#but essentially chorus a is his relationship with his dad while chorus b is the mirror maze stuff

[drummer-from-down-under]

Everyone else got to wake up.

[obtusemedia]

Ranking The 1975′s songs, from worst to best

The 1975 are unabashedly political, wildly eclectic in musical style, and masters of striking the perfect balance between strange and accessible. They’re also the most important, and arguably the best, band of the last five years or so.

However, despite their ability to pen generation-defining anthems and incredibly sticky pop hits, The 1975 have a fatal flaw: they overstuff their albums. All of their records, even their most consistent one (2018′s A Brief Inquiry Into Online Relationships) have at least a couple filler songs. Because of that, and because the Manchester band love to dabble in nearly every musical style on the planet (except hip-hop, which is probably for the best), a song-by-song evaluation is the best way to judge The 1975′s catalog. And with the recent release of their hit-and-miss fourth record, Notes On A Conditional Form, there’s not a better time to do just that.

But first, some ground rules:

1) To make the list, songs had to appear on one of The 1975′s four albums, or their four debut EPs (which I normally wouldn’t count, but they contain many of the band’s essential songs).

2) The 1975 love to include instrumental interludes on their records. I’m not ranking those — Matty Healy has to sing on the track for it to count.

3) The 1975 also begin every album with a self-titled song. Because three of them are variations on the same song, and the fourth is a spoken-word track with climate activist Greta Thunberg, these won’t be on the list either. (For the record, the best version of the song is their second attempt, although I respect the hell out of the Thunberg monologue.)

#69: “Is There Somebody Who Can Watch You” (The 1975, 2013)

The bottom of this list will be mostly comprised of the painfully boring, minimalist ballads that The 1975 used to end their albums with (thankfully, their last two album closers were phenomenal...we’ll get to them much later). One of the most appealing aspects of The 1975 is their bold, in-your-face style. A bland, hookless piano ballad like “Somebody” is the opposite of that. I already forgot how the tune goes.

#68: “Don’t Worry” (Notes On A Conditional Form, 2020)

The backstory behind “Don’t Worry” — lead singer/lyricist Matty Healy’s dad wrote it for his family ages ago, and now Healy’s recording his own version of it — is cute. The actual song, unfortunately, is a treacly mess that sounds like something from Barney & Friends. But if Barney aggressively, and unsuccessfully, tried to ripoff Bon Iver’s autotuned ballads.

#67: “She Lays Down” (I like it when you sleep, for you are so beautiful yet so unaware of it, 2016)

Postnatal depression is a real issue, and one that should be explored more in song. But The 1975 were clearly not the band to do it, judging by how boring and forgettable “She Lays Down” is.

#66: “Woman” (Facedown EP, 2012)

The band’s first boring closing track, way back on their debut EP! Considering how great Facedown’s other three songs are, this aimless ballad is a major disappointment.

#65: “Bagsy Not In Net” (Notes)

This overly reverb-y nothing of song is a prime example of something that should have been cut from the overlong Notes On A Conditional Form tracklist.

#64: “Playing On My Mind” (Notes)

Speaking of boring late-album songs from Notes that should’ve been left on the cutting room floor! At least this one has a halfway decent melody.

#63: “Surrounded By Heads and Bodies” (A Brief Inquiry Into Online Relationships, 2018)

The only interesting things about this shuffling ballad are A) the very metal song title that doesn’t match the actual tune at all, and B) Healy sings this song about a woman named Angela. Is this meant to be from the perspective of Dwight Schrute?

#62: “Head.Cars.Bending” (Music For Cars EP, 2013)

Later in their career, The 1975 would excel at off-kilter electronic jams. But “Head.Cars.Bending,” one of the band’s first attempts at that style, proves that it took a lot of practice to perfect that sound, because yikes — this is rough. That lurching beat makes me seasick.

#61: “Nana” (I like it...)

It’s not a track I ever return to, but I’ll admit that “Nana” has a nice melody and is an appropriately reverent and pretty tribute to Healy’s dead grandmother.

#60: “Inside Your Mind” (Brief Inquiry)

The 1975 attempted to blend shoegaze guitars with ‘80s cheeseball power ballads on “Inside Your Mind.” It was a noble attempt! The guitar lick sounds great! But the track sadly stays at one level throughout, so the song never achieves liftoff.

#59: “Talk!” (The 1975)

The 1975′s self-titled debut is an outlier in the band’s discography, as it came before the shameless (and fun!) genre-hopping of their next three records. In contrast, the debut has a very early-’10s, Urban Outfitters-core indie pop-rock sound throughout. On some songs, that sound works really well! But there’s also a glut of mediocre filler tracks that fit that sonic description. The stop-and-start, neck-jerking “Talk!” is one of those filler tracks.

#58: “Yeah I Know” (Notes)

One of the few musical styles that Notes returns to frequently during its runtime is a skittery, repetitive drum-and-bass sound. Although none of these songs are outright bad, they’re mostly not too interesting either. “Yeah I Know” is the worst of the bunch, with annoying chipmunk voice effects and a dreary vibe.

#57: “She Way Out” (The 1975)

"She Way Out,” despite having an opening lyric that calls back to one of The 1975′s very best songs (which we’ll get to much, much later), is just another one of the dime-a-dozen mediocre pop-rock nuggets that flood the tracklist of The 1975′s self-titled debut. The guitar lick is pretty tasty, I guess.

#56: “Pressure” (The 1975)

ƒAnd here’s another one of those pop-rock filler songs! At least this one has a nice shuffling groove. Still, I’ll stick with the charmingly bonkers Billy Joel song of the same name (and its gloriously awful, very early ‘80s music video). 

#55: “The Birthday Party” (Notes)

This folksy ballad tries to jack the style of emo-country act Pinegrove, while Healy makes a half-hearted quip about the unclear acts of “sexual coercion” that the band’s lead singer admitted to. But “The Birthday Part” doesn’t have the concise songwriting or heart-wrenching emotions of “Old Friends.” Instead, it sort of just meanders around for a few minutes. The melody is nice — and I did enjoy Healy’s quip about not being able to poop in a shared hotel room, so he has to sneak to the hotel lobby — but most of the song just feels pointless.

#54: “Anobrain” (Music For Cars EP)

“Anobrain” reminds me a lot of a deep cut from one of my other favorite bands: U2′s “Promenade.” They’re both short, oblique slices of atmosphere and haze that are pretty, but don’t build into something greater. Think of “Anobrain” as a warmup for the superior nocturnal synthpop that The 1975 would pen in later records.

#53: “Undo” (Sex EP, 2012)

“Undo,” an otherwise standard early-era midtempo tune with lots of reverb, gets some bonus points for its smooth, swaying beat and a solid hook.

#52: “Mine” (Brief Inquiry)

When I imagined what “The 1975 does a jazz song” would sound like, I was hoping for something more frantic and bebop-y. “Mine” doesn’t sound like that at all — it’s a loungey slow-dance ballad that’s less Miles Davis and more Cole Porter. But regardless, it’s still an interesting detour. Who said quirky genre excursions were only limited to upbeat songs? Or that they had to be quirky?

#51: “The Ballad Of Me And My Brain” (I like it...)

I love the musical elements of “The Ballad” — the cascading drum fills, the thundering splashes of guitar, the twinkling keyboards, Healy’s delirious vocals. But the actual song itself doesn’t do much for me. Having a song about literally “losing your mind” and your brain is wandering in a grocery store, at a bar, etc. is a cute idea on paper, but it just sounds awkward in execution.

#50: “I Think There’s Something You Should Know” (Notes)

Here’s another of Notes’ repetitive drum-and-bass songs. But at least “I Think...” has a catchy tune and a bit more musical evolution throughout.

#49: “Haunt // Bed” (IV EP, 2013)

“Haunt // Bed” has one thing that distinguishes itself from other middling EP-era 1975 tracks: the pulsating loop that undulates beneath much of the song. It’s an interesting choice, and certainly helps the song stand out despite its forgettable melody.

#48: “Settle Down” (The 1975)

Probably the best of the debut album’s jangly pop-rock filler tracks, “Settle Down” still sounds like a weaker version of that record’s big singles. Which is interesting, as it was a single itself. But I’m certainly not going to kick it out of bed — the soaring chorus is legitimately great, and the funky guitar riff is nice.

#47: “Paris” (I like it...)

This mid-tempo, snarky character study about a drug-addicted party girl almost feels like 1975 on auto pilot. But just because Healy and co. could knock out a song like this in their sleep, that doesn’t mean “Paris” isn’t a pleasant, silky smooth comedown from the zanier cuts on I like it.

#46: “Then Because She Goes” (Notes)

The 1975 going full Slowdive and making a fuzzy, shoegaze-y jam? Sounds incredible! Unfortunately, “Then Because She Goes” doesn’t quite live up to that premise, mostly because it’s so brief. At just a notch over two minutes, the song doesn’t give itself anytime to expand or go anywhere interesting. It’s a case of wasted potential, but at least the sliver of a song we got is decent.

#45: “Be My Mistake” (Brief Inquiry)

There are a couple exceptions to the “The 1975 shouldn’t do acoustic guitar ballads” rule. “Be My Mistake” is one of them. It’s nothing spectacular, but the melody is quite pretty, and Healy’s troubadour act is sweet. Also, unlike some of the earlier acoustic ballads, there’s no studio gimmickry or weird vocal filters: it’s just a nice coffeeshop ballad.

#44: “M.O.N.E.Y.” (The 1975)

It’s a bit strange that The 1975 decided to slot this single so high in their debut album’s tracklist, ahead of much catchier, more obvious hits. But there’s something infectious to the winking lyrics and jittery production that sounds like clanging slot machines.

#43: “This Must Be My Dream” (I like it...)

If there’s been one constant to The 1975′s albums, it’s that there’ll be at least a couple big, cheesy ‘80s homages. And I’m a huge sucker for those songs. “This Must Be My Dream” is the worst of the bunch — it’s a bit uninspired — but big crashing synths and drum machines are still a weakness for me. Also, Healy’s vocals sound eerily like Phil Collins here...not sure if that’s a plus or minus.

#42: “Roadkill” (Notes)

The superior version of “The Birthday Party,” for two reasons. One: instead of the band half-heartedly dipping its toes into an alt-country sound, “Roadkill” has BIG honky-tonk energy with its twangy guitars and dusty groove. Two: Healy’s little anecdotes are much more interesting and strange here. It still doesn’t have much of a hook or anything, but “Roadkill” is alright by me.

#41: “Lostmyhead” (I like it...)

Putting “Lostmyhead,” a fan-favorite deep cut, in the bottom half of this ranking is a bit of a hot take. So let me make it clear: this is a good song! The issue is, I feel about “Lostmyhead” the way those who dislike The 1975 describe the band’s other genre excursions: it just doesn’t come close to the original. Here, they’re clearly trying to emulate M83′s cinematic post-rock. And it’s passable! But it’s certainly no “Outro” or “Moonchild.”

#40: “Nothing Revealed / Everything Denied” (Notes)

This quirky number feels like a grab bag of various styles The 1975 have tried on throughout the years: a gospel chorus! Sort-of rapped auto-tune verses! A Mark Knopfler-esque guitar solo that sounds like it was recorded two rooms away, for some reason! It doesn’t quite add up to a classic, but it’s certainly attention grabbing, particularly Healy’s self-critical lyrics.

#39: “I Couldn’t Be More In Love” (Brief Inquiry)

Melodramatic late-‘80s R&B isn’t my favorite musical style, so that dings “I Couldn’t Be More In Love” a few points for me. But Healy is absolutely SELLING this thing vocally, corny key changes and all. And drummer/producer George Daniel expertly captures that specific era with some charmingly chintzy keyboard tones.

#38: “What Should I Say” (Notes)

This detour into robotic dancehall doesn’t work quite as well for me as the other track on Notes with this sound, the Cutty Ranks-led “Shiny Collarbone” (which didn’t qualify for this list, as Healy doesn’t sing on it). But “What Should I Say” is solid in its own right, with some twisty keyboard licks and lots of gorgeous chopped-up vocal samples.

#37: “Tonight (I Wish I Was Your Boy)” (Notes)

It’s a cute old-school soul song at its core (with a prominent Temptations sample!), but I feel like the lurching synths and occasional chipmunk vocals don’t work well with the more traditionalist tune. It’s an interesting test of mixing new and old, but it’s not entirely successful here.

#36: “So Far (It’s Alright)” (IV EP)

This song describes itself pretty accurately: It’s alright! Okay, fine, it’s actually pretty great. The twinkling pianos and Healy’s ghostly vocals are an atypical backdrop for adolescent stories of debauchery and angst, but it somehow works. It’s a song built to naturally cool down a house party.

#35: “Girls” (The 1975)

We’re about halfway through the list, so it seems like a pretty good time to talk about “Girls” — a big early hit for The 1975, but with a sound the group has clearly evolved from. It’s basically a catchier, sharper improvement on their debut album’s jangly pop-rock filler tracks.

But although that chorus is quite sticky, and the groove is nice, it’s not as interesting or unique as The 1975′s later hits, or even other singles from that same album. Another mid-10s semi-indie band of pretty boys could’ve easily recorded it (but it would’ve been their best song).

#34: “Menswear” (The 1975)

This is the point of the countdown at which where each track left is unequivocally a classic. I feel a bit bad putting “Menswear” — a slinky synthpop deep cut with a killer synth riff — this low on the list. But it just shows how many other incredible songs The 1975 have.

#33: “Loving Someone” (I like it...)

I like it when you sleep... doesn’t have quite as much genre hopping as their next two records. Instead, much of it it crystalized the ideal “1975 sound” — of-kilter but sleek synth-heavy rock with some ‘80s influence and some out-there lyrics. “Loving Someone” is a great song in that vein, with Healy delivering some wonderfully pretentious lyrics (“I’m the Greek economy of cashing intellectual checks”) and George Daniel creating a gorgeous cacophony of whirring synths and vocal samples to back him up.

#32: “Facedown” (Facedown EP)

The world’s proper introduction to The 1975, the band’s first song on their debut EP is a perfect distillation of their EP-era sound. The dream-pop keyboards and the processed, nearly Daft Punk-esque vocals make “Facedown” an intriguing invitation into The 1975′s nocturnal world of drugs, women and depression. It might honestly be a better teasing leadoff than the iconic self-titled track that opens The 1975′s full-length albums.

#31: “Heart Out” (The 1975)

This otherwise just-decent synthpop number is elevated by one aspect: the synth bass is incredible. The constant pulsating throb throughout the track gives the song an early-MTV vibe, lending it a sense of drive.

#30: “How To Draw / Petrichor” (Brief Inquiry)

In multiple interviews, Healy described A Brief Inquiry Into Online Relationships into his attempt at making Radiohead’s OK Computer for a new generation. But with its glitchy, robotic aesthetic, “How To Draw / Petrichor” is much more Kid A.

But despite my distaste for Radiohead’s more experimental side, I really love The 1975′s pastiche of it! Probably because, like the best 1975 songs, it has a really strong melody. But unlike many of their other great tunes, “How To Draw” is a snaking, constantly evolving track that’s mostly instrumental. Instrumental tracks aren’t usually for me, so the fact that this holds my attention for nearly 6 minutes is a strong sign.

#29: “Me” (Music For Cars EP)

"Me” is The 1975 at arguably their most sad-sack. Healy’s vocals are leaden and filled with guilt. At point, he casually tosses aside, “I was thinking about killing myself, don’t you mind.”

The music is a perfect match — the rhythm is plodding and heavy in the best way, and the mournful sax solo in the bridge stays just on the right side of cheesy. It’s a genuinely affecting ballad.

#28: “Give Yourself A Try” (Brief Inquiry)

This was the first taste of A Brief Inquiry we heard. And I really disliked it at first — the clanging, messy guitars and motorik rhythm didn’t connect with me at first.

But — strangely for a lead single — "Give Yourself A Try” is a grower! Healy’s lyrics are in his sweet spot of being legitimately sincere, gloriously snarky and absolutely ridiculous at the same time. And the pounding groove burrows its way into your skull until you find it endearing. The band’s next attempt at a more RAWK single on their fourth album worked a bit better, but “Give Yourself A Try” is pretty damn great for a Joy Division ripoff.

#27: “Intro / Set3″ (Sex EP)

This was essentially The 1975′s warmup version of the multi-part electronic sweep of “How To Draw.” Yet, I like "Intro / Set3″ a tad more. It’s more direct and has a stronger hook.

#26: “If I Believe You” (I like it...)

“If I Believe You” joins the legacy of pasty British/Irish rock bands making unexpectedly strong gospel songs. Although it’s not quite on the same transcendent level as The Rolling Stones’ and U2′s attempts, it’s at least on Blur’s level.

I love how Healy took the religious genre and used it for a song that’s all about religious confusion. He vents to a god that he doesn’t really believe in, wondering if religion would solve his myriad problems. The song doesn’t arrive at a clean conclusion, but it’s still a fascinating track about doubts and why people turn to a higher power.

#25: “People” (Notes)

In a whole career of random left-turns, scream-y punk rock might be the most unexpected yet for The 1975. “People” — which directly follows an apocalyptic spoken word intro from climate activist Greta Thunberg on its album — is a piercing jolt of energy that’s impossible to ignore.

"People” is definitely a polarizing track, even for fans of the band. It’s extremely aggressive, angry, and might freak out your friend who just wanted to hear more songs like “Chocolate.” But even though I think the lyrics (although admirably ballsy!) are a bit of a mess, I love the no-holds-back rage of “People.” If you’re going to try an out-there genre experiment, dive in headfirst.

#24: “Frail State Of Mind” (Notes)

By far the best of Notes’ drum-and-bass tracks, “Frail State Of Mind” feels like an actual, fleshed-out song rather than just the band dinking around with some new rhythms. 

The skittering percussion, mournful vocal samples and melancholy lyrics help to create a gorgeous, downbeat track. It’s the audio equivalent of sitting inside on a drizzly day, listening to the rain hit the roof: sad, but also content.

#23: “TOOTIMETOOTIMETOOTIME” (Brief Inquiry)

Okay, so remember that hot minute in the mid-2010s when pop music pivoted hard into a gentrified, bland tropical house sound? Justin Bieber was the biggest offender? Well, The 1975 jumped on that bandwagon a few years later with “TOOTIME” ... yet it wound up sounding much better than any of the actual hit songs it was ripping off.

Why does The 1975′s tropical house banger actually work? First off, it embraces its non-tropical Britishness: with the chilly synths and auto-tuned vocals, it barely emulates the Caribbean outside of its rhythm. Furthermore, that rhythm is a tad faster than many of those mid-10s hits, making the song feel less like a drag and more like a traditional pop banger. But most importantly — it’s catchy as hell. Good luck getting that chorus out of your head.

#22: “Jesus Christ 2005 God Bless America” feat. Phoebe Bridgers (Notes)

“Jesus Christ” is easily the biggest exception to my “The 1975 shouldn’t do acoustic ballads” rule. And that’s primarily because they brought alone one of the modern masters of that form: Phoebe Bridgers.

Healy’s quietly emotive vocals and knack for lilting melodies fit in perfectly with Bridgers’ whispered folksy musical world. And of course, it’s nice to hear another voice on a 1975 song, especially if it’s as evocative as Bridgers’. Both she and Healy sing short vignettes of tortured, non-reciprocated same-sex crushes, and it’s a prime example of the power of compact storytelling.

#21: “She’s American” (I like it...)

As I warned earlier, the top of this list is going to have a lot of The 1975′s trips into pure ‘80s synth cheese. So let’s dive right into that!

“She’s American” is just pure fun, from Healy’s cheeky lyrics poking fun at his American lover, to the swirling synths and shiny guitars. It’s like a long-lost Duran Duran banger.

#20: “You” (Sex EP)

For a rock band that loves bombast, it’s surprising that The 1975 don’t tap into the U2/Coldplay arena rock sound more often. But the couple times they tried it, they nailed the landing.

“You” is a stark departure from the nocturnal angst of much of The 1975′s other EP-era songs. It’s bright, major-key, and meant to be blasted to the cheap seats of an arena. The guitar riff is pure The Edge, and the song just keeps getting bigger and bigger, louder and louder. “You” sounds like pure euphoria by the time it reaches its climax.

#19: “UGH!” (I like it...)

We’ll file this in the “Healy vents about his drug addiction over a super-sleek pop song” folder. And like most of those songs, “UGH!” is a total winner.

The guitars and synths are so liquid and snappy that it’s hard to tell them apart (in a good way!). And Healy gloriously vamps over the ‘80s Bowie groove, pontificating about his coke habit is ruining his life. The attention to detail here is admirable — from the chic plastic production to Healy making an aside about how the song only lasts three minutes. Guess how long “UGH!” is, to the exact second?

#18: “The City” (Facedown and IV EPs, The 1975)

This song was clearly a favorite in the band’s early days: it was on two of their four EPs, and was the first non-intro track on their debut album. “The City” absolutely deserves all that love, though.

First, to be clear: the re-recorded version on the self-titled debut album is much better. The 1975 are not one of those bands that sounds better with a DIY, low-fi aesthetic — they need that studio sheen! And on the re-recorded version, the absolute best aspect of “The City” gets to shine: THOSE DRUMS. They slam against your eardrums with the force of a Mack truck, and help propel an otherwise-just-solid pop tune into a classic.

#17: “Sincerity Is Scary” (Brief Inquiry)

This is a song that probably shouldn’t work: jazzy horns, an off-kilter beat and a towering gospel choir in service of a song about how the internet has ruined the way we relate to people? It’s all a bit much. But luckily, “a bit much” is The 1975′s sweet spot.

Strangely enough, this shuffling single feels effortless and natural, despite having wordy lyrics and not sounding like any Top 40 song in recently memory. Also, it’s the band’s best music video. It’s creative and absolutely adorable.

#16: “Love Me” (I like it...)

If there’s one older band The 1975 is constantly compared to, it’s ‘80s Aussie legends INXS. It’s a bit of a strange comparison — The 1975 are shameless genre-hoppers. INXS had one (really great!) signature pop-rock sound that they stuck with for most of their big hits.

But I understand where that comparison comes from, because “Love Me” is the most dead-on INXS pastiche I’ve ever heard. It wouldn’t shock me to learn it’s a cover of a forgotten Kick B-side. The wiry guitars, bouncy rhythm, winking lyrics about fame and sex, hits of wiggly synths and horns — it’s all the elements that made a song like “New Sensation” so great. The music video even features Healy, with long curly hair, preening around shirtless like Michael Hutchence!

Look, if you’re going to shamelessly rip someone off, you might as well rip off a great band at its best moment. And The 1975 channelled peak-INXS better than anyone since 1988 (even the band itself!) with “Love Me.”

#15: “Antichrist” (Facedown EP)

“Antichrist” is probably The 1975′s most goth song. It opens with a stately organ, and Healy sings the first verse in the very lowest part of his vocal register. It’s a stark departure from any other song of theirs, which of course grabs your attention.

But the funeral dirge vibes, as cool as they are, aren’t the only factor that makes “Antichrist” a great song. The minimalist guitar solo semi-chorus is stunning, like something Interpol would’ve done. And when Healy cranks up his vocal stylings for the song’s second half, it injects a bit of energy. The punishing, near-shoegaze finale to the song is masterful as well.

Despite it being a fan favorite from their very-first EP, “Antichrist” has infamously never been played live. And honestly, I’m okay with that — this seems like a bolt of gloom-and-doom lightning that would be nearly impossible to re-create in some mid-sized arena in Des Moines.

#14: “If You’re Too Shy (Let Me Know)” (Notes)

It’s a bit of a bummer that easily the three best songs off of Notes On A Conditional Form all easily slide into The 1975′s pop-rock comfort zone. But even if that album’s experiments fell a bit flat, it’s nice to know the band can still hit its sweet spot over and over again without getting tiring.

“If You’re Too Shy” is a perfect ‘80s synthpop banger, complete with some very-1975 lyrics about a couple meeting online and immediately objectifying each other. But the lyrics are really not the selling point of the song — it’s the taut new-wave rhythm, the twinkling synths, the ROARING sax solo, and that insanely sticky chorus (maybe the catchiest the band’s had). It’s the kind of song that could’ve played during that absurd library dance scene from Breakfast Club. It’s a timeless jam of the highest order, and impossible to resist.

#13: “I Like America & America Likes Me” (A Brief Inquiry)

As much of a big deal I make about The 1975′s experimental, don’t-give-a-fuck nature, most of my favorite songs of theirs are their more conventional pop songs. Sorry, I’m lame!

But regardless, I adore “I Like America,” a truly strange electronic freakout that encapsulates all the anxieties and fears of the world’s young people. It’s electrifying and horrifying in equal measure.

Of course, a much more famous 1975 song coming on this list does this concept a little better lyrically, and has more of an actual hook to back it up. Still, there’s something poignant about “I Like America,” particularly Healy’s unhinged performance. He spends most of the song hysterically yelling out into the void lines like “I’M SCARED OF DYING, IT’S FINE” and “WOULD YOU PLEASE LISTEN.” And the chaotic, undulating wave of vocal samples, drum machines and synths seems to get stronger with every second. 

#12: “Chocolate” (Music For Cars EP, The 1975)

Easily The 1975′s biggest hit in the U.S., “Chocolate” could’ve easily pinned the band into the bin of other just-decent Tumblr-friendly indie bands in the early ‘10s. They could’ve been the British version of The Neighbourhood (remember “Sweater Weather?”).

But just because The 1975 quickly moved away from the super-sugary pop rock of “Chocolate,” that doesn’t mean the tune is a simple trifle. I mean, okay, it is — but it’s a perfect trifle! The hook is basically the entire song, and for good reason: it’s freakishly catchy. “Chocolate” is one of those songs you’ll have stuck in your head for weeks afterward. And that bouncy groove is *chef’s kiss*. 

“Chocolate” was bound to be noticed by the world: it was too pristine to be ignored.

#11: “The Sound” (I like it...)

Am I underrating this? Maybe.

When I first heard “The Sound,” it was the first 1975 song I truly loved. The bouncy house piano, thumping four-on-the-floor beat and simple sing-along chorus drew me in like a siren call. And it still sounds fantastic four years later! 

Really, the only bad thing you could say about “The Sound” is that the band made a couple even better synthpop jams later. This was sort of a warm up, their first truly great ‘80s costume party. But even though it’s been surpassed, “The Sound” is still a delight today. At the very least, it has the band’s best-ever guitar solo.

#10: “I Always Wanna Die (Sometimes)” (A Brief Inquiry)

Y’all know the classic Oasis power ballad “Champagne Supernova,” right? It’s incredibly epic, but the lyrics are infamously meaningless. What if a band wrote a similar Britpop power ballad, with an equally anthemic chorus, but actually injected a legitimate, moving theme?

That happened! The 1975 did it with “I Always Wanna Die (Sometimes),” maybe the most uplifting song about suicide ever written. Healy penned some of his most empathetic lyrics here, all about how, well, sometimes we all want to die. Always. His chorus is a moment of glorious angsty catharsis — the emo lyrics of My Chemical Romance set to the sweeping strings and towering guitars of a Coldplay single. 

This song is 100% my sweet spot, as a person with depression who loves a corny U2 ballad. It’s a shame The 1975 don’t operate in this vein more often — they’re quite good at it.

#9: “Sex” (Sex EP, The 1975)

The 1975 are barely a “rock” band in the truest sense. Yeah, they have a guitar player and a drummer and whatnot, but most of their music leans more on the pop side of things. 

But “Sex,” one of the band’s earliest hits, legitimately rocks. It’s a raging, almost pop-punk jam that proves The 1975 can make a fantastic headbanger anytime they like. The frenzied tune is pure adrenaline, which makes sense given it’s about the forbidden thrill of cheating.

During the band’s last major tour, when “Sex” was played during the encore, the massive screen simply read “ROCK AND ROLL IS DEAD” while Matty Healy violently smashed a guitar at the song’s conclusion. Ironically, he proved the opposite.

#8: “Guys” (Notes)

This one’s just too cute.

“Guys” has an incredibly clever — and admittedly quite cheesy — conceit: Healy wrote a love song, but instead of being about romance, it’s about his platonic adoration for his fellow band members. It’s funny how most of The 1975′s songs about dating tend to be bitter or depressed, while arguably their most head-over-heels tune is about how much the four titular guys love spending time and writing songs together.

Even though it was written before the COVID-19 pandemic, “Guys” still fits the moment eerily well. Healy’s vocals and the lilting melody have a bittersweet tone, and the opening refrain of “I was missing the guys” could easily be about quarantining.

“Guys” won’t be for everyone. Some might roll their eyes at its aggressive sincerity. But if it catches me in a certain mood, it really has an effect on me. It’s perhaps the greatest bromance song ever written.

#7: “Fallingforyou” (IV EP)

The best song from The 1975′s EP era, “Fallingforyou” is a gorgeous, minimalist ballad that could’ve only come from the band’s less pretentious early years.

Healy switches between a conversational mumble and an angelic falsetto on the nocturnal track, giving it an intimate feel. It’s almost like he’s right next to you in the backseat of some car at 2 a.m. The dreamy, rumbling background gives “Fallingforyou” almost a Beach House or Chromatics vibe, and it suits the band well.

The 1975 is far too extra nowadays to try another song as quiet, serene and gimmick-free as “Fallingforyou.” But at least we have the one.

#6: “Me & You Together Song” (Notes)

The 1975 already have so many songs that try to recreate the magic of mid ‘80s pop-rock. And although they could probably keep mining that sound forever, it would be nice to see them try homages to other golden eras of pop music. And “Me & You Together Song” does just that.

With this bouncy, propulsive power pop jam, The 1975 were clearly aiming for a Y2K-era adult alternative vibe. It wouldn’t be hard to see The Goo Goo Dolls or Third Eye Blind performing a song like this, with the chugging guitars, snarky-yet-romantic lyrics and endless energy.

Daniel and Healy wrote a groove and effortless melody for “Me & You” that could probably go on forever — and it almost does! The last 75 seconds or so of the single just repeat the refrain over and over, and although normally that kind of repetition drives me nuts, it feels natural for this tune.

#5: “A Change of Heart” (I like it...)

One of two all-time classic breakup songs off of The 1975′s second album, “A Change of Heart” is crushing in the most pedestrian way. It’s not anything melodramatic or exaggerated — it’s simply the story of a couple naturally drifting apart.

Healy’s lyrics are rich with details here, from pithy asides about not smoking cigarettes correctly and Instagramming salads to a rather blunt description of falling out of love: “You used to have a face straight out of a magazine/Now you just look like anyone.”

Interestingly, Daniel decided to accompany the unromantic lyrics with some of the band’s most dreamy production. It sounds like a prom scene from a John Hughes high school movie. But that dissonance works — it sets up a fantasy and then shatters it. 

#4: “It’s Not Living (If It’s Not With You)” (A Brief Inquiry)

You want to know why I left “The Sound” out of the top 10? Here’s why: “It’s Not Living” takes that same hyper-sleek ‘80s synthpop sound but improves upon it with a stickier hook, dark lyrics and a killer guitar riff.

Strangely for such a perky and bouncy song, “It’s Not Living” is about Healy’s struggles to get over a heroin addiction. It’s a smart lyrical trick, framing his difficulty with quitting smack as being similar to not getting over a rough breakup. And it’s downright genius to pair such a dark topic with such a fun instrumental, Passion Pit-style. “It’s Not Living” is the band’s finest pure pop song, and a success they’ll no doubt try to repeat for the rest of their career.

#3: “Robbers” (The 1975)

This is the pinnacle of The 1975′s early career young-and-dumb anthems. It turns literally robbing a bank into a sweeping, heartfelt power ballad.

Alright, alright, fine ... it’s not literally about robbing a bank; it’s a metaphor for a toxic, co-dependent relationship, according to the band. But that deeper meaning is pretty hard to pick up on when Healy’s singing about guns and screaming “NOW EVERYBODY’S DEAAAAAAD” on the bridge. Honestly, “Robbers” being a tragic Romeo and Juliet-style story sounds much more plausible.

But lyrics aside, the chugging guitars and soaring chorus hit you right in the gut. “Robbers” could be about shopping at Pottery Barn and it would still be an incredible tour-de-force of a song. But its brutal ending elevates it even further. That cruelly ironic final line, “Babe, you look so cool” — which Healy sounds like he’s singing through tears — lands like a sledgehammer every time.

#2: “Love It If We Made It” (A Brief Inquiry)

The words “generational anthem” tend to get thrown around a lot online about various tracks. But “Love It If We Made It” deserves that moniker.

I have yet to hear a song that better describes the acute stress and psychological horror of being a Millennial or Gen Zer while the world collapses around you. The ice caps are melting, police brutality is rampant, the refugee crisis is accelerating, and the world’s leaders are too corrupt and/or incompetent to do anything to fix these problems. 

Unlike many political anthems, Healy doesn’t sound angry on “Love It If We Made It.” He sounds terrified. The title itself makes the song’s theme clear: we just want to survive this mess. And we’re pretty sure that we won’t.

With 2020 being an absolutely awful year so far (oh hi, COVID!), “Love It If We Made It” unfortunately sounds just as powerful today as it did a couple years ago. Hopefully, there comes a day when this song sounds less visceral and chilling and more like a relic of the past. But that day hasn’t come yet.

#1: “Somebody Else” (I like it...)

If there is a “The 1975 sound” — which is kind of ridiculous, seeing as the band changes up their sound so much, but still — “Somebody Else” is the perfect example of it. It’s both deeply indebted to ‘80s new wave, yet wholly modern-sounding. Healy’s lyrics are laughably pretentious yet cuttingly relatable. And it packages complicated emotions into an undeniable, melancholy pop nugget.

Healy’s exploration of tangled, better emotions on “Somebody Else” about his ex — who he mistakenly thought he was over —finding a new partner is sadly a place we’ve all been. “I don’t want your body/but I hate to think about you with somebody else” — who can’t relate? 

Daniels’ nocturnal production is sleek, slippery and heartwrenching in its own right. The scattered, distorted vocal samples almost mock Healy’s emotions, and the shuffling beat adds a nice pulse to the proceedings. If you’re in the proper mood and setting, there are few better breakup songs to blast and mope around to.

"Somebody Else” one of the all-time great breakup anthems, as well as a top-tier song to drive around to at night when you’re sad. And it’s The 1975′s best-ever song.

[nitrateglow]

Favorite film discoveries of 2018

Most represented year: 1968

I watched a lot more movies this year than I did in 2017, though I didn’t quite make my record in 2016 (over 400 titles). I was a little disappointed that I didn’t find anything that enamored me as much as A Clockwork Orange did in 2016 or Wait Until Dark did in 2017, but I still got some new favorites from this year, so here’s the top twenty.

The Thomas Crown Affair (dir. Norman Jewison, 1968)

This is one of my dad’s favorite movies and now it’s one of mine too. Though some accuse it of being “dated,” I consider it dated in the best possible way, in that it oozes 1960s coolness. The story is fun and bittersweet, the performances are top-notch, and the jazzy soundtrack makes me wish Michel Legrand scored my life.

The Incident (dir. Larry Peerce, 1967)

This movie is incredibly disturbing, despite having no graphic violence. A group of passengers on a midnight subway are terrorized by a pair of sadistic thugs. The thugs mock, harass, grope, and eventually injure the passengers. The passengers never band together, each one hoping that if they stay silent, they won’t be next. It really is astonishing, shot in a noir style and bringing up uncomfortable truths about human behavior.

I Am a Fugitive from a Chain Gang (dir. Mervyn Leroy, 1932)

Essential pre-code. Film noir enthusiasts often make the mistake of saying American movies were juvenile before WWII, but movies like this prove that was not so. Fugitive deals with injustice and misery, the farthest thing from juvenile. From the stark visuals to Paul Muni’s haunting performance, this is a movie which pulls no punches and does not sweeten the ugliness of American society.

A Shot in the Dark (dir. Blake Edwards, 1964)

Funniest new (to me) movie I saw this year, hands down. I enjoyed this one thoroughly, from the clever sight gags to Peter Sellers’ antics to Herbert Lom’s exasperated performance. Such care went into the construction of the story and gags. I feel like I should take notes the next time I see it.

Behind the Door (dir. Irvin Willat, 1919)

Think silent films were all innocence and light? NOPE. Behind the Door smashes all notions of innocence with its brutally violent revenge-tragedy plot. This was some Sweeney Todd level nastiness, let that suffice.

The Three Musketeers (dir. Allan Dwan, 1921)

Definitely my second favorite of Doug Fairbanks’ romantic swashbucklers (The Black Pirate is still my number one). Like Vivien Leigh with Scarlett O’Hara, Fairbanks was born to play D’Artagnan. 

Au Revoir Les Enfants (dir. Louis Malle, 1987)

Oh, how I cried-- this movie is what all coming of age stories should aspire to be. The kids felt so real and the tragedy was played with restraint.

A Patch of Blue (dir. Guy Green, 1965)

A lot of social message pictures tend not to age well, but A Patch of Blue puts such care into the central relationship between Sidney Poitier and Elizabeth Hartman’s characters that it remains a touching story about compassion and love.

Carnival of Souls (dir. Herk Harvey, 1962)

Awesome cult horror movie. It was like a feature-length Twilight Zone episode. I loved the weird atmosphere and acting.

Carrie (dir. William Wyler, 1952)

This story of class conflict, illicit sex, and broken dreams feels like it should be noir, but at its heart, Carrie is a thoroughly romantic movie. Despite the dismal fates of the characters, you walk away still believing love conquers all else and ennobles the soul. As always, Jennifer Jones is lovely, an underrated actress if ever there was one. Olivier gives one of the subtlest performances of his career. Wyler’s direction is assured and I would argue this is some of his best work.

The Whispering Chorus (dir. Cecil B. DeMille, 1918)

Cecil B. DeMille is a lot more responsible for setting the ground for film noir than most realize. While The Cheat from 1915 is known for its combination of chiaroscuro lighting and moral nastiness, The Whispering Chorus feels like it could have been made in the 1940s. All the familiar tropes are that: the wronged man sliding into sordidness and misery, crime, sex, death, the works. I was thoroughly moved by the sensitive direction and performances.

Don’t Look Now (dir. Nicholas Roeg, 1973)

I didn’t know how to feel about this movie at first. It’s billed as horror, but it isn’t particularly scary... until the end. But the tone of one of gloom, grief, and dread, and the atmosphere is so vividly portrayed that you feel as though you’re locked within a tomb, suffocating. I know I want to see it again, but the experience was so overwhelming that I’m nervous about doing that too soon.

The Nun’s Story (dir. Fred Zinnermann, 1959)

Audrey Hepburn’s performance, and the sophisticated treatment of religious and moral questions are what make this movie. For my money, Hepburn never gave a more sensitive, interior performance than this one-- if you needed proof that she was more than a charming clothes-horse, here you go. I also relate hardcore to the film’s depiction of an individual struggling within a religious system. It also features one of the most perfect movie endings ever.

Bullitt (dir. Peter Yates, 1968)

While the plot is typical of the police-thriller, the execution is what makes Bullitt a classic. I loved the slower pacing and the way the action scenes were shot-- no over-the-top acrobatics or shaky cam here!

The Last Unicorn (dir. Arthur Rankin Jr. and Jules Bass, 1982)

This movie has a melancholy I wish more family films would embrace. Philosophical and wistful, the film is nonetheless entertaining, well-animated and featuring a great voice cast.

The French Connection (dir. William Friedkin, 1971)

This movie deserves its place as one of the defining New Hollywood works. I enjoyed the acting, pacing, and action, as well as that brutal ending.

The Other Side of Hell (dir. Jan Kadar, 1978)

No one’s definition of a picker-upper, but man, this is a good TV movie. Alan Arkin plays the mentally disturbed lead who figures out he’s stuck in a hospital for the criminally insane where the end-goal is not rehabilitation but exploitation. It’s a long film, but a fine one, and a great showcase for Arkin’s dramatic chops for those only familiar with his more comedic modern roles.

Due Date (dir. Todd Phillips, 2010)

This movie is a new guilty pleasure. It isn’t really original or overly clever, but man, is it hilarious. I’ve seen it a few times and I laugh every time. Plus the soundtrack is really great.

House (dir. Nobuhiko Obayashi, 1977)

How do you even explain this movie? It’s a horror-comedy, yes, but unlike any other horror-comedy I have ever seen, it’s a million times more insane. It was one of those movies were I wasn’t even sure if I liked or disliked it at the end, but over the next several days, I just listened to the soundtrack constantly. Now I own the Criterion edition, so that counts for something.

Sorry, Wrong Number (dir. Anatole Litvak, 1948)

I’m all for cool thriller set-ups and Barbara Stanwyck, and this movie delivers. Stanwyck plays a possessive, bedridden heiress who overhears a murder plot on the phone-- only to realize she is the intended victim. It’s a slow-burn thriller and a great character study.

What were your favorite film discoveries in 2018?

[theteenagetrickster]

The 50 Best R&B Albums of The Decade (2010s) - Rated R&B

If there’s one genre that has experienced the most sweeping changes in the 2010s, it’s R&B.

From the survival of the EDM phenomenon to the decline in music sales to more artists taking the independent route, this decade seemed to prevent more challenges for established and emerging artists.

And let’s not forget about the ongoing debates about “the state of R&B” and critics declaring R&B a “dead genre” on more than occasion.

Still, with all the harsh talk about R&B, what remained consistent throughout this decade was the generous amount of extraordinary music from the artists we always adored to the ones we grew to love. 

After many internal debates and sleepless nights, Rated R&B’s editorial team has compiled an unranked list of the 50 Best R&B Albums from the 2010s. The albums are listed in alphabetical order.

1. 4 — Beyoncé (2011)

Before the digital drop, before she got in formation, and before she renamed Coachella ‘Beychella,’ Beyoncé was laying the foundations of legendary status with 4. Riding high on the success of I Am… Sasha Fierce in the previous decade, Beyoncé took a much-needed hiatus from music to rediscover the world and herself. What came out of that year-long break, however, was the need to produce a timeless R&B record. “I really focused on songs being classics, songs that would last, songs that I could sing when I’m 40 and when I’m 60,” Beyoncé said in 2011.

With 4, Beyoncé grabbed pieces from all eras of music, from ‘80s and ‘90s R&B on tracks like “Party” and “I Care” to ‘70s funk and Afrobeat on songs like “End of Time” and “Run The World (Girls)”, to create a sound that was bolder than anything she had ever done. Released in 2011 with moderate initial success — reaching number one on the Billboard 200 chart and winning the Grammy award for Best Traditional R&B Performance at the 55th annual ceremony for “Love on Top”— 4 set the precedent for what was to come in the 2010s, while slowly being embraced as Beyoncé’s bravest, most soulful record to date. — ANDERS HARE (A.H.)

2. A Seat at the Table — Solange (2016)

To encapsulate a significant portion of what it means to be Black in America is a difficult task. Not many have been called to it, yet Solange willingly hit the nail with much accuracy on A Seat at the Table. Inviting the general public to her spread, she expressed the pain, anguish, resilience and pride one can feel on a daily basis. Solange covers as many necessary bases as possible including wanting a piece of something to call your own in a covetous space (“F.U.B.U.”) to establishing boundaries, while demanding respect (“Don’t Touch My Hair”). The glimmer of hope in the beautifully melancholy number arrives towards the end with “Junie,” inspired by Ohio Players member Junie Morrison. In a little under an hour, the multidisciplinary artist gives way to an intricate experience in a manner that is complex and poetic. — DANIELLE BRISSETT (D.B.)

3. Another Round — Jaheim (2010)

As the title suggests, Jaheim returned for Another Round of passion-fueled belts and beloved street poetry on his fifth album. Serving as the solid follow-up to The Makings of a Man, the 2011 Best R&B Album contender is essentially an album that conveys thoughtful lyrics and tender ballads and midtempos with familiar and fresh sounding instrumentals. For the pre-album single, “Finding Your Way Back,” Jaheim works hard to retrace his last steps to rekindle a favorable romance. He expresses excitement to be a first-time dad on “II Pink Lines.” On the piano-laced “Bed is Listening,” Jaheim asks his talkative lover to keep their relationship troubles and joys only between them. A deserving listen to Another Round is highly recommended. – ANTWANE FOLK (A.F.)

4. Anti — Rihanna (2016)

Barbadian-born singer Rihanna has long been described as “anti”— going against the grain in fashion, music and lifestyle choices, and doing everything an icon shouldn’t. While her first seven albums detail her narrative of a “good girl gone bad,” none of them really tell Rihanna’s true story. When in the early stages of her eighth studio album, Rihanna ensured she played a major role in its inception, serving as executive producer. She sought to create a timeless album with replay value she could perform years after its release. The final product was Anti, an album nearly four years in the making that truthfully recounted Rihanna as a human being better than any album she previously released. Sonically, the album is a soulful adventure of self-exploration and a footprint of the culmination of every sound in Rihanna’s catalog. Anti earned Rihanna five nominations at the 59th Annual Grammy Awards, however, did not win a single one. This defeat is symbolized as a body of work that is ahead of its time. Still, Anti remains one of the most progressive, personal, and touching albums of the 2010s. — A.H.

5. Anybody Wanna Buy a Heart? — K. Michelle (2014)

K. Michelle’s 2013 debut, Rebellious Soul, officially introduced her as one of the most unfiltered R&B storytellers, but her follow-up LP is the moment her undeniable talent couldn’t go unnoticed – even by her Love and Hip-Hop naysayers. That said, Anybody Wanna Buy a Heart has it all for a second album: a strengthen concept, sharper lyrics, and improved quality in production. Throughout AWBAH, K’s expressive vocals are equally as emotional as the love drama she belts. At the center of many of the complicated lyrics is acclaimed English actor Idris Elba, who she had an alleged fling with sometime before (or during) this album recording. K isn’t modest about the effect he’s had on her heart at the least on songs like “How Do You Know?” and “Maybe I Should Cry.” But, regardless of the heartache he caused K. Michelle, she mustered up enough strength to put out a body of work that doesn’t sound like anyone but herself. – A.F.

6. Art Official Age — Prince (2014)

Prince’s Art Official Age is a concept album that takes listeners on a futuristic journey. Prince is placed in a suspended animation and awakens 45 years in the future to a whole new world. British singer Lianne La Havas makes a few appearances on the album as she plays the role of a therapist who helps guides him back into consciousness and gives him an overview of what to expect. On Art Official Age, Prince showcases the highly influential funk-pop-rock-soul sound he innovated in the ‘80s. “Clouds” serves up the kind of bass-heavy, guitar-accented groove diehard Prince fans know and love. A celebration of affection and intimacy, this standout brilliantly decries the impersonal aspects of modern, technology-reliant communication and a lack of sincerity in human interaction in a world of “reality”-show posing.

“Breakfast Can Wait” is an ode to morning sex. Prince is in stellar form on “Breakdown,” a heartfelt lament of a relationship gone wrong. He puts his falsetto to great use over a stirring track that transitions multiple times between sparse, vocal-and-keyboard-only verses and a chorus with those elements effectively joined by drums and a gripping bass line. He closes the album with “Affirmation III,” where Havas helps spread encouragement with some words of wisdom. “Remember, there is really only one destination, and that place is you. All of it, everything, is you,” she says. — KEITHAN SAMUELS (K.S.)

7. Back to Love — Anthony Hamilton (2011)

It’s hard to resist the raspy-voice charm of Anthony Hamilton. On Back to Love, the veteran continues to showcase his strong admiration for old-school soul music found on most of his previous albums. This time, rather than wallow in “the sad cat” persona, Hamilton puts his emotional outbursts in check and delivers the shimmering danceable number “Sucka For You” and the reassuring duet “Never Let Go” featuring Keri Hilson. Despite the bright lights, big city production influences, Hamilton isn’t out of touch with his Southern roots. On “Pray For Me,” the hit single, he gets on bended knees to plead with the Most High for his ex-lover to return to him. And like a home-cooked meal, richly flavored tracks “Best of Me” and “I’m Ready” are like food to the soul. — A.F.

8. Back to Me — Fantasia (2010)

Fantasia’s third studio album, Back to Me, was released four years after her self-titled sophomore LP. Taking a more daring direction with the previous project, Fantasia returned to her core elements with an elevated sound. The American Idol winner’s growth was evident on this album, from the lyrical material to the vocal performance. She collaborates with accomplished songwriter/producer duo Claude Kelly and Chuck Harmony for the first time on the initial single “Bittersweet” and the opening track, “I’m Doin’ Me.” Coming out swinging, track one sets the tone for what’s to come throughout the rest of the album. While the striking piano is a key piece, it’s Fantasia’s ad-libs and backgrounds that truly elevate and amplify the song’s magic. A few retro-leaning numbers (“Trust Him”, “Collard Greens & Cornbread”) make an appearance on the tracklist but Fantasia’s soulful grit produces a piercing comfort, connecting a seasoned energy to a contemporary feel. — D.B.

9. BEYONCÉ — Beyoncé (2013)

The world stopped momentarily when Beyoncé released her fifth studio album without any warning. Two years after 4, her eponymous album was in a league of its own from the rollout to its musical landscape. Fans got an authentic peek into Beyoncé’s personal life through the music for the first time; bringing us into her high profile marriage, motherhood and her views on success. Beyoncé experimented with a variety of different musical elements, including electronic and pop. It leaned towards an alternative R&B feel, straying from the traditional R&B sound that was prevalent in her previous body of work. Even though eccentricity flowed throughout the album, “Rocket” was R&B at its core. Honoring “Untitled (How Does It Feel) by D’Angelo, the soulfully funky slow jam oozes seduction as Beyoncé slides across the yearning electric guitar and thumping bass. The self-titled project contained an assortment of flavors that were unexpectedly satisfying in a way only Beyoncé can serve. — D.B.

10. Black Messiah — D’Angelo and The Vanguard (2014)

D’Angelo is a legend among men. As one of the pioneers of neo-soul, his weighted contribution to the movement would be inadequate without him. He made his long-awaited return to music 14 years after his sophomore album Voodoo with the politically-charged Black Messiah. It was slated for a 2015 release but he was inspired to push the date up due to the verdicts of the Eric Garner and Ferguson cases. Capturing the Black American experience during a tense time, D’Angelo and The Vanguard responded with an eccentric, yet spiritual album. Musically, Messiah is a rebellion from structural norms, with nearly inaudible lyrics that are intended to be felt and not necessarily understood word for word. Intertwining funk, soul, gospel and blues, there’s a wide range from societal issues (“1000 Deaths,” “The Charade”), to romance (“Really Love,” “Another Life”) and all the imaginable feelings in between. The intricately beautiful body of work rightfully earned the award for Best R&B Album at the 58th Grammy Awards. — D.B.

11. blackSUMMERS’night — Maxwell (2016)

“It’s an album about trying to find love,” Maxwell told Mic on the overall theme of blackSUMMERS’night. “It’s sonically grittier than usual and I’d say that this album is much more poetic.” Complied with well-written songs that weren’t crafted from any rushed recording sessions, this second album of a romantic trilogy covers a lot of ground on discovering true romance like on the splashing groove “Lake By the Ocean” and captive solo “Hostage.” In a vulnerable fashion, Maxwell opens his heart and mind to a hopeful lover on the mood-setting “Listen Hear.” His distinctive voice extracts intense pain on “Lost,” the darkest and finest moment. Now while blackSUMMERS’night doesn’t entirely follow the bluesy formula of BLACKsummers’night, his commercial breakthrough, it’s most definitely an R&B collector’s item. – A.F.

12. Calling All Lovers — Tamar Braxton (2015)

There’s something to be said for not trying to reinvent the wheel. Despite a strong sophomore album and a hit single (“Love and War”), Tamar Braxton didn’t go after the charts for her third studio LP. Instead, the R&B star upped the ante on Calling All Lovers by delivering fervent vocals to yearn downhearted and joyous love tunes like the vintage-soul ditty “Simple Things” and summery throwback “Must Be Good to You.” Braxton is at her best when she sharply focuses on her vocal powers, as she does on the sorrowful “Broken Record” and the eminently romantic “Raise the Bar.” So while Calling All Lovers is written off by many as a disappointing follow-up because it didn’t receive a proper commercial rollout as its parent album, it is an incomparable gem that’s proved a hit after one fair spin. – A.F.

13. Caution — Mariah Carey (2018)

A music legend cannot release an album without high expectations from fans and critics. Throughout her career, Mariah Carey has always set and exceeded the bar of musical excellence with her impeccable vocal range and her mesmerizing lyrics. Caution, Carey’s 15th studio album, proved why she has been able to sell over 200 million records throughout her career. Whether she’s singing tender ballads like “With You” and “Portrait” or showing off her playful side on “A No No” and “GTFO,” Caution pleasantly reminds the world that there are levels to Carey’s talent. — K.S.

14. Ctrl — SZA (2017)

The first lady of Top Dawg Entertainment crafted a playbook on self-awareness, boldness and reflection on Ctrl. SZA, along with her mom and granny, narrates the ebbs of flows of self-discovery in numerous aspects. Along the interestingly insightful journey, the alt & B singer stops at sensuality (“Doves In The Wind”), insecurity (“Drew Barrymore”) and acceptance (“Normal Girl”) with an ever-changing destination in sight. She takes flight on “Pretty Little Birds” featuring label-mate Isaiah Rashad. The lucid lyrics about soaring high with her lover are stretched across palpitating production with fluttering jazz horns and synths. SZA quaintly captures the nuances of growth in a way that was widely and immensely felt upon her release. Her full-length debut is a comforting coming of age album for young women in their 20-somethings, stepping into their own. — D.B.

15. Doubleback: Evolution of R&B — Joe (2013)

It doesn’t get more soulful than Joe. The Grammy-nominated veteran, who debuted in 1993 with the album Everything, effortlessly proves that he’s untouchable in the romance department. By merging elements of well-rendered vocals, convincingly tender lyrics, and classic and modern R&B feels, Doubleback: Evolution of R&B is a stroke of pure genius. Never sounding too dated, Joe reaches back to give his male listeners lessons on the beauty of settling down like on “I’d Rather Have a Love,” the yearning lead single. He breaks down the pleasurable difference between “Love & Sex” with Fantasia and indulges in the sweet company of “Mary Jane.” Doubleback is another reminder to bachelors that there’s nothing wrong with turning in your player cards, once and for all. – A.F.

16. Ego Death — The Internet (2015)

The Internet’s third studio album was a wake-up call to anyone who slept on the eclectically soulful band. While their sophomore effort floated in the lo-fi realm, Ego Death took the tempo up a notch. Building on their neo-soul adjacent sound, they pulled from alternative, jazz and lounge music elements to create a body of work that is expansive, yet focused. A common thread for Ego Death is the relaxing, easygoing tone, appropriately displayed in “For The World” featuring James Fauntleroy — a track that shares a similar groove to “Butterflies” by Michael Jackson. The Internet’s melodic palate transformed from a mystic vibe to a soul knocking sound on their third album; proof they’ve grown from being the adolescent band next door to a musically inclined group who’s pushing their sound further. — D.B.

17. ELDORADO — Ro James (2016)

Ro James summons an authentic essence of soul. With a husky and smoldering timbre, his ability to bridge the musicality of his forefathers and his personal influences enhance the listening experience. James pulls from rock, soul and gospel to create a rich and fortifying sound. His trilogy EP Coke, Jack and Cadillacs was released in 2013, simmering a carefully crafted energy that steadily lured fans in.

Three years later, his debut album ELDORADO solidified a lane solely reserved for James to cruise along. His Willie Hutch-sampled track “Permission” took over urban adult contemporary radio and promptly aided his growing success. ELDORADO would be incomplete without hazy and seductive tracks like “Burn Slow” and “GA$” but “Holy Water” contributes a contrasting but necessary element. Swelled with sonorous organs, James belts about becoming better and not losing himself with choir-adjacent backgrounds for full support. For his first major-label release, James leaves an undeniably lasting impression. — D.B.

18. Feel The Real — Musiq Soulchild (2017)

When it comes to love, Musiq Soulchild has a lot to say. Released as a double album, Feel The Real is a 100-minute expedition through the different stages of a relationship. “I kinda wanted to do the whole Feel the Real thing because this love thing, this romance thing, this relationship thing, this interpersonal intimate thing we deal with it’s all about how you feel,” he told HipHollywood. “You can’t think your way through it.” The title track, which features Marsha Ambrosius, hears Soulchild shooting his shot at a woman he is interested in pursuing.

On the same token, he isn’t looking to settle too quickly. He gets very candid on “Benefits,” where he only wants to be friends with benefits. He admits his wrongdoings on the Willie Hyn-assisted “My Bad” and asks his partner to do the same on “Humble Pie.” “Let Go” is about knowing when it is time for both partners to move on from a relationship. With everything he experienced in his previous relationship, Soulchild wants to make sure he is ready to make his heart open for the next person. “Test Drive” is about testing the waters before settling down. “We could both crash and burn or we could fly high / Couldn’t hurt to take a test drive,” he sings. Soulchild expresses his gratitude on the album’s closer “Simple Things.” Although the album is a lot longer than traditional releases, Soulchild makes the experience enjoyable with his velvety vocals laced over live instrumentation. — K.S.

19. Freudian — Daniel Caesar (2017)

The early 2010s consisted of R&B artists trying to keep up with what was contemporary, with many gravitating toward pop, alternative and EDM. On the contrary, Ontario-born singer-songwriter Daniel Caesar spent much of the early 2010s being recognized as a budding voice in classic R&B stylings with the release of several scattered EPs such as 2014’s Praise Break and 2015’s Pilgrim’s Paradise. However, Caesar’s debut album Freudian became a constant revisit for casual listeners of the genre after its release in 2017. The obvious nods to gospel music on tracks such as “Hold Me Down” and “We Find Love” adds a natural anointing to Caesar’s smooth sound. However, it is songs such as “Blessed” and the H.E.R.-assisted “Best Part” that elevate Caesar to timeless status, as both became radio and wedding mainstays, respectively. While everyone else was making moody, aesthetically-pleasing sounds, Caesar created a timeless record that offered a little something for everyone.— A.H.

20. Greater Than One — Dwele (2012)

Dwele is arguably one of the most underrated neo-soul singers. The Detroit native’s fifth studio album, Greater Than One, is proof in the pudding. Drawing inspiration from ‘80s R&B, Greater Than One highlights various topics surrounding a relationship. From missing out on love (“Going Leaving”) to knowing how to keep his woman happy (“What Profit”) to avoiding temptation (“Frankly My Dear”), the subject matter is relatable for anyone who has ever experienced a relationship. A standout moment on the album is the eargasmic “Obey,” an alluring tune where Dwele takes complete control in the bedroom as he instructs his woman to submit to his orders. Looking back, Dwele stepped outside of his traditional sound for Greater Than One, all while staying true to his artistry. — K.S.

21. Gumbo — PJ Morton (2017)

There is no place like home. PJ Morton returned to his New Orleans roots for his fourth studio album, Gumbo. With just nine tracks, the introspective LP is seasoned with intense topics that are most personal to him. On “Claustrophobic” featuring Pell, Morton vents about his frustrations in the music industry, making it clear that he is not interested in chasing trends. He offers hope to the marginalized on “Everything’s Gonna Be Alright” featuring BJ the Chicago Kid and The HamilTones. “Religion” hears Morton calling out people who use religion to justify their bad behavior, singing, “But you blame your God when it’s your own fault / Where is the love that your God spoke of?” He celebrates lifelong love on “First Began,” which was nominated for Best R&B Song at the 2018 Grammy Awards. The album also received a nomination for Best R&B Album. — K.S.

22. H.E.R. — H.E.R. (2017)

Before she was the ominous, multitalented music virtuoso known as H.E.R., California native Gabi Wilson first appeared on a radio talent competition Next Big Thing in 2009, ultimately losing. However, it was not until she put on a pair of massive sunglasses to cover her face, changed her name to the acronym Having Everything Revealed, and released an eponymous debut EP that H.E.R. became a slow-burning sensation everyone wanted to know. A compilation of her first two EPs released in 2016 and 2017, respectively, H.E.R. is the diamond that emerged from the coal that came with the introduction of alternative R&B in the mid-2010s: a purely R&B album that is true to its roots, yet can easily compete with the fiercest competitors. H.E.R. received several nods from critics and contemporaries alike, including a co-sign of the album’s second single “Focus” from Rihanna.

With just one feature on the entire project, H.E.R. puts her messages of love, regret, pain, and pleasure at the forefront of the album on songs such as “Rather Be,” “2,” and “Losing.” Although not a radio-heavy project, the resonance of H.E.R. made it all the way to the Grammy stage, earning the singer-songwriter Best R&B Album, and Best R&B Performance for her duet “Best Part” with Daniel Caesar. While she still has yet to put out a proper debut LP, H.E.R. remains a staple of the 2010s as the world waits to see what she will do next. — A.H.

23. Honestly — Lalah Hathaway (2018)

Lalah Hathaway’s first studio album on her independent imprint followed her pair of Grammys won for her 2015 live album. All-around musician Tiffany Gouché is involved with each song on Honestly, pushing Hathaway into a more free-spirited and adventurous territory sonically than her previous albums. Fortunately, this bold play works to the polyphonic-voiced singer’s advantage. Everything from Honestly is a mood. “I Can’t Wait” beams with feel-good vibes to get any party started. The Lecrae-assisted anthem “Don’t Give Up” is a large dose of reassurance, while “Won’t Let Go” ducks and dodges an obsessed ex. And while her rich, warm overtones are attached to nostalgic video game noise, it doesn’t seem scattered or muddled. It’s actually a positive step in the next direction of Hathaway’s elevated artistry. – A.F.

24. In My Mind — BJ the Chicago Kid (2016)

With the many directions R&B has taken, only a few have been able to elevate the genre while staying true to its core elements. When BJ the Chicago Kid independently released his debut album Pineapple Now-Laters in 2012, he garnered attention with his soulfully robust voice, suggestive of prominent hometown soul singers like Sam Cooke and Curtis Mayfield. Six months later, he signed a deal with the famed Motown Records where he released his major-label debut, In My Mind.

By injecting the quintessence of his forefathers into his resonating sound, BJ evidently distinguished himself from his peers. He makes use of his storytelling skills on a tale of infidelity on “Wait Til the Morning” featuring Isa. On the sensual track “The Resume” featuring Big K.R.I.T., BJ channels the computerized ’90s energy by way of Jodeci. He closes the album with “Turnin’ Me Up,” a soothing and irresistible acoustic number with the impromptu spirit of a jam session. BJ presents a modern take on soul music with In My Mind, while keeping the spirit of the music form alive. — D.B.

25. Kaleidoscope Dream — Miguel (2012)

Miguel had a lot to prove with his sophomore album, Kaleidoscope Dream. His debut All I Want Is You was the spacey and rhythmic introduction to his genre-melding talents, yet it wasn’t well-received upon its release. Taking significant creative control this time, Miguel returned to the drawing board to create an imaginative fusion of psychedelic soul, rock and R&B. The album begins with “Adorn,” the feel-good throwback-adjacent single that matured into a classic over time. As the ear-bending journey continues, the title track is more than fitting of its name, navigating a chromatically rippling number that’ll take listeners to another plane. The daringly neoteric direction Miguel took resulted in him becoming a regarded voice among male R&B. — D.B.

26. Late Nights & Early Mornings — Marsha Ambrosius (2011)

As half of the neo-soul duo Floetry, Marsha Ambrosius is one of the pillars that fused rap, soul, and jazz to create the genre nearly 20 years ago. It was these elements and a sultry, operatic voice that are the driving force behind her debut solo album Late Nights & Early Mornings. However, pushing the envelope even further, Ambrosius brought her unique form of storytelling into a new era and rewrote the book of grown and sexy for a new decade. She included clever scenarios in songs like “I Hope She Cheats On You (With a Basketball Player)” and “Far Away,” a tearjerking narrative that you feel just as hard as the sensual slow jams. The album debuted at number two on the Billboard 200 chart, and “Far Away” earned two Grammy nominations at the 54th Annual Grammy Awards in 2012. Late Nights & Early Mornings became less of a single project for one moment in time, but a mood for the right time of night, anytime. Whether those listening were feeling kinky, sad or just lying awake thinking about life, Ambrosius’ pen was there to get them through it. — A.H.

27. Love Life — Tamia (2015)

It’s hard to believe Tamia recorded her very solid sixth studio album, Love Life, in just 10 days. Taking an edgier approach than her previous works, Love Life is grown and sexy at its finest. “It’s not as deep and dark as some of my past albums; it’s in a better place,” she said in a past interview. The Canadian singer worked with a diverse group of songwriters and producers including The-Dream, Tricky Stewart, Pop & Oak, Chuck Harmony, Claude Kelly, Polow Da Don and The Stereotypes. The romantic album highlights the best moments of being in love — and could even serve as a guide on how to add a little spice to a longterm relationship. Tamia describes the feeling of falling in love with the opener “Love Falls Over Me.” On the album’s lead single “Sandwich and a Soda,” she gets submissive as she sings about taking care of her man in and outside of the bedroom. Speaking of the bedroom, Tamia doesn’t hold back on songs about making love (“Chaise Lounge,” “Lipstick” and “No Lie”). The album’s standout track is definitely “Stuck With Me,” which peaked at No. 14 on Billboard’s US Adult R&B Songs chart. Love Life is another example of how an artist can be intimate while leaving something to the imagination. — K.S.

28. Love, Marriage & Divorce — Toni Braxton and Babyface (2014)

Toni Braxton and Babyface’s Grammy-winning joint album Love, Marriage & Divorce is a quite satisfying collection of gorgeous selections that profile the romantic confessions of their lives. Working closely alongside heavyweight musician Daryl Simmons and Antonio Dixon, the two R&B greats cover past, present, and future love stories and share important experiences to provide healing for one’s relationship and heart. Passionately-sung numbers like “Where Did We Go Wrong?” minister on the power of listening, while “Reunited” supports mutual reconciliation. Other standouts include the remorse hit “Hurt You,” the love-drenched makeup tune “Sweat” and “I’d Rather Be Broke,” the bittersweet solo by Braxton. Needless to say, Braxton and Edmonds are a fine duo, and it’s a serious crime when they’re apart for too long. – A.F.

Stream: Apple Music / Spotify

29. New Amerykah Part Two: Return of the Ankh — Erykah Badu (2010)

Two years after releasing New Amerykah, Pt. 1 (4th World War), Erykah Badu followed up with the album’s sequel, New Amerykah, Pt. 2 (Return of the Ankh). While part one centered around politically-charged topics, part two is more personal as Badu focused more on her love life. Sonically, the album pulls inspiration from Badu’s early works like Baduizm. “The album is more emotional and flowy and talks about feelings,” Badu explained at a listening party in 2010. The obvious standout is her liberating single “Window Seat.” The controversial video, which shows Badu walking around nude in Dealy Plaza, ultimately led to her getting charged for disorderly conduct. Other highlights on the album include the funk-infused “Turn Me Away (Get Munny),” the cautionary “Fall in Love (Your Funeral)” and the buttery “Umm Hmm.” — K.S.

30. No Boys Allowed — Keri Hilson (2011)

Some fans and critics had to learn not to judge an album by its title when Keri Hilson announced her sophomore effort, No Boys Allowed. She explained the meaning behind the album in a press release, “It’s not about excluding men. It’s more about women understanding that there comes a time in your life when you want a man. A real man. A grown up. Not a boy. And that’s not a bad thing.” While Hilson’s debut album In A Perfect World was more on the safe side, No Boys Allowed saw the singer-songwriter more confident and open. Kicking off the album with her J.Cole-assisted banger “Buyou,” Hilson made is clear that she wasn’t about the shits. “You want a ride or die chick, baby / But you ain’t got a whip, baby / It ain’t gon’ happen / You don’t got shit, you need a walk or die chick, baby,” she sings in the second verse. After setting the record straight, she showed love to the ladies with her empowering anthem “Pretty Girl Rock,” which was co-penned by Ne-Yo.

Some of the best moments on the album are Hilson’s most vulnerable tracks. “Breaking Point” is about being fed up with a lover’s shenanigans. The bittersweet “Beautiful Mistake” is about regretting a past relationship. The John Legend-penned “All the Boys” hears Hilson reminiscing about relationships from her teenage years. At the time, she thought she was in love but later realized what true love is. “After all the boys that I thought I loved before I didn’t know what love was / Til you knocked on my door,” she sings. Hilson balances the emotional feels with flirty numbers like “The Way You Love Me” featuring Rick Ross, “Gimmie What I Want,” and the reggae-tinged “Bahm Bahm.” No Boys Allowed is a nearly flawless genre-blending album that can be played from start to finish without skipping a track. The hidden interludes make the listening experience even more enjoyable — even during some of the darkest moments on the album. — K.S.

31. Now or Never — Tank (2010)

Three years after releasing his Grammy-nominated album Sex, Love & Pain, Tank returned with more bedroom vibes on Now or Never. It was his first album to release under Atlantic Records, following his departure from Blackground Records where he released his first three albums. Now or Never is a coherent body of work that is filled with tender R&B tunes. With enticing titles like “Sex Music,” “Scream” and the Chris Brown-assisted “Foreplay,” the R&B General was on a mission to please his listeners in every way. Sonically, Now or Never is a lot lighter than its predecessor, which was done intentionally. “It’s a happier album, I’m appreciating more, I’m celebrating more,” he told The Boombox. Speaking of “Celebration,” his Drake-assisted track is among the standout tunes on the LP. “Emergency” is probably the most recognized song on the album. Borrowing the same melody as Pleasure P’s “Under,” which he also co-wrote and co-produced, “Emergency” sees Tank coming to the rescue to satisfy a woman’s needs in the bedroom. “When I got there, put her on the floor / She leakin’ but she still breathin’,” he sings. While Tank ended up releasing six albums this decade, Now or Never remains a staple in his discography. — K.S.

32. Passion, Pain & Pleasure — Trey Songz (2010)

By the end of the 2000s, Virginia native Trey Songz was a full-fledged R&B sex symbol. On his fourth studio album, Passion, Pain, & Pleasure, Songz builds on the slow jam catalog he’s become notorious for. Moreover, he expands his seductive pallet to include more than just sex, but more mature emotions like lust on songs like “Can’t Be Friends,” a rarity in the genre at the time. Also, the album spawned hits such as the Nicki Minaj-assisted “Bottoms Up,” which is certified four times platinum in the United States and reached number six on the Billboard Hot 100, becoming his highest-charting song to date. Outside of being a great album, Passion, Pain, & Pleasure was one of the only albums that remain consistently R&B through and through. While his contemporaries were switching it up to keep up with the times, Songz carried the genre into the next decade by starting off strong. Not only that, he inspired several future baby-making hitmakers in the genre. Passion, Pain, & Pleasure earned Songz several nods, including Favorite Soul/R&B Male Artist at the 39th Annual American Music Awards, and will forever be remembered as the album that paved the way for R&B in the 2010s. — A.H.

33. Perfectly Imperfect — Elle Varner (2012)

As the daughter of two published songwriters, it is no surprise why Elle Varner has a knack for storytelling. Her debut album Perfectly Imperfect via RCA Records is a compilation of relatable stories centered around love and self-acceptance. Varner worked closely with production duo Pop&Oak and her father Jimmy to craft one of the most noteworthy debut R&B albums this decade. Although her Grammy-nominated single “Refill” gets all the attention, there are quite a few gems on the album. With a sample from Kool & The Gang’s “Little Children,” “I Don’t Care” finds Varner going “into the deep end” with a guy and having no regrets about it. Over a funky bass, she tells her lover what she can bring to the table on “Leaf.” The closing track, “So Fly,” is probably one of the most important songs on the album. The uplifting tune is about accepting yourself — flaws and all. “So, I decided I’m the definition of fly / And if you want to know why / I know what money can’t buy,” she sings. — K.S.

34. Pieces of Me — Ledisi (2011)

First and foremost – Ledisi is one of the best R&B/soul vocalists of the last 20 years. The New Orleans native has made a name for herself as an artist who renders lovely, traditional R&B-styled compositions with thrilling jazz crescendos. For her third major-label outing and fifth overall, Ledisi doesn’t miss a chance to continue enticing R&B fans with more sensational vocal takes. Pieces of Me satisfies those deeply in love on joyous tunes like the tender “I Gotta Get to You” and everlasting ode “Stay Together” featuring Jaheim. Like the winning titular track, this remarkable set gives Ledisi a platform to be delightfully inspirational on empowering jams like the bluesy “BGTY” and the self-advocating anthem “Raise Up.” – A.F.

35. Raymond v. Raymond — Usher (2010)

Usher was undoubtedly a bonafide superstar in the 2000s. However, all of that changed with his marriage to Tameka Foster in 2007, and the Atlanta-native began to focus on themes of love and marriage. This caused a dip in sales for 2008’s Here I Stand, an album almost entirely inspired by his marriage to Foster. When the two unexpectedly divorced in 2009, it inspired Usher to create an album based on the situation as well as where he expected to go from there. Thus, Raymond v. Raymond was born. Seen as sort of a return to the sensual, yet pain-stricken Confessions of 2004, Raymond v. Raymond features some of Usher’s finest uptempo hits of the decade, including “OMG,” “Hey Daddy (Daddy’s Home)” and “Lil Freak.”

However, Usher’s sixth album saw him utilize the emerging sound of EDM for songs such as “DJ Got Us Falling In Love” and “Somebody to Love.” This new-found sound extended into Usher’s hit love song “There Goes By Baby,” a wedding song for the ages. Raymond v. Raymond won Usher two Grammy Awards in 2011, including Best Contemporary R&B Album and Best Male R&B Vocal Performance. An album with features from Nicki Minaj, JAY-Z, will.i.am, and more, Raymond v. Raymond is Usher’s return to form for a new generation of R&B fans to discover. — A.H.

36. Reality Show — Jazmine Sullivan (2015)

When Jazmine Sullivan cleaned out her music industry cubicle in early 2011 to discover her true purpose in life, she left the world in complete shock. But, after nearly five years, the Philadelphia native had music admirers tuned into Reality Show, her third album. Ordering 12 songs, featuring studio input from the likes of SaLaAM ReMi, Key Wane, and Chuck Harmony, this phenomenal LP plays out overtly personal situations associated that are often a common narrative of many young Black women.

As a songsmith, with a knack for vivid imagery, Sullivan loads Reality Show with originals that seamlessly exalt her contemporary spirit like the trapsoul “Brand New” and down-chick anthem “#Hoodlove.” Some cuts sound like old favorites like the After 7-inspired hit “Let It Burn” and “Forever Don’t Last.” Other attention-holders stand in a league of their own like the introspective art “Masterpiece (Mona Lisa).” At the end of the day, Reality Show finds Sullivan singing with new conviction and versatility that makes her triumphant return to music more notable than other R&B comebacks. – A.F.

37. Souled Out — Jhené Aiko (2014)

Being off-brand isn’t Jhené Aiko’s motive. Resurfacing on the scene with her 2011 mixtape Sailing Soul(s), she introduced her newly-crafted sound that was more authentic to her artistry than her earlier work. Garnering recognition with her Sail Out EP in 2013, the debut album Souled Out concluded her motif. Aiko has remained steady on her music journey, refusing to let the industry steer her off course. Against an ambiently rhythmic background, her soothing voice lulls the sting of her realer-than-life lyrics. Aiko pulls from personal experiences and sets them in her songs, mirroring her reality with yours. With “Lyin King,” Aiko floats across the aquatic-like synths with a conviction that her lover will never know when a good thing is in his face. Souled Out is littered with philosophical gems, while providing a guide through the commensurating stages of heartbreak and enlightenment. — D.B.

38. Still Standing — Monica (2010)

The title says it all. Monica was Still Standing after a 15-year career of ups and downs. In the seasoned vocalist’s first album in four years, Monica capitalizes on the strength of her sincere duet with Keyshia Cole (“Trust”) and makes a triumphant return with age-appropriate uptempo and downtempo R&B tunes. The iron-solid hit “Everything to Me,” which marks her first-ever solo Grammy nod, takes its cue from Deniece Williams’ soulful single “Silly.” Monica keeps on the nostalgic path on “If You Were My Man,” while she lays her head on the chest of “Superman,” a soulful ode to her the man in the red cap. Other solid selections include the in-need banger “Here I Am” and the sappy ballad “Love All Over Me.” While Monica reflects mostly on love, she masterfully fuses songs about perseverance and self-importance on cuts like “Mirror,” “Believing in Me” and the survival title track. – A.F.

39. SweetSexySavage — Kehlani (2017)

There is a captivating nature about Kehlani. It could be her transparency, her charm or her confidence but all those aspects and more attribute to her debut LP SweetSexySavage. The Bay Area native signed a partnership with Atlantic Records, following the success of her 2015 mixtape, You Should Be Here. Her follow-up presented a refined body of work that remained honest to Kehlani’s discography. Tracks like “Too Much” and “Personal” lift melodies and song structures from the ‘90s and early 2000s without relying on obvious samples. She beams on “Piece of Mind”; her flawless harmonies perfectly compliment the consonantly layered production, reaching peak vocals by the 2:42 mark. Kehlani exhibits a vibrant synergy of her inspirations with her artistry on her debut, successfully providing songs for the sweet, sexy and savage sides in all of us. — D.B.

40. The Electric Lady — Janelle Monáe (2013)

Janelle Monae’s imagination is aptly cinematic. From her debut EP Metropolis: The Chase Suite, Monae showcased her well-rounded vision by introducing the story of her alter-ego, android Cindi Mayweather. As the prequel to The ArchAndroid, the afro-futuristic dystopian tale of The Electric Lady directs with a livelier soundtrack. Pulling inspiration from the early eras of soul music on tracks like “Dance Apocalyptic,” Monae shows she is a true student of those who came before her. She creates a sonic time chamber of sorts and lingers in the ‘70s on “It’s Code” and “Can’t Live Without You,” which takes a page out of Stevie Wonder’s book. Skillfully bridging the past, present and future of R&B, Monae brings Prince, Solange and Erykah Badu along as co-pilots for the electrifying ride to the world of Metropolis. — D.B.

41. The Lady Killer — CeeLo Green (2010)

CeeLo Green had the world shouting “Fuck You” at the start of the decade. The tell-off anthem was the lead single to his third solo album, The Lady Killer, and earned Green a Grammy for Best Urban/Alternative Performance in 2012. Sure, we can talk about how a song about a failed relationship with a gold digger was one of the biggest records at the time, but there is much more to be said about The Lady Killer. Best known as a member of the hip hop group Goodie Mob, Green steered clear from rapping this time around on his soul-infused project. “I thought The Lady Killer sounded edgy and elegant at the same time. So I wanted something like James Bond, but like Barry White would do it,” he told Billboard in an interview. Green introduces his “Lady Killer” persona on the opening track, before living his best life on the catchy “Bright Lights Bigger City,” which has a looping bassline similar to Michael Jackson’s “Billie Jean.” Green keeps his listeners engaged with his dynamic vocal performance throughout the rest of the album. Some of his best vocal moments can be heard on “Love Gun” featuring Lauren Bennett, “Fool for You” featuring Earth Wind & Fire’s Philip Bailey and the classic Motown-tinged “Old Fashion.” — K.S.

42. The Light of the Sun — Jill Scott (2011)

After laying down the bricks of neo-soul with her epic The Real Thing: Words and Sounds trilogy in the 2000s, Philadelphia native Jill Scott ventured into acting, making her cinematic debut in the films Hounddog and Tyler Perry’s Why Did I Get Married? in 2007. Scott released The Light of the Sun, a dramatic sonic change from her previous work. As Scott’s first three albums dealt with self-discovery and maturation through mellow grooves and heavy jazz influence, The Light of the Sun had a brighter sound than anything Scott had ever released. Having given birth to her son Jett in 2009, the album reflected Scott’s happiness at the time as she celebrated life and love on songs such as “Blessed” and “So In Love” featuring Anthony Hamilton as well as her proudful womanhood on tracks such as “Womanmanifesto.” The Light of the Sun debuted atop the Billboard 200 and Top Hip-Hop/R&B Albums charts and earned Scott two Soul Train awards for Best Female Artist and Best R&B/Soul Album. Scott’s fourth album represents her transition from a young woman trying to find her way to a grown woman who knows exactly what she needs. — A.H.

43. The London Sessions — Mary J. Blige (2014)

As the only accomplished force in mainstream music to take home Grammys in four different genres, Mary J. Blige has earned the right to experiment with new sounds and depart from the musical style she’s responsible for pioneering. For her 12th studio effort, The London Sessions, the Queen of Hip-Hop Soul left the states and jetted across the pond to draw recording inspiration from the UK’s brightest stars, including Sam Smith, Disclosure, and Emeli Sandé. The deep house tracks “Nobody But You” and “My Loving” thrive on blissful lyrical material. Meanwhile, The London Sessions features acoustic, therapeutic ballads (“Not Loving You,” “Therapy”) that speak for themselves. Overall, this noteworthy disc sends an important wake-up call to the music industry: Mary J. Blige isn’t afraid of change if it means she doesn’t have to be boxed in. – A.F.

44. The Love and War MasterPeace — Raheem DeVaughn (2010)

There comes a time when an artist wants to create a body of music to help heal the world. For Raheem DeVaughn, the time came for his third studio album, The Love and War MasterPeace. “I named the album The Love and War MasterPeace because I feel that where I am as a person and where we are as a people, we are all trying to master that internal peace and happiness in a very strange time,” DeVaughn said in a past press statement.

Pulling inspiration from fellow Washington, D.C. native Marvin Gaye’s critically-acclaimed album What’s Going On, The Love and War MasterPeace tackles issues affecting our society. Gaye’s influence can clearly be heard on the album’s lead single “Bulletproof” featuring Ludacris, which is a call to action for everyone to open their eyes on what’s really happening in the world around them. “You betta’ pray to the most high or whoever you praise / ‘Cause politicians can’t help you, they puppets to slaves,” warns DeVaughn. He empowers women on songs like “The Greatness” featuring Wale and reminds them of their worth on “Black & Blue,” which brings awareness to domestic violence. It wouldn’t be a Raheem DeVaughn album without his babymaking music. He brings the seductive vibes on velvety tunes like “Fragile” featuring Malik Yusef, “B.O.B,” “Microphone” and “Garden of Love.” — K.S.

45. The MF Life — Melanie Fiona (2012)

Melanie Fiona cemented herself as a retro-soul singer with her debut album, The Bridge. The sound of her Grammy-nominated single “It Kills Me” would serve as the blueprint for her next album, The MF Life. Released on Universal Records, The MF Life explored the highs and lows of love. With an emphasis on low moments, the 14-track offering is filled with punch-you-in-the-gut emotion and vivid storytelling. “I wanted it to be a collection of music and songs that make people think about the things that we actually go through and feel,” Fiona told NPR. Heartbreak and sorrow are reoccurring themes on The MF Life. “Wrong Side of a Love Song” is Fiona’s desperate attempt to get her man back after he broke up with her. “This is what it feels to be the one that’s standing left behind,” she sings.

Fiona also deals with loss on the album. “Gone (La Dada Di)” featuring Snoop Dogg is probably the most depressing song on the set. The Soundz-produced cut finds Fiona trying to process the death of her lover and regretting the argument they had. “Guess I’m thinking bout the last conversation we had / And the mean things that we’ve said / Wishing I could take the whole thing back / As I’m standing at his doorway, covered in red,” she sings. Fiona’s raspy vocals shine on records like “Bones” and “Running.” There are some lighter moments on the album such as the uplifting tunes “Change the Record” featuring B.o.B and “Watch Me Work.” The MF Life is a testament that our lives are not perfect and we will all go through some painful and traumatic experiences at some point. And when we do, we can always revisit Fiona’s stellar body of work. — K.S.

46. Three Kings — TGT (2013)

At a time where male singing groups were scarce, Tyrese, Ginuwine and Tank filled a necessary void. Following in the steps of their predecessors LSG (Gerald Levert, Keith Sweat and Johnny Gill), the solo R&B singers who are actual friends formed their supergroup TGT and released their only album Three Kings in 2013. They include all of the quintessential R&B album checkpoints: a song with a rap feature (“No Fun”), a few ballads and slow jams (“I Need,” “Lessons In Love”) with a few interludes in between. Among the tracks, “Burn Out” is the standout sleeper from their debut. Each gentleman performs ostentatiously on the intricate production that consists of multiple sonic and vocal peaks. The finished product creates an aural rush that’ll drive listeners into melodic bliss. Their distinct voices combined created harmonies that offered a unique texture and technique that has been absent from current R&B music. The trio’s undeniable formula lead them to a Grammy nomination for Best R&B Album in 2014. — D.B.

47. Two Eleven — Brandy (2012)

Four years in the making, Brandy’s sixth album is her blood, sweat and tears. Drawing ultrasonic magic from familiar names like Sean “The Pen” Garrett, Bangladesh, Frank Ocean, Rico Love, and Mike WiLL Made-It, Two Eleven is an almost hour-long masterpiece that is home to singular vocal runs, adventurous, high-quality production, and broad songwriting. Though Two Eleven lacked a true conceptual vision, at least it had strong songs with potential hit value. “Put It Down” featuring Chris Brown is rhythmic radio gold. Advanced-sounding tracks “So Sick” and “Slower” had what it took to be embraced by urban as prized singles. Elsewhere, Brandy flawlessly adds in gem-worthy solos like “Wish Your Love Away” and “Without You.” In a few words, Two Eleven is just that album – period. – A.F.

48. VII — Teyana Taylor (2014)

Before Teyana Taylor became a household name from her iconic performance in Kanye West’s “Fade” video, she released an album that many people slept on. Taylor has always been open about her musical influences. On VII, her debut album, the Harlem native takes a few pages from the ‘90s R&B playbook to create a timeless masterpiece. She draws inspiration from some of her idols like Aaliyah, Brandy, Janet Jackson and Lauryn Hill. Co-writing every track on the album, Taylor enlisted help from hitmakers like James Fauntleroy, Eric Bellinger, Harmony Samuels, Boi-1da and Stacy Barthe to create songs that will be played from decades to come. “I want that album you can clean up to, the album you can make love to, the album you can just relax to,” she told Fuse TV.

Taylor opens VII with “Outta My League,” which sounds like an outtake from The Miseducation of Lauryn Hill. The calming production helps set the mood for the rest of the album. Most of the album sounds like it was made for the bedroom, especially on “Request,” “Do Not Disturb” featuring Chris Brown and the booming lead single “Maybe” featuring Pusha T and Yo Gotti. She looks for a no-strings-attached affair on the Fabolous-assisted “Broken Hearted Girl” (don’t let the title fool you.) The album isn’t completely sex-driven, though. She reflects on a failed relationship on the piano-driven ballad “Sorry,” before finally dismissing her no-good man on “In the Air.” With VII, Taylor successfully positioned herself as an R&B singer who cared more about making meaningful music than keeping up with trends. — K.S.

49. Woman to Woman — Keyshia Cole (2012)

Put some respect on Keyshia Cole’s name. For the most part, this Oakland native has a solid catalog, even though there was a disconnect with fans and critics on her fourth LP Calling All Hearts. Taking serious note, the R&B vocalist regained her early career glory on Woman to Woman. This essential comeback album perfectly mixes Cole’s trademark soul-baring touch to tuneful radio melodies and forward-minded arrangements. Album highlights include the whimsical duet “Wonderland” featuring Elijah Blake; the beans-spilling title track with Ashanti; the grand ballads “I Choose You” and “Trust and Believe;” and everything else in between. Woman to Woman is indeed a strong return for a promising R&B legend with more fire in her belly. – A.F.

50. X — Chris Brown (2014)

Like many artists in the early 2010s, Chris Brown merged his sound with that of contemporary genres such as Dubstep and EDM on 2012’s Fortune, and with innovation came criticism from critics and fans alike. However, in 2014, the Grammy-winning artist proved he was still all in for R&B with his sixth album, X. Combining old and new sounds, X is anchored by radio-ready singles Brown fans were accustomed to such as “Love More,” “New Flame,” and the massive summer hit “Loyal.” The latter went on to peak at number nine of the on the Billboard Hot 100 chart and is now certified four times platinum in the United States. With this project, Brown also became one of the few artists to reconnect with the late songstress Aaliyah on “Don’t Think They Know.” An LP for the ages, X is stacked with features from some of the biggest stars of the time such as Nicki Minaj, Lil Wayne, Kendrick Lamar, Trey Songz, Usher, Rick Ross, Brandy and more. Plus, it features production from some of the brightest talents including Diplo, DJ Mustard, and Jean Baptiste. X was nominated for Best Urban Contemporary Album at the 57th Annual Grammy Awards, and ultimately is a representation of Brown’s hit-making ability in R&B and beyond. — A.H.

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This content was originally published here.

[thesinglesjukebox]

SAM HUNT - DRINKIN' TOO MUCH [5.33] What've we got here? Why, it's a CONTROVERSYBOMB!

Ramzi Awn: A bold experiment with a few good ideas, "Drinkin' Too Much" employs dark moments of candor to highlight a muddled mix. [5]

Olivia Rafferty: The heart and soul of country music is storytelling, which is why this track works so well. "Drinkin' Too Much" shifts the typical country subject of alcohol abuse to the context of sad man R&B, aka Drake's genre. The spoken verses contain a rawness that could only be conveyed with that style of delivery, and the lyrics themselves are so vivid. Lay this over a subtle blend of 808s and slide guitars, and you have a solid attempt to influence the direction of country music. Let the genre-mashing begin. [8]

Anthony Easton: John Prine, in a recent Rolling Stone cover story, spoke about how Dylan's Nashville Skyline broke apart country music for him (he was a folkie at the time): "Man, there's something there where their two paths crossed. My stuff belongs right in the middle." This is also in the middle: between soul and hip-hop, between the drinking and heartbreak of Nashville and the fame-wasted ennui of Kanye and Drake. But it's also at the bottom: the bottomed-out production, how Hunt trips over details, how he extends stories, how he never quite brags about his money, how his self-loathing bubbles up like swamp gas. It's the opposite of all those party songs, the opposite of Moore and Eldredge and Gilbert. It has a singular voice -- a songwriting voice, but also how he sings, a gravelly push that reinforces his production choices. It is the smartest thing he has done, and maybe the most heartfelt. [10]

Alfred Soto: I'm no country corn pone. I like electronic whooshes and the kind of manipulation of space more common on Drake or "Climax"-era Usher, but Sam Hunt can't even talk-sing without his sockless boat shoes tripping on his ill-lettered cadences. He comes off like a lunkier Chainsmoker, in the market for any hook that'll get him on the radio and laid -- two of his more admirable virtues. Find better songs, dude, and don't try so damn hard. [4]

Thomas Inskeep: This non-single posted on SoundCloud is the audio equivalent of a viral video, and like many viral videos, it's also essentially a journal entry set to music. Frankly, it's not up to snuff: this is him doing his rhyming couplets (he loves rhyming couplets) with a woozy rhythm track from Pro Tools or whatever. It also sounds a lot like a demo for Justin Bieber. Most of all, this is slightly creepy oversharing; I want a Silkwood shower after listening to it. [0]

Elisabeth Sanders: Everything about this is deeply embarrassing, and that's why I love it. While I can't pretend I like this as much as anything off Montevallo, it makes up for it with "I wish you'd let me pay your student loans," and I'd like to submit this as a great entry into a music category I'd like to call "voice-memo pathetic-wave." (The other artist in this genre is Mike Posner with his great, deeply pathetic album At Night, Alone.) The song approximates, sonically and with almost nauseating accuracy, the feeling of being just too drunk enough that the room is spinning a little, being very sad about something that might be your fault in a crowded place at 2 in the morning. BEEN THERE, SAM. [7]

Jonathan Bradley: In which Sam Hunt pens a letter to Montevallo's Courtney From Hooters On Peachtree and proves himself to not be country music's Drake, but rather its Mike Skinner. The hook is the weakest part; it doesn't resolve Hunt's thoughts but elides them. (The austere "8pm" take works better and is worth a point or two more.) There is frisson in a lyric that pushes too far past the fourth wall, threatening to combust as it reaches the event horizon -- for the non-country, non-rap examples to which "Drinkin' Too Much" draws nearest, look to emo acts like Cursive's The Ugly Organ or Say Anything's "Every Man Has a Molly." "Hope you know I'm still in love," Hunt closes, except it's a correspondence that is only intimate the way a performance is, and so his words are combustible as well as heartfelt. The sour sense that this song bears too much truth is its most compelling point but also its most repellent; Hunt is too casual in his exhibitionism. [5]

Will Adams: It feels right; we've reached the level of bleakness in our pop music that songs can now just be actual shitposts with first draft choruses tucked in. [3]

Katherine St Asaph: Did we need another country "Marvin's Room"? In every country review I keep harping on artists telling the same generic story addressed to the same imaginary sorority girl, but here's a lyric and addressee that are certainly not generic or imaginary, and I'm not sure what to think. If Sam Hunt's byline didn't scare off the traditionalists, the first vocoded note is almost deliberately scheduled to shoo away the rest (none of the subsequent vocal is so blatant), leaving a smaller audience of fans and an explicit audience of one specific, named girl. There's something inescapably creepy -- voyeuristically creepy for the listener, manipulatively creepy for the artist -- about this, this couple chords and a tirade. Most of his target demographic will hear this as romantic, but for those unfortunate enough to have been stalked, the details are so familiar as to be textbook: presenting her with his un-rebuttable imagination of her life, in which she stages the Everytime video every time she wants to cry, in which there's nowhere else in Georgia she can buy peaches, in which everything reminds her of him, or at least does now; reminding her of her debt while holding Montevallo money over her head; apologizing for boosting her profile while writing her name into a huge triumphant chorus; pondering "whether it's OK to lie" while careful to mention none of the indiscretions that got him there -- merely their consequences, which now seem unreasonable. Better to address this as fiction, then -- like most "autobiographical" songs by celebrities, somewhere between songwriting exercise and publicity stunt, because you don't cross over into pop and stay without some dating drama. What's left is slapdash: accurate-sounding candor spewed over a couple identikit country choruses, each piece well-crafted but only assemblable by a real-life happy ending. Which is the point, and the problem. [5]

Megan Harrington: Too much of my instant dislike of "Drinkin' Too Much" hinged on the preposterous way Sam Hunt apologized for (more or less) doxing his then ex-girlfriend, now fiancé Hannah Lee Fowler on his debut album Montevallo, only to turn around and close the song by singing her name. In case there were any straggler fans out there who hadn't quite put her identity together, I guess. It was incongruous in a way that grated on me until I realized that it was the perfect synecdoche for the song, one that indulges overwrought production as 40 as it was country and several different singing styles, including plain old talking. It's right there in the way he names her his first fan and then cheats on her, the way he dismisses her sisters as "matchmakers" but hopes her dad still prays for him. Real life is messy and filled with leaps forward followed by half-steps back, relationships are chaotic and confusing, and Hunt captures all of it, ending hopefully with a (sort of, he hopes) romantic pledge to win her back. And it (sort of, I think) worked? [7]

Crystal Leww: The first time I heard "Drinkin' Too Much," I did not like it. I did not like the 40-esque production, the sad sap lyrics, the way that Hunt called out his ex-girlfriend. Then I listened to the 8pm version, stripped of the production flourishes, and figured that it was just the production that was bugging me. The lyrics were sad, but they were so specific: peaches in Pelham, a hotel room in Arizona, and that devastating, heartbreaking "hope your dad still prays for me," a reminder that breakups are the deaths of families, too. I've never liked the comparisons to Drake -- Drake is someone who has clearly never been in an adult relationship with a real woman rather than a built-up image of a woman, but Montevallo and "Drinkin' Too Much" feel like they're about real adults who have genuinely loved each other and created lives together. I still like the 8pm version more, but I've come around on the full version. It's dramatic, but I appreciate the attempt to appeal to a broader audience, and it highlights that Hunt's lyricism shines through anything, even snaps and strings. [7]

Josh Langhoff: A prof used to tell us, "People who are sorry weep bitter tears." I don't buy Sam Hunt's sorrow. Nor do I buy that this song has a melody or a beat, that it has any connection to country or R&B, that this is the same Sam Hunt who did "House Party," or that picking peaches is anything but the pits. More schnapps! [3]

Katie Gill: Look, I'm sorry, I can't hate this. With the exception of that "I hope your dad still prays for me" bit, the verses are awful, not singing but the Sam Hunt Spoken Word Poetry Hour. They swing between endearingly hokey and the awful Nice Guy sort of patronizing that was the entirety of "Take Your Time." But the chorus is AMAZING. It's so silky and smooth, perfectly mixed, and Hunt shows that he has a halfway decent R&B(ish) voice. But the two never really meet. The transition between verse and chorus is awkward every time, as the buttery-smooth chorus butts up against the not very smooth speaking voice of Sam Hunt. [6]

Joshua Copperman: I keep singing this title to the tune of Twenty One Pilots' "Ride", attempting to remember what little melody this song has ("I've been drinking too much, help me..."). Until the bridge -- which would make a better chorus -- nothing is worth remembering: not the strings, not the drum machine, and especially not the single strum of guitar to signify that it's still country. What made "Marvin's Room" work was the honesty and subtextual self-loathing that Drake would spend the rest of his career distilling. This seems less stream-of-consciousness and more trying to write stream-of-consciousness, which rarely works as well and results in lines like "I wish you'd let me pay off your student loans." The dramatic piano ending makes clear Sam Hunt's lack of shame in copying Aubrey, but that just makes him sound even less authentic, even though the backstory contains more than enough drama for something genuine. [3]

Edward Okulicz: The first time I misheard the line as as "I'm sorry for making the album Montevallo," but this sketch wouldn't be a repudiation even if he were sorry for that. And it's really not that much more than a series of lyrical fragments and a chorus, but I find myself nodding along at some parts, and being frustrated at the lack of detail in others, and going to the "Personal life" details of his Wikipedia article to see the resolution. So that means it's fairly compelling for its limitations. [7]

[Read and comment on The Singles Jukebox ]

[oliver-in-retrograde]

4, 7, 16, 17, 24, 37, 43, 55

Wow I am actually really charmed someone asked anonymously, i dig the intrigue aha~I’m just gonna jump in and be incredibly honest.4. Who do you want out of your life the most? It’s kind of sad/funny really; the thing I want most out of life is to keep being/making friends with people who are incredibly nice, honest and that I trust completely. Ultimately, I want some financial security (I grew up poor and money is always a constant worry, but I’m also not very frugal) I want to buy my mom a house, and not have to worry so much about what we can afford. But even the friend thing takes precedence over that. It takes precedence over a dream job. I want complete and ultimate platonic love, always. I don’t personally have any investment in religion, but I am devout in friendship. I am the most home not in a place, but with a person and I’m very selective about where I plant my heart. I believe in true love, but I’ve only been in real love once and right now, I don’t see how a non-platonic love could ever compare to the platonic love I feel for my friends. I want to keep this love. (Ah I thought this said “what do you want most out of life”- two of my closest friends surpass everyone else except my mom, so I want to keep them. I trust them completely, with anything and everything, with my life.) 7. Who do you wish you could be honest with? Ah.. that is a difficult question. I have had this come up in a conversation recently. Part of growing up is seeing the facade shatter away and becoming aware of all the faults of your parents. My mom has been the one constant in my mildly traumatic life and we’ve both picked up certain tendencies and I am beginning to navigate away from them/grow while she is still stagnating. I am naturally a very honest person, even to a fault, and somehow very secretive. But if I am being honest… I wish things could be simpler. Sometimes I really just need my mom to have a bandaid for my cuts or a late night drive when I can’t sleep (which we still do), but I talk to her better driving than I do in the same room. Almost like a profile with music playing the background and time eating the road feels like it’s eating the miles between us. I’m tired of being a stranger in my own home, but we keep pretending I’m not. Sometimes I’m not, but the times that I am are heavier. Like a lead bar tied to a hundred helium balloons. I wish I could be honest with her, and have it not turn into a fight. 16. Describe your personal hell. I think about this often actually. I’m terrified of space and drowning, which are all a metaphor I have realized for both loneliness and a loss of my senses. Both are cold, dark voids with maximum potential for pain, either by density of pressure or something attacking me. That same density of pressure will cut off the ability to breathe, or touch (there’d be nothing but oppressive weight and no way to really orient oneself so the brain would essentially shut off and send signals that it feels nothing but emptiness), the silence would be deafening, sight would be endless darkness. That is my personal hell, which I guess ultimately is just dying alone. 17. What’s a hopeless dream you’re still holding on to? Falling in love with my “true love”. Which relates back to you first question. I can’t fathom someone knowing me as well as my friends and then also having romantic things ensue. I think, and have been told, I’m more in love with the idea of being in love. But that was a few years ago. Of all of them, falling in love is the one I hold the most loosely in my hand, still next to my ribcage, but I can’t quite bring myself to believe it will happen. I still have a lot to learn about what love is, I am learning.24. What’s the bravest you’ve ever felt? Oh gosh… would you believe me if I said I didn’t know? I don’t really consider myself a brave person. I think maybe applying to college, as dull as that this, that was a very big step for me. And one of my best friends encouraged me heavily to get me to, so this feels a bit like cheating aha~ But I’m glad he did, and that I did. I’m more grateful than he likely realizes. 37. What’s your relationship with religion like? ah how interesting lol, well I went to church with my mom a lot until I was around 7? When dad really voided from my life, despite the divorce 3 years earlier. I think there were a few more years of spontaneous church visits, but my mom stopped going for a few reasons. Actually it’s only recently I’ve realized how important religion is to her. I really like mythology, and I view religion like mythology. I believe in a higher power, I believe the universe provides us turning points, and I believe in something like god as a way to describe a feeling of immense awe, inspiration and a very euphoric feeling. I think back to something Evie from V for Vendetta says “God is in the rain.” Except I feel that way about music typically. So, I guess it’s complicated. I believe humans put too much stock in religion, we are capable of so much greatness, whether it’s good or bad, ultimately are the decisions/circumstances we make/must face. But I only believe in that feeling of “god” I mentioned. The way a human voice can carry a note is incredible to me, I can’t sing, and I never really wanted to learn myself. I was far more impressed by how other people could. But a refrain, the chorus of a choir, a resounding note that cuts through the space between the matter of my bones. That for me, is a godly moment, but not a moment I believe in God as an actual guy in the sky who gave his only son to save us from our sins and all that. As for paganism, that does appeal in a base way, my friend is a loose pagan, and I like how he responds to nature, I like that that same mindset speaks of my mother’s lost heritage and that appeals to me in a way the Godly religions never could. I have to answer 43 and 55 later alas I have to go get my eyes prodded and poked for contact lenses. But I’ll respond to these when I get back. I’m enjoying myself :3 43. Describe the kind of life you wish you’d been born into. Whoa this is actually a complex question... I think I’m actually ok with this life. I mean it’d be really cool to have been born an elf in a time of peace in LOTR, but I wonder if I’d be a good fighter in that life cuz I’m not in this one XD. I guess I just wish my moms life had allowed her more success both for her own fulfillment and for us to be even slightly more financially secure. But again that’s probably a pretty boring read. If my life hadn’t gone the way it is has, I wouldn’t be who I am, and I mostly like who I am. As for the things I don’t like about myself, well I like to hope I can change them. I wish really good vr was a thing, like where I could download my consciousness into a computer and just live a whole bunch of lives. I want to be an elf, I want to live a few different kind of lives in Victorian/Edwardian England, and about a hundred other things. I wish I’d been born in an alternate reality where after the last bad breakup/escape, my mom had succeeded in something, and I hadn’t been bullied so atrociously that she really had to be on standby in case something happened. I wish I had applied myself instead of shutting down and been taught the tools to navigate my mental health/trauma. *is actually incredibly boring* I wish I’d learned to fence (like with the rapiers) and speak multiple languages, I wish I could rock climb, that I wasn’t afraid of heights, I wish I’d been exposed to different cultures-like really immersed at a young age.  I wish I had the funds to throw myself into things like travelling to other countries and learning new things, and I wish I wasn’t afraid to try new things because I am always trying to calculate a potential pain guage and the risk factors. I wish I could leave my mom and travel/try living alone (if I even had the funds for that) and know she wasn’t going to starve/be homeless. Ultimately...I wish I’d been born with more freedom, taught more confidence and survival and lived my life with an equal amount of fun and purpose in a more green place, if not an actual forest, with an actually good and functional societal system. I was I was more wise and less quick to anger, I wish I had the potential now to be a good leader. The kind of king who marches on the front line with his army, but is fair and just and I guess beloved, because I would want my people to trust and love me and I would want to do everything to make sure they were safe and happy. So.. I wish I had been born into a life where I have more control.55. Have you ever taken revenge on someone? Hmm...I have considered it many times, but beyond calling a girl who tormented me in elementary school the “b” word, no I haven’t. I really wish I had called more people out on their bullying though, and learned to walk out loudly instead of slinking away between classes or like a kicked dog. I wish I had gotten into at least one physical fight (preferably before high school) I always wanted to do one of those coup de grace ones where there’s spray paint all over the halls of the school and just angry black marker scrawls of everything wrong they had done/said (basically an angsty art installation I guess), but I never had the guts or skills to pull something like that off. I’ve always been horrified at the mere thought of getting into trouble, so that deterred a lot, sadly most of which would have been me standing up for myself.

[thomasyirawala9-blog]

What You Must Learn about Pay out As You Own.

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Rose is actually pausing off his personal band, Gun 'n' Roses, if you want to relieve Johnson on the rest of AC/DC's Rock or Seizure Globe Tour, after the Australian tale was actually pushed to relinquish doing music permanently or even skin long-term hearing reduction. Our company should get up and also understand that our team must be in control of our very own serendipity, certainly not awaiting the government to bail us our or give our team a handout in the form of Social Safety benefits. It provides me a rest from my fast paced routine and also permits me opportunity to review the work I've done as well as the work I have to carry out in the future. Tina B. Tessina, Ph.D. If you liked this posting and you would like to obtain additional facts regarding mountains in england [original site] kindly stop by the site. is a qualified psychotherapist in S. California considering that 1978 along with over 30 years adventure in guidance individuals as well as couples and also author of 13 publications in 17 foreign languages, including It Ends With You: Mature as well as From Dysfunction; The Unofficial Guide to Dating Once more; Money, Sex as well as Little ones: Stop Battling Concerning the Three Factors That Can easily Wreck Your Marriage, The Commuter Marital relationship, and also her most recent, Affection Styles: How to Celebrate Your Variations. I satisfied this individual (29/12/1988) and also I am actually Women (6/9/1989) I have actually been seeing/sleeping along with, on as well as off for 4 years now between various other connections (that our experts each have actually possessed, we appear to constantly end up back with eachother after the relationships our team resided in deteroriate or cease operating. Our team were therefore honored to become capable to deliver a rest to A.G. and also her other half in January to celebrate their wedding ceremony anniversary.