t even a single woman included. But the proceedings did give the internet multiple moments with replay value, and Kodak Black, Denzel Curry, Lil Uzi Vert, Lil Yachty, and 21 Savage’s cypher was the most enjoyable part of the whole affair. The selection of these rappers was also divisive, as many have simultaneously become meme-driven fan favorites while pissing off old-heads in the process.
But in less than 16 bars apiece, each rapper bucked their own narratives: Denzel didn’t freestyle; Uzi went off the top with a purse around his shoulder; the Yachty came the hardest; 21 looked like he was actually having fun; and Kodak made the whole room crack up when he asked, “Who the fuck picked this lil sorry ass beat?” More than anything, the freestyle session is simply fun to watch, and seeing this group of rappers do impromptu ad-libs for each other makes me smile every time. — BEN DANDRIDGE-LEMCO.
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