Beneath it all, there’s a romantic ripple, too, as a relationship that seemed casual and disposable is revealed, almost shyly, to mean something more. Listen closely, and “Chanel” also reveals itself to be a meditation on masculinity, one that alternately embraces it, subverts it, and points out its absurdity. It’s all about Frank and the places his words can take you: a heated swimming pool in the hills, a Tokyo back alley, the first-class lounge at the Delta terminal. The piano chords are simple and translucent the beat ambles casually. There isn’t much to it in terms of melody or structure. “Chanel” is the first and best of them, capturing an artist in total command of his faculties as a singer, writer, and rapper. Listen: J Balvin / Willy William, “Mi Gente (Remix)” Īfter releasing Blonde in 2016, Frank Ocean spent the next year trickling out a series of singles that built upon that album’s fluid confidence. It remains a testament to pop music’s ability to push back against growing neo-nationalist fervor-there was no border, no wall, that could keep people from coming together and loving this song. Aided on the remix by Beyoncé, who audaciously tackles Spanish and ups the diva ante, “Mi Gente” became the first all-Spanish song to reach the top of Spotify’s Global Top 50 chart. His lines like “el mundo nos quiere” (“the world wants us”) transform the song into a universal call to the dancefloor, an embrace of solidarity and unification at a time of enormous worldwide polarization. No wonder “Mi Gente” was such a global, cross-culture sensation.īalvin worked with William to reinvent the source material, adding Spanish lyrics, chants, and ferocious Latin percussion. Much of what makes Colombian singer J Balvin’s “Mi Gente” sizzle-that audacious drumbeat, that insistent five-note vocal melody-is lifted from Mauritian-French singer Willy William’s 2017 track “Voodoo Song,” which itself reinterprets a sample from the Indian composer Akassh. J Balvin / Willy William: “Mi Gente (Remix)” (2017) But his actual relationship to such sources could be hard to read: Was Maus poking fun at music’s power to manufacture an emotional response, like when we find ourselves crying in the middle of a commercial, or celebrating its potential to offer us a fleeting moment of ecstasy, a glimpse of a world that is better than our own? Arriving at the end of 2011’s We Must Be the Pitiless Censors of Ourselves with the cathartic finality of perfectly curated exit music, this song-with its glittering harpsichord arpeggios, briskly pulsing bass, and grandiose allusions to borderless love-is the closest Maus has ever come to being a true believer. Hear most of Bob Marley’s 50 Greatest Songs on Spotify.Like many of his lo-fi pop contemporaries in the early ’10s, reclusive Midwesterner John Maus pushed underground music forward by looking backward-rejecting digital studio techniques in favor of old drum machines and wonky synths, excavating the dramatic excesses of ’80s stadium pop and sentimental radio jingles as though they held clues to some hard-to-pinpoint generational subconscious. “His melodies take up a resonance in our minds, in our lives, and that can provide admission to the songs’ meanings… He was the master of mellifluent insurgency.” “Marley sang about tyranny and anger, about brutality and apocalypse, in enticing tones, not dissonant ones,” Mikal Gilmore wrote in 2005. His songs of freedom have become universal hymns. His artistic fearlessness and social commitment remain an inspiration to activists, musical and otherwise. He is a cornerstone of 21st-century music, covered by countless singers, sampled and quoted by just as many hip-hop acts whose artistic DNA is shaped profoundly by the Jamaican music Marley defined. Marley’s stature and influence as a singer, songwriter, and international pop-culture prophet have only grown since those words were written. But, in fact, he was a man with deep religious and political sentiments who rose from destitution to become one of the most influential music figures in the last 20 years.” In the 1981 Rolling Stone obituary, Bob Marley biographer Timothy White wrote, “The pervasive image of Bob Marley is that of a gleeful Rasta with a croissant-sized spliff clenched in his teeth, stoned silly and without a care in the world. It’s being republished in honor of what would have been Bob Marley’s 75th birthday, February 6th, 2020. This list was originally published March 28th, 2014.
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