Tunes Du Jour Presents 2012

by with No Comment Uncategorized

The pop music of 2012 was built around memorable hooks, but it did not follow a single formula. Carly Rae Jepsen’s “Call Me Maybe” made romantic uncertainty sound bright, tidy, and instantly singable, while P!nk’s “Blow Me (One Last Kiss)” gave the breakup song a sharper pop-rock edge. Psy’s “Gangnam Style” became an international sensation through its comic video, choreography, and highly recognizable refrain, showing how quickly a song could travel through YouTube and social media. Adele’s “Skyfall,” meanwhile, looked backward to the grand tradition of Bond themes, using orchestration and vocal drama rather than a dance beat. Together, these songs suggest a mainstream that could accommodate both carefully polished pop and something genuinely unexpected.

Electronic music also occupied a more visible place in the year’s popular sound. M83’s “Midnight City” paired a driving beat with glowing synthesizers and a saxophone solo, giving indie electronic music a strong pop presence. Grimes’ “Oblivion” was stranger and more intimate, using bright, sometimes uneasy production beneath an unusually light vocal. Major Lazer’s “Get Free,” featuring Amber Coffman, leaned into spacious reggae and dancehall influences, while M.I.A.’s “Bad Girls” turned a spare, bass-heavy beat into a forceful statement. Elsewhere, Todd Terje’s “Inspector Norse” offered a playful disco workout. These tracks were distinct from one another, but they shared an interest in texture, rhythm, and production as central parts of the songwriting.

R&B in 2012 often found power in restraint. Frank Ocean’s “Thinkin Bout You” is direct and emotionally exposed, yet its arrangement leaves plenty of room around his voice. Usher’s “Climax” transforms a breakup into a slow, tense electronic pulse, while Miguel’s “Adorn” draws on classic soul without sounding like a period exercise. Solange’s “Losing You” is more buoyant, using crisp percussion and layered vocals to give its sadness some movement. The year’s R&B did not always aim for a huge chorus or a crowded arrangement; many of its strongest moments came from pauses and carefully controlled atmosphere.

Hip-hop presented several different ideas about what a rap hit could do. Jay-Z and Kanye West’s “Ni**as In Paris” was built for impact, relying on repetition, forceful delivery, and dramatic samples. Nicki Minaj’s “Beez In The Trap” emphasized attitude and rhythmic precision, while Azealia Banks’ “212” moved between rap, house, and club music with restless energy. Kendrick Lamar’s “Swimming Pools (Drank)” sounded catchy enough for a party but used its verses to examine peer pressure and drinking culture. The contrast is important: 2012 rap could be boastful, dance-oriented, experimental, or reflective, sometimes within the same track.

There was also plenty of room for detailed, traditional songwriting. Taylor Swift’s “All Too Well” built its emotional force through specific memories rather than broad declarations. Fiona Apple’s “Every Single Night” turned anxious thought into something rhythmically unpredictable, and Lana Del Rey’s “Video Games” treated romance through a slow, cinematic lens. First Aid Kit’s “Emmylou,” Miranda Lambert’s “Over You,” Jessie Ware’s “Wildest Moments,” Jack White’s “Love Interruption,” Bat for Lashes’ “Laura,” Beach House’s “Myth,” and Japandroids’ “The House That Heaven Built” all drew on older forms—country, folk harmony, torch-song drama, blues, dream pop, and guitar rock—while keeping their own contemporary identities. Looking back, 2012 stands out less for one dominant style than for how comfortably these different approaches existed side by side.

Follow Tunes Du Jour on Facebook

Follow me on Bluesky

Follow me on Instagram

Tunes Du Jour Presents 2009

by with No Comment Uncategorized

Looking at a list of songs from 2009 feels a bit like opening a time capsule. It’s a year that feels both incredibly recent and like a completely different era. The internet had firmly established itself as the primary engine of music discovery, yet the monoculture of massive, universally-known hits was still holding on. It was a year of distinct, confident sounds, where different genres weren’t just blending together, but thriving in their own parallel lanes. From stadium-sized anthems to bedroom-born electronic experiments, the music of 2009 was defined by a remarkable breadth of creativity.

One of the most prominent stories of the year was the flourishing of indie rock. This wasn’t the scrappy, underground sound of years past; this was indie at its most ambitious and critically adored. You had the intricate, harmony-drenched compositions of Grizzly Bear on “Two Weeks” and the hypnotic, looping bliss of Animal Collective’s “My Girls.” These were songs that rewarded close listening. Elsewhere, artists like Bat For Lashes (“Daniel”) and Dirty Projectors (“Stillness Is The Move”) were crafting their own unique sonic worlds, while bands like the Yeah Yeah Yeahs (“Zero”) and Japandroids (“Young Hearts Spark Fire”) delivered pure, cathartic energy. It was a moment where “alternative” music felt like it was setting the cultural agenda.

Meanwhile, the top of the charts was being shaped by bold new directions in pop and hip-hop. Lady Gaga’s “Bad Romance” wasn’t just a song; it was a high-concept art project, signaling a new level of theatricality in pop music. This stood alongside the effortless, feel-good charm of Miley Cyrus’s “Party in the U.S.A.” and Kelly Clarkson’s powerhouse hit-making on “My Life Would Suck Without You.” In hip-hop, the genre’s emotional palette was expanding dramatically. You had Jay-Z and Alicia Keys delivering a timeless, triumphant anthem with “Empire State Of Mind,” while at the same time, Kanye West’s auto-tuned melancholy on “Heartless” and Kid Cudi’s spacey introspection on “Day ‘N’ Nite” were paving the way for a more vulnerable sound. The arrival of Drake with “Best I Ever Had” confirmed this shift toward melody and emotional openness was here to stay.

This wasn’t to say that straightforward rock and roll had been left behind. On the contrary, it was a year of massive, unifying rock anthems. Kings Of Leon reached their popular peak with “Use Somebody,” a song that seemed to be playing in every stadium and on every radio station in the world. The UK, meanwhile, was providing its own distinct contributions, from the grand, theatrical rebellion of Muse’s “Uprising” and the clever songwriting of Arctic Monkeys on “Cornerstone” to the dance-floor-ready energy of Franz Ferdinand’s “Ulysses.”

Looking back at this collection of songs, what’s most striking is the confidence of it all. It was a year where artists were creating fully realized worlds for listeners to step into. Whether it was the raw nerve of The Ting Tings, the grime-infused electro of Dizzee Rascal’s “Bonkers,” or the classic synth-pop of Pet Shop Boys, each track feels like a distinct statement. It was a time when you could have a playlist that jumped from an introspective indie ballad to a global pop phenomenon, and the whole thing made perfect sense. It was the sound of several different musical futures all happening at once.

Follow Tunes Du Jour on Facebook

Follow me on Bluesky

Follow me on Instagram

Your (Almost) Daily Playlist: 11-10-22

by with No Comment Uncategorized

Today’s playlist celebrates the November 10 birthdays of Warren G, Massive Attack’s Andrew Vowles, King Crimson’s Greg Lake, Ennio Morricone, Major Lazer’s Diplo, Miranda Lambert, Eve, Jimmy Eat World’s Jim Adkins, The Capris’ Nick Santo, The Beautiful South’s Jacqui Abbott, Atlanta Rhythm Section’s Ronnie Hammond, Donna Fargo, Tracy Morgan, and Ben L’Oncle Soul; and the November 11 birthdays of XTC’s Andy Partridge, Wu-Tang Clan’s U-God, LaVern Baker, Marshall Crenshaw, Peaches, The Ides of March’s Jim Peterik, X’s Dave Alvin, Hardfloor’s Ramon Zenker, Half Pint, Dennis Coffey, Mose Allison, The Raveonettes’ Sharin Foo, Static Major, Stubby Kaye, and Chris Smither.

Follow Tunes du Jour on Facebook

Follow Tunes du Jour on Twitter

Follow me on Instagram