favorite songs

The song is a metaphor for wanting to be the object of someone’s affection.[9] Colbie sings, "I’ll be the thing that you want to sing back / Stuck in your head like I knew you would."[9] In the sing-a-long chorus, she sings: “I want to be your favorite song/ You can turn it up/ Turn me on all night long/ I want to be your favorite song/ La-la-la-la, la-la-la / I want to be your melody/ Going through your head when you think of me/ I want to be your favorite song/ La-la-la-la.”[10] Meanwhile, Common’s lyrics are softhearted as he tries his hand at crooning.
"Colbie Caillat and Common Collaborate With Perfect Charm On "Favorite Song"".
"Colbie Caillat And Common Sing Your "Favorite Song"".
a b "iTunes – Music – Favorite Song – Single by Colbie Caillat".

Update: Arca Interviews: DJ Quik 5-10-15-20: Vashti Bunyan Overtones: Notes You Never Hear: The Metaphysical Loneliness of George Harrison Our Bandwidth Could Be Your Life Electric Fling: New York Nights Rising: Lydia Ainsworth 5-10-15-20: Mary Timony Show No Mercy: Godflesh Rising: Future Brown Paper Trail: Greil Marcus: The History of Rock ‘n’ Roll in Ten Songs 5-10-15-20: Caribou Staff Lists: Richard D.
“Just”, a standout from their self-titled debut for the tiny Detroit label Salinas, is a 90s indie-punk throwback centered on the ever-popular topic of unrequited , with gut-wrenching lyrics that put you right in the moment– from singer Allison Crutchfield recalling a streetlight-illuminated first kiss in her “empty room, dripping wet,” to her other half Kyle Gilbride smashing through his front door, breaking the lock, and going straight to bed, unaffected by the night’s events.
"My heart is a record of dangerous scenes/ My skin is a surface to push to extremes/ But when will I turn and cut the world?" The song’s video gives this open-ended chorus a violently literal spin, but the hopeful surge behind Antony’s delivery can also suggest other interpretations, like severing a connection as one might an umbilical cord or an anchor.
In the song’s video, the OF faction horses around in photographer Terry Richardson’s studio, like the tight-knit group of kids they are: Domo does his weed raps, Jasper plugs the group’s Adult Swim series, even Frank Ocean rhymes ably and without ever sacrificing his kinda-over-it aura.
Chance The Rapper – Favorite Song (ft.
Mix – Chance The Rapper – Favorite Song (ft.
5:08 Chance The Rapper – Cocoa Butter Kisses (feat.
4:33 Chance The Rapper – Smoke Again (feat.
These Detroit dudes make the guitars wobble every which way on Under Cover Of Official Right, while misery goat Joe Casey runs the emotional gamut from "I Stare At Floors" to "I’ll Take That Applause." (He looks and dresses like a boozy young P.J. O’Rourke – when he steps onstage, it looks like he’s there to serve the band a subpoena.) In "What The Wall Said," Casey moans about sitting alone in his room, playing Alice In Chains on repeat, listening through the wall to eavesdrop on other people’s lives, even though they’re probably as dismal as his.
Last summer I saw a Japandroids show where they dedicated "The House That Heaven Built" to Craig Finn, saying, "Thanks for letting us steal so much shit from you." Well put! Nobody’s written as many great songs as the Hold Steady over the past decade – nobody’s even close.
In “best album title of the year” news, it’s from their new LP, Plowing Into the Field of Love.
New favorites from Ariana Grande & Iggy Azalea, Sia, Sharon Van Etten, Röyksopp & Robyn, Torres and more.
Andy Stott releases another stunner from his upcoming album, Faith In Strangers, out next month.
Ariel Pink is releasing an epic “solo” double-album.
13 Won’t Get Fooled Again The Who 14 Bohemian Rhapsody Queen 15 Apeman        The Kinks 16 Moonlight Mile Rolling Stones 17 Light My Fire The Doors 18 Be My Lover Alice Cooper 19 Revolution Beatles 20 Stairway To Heaven Led Zeppelin 21 American Pie Don McLean 22 Lola The Kinks 23 Me & Bobby McGee Janis Joplin 24 Ziggy Stardust David Bowie 25 Your Song Elton John 26 Living For The City Stevie Wonder 27 LA Woman The Doors 28 Like A Rolling Stone Bob Dylan 29 Everyday People Sly & The Family Stone 30 Auqalung Jethro Tull 31 Maggie Mae Rod Stewart  32 Respect Aretha Franklin 33 Daniel Elton John 34 Layla Derek & The Domino’s 35 Alice’s Restaurant Arlo Guthrie 36 Whipping Post Allman Brothers Band 37 Sam Stone John Prine 38 Space Oddity David Bowie 39 Mandolin Wind Rod Stewart 40 Walk On The Wild Side Lou Reed 41 Up On The Roof  Drifters 42 Southern Man Neil Young 43 Like A Hurricane Neil Young 44 Street Fighting Man Rolling Stones 45 Taxi Harry Chapin 46 Go Your Own Way Fleetwood Mac 47 Rocky Mountain Way Joe Walsh 48 Refugee Tom Petty & The Heartbreakers 49 Your So Vain Carly Simon 50 White Rabbit Jefferson Airplane   51 Highway To Hell AC/DC  52 Piano Man Billy Joel 53 Desperado Alice Cooper 54 Dance To The Music Sly & The Family Stone 55 Hotel California The Eagles 56 Werewolves Of London Warren Zevon  57 Proud Mary Creedence Clearwater Revival 58 Purple Haze Jimi Hendrix  59 Pretty Woman Roy Orbison 60 Long Haired Country Boy Charlie Daniels Band 61 Spill The Wine War  62 The Low Spark of High Heeled Boys Traffic 63 House Of The Rising Son The Animals  64 You Don’t Mess Around With Jim Jim Croce 65 Baby Blue    Badfinger 66 Midnight Rider Allman Brothers  67 Ripple Grateful Dead 68 Rosalita (Come Out Tonight)  Bruce Springsteen 69 You Really Got Me The Kinks 70 My Generation The Who 71 Candle In The Wind Elton John 72 Lay Lady Lay Bob Dylan 73 Bad Bad Leroy Brown Jim Croce 74 Good Vibrations Beach Boys 75 Suspicious Minds Elvis Presley 76 Piece Of My Heart Janis Joplin/Big Brother & The Holding Co.
Skidmore’s ethereal vocals, indefinitely in debt to Treasure-era Cocteau Twins, act like warm coals allaying Stott’s traditionally cold and austere beat work, which on this album (and even on this track alone) seems to shift between dub techno, IDM and trip hop, with ease.
Today, Manchester artist Andy Scott shared his tremendous new single, “Faith In Strangers,” which so happens to be the penultimate track from his upcoming album of the same name.
Chicago’s new kid on the block makes waves by veering away from his previous mixtape rap toward his hometown’s house music roots with a song that may make you want a few too many drinks and a few too many hours on the dance floor.
Below, you’ll find more than one slow-building, ambivalent dance song; definitive statements from newcomers next to veterans who sound more fragile than ever; party chants that mix profanity with politics; ultra-minimalist hip-hop and guitar solos from the dudes you’d expect.
The voice of London-born Smith is all over the airwaves this year, for good reason: This song’s gospel frame makes gloriously obvious its truly angelic force and flexibility.
Sweetness and noise struggle for dominance in music that makes hardcore punk beautiful, and artfully conveys the tensions within singer Meredith Graves’ reckoning within the demon — romance — that seems to capture us all.
Vibes and keys and beats and a slow-burn guitar solo, all before Dan Auerbach’s vocals kick in (after that: bittersweet lyrics, three sisters singing harmonies and another guitar solo).
These songs on your debut album are rich in sound, fabulous unison singing and harmonies, with buoyant drums and bass.
I hear a lot of "girl group" music these days that harkens back to Phil Spector — I like that just fine, but this album doesn’t look back.
Crutchfield’s second album as Waxahatchee is not the exposed wound that its predecessor, the bare-bones American Weekend, was, nor the sound of a solo artist getting a band together.
Let’s put aside whatever label and personal drama might be behind Night Time, My Time — Sky Ferreira and producer Ariel Rechtshaid have made the kind of textured and complicated pop-rock album we haven’t heard in years.
Texan-British Brooklyn transplant Devonté Hynes hasn’t made the richest sounding R&B album of the year working under his new moniker Blood Orange — that accolade might go to the multi-million dollar, sonically-intimidating Random Access Memories by Daft Punk.
2013 was a big year for the LA-based La Santa Cecilia after years of touring, recording and hustling a place for themselves in Latin music.
In the Second, she brings across the composer’s fusion of folk music source material and advanced 20th-century concert language through a sound that’s at times dark and rich, and at others a steel wire.
On its third album, the group fully integrates its cosmopolitan influences in music that ranges from the raucous to the sublime.
The Flaming Lips have been making remarkably inspired music for more than 30 years now, with a number of notable albums to the group’s credit.
Much of this Nigerian funk master’s biography is still cast in shadows (he became an evangelical Christian and stopped talking about himself or his music in the mid-’80s), but the eight albums that William Onyeabor made of futuristic synth-pop back in the ’70s and early ’80s is still weird, wild and wow-inducing 30 years later.
But giving voice to a vision isn’t synonymous with authorhood, as San Fermin demonstrates: The group is the brainchild of classically trained Brooklyn pianist and songwriter Ellis Ludwig-Leone, who recruited three terrific singers (Lucius’ Holly Laessig and Jess Wolfe, plus deep-voiced Allen Tate) to sing his ornate, frequently orchestral chamber-pop songs.
Performed by a group of 30-odd musicians helmed by percussionist Doug Perkins in the woods of Vermont, this version of Inuksuit opens with several minutes of birdsong, whose world is very, very, oh so slowly — nearly imperceptibly at first — set sideways by what morphs into a dense, towering, crashing monster of sound that, in its own time, gives way again to an exuberant, twittering mass of brightly piping piccolos, triangles and glockenspiels.
The sounds on the album were recorded live by an ensemble, and later manipulated, but Hecker lets the instruments themselves — and, by implication, the other musicians who play them — peek through the fog on a regular basis, and sometimes stand alone, as if momentarily sunlit, before the darkness swells again.
With R&B music in a tumltuous state, it’s refreshing to hear a pro record great love songs.
It speaks to Valerie June’s appeal that her music puzzles out half a dozen genres — blues, gospel, folk, country, pop, roots-rock — without stopping to sound much like anyone or anything else.
Her sixth album, La Noche Mas Larga, gathered up more widespread critical acclaim than previous releases, which led to even more fans, which made her short U.S. tour this year a hot ticket.
The biggest quiet story in popular music this year involved women singer-songwriters who kept their tongues in their mouths and told the truth of ordinary lives.
Don’t know your dan tranh from your dan bau? You will after hearing Van-Anh Vanessa Vo, the Emmy Award-winning Vietnamese musician and composer who plays a broad assortment of traditional instruments on Three-Mountain Pass, her album of traditional, original and contemporary pieces.
At the top of the year there was no release date in sight for the long awaited solo debut album from Pusha T, one half of Virginia Beach duo The Clipse.
This recording veers off the center lane of what you might expect from a "Latin band" — into songs by Led Zeppelin and The Jackson 5, even stranger references — but the group’s combination of street wisdom and conservatory training can handle the curves.
Although it was composed as a multimedia work with stop-motion animation by visual artist Danijel Zezelj, composer and bandleader Darcy James Argue’s Brooklyn Babylon stands as an impressive album on its own.
Those shared words could be the limitations of language, but they might illuminate what this cross-section of music lovers most needed to hear this year.
How do you compose the perfect drone? For the last dozen years, Tim Hecker’s albums have asked that question via layers of sound — often acoustic instruments recorded and then digitally stretched into unrecognizable hums and waves — that built to overwhelming, enveloping crescendos.
Like Lessing’s great novel The Golden Notebook, Marling’s fourth album denotes a vast interior space where one young woman builds a palace (and, maybe, a cage) of ideas and emotions.
The music of James Blake is like a sonic Rosetta Stone, assembling and translating the language of multiple genres into a singular sound.
It’s a songwriter’s album first, giving voice to vivid characters: a cancer-stricken barfly, a criminal trying to go straight, a boy intent on saving a classmate from her abusive father.
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12 Celebs You Didn’t Know Were Natural Blondes They say that blondes have more fun, but what about secret blondes?… 10 Most Annoying Celebrity Couples Many celebrities talk about the difficulties of dating in Hollywood:… 17 Celebs Who Really Deserve A Hollywood Walk of Fame Star A Hollywood Star is the pinnacle of a celebrity’s career.
I’ve never been a huge fan of Beck’s heartbroken side (in fact, I think I’m the only person on Earth who’s lukewarm about Sea Change), but I cannot get enough of this year’s Morning Phase—and, specifically, the song “Blue Moon.” On some level, I think it’s because the song’s acoustic guitars and reverb-coated vocals remind me a lot of Death Cab For Cutie’s “Soul Meets Body,” which I love.
I’m just terrible at staying up to date on music, but there is one song this year that has provided me endless if deeply baffling joy: Lil B’s “Fuck KD (Kevin Durant Diss),” in which the rapper’s one-man war with Kevin Durant, the NBA’s reigning MVP, reaches its latest insane crescendo.
Titled To Be Kind, it’s anything but; it takes off from the billowing industrial drones of 2012’s outstanding The Seer and shears that shimmering ugliness down to cruel, jagged shards like “A Little God In My Hands.” The song is a lurching groove I can only describe as “sarcastic funk,” with Gira sneering about the yin and yang—the love and the shit—of the universe, answered by blasts of corroded horns.
I am hopelessly behind the times when it comes to music, so I only became aware of Wye Oak when they came into The A.V. Club studio for their latest Undercover video, covering Kate Bush’s “Running Up That Hill.” That cover might be my favorite song of 2014, but in the interest of choosing something that was actually released on a record, I’ll go with “Glory,” off of Shriek.
When I saw Isaiah Rashad perform with Vince Staples and Schoolboy Q, I only really liked the singles off Cilvia Demo, his debut album. But the Tennessee rapper’s raw, hungry live energy not only blew his elder and better-known Top Dawg labelmate out of the water, it inspired me to dive back into the record and discover its depth, smoky soul, and the skill with which it reframes the Southern rap canon (there’s literally a whole track about Rashad trying to be Scarface).
I’ve already written Hear This entries on what are probably my two favorite songs of 2014—Sylvan Esso’s “Coffee” and SOHN’s “Lessons”—so I’m going to go with the title track to Jack White’s recent solo album Lazaretto.
You’re going to have to believe that I’m not biased on this one because my husband books the guy, but I’m really into Strand Of Oaks’ “Goshen ’97.” It’s off the excellent Heal, and while it’s poppier than most of the other tracks on the record, it’s still deeply personal and supremely satisfying.
In this overly produced and perfected recording landscape, perhaps what I like most about “Your Love Will Blow Me Away” is Son Little’s raspy delivery, so I hope he hangs on to that. Considering the number of plays this artist has gotten from me already with just two songs out and no announced LP release date, I’m on the lookout for great things from Son Little.
“Complete Surrender” is probably their danciest song so far, but it’s not the sound of an indie band going predictably disco.
“Started From The Bottom,” “Hold On, We’re Going Home,” and their follow-ups towered over nearly everything else on rap radio last year, so much so that it’s become hard to imagine what the format might sound like without a behemoth Drake single.
Gushing is not my style, but for the four-volume Disney Children’s Favorite Songs I can’t think of enough superlatives: comprehensive, well-performed and -produced, and inexpensive to boot.
Disney Records Children’s Favorite Songs (Vol.
Walt Disney Records : Children’s Favorite Songs, Vol.
It’s just impossible to go wrong with Disney’s Children’s Favorite Songs.
Amazon.com: Disney Records Children's Favorite Songs (Vol.
I bought these songs on two audio tapes when my children were small, and was immediately struck by the professional quality of the recordings.
Disney misjudged not only the mass appeal of the songs themselves, but the range of people of all ages who would come to love this music.
It’s great to find the exact same songs and singer(s), and share them with my daughter! Musically, they’re classic and I am happy to listen to them over and over again with my baby.
When this music was originally recorded by Disney and sold on records (yes, real vinyl!), it was billed as music for children between the ages of two and five.
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For the project, Klimas put vibrantly colored paint on a diaphragm over a speaker, turned up the volume on selected music and snapped photos of what the New York Times Magazine described as "a 3-D take on Jackson Pollack." "I use an ordinary speaker with a funnel-shaped protective membrane on top of it," he told the Smithsonian.
German photographer Martin Klimas’ latest exhibition, a series of images he calls "Sonic Sculptures," is so explosive and colorful, it just may change the way you look — yes, look — at music.
Blown speakers and exactitudes aside, Klimas said "the most annoying thing was cleaning up the set thoroughly after every single shot." Check out more of Klimas’ work on his website ( ), or better yet, if you’re in New York City, stop by the Foley Gallery on the Lower East Side.
On to My Top 50 Favorite Albums of All-time >>> 25.
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Thurston Moore, the guitar visionary of Sonic Youth, Chelsea Light Moving and many other collaborations (he just wrapped up a residency at The Stone with various collaborators), is set to receive The Fly’s Living Legend Award in London this February, and ahead of that The Fly asked him to list his Favorite Songs of All Time.
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The video features a framing story with Elmo, Baby Bear, Rosita, Lulu, a Honker, Big Bird, Snuffy, Mary and her little lamb and the Kids.
Meanwhile, the other Sesame Street characters sing some songs while Snuffy chases after a runaway meatball during his song.
Kids’ Favorite Songs 2 is a 2001 Sesame Street direct-to-video compilation.
In the story, Elmo talks with and films kids on their favorite songs.
It has been a long ride (one of our original goals was to "build a company that lasts at least 2 years” – we beat that one!) While we wish the site could live on, it has suffered from a number of challenges – changes in how people use the site, the advertising industry, and how search engines view the site.
Nicholas 4 Juanita 38 and 39 Just Before The Battle, Mother 37     Kathleen Mavourneen 74 and 75 Keller’s American Hymn 15 Killarney 127 Kind Words Can Never Die 86     Largo 118 119 and 120 Last Night the Nightingale Woke Me 22 Last Rose of Summer, The 51 Lead, Kindly Light 65 Lead Us, Heavenly Father, Lead Us 120 Lilly Dale 36 Little Boy Blue 30 Little Drops of Water 23 Loch Lomond 35 Long, Long Ago 40 Lord, Dismiss Us With Thy Blessing 84 Loreley, The 33 Love’s Old Sweet Song 41 Loving Kindness 92     Marching Through Georgia 128 March of the Men of Harlech 103 Marseillaise Hymn 77 Mary Had a Little Lamb 20 and 21 Massa’s In The Cold Ground 48 Merrily, Merrily (Round) 22 Michigan, My Michigan 29 Miller of the Dee 17 Minstrel Boy, The 19 Motion Song–Our Flag 6 Musical Alphabet 83 My Bonnie 43 My Faith Looks Up To Thee 91 My Maryland 46 My Old Kentucky Home 60 My Own Native Land 23     Now Thank We All Our God 112 Now The Day Is Over 15     O, Come, Come Away 125 Oh, Broad Land 50 Oh, Wert Thou in the Cauld Blast 47 Old Black Joe 54 Old Folks at Home 56 Old Oaken Bucket, The 55 Old Santa Claus 100 Onward, Christian Soldiers 76     Praise for Peace 124 and 125     Quilting Party, The 62     Rainy Day, The 32 Raise Your Hands 115 Revolutionary Tea 109 Robin Adair 40 Robin Redbreast 98 Robinson Crusoe 106 Rocked in the Cradle of the Deep 39     Safely Through Another Week 4 Sailing 27 Scenes That Are Brightest 72 Scotland’s Burning (Round) 55 Singing In The Rain 99 Snow-Bird, The 106 and 107 Softly Now the Light of Day 6 Soldier’s Farewell, The 43 Song of a Thousand Years68 and 69 Sound the Loud Timbrel 8 and 9 Speed Away 110 and 111 Spring, The (Round) 18 Stars and Stripes, The 21 Stars of the Summer Night 56 Star-Spangled Banner, The 67 Sweet and Low 58 Sword of Bunker Hill, The 112 and 113     Tara’s Harp 14 There’s Music in the Air 53 Those Evening Bells 61 To and Fro 89 To the Friends We Love 90 Three Blind Mice 114 Tramp, Tramp, Tramp 46 and 47 Try, Try Again 5 Twinkle, Little Star 71     Uncle Ned 50     Vacant Chair, The 51     Wake, And Tune Your Youthful Voices 108 Wearing of the Green 26 We’re All Noddin’ 96 We’re Tenting To-night 49 When Johnny Comes Marching Home 126 When the Swallows Homeward Fly 61 When You and I Were Young, Maggie 24 and 25 While Shepherds Watched Their Flocks 95 Whip-poor-will Song, The 19 Work, For the Night is Coming 76 Woodman, Spare That Tree 31     Yankee Doodle 52 Years of Peace 124 [Page 3: Music and Lyrics] FOREWORD.
  Page All Together 96 America 3 America, the Beautiful 91 Angry Words 113 Annie Laurie 66 Anvil Chorus 12 and 13 Auld Lange Syne 57     Battle Cry of Freedom, The 45 Battle Hymn of the Republic 63 Bees, The 32 Bell Doth Toll, The 83 Bingo Was His Name 126 Blest Be the Tie That Binds 90 Blue-Bells of Scotland, The 65 Blue-Eyed Mary 72 Bull-Dog, The 78     Can a Little Child, Like Me 84 Carry Me Back to Old Virginny 122 and 123 Catch the Sunshine 54 and 55 Cheer, Boys, Cheer 94 and 95 Christmas Carol 80 Christmas Carol 101 Christmas Song, A 102 Christmas Song 104 Christmas Time Is Come Again 97 College Days 115 and 116 Columbia, The Gem of the Ocean 70 and 71 Come, Thou Almighty King 87 Come, With Thy Lute 36 and 37 Comin’ Thro’ the Rye 57 Commencement Hymn, A 5 Cousin Jedediah 79 Cradle Song 69 Cuckoo, The 128     Darling Nellie Gray 44 Dearest Spot, The 38 Dip, Boys, Dip the Oar 48 and 49 Dixie Land 64 Donkey, The (Four Part Round) 32     Evening Bell, The 45     Fair Harvard 116 and 117 Farmer, The 73 Flag of the Free 53 Flow Gently, Sweet Afton 59 Follow Me, Full of Glee 111     Glad Christmas Bells 30 and 31 Go to Sleep, Lena Darling 34 God Be With You Till We Meet Again 86 and 87 God Bless Our Native Land 123 Gone are the Days 107 Good Morning To You 81 Good Night, Ladies 46 Graduation Song 105     Hail Columbia 42 Hail to the Chief 28 Hallelujah Chorus 10 and 11 Hand Exercise Song 7 Happy Greeting To All 88 and 89 Hark the Herald Angels Sing 80 and 81 Harrow Marches Onward All 16 and 17 Heart Bowed Down, The 75 Ho, Ho, Vacation Days are Here 25 Holy, Holy, Holy 88 Holy Night 114 Home Sweet Home 73 Hop, Hop, Hop 50 How Can I Leave Thee44     I Cannot Sing The Old Songs 18 If You Have a Pleasant Thought 42 Illinois 121 Imitation Song 7 In the Gloaming 68 I Think, When I Read That Sweet Story 92 and 93     Jesus, Lover of My Soul 14 Jesus Loves Me 42 Jingle Bells 82 and 83 John Brown’s Body 110 Jolly Old St.
"Musical repetition gets us mentally imagining or singing through the bit we expect to come next," professor Elizabeth Margulis, author of the recent On Repeat: How Music Plays the Mind, noted in an interview with Mic.
"Not only do all known human cultures make music, but they all make music where repetition plays a defining role," Margulis added.
Given Ganglion Reef’s transcendent powers, it’s no wonder that when we spoke to Wand vocalist and guitarist Cory Hanson via email, he wanted to focus on live versions of songs that teem with unhinged energy.
The unpredictable and mind-altering energy that emanates from the music of psych-rock quartet Wand suggests the kind of unhinged spirit that only comes from a live performance.
On their debut album Ganglion Reef, sun-drenched vocals give way to heavy, fuzz-laden riffs; the riffs morph into runaway guitar solos quivering with ferocity; those solos temper and then finally fade away.