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"Save me, white Jesus…/They gave me a useless education/And a subprime loan on a Craftsman home," he sings on the somber piano ballad "Bored In the U.S.A." From the aimless ecstatic drift of "When You're Smiling And Astride Me" to the aching countrified lope of "Nothing Good Ever Happens At the Goddamn Thirsty Crow," Tillman always found the perfect musical backdrop for his evocations of love and desire gone off the rails. But No one better articulated the narcotized politics of personal pleasure this year than Future, whose Number One album was led by two singles about his endless cash supply ("Fuck Up Some Commas" and "Blow a Bag") and then opened with a track in which he brags about being so high he pisses codeine. Title Artist(s) 1 "Theme from A Summer Place" Percy Faith: 2 "He'll Have to Go" Jim Reeves: 3 "Cathy's Clown" The Everly Brothers: 4 "Running Bear" Johnny Preston
Toronto's finest enjoyed a hell of a year – his beef with Meek Mill turned out to be the most lopsided rap battle since LL Cool J crushed Canibus, and he dominated playlists from "Know Yourself" in the winter to "Hotline Bling" in the fall. "Sunburned Shirts" starts off as Robert Pollard-style faux-British Invasion basement burnout, then upshifts into a riff worthy of Hole's "Miss World"; and "Something Soon" submerges Beach Boys harmonies in murky tape-deck static, with Toledo delivering lines that'll make sense to anyone who ever spent time with John Lennon or Kurt Cobain: "Biting my clothes to keep from screaming/Taking pills to keep from dreaming." more #2 Bill and Melinda Gates. He snuck his fifth LP into fan-club inboxes in November, just a few weeks after cutting it in secret at a Nashville studio.
Written and produced with ex-Tom Petty drummer Stan Lynch, Kurt Vile is a master of stoner-rock exploration and cotton-brained existential whimsy, and this was his most introspective tapestry yet. It's old-school country mixed with Southern rock, delivered in a voice like a soul singer's and with no flashy production.
And on front-porch picker "Mayflowers," she has the cojones to rhyme "April showers" with "May flowers" – twice! Newsom's first album since her star-turn in Paul Thomas Anderson's Hazy, rhythmically shape shifting and full of heavy guitar mysticism, If pop stars and rap gods can have surprise-release album events, why can't a Southern badass like Eric Church? Muse take us into a warzone where the death happens over there and the casualties are lost values over here. But on his debut album, Stapleton digs deeper and gets personal, leading a master class in old-school country songcraft with 14 songs full of weary life lessons and whiskey-induced heartbreak. It's quite a way to kick off a It was the surprise comeback nobody saw coming – not even diehard fans had any idea the three punk women of Sleater-Kinney were back in the studio, after nearly 10 years apart. Twenty years after the peak of Brit-pop, Blur are back in style, with substance.Apparently Black Keys singer-guitarist Dan Auerbach isn't busy enough with that band, his Nashville studio Easy Eye and production jobs for Dr. John, Lana Del Rey and Cage the Elephant, among others. This is a list of Billboard magazine's Top Hot 100 songs of 1960.. No. She howls in disgust on the pounding, almost Zeppelin-esque "What Kind of Man," condemning the lover who's holding her heart captive. Contact : [email protected] She writhes amongst orchestral strings and funky horns on "Queen of Peace," declaring "all that's left is hurt." She finds some solace in St. Jude, the "patron saint of the lost cause." They drive home their doom gospel with a precision-strike muscularity that makes for the most straight-ahead music they've delivered in years, pairing the ornamental excess of their equally high-concept 2012 album At this moment, no country singers do feel-bad better than Monroe. The big hit was "Where Are Ü Now," the inescapable single that redeemed Justin Bieber's career.
Writer Lin-Manuel Miranda, who also plays the lead role, made it look easy with a book of modern hip-hop and R&B songs that could've been played on the radio. The Baltimore duo's fifth album refined their shimmering shoegaze formula in subtle but key ways, turning up the reverb on Alex Scally's slow-motion guitar starbursts and pushing Victoria Legrand's sweetly yearning melodies to the front.
While no single on her first album in five years had the impact of those two, Sullivan proved herself even more capable of painting love's joys and messes as vivid tableaus. "Jen insists that we buy organic vegetables/And I must admit that I was a little skeptical at first/A little pesticide can't hurt," she sings on the springy rocker "Dead Fox," which somehow morphs into a hilarious, catchy driving tune.
Giddens' singular union of country-church fire, concentrated hurt and operatic poise is especially compelling in the earthy restraint of T Bone Burnett's production. At first it might have sounded too good to be true, but after a year of listening, What a time to be Drake. D'Angelo dropped his first LP since 2000 in the final days of 2014, as his big statement on America in a year of deep racial turmoil. In 1962, her towering vocals were the heart of the Phil Spector-produced "He's a Rebel" and "He's Sure the Boy I Loved," with her expression of female desire answered by her own strength. more
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Extraordinarily detailed, it's a set about being thrown back onto your own island, and made to be savored in headphones – or elaborately-engineered museum installations, like the advanced multi-speaker room built at New York's Museum of Modern Art built specifically to present "Black Lake," After years of sweat-soaked jamming in an Inglewood, California, backyard and gigs across unexpected Los Angeles hangouts, squeal-to-flutter tenor sax dynamo Kamasi Washington splatters and explodes across three discs with the seven members of the West Coast Get Down. But James Taylor spent the years after the release of his 2002 LP On her first solo album, the singer and multi-instrumentalist from African-American folk archaeologists the Carolina Chocolate Drops addresses struggle and empowerment in a rainbow set of covers, finding the common ground and emotional bonds in Geeshie Wiley's Depression-era blues "Last Kind Words," Patsy Cline's country surrender "She's Got You" and Nina Simone's signature conquest of the title song written by Charles Aznavour.
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