2012 Songs of The Year

*Note: I'm going to try something a little different this year. This is a post that will be constantly updated throughout the month in a countdown format. Each day that a song is revealed, I will post the link on here and explain a bit about that particular track.

*Second note: This will apply to all "of the year" posts going forward. My criteria for these selections were my favorites + what I feel truly resembled the best. I say that because there is NO WAY that I could get to all the music that was released in the year so chances are your favorite song/album/artist might be left out (unless we have the same music tastes, then that should be covered).

And with that, let's get to the songs:

#1. Jack White - Sixteen Saltines

I’ll admit - this one even surprises me. But after the soft “Love Interruption” I began to become disinterested in Jack White’s solo effort. Then I heard "Sixteen Saltines." Then proceeded to hear it about 200 more times throughout the year. It was a big radio single on the station I listen to and an instant volume pusher in the “up” direction. Why did it get the top spot? Because at the end of the day, I have a rock and roll heart and this is a damn good rock and roll song.

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#2. Sleigh Bells - "Demons"

You know those songs that you instantly fall in love with the first time you hear them? That happened for me the first time I clicked play on “Demons.” It takes everything about the over-popular electronic sound of today and combines it with the blistering jean-jacket-metal sound of the 80s. It’s loud. And it’s great.

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#3. fun. featuring Janelle Monae - "We Are Young"

I’m sure this gets some scoffs as it traded places with “Call Me Maybe” and “Somebody That I Used to Know” as one of the most played songs in 2012, but I’ll be damned if that doesn’t make it any less of a good song. The drumming buildup combined with the anthemic chorus is topped off by a guest appearance by Janelle Monae. And it was a track that definitely helped fun. set the world on fire.

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#4. Alabama Shakes - "Be Mine"

Alabama Shakes burst onto the scene in 2012, with a sound that most resembled a tamer, female-fronted Black Keys (or a throwback to Led Zeppelin if that’s a better comparison for you). Nestled toward the end of their debut album, Boys and Girls, sits “Be Mine,” a roaring track that features frontwoman Brittany Howard stand for her man (and drop an F bomb in the process).

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#5. Mumford and Sons - "Ghosts That We Knew"

Before Babel finally saw the light of day, a few tracks made their way to the Internet via concert footage and studio sessions. One of those was “Ghosts” (later changed to include “That We Knew”). It was a gentler song and very unlike the lead-single “I Will Wait” and example that pain can be beautiful.

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#6. The Gaslight Anthem - "Mulholland Drive"

Sometimes it not so much what a line says, but how it’s delivered. On “Mulholland Drive,” each time Brian Fallon croons “I’d just die if you ever took your love away” you feel like he literally means it. Just one example of the greatness to be found on Handwritten.

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#7. Yellowcard - "Ten"

Yellowcard have come back strong, releasing albums in both 2011 and 2012. Among the violin-driven frenzy stood the acoustic ballad “Ten.” If you’ve heard it, you know why it’s good. If you haven’t, I don’t want to spoil it for you. Just press play and listen to the story unfold but be warned - it’s kind of a tear-jerker.

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#8a. Green Day - "Let Yourself Go"
#8b. Green Day - "Amy"
#8c. Green Day - "Dirty Rotten Bastards"

It was hard to escape Green Day in the latter part of 2012 as they released three separate studio albums (which were discussed at length here here and here). Even as a fan, wading through all those songs was admittedly daunting but well worth it to find some treasures. There were a lot of standout tracks, but these were my favorites from each respective release. “Let Yourself Go” is full of energy and in-your-face appeal; “Amy” is a tearjerker ballad that rivals “Good Riddance (Time of Your Life)”; and “Dirty Rotten Bastards” is a return to the rock-opera-in-a-bottle that was found sprinkled into American Idiot and 21st Century Breakdown.

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#9. Silversun Pickups - "The Pit"

For their third album, Silversun Pickups went a bit more experimental, even more so than gazy rockers found in previous releases. On "The Pit," an electro-beat with a modified drum-pattern help set the background for this trippy track. Lead vocalist Brian Aubert takes front stage, but Nikki Monninger's background coos add to the feel of a standout track on a fantastic album.

#10. Of Monsters and Men - "Little Talks"

First making listeners take notice in 2011, the debut effort from Icelandic guys and gals Of Monsters and Men had a stateside release in 2012. Their "foreign folk" sound is one that is at times soothing and others haunting. "Little Talks," the lead-single off of My Head is An Animal is an example of the former, and is just one example of intricate storytelling found on the album.

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#11. Kendrick Lamar - Swimming Pools (Drank)

After some underground releases, Kendrick Lamar burst onto the main scene in 2012 to much (deserved) applause. Backed by a heavyweight such as Dr. Dre and it was clear that Lamar meant business. One of the first songs to introduce him to the world was "Swimming Pools," a standout track if for anything else that it's bait-and-switch use of party feel but lyrics that aren't saying what you think they are based on first listen.

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#12. Pink featuring Nate Ruess of fun. - Just Give Me a Reason

Amidst the girls who are waiting on guys to call them (maybe) or letting them know that they are never (ever) getting back together, Pink quietly came out with the best pop album of the year. There was so much diversity and the shining spots included guest vocals from Eminem and Lily Allen. But fun. frontman Nate Ruess shows up here to complete a back-and-forth full of piano and full of heart.

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#13. Bad Books - "It Never Stops"

The hybrid of Kevin Devine and Manchester Orchestra released a second effort in 2012, one that you will definitely hear more about in a separate post. After "Forest Whitaker" was released that showed Bad Books go in a different direction, "It Never Stops" was the follow up that showed the group is still good at getting down to the basics. The tracks shows the harmony between Devine and Andy Hull at its best and helped propel II to one of the best albums of the year.

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#14. The Black Keys - "Little Black Submarines"

The Black Keys have added more tools to their musical belt in recent years, but their talent really shines when it’s just two guys and the bare basics. “Little Black Submarines” works for that reason. This song (featured on a Dec 2011 release but gaining momentum throughout 2012) starts off with Auerbach’s acoustic wailing and features Carney coming in softly before the song explodes. It’s a perfect example of all things Black Keys.

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#15. My Chemical Romance - "Tomorrow's Money"

“Tomorrow’s Money” was one of two songs first released in the Conventional Weapons EP set, featuring songs that were scrapped prior to the release of Danger Days. So far, these are head scratchers as to why they weren’t released on a studio album because they could have been massive. "Tomorrow’s Money" in particular shows that when MCR is firing on all cylinders they can be one of the best in the business.

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#16. Pierce the Veil featuring Kellin Quinn - "King for a Day"

PTV has been one of my favorite bands for a while and it's always been surprising because they aren't in a genre I normally listen to. Even more surprising is this song's placement in my 2012 reflection. But I can't help it - it's that good. It's hard, it's fast, it's well-written. If this song doesn't get you ready to conquer the day, you don't have a pulse.

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#17. Linkin Park - Victimized

Linkin Park is in a weird stage in their career. They can't really go "back" but some of the forward progressing songs they have just aren't working. So Living Things was not only a breath of fresh air, but "Victimized" was a nostalgic blast. It was reminiscent of all things early LP, not by style but with energy and gave the new album a nice upside.

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#18. The xx - "Angels"

Call it a change of heart, but I was never a huge fan of The xx until I heard this song. There's something about the hauntingly dramatic mood of this track that starts off their sophomore effort, Angels. It blends all of the elements that make this band what they are known for and made people like me take notice in 2012.

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#19. Frank Ocean - "Thinking About You"

When you have opportunities you make the most of them and Frank Ocean did just that in 2012. Add me to the list who had heard the name but never the music; that is until back-to-back national performances at the VMAs and SNL. Afterward, I became an immediate fan of this song (and seriously, who doesn’t love to sing falsetto to match Ocean’s delivery).

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#20. Band of Skulls - "Lay My Head Down"

A band flying under the alternative radar, Band of Skulls can rock with the best of them. But as most good bands can do, they know when to slow it down. Take “Lay My Head Down” for example. A slow, Civil Wars-esque buildup leads to a fantastic, yet simple guitar solo for one of the more underrated songs of the year.

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#21. The Avett Brothers - "Live and Die"

If there is a charge of mainstream-folk coming to the airwaves, the leaders have got to be Mumford and Sons and the Avett Brothers. On “Live and Die,” the Bros. show why the sound is taking over. Yes, it was on a GAP commercial. But yes, it’s still a good song.

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#22. Rick Ross featuring Andre 3000 - "Sixteen"

The more records Rick Ross puts out, the more legitimate Rick Ross becomes. And it doesn't get much more legitimate than Andre 3000. The two hooked up for this track that displays the best of rap and the worst of radio - mainly that this 8-minute masterpiece could never be turned into a single. And it doesn't need to be. Just press play and enjoy.

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#23. Neon Trees - "Trust"

Neon Trees came out with a great sophomore effort in 2012, though not as full of singles as 2010's Habits. "Trust" is an example of that - not exactly radio friendly but still easily the best song on Picture Show. It shows the group can give a nod to the past while moving forward to the future.

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#24. Muse - "Panic Station"

After a sort-of concept album in 2009, Muse came back in 2012 throwing pretty much everything at the wall for The 2nd Law. Found within the grandest arena rock and dubstep influenced throwdowns sits this Prince meets Michael Jackson meets Muse jam session. It's also one of the few times a Muse track comes with a Parental Advisory warning, but it helps take the song up just a notch.

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#25. Kanye West, Big Sean, Pusha T, 2 Chainz - "Mercy"

As great as Kanye West's solo albums have been throughout his entire career, I truly feel Yeezy shines best on guest appearances. So on this track, released on the G.O.O.D. Music compilation Cruel Summer, shows him at his strongest. The beat changes when West gets on the track, an affect to give his spot even more of a presence. Though this write-up is about West, the other three on the track hold their own and make this one of the better rap songs of 2012 (and try, TRY to listen to this multiple times and not want to yell out "2 CHAINZ")

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A conversation/review of ¡Tre!

First, there was ¡Uno!

Then, came ¡Dos!

Now, Mike and I return to give our thoughts on ¡Tre!, the final installment in Green Day's 2012 album trilogy. Though with it being the finale, most thoughts dealt with the trilogy as a whole. But make no mistake, ¡Tre! is an album worth looking into and we did so below.

Mike: So here we are: Tre. Green Day's stadium-sized conclusion to this whole throwback inspired trilogy. Decidedly more 50s inspired, the thing that shocked me more than anything was how lean some of these songs are. Make no mistake, the album is peppered with Beatles-esque strings, porcelain piano, sassy horn sections, and even another multi-suite rock opera, but the middle is deceptively stripped down--reminding fans of Dookie, Nimrod, and Uno. Given how Tre was supposed to be the "epic" installment, a good half the album is dedicated to Green Day's 3 chord blitzkriegs. That seems to be a theme running throughout this LP: a torn sound exploring contradicting feelings. Still, it's easy to see Tre as the effervescent cousin to 21st Century Breakdown. The main difference seems to be a concerted shift away from Bush Era "the world is burning" urgency and a larger focus on "where are we now" self-refection. Even with American Idiot, it's easy to forget that Green Day never felt like an aging band. With Tre they seem older in the sense that they're finally addressing where they are in the longview. The band starts turning their thoughts inward, on where they're going and where they've been. It results in an often sobering, but upbeat, set of songs. Given this introspective slant, I was surprised that Tre comes off even looser than Dos at times. Did you get that sense?

Matt: Tre comes off much looser than Dos, there is no doubt about that. I've read a lot of reports about the three albums and what they were supposed to be, but this is what I hear: Uno = the singles album, Dos = the darker look inward and Tre = the upbeat b-sides. That's not a knock on any of the albums, but they just don't seem as separated as reports have made them out to be. The Beatles-era throwback can be heard on all albums, as well as the more "punk" songs. But it does feel like Dos took you through a dim tunnel and Tre is the light at the end. Admittedly, it's hard to talk about Tre without talking about the trilogy. But I'm sure this conversation will go there so I will try to come back to just this selection. I actually waited to have this conversation because at first listen I was very underwhelmed. These weren't bad songs, but they just didn't do anything for me. A few more listens and I realized songs were becoming stuck in my head. There are some clear standouts - "Brutal Love" manages to be both soft and loud and "Amanda" is a fun sing-a-long. But what bothers me still is more than a few tracks are bland and just seem to be there. "Drama Queen" does nothing for me and "Little Boy Named Train" feels phoned in. For me personally, "Dirty Rotten Bastards" is my highlight. I was fan of the ADD-type multiple-tracks-in-one songs found on both American Idiot and 21st Century Breakdown so to see that format return here was very welcome. I think it's safe to say that you and I are having these conversations because we are fans of the band. With that said, what songs are some of your favorites?

Mike: Far and away, my favorite song on Tre is "X-Kid." Between its rich harmonies and soaring chorus, I think it best captures the sense of freedom Green Day tried to explore on Tre. I definitely loved the brash, doo-wop come-on of "Brutal Love," and "Dirty Rotten Bastards" simply rips with a blistering midsection and nimble bass work from Mike Dirnt. Though the narrative is less specific than Green Day's past multi-suite songs, it's sure to be a crowd pleaser for years to come. Additionally, even though this batch of songs, wasn't overtly political, "99 Revolutions" was a lean and mean pop-punk number that embodies the spirit of what Occupy Wall Street was supposed to be, which I found immediately appealing. I agreed with you on the placid, directionless "Little Boy Named Train," but I have to disagree about "Drama Queen." For me, it was a really new perspective for Billie Joe's writing. For as far back as Dookie the "Woman-Who's-Trouble" has crept up into Green Day's stories, dragging Billie Joe through the ringer. Here, it's almost as if he sees himself in this younger person, and he's looking at her with equal parts nostalgia and wonder. It choked me up quite a bit. Between its clinking ivories and acoustic resonance, it rests comfortably in the album's 4-spot and felt like a great palate cleanser. Though Tre sports some of the slower songs in this trilogy, I can understand feeling a bit underwhelmed on first listen. Both Uno and Dos have a very strong sonic direction, and I think Tre oscillates more than Green Day meant for it to. Addressing those Beatles influences, I think that really started to creep into their writing during 21st Century Breakdown and it's not surprising that it crops up everywhere on this trilogy. In fact, it makes sense that such an aesthetic is more prevalent on Tre, given its grab bag approach to cataloging these writing sessions. I do agree that this trilogy feels separate, either in aesthetic or in content matter. Dos only really felt dark towards its close with "Amy," but I do think there is a buoyancy and clarity with the songs on Tre. In fact, I think that's why I prefer it to Dos: It operates with a level of realism and level headiness that you'd expect after 2 mammoth rock operas. 

Matt: I have to admit you have swayed me on “Drama Queen.” It’s still not a favorite of mine, but after looking at it from the perspective you gave it also isn’t on the list with “Little Boy Named Train.” The more I listen to Tre, the more I realize I like it more than I thought. “Walk Away” is a song I find myself wailing along with and one I might put as a closer if I were to go back and rearrange songs from each album to make one mixtape to listen to, so to speak (I am going to do that). For me though, it will still be the forgotten stepchild of the trilogy. Uno was just stronger on a song-by-song basis and Dos simply delivered. “Dark” may have been the wrong word to focus on, instead “twisted” is a better description. Even with the soulfoul bounce found at the beginning, the introduction of “Lady Cobra” into “Nightlife” helps go down the rabbit hole. Dos felt like they were throwing everything at the table and not caring if it stuck - a notion I enjoyed. But Tre, as a closing chapter, plays its part. As stated before, it’s the refreshing light at the end of the tunnel - though after three albums someone traveling through said tunnel may just be overwhelmed. It was a good idea, though maybe not executed expertly (Billie Joe’s hiatus is obviously a contributing factor). But give Green Day credit. Through the course of 37 tracks, there are some gems that were able to keep longtime fans happy and show the veteran band can still roll with the best of them.

A conversation/review of ¡Dos!

In early October, my good friend Mike and I discussed ¡Uno!, the first of Green Day's trilogy album release. Earlier this month, ¡Dos! was released to the masses and Mike and I teamed up to give our thoughts on what has been referred to as the "sophomore slump" of the three (so far). With ¡Tre! planned for next month, expect a return to conversation - as well as a recap of the trilogy as a whole. But for now, discuss with us all things ¡Dos!.

Mike: So Dos, the meaty middle of Green Day's three-album trilogy, has finally hit the net. Proclaimed to be the raw, dirty, party album of Green Day's wildest impulses, I'd say the album largely lives up to that billing. After listening to Uno, and from what I've heard from Tre, it's clear that Dos is firmly rooted in 50s-60s rock n' roll yearning, married alongside some of the band's most snarling performances. Though the group doesn't channel the same kind of rage and intensity like on 1996's Insomniac, this is easily the most punchy record Green Day has put out in years. The thing that impressed me most on first listen, and what I DIDN'T get from Uno, was a sense of recklessness from these songs. Billie Joe Armstrong's guitar slashes, burns, and blisters; Mike Dirnt's bass flutters and booms; and Tre Cool's drumming is relentless. The songs themselves are sinewy and lustful, a stark contrast to Uno's often chunky arrangements and power-pop push.

Matt: I have to say upon first reading this that I didn't have the same reaction you did. I was under the impression that Uno had a bit more, shall we say, swagger about it. And on first listen, Dos seemed a little slow. But then I went back and listened to Uno again and then back to Dos and now I definitely see what you were saying. When I think of Uno, I think of "Let Yourself Go," easily one of my favorite Green Day songs and that's where I see all the snarl. But a trip back to the album made me realize that it was full of almost "safe" songs. Mind you, they were still good. But Dos does turn it up a notch, maybe not with the actual volume but with the intensity of the lyrics and the feeling. The 50s-60s rock n' roll sound you spoke of reminds of some of their Foxboro Hot Tubs work. As we begin to talk about songs, let's start with the elephant in the room. What are your thoughts on "Nightlife?"

Mike: It's interesting you bring up the Foxboro Hot Tubs vibe because Billie Joe said Dos was essentially the second FBH record. I'd also like to add that when Green Day were teasing us with the prospect of 3 new albums, they kept saying they'd sound like the Beatles meets AC/DC. For my money, Dos fits that description perfectly, jagged guitar lines and messy blues-splattered solos, coupled with Fab Four earnestness. I can see your point about having a slower vibe than Uno. Where there's a bouncy, buoyant quality to Uno's tracks, songs like "Lazy Bones," "Stray Heart" and the hilariously titled "F*** Time" sport some tremendous build ups. I supposed with the exception of the twisted "Makeout Party" and the White-Stripes-from-Hell thrash of "Lady Cobra," Dos isn't a very fast record. I guess for me, its intensity seems more apparent because these choruses explode, awash with powerchords and layered backing vocals. Which brings us to the late album ugly duckling: "Nightlife." I'll go on record in saying the rap doesn't work. It opts for sleazy, but comes across cheesy. With Lady Cobra talking about sugar towns, it's really hard to take this song seriously, feeling more like a group-wide double-dare contest that went too far. That said, there are some interesting things happening musically, some hefty low-end and some flange soaked spy-movie guitar. Sort of reminds me of a dubbed-out version of "Espionage" from Shenanigans. Despite the rather upbeat quality of some of these tracks, what do you think of the sinister hedonism hinted at with "Amy" and "Nightlife" in light of Billie Joe's recent rehab stint? Foreshadowing or spooky coincidence?

Matt: Short answer - the spookiest of coincidences with a little bit of foreshadowing. Knowing what we do now, it almost seems like Billie Joe is talking to himself in a way and oddly the timing of the release couldn't have been more perfect as it helps take Dos up a notch. I was waiting for us to bring up "Amy" because it's one of those songs where I instantly loved it the first time I heard about it. There's something heartfelt about it and it doesn't steer too far in the direction of sappy. For what they were trying to do, I have no problem saying it was a damn near perfect song and will go even farther as saying it was a top song of 2012, I like it that much. The motives discussed with "Nightlife" and "Amy" do help to paint a slightly darker picture than the kind of upbeat stylings of "Stray Heart" and "F*** Time." I think "Nightlife" goes well with your point of the Beatles meets AC/DC influence in that yes, the song is all kinds of cheazy, sleazy (pimping ain't easy) but it's also fun and definitely not what you would expect from Green Day. So for at least one track, there are no comparisons to bands of yesterday - No Clash, No Ramones - and for once they have a song that is all them. I think for that reason and that reason alone, it works. For one track out of an album full of really strong ones, a favorite being "Lazy Bones," it helps to show their range. I do like the nod of a dare gone too far and while I don't want to see it again, I think "Nightlife" fits where it was. Also, it shows a bit of a branching out, much like I felt with "Troublemaker" on Uno. With that said, the two albums seem a bit similar and it's looking like Tre is going to be less of a final chapter and more of a simple Part 3. And that's not a bad thing.

Mike: I think it's interesting that you brought up the fact that our other punk comparisons aren't necessarily apt for Dos. This album definitely sports more of a rock n' roll vibe, the difference between The Jam and the Ramones I'd say. The other big difference I hear on Dos is the sense of desperation vs. this sense of confidence we hear on Uno. From the yearning found on the back of "Lazy Bones'" three-part harmonies, to the reverb twitch and moan of "Amy," Dos is a decidedly more insecure batch of songs. This LP exudes confusion, from its schizophrenic bass lines to its rapid fire drums. There's an insistence on Dos that whatever existential ennui is bugging Billie Joe, it seems to be all consuming. "Stop When The Red Lights Flash" really embodies this for me, with its relentless riffing and gang vocal shouts of "I'll make you/Surrender!" While I agree with you that Dos never verges on sappy, I do think the album is hampered by it's "party from hell" vibe. By that, I mean you can't divorce the songs from the adolescent rambunctiousness that birthed them. Setting aside how imperfect "Nightlife" is, the thing I struggle with on Dos is HOW adolescent some of these feelings are - and the 40-year old man they're coming from. Whether it's the spin the bottle references on "Makeout Party" or the riot grrrl pining of "Ashley," the strength of Green Day's post-Warning material has always been the scope and breadth of Billie Joe's writing. With a few exceptions, that's largely absent on Dos, and the band opts for something immediate and splashy. While I can see Uno having more staying power for me, I do think Dos sports a more immediate sonic sugar rush and that accessibility that will endear it to old and new fans alike. In no uncertain terms, the fuzzy-punk freakout of Lady Cobra is exactly what I needed from Green Day. Coupled with Uno's energy, Dos' looseness sets us up for an interesting time with Tre, a record that the band has described as sobering. Even through there might be a few more warts on Dos, maybe that's the point of this LP. After over 2 decades in the limelight, Green Day have certainly earned some fun, and it's pretty exciting to hear them so enthused.