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The song was inspired by the Notorious B.I.G.’s raunchy “Just Playing (Dreams),” from his debut album, 1994’s Ready to Die. “Barbie Dreams,” the viciously funny third track on Nicki Minaj’s fourth album, Queen, was the one that got everyone talking. “It seems I never stopped losing you/ As every dive becomes something new/ And all our ghosts get swept away/ It didn’t used to be this way,” he sings amid piano flourishes and Beatle-esque harmonies of “Stay… Stay the same.” Of course, he’s not just singing about buildings. Set to a circular tambourine-stomp sample of Yoko Ono’s 1971 groover “Mind Train,” “Gold Rush” sounds like it’s arriving from another era as Gibbard laments the perpetually changing skyline of his Seattle hometown and the feelings of dispossession that they inspire. What they won’t be able to replicate is his talent for writing songs that make loss sound so goddamned irresistible. When the Singularity occurs, don’t be surprised if the robots adopt Ben Gibbard’s emotionally detached voice.
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“Here’s to just trying to stay alive,” she basically sings on this year’s comeback single, which details a low moment in her struggle with Lyme disease when she had “accepted death.” Lavigne is not quite the same artist we left back in 2013: She’s trading Hot Topic for flowing Galadriel gowns, spiky guitars for pianos and strings - could she make it any more obvious? Yet her dispatch from a dark spot is as just arresting as her drunk-on-whatever misadventures, and her lyrics about turning to God in a time of crisis have made “Head Above Water” the unlikely center of the Sk8er-girlz-and-Christian-radio Venn diagram. “Here’s to never growing up,” Lavigne sang five years ago on her last studio album. The song’s multi-layered identity is matched by the scale of its lyrics: the story of a man grappling with ego and materialism, weaving between visions of his funeral, biblical references and a romantic power struggle. trio Young Fathers have been chipping away at genre restrictions since their 2013 debut, and on this advance single from their third LP, Cocoa Sugar, they blend pop, gospel, hip hop and rock until it all folds into an undefinable-but-all-consuming three minutes and 15 seconds. She posses a voice that can be defiant and caressing a style that traverses rap, pop and R&B and enough cross-over appeal to snag a coveted performance slot at this year’s MTV Video Music Awards. - LEILA COBO Reyez got us from the first line of this statement of romantic independence: “You don’t have to tell me ’bout your body count/ I don’t need to know your exes’ names.” Born in Canada to Colombian parents, Reyez explores all levels of emotion on her piercing acoustic jam. Yes, it’s a tamer Cardi B than we’re used to from the Invasion of Privacy star, but her addition elevates “Girls” from standard Maroon 5 issue to a jam that girls (and guys) of all likes can get behind. After recent attempts at a crossover smash with Kendrick Lamar (“Don’t Want a Know”) and Future (“Cold”) found mixed results, Maroon 5 found an equation with a rapper that totally worked.
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What does a plucky guitar riff plus Adam Levine’s smooth tones plus a Cardi B verse equal? An obvious Hot 100 chart topper and delightful fixture on 2018 pop radio. Here are the Billboard staff’s 100 favorite songs of the year.ġ00. And of course, below the surface, plenty of fringier artists were creating lesser-heard jams that called back to the since-forgotten past - or predicted an even more fascinating future.įrom the “Shallow” to “The Middle” to the highest of “High Hopes,” music was captivating at all levels in 2018. Luckily, that also made this one of the most exciting years for singles on the charts and in our own personal playlists in recent memory - one in which the biggest hits were also some of the most challenging and rewarding, and in which the more conventional pop songs that did break through on a massive scale felt fresher than they have in a long time. The definition of pop music is always changing, but the last 12 months in particular felt like a transition year, a portent of a future where the music mainstream is close to unrecognizable from the perspective of where we were a decade ago. 1s included a three-movement psych-rap odyssey, an Afrobeat-trap protest song and an R&B celebrity Burn Book ballad.
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1 hit had two chords and zero choruses or obvious hooks, and other No. Top 40 was a strange place in 2018 - a place where the year’s longest-running Billboard No.