The Top 100 Songs of 2011 -- #5: "The Edge of Glory" -- Lady Gaga

Many found Lady Gaga's Born This Way to be overly preachy, overproduced and a significant departure from her early material -- too significant, in fact, that some jumped the ship of Gaga around the release of the album's eponymous first single.

On the other hand, if you were me, you loved the new direction Gaga took, and didn't mind the craze that hit around February one bit. As a cohesive album, Born This Way is one of the best records to come from the new electronic music craze, and it's nice to see an artist that believes that pop music can resonate and make a statement in an age where the concept is increasingly rare.

Some might argue that "Born This Way" ended up the biggest single from the record, given its huge impact on the Billboard Hot 100 upon its release. However, while I am a big fan of that song (potential Madonna knockoff? Who cares, it's catchy as fuuuuck), I argue for "The Edge of Glory," which didn't hit No. 1 but maintained its allure for months into summer.

The electro rock production from Fernando Garibay cannot be understated. Gaga's contribution is, of course, highly important to its success, but the pounding techno of the song makes it one of the best pop songs the genre has recently produced.

Gaga's edge-of-the-world vocal is one of her best to date. The song is already huge, and on the chorus, she rises to the occasion and then some, with a magnificent vocal run that furthered its grandiosity.



The late Clarence Clemons makes an appearance, too -- on the song's bridge, with a larger-than-life saxophone solo. Speaking of which -- 2011: Year of the Sax, yes? Of course. This song, "Last Friday Night," "Mr. Saxobeat," "Something to Believe In," "Midnight City"... what on earth was everyone's infatuation with the instrument this year? Me, I'm still waiting on the accordion resurgence. "Stereo Love" got us started, let's get this shit going.

Even the title of the song suggests an epic soundscape, and that's exactly what Gaga pulls off with "The Edge of Glory." A few of her singles may not have performed up to the ridiculously high standards of many, but looking back on the 2010s, it will be hard to avoid talking about this song as one of its best.

The Top 100 Songs of 2011 -- #6: "Yonkers" -- Tyler, the Creator

2011 was the year of Odd Future, and Tyler, the Creator, the collective's ringleader, led the way. The center of attention in almost every respect, the 20-year-old rapper released Goblin, which garnered him praise from a number of publications and a Best New Artist award at the 2011 MTV Video Music Awards.

I think something we can all agree on when it comes to Tyler is that, as he says himself on "Goblin," he's "not that great a rapper." No one's falling head over heels for Tyler's flow or rapping skills. So, what's the allure? Why was Goblin arguably the most talked-about rap record of 2011, and maybe even the biggest had it not been for Watch the Throne?

Part of it has to be the DIY nature of Tyler's music, itself seemingly a backlash to the sleek, polished nature of modern rap. For those disillusioned with the direction of the genre, this can only be a breath of fresh air. Don't count out the rawness of the music, either -- and not just in terms of his vocal. There's an edge to the music that most mainstream rappers today wouldn't even dare to gravitate toward.

"Yonkers" was the song that propelled Tyler into the stratosphere, and should have scared every living rapper out there -- except, perhaps, for artists like Jay-Z and Kanye, whose appeal is all-but-solidified no matter what at this point. This was not only a backlash to overproduced rap, it was a full-frontal assault.

Tyler's always been under scrutiny for his misogynistic, sometimes overly-vulgar lyrical content, which targets basically anyone and everyone, and at times features lyrics that can be construed as insensitive toward the homosexual community. With "Yonkers," his lyrics aren't exactly as controversial as some of his other tracks, but it's still a shock to anyone who's hearing his music for the first time.

In keeping with the theme of Goblin, during which Tyler talks to his therapist about his problems and life, "Yonkers" is introspective, but also a song about the abandon he experiences in New York City. And while Tyler disputes the fact some call his music horrorcore, tell me that backbeat under his rap doesn't creep you the fuck out.



2012 will be an interesting time for Odd Future, as it's still to be seen whether the collective will actually remain relevant or if they're a passing fad. Frank Ocean seems to have something to say about this and may end up the more relevant in the long run, but for now, Tyler, the Creator is one of the biggest new rappers in the game, as well as one of its most provocative figures. What will he do next? It's rumored Wolf, his follow-up, comes out in 2012.

The Top 100 Songs of 2011 -- #7: "Lonely Boy" -- The Black Keys

We got a taste of Danger Mouse-produced Black Keys last year with Brothers lead single "Tighten Up," which found the band sounding its most polished yet, for better or for worse. With 2011's El Camino, the producer stepped into the mixing booth for the duration of the record -- and again, for better or for worse. While some found the band's progression to be altogether appealing and the sign of a band coming into its own as an act, others pined for the straightforward blues rock of the band's earlier releases.

"Lonely Boy," the first song released from the new record, is interesting in that it's possibly the least retro song the band has released. And that's saying a lot, because if this were most other artists, we'd be considering this a throwback affair. But with "Lonely Boy" in the Black Keys' case, the band is sounding its most with-the-times.

Make no mistake, though -- this is not necessarily a bad thing. Whatever one's opinions on the new record, it's difficult to deny the allure of "Lonely Boy." It begins with one of 2011's best riffs -- a garage-y lick, the bottom of which drops out almost instantaneously before it rises again, without warning. Pat Carney's drumming is a good time here, too -- very rarely these days (or ever, really) do we find a drummer that keeps time basically only with the snare and bass (sans cymbal), but that's exactly what he does on the verse. What results is a clattering rhythm that runs wild beneath Dan Auerbach's polished riffing.



"I've got a love that keeps me waiting," sings Auerbach on the chorus, joined by a smattering of backing vocalists. It's tough not to pay attention to him -- besides the clever lyrical content, the chorus is one of the catchiest you'll find in rock all year.

"Lonely Boy" proved to mainstream artists what seasoned veteran fans of the band have known for quite some time -- that The Black Keys are no fluke band trapped in olden times. Instead, their status as one of the biggest American rock bands of the day was cemented.

The Top 100 Songs of 2011 -- #8: "All of the Lights" -- Kanye West feat. ALL THE PEOPLE

No, that headline's not exactly that false... this song pretty much has everyone in it. Or, at least, a lot. Too many? Maybe. Eh, whatever.

I'm also aware that the song technically was released in 2010. That said, "All of the Lights" found its largest audience in 2011, so I feel compelled to include it.

Kanye's criminally-underrepresented-at-the-GRAMMYs My Beautiful Dark Twisted Fantasy is still talked about to this day as one of the biggest rap releases in a while, and its status as a critically-acclaimed piece of work only helps it along.

One of West's biggest strengths has been his ability to create beats and rhythms that are more than the simplistic drum loops and chords that many hip-hop artists resort to. "All of the Lights" is one of the best examples of this trend yet.

Featuring a majestic choir of horns and driving drums, the song features a plethora of different artists in addition to Kanye. 14 guest vocalists in all. Can you imagine the money spent on this song?

Luckily, things don't get too crowded -- probably due to the fact that only a few of the artists actually have individual parts. Rihanna is featured on the song's chorus, Kid Cudi on his own verse about halfway through, Fergie following Cudi. Elton John, of all people, features on the song's chorus toward its end, and Alicia Keys adds a few well-placed 'oh's.

In addition, Drake, Charlie Wilson, Ryan Leslie, John Legend, The-Dream, Tony Williams, Elly Jackson, Alvin Fields and Ken Lewis provide backing vocals. Damn. Daaaaaaayum.



It's incredibly over-the-top and excessive, but that's become something to be expected from West. And as the end result is beautifully conceived and features some of the top rhymes in rap from the past two years, I think we can give Kanye this.

The Top 100 Songs of 2011 -- #9: "Down in the Valley" -- The Head and the Heart

I firmly believe 2011 was a fantastic year for folk music -- as has been the last two years. One of the resurgence's biggest benefactors so far is Seattle's The Head and the Heart, who makes delightful indie-folk with a slight pop element.

The band opened for The Decemberists in 2011 and scored a hit single in the form of "Lost in My Mind." However it is "Down in the Valley," perhaps the band's most outdoorsy song, that rises above the rest.

With "Down in the Valley," we are introduced to Johnathan Russell's totally-suited-for-folk voice, slightly raspy but totally deserving of the throngs of indie-inclined fans he's sure to garner due to it. As evidenced throughout the song, harmonies are a big part of the band's success, and other members of the six-piece are able to hold their own against Russell's tenor -- including Josiah Johnson, who trades off on lead vocals with Russell.

Lyrically, the song brings to mind a roving fellow whose travels have led him afar -- but in the end, he always comes back to the valley that he calls home. "Lord have mercy on my rough and rowdy ways," Russell sings, the tagline that I'm sure now adorns a thousand Tumblrs everywhere.



Along with warm folk instrumentation, the vocals on "Down in the Valley" create a sound that many will find appealing in this new age of folk music, provided by one of the rising stars of the genre.

The Top 100 Songs of 2011 -- #10: "No Light, No Light" -- Florence + the Machine

After Florence Welch and her lovely machine released Ceremonials lead single "Shake It Out," it wouldn't exactly have been an unsound assumption to make if one said that the singer had spent all her grandiosity on that one song. It was huge, with resonating choirs and a commanding vocal performance from Welch herself.

And then, we got "No Light, No Light."

Florence's newest single features a plethora of backing vocalists and orchestral backing, including a harp, and bombastic percussion. All this combines to create one of the most dramatic and altogether epic performances of 2011.

Welch has always had a penchant for going all-out, but this is ridiculous -- and I mean that in the best way possible. Secondary vocalists and organ give the song a church-like hymnal feel from its onset, and things can only go up from there. The tense drama of the song only rises with each second, the emotion in Welch's voice becoming more and more desperate.

"Heaven help me, I need to make it right," she sings, invoking the religious imagery ever-present in the song's music video.

One of the few times I truly got chills listening to music this year comes toward the song's end, when all other instruments cut out save for Welch's voice, following with the re-addition of bass and drums. It's one of the most powerful instances captured on record this year.



Florence + the Machine may forever be known in America for "Dog Days Are Over" and nothing more, but if there's any justice in this world, "No Light, No Light" will break out big as well. After Adele paved the way for grandiosity in pop music once more, the time is ripe for Florence to take her spot at the top, and this is the song with which to do just that.

The Top 100 Songs of 2011 -- #11: "June Hymn" -- The Decemberists

Sometimes, your favorite band releases an album that is steeped in the music you've grown to love since starting college. And when that happens, you're powerless to resist.

That's exactly what happened with The Decemberists and I in 2011. After the overblown prog rock of The Hazards of Love, the Portlanders toned it down with The King is Dead, a straightforward country-folk romp that ended up their most accessible record yet. Part '80s R.E.M., part Harvest-era Neil Young, The Decemberists created a record that will, along with Southeast Engine's Canary, always remind me of college and Appalachia as a whole.

The band stripped down to very minimal instrumentation on the two "Hymn" songs of the record -- "January Hymn" and "June Hymn." The former finds frontman Colin Meloy singing of clearing away the snow in the dead of winter. The latter, set on a sunny summer day, is among the prettiest the band has recorded.

Armed with a harmonica and his acoustic, Meloy is backed by Jenny Conlee's wafting accordion and Chris Funk's sparse guitar on the chorus, while Gillian Welch provides singsong harmonies. It's a rustic affair, with the band at its best when they're as pastoral as possible.

All this comes to greatest effect on the song's bridge, at which Meloy's and Welch's voices blend to create some of the sweetest-sounding harmonies created in 2011. Meloy launches into a harmonica solo after, poignant and emotional as ever before.



The Decemberists' music has always had its pretty moments, but it's hard to top the harmonies Meloy and Welch provide. And against the rustic background the rest of the band provides, "June Hymn" becomes one of the most hopeful songs about the summer months. "And years from now / When this old light isn't ambling anymore / Will I bring myself to write / 'I give my best to Springville Hill,'" sings Meloy, painting a vivid portrait of pastoral summer we won't soon forget.