The song at #11 on my list of 100 Best Songs of the 2010s is the poignant “Need You Now” by Nashville-based Country band Lady Antebellum, who changed their name to Lady A this past summer in response to nationwide protests over the police killing of George Floyd. (That name change subsequently led to further controversy, as there was already another artist, Seattle-based African American activist and blues, soul, funk, and gospel singer Anita White, who’d been using the moniker “Lady A” for over 20 years. She and the band have sued each other over the use of the name; both cases have yet to be resolved.) Formed in 2006, the band is comprised of Hillary Scott on lead vocals, Charles Kelley on guitar and co-lead vocals, and Dave Harwood on guitar, piano, mandolin and backing vocals.
I haven’t cared for very many country songs in recent years, however, I love “Need You Now” and it was my favorite song of 2010. The song contains strong pop elements, so it can be argued it’s more pop than country, which might explain why I like it so much. The stunning and bittersweet song was first released as a single and title track from their second studio album Need You Now in August 2009, and went to the top of the Billboard Hot Country Songs chart that December. It became so popular that it crossed over to the pop charts in early 2010, going all the way to #1 on the Adult Top 40 and Adult Contemporary charts, and #2 on the Hot 100. “Need You Now” won four Grammys in 2011, including for Record and Song of the Year.
The song’s arrangement and instrumentation are exquisite, especially the somber piano keys and mournful slide guitar that really tug at our heartstrings. The highly relatable lyrics, beautifully sung by vocalists Hillary Scott and Charles Kelley, describe making a phone call to a former lover in the middle of the night out of loneliness and longing for companionship: “And I wonder if I ever cross your mind / For me it happens all the time / It’s a quarter after one / I’m a little drunk and I need you now / Said I wouldn’t call, but I lost all control and I need you now.” The line “Guess I’d rather hurt than feel nothin’ at all” really sums up the sometimes painful conundrum of love, relationships and life.
The song at #12 on my list of 100 Best Songs of the 2010s is “Dark Necessities” by Red Hot Chili Peppers. The Los Angeles-based funk-rock band have been making great music for more than 35 years, racking up scores of hits. They formed in 1983 while the four original members – singer Anthony Kiedis, guitarist Hillel Slovak, bassist Flea, and drummer Jack Irons – were students at Fairfax High School. Sadly, Slovak died of a heroin overdose in 1988 and Irons, devastated over Slovak’s death, left the band, and would later become a member of Pearl Jam. By the time “Dark Necessities” and its album The Getaway were recorded, the band consisted of founding members Kiedis and Flea, as well as Josh Klinghoffer on guitar and Chad Smith on drums.
Red Hot Chili Peppers in 2016
Thirteen of their songs have reached #1 on the Billboard Alternative chart, more than any other artist in the chart’s 31-year history. I love many of their songs, but my favorite of them all is “Dark Necessities”, from their 11th studio album The Getaway. I think it’s their greatest song yet and a real masterpiece. The band teamed up with Brian Burton aka Danger Mouse for the writing and production of the song and album, and say what you will about the use of more complex melodies and instrumentation, but I love it. Flea’s wonderful opening bass riff, the vibrant piano keys, and Josh Klinghoffer’s layered funky guitars are all drop-dead gorgeous, and I especially love the repeated “aah aah” in the backing chorus. The song was released in May 2016, and became their 13th #1 hit on both the Alternative and Adult Alternative charts.
In a video interview for the band’s YouTube channel, lead singer Anthony Kiedis explained that the song “speaks to the beauty of our dark sides and how much creativity and growth and light actually comes out of those difficult struggles that we have on the inside of our heads that no one else can see.” He added that the song meant a lot to Burton and it was one of his favorites on the album. Mine too! The meaningful lyrics show a real maturation of The Red Hot Chili Peppers sound, which is totally appropriate for a band whose members by then were in their late 40s to early 50s.
Coming on to the light of day We got many moons that are deep at play So I keep an eye on the shadow smile To see what it has to say
You and I both know Everything must go away What do you say?
Spinning Knot that is on my heart Is like a bit of light in a touch of dark You got sneak attack from the zodiac But I see your fire spark
Eat the breeze and go Blow by blow and go away What do you say?
Yeah
You don’t know my mind You don’t know my kind Dark necessities are part of my design And tell the world that I’m falling from the sky Dark necessities are part of my design
Stumble down to the parking lot You got no time for the afterthought They’re like ice cream for an astronaut Well, that’s me looking for we
Turn the corner and Find the world at your command Playing the hand
Yeah
You don’t know my mind You don’t know my kind Dark necessities are part of my design Tell the world that I’m falling from the sky Dark necessities are part of my design
Do you want this love of mine? Darkness helps us all to shine Do you want it? Do you want it now?
Do you want it all the time? But darkness helps us all to shine Do you want it? Do you want it now?
Pick you up like a paper back With the track record of a maniac So I move it in and we unpack It’s the same as yesterday
Any way we roll Everything must go away What do you say?
Yeah
You don’t know my mind You don’t know my kind Dark necessities are part of my design Tell the world that I’m falling from the sky Dark necessities are part of my design
The official video was directed by actress Olivia Wilde and filmed by Chris Blauvelt, and features four female long boarders (Carmen Shafer, Amanda Caloia, Amanda Powell, and Noelle Mulligan) skating around various locations in Los Angeles, interspersed with humorous scenes of the band acting silly and playing the song.
The song at #13 on my list of 100 Best Songs of the 2010s is “Tongue Tied” by alternative rock band Grouplove. I love this song with a passion. It’s an exhilarating synth pop song that fills me with strong feelings of euphoria, like a kid jumping up and down on a bed at a slumber party. So it was a surprise to discover in researching about the song that it was widely panned by music critics upon its release. A lot of music critics make me sick. They’re so smug, self-impressed and full of shit. OK, now that I’ve got that off my chest, let me say that I think “Tongue Tied” is absolutely wonderful, and one of the best songs of the 2010s. Despite its mixed to poor reviews, the song went all the way to #1 on the Billboard Alternative chart, where it ended up as the #2 song of 2012. It peaked at #42 on the Hot 100.
Grouplove’s music is fun, quirky and infectious, and always a joy to listen to, even their downtempo songs. Now based in Los Angeles (where a third of the artists and bands with songs on this list seem to also reside), they formed in 2009 after meeting on the island of Crete. Hannah Hooper (vocals, keyboards) and Christian Zucconi (vocals, guitar) actually first met in New York City, then traveled to Crete to attend an artist residency program, where they met the other three founding members – London-born songwriter and guitarist Sean Gadd, Los Angeles pro surfer and musician Andrew Wessen, and his childhood friend drummer Ryan Rabin, who’s the son of former Yes guitarist Trevor Rabin. (Gann and Rabin later left the band, and have been replaced by Daniel Gleason on bass and Benjamin Homola on drums.)
“Tongue Tied” is from their debut album Never Trust a Happy Song, and was released in September 2011. It starts off with a sweet guitar riff that sounds kind of like a ukelele or banjo, then explodes into a cacophony of exuberant synths, deep bass, smashing drums and a boisterous chorus of cheers that set the stage for the adventure about to unfold as they head to a party. Singers Hannah Hooper and Christian Zucconi wail “Take me to your best friend’s house / Go around this roundabout Oh yeah / Take me to your best friend’s house / I loved you then and I love you now Oh yeah / Don’t leave me tongue tied / Don’t wave no goodbye Don’t… / Right!” By song’s end, I’m left feeling happy, and isn’t that one of the greatest things a good song has to offer?
The song at #14 on my list of 100 Best Songs of the 2010s is the brilliant “Do I Wanna Know?” by British rock band Arctic Monkeys. They’ve had quite a musical journey since forming in 2002, while still in their teens living in Sheffield, England. They’ve released six studio albums, won seven Brit Awards, been nominated for five Grammy Awards, played numerous music festivals, including twice headlining at Glastonbury, and performed at the opening ceremony of the London Summer Olympics in 2012. The band consists of the dangerously charismatic Alex Turner (lead vocals, guitar, keyboards), Jamie Cook (guitar, keyboards), Nick O’Malley (bass guitar, backing vocals), and Matt Helders (drums, backing vocals)
“Do I Wanna Know?” is from their fifth album AM, which received widespread acclaim from both music critics and fans upon its release in 2013. The album was partly recorded in the town of Joshua Tree, in the Mojave Desert not far from where I live in Palm Springs, with contributions by area native and Queens of the Stone Age front man Josh Homme. “Do I Wanna Know” has a moody, psychedelic/stoner rock vibe, with a dominant thumping drumbeat and accompanying bass line forming the track’s mesmerizing rhythmic foundation. But the real highlight is Alex Turner’s spectacular shimmery guitar work, courtesy of his Vox Starstream 12-string electric guitar, which produces a richer, more ringing tone than a standard six-string guitar. (Wikipedia) In December 2019, the song was ranked No. 3 on Guitar World‘s list of the 20 best guitar riffs of the decade.
The clever and cheeky lyrics speak of uncertainty and doubt as to whether the object of one’s affection shares your feelings, leaving you wondering if you really want to know the truth. But in the end, you always end up going back for more. The interplay between Turner’s sultry croons and the falsetto backing vocals is exquisite. The magnificent song is the band’s biggest hit, spending 10 weeks at #1 and a total of 58 weeks on the Billboard Alternative chart, where it was also named the top song of 2014. It’s also their only song to chart on the ridiculous Hot 100, where it peaked at #70.
Have you got colour in your cheeks? Do you ever get that fear that you can’t shift The type that sticks around like summat in your teeth? Are there some aces up your sleeve? Have you no idea that you’re in deep? I dreamt about you nearly every night this week How many secrets can you keep? ‘Cause there’s this tune I found that makes me think of you somehow and I play it on repeat Until I fall asleep Spilling drinks on my settee
(Do I wanna know?) If this feeling flows both ways? (Sad to see you go) Was sort of hoping that you’d stay (Baby, we both know) That the nights were mainly made for saying things that you can’t say tomorrow day
Crawling back to you
Ever thought of calling when you’ve had a few? ‘Cause I always do Maybe I’m too busy being yours to fall for somebody new Now I’ve thought it through
Crawling back to you
So have you got the guts? Been wondering if your heart’s still open and if so I wanna know what time it shuts Simmer down and pucker up I’m sorry to interrupt. It’s just I’m constantly on the cusp of trying to kiss you I don’t know if you feel the same as I do But we could be together if you wanted to
(Do I wanna know?) If this feeling flows both ways? (Sad to see you go) Was sort of hoping that you’d stay (Baby, we both know) That the nights were mainly made for saying things that you can’t say tomorrow day
Crawling back to you (crawling back to you)
Ever thought of calling when you’ve had a few? (you’ve had a few) ‘Cause I always do (’cause I always do) Maybe I’m too (maybe I’m too busy) busy being yours to fall for somebody new Now I’ve thought it through
Crawling back to you
(Do I wanna know?) If this feeling flows both ways? (Sad to see you go) Was sort of hoping that you’d stay (Baby, we both know) That the nights were mainly made for saying things that you can’t say tomorrow day
The imaginative animated video for the song was directed by David Wilson, in conjunction with British animation agency Blinkink, and has been viewed over 1 billion times.
The song at #15 on my list of 100 Best Songs of the 2010s is “Broken” by Los Angeles-based indie pop group lovelytheband. Formed in 2016, the band consists of vocalist Mitchy Collins, guitarist Jordan Greenwald, and drummer Sam Price. One of the catchiest earworms of 2018, “Broken” was the band’s debut single and breakout hit, spending nine weeks at #1 on Billboard‘s Alternative chart, as well as reaching #1 on the Adult Top 40 chart and #29 on the Hot 100. The song actually came out in 2017 as an exclusive release to Billboard that April, but didn’t chart until the beginning of 2018. It ended up being the #1 song of 2018 on the Alternative chart, and was my personal pick for top song of the year as well. “Broken” also holds the current record for the longest time spent on that chart – an eye-popping 76 weeks!
Written by Collins after his breakup with Danielle Bouchard, who was also a member of his former band Oh Honey, the song speaks to the idea that everyone’s flawed and has problems, and of finding someone who’s just as fucked up and lost as you, and trying to make a go of it. He told Billboard “We all have our demons we fight every day. It’s about finding someone whose problems complement yours. Perfectly imperfect. Everyone is a little broken inside, trying to find their band aid. This song is an ode to the broken ones.”
I love the chirpy synths, intricate guitars and powerful driving beat, as well as Collins’ irresistible, quirky vocals that had me listening to the song over and over. The official video brings the song’s lyrics to life with an endearing charm.
I like that you’re broken Broken like me Maybe that makes me a fool I like that you’re lonely Lonely like me I could be lonely with you
I met you late night, at a party Some trust fund baby’s Brooklyn loft By the bathroom, you said let’s talk But my confidence is wearing off
These aren’t my people These aren’t my friends She grabbed my face and That’s when she said
I like that you’re broken Broken like me Maybe that makes me a fool I like that you’re lonely Lonely like me I could be lonely with you
There’s something tragic, but almost pure Think I could love you, but I’m not sure There’s something wholesome, there’s something sweet Tucked in your eyes that I’d love to meet
These aren’t my people These aren’t my friends She grabbed my face and That’s when she said
I like that you’re broken Broken like me Maybe that makes me a fool I like that you’re lonely Lonely like me I could be lonely with you
Life is not a love song that we like We’re all broken pieces floating by Life is not a love song we can try To fix our broken pieces one at a time
The song at #16 on my list of 100 Best Songs of the 2010s is the beautiful “Sit Next to Me” by Los Angeles-based alternative pop-rock band Foster the People. Their third song on this list – “Coming of Age” appears at #65, and “Pumped Up Kicks” at #23 – it’s my favorite of their many wonderful songs. The third single from their third album Sacred Hearts Club, “Sit Next to Me” was released in July 2017 and was a sleeper hit. It debuted on the Billboard Alternative chart that September, and slowly climbed until peaking at #3 in early 2018, then remained on the chart until September 2018! It peaked at only #42 on the Hot 100 in the spring of 2018, but was ranked as the #2 song of 2018 on the Alternative chart. It reached #1 on my Weekly Top 30 at the end of 2017, but remained on my chart for many weeks well into 2018 too. I never tired of hearing it, and my Spotify Wrapped report for 2018 showed that it was my most-streamed song that year.
Isom Innis, Mark Foster, Mark Pontius & Sean Cimino
Song intros are important in setting the tone for a song, and “Sit Next to Me” has one of the most enthralling openings of any song I’ve ever heard, immediately hooking me in. It starts with a delicate shimmery synth and Mark Foster’s ethereal vocal, then opens into a breezy ballad loaded with gorgeous sweeping synths, subtle guitar and Mark Pontius’ perfect drumbeats. I love Foster’s vulnerable vocal style that includes lots of soaring falsettos and beautiful harmonic choruses.
The song was inspired by his time spent in the L.A. bar scene. Foster explained in an interview with Rolling Stone: “Everyone was trying to look cool, say the right thing and be at the center of the universe. It was like a fashion show. In that environment, I felt alone in a room packed with people. I kept waiting for someone authentic to come walk through the door and sit next to me.” About the song’s slow rise and longevity, he stated: “I’m just kinda shocked. It’s kind of crazy to me that it’s been on the radio for so long and it keeps continuing to grow. I guess it’s a sleeper.”
This past April, I wrote a feature article about Brooklyn-based artist Jonny Polonsky, along with a review of his marvelous album Kingdom of Sleep, which you can read here. An accomplished singer-songwriter, producer and multi-instrumentalist, he’s been actively involved in the music industry for over a quarter century, both as a solo artist and as a session musician and/or member of a number of bands, including Big Nose (with Audioslave/Rage Against the Machine drummer Brad Wilk and bassist Tim Commerford) and Puscifer. On November 13, Jonny returned with his eighth album Power and Greed and Money and Sex and Death, featuring eight songs touching on the good, the bad and the ugly of this thing called life. He wrote, arranged, recorded, produced and engineered the album at home during the pandemic lockdown in Spring and Summer 2020. Mixing was done by Mike Tholen and mastering by Dave Collins.
The album kicks off with “Electric Tears“, a foot-stomping psychedelic rocker that seems to touch on the vow “til death do us part”. With lyrics like “To the sound of thunder we’re torn asunder / O, Dulcinea! So sweet the vulture / The main offender, the plane descender / We fall together and live forever!“, I’m guessing the two lovers are about to perish in a plane crash, confirming their love for each other. On the timely and topical “In Between Worlds“, Jonny lobs a scathing attack on racism and bigotry, and those afraid or unable to accept that America continues to evolve, both socially and demographically: “I think your thinking is deranged / I see the sadness in your soul /Morbid, bent /And strange how you still fail to see that these changing times are not your enemy.” In the terrific video, he plays both a TV newsman reporting the news and a musician performing the song on a television show stage, accompanied by footage of street protests and a defeated-looking Trump. Musically, the song has an urgent, piano-driven melody, with gnarly guitars, organ and dark synths. The piano work is especially good here.
“Imitation Life” is a lively power pop gem, with a strong driving beat and wonderful jangly guitars that give the song a retro 60s sound. Jonny admonishes another to let go of phoniness and superficiality, and live her truth: “Sad eyes, you shouldn’t waste your time / Realize, this is no imitation life. You’re alive.” One of my favorite tracks on the album is “Summer Soldiers“, a melodic tune featuring lovely vocals by singer-songwriter and former member of the Go-Go’s Jane Wiedlin. The song’s uplifting lyrics seem to be telling us not to let others define us, nor keep us from living our full potential: “Don’t let ’em lay you down and roll you out / And when you’re alone and don’t know who to trust / Tempted to self destruct / Discarded and left to rust.” The song starts off with a brief snippet of Little Richard’s hysterical laughter, then settles into a pleasing mid-tempo beat, with enchanting spacy synths, shimmery keyboards and crisp percussion. I really like how Jonny and Jane’s vocals are in perfect harmony.
On the brooding “Under Your Spell“, Jonny uses sweeping industrial synths and beautiful distorted guitars to create a haunting cinematic soundscape that gives the song a bit of a David Bowie vibe. He has an unusual vocal style that’s both raspy and breathy, which he uses to great effect on this track. The lyrics speak to him having fallen for someone who seems to be emotionally unavailable, insecure and afraid of revealing their true self: “How’d you end up on the inside? How do you know me so well? With your eyes on fire and your coat made of eagle, now I’m under your spell.” Another standout track for me is “Completely Surrounded by Love“, with its gorgeous blend of twangy and jangly guitars that give the song a folk-rock feel. The song seems to be a thank you to someone who helped him overcome his personal demons through their love and devotion: “I was afraid, so afraid of my own mind / I believed in you / I couldn’t think for my own self / But I know I am completely surrounded by love.“
Jonny saves the best for last with the stunning and bittersweet “Where the Sunset Sets“. Starting with an achingly beautiful melody, he layers shimmery keyboards, chiming guitars and airy synths to create a breathtaking atmospheric soundscape. His vocals are deeply heartfelt as he sings to someone who seems to be slipping away, possibly from dementia or even on the verge of their death: “And everything that had binded me to you, just leaves you sad and confounded / What once had been a folie a deux, is just a memory you detest. Your name, it doesn’t matter / Your face, you will soon forget / Our eyes, beaming into one another / Leave a trace in anyone you’ve ever met .” The seven-minute-long song has an epic and cinematic quality, and is my favorite track on the album.
Power and Greed and Money and Sex and Death is a wonderful album that gets better with each listen. I like how Jonny keeps things sounding fresh and varied by using different music styles, tempos and sounds on each track, and as always, the production values and arrangements are first-rate.
Jonny will be releasing a deluxe 12-inch vinyl version of the album, pressed on transparent red vinyl, with a full color cover and lyric insert with photos, and including a 16.5″x23″ fold out poster and free digital download card. Purchase of this deluxe album includes unlimited streaming of Power and Greed and Money and Sex and Death via the free Bandcamp app, plus high-quality download in MP3, FLAC and more. Shipping is anticipated on or around February 1, 2021.
The song at #17 on my list of 100 Best Songs of the 2010s is “Come a Little Closer” by Cage the Elephant. The third song by the Nashville band on this list (“Trouble” ranks at #78 and “Social Cues” at #30), “Come a Little Closer” is my favorite song by them. Released in August 2013, the song is from their superb third album Melophobia, and was a huge hit on the Billboard Alternative and Adult Alternative charts, spending many weeks at #1 on both.
Though the word “melophobia” literally means “fear of music”, in an interview with American Songwriter, band front man Matt Schultz said “it wasn’t necessarily an actual fear of music, but a fear of making music to project premeditated images of self rather than being an honest communicator.” The band essentially wanted to go outside their comfort zone with the album. He was inspired to write “Come a Little Closer” one morning after watching the sunrise from his hotel room in Sao Paulo. As he looked out over the favelas, he wondered what each soul living within those crowded neighborhoods felt, whether it be heartache, love, loss or joy, and decided to write a song about the concept of looking at things more closely.
Musically, the song is a magnificent psychedelic trip, with endless melodic twists and turns that keep us on the edge of our seats, wondering what’s coming next. The instrumentals are fantastic, with a wonderful bass line and highlighted by an intriguing surf guitar that erupts into a wailing barrage in the choruses, with Shultz fervently urging us “Come a little closer, then you’ll see. Come on, come on, come on“. The wonderful psychedelic video, which was conceived and directed by Matt Schultz, shows the band on a sort of magical mystery tour, performing and traveling amidst a colorful and surreal animated world filled with monsters and wild animals.
The song at #18 on my list of 100 Best Songs of the 2010s is “I Feel Like I’m Drowning” by Two Feet. I was blown away the moment I first heard the dark and sultry song in early spring 2018, and quickly became a devoted fan of the New York City-based singer-songwriter and producer. Born Zachary William “Bill” Dess, he’s one of the finest blues guitarists making music today, in my opinion. His incredible guitar work, combined with his seductive yet vulnerable vocals, make for music that’s both affecting and appealing. His songs are slow burns, characterized by soulful, smoldering vocals, intense, bluesy riffs, cool jazz and hip-hop undertones, and booming synth bass grooves that cut straight to our cores. He also writes brutally honest and compelling lyrics that deeply resonate with his fans. As another writer so beautifully stated: “his songs are the soundtrack for staying up late into the night, aching to figure out how to remedy heartbreak, anxiety, and uncertainty.”
Two Feet records and performs his music with the assistance of his longtime keyboardist/drummer Geoffrey Hufford (aka Huff), who is adept at delivering the deep, floor-rattling synthesized bass that gives his music such incredible power and depth. He first gained notoriety in 2017 when the video for his first single “Go Fuck Yourself” went viral. “I Feel Like I’m Drowning” is about drowning in a toxic relationship, but could have also described his own mental state during the summer of 2018 as the pressures of fame and professional commitments took their toll on his emotional well-being. The song was later included on his debut album A 20 Something Fuck, and reached #1 on the Billboard Alternative chart.
You keep dreaming and dark scheming Yeah, you do You’re a poison and I know that is the truth All my friends think you’re vicious And they say you’re suspicious You keep dreaming and dark scheming Yeah, you do
I feel like I’m drowning (I’m drowning) You’re holding me down and (holding me down) You’re killing me slow (so slow, oh no) I feel like I’m drowning (I’m drowning)
You’re so plastic and that’s tragic Just for you I don’t know what the hell you gonna do When your looks start depleting And your friends all start leaving You’re so plastic and that’s tragic Just for you
I feel like I’m drowning (I’m drowning) You’re holding me down and (holding me down) You’re killing me slow (so slow, oh no) I feel like I’m drowning (I’m drowning)
(My life’s okay) Yeah, just when you’re not around me (My life’s okay) Just when you’re not around me (My life’s okay) Just when you’re not around me (My life’s okay)
I feel like I’m drowning (I’m drowning) You’re holding me down and (holding me down) You’re killing me slow (so slow, oh no) I feel like I’m drowning (I’m drowning)
The erotic black and white video for the song was directed by fellow musician Absofacto and produced by Alexander Norton.
I had the pleasure of seeing Two Feet perform in Los Angeles in November 2018 (you can read my review of that concert here).
ECLECTIC MUSIC LOVER 