In thinking of my wild personal journey that was 2019, I got to thinking what my personal favorite songs of the year were. Now, this isn't the same as what the "best" songs were, just what I took from the musical zeitgeist that was oozing in either rich melody, great lyrics, or a created atmosphere that can overcome any potential fault with a particular track.
This will be in top-ten form, because what else is new for journalists?
10. Rick Ross- "Vegas Residency"
Putting Ross back with J.U.S.T.I.C.E. League in the production booth is almost like a cheat code for rap. The team-up, which has given us bangers such as "Luxury Tax" and "I'm Not a Star," provided a more low-key, reflective instrumental for "The Boss" to rap over.
Ross delivers, speaking on a wide range of subjects, such as his sadness towards former collaborator Kanye West's turn as a conspiracy theorist, his thoughts on President Trump, his recent health issues, and more. It's the type of depth you don't get on too many Ross tracks, and is a standout off of "Port of Miami 2."
9. AJR- "100 Bad Days"
So, full disclosure, this is a personal pick because of circumstance, not because of anything particularly brilliant on the song, though it's an enjoyable tune.
The tale of how "100 bad days" can create amazing stories fell in line with my journey during my final three months in State College on the campus of Penn State University. I lived those 100 bad days, but within those days, I found some great friends and had some amazing times that I wouldn't change for the world. Whenever this song comes on 103.7 FM from the DFW area (a godsend this year and a great change of pace from my rap-obsessed mind), I am transported back to the long, freezing line for Yallah Taco after a night at the 'Gaff. Good times within the struggle, which is what the track represents.
8. Blake Shelton- "God's Country"
Songs that double up as mission statements always receive more praise from me, as is this three-minute scorcher from Shelton. Simple, to the point, the track lets you know the type of man Shelton is, without being preachy about it. Many "anthems" these days are created selfishly (looking at you, Ariana), and not in the best interest of the wider audience. I am part of that wide audience when it comes to country, as I'm not used to living in a place with the genre owning the radio dial. Shelton roped me back in with force.
7. "Ballin" by Mustard ft. Roddy Ricch
As said above, many anthems are thought of in the selfish state. As in, the artist brags withjout any larger point. I hate to pick on Ariana Grande (just kidding, I live for it), but "7 Rings" is a perfect example of that.
Enter Roddy Ricch, who delivered the anti-"7 Rings" with "Ballin," thanks in part to the classic west-coast feel of Mustard's production.
Does the man brag? Absolutely. About his cars, his diamonds, everything in his possession. But, there is a larger vibe to it. Instead of the "look at me" atmosphere of an Ariana song, or many rappers today, Ricch's approach is more of "look at this, I actually made it from nothing and I'm happy as ever, can you believe this?"
The emotions seem genuine. The artist does, too. Mal from the Joe Budden Podcast was absolutely dead-on in calling Ricch a "special" artist.
6. "Circles" by Post Malone
Popular music was saved from the gutters this year due to the rise, or continued dominance, of three big-time names. The new names are ones people certainly know now, as the swagger of DaBaby and Megan Thee Stallion is a welcomed switch-up from the monotone, SoundCloud-inspired sound of the past few years. Continued dominance, however? That's Post Malone's game. Already one of the bigger artists in pop since his first hit "White Iverson" in 2015 (which, growing up idolizing AI, put him in my good graces immediately), his "Hollywood's Bleeding" album put him right at the top.
He doesn't have the crooning of Chris Brown or Drake, nor does he have the good looks of your typical pop diva. What Malone does have, though, is widespread appeal. Take "Circles," for example, an operatic plea that exploits one of my favorite pop maneuvers, downbeat lyrics set to upbeat melodies. Anyone can relate to the same old routine with someone close to them, attempting something new (or attempting to detach from a situation entirely), put ending up in the same cycle no matter what.
One of the best off the album, it solidifies Malone's attention to detail in making sure his mix of genres is well-represented. While it's main influences are alternative and electronic music, there are also rock elements, while keeping the core of Malone's rap image (such as changing the pronunciation of "though" to a "doe" sound). It delivers on all fronts, as does the rest of the album. I mean, we have 17-year-olds going crazy for an Ozzy chorus like it's 1982. That deserves a slot on this list for Malone regardless.
5. "Yessirr" by Tory Lanez
Now here's a wild card. Tory Lanez has been quite underrated for quite some time, and if his album "Love Me Now?" had dropped in 2019, either "The Run Off" or "You Thought Wrong" would be on this list.
For 2019, though, Lanez went back to his acclaimed "Chixtape" series, releasing the fifth installment as a love letter to 2000s R&B. "Yessirr" is the absolute winner on a tape full of great callbacks, flipping Pretty Ricky's "Your Body" into something absolutely fierce. The lyrics come off as an alcohol-fueled voicemail to a new girl, beaming with sexually-explicit confidence and the ludicrous cockiness Lanez is known for. I'm not downplaying it, even if I would never say any of this stuff to a potential girlfriend. Tory's character is like a great pro wrestler, himself turned up to 11, so I don't mind the ridiculous nature of it. He absolutely floats on the beat.
The best driving song of 2019, as well. You want to go 100 on the freeway with this one bumping.
4. "Sick of It All" by blackbear
I've always been torn on blackbear, with some of my friends raving about him for years. I found his "Digital Druglord" album to be a little too all over the place, a little too much trying to grab onto trendy sounds. However, he released the "Mansionz" collaboration with Mike Posner just a month later, and I thought it was a much more solid, cohesive project.
Well, his time with Posner paid off, as the "Anonymous" album is blackbear's strongest effort to date, anchored by a blistering 15-minute stretch between "Make a Mess" and "Burnt AF." I'm picking "Sick of It All" over the more surface-level "High1x," mostly due to the relatable quality of the former. Like many before me, I thought songs about love and broken hearts were sappy and pointless. This year, I got a little taste of that medicine, and all of a sudden you hate those songs for a whole other reason. Blackbear points that out, and points out a situation most people find themselves in- their whole world is just boring. Off-putting, miserable, whatever you want to call it, the environment around you just doesn't suit you and your needs anymore. This includes both place and people, as he states.
The strength of the track comes from the relatable qualities, the guitar-driven beat, and the brevity of saying what needs to be said and nothing more, as he puts it together in a neat, three-minute package. Call this guy my most-improved artist of the year.
3. "Thunder" by Shaed
This track is like sticking an adrenaline needle right in your veins. Instant jubilation, instant goosebumps, instant energy. Remember when I said a certain atmosphere can wipe away any potential mistakes? Well, "Thunder" is the definition of atmosphere, taking you high atop the mountains with the beat whipping in your face like a winter wind. It's everywhere (in a good way), and demands your attention.
Shaed have actually gotten themselves pretty popular this year, through the strength of their hit "Trampoline," which hits several of the same atmospheric notes. "Thunder," however, takes it to a whole other level, with Chelsea Lee's voice particularly heart-stopping. Hear one note of her voice, and like the song itself, she demands your ears. With a positive, stand-your-ground message and an unstoppable vibe (I would make the comparison that this is alternative music's "Dreams and Nightmares" intro, you feel invincible hearing it), I think #3 ain't bad for some new blood.
2. "Debbie/50 in da Safe" by Wale
Although two different songs, "Debbie" (which needs an extended version ASAP) is a two-minute joint, lending me to group it with the following track "50 in Da Safe." They aren't connected, per se, but they do represent the two sides of Wale the artist, two different states of his "fluctuating" confidence.
On "Debbie," Wale is as free-flowing as ever in an attempt to re-kindle an old flame. The D.C. artist's taste in women; specifically the beautiful, powerful and unapologetically black, is well-documented on "Wow...That's Crazy," which is the best start-to-finish work I've heard all year. The way he describes his girl, making sure to point out her Master's Degree, is beaming with pride and affection, even if it doesn't lead to all-out relationship. It's the love of someone's being, someone's hustle and someone's energy, regardless of what he gets out of it. At the end of the day, Wale just wants to dance, celebrate the queens of his life, and see where it goes from there. Not to mention the beat, like the artist, is effortlessly smooth.
The real depth of the man's character is then shown on "50 in da Safe," which highlights his struggles within the space of the music industry. He also echoes the sentiments on "Love Me Nina/Semiautomatic," but I appreciate the subtleties of "50" more than the on-the-nose qualities of "Semiautomatic." Without saying much, he says everything.
Wale's character (and I'm sure he doesn't appreciate others trying to speak for him, but here goes) is the definition of having your heart on your sleeve. He will fight for what he believes in, which is himself, his people (both his personal friends and blacks everywhere, detailed in the fantastic intro "Sue Me"), and his music. At the same time, though, he is a very guarded man, sometimes not speaking up for himself as much as he should given his lack of promotion (no matter which label he chooses). He feels burnt too many times, which is why he "keeps it 100" but keeps "50 in da safe" in case he is burned again.
Here, he also comments on his anxiety, his lack of trust and true kinship within the rap space, and appears to be content with an early retirement. Perhaps he is already burnt too much to care, with his attempts to reenter the rap A-list like unfortunate slams of the head on a brick wall. His "Shine" album had several ready-made big-time hits in "Fashion Week" and "My Love," which didn't amount to much despite his own efforts. He has already voiced several displeasures with Warner Brothers Music's handling of "Wow...That's Crazy." So, really, he foreshadowed what would happen with this album, on the album. That kind of self-awareness is very rare, and is something I wish more artists handled themselves with.
Whatever he decides, Wale's legacy is untouched, and added upon with the "Wow...That's Crazy" record.
1. Hit-Boy ft. Saweetie- "No Ls"
Just kidding. I am glad Madden 20 has a mute feature for their soundtrack.
1. Tool- "Pneuma"
Give it up for Tool, y'all. While they didn't return rock to mainstream prominence after a 13-year absence, they did ruffle the feathers of quite a few Taylor Swift fans, as "Fear Inoculum" knocked Swift's "Lover" out of the top spot on the Billboard 200. It didn't help rock get any younger, as the generational divide between fans of Tool and Swift was clear.
Being of the age to appreciate both artists, I still got a kick out of preteens making fun of us old kooks who still like the rock n' roll. Plus, making fun of Tool fans for being in a "cult-like" state, while pushing their own "fan army" (which isn't like a cult at all...right...) to go on the attack, is quite hilarious. Irony, not just what iron tastes like.
As for "Fear Inoculum" itself, no, it doesn't reach the peaks of "Ænima" and "Lateralus." I didn't expect it to, but some fans did, so I have to temper the expectations. However, even 85% of peak Tool is still good enough for my song of the year.
I always thought of Tool as the Pokémon evolution of Rush, replacing Getty Lee's synth sounds with Adam Jones' heavy metal riffs. What doesn't exit Rush's spirit in the transformation to Tool's fearsome foursome is experimentation. On "Pneuma," the band goes on an 11-minute journey, with the bridge section of the track feeling like a race through the tunnel of hazy memories, finally reaching the clarity to "wake up." The song broaches classic themes of the band, such as reaching a higher state of thought and feeling, reaching out past the body and into the mind, and using these processes to come together as a species. It's a great reminder of what the ultimate goal should be for the human race, and urges all of us to wake up and reclaim a state where morals and ideals are sacred, not common trash.
Plus, the song just churns and churns, continuing to pull out greatness way past typical attention spans. Sometimes, even with the depth of concept Tool goes to, it's as simple as that.
Here's to hoping I can find ten more tracks in 2020!
P.S. If anyone from Maybach Music Group is reading this, my one Christmas wish is for "Self Made 4."