Welcome to Part 2 of Kittu’s Top Albums of 2020! The stakes are higher, the music better, and the memories associated with these songs that much richer. With several surprises, upsets, and even showing love to some indie music, Nos. 50-31 may have you Christopher Columbusing your new favorite artist of the year. Look for the first installment (Nos. 70-51) here. And now, BEHOLD! Nos. 50-31!
No. 50: Papi Juancho – Maluma
Arguably one of the biggest music stars in the world, Maluma could probably release a 50-minute loop of him coughing and calling himself Papi Juancho and we would eat it up (honestly, let him do whatever he wants – the guy is dreamy). On this album, we see Maluma unfortunately fall back on his borderline womanizing persona he had abandoned so long ago just one album ago. It makes sense that he would double down on a sure topic when working on music made during the pandemic – it’s where he feels safe, where he isn’t taking many risks, and where he apparently isn’t letting people in to see who he actually is (he’s gone on record to say that he’s not the lothario his music paints him to be). Filled with the machismo prevalent in Latinx culture, we see Maluma doing what he’s done in the past: treating women like objects of desire and vessels of pleasure. Sure, he’s playing a “character” – a horny guy who’s been locked in his house during a pandemic, but still. For a guy who may actually not be a Kinsey 0, It’s especially important for someone who has such a major platform to introduce more cultural significance to respecting women. But I digress.
Back to the album. The production doesn’t really deviate from the flavor of reggaeton we have come to expect from Maluma. It doesn’t mean that it’s not good – on the contrary, Maluma creates a vibe that conveys the exact mood he’s looking for: an exterior of confidence to provide a glossy covering on the loneliness and sadness he’s his character is probably feeling being stuck in isolation. It’s one of the few problems that transcend class, looks, and talent during this pandemic. And it brings us to the problem at hand: the music overall isn’t bad – it’s just not at the standard of a global icon like Maluma. If this release is indicative of anything, it’s that Maluma may not feel the need to dive deeper and become even a better version of himself. And that’s okay. In the meantime, I’ll stream “Hawái” a million more times.
Standout tracks include: Me Acuerdo De Ti, Hawái, Quality, ADMV (either version honestly), Medallo City, Bella-K, Cielo A Un Diablo, Perdón, Luz Verde, Parce, and Madrid.
No. 49: Mama’s Boy – LANY
Pouring out their hearts and souls and rocking out is nothing new for the indie band known as LANY. But instead of discussing heartbreak in excruciating detail as they did on their previous album Malibu Nights, they shifted gears, reflecting on family, Oklahoman roots, and even throwing in some religious undertones. From my understanding, the sound and themes were greatly influenced by their experiences with the pandemic. At a time when so many of us were forced to reckon with our pasts since there was literally nothing else to do besides binge watch another terrible Netflix reality show about Gen Z kids dating, it made sense that the boys of LANY decided to reflect on their own upbringings. The results come through with allusions to Christianity, love, and relationships. And while these may have been interesting topics lyrically, all of this reflection seems to have sacrificed the sound and production that makes LANY truly unforgettable. We do see snippets of this in “good guys” and “bad news,” but they traded in their signature synths for a more country, contemporary Christian feel as seen on tracks like “i still talk to jesus.” Not all is lost, though – it’s through the magic of their heartbreak and personal stories that we see them shine (see “if this is the last time”). Through the 14 tracks, LANY proves that they have more feathers in their cap – will we enjoy each feather? Probably not, but they exist, and they are just another part of the band’s artistry that we as fans will have to accept. And they’re doing a pretty solid job even if it’s not akin to “ILYSB.”
Standout tracks include: cowboy in LA, heart wont let me, if this is the last time, good guys, sharing you, bad news, when you’re drunk, sad, and you!
No. 48: Colores – J Balvin
I’ll start by saying this was the first full-length J Balvin album I thoroughly enjoyed from start to finish. At ten tracks, it’s a lot easier to hit that threshold but I digress. Let’s start with the album itself. Colores means colors, and it’s a motif that literally pops up throughout the album. Like the various colors that light up the cover and tracklisting, listeners are exposed to the various shades of Balvin’s personality, musical prowess, and his ability to genre-hop at a moment’s notice. Much of the album functions at a normal energy level – without the highs and lows in production, the listener can fully focus on the mood Balvin creates. Littered with stories of relationship woes, the things he holds above all else (his hometown), and the dynamics of his interactions with love interests, Balvin provides stories that are not only relatable but make you want to get up and shake your booty. Combine this with his desire to make a record that exudes positive vibes, and you have a recipe for success in 2020. If there’s something I needed more of this year, it was that. Yes, the work may not hold a candle to some of his earlier works (“Mi Gente” still slaps and Brillo honestly was EVERYTHING), but through its subtlety, was can learn much more about J Balvin’s own motivations. And that’s what makes this album so special.
Standout tracks include: Gris (I ADORE this song), Amarillo, Azul, Morado, Verde, Negro, and Arcoíris.
No. 47: Notes On A Conditional Form – The 1975
“It is not time for civil disobedience, it is time to rebel.” – Greta Thunberg, “The 1975“
From the album opener featuring Greta Thunberg, The 1975 kicks things off with a BANG to personify the rebellion on the first actual song on the album “People.” From here, we see Notes On A Conditional Form transition through various acts and moments with no central theme. Dealing with huge issues like climate change, politics, imposter syndrome, love, and loneliness, the band tries to take on a lot – and utilizes their knack for genre-hopping to pull it off. But through their ambition, they get lost in trying to create something that can do so much. This project, originally slated for a 2018 release, kept getting pushed back; I believe each iteration saw them experimenting with a different genre, tinkering, then moving on, picking up the scraps of the productions and tacking them onto the LP, or at least that’s what it sounds like. Each experimental phase has its moment – but this disjointed approach isn’t something that will work for casual listeners unfamiliar with The 1975. The album as an LP comes off as jarring – a collection of ideas without a thesis. The songs are truly great, and this approach can allow listeners to access the music in various ways, but it honestly made me wonder why they didn’t just turn this LP into a series of EPs. Notes is proof that while genius should be rewarded, sometimes it just needs to be reeled in, reorganized, and reduced down. At the end of the day, the album as a sum of its parts may not necessarily work, but those parts do sound pretty great.
Standout tracks include: What Should I Say, Guys, The 1975 (Greta KILLS it), People, Yeah I Know, Jesus Christ 2005 God Bless America, Roadkill, Me & You Together Song, I Think There’s Something You Should Know, Nothing Revealed / Everything Denied, Tonight, Shiny Collarbone, If You’re Too Shy, Playing On My Mind, and Having No Head.
No. 46: Brightest Lights – Lane 8
Let me start by saying this album is a whole mood. It’s present, but it allows the listener to indulge as needed, never requiring more attention to absorb or be absorbed into the ambiance of the music. Using loops and familiar beat counts, Lane 8 is able to craft an album that is at worst hypnotic and at best the soothing sounds we needed in 2020 to calm our anxieties and push through. While the instrumental tracks are where Lane 8 truly shines, the vocal ones also are nothing to shy away from. Whether it’s dealing with the paralyzing fears that can cause inaction on “Road,” the magic of relationship beginnings on “Brightest Lights,” or everything in between the beginning and end of a relationship, listeners are transported to a safe haven of trance and deep house, where pandemic life takes a gentle pause for an hour. And it’s this escape that makes this album so enjoyable.
Standout tracks include: The Flood, Road, Brightest Lights, Don’t Let Me Go, Groundhog Day, Just, Sunday Song, The Gift, How Often, Howling Hand, and The Rope.
No. 45: BEFORE LOVE CAME TO KILL US – Jessie Reyez
If there’s one thing that Jessie Reyez does well, it’s pouring her whole soul into every track she creates. And that’s what we have with BEFORE LOVE CAME TO KILL US. It’s introspection to the max – with a drum kit. You hear someone who’s on the verge of breaking but who pulls back just enough to not go all the way. Her voice: wild, untamed, packing all of the emotion she writes about. This isn’t acting – this is truly her emotional response. And it’s what makes the tracks so memorable. But then, there’s the issue of how the album is perceived as a collective. There is a central theme: dating, being wronged, remaining hopelessly in love with someone who’s bad for you… but the tracklisting itself changes based on each iteration of the album (there are physical, digital, deluxe digital, deluxe vinyl… all of these editions have different tracklistings!) that it’s hard to understand what is the perceived order to Jessie’s madness that she wants us to experience it in. As a collection of songs, it tells the story of meeting someone, falling in love, and the aftermath. We see a woman heartbroken, and at times liquored up, slurring, trying to numb herself using drugs and sex (“IMPORT“). But we also see someone full of vengeance and ready at a moment’s notice to scorn her former lover (“DO YOU LOVE HER“). She, like her album, jump from reaction to reaction, heightening the drama and making the reactions seem a bit much when taken disjointedly. When taken together, the album feels more like a collection of songs she’s known for. But when focusing on the actual music, we see Jessie’s conviction in telling her story authentically. And that’s what makes the songs (and her) succeed on so many levels.
Standout tracks include: ANKLES (the Rico Nasty/Melii Version), NO ONE’S IN THE ROOM, BEFORE LOVE CAME TO KILL US, WORTH SAVING, COFFIN, INTRUDERS, LA MEMORIA, IMPORT (the 6LACK Version), SAME SIDE, FIGURES, DOPE, FAR AWAY II, and DO YOU LOVE HER.
No. 44: Smile – Katy Perry
Something to consider when discussing Katy Perry and her post-PRISM album releases is that the pop star was able to capture lightning in a bottle and extend that success over TWO album releases (Teenage Dream and PRISM). This sort of back-to-back success and high-quality output just doesn’t usually happen so easily. So when it did, the bar for success became borderline-unattainable. And it’s why the general public chose not to embrace her last LP Witness with the same fervor as they had reserved for Teenage and PRISM. It’s not that the album was trash by any means – it truly was a solid one. But, it wouldn’t ever live up to those expectations.
And with that out the way, let’s discuss Smile 
Katy began working on the album while also dealing with her own mental health struggles, and the results of these concurrent journeys are immortalized in her lyrics. Reading more like a self-help guide for pop fans, listeners may feel lighter, more upbeat, and able to take on the world after giving the LP a play. Opening with “Never Really Over” (or one of the biggest songs of 2019 for me), I knew that I’d already be in for a great time. Whether it’s a Zedd-assisted track like “Never” or the very many songs that could feel at home on previous releases like “Cry About It Later” and “Not The End Of The World,” Smile takes the cheesiness of her bombastic “Firework” and amplifies it throughout the nearly hour-long duration. And yes, this unabashed positivity (see the title track) may be annoying at times, but it ultimately works as a form of consistency we have come to hate love from Katy. In a year where the world around us continues to crumble, pop music like this can provide some solace. Smile may not be considered her strongest outing by any means, but there are bright, happy spots that’ll turn any frown upside down.
Standout tracks include: Only Love, What Makes A Woman, Daisies (Oliver Helden Remix), Cry About It Later, Teary Eyes, Never Really Over, and Harleys In Hawaii.
No. 43: Insecure Season 4 Soundtrack
Star of Insecure Issa Rae and music supervisor Kier Lehman did it again with the Insecure Season 4 Soundtrack: an eclectic collection of contemporary R&B, rich, soulful music, and a sprinkling of some more FORWARD songs to soundtrack the many youthful moods not only captured in the television show but of our own lives as viewers. For a show that has continued to top itself in exploring what it means to be a young black woman in America today (with many relatable experiences for POCs of all gender expressions), it’s Season 4 Soundtrack does just that – it captures the soul of the season, focusing on the dysfunction, the longing, the relationships, and, above all else, the blackness of the show. Represented are artists from Rae’s and Lehman’s personal libraries: a collection of contemporary artists and newcomers from the Los Angeles area (where the show takes place). Such is the process of curating the soundtrack they undergo season after season. And, just like literally every part of every episode, she manages to curate a collection that fits PERFECTLY with the mood episode after episode. I honestly haven’t seen a collection of soundtracks remain spot-on like this since The O.C. Mixes of the early 2000s. It just goes to show that Issa truly is at the top of her game. Let her continue flexing and educating the rest of us. Take all my money, Issa! You deserve it.
Standout tracks include: Bad Decisions, Never Lonely, Feng Shui, The Love That I’m Giving, Reaching, Infrastructure, Rewind, Cadillac Drive, Show You (Remix), Velvet (Remix), If It’s Good, Dirty, and Eat Itself.
No. 42: Miss Anthropocene – GRIMES
Known for her lighter pop forays, Grimes flipped the script with her latest Miss Anthropocene, embracing darker undertones, industrial pop, and trancelike electronica. It starts off almost ethereal, even otherworldly, but then the mood quickly shifts. Focusing on existential death and destruction in the physical, emotional, social, and biological senses, Grimes takes a more cut-and-dry approach to production, giving listeners something almost devoid of actual emotions in many cases. This is most apparent on songs like “We Appreciate Power,” her pitch for the benefits of artificial intelligence. This sterility in production initially comes out at “4Æm,” when she deconstructs one of my favorite Bollywood songs (“Deewani Mastani” from Bajirao Mastani) from recent years, frankensteining it into a sense of urgency RE climate change and it’s effects on the body (even though it does sound like a glorified homage to DJ Fresh’s 2010 hit “Gold Dust”). It’s only when talking of strong negative emotions that we see the production shift away from this sterile construction, as if the issue of death cannot simply be as cut and dry. The album as a concept works well as a whole, but it is definitely something where multiple aspects have to snap into place for the listener to thoroughly enjoy the experience. Whether it’s issues of apathy (“My Name Is Dark“), suicide and drug abuse (“Darkseid” and “Delete Forever”), abandoning old traditions and cultural norms (“New Gods”), or realizing the true weight of having to put others above your own well-being (“So Heavy I Fell Through The Earth”), the album personifies the vices Grimes feels will lead to our destruction as a species. We see Grimes stretching her comfort zone in so many ways, especially when considering that the one time she has ever sung over someone else’s production occurs on the transcendent “Violence,” which honestly feels almost out of place with the darker tone of the album. She incorporates her takes on punk, rock, and nu-metal to show how far from her own past music endeavors this whole concept truly is. And in some weird way, it all comes together in the end.
Standout tracks include: So Heavy I Fell Through The Earth, Delete Forever, Violence, 4Æm, New Gods, My Name Is Dark, You’ll miss me when I’m not around, and We Appreciate Power.
No. 41: Cape God – Allie X
Canadian songstress Allie X came back with a vengeance in February when she released her second studio album Cape God. Departing from the dancefloor-driven electronic beats that garnered her so many fans, she trades it in for minimalistic productions where her personal and cutting lyrics can take center stage. Following a concept based on the lives of small-town Americans dealing with issues surrounding addiction, Allie was able to tell her own personal stories through the fictionalized lives of these Cape God residents. The results were meteoric – we find Allie developing much more as a storyteller and creating an even more cohesive sound that becomes the central motif holding the album together. Since her last album, Allie has collaborated with artists like Troye Sivan, Mitski, Betty Who, and Leland, all of whom dominate the indie-pop airwaves through expressive writing. Through these collaborations, we see a new side of Allie – one that emphasizes the lyricism and cohesion of the track, drawing the listener into the whole song instead of getting lost in the distractions of the production. Overall, Allie X delivers a deep and dreary yet hopeful LP that you can’t help but root for.
Standout tracks include: Fresh Laundry, Devil I Know, Sarah Come Home, Rings A Bell, Love Me Wrong, Susie Save Your Love, Life Of The Party, and Learning In Public.
No. 40: Heaven & Hell – Ava Max
Talk about an electrifying debut album – Ava Max takes the listener on a tour of heaven, hell and everything in between on Heaven & Hell. With nary a breather in-sight, Ava infuses the tropes of dance music with floor-filling samples and frivolous lyrics that demand little from the listener while still producing a solid positive response. One can’t simply listen to this album in full and not bust a move. Whether it’s allusions to classics like ATC’s “Around The World” in “My Head & My Heart” or ABBA’s “Gimme!” in “Torn,” Ava knows the value of a good throwback. And that energy is consistent throughout the album. Spanning 16 songs, the album functions as a 50-minute escape from the many issues that continue to crop up in 2020, while not demanding much from the listener besides the occasional hip shake. Disregarding the atrocious “Sweet But Psycho” (I honestly despise that song so much), Ava knocks this album out the park. Here’s to bigger and better things for Ava in 2021!
Standout tracks include: My Head & My Heart, Kings & Queens, Naked, Call Me Tonight, Born To The Night, Torn, Take You To Hell, Rumors, and Salt.
No. 39: Legends Never Die – Juice WRLD
Released posthumously, Legends Never Die shows Juice WRLD confronting his inner demons and struggles head-on. In the aftermath of his untimely death at the end of 2019, fans who felt the deep void that his presence once held were blessed with such a cohesive piece of work seamlessly connecting various aspects of hip-hop, R&B, pop, electronic, and even rock. His estate did well in arranging something that felt at home in his existing discography while also preserving the aspects that made him successful. Spanning 22 tracks, there truly are no skips throughout the listening experience. Confronting issues of mental health, addiction, heartbreak, and more, Juice WRLD hit on topics that many heavyweights in his genre would normally shirk from. It’s through this raw honesty that we were able to get an unfiltered look at just how pervasive these issues are. Through his music, Juice WRLD was able to normalize many issues that could cause shame, loneliness, and depression in the general public. And for that, I am truly grateful for his artistry and legacy.
Standout tracks include: Life’s A Mess, Come & Go, Tell Me U Luv Me, Bad Energy, Righteous, Hate The Other Side, I Want It, and Man Of The Year.
No. 38: The Slow Rush – Tame Impala
H
ypnotic. Ambient. And just a sprinkle of eccentricity. After a five-year wait, in which frontman (and only man honestly – Tame Impala is just one guy) chose to collaborate with powerhouses Rihanna and Lady GaGa (see tracks like “Same Ol’ Mistakes” from ANTI and “Million Reasons“/”Perfect Illusion” from Joanne, respectively) and even newcomers like ZHU. Kevin Parker, or the Impala himself, roots himself in the sweet spot between rock and dance/electronic music, and the results of such a foundation are beautiful. Building off of the momentum of his last LP Currents, Parker capitalized on the new forays into more mainstream pop he left in the aforementioned artists’ canons, taking these lessons and experiences to inform this latest effort.
Thematically, the album focuses on time, a construct that both Parker and his music tends to ignore. Whether through his timeless melodies and arrangements, the lyrical content, or the very state to which his music transports the listener, Parker does a great job at diving into the manmade construct in a way that truly transcends it. In a moment where so many of us have time to spare, copped up in isolation or self-imposed quarantine due to the pandemic, this album soaks up this excess of time while still maintaining weight and meaning. It’s like eating Halotop ice cream – it’s shouldn’t be allowed, but then you realize you’re eating something that tastes delicious and is a greater, healthier, and more thoughtful experience. From the album cover that features grains of sand that overflow through an open window to the (false) notions of what the human psyche can handle on the album opener and closer, The Slow Rush takes what makes pop, electronic, and modern rock, enmeshing them together to form a blueprint for something that sounds all at once futuristic, classic, and contemporary.
Standout tracks include: Borderline (original is great, but the Blood Orange Remix is SUBLIME), One More Year, Breathe Deeper, Glimmer, and Posthumous Forgiveness.
No. 37: ALICIA – Alicia Keys
This year marked the return of Ms. Alicia Keys with her self-titled LP ALICIA. We see her return to the constructions that made Alicia a household name: piano-driven and traditional R&B songs. She’s more at-ease in her comfort spots, as witnessed on songs like “Time Machine,” “Underdog,” “Show Me Love,” and “Authors Of Forever.” Yes, it does seem like it’s more of the same on first glance, but that’s where the magic is – she takes the formulas we have come to appreciate from her and infuses socio-political commentary and personal stories into her lyrics. As a result, we are left with a much more personal and less polished offering – something that feels more authentic. There still are hints and homages to her past hits, like the soul of “No One” being everpresent in the anthemic stadium-R&B of “Love Looks Better;” the warm, relaxed, flowery “Jill Scott” that transports the listener to a dreamscape of subtle but welcome sultry energy; and of course the gorgeous “Three Hour Drive” shows Alicia doing what she does best: a stripped-down production with just her and Sampha basking in their chemistry, akin to some of her biggest hits like “Fire We Make” and “My Boo.” ALICIA, just like 2020, lacks the polish that she had always embodied before 2016’s HERE, which is why it’s a great representation of this year: lacking the expected poise but still packing the emotion and chops to transport the listener to a higher understanding of themselves.
Standout tracks include: Time Machine, Authors Of Forever, Underdog, 3 Hour Drive, Me x 7, So Done, Love Looks Better, You Save Me, Jill Scott, and Perfect Way To Die.
No. 36: It Was Good Until It Wasn’t – Kehlani
One of the most compelling newish faces in R&B, Kehlani has become a force to be reckoned with in the industry (and yes, she’s been around with the mid-2000s, but she broke through the cultural conscience around 2016). As a former crush stated on Instagram, “Feat. Kehlani” is a whole love language. When Kehlani is involved, you know that the quality will be worth the listen. And when it comes to this release, Kehlani oscillates between baring her soul and calling out relationships that have defined her since her last LP. The results? A sublime, moody, versatile body of work that takes the listener to task in owning their sexuality. In true Kehlani fashion, she paints vivid pictures of past relationships, the struggles that plague so many of us, and the passion that pushes her to argue with the partners that drive her crazy. She confidently explains to her partner that she can “Change Your Life,” asks them what she “Can” do in the bedroom to ensure their needs are met, and calls out the “Toxic”-ity of past relationships. It’s this vulnerability that makes her such a compelling and worthy staple of any playlist. And in a year when so many of us had our own emotions to make sense of, Kehlani’s stream of consciousness and organized confessionals function as inspiration in accounting for the emotionally-taxing experiences in our own lives.
Standout tracks include: Toxic, Can I, Bad News, Water, Change Your Life, Everybody Business, Serial Lover, F&MU, Can You Blame Me, and Grieving.
No. 35: Jaguar EP – Victoria Monét
Sultry. Direct. In control. These are the words that describe Victoria Monét on her latest release entitled Jaguar. Like the jungle cat, Victoria shows herself to be at the top of the food chain with a bite that is much stronger than she lets on. Through her direct and calm approach to discussing sex, we see a woman who takes topics that can devolve into cheap attention grabs handle them delicately, framing them within the parameters of such gorgeous production. And she thrives over the nine track EP. Incorporating elements of disco, neo-soul, R&B, jazz, and funk, Victoria sounds refreshing, slick, and above the cut compared to her contemporaries. The only disservice she had done to her fans was to not place the Kehlani remix of “Touch Me” on the EP itself. Jaguar reportedly makes up the first-half of Victoria’s debut album; and if this is just part one, I can’t wait to see what Ms. Monét has in store for the second act.
Standout tracks include: Moment, Big Boss, Dive, Jaguar, Experience, Go There With You, and Touch Me (Original).
No. 34: BE – BTS
2020 marked the beginning of my K-Pop (and related genres) exploration, where I discovered phenomenal vocalists singing in languages (mostly Korean but also some Japanese/Cantonese) that I didn’t understand at all. I figured if I can do it with French, Russian, Romanian, Spanish, and Hindi/Punjabi, I could do so with these languages, too. And now, I’ve opened my ears to gorgeous productions, beautiful vocals, and so much talent! One such act that truly blew me away was BTS – not just the immense star power each member exudes, but the infectious beats and confidence when they perform had me moving along with them.
And then BTS decided to drop BE, their latest full-length studio album, and things just would never be the same. Churning out hit after hit, the album takes the best parts of the pop genre and blends them to create one of the most cohesive K-Pop releases of the year. With melodies that sound both familiar and fresh, the boys of BTS provide the listener with a feel-good time. Whether it’s hits like their No. 1 hits “Life Goes On” or “Dynamite,” there truly are no low points throughout the 8-track LP. It’s the caliber of the release that makes me understand the hype – it’s all for good reason. BTS truly possess that unique star quality that makes them worthy of the praise they receive. Here’s to (reluctantly) stanning for a group of boys half my age and joining the BTS army.
Standout Tracks include: Fly To My Room, Blue & Grey, Telepathy, Dis-Ease, and of course the explosive Dynamite.
No. 33: Songs For You – Tinashé
Let me start by saying I’m WELL aware that this album was released in late November 2019. But I finally got around to listening at the beginning of this year. As is the case with any sort of Tinashé release, the production, song quality, lyrics – everything I look for in music – was on-point. But what made this album stand from her own discography is how it all truly works together. All of the songs sound at home here, which is a feat if you’re familiar with this girl’s previous releases (and the drama surrounding them – thank god she’s not at RCA anymore). We hear Tinashé channel her vulnerability, saccharine-sweet voice, and sexy-sultry ease into pure art. Mind you, her alter-ego Nashé does come out on several tracks, but never to alienate other women in the game. Gone are the constraints of studio records, and instead we have a woman who, for the first time in a long time, remains at the creative helm of her ship. On a studio album. Not a mixtape.
We hear the moodiness; the raw, unfiltered nature; the amalgamation of hip-hop, R&B, electronic, and indie pop. To create something so joyful. Something so real. Something so… Tinashé. Though genre-hopping can be a distraction for other artists, with Tinashé, it sounds effortless and natural. Each song evokes a different emotion, guiding us through the labyrinth of her own experiences over the past several years. But throughout it all, she remains a tour de force, piquing our interest ever second of the 52-minute album. As the title implies, these truly are her songs for us, her fans. And it sounds pretty damn amazing.
Standout tracks include: Hopscotch, Feelings, Touch & Go, Perfect Crime, Die A Little Bit, Life’s Too Short, Stormy Weather, Save Room For Us, Know Better, So Much Better, and Remember When.
No. 32: Good To Know – JoJo
Since releasing MAD LOVE. in 2016, JoJo re-recorded her first two albums. I think that during this process, she started to become even more in-tune with her vocal capabilities, control, delivery, and purpose. The results of this consciousness echo throughout her 2020 release Good To Know. We see a grown-up JoJo who understands the power of her voice, exerting control in ways that best accentuate each aspect of the songs present. The album opens with a recital of her own “Bad Habits,” recounting the issues that I’m sure other people have pointed out to her over the years. The theme of the album is “good to know,” almost like a response to the unsolicited advice and criticisms she’s received over the years. We transition into “So Bad,” her ode to a former flame she’s still hung up on, then onto “Pedialyte,” the epitome of the night after a long night or drinking. We see her then edging her way back into the love that consumes her. It’s a celebration of lovemaking – it’s the olympics and her lover snatches that “Gold.” We see her interject her desires to have that person in her life with songs like “Man” and the hauntingly beautiful “Lonely Hearts.” The thing that people may forget is that JoJo truly is a musical genius when it comes to bottling up the essence of heartbreak and longing – we’ve come a long way from her “Leave” and “Too Little Too Late” days, but instead of fun pop hooks, we are left with more mature reflections on what these actions actually mean. She can get raunchy (“Love Reggae”), nasty (“Comeback”), or in control (“Kiss”), but she also understands the importance of mature, communicative relationships (“What U Need”). We see a woman coming of age, making mistakes, regretting them, but remaining her most honest self – someone who truly owns her decisions and celebrates herself unabashedly. And it’s a beautiful thing to see.
Standout tracks include: So Bad, Pedialyte, Gold, Man, Small Things, Lonely Hearts, Think About You, Comeback, Don’t Talk Me Down, Kiss, Love Reggae, and What U Need.
No. 31: Love Goes – Sam Smith
Love Goes is Sam Smith at their best – heartbroken. Except instead of reducing themselves in the process of grieving (as they’ve done in the past), we see a person who confidently calls out their former love (“Diamonds”), extends the olive branch (“Another One”), stands by their choices (“For The Lover That I Lost” – incidentally, they wrote it for Céline Dion, who recorded it for her last album), and taking ownership for their actions (“Breaking Hearts”). It’s a much more mature approach than we’ve seen from Sam in the past, and it’s refreshing. They explain how they can’t love anyone else until they “Forgive Myself,” passively understand just how fleeting love can be on “Love Goes,” and acknowledge how these experiences truly change us (“Kids Again”). They also give us a rallying cry for the pandemic in the album opener “Young.” Love Goes is a celebration of the follies of love. Of dating. Of being human. It’s a beautiful journey that ends with the realization that we are truly better for the things we experienced. Thankfully, Sam was smart enough to include most of the singles they released over the past two years as bonus tracks, all of which sound pretty comfortable on this album. I just wish their cover of Donna Summer’s “I Feel Love” would’ve made the cut, too.
Standout tracks include: Young, Another One, Diamonds, My Oasis, So Serious, Dance, For The Lover that I Lost, Breaking Hearts, Forgive Myself, Love Goes, Kids Again, To Die For, Dancing With A Stranger, Promises, and How Do You Sleep?
And that wraps up Nos. 50-31… Check out Nos. 30-11 here!
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