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Best & Worst Singles of 2008:
Singles that made us crank it up, turn it down, and set our radios on fire...
Christine
The best: "Just Dance," Lady GaGa; "Whatever You Like," T.I.; and worst: "Damaged," Danity Kane; and "Burning Up," from those lovable wunderkids, The Jonas Brothers.
If there’s one word to describe the music landscape in 2008, it’s “dependable.” Top 40 staples like Rihanna, Chris Brown, Taylor Swift, Lil’ Wayne, the Pussycat Dolls, and Coldplay continued to dominate the charts with radio-friendly hits that were more safe than they were innovative. But 2008’s predictable trajectory had its surprising hiccups. Kanye West dropped his long-awaited ode to Auto-Tune, 808s & Heartbreak, to favourable reviews, while Beyoncé’s mammoth double disc, I Am…Sasha Fierce, continues to foreshadow her eventual spiral into eccentricity. And let’s not forget Britney Spears, who, after five years of promises, finally made her comeback with Circus.The big winner of the year was Rihanna, who produced hit after hit, not only for herself but also for Maroon 5 and T. I. Ex-Christian gospel singer Katy Perry also catapulted to fame with her summer hit, “I Kissed A Girl,” which was only slightly better than the slew of Disney-alumni albums that dominated the charts. 2008 also brought on new, critically acclaimed one-name acts like Adele, Estelle, and Duffy. The biggest surprise came from the resurgence of The New Kids on the Block, who created mass hysteria for a total of five minutes.
Last year’s big winner, Amy Winehouse, was noticeably absent, which goes to show you that there is a fine line between genius and just plain crazy. Here’s hoping that the rest of the acts in this list will keep their sanity, at least long enough to enjoy their fame. ¤ C.Ho.
THE BEST
"Love Lockdown," Kanye West
So Kanye West is not the greatest singer in the world. Heck, he’s not even the greatest singer in a room full of toddlers. But it still doesn’t stop “Love Lockdown” from being one of the best songs of his repertoire, let alone the year. West has always had an affinity for innovation and experimentation, and this is no different from the career-defining songs of his earlier works. This is the first song West has performed with absolutely no rapping – and surprisingly, it doesn’t suck. West is his biggest fan by far, but “Love Lockdown” truly deserves all the accolades it receives."No Air," Jordin Sparks and Chris Brown
This otherwise saccharine, clichéd love song gets a boost from Jordin Spark’s pristine vocals and Chris Brown’s mere presence. “No Air” is hardly a work of art, but on sheer composition alone, it strikes a chord. Sparks, especially, sounds stellar on this track and emotes better than most seasoned veterans. And then there’s Brown’s smooth vocals, which are only unmatched by the theatrics he displays in the music video. Unlike other high profile collaborations (ahem, “Hate That I Love You”), this one actually seems to fit."Just Dance," Lady GaGa
Arguably the biggest dance song of the summer, “Just Dance” became an overnight hit and precariously close to overplays beyond annoyance. (The same can be said of Lady GaGa’s wardrobe.) Still, the catchy, upbeat dance track, reminiscent of Ace of Base all grown up, is infectious. True, the song essentially lacks point or coherence, but you’ve got to love the missive of just dancing your troubles away."Closer," Ne-Yo
With “Closer,” Ne-Yo strays from his usually subdued R&B stylings to deliver his sexiest hit to date that seamlessly blends R&B, dance, and pop influences into one. From the initial chords to the beckoning chorus to the strong backing beat, “Closer” doesn’t lose speed at any point. The song also gets kudos for being hot without employing any of the usual sexual innuendo rampant in R&B – proving that it is, indeed, the year of the gentleman."Love In This Club," Usher featuring Young Jeezy
Although Usher’s follow-up to his chart-topping Confessions was lacking, to say the least, it did produce a smash hit, “Love In This Club.” The single is what you might expect from Usher – a long, drawn out intro, buttery smooth vocals, several references to being able to go all night – and it never sounded so good. The slow, sultry beats from mastermind producer Polow da Don only add to the mood of the song. This single successfully captures the trifecta of production, vocals, and lyrics, although the song could have done without Young Jeezy’s throaty rap, which has less to do with sexiness and more to do with creepiness."Let It Rock," Kevin Rudolf featuring Lil Wayne
As artists increasingly step out of their comfort zone to try out new genres or amalgamations of genres, there’s bound to be some hit-and-miss. And then there’s Kevin Rudolf, a relative unknown previously working behind the scenes, who turned the rock and hip-hop worlds on their heads with “Let It Rock.” The single is curious for its genre-swapping, and has been referred to everything from rock-pop to electropop to emo hip-hop. If there were any symbol for the song, a giant middle finger would be it (the opening lyrics alone are an effective damnation to anyone who’s ever wronged him). And yet, even as Rudolf spits out his incensed lyrics, you can’t help but tap your foot to it."Violet Hill," Coldplay
If there’s one thing Coldplay knows, it’s how to write songs that can lull people into a coma. That’s why “Violet Hill,” the first single from Viva la Vida or Death and All His Friends, is such a pleasant surprise: it neither induces spontaneous naps nor does it (thankfully) feature Martin’s infamous tinkling piano of emotions. Instead, “Violet Hill” is an up-tempo song with persistent drumming similar to a march, and a decidedly different rock slant for the band. Granted, the single is probably the most vague anti-war song to be ever written, but it does possess a beguiling melody and points to a long awaited new direction for the band."Keeps Gettin' Better," Christina Aguilera
Poor Christina. Try as she might, she never seems to get a break on the charts, especially as far as Britney Spears is concerned. But regardless of chart hits, Aguilera is no stranger on how to write a good pop hit, and she gets it right with “Keeps Gettin’ Better.” This dance-pop tune is seeping with richly deserved attitude, and Aguilera reigns in her powerhouse voice just enough to complement the buoyant, electronic tempo. The single not only serves as a swan song to Aguilera’s career, but also as a reminder that she’s only getting better with time."American Boy," Estelle featuring Kanye West
Why is “American Boy” such a likable song? For starters, this elegy to the allure of American boys is sung by super cute British R&B artist Estelle, whose light-as-feather voice matches the playful lyrics to a tee. Secondly, it features Kanye West, who, for once, actually seems to be having fun guesting on the song. Thirdly, it’s produced by will.i.am, who deserves kudos for finally getting a clue and dropping the pretenses. And lastly, it’s the danceable backing track that makes this song so damn irresistible.“Whatever You Like” / “Live Your Life,” T.I.
Despite the career ups and downs, which included controversy, violence, and the occasional feud, T. I. came back with a vengeance in 2008 with two great and distinctive tracks. “Whatever You Like” may be fluff and make you want to take a hot shower after a few listens, but it doesn’t stop it from being a carefully crafted song that aims to move you in your seat. And then there’s “Live Your Life” with Rihanna, a sincere confession of sorts set to the incredibly hypnotic “Numa Numa” song. Who knew that two felony charges could suddenly make you a deep artist, but there you go.THE WORST
"I Kissed A Girl," Katy Perry
Debatably the summer song of 2008, “I Kissed A Girl” was a curious mix of catchy rock beats and faux-lesbian lyrics that amounted to very little in the end. On one hand, Perry expounds on the irresistible allure of women, and on the other hand, she proclaims that it’s purely experimental. There’s nothing to suggest that this song should be taken seriously in any extent, but its flagrant facetiousness – all in the name of the mighty dollar – is a little distasteful, to say the least."Spotlight," Jennifer Hudson
Like so many before her, Hudson went from sitting in the loser’s circle at “American Idol” to becoming a household name upon departing the show. Equipped with a set of pipes like no other, she wowed audiences in Dreamgirls and made a decent sidekick in the Sex and the City movie. That’s why it’s hard to believe that someone with so much talent would be saddled with a sluggish song like “Spotlight,” which is neither fun nor memorable. “Spotlight” sounds much too old of a song for a young, playful soul like Hudson, who could truly benefit from some of Beyoncé’s writers."The Time of My Life," David Cook
Very seldom does an “American Idol” winner get a swan song that’s good. And in David Cook’s case, he seems to have gotten the worst of the lot. Saccharine, boring, and countering most of Cook’s own musical sensibilities, “The Time of My Life” is nothing more than a gaping hole in an otherwise decent resume."All Summer Long," Kid Rock
Debatably the second biggest summer song of 2008, Kid Rock’s ode to the innocent summers of yesteryear borrowed heavily from top 40 hits by Lynyrd Skynyrd ("Sweet Home Alabama") and Warren Zevon ("Werewolves of London”) – which explains why the catchy song became a number one hit in many countries. The song is not inherently bad by any means and actually turns out to be quite sweet in its call to more idyllic times. But ultimately, Kid Rock’s aw-shucks turnaround seems more fabricated than genuine."So What," Pink
I’ve always loved Pink’s ability to turn anger into art, but her first single from Funhouse, “So What,” seems to be pushing the envelope of bitterness in a very deliberate way. Gone is the introspection from Missundaztood. Instead, we get loud, obnoxious, and somewhat juvenile. As the first outing from her album, “So What” is less masterpiece than it is a caricature of Pink’s former self.“Burnin' Up,” Jonas Brothers
I’m not sure what perplexes me more: the tinny, sharp voices of these barely pubescent boys as they reach the climax of this pop song, the clichéd lyrics that read like bad pick-up lines (“baby, who turned the temperature hotter, ‘cause I'm burnin' up, burnin' up for you baby”), the gratuitous rap interlude by their bodyguard (who’s next, the dog walker?), or the fact that Time Magazine named this as one of the best songs of 2008. But what isn’t perplexing is the Jonas’ commercial appeal, which is sorely inflated when compared to their songwriting prowess.“Never Too Late,” Hedley
The sentiment is commendable, but the execution is all wrong – from the sing-song melody to the affected vocal stylings of lead singer Jacob Hoggard (seriously, is he set on anything else besides “whiny”?) to the random laughing at the end of the track, “Never Too Late” is like nails on a chalkboard. And to top it all off, the video’s parody of Duran Duran’s “Rio” is admirable but ultimately not as funny as the band would like to think.“Damaged,” Danity Kane
If you listen to the repertoire of Danity Kane’s work, the group unfortunately comes across like a cheap knock-off of The Pussycat Dolls (a feat in itself), and no amount of pop produced by P. Diddy can mask that fact. “Damaged” plays like a mish-mash of musical conventions that we’ve come to expect from light dance music, except not nearly as good as some other acts out there. Danity Kane should take a page from The Pussycat Dolls and refrain from using a roundtable, democratic approach to verse distribution (especially when it adds nothing to the song), or at least abstain from oversinging at every interlude.“Gotta Be Somebody,” Nickelback
Nickelback is like the Coke of rock music: you can change the packaging, but the contents remain the same. Unfortunately for Nickelback, the music is not quite as yummy as Coke, but it does often regurgitate itself. “Gotta Be Somebody” sounds exactly like every other song Nickelback’s released since 2003. If there’s one thing that the band is good at, it’s at aiming for mediocre consistency.“Dangerous,” Kardinal Offishall featuring Akon
I don’t know when Kardinal Offishall and Akon became BFFs, and I’m kind of happy for their newfound friendship, but sometimes it’s true what they say about mixing friends and business. This innocuous track is lackluster hip-hop at best and monotonous producing in the least, which is disappointing when compared to their other, far superior collaboration of “Beautiful.”
[ Michelle's list. Part II of the best and worst. ]