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Red's Best of 2014: The YECA (Top Singles, 50-31, Page 19)
Member Since: 2/5/2014
Posts: 29,111
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Goodness Gracious! I don't know too many of the songs this time around. I'm going to have my listening cut out for me. I've been meaning to revist Ellie's album.
But I really need to take out the Gunman so I can not worry and relisten to Chevelle's newest. I didn't know you were named after their I love that song
I do really like Counting Stars still
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Originally posted by Red
"Uptight Downtown" is one of the best examples of how that album caused me to involuntarily dance.
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I hope there is a cure for that UDIDS (Uptight Downtown Involuntarily Dancing Syndrome) soon My guess is that it involves more Uptight Downtown exposure and dancing because that whole album was great.
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Member Since: 6/2/2009
Posts: 7,105
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Chevelle + Ellie + TTT
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ATRL Senior Member
Member Since: 5/9/2003
Posts: 3,779
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I knew I missed Ting Tings, but Billy Talent too?!? I am ashamed!
I do love Up We Go and R U Mine, which I first heard when they opened for Black Keys many ages ago.It's a fantastic concert closer.
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Member Since: 1/1/2014
Posts: 13,761
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uptight downtown is good! not as good as let me down gently, sexotheque tho
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ATRL Senior Member
Member Since: 9/26/2001
Posts: 22,475
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Quote:
Originally posted by Flame Beat Z000
God, never thought I say that I’m behind on commenting on a Red Best of and that you’re still going and still behind in my own countdown. Crazy.
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Well, now, I'm a little more behind than I want to be. Still trucking, though!
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Originally posted by mathuss
Most Anticipated Albums of 2015: I'm also excited to listen to more new music by Coldplay, Modest Mouse, Adele and of course MUSE!
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Good god, yes. I am really, REALLY hyped about new Muse. You'll see how desperate I am for new Muse soon.
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Originally posted by holyground
Hmm The Ting Tings have always been very funk, though this time they did go a bit more disco. Idk there's something about their debut that's so insanely charming which they've never reached again.
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Yeah, honestly, they hit on something on that debut album that has been really hard to match. It seems like they're back on the right track, though, so fingers crossed that they get there again.
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Originally posted by Superiore
The Counting stars stanning made me cackle but I'm with you there
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If you think I was going nuts over "Counting Stars", just wait until the top twenty. I may explode from great music overload.
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Originally posted by Bloomers
But I really need to take out the Gunman so I can not worry and relisten to Chevelle's newest. I didn't know you were named after their I love that song
I hope there is a cure for that UDIDS (Uptight Downtown Involuntarily Dancing Syndrome) soon My guess is that it involves more Uptight Downtown exposure and dancing because that whole album was great.
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Well, partly named after that song. Mostly for Thrice's "Red Sky". And yes, the cure is out there. Then again, why would we want a cure for something so awesome?!
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Originally posted by Calvin McHobbes
I knew I missed Ting Tings, but Billy Talent too?!? I am ashamed!
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Well, I missed out on new Kaiser Chiefs, so it's not like I have any room to talk.
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Originally posted by Dr. Spaceman
BRING ON THE NEXT FIFTY. Well, not all at once haha!
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Well, it might as well be. The good thing about me having taken such a long unscheduled break is that I'm ready to post not one, but TWO sets, back to back. So not only will you get the promised (and late) 50-41, but you'll also be getting 40-31 right after. Two! Two! TWO SETS IN ONE! It may take a little bit, but it will be coming, so stay tuned!
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Member Since: 4/19/2008
Posts: 12,553
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Counting Stars and Wrong Club
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ATRL Senior Member
Member Since: 9/26/2001
Posts: 22,475
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The YECA: Top 100 Singles (50-41)
| Man, these guys were just so freaking cool this era, weren't they? It's not enough that "Do I Wanna Know?" was a distinct piece of coolness all its own, and "R U Mine?" definitely continued to help push the Monkeys as this generation's band that is too cool for school. And yet, even though those songs are coolness in a bottle, I tend to point to "Why'd You Only Call Me When You're High?" when I'm talking about just how freaking awesome and cool Arctic Monkeys have become. Why? Well, first, look at the title. How could a band make that title sound cool? It's a decent title, but cool? Eh. As soon as you hear the opening instrumental, though, that doesn't matter. Arctic Monkeys stumbled upon something in this era, and I can only assume that it was less simple than putting on sunglasses and wearing leather jackets. Something about the Monkeys just *changed* this era. If you ask me, it was for the better, and this song is example A. |
| Oh, how I wish this song was bigger than it actually was. Chino Moreno deserves to have something hit it big that ISN'T Deftones-related. The man's voice is just too awesome to be contained in its own tiny little bubble. And for the music being performed by Crosses, his voice is absolutely perfect. "The Epilogue" is their standout track, a song that defies convention (well, when compared to Deftones, anyway) by being ungodly catchy. And it's not like the song itself is really all that fast-paced. It's just that the music is so well made and intricate, and it meshes incredibly with Chino's soothing vocals. I just can't figure out this world sometimes. This song can only barely make a dent, but Jason Derulo continues to be a major hitmaker. Why must you do this to use, music gods? WHAT HAVE WE DONE TO FORSAKE YOU? |
| I like how this song practically starts with a siren sound, as if to warn you about what's to come. And no, it's not to warn you of something bad incoming. It's to warn you that you WILL stand up and dance your ass off, whether you want to or not. "Busy Earnin'" is a mission statement if there ever was one, a song that dares you not to move along with it. The pounding beat, the carefree vocals, the extreme catchiness permeating the song...it's a song that's designed to do one thing: Incite a dance frenzy. It succeeds, of course, and it probably would have succeeded if there was no effort involved at all. But Jungle doesn't sit around with a finger up its ass (/AFSCME). It earns its ability to cause a dance (dance) revolution just by existing. You could say that I love this song...but I prefer to say that I CAN'T GET ENOUGH! |
| I didn't get Young the Giant for the longest time. I got into bands that were SIMILAR to Young the Giant in recent years, but not one of the foremost bands of its type. In fact, just last year, I said that another artist performing their signature song was the best thing that Young the Giant had ever been involved with. I'm not entirely sure what happened, but I do know that "It's About Time" woke me up and made me realize that Young the Giant was a genuinely talented band. The real turning point, though, was "Mind Over Matter". This is exactly the type of song that I would have just scoffed at and ignored from this band in the past, but I wanted to give this band more of a chance, because I did feel like I was missing out on something and couldn't figure out what. Well, one listen to this song later, and I finally figured it out. My issue wasn't with Young the Giant. My issue was with finding and listening to other bands similar to Young the Giant BEFORE I listened to Young the Giant, to the point where Young the Giant became merely an afterthought until this year. I'm just glad I won't make that mistake again after this beautiful song entered my world. |
| I remember my first reaction when I listened to "Afterlife" for the first time. The song starts, and I'm thinking, "Okay, let's see what this song has to offerOHMYGOD that freaking drum beat! And that instrumental! AND THAT BACKGROUND VOCAL! HOLY CRAP, THIS IS AWESOME!" The song had been on for less than thirty seconds and had won me over already. And that's before Win Butler's vocals first entered the equation. Immediately one of the standouts from Arcade Fire's latest album Reflektor, "Afterlife" really worked its magic this year. This song isn't just catchy. It's borderline pulse-pounding. Arcade Fire makes epic songs, sure, but something they don't do enough of is make extremely catchy songs that you can dance to. And it hit me recently that this was what Reflektor was really all about. It's not a look back at your adolescence or a look at the end of your existence like previous classic Arcade Fire albums. Reflektor was solely focused on making the most kickass, epic dance-pop album possible. And I can't believe it took me an entire year to realize that. |
| Man, I wasn't expecting this at ALL. Theory of a Deadman have been synonymous with terrible mainstream rock music for, seemingly, the last decade. They made one decent album at the beginning of their careers and then turned into Nickelback-lite. And nobody should want to aspire to be "Nickelback-lite". It's bad enough that Nickelback has to wake up every day knowing that they're Nickelback. I don't know what inspired me to listen to "Drown", the first single off of their most recent album Savages. I do recall a couple of people saying that they loved the song and didn't really care for TOAD (heh, TOAD) before that. I guess I decided at that point, "Hey, if nothing else, it'll probably be the worst song I listen to this year if it's the standard TOAD crap." I'm not really wowed for the first few seconds of noise...and then, that ****ing main riff comes in. HOLY ****. I didn't know that this crappy band had THAT in them. This is, unequivocally, the best song TOAD has ever made...and probably will be their best for the foreseeable future. This song is a monster and does not hesitate to let you know it. |
| Let me explain why "Pendulum" is higher than "Two Weeks" briefly. When I listened to LP1 for the first time, "Lights On" and "Two Weeks" didn't stand out THAT much. Sure, I recognized that they were good songs, but they weren't the songs that stood out to me on first listen. "Hours" was the first song to really hook me. That hook, "I COULD KISS YOU FOR HOUUUUURS", sent chills down my spine the first time I heard it. "Pendulum" follows on the album, and that's when I knew that I was listening to a top ten album. "Pendulum" by itself is not my favorite song on the record. Hell, in some ways, I find "Two Weeks" easier to listen to on its own than "Pendulum". In the context of the album, however, that double shot of "Hours" and "Pendulum" is euphoric. I can't really separate the two tracks, because they give me the same aroused and mystified reaction every time I listen to the songs back to back. So, basically, the reason "Pendulum" is higher than "Two Weeks" is because, even though I can probably enjoy "Two Weeks" more on its own, "Pendulum" has given me so much more enjoyment as part of the larger picture. I hope that makes sense for some of you. |
| I'm so glad to have this Interpol back in my life. I mean, they've released albums since the awesome double shot of Turn on the Bright Lights and Antics,. but the subsequent albums just haven't hit me in the same way. "All the Rage Back Home" is the first time I have been genuinely wowed and excited about an Interpol song since "Evil". This is INTERPOL, the Interpol I fell in love with, the Interpol that gave me hope that this sound would be the future of alternative rock. That didn't QUITE happen, though Interpol's influence on alt rock can't be denied when looking at the scene today. "All the Rage Back Home", though, hits particularly hard because it reminds me of a simpler and better time, when life was certainly easier to navigate. I wouldn't say that it made me feel nostalgic, per say, but it definitely had me feeling like I was transported back to 2004 all over again. There were other songs that hit me in a similar way this year, but I'm hard pressed to come up with one that is better. |
| It's probably weird that I still listen to the "original" mix of this song, the one that appeared in all of the GTA 5 promos and even appeared at the end of the game, over the more recent single mix that can be found in the video, right? I mean, the new mix is fine, I guess, but the reason i fell in love with 'Sleepwalking" is because it felt almost intertwined with one of my favorite gaming experiences of all time. It's the song I associate with the game, the song that I ALWAYS think of when I think of Grand Theft Auto V. And the version of the song that is in GTA V is most certainly not the one that can be found in the "official video". What's really funny is that I'm the kind of guy that likes alternate versions of songs more than certain originals (see Sick Puppies' "There's No Going Back" last year). Sorry, Chain Gang dude, but the original mix will always be the one I listen to for years to come. |
| Dammit, Vampire Weekend, you just couldn't let go of me, could you? You briefly invaded my conscious a few years ago with "Cousins", "Giving Up the Gun", and "Horchata", but I didn't expect you to hit me over the head with a big rock like you did in 2014. Hell, you hit me much harder in 2014 than you did when you first released "Unbelievers" and Modern Vampires of the City a year prior. It was 2014 where I finally, 100% got Vampire Weekend. And the really strange part is that the album that really hooked me is the one that is most unlike their previous work, an album that almost feels like a coming of age. It was in 2014 that songs like "Step" and "Hannah Hunt" became some of my favorite songs ever. Stuck below those beloved tracks, "Unbelievers" still stood its ground as an upbeat contrast to the softer songs just mentioned. It's so difficult to not tap your feet or sway along to the beat or to Ezra Koenig's infectious vocals...so I just don't try to fight it. |
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Okay, that's one part of this TWO-PART SET POSTING out of the way. Next up, immediately following this set: 40-31. That set features the first of two singles from a hard rock giant, the return single that divided a fanbase, the second of two singles from an artist that hit it big on the YECA LAST year, the first of two singles from an artist that captivated me in 2014, and a song that sounds like my favorite band to tide me over until the genuine article returns. NEXT STOP: TOP 40sVILLE!
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ATRL Senior Member
Member Since: 9/26/2001
Posts: 22,475
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The YECA: Top 100 Singles (40-31)
| Volbeat, you are not the band that makes tired tracks like "Dead But Rising". You're not. You're the band that dives head first into the Western mythos, the band that was inspired by Metallica, sure, but also by Elvis and Johnny Cash. That's why I fell in love with you guys in the first place. I mean, I love when you guys rock out, sure, but you guys are at your best when you take the rocking out and mesh it with Western sensibility (or, in the case of "Room 24", reaching the darkest point possible and going with it for five minutes). "Doc Holliday" is exactly the type of song that inspired my love and promotion of Volbeat as hard rock's future kings in the first place. It doesn't just rock, but it's also rich in rockabilly and in country western twang. It's epic, but it's also a reminder of what Volbeat is all about...or is supposed to be about, "Dead But Rising" as a single, guys? Seriously? BEFORE "Doc Holliday"? Hell, before releasing "Cape of Our Hero" in the States? What were you THINKING? |
| I'm really not sure why this song is so hated by so many people. I really don't get it. Is it because it's "simple" by Mastodon samples? Is it because it's not reinventing the wheel? And if that's the reason...really, WHAT WERE YOU EXPECTING IN THE FIRST PLACE, YOU DOLTS? A ROCK OPERA? Mastodon does not experiment too much with their sound. If that disappoints you and turns you off, well, that's fine, because bands like AC/DC have that same impact on people. But here's the thing: If you're a Mastodon fan and don't like "High Road", what are you doing calling yourself a Mastodon fan? If you hate "High Road", that's about the same as saying that you hate Mastodon themselves. Yes, what I'm trying to say is that this song IS Mastodon in a four minute track. And yeah, sure, it's not their BEST track or anything (it's certainly no "Oblivion"), but to treat it as the bastard stepson of the Mastodon discography? No song with THAT badass of a solo could be THAT bad. I mean, this song isn't "Back to the Shack"-level bad, guys. Let it go. |
| You know that I'm starting to get a little desperate for new Muse material when songs like this pop up on my singles lists. This song is so Muse that it beats you over the head with it, with the only real difference being that the lead singer of We Are the Ocean doesn't sound like Matt Bellamy...or Thom Yorke, for that matter. But really, listen to "ARK". It's epic, sure, and it's grand in scale...but that's Muse in a nutshell. And "ARK" doesn't have nearly the same tongue-in-cheek factor that makes Muse even more endearing. In other words, this is basically Muse with a straight face. And you know what? When it gets to the point where I've gone two years without new Muse music, I'll even take songs that sound like Muse and appreciate them. Would "ARK" have made this list in a year where Muse released a new album?...well, probably, because the song IS pretty good. But it certainly wouldn't have been as high as it is. So, um, I guess these guys should thank Muse for making Red get desperate enough to find music that SOUNDS like Muse while waiting for new Muse songs? Sure, why not? |
| Nothing was ever going to top "Rescue, Mister", as far as I was concerned. "Rescue, Mister" was a commanding song that refused to accept indifference. You either adored it or loathed it. "Capitol" is not that kind of song. It doesn't really command anything of you. Hell, if it didn't come from the same guy that released such a titanic song as "Rescue, Mister", I probably wouldn't have paid too much attention to it. But the fact that the same guy that created such a pounding piece of noise could also create a borderline gorgeous synthpop tune is worth noting. And really, that's what "Capitol" is. That normally wouldn't be enough for the top 40, and, thankfully, that's not all that "Capitol" brings the table. It also has a very groovy beat, a fun singalong chorus, and an INCREDIBLE bridge that builds and builds and then explodes into euphoria. Every time I listen to this song, I anxiously wait for the three minute mark, because that's when **** gets real. Again, nothing was topping "Rescue, Mister", and it's a credit to Trust mastermind Robert Alfons that he didn't try to. |
| Talking about this song infuriates me to my very core. Why? Because supposed Faith No More fans hate this song and act like it's a piece of **** song. Now, keep this in mind: Faith No More haven't released new material in almost twenty years. This is a band that has been gone long enough to have missed the ENTIRE EXISTENCE of The Mars Volta. I mean, this is a band that has been out of action for a LONG time. And yet, certain "fans" of Faith No More have listened to "Motherf*cker", the first new Faith No More song in SEVENTEEN YEARS, and bash it and act like they're above the song. I'm sorry, but are we listening to the same band? Because, um, I don't know if you supposed Faith No More fans have paid attention or anything, but this is a song that sounds like it was ripped from the prime Faith No More days, and it elicits the exact same divisive reactions that Faith No More used to back when they ruled the rock world. I mean, it's one thing to not like the song if you don't really like the Faith No More sound, and it's not for everyone, I'll concede that. But I can't imagine any true Faith No More fan disliking "Motherf*cker", unless they're just a fan because of "Epic". And sure, "Epic" is a great song, but it's an outlier. It's not representative of Faith No More as a whole. "Motherf*cker" is more representative of Faith No More in spirit and in sound. They're a band that does not give a damn about the general music population and make music that they want to make. Welcome back, boys. |
| I said in holyground's best of thread (I think it was holyground's, anyway) that there are times where I like "We Exist" more than "Reflektor", and it's true! "We Exist" is also more polarizing to me, though, than "Reflektor" could ever be. "Reflektor" is just a mammoth song, what would be a once-in-a-lifetime song for many bands (but, obviously, not for Arcade Fire). "We Exist" is not that kind of song. It's much more lowkey and unassuming, a song brooding underneath the surface of "Reflektor" and its huge shadow. But the thing is that "We Exist" has moments where it even rises above and stands on its own two feet alongside "Reflektor". For example, that chorus is HUGE. And that portion in the middle of the song, with the orchestral touch? That's pure class right there, and it's so booming that it's impossible to ignore. But really, "We Exist" doesn't strive to be bigger, per say, than "Reflektor". It is more than content to...well, exist on its own terms. Oh, and it's just as catchy as "Reflektor", a Herculean feat in and of itself. That main beat gets stuck in your head. I defy you to get it out after listening to the song. |
| Despite being a so-called fan of rock music, this was my first taste of Death From Above 1979. In one sense, that's understandable. They released only one album previously, and that was released TEN years ago. On the other hand, their first album is considered to be a new rock classic. So okay, I can probably forgive myself for not having listened to DFA before, but that doesn't really excuse my ignorance, either. I do hope that my infatuation with DFA in 2014 made up for it, though, and it all started with this sexy little piece of music, "Trainwreck 1979". That main riff and beat is just so freaking cool. It chugs along and dares you not to stomp your feet along to it. In a perfect world, this song becomes a sports anthem. This isn't a perfect world, of course, but there's still hope. This song was at least heard in the States, so there may still be time to give this song the sports anthem respect it deserves. Or any respect, really. |
| Alter Bridge...or, as I like to call them, "Creed If They Didn't Suck". Alter Bridge is one of my favorite stories in rock. The other three members of Creed realized that Scott Stapp is a massive nutjob, so they decided to start up a new band with a rocker with a booming voice in Myles Kennedy. Here's why this intro is important: Alter Bridge is NOTHING like Creed. At all. I'm sure that the other three guys from Creed will always carry that label to their everlasting shame, but it should not stand out over what has become quite the fruitful adventure for the boys. Blackbird and III both have their fantastic moments, but they may have topped themselves with "Cry of Achilles". This is just pure balls to the wall rock, technically precise and unequivocally awesome in every way. What I love the most is that EVERY member gets their chance to shine here, all showing off why they are tremendous musicians. I'm just happy to see the OTHER guys of Creed show that they are, indeed, worth a damn. And Scott Stapp sheds another tear while plotting to kill the President. |
| It has become cool to hate Kings of Leon in recent years because of how huge "Sex on Fire" and "Use Somebody" became, but that's not entirely fair to Kings of Leon. Sure, those two songs overshadow the rest of their discography because of how successful they were, but Kings of Leon are so much more than the "Use Somebody" band. What really makes them stand out is how in tune they are with their Southern sensability. Kings of Leon, first and foremost, is a Southern rock band. They were a Southern rock band before "Sex on Fire" hit it big, and they will always be a Southern rock band well after their biggest success. "Wait For Me" is a great example of this. I fell in love with "Wait For Me" as soon as the opening riff and instrumental kicked in, because, as someone from the South, how could I not? This kind of song is entrenched in my DNA. And then, Caleb Followill comes in and melts me all over again with his twang. I can't bring myself to hate Kings of Leon. They're just too damn Southern for me to hate. |
| **** you, Voldemort. Oh, wait, I'm sorry, his name is Ian Wa--He Who Must Not Be Named. But seriously, **** him, **** his band, and...well, don't **** the other band members, because it's not their fault their lead singer was the spawn of Satan. I'm just happy to see that the OTHER guys in Lostprophets decided to move on, including not playing ANY Lostprophets material from now on. And if you're going to move on so quickly and so decisively from one band, why not recruit someone who knows a little bit about quickly moving on from a band? Geoff Rickly is not a very well known name to most of you, but to those of us who were around in the early 2000's, that is a very, VERY important name in the rock scene, for he was the lead singer of post-hardcore icons Thursday. So, basically, this is what happens when a post-hardcore icon meets up with a band that helped define rock music in the mid-2000's. And it's absolutely NOTHING like their previous material. Instead, "Stay" is decidedly pop in structure and sound. And yet, because Geoff Rickly's vocals work surprisingly well in this environment, the song winds up being really damn good. I can't wait for their first album. Oh, and once again, **** you, Voldemort. |
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Alright, we're on to the top 30! Songs 30-21 features the first two of four singles from the band that dominated my 2014, the second of two singles from an artist that just appeared in this set, the third of three (and clearly most non-mainstream) single from a rock giant, and the second of two appearances by one of my all time favorite bands. We're not stopping this train here!
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ATRL Senior Member
Member Since: 9/24/2009
Posts: 70,975
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We Exist, Arctic Monkeys,Afterlife,Mind Over Matter, Drown,Unbelievers,Interpol
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ATRL Senior Member
Member Since: 7/23/2007
Posts: 35,994
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50-41: 9/10
The Epilogue + Unbelievers + Drown + Mind Over Matter + Afterlife + Why'd You Only Call Me When You're High? <33
40-31: 6/10
Doc Holliday + Trainwreck 1979 + Wait For Me <33
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Member Since: 12/9/2007
Posts: 9,007
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Arcade Fire! Twice! "Capitol," "Busy Earnin'", "Why'd You Only Call Me When You're High", "Pendulum" and Interpol!
Outstanding set
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Member Since: 5/18/2007
Posts: 18,745
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Wait For Me I can't believe they didn't choose this as a single.
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ATRL Senior Member
Member Since: 5/9/2003
Posts: 3,779
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#41 was my overall #1 song last year, so yeah, I like it alot. :-D
I am shocked that this was your first taste of DFA though. "Romantic Rights" was huge in our chats back in the day, we talked about it all the time (even though I also didn't listen to the whole album at the time). It was even the theme song for Spencer McGee and the Talking Chimpanzee.
I didn't love "Afterlife" at first, but it became of my favorites after I saw them live. A lot of Reflektor songs got better that way, they put so much energy in to them.
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ATRL Contributor
Member Since: 9/2/2011
Posts: 21,728
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So much good stuff - almost too much to name!
My favourites are Pendulum, the Arcade Fire tracks, and UNBELIEVERS!
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Member Since: 2/13/2012
Posts: 62,082
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Why'd You Only Call Me When You're High, Pendulum, Trainwreck 1979, Capitol
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Member Since: 4/7/2009
Posts: 34,961
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Why You Only... great pick I had on my c/d last year (2013).
Any Jungle song on any list is great!
Pendulum is intentionally her best I agree.
I slept on YTG but I like Mind Over Matter.
Afterlife, Unbeleivers, We Exist, Wait for me
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ATRL Contributor
Member Since: 4/3/2014
Posts: 34,134
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Why'd You Only Call Me When You're High?, Mind Over Matter, Drown, Pendulum
Capitol and We Exist
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Member Since: 3/18/2008
Posts: 25,896
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Unbelievers is great Just makes you wanna move
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Member Since: 8/19/2013
Posts: 27,248
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Why'd You Only, Unbelievers, All The Rage are cute. Afterlife. Ugh that song is seriously life changing or something. I don't see a "How much this song makes me want to have sex to" rate for Pendulum.
Wait For Me You're right about We Exist.
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Member Since: 8/2/2008
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I missed a lot but I love the 2 latest sets. Lots of my favorites in there.
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