Having recorded material with British hit-maker, Fraser T. Smith, and fresh off of a 5th place finish in the BBC’s Sound of 2011 list, Maguire, it seemed, was at one point poised to make a big splash in the UK music scene. Sadly for Maguire, her debut LP, Light After Dark, made barely a blip on anyone’s radar. It’s not that Maguire isn’t capable of big things, she certainly is – as Tyra might remark of one of her ANTM castoffs whom is technically a better model than her competition, but has no hope of continuing in the competition because her “story” isn’t captivating, she’s a girl with all the potential in the world. But when it comes to execution, Clare encounters problems. So much of Light After Dark seems overwrought, clichéd, and somewhat impersonal to Maguire herself. As Clare booms through each track, attempting with each wail to convince us that she is truly a great singer, it becomes quite clear that Adele may have been too much of an influence. That’s not to say the album is without its high points – it has a handful and those high points are, primarily, the singles, so at least Maguire and team have some sort of handle over song selection. “The Shield and the Sword” incorporates Maguire’s husky tone and ferocious crooning with much success, eliciting visions of armor-clad, lovers engaged in a bloody, breakup battle. Maguire brandishes her blade and goes in for the kill, but she’s not entirely heartless – she kindly offers her soon-to-be-former beau a little protection in the form of a shield. Somehow, she hopes, it might soften the blow of this split.
The Best Bit: The chorus.
#44Flo Rida - Good Feeling
I think we get a “good feeling” when this comes on the radio, and for that reason I think this accomplishes all goals.
The Best Bit: The production. Sure, none of this would be possible had Avicii not had the bright idea to marry a soulful sample courtesy of the late Etta James and his signature brand of soulless house tunes (it’s important to give credit where it’s due), but Dr. Luke and Luke protégé, Cirkut, take “Levels” to an entirely new level of amazingness. It’s all so wonderfully energetic and perfectly mastered.
#43Cascada - San Francisco
Katy Perry’s “California Gurls” is something of an anthem for spunky, Californian tweens. Cascada’s “San Francisco” is something of an anthem for spunky, GAY, Californian tweens. There’s a clear distinction, and I simply refuse to listen to one more baseless accusation that this track was somehow thematically or melodically lifted from a different, more successful tune. Such bogus claims! I mean, it’s not like Natalie Horler and associated Cascada producers have a history of doing such a thing. Nope.
“It’s a grower! I promise.” That’s both an excuse a random stranger gave while you had that one-night-stand during your last visit to San Fran and my own desperate plea for everyone to listen to a song they most certainly will not enjoy. I love it all. I love the mentions of San Franciscan landmarks that this German act has (more than likely) never visited, the references to hippy culture, the sure-to-make-you-feel-uncomfortable bridge – I really love it all. If I were to offer up any criticism, it would be that Cascada were so limited in their scope? Why be so regional, guys? Unless the goal was to specifically tap into a niche market of San-Franciscans-who-love-songs-performed-by-girls-with-skunk-like-dye-jobs, or land some sort of gig performing during a pride parade on Castro Street, I think they failed in producing that would appeal to anyone outside of the Bay area. It might have been advantageous to pay homage to multiple American cities, or release different version of the track for all major metropolitan area. Just picture it! Dozens of carbon copies of this tune to enjoy! Just some ideas.
The Best Bit:One! Two! Three!
#43Azealia Banks - 212 (ft. Lazy J)
All of the tastemakers tell me she’s really cool, and she looks really cool in the video, so I’m inclined to believe she’s amazing, but this will be the only thing she releases that I’ll ever listen to cause subsequent releases (I assume) won’t feature an accessible house beat that appeals to white kids, and at a certain point some blogger will take issue with the fact that she does rag a bit on the homosexuals in this track, and at that point, it just won’t be acceptable for me to like this song, or Azealia, anymore.
The Best Bit: “****-a-licking in the water by the blue bayou. Caught the warm goo in your doo-rag too, son?”
#42Beyonce - Love On Top
ATRL, there was a time when music just made you feel so good. Tonight, I want you stand up on your feet. I want you feel the love that’s growing inside of me for this track.
The Best Bit: Every ****ing second, but especially the upward transposing of the melody that happens at the end – that could have, and should have, gone on for at least 3 more minutes. And she totally could have done it!
#41Matisse & Sadko - We're Not Along (Hi Scandinavia!) [feat. Ollie James]
A fantastic instrumental tune is elevated to new greatness with the inclusion of silly vocals by a mediocre male vocalist. (My favorite thing ever! Ollie James is among the best mediocre male vocalists to work extensively within the genre, and by extensively, I mean he’s appeared on at least one other track I enjoy.)
as Tyra might remark of one of her ANTM castoffs whom is technically a better model than her competition, but has no hope of continuing in the competition because her “story” isn’t captivating
NOOOOOOO!!!! I've tried to forget, but you just won't let me... Come on, Tyra, "wanting it really bad" does not make you a good model!
Maybe it's because I'm from the Bay Area, but I'm actually kind of digging "San Francisco" upon first listen. I know it sounds exactly like (a better version of) "California Gurls," but I'm okay with that, since "California Gurls" was just a (worse) retread of "Tik Tok."
Also: The more I hear "212," the more I love it. The upward transposing of the melody in "Love on Top" should go on forever. And "Levels" is way better without Flo Rida's contribution.
In this thumping tune, Brenda Russell’s “Piano in the Dark” is lifted from the deep pits of obscurity and sampled to great effect, because, well, have you ever listened to dance music? Sure, this doesn’t hold a candle to the most treasured offerings from Cabin Crew or Eric Prydz, but I think these Bingo Players do their best with a track that doesn’t really lend itself to the genre – and by that, I mean they managed to isolate the eight most remixable seconds of the track, loop the **** out of said segment, and run it through all the appropriate filters. Discerning listeners expecting some sort of progression or explosive moment should look elsewhere. This is an exercise in repetition – and boy, what a beautiful thing repetition can be!
In this thumping tune, Brenda Russell’s “Piano in the Dark” is lifted from the deep pits of obscurity and sampled to great effect, because, well, have you ever listened to dance music? Sure, this doesn’t hold a candle to the most treasured offerings from Cabin Crew or Eric Prydz, but I think these Bingo Players do their best with a track that doesn’t really lend itself to the genre – and by that, I mean they managed to isolate the eight most remixable seconds of the track, loop the **** out of said segment, and run it through all the appropriate filters. Discerning listeners expecting some sort of progression or explosive moment should look elsewhere. This is an exercise in repetition – and boy, what a beautiful thing repetition can be!
In this thumping tune, Brenda Russell’s “Piano in the Dark” is… you get the idea.
The Best Bit: “Uh-uh-uh-uh-ou-ou-uh-uh-ah-ah-eh-eh-ein-ein-ein.”
#39Jessie J - Domino
Jessie does her best Katy.
The Best Bit: 2:47 – 3:16. Low pass filters are so damn effective.
#38Marina and the Diamonds - Radioactive
She’s so much better with a blond wig and commercially viable material! No joke – this is the best single of her career, and for that reason, Marina’s desire to distance herself from this so-called “vacuous” material is incredibly disheartening. It’s a very apparent attempt to preserve whatever sort of credibility she had among the commercial-leaning pseudo-hipsters, and while I can understand why she would not want to alienate her fanbase, collaborations with high-profile pop producers, like Stargate, do not come into existence without some discussion of potential chart/sales success. So, try as she might to explain away the Electra Heart character and the eponymous album as some really stupid attempt to make comment on “corrupt American ideology” and “vacuous” persons, most consumers won’t be fooled. We are savvy enough to recognize a very calculated bid for Top 40 glory when we hear it. It’s fitting that long-time Rihanna collaborators are at the helm of this euphoric, club-ready ship – this is exactly the sort of thing Rihanna might release, that is, Rihanna might release this if she was capable of intriguing songwriting, or any songwriting. (Rated R was just surely a fluke.) See, that’s just the thing; as much as this sounds like an ultra-commerical, surefire radio hit, I doubt the Katy Perry or Rihanna versions of the same tune would be quite as poetic. It’s ok to be proud of this one, Marina.
The Best Bit: “Lying on a fake beach, you’ll never get a tan. Baby I’m gonna leave you drowning, until you reach for my hand.”
#37Loreen - Sober
I had intended to really hit Leona Lewis with a big “You’re doing it wrong!” and spew forth a mess of criticism regarding her misguided foray into dance music while working on my writeup for Avicii’s “Fade Into Darkness”. I decided halfway through that I would reserve further comments on that matter for later in my countdown. Basically, this is the song everyone had hoped “Collide” would be. The very idea of the heartfelt ballad turned club jam is a bit, well, preposterous, but if you’re going to do such a thing, this is how you do it. As Loreen tenderly pines over an inebriated crush, she wonders if the romance of the moment is legit, or if it’s simply a case of the alcohol speaking. Will he still be there when they’re both sobered up? Sweeping strings accompany the verses so beautifully, and slowly a chorus of synth stabs comes into prominence, ushering in the full-beats-ahead chorus. I love it when a real effort is made to give a track some structure. It’s such a lovely effect. And did I mention melody? This song has one. A really good one. Not one of those seesaw melodies that hops back and forth between two notes for most of its duration. (Not that there’s anything wrong with that sort of thing. My favorite artist sings one note throughout many of her tracks. One just expects something more from a “sanger” of Leona’s caliber.) Look into that, Leona. Actually, I’m somewhat convinced this intended to be a demo for Leona. These studio singers frequently imitate the vocal technique of the demo’s intended recipient, and here Loreen sounds eerily similar to Ms. Lewis – very warbly and congested. They probably caught their head colds from each other.
The Best Bit: Everything. As I listen to this now, I’m hit by the absolute perfection of this tune. I’m tempted to bump this up the chart 5 or 15 spots. I love the perspective of the track – that of the drunken girl falling for a boy who may or may not reciprocate her feelings once he’s sobered up. Females having sex haven’t seemed this vulnerable since The Shirelles cried “Will you still love me tomorrow?” some 50 years ago.
#37Kylie Minogue - Put Your Hands Up (If You Feel Love)
I put my hands up. I’m feeling the love tonight!
The Best Bit: Production courtesy of Starsmith and Stuart Price. Stuart Price does no wrong.
#36Frankmusik - Do It in the AM (feat. Far East Movement)
Some words I thought I’d never type: It’s all about the “G6” hitmakers. Sure, Frankmusik does some pretty wicked things on the production front (that glitchy-dubstepy bit towards the end), and damn, he sounds deliciously smooth on those verses, but I really lose my **** when those Far East Movement twirps take over during the bridge. That’s some borderline will.i.am **** right there, and I shouldn’t be here for it, but I definitely am. (And who am I to criticize Will or his Peas for their stupidity? I tend to love stupid pop!)
Sidenote: Doesn’t “Like a G6” seem like a million years ago?
The Best Bit: “Get love in the AM. Get-get love in the A-AM. Get love in the AM. Get-get love in the A-AM. F-M, Frankmusik. F-M, Far East Movement. F-M. F-M. F-M. F-M. Cherry cherry boom boom.” And Vincent’s subsequent wail.
Carpet-muncher Clarkson (I'm just saying...) is still pretty pissed off at the men of the world – and thank God for that! In a little less than a decade, Kelly has managed to produce a healthy crop of man-hating pop hits that prove she can spew vitriol with the very best of them. “Mr. Know it All” isn’t an exhilarating rager ala “Since U Been Gone,” but Clarkson seems no less brutal atop a humdrum Bruno Mars instrumental. The American Idol glory notes and anguished wails are long gone, but Ms. Clarkson’s delivery is still appropriately biting. Realizing the content more than speaks for itself, Kelly wisely adopts a degree of restraint while serving Know It All with an old fashioned kiss-off.
The Best Bit: The chorus.
#34Clare Maguire - The Last Dance
If you take Ms. Maguire’s word for it, this is an incredibly obtuse homage to one of her childhood idols, the late Michael Jackson. I hate to think of the track in that manner – doing so absolutely ruins any sort of connection I feel to an otherwise beautifully poignant piece. Thankfully, any references to the legendary performer are so artfully shrouded in a mysterious veil of vague romanticism that the general sentiment seems rather universal. Maguire’s vocals are powerful-bordering-on-overbearing, but I think the foghorn quality of her voice is put to good use in this sorrowful power ballad. She blends perfectly into Fraser T. Smith’s full mix of soaring strings and pounding percussion.
The Best Bit: “Today I feel the mood, and I don’t feel like talking. I wasn’t ready to lose you. You’re the first man to move me. You help me feel alive – got me up from 9 til 5. I couldn’t get through those days with you on my mind.”
#33Calvin Harris - Feel So Close
If Calvin understands one thing, it’s that there’s much beauty in simplicity. Mr. Harris’ productions may lack intricacy, but this barebones approach to dance music is the key to his success. Each element of a Calvin Harris tune is treated with finesse – tailored perfectly to fit within an appealing, unembellished mix. And while Harris can accomplish great things on the back of his production talents alone, some mention should be made of his ability to inject a certain degree of drama into his work. In terms of lyricism, “Feel So Close” is overwhelmingly affectionate, but a hint of melancholy finds its way into the project, creating for some interesting conflict. I like that.
The Best Bit: Everything.
#32Beyoncé – Best Thing I Never Had
How this didn’t become more of an anthem for young girls around the world (they run the world), I’ll never understand.
The Best Bit: “Boo hoo, oh did you expect me to care?”
#31Above & Beyond – You Gotta Go (feat. Zoë Johnston)
“You got to gather up what you need. You gotta choose a direction. And when the moment is right for you, you gotta go. You gotta keep your ideals high. You gotta know that the sky belongs to no one. You know you gotta go.” All the glib, self-help ******** is truly sickening. The sky belongs to no one? Don’t be so platitudinous, Zoë. I don’t have to do anything except enjoy the production value of this tune, thank you very much.
The Best Bit: Those wonderfully lush strings that play during the break.
Patrick, your countdown is exposing me to so much good dance music! I really like "Cry (Just a Little)," "Radioactive," "Sober," "Feels So Close," "The Last Dance," "Put Your Hands Up (If You Feel Love)"... I can't believe I've never heard these songs before.
Quote:
Originally posted by Patrick
Jessie does her best Katy.
And does it better than Katy herself! "Domino" is my new guilty pleasure.
"Best Thing I Never Had" should have been a much bigger anthem than it was. I mean, that chorus...
A celebration of life and libations that makes no mention of the DJ (there’s only one) or the dancefloor (there’s only one) – I drink that, yeah-e-yeah.
The Best Bit: “Don’t let the bastards get you down.”
#29CocknBullKid - Asthma Attack
Hackney native, CocknBullKid (street name Anita Blay) pays homage to her hometown in this charming, 60s-inspired, ditty. “Asthma Attack” presents Blay in a conflicted state of transition. London has become a bit too familiar, and Blay seems very eager to skip town, but the assuredness with which she expresses dissatisfaction of her current surroundings is short-lived. Familiarity provides a lot of comfort, and try as Anita might to deny her attachment; London seems to be calling her name. Faced with the prospect of moving on, Anita is enlightened to a new perspective. Sure, this city has its quirks, but these quirks have become oddly endearing – these quirks are why home feels like “home.” As young adults, we crave escapism, but for some the idea of actually leaving home can seem very daunting. Anita will establish a life elsewhere in due time, but for now we’ll let her appreciate London. In that sense, “Asthma Attack” may, to a certain extent, belie the theme of Blay’s debut album, Adulthood, but the song is largely successful in spite of this contradiction because it is so utterly relatable. I grew up in East Bum****nowhere, and as much as I have no desire to create a life in that shanty town, I enjoy going back when I’ve been away for a significant period of time. My heart will always harbor a soft spot for the rednecks and meth addicts that inhabit the local Walmart. (Seriously, I think there are as many as 33 people living there at all times.) Dorothy said it best, “There’s no place like home.”
The Best Bit: The chorus and retro vibes.
#28Beyoncé - Countdown
Let’s do a countdown of this song’s ten best moments.
10. The “Boy-e-e-e-e-e-e-e-e” bit at the very beginning, during which Beyoncé rolls through no fewer than 34 notes for no apparent reason.
9. “Me and my boo and my boo boo riding.”
8. Her voice every time she sings the word “softly.”
7. The countdown itself.
6. Horn section.
5. “Me and my boo and my boo lip locking. All up in the back cause the chicks keep flocking.”
4. “Ladies, if you love your man show him you the flyest. Grind up on it, girl, show him how you ride it.”
3. “London speed it up, Houston rock it.”
2. “Oh, killing me softly, and I’m still falling. Still the one I need, I will always be with you.”
1. All of it.
The Best Bit: (Redundant, I realize.) All of it.
#27Above & Beyond - Sun & Moon (feat. Richard Bedford)
I’m none too fond of the nu-trance sound Above & Beyond have adopted in favor of the fluffy, uplifting, prototypical, Anjunabeats sounds of yore, but what can I do? Some things are inevitable, and as a long-time fan I should be content to celebrate the success (relative to their prominence as an act) they’ve had with the Group Therapy album and related singles. “Sun & Moon” is the very best offering from said album, and fortunately, Jono, Paavo and Tony had the good sense to make it a single. With help from favored vocalist, Richard Bedford, the boys crafted a stunning, down-in-the-dumps, club anthem that’s good enough to compete against 2006’s “Alone Tonight”. The production is truly opulent, and the nonsensical lyrics that tend to ruin most vocal trance tunes are here replaced with something slightly less ridiculous. (Though, the first stanza is pretty painful, I must admit.) “I’m sorry, baby. You were the sun and moon to me. I’ll never get over you. You’ll never get over me.” Bedford’s pleading refrain is well suited to the whiny, nasal, tone of his voice, and if you’re willing to overlook the sophomoric poeticism (“You were the sun and moon to me.” REALLY?!) you might find it possible to feel some real sympathy for the guy.
The Best Bit: Above & Beyond’s production. Those massive synth stabs pack a mighty wallop the first time you hear them. You must blast this one.
#26Mike Posner - Bow Chicka Wow Wow (feat. Lil Wayne)
Do me.
The Best Bit: “I bought you flowers and a ted-day.”
She a hard-partying ho with a heart of gold, or, well, that’s the somewhat dichotomous persona she’s created for herself. It’s not that I expect Katy to fit neatly inside one box, it’s just that, much like Britney before her, there’s one aspect of the “sexually active virgin” act that tends to be overlooked – and seeing as she’s very much inclined to showcase those giant **** whenever possible, well, you get my point. At a certain point, I do hope she will come to the realization that nobody likes the church mouse – that we don’t find her endearing, or cute, or interesting when she’s preaching the evils of blasphemous pop stars, and in turn engaging in blasphemy. Embrace the inner heathen that’s responsible for tracks like “I Kissed a Girl” or “Last Friday Night”. She loves alcohol, she loves dancing, she loves getting into trouble and she DEFINITELY loves saxophone solos. I think we can all relate.
The Best Bit: 2:53 – 3:10, during which Dr. Luke honor his stint as a musician in the SNL band with a glorious, too-perfect-to-be-anything-but-computer-generated saxophone solo. I expect Don Pardo to start announcing cast members every time.
#24Lady Gaga - Yoü and I
As if we needed any more proof that Mutt Lange (and Lady Gaga, to a much lesser certain extent) is a genius. The collaborations with former wife Shania are worthy enough of our praise, but it’s his ability to nudge pop performers out of their respective comfort zones that’s truly impressive. A collaboration with Lange is sure to result in a track that, while wholly unlike anything the pop chanteuse may have previously released, seems perfectly suited to the performer. Gaga takes to the southern rock styling of “Yoü and I” like a fish to water, but in abandoning the icy, electronic sounds for which she has become famous, she is presented with the arduous task of proving herself to casual fans, like myself, who may be skeptical of any experimentation. For the longest time, I was completely unwilling to give “Yoü and I” a second of my time. I was annoyed by the stylistic-for-the-sake-of-being-stylistic umlaut that appears in the title. I was perplexed by a track that had little phonic relation to the rest of Born This Way. I was focused on details that, in the scheme of things, didn’t matter. It’s only in the past month that I’ve come to the realization that “Yoü and I” is really fantastic. The appeal stems primarily from the fact that this single is, in many ways, the most personal, most genuine and heartfelt offering in Gaga’s discography. I don’t know if things are going to work out between Gaga and Taylor Kinney, and honestly, I’m rooting for a reunion with old Nebraska. This is Gaga at her most passionate, down-to-earth and believable. It seems unlikely that any other man could have such an effect over a woman who rarely lets her guard down and never breaks character. I like her like this. I like her a lot.
The Best Bit: “Something, something about the chase. Six whole years. I’m a New York woman, born to run you down, so have my lipstick all over your face. Something, something about just knowing when it’s right. So, put your drinks up for Nebraska. For Nebraska Nebraska I love you! You and I, you you and I. Baby, I’d rather die without you and I. You and I, you you and I. Nebraska, I’d rather die without you and I.”
#23Cher Lloyd - Swagger Jagger
“Swagger Jagger” presents X-Factor castoff, Lloyd, in full-on brat mode as serves the “haters” with a giant “**** you.” Cher, it seems, does not understand that “Swagger Jagger” stands only to enhance the problem, because, well, people don’t tend to respond positively to braggadocio and accusations of jealousy. From a PR standpoint, it’s a preposterous tune to use as a launching pad for a career in pop music, and perhaps because of that, you can’t help but foster a little respect for Cher and her ballsy disregard of social graciousness. How’s that spit feel in your face, naysayer? Cher’s swagger is in check. Is yours? There’s only one way to settle this feud; WE MUST HAVE A DANCE-OFF! “Get on the floo-wah!”
The Best Bit: “Hi haters, kiss kiss, I’ll see you later. Hi haters, it was very very very nice to meet you.” She sounds so absolutely perfect during this bridge.
#22Selena Gomez and the Scene - Love You Like a Love Song
I-I love it like a love song, baby. (Appropriate, considering this is a love song.) And I keep hitting repeat-peat-peat-peat-peat. Seriously, can’t get enough of this one. Gomez’s tone is surprisingly rich, her delivery is somewhat sensuous, and that enticing disco thump keeps the whole thing moving at an appropriate pace. Clearly, this is the best Gomez and the non-existent Scene have ever sounded.
The Best Bit: The chorus.
#21The Saturdays - All Fired Up
Pure eurphia.
The Best Bit: Xenomania’s production. It sounds unlike anything I might have expected this exceptionally talented production house to create.
I’m making a point by low-balling this one. It’s not that I really dislike “Till the World Ends”, it’s that I disagree with this notion that, out of everything THE QUEEN has released in recent years, THIS is the track that was destined to become such a massive success. As 2011 came to a close and various publications began to compile “best ofs,” I was somewhat disheartened to find that “Till the World Ends” was being written about (in the handful of publications that are willing to pay Britney any sort of respect) as some sort of career-saving tune. Meanwhile, Femme Fatale struggles to go platinum. (And people want to talk about career-savers?) As a die-hard, Britney devotee, I shouldn’t question the success or the praise, but in all honesty, “Till the World Ends” feels somewhat uninspired and unworthy of our affection. I can’t take such a jab at this tune without offering this qualifier; “Till the World Ends” still more inspired and worthy of affection than anything your fave has released in… ever. Comparatively speaking, this song massacres most other chart-toppers (or almost-chart-toppers, as the case may be) of 2011. With a pen in her hand, Ke$ha’s capable of great things. “Till the World Ends” explores familiar clubland territory, but apocalyptic undertones lend a degree of freshness to an otherwise worn-out concept. (When this whole popstar thing doesn’t work out, I fully expect her to transition into in a different role within the industry. She’s so going to become a successful, full-time, songwriter.) Britney’s purr is intoxicating, her chorus chants are joyous, and the confidence that’s been sorely lacking from some of her post-breakdown output is back in full force. Dr. Luke, Max Martin and Billboard, are, simply put, a producer dream team. Yeah, this is pretty good, or good enough, at the very least.
The Best Bit: “See the sunlight, we ain’t stopping, keep on dancing till the world ends. If you feel it, let it happen, keep on dancing till the world ends. Keep on dancing d-d-dancing till the world ends-world ends-world ends-world ends-world ends-world ends. Keep on dancing till the world ends-world ends-world ends-wor-world-ends-the world ends-en-en-en-en-en-en-en-en-en-en-en-en-en-en-en-en-en-en-en-en-ends.”
#19David Guetta - Without You (feat.Usher)
That production during chorus is peculiarly upbeat for such a devastating lyric, but it sounds so ****ing fantastic. If I have one complaint of the track, it’s that Guetta doesn’t have the good sense to visit the selling point of this track more than twice.
The Best Bit: That soaring chorus. Blast that ****!
#18Calvin Harris - Bounce (feat. Kelis)
The year’s most infectious synth riff.
The Best Bit: The first time that instrumental chorus kicks in. Calvin ditches the bitcrushed, 8 bit sounds that comprise that first verse in favor this rich-toned, alien-esque, synth that’s accented with just the perfect dab of reverb.
#17John Dahlbäck - One Last Ride (feat. Erik Hassle)
Begging your significant other and soon-to-be-ex for a final romp in the bedroom because getting that “one last ride” will make the eventual breakup and subsequent downfall a just little bit easier – I don’t think it gets any more pathetic. This is Bonnie Raitt’s “I Can’t Make You Love Me” reworked for a generation of club-hoppers.
The Best Bit: Swedish songbird, Erik Hassle, seems so incredibly earnest as he desperately clings to this sinking ship of a romance. Brings tears to my eyes. Dahlbäck’s not too bad on the production front, either.
#16Colette Carr - We Do It (Primo)
The heir apparent to the Kesha Sebert sing-talk throne, or so I thought. I should have known not to expect much from someone signed to Cherrytree, much less someone who is responsible for something as awful as “Bitch Like Me”. I got wrapped up in the moment. I was so bewitched by your potential, and the promising-things-to-come to which “Primo” alluded. Understandably, I was completely taken aback by that shockingly bad New Boyz collaboration. You’ve been dismissed, Colette, but I will forever treasure your brief encounter with greatness. Here’s to you doing it up big for all of 5 minutes. Here’s to almost doing it primo.
The Best Bit: Frankmusik’s production, which skillfully incorporates Keane’s “Somewhere Only We Know” in this would-be summertime anthem. Shame it didn’t take off, really. This was Colette’s chance.
Britney’s purr is intoxicating, her chorus chants are joyous, and the confidence that’s been sorely lacking from some of her post-breakdown output is back in full force.
This is why it disappoints me that you low-balled "Till the World Ends" so much. Forget that it's one of the least sonically adventurous tracks on Femme Fatale, or that it's the first time since "Toxic" (!!!) that any of her music has received a large dose of critical recognition. When was the last time Britney sounded this sexy, this gritty, this in command? It's been a while—so this one calls for celebration. Everything else is just icing on the cake.
Otherwise, I'm really enjoying your list. With the exception of "Love You Like a Song" (I just can't get into it), I love your last few sets. Why did no one else think to write up "Countdown" like that?