If I had to compare the music of 2012 with the music of 2015, it would be as such: the good stuff of 2015 was better than the good stuff of 2012, but 2012 had more good stuff. Only by a little bit, though. As a trade-off, though, 2015's low points were a lot worse than 2012's low points. With all this in mind, if I were to pick a superior year, it would honestly go to 2015. 2015's high points were so high that I had to expand my best list to 15 just to fit all the songs I wanted to talk about. In 2012's case, even though there were more songs on the year end list I liked, they're ultimately songs I didn't like as much. Not in all cases, but still, I don't think I'd be able to expand this past the usual 10. And I'll admit, some of that might have to do with the fact that I was paying attention more in 2015, and I developed more of an attachment to the good stuff than I'm really able to develop for songs in 2012 I'm only vaguely familiar with. Of course that's not true for every song on this list. Besides, 2012 was still great for music, and hell if I'm gonna let my biases influence my picks. Let's get to it.
As per usual, my picks are limited to anything that debuted on Billboard's Year End 100 in 2012. Holdovers from 2011 like Adele's Rolling In The Deep or Someone Like You are disqualified.
Number 10
Even today, this song's success makes absolutely no sense. Possibly even to the original artist. But heck if I'm gonna complain about it.
Somebody That I Used To Know
Gotye ft. Kimbra
Making Mirrors
#1 on Year End 100
Selling this song to a mainstream audience had to have been tough. It's unlike anything the average pop listener could realistically describe. It's anchored in a very ugly, un-pop sound. But it works so well. And a large chunk of that has to do with Gotye's performance over the instrumentation and production. His quiet-then-loud vocals convey a believable sense of regret. It's not a performance that paints him in a particularly pleasant light, but it's not supposed to. Especially since Kimbra's short verse is about showing the other side of the coin. It's the sort of storytelling that doesn't often see the light of day in pop music, but that's what's so great about it. Then there's the iconic music video. Kinda makes me wish I was more attentive to seeking out music like this. Because even though it doesn't make sense that it got big, I want more of it. And I can't explain why.
Number 9
So, let's talk about musical influences. On a surface level, drawing influences from other popular acts can make you look like a copycat. But is it all that bad? Well, not when you can resemble an all-time great band while offering your own spin on things.
We Are Young
fun. ft. Janelle Monáe
Some Nights
#3 on Year End 100
Though this was one of the biggest hits of the year, often times I see that people aren't too fond of this song. My brother and some sentient pill bottle in particular. Even in 2016, though, it still holds up. This song is in a league of its own. Though its first verse sounds completely different from the rest of the song, it fits together perfectly as a tale of a night out gone down the flusher. It feels almost anthemic in a way, as it's able to keep a certain level of bombast despite a slow tempo. And yet, it never comes off as pretentious. In fact, to many, fun.'s style of music reminds many of Queen, and it's hard to disagree. Though its premise is simple, We Are Young earns its chorus chant of wanting to set the world on fire more than some want to admit. Even Nate Ruess framing himself as a jackwipe who probably beat his girlfriend works. Because honestly, who wants to have to deal with that guilt when you're at a bar trying to forget the things about your life that suck? Makes me think I'm too harsh on Chris Brown...nah. The only thing that kinda irks me about this track is...Janelle Monáe. Not because I hate her contribution to the song, but because it feels weird to have her if all she's going to do is background vocals during the bridge. Or maybe she's also in the chorus? It's hard to tell. Either way, I wish it didn't sound like they could only afford one day in the studio with her. But that's not enough for me to call this song anything but awesome.
Number 8
Given my tastes in music, and how I've seen this song on a couple other top 10s for 2012, it's probably not gonna come as a surprise that I like this next song so much.
It's Time
Imagine Dragons
Night Visions
#91 on Year End 100
Yep, one of my best lists wouldn't be complete without these guys. Even though I don't personally feel that way, there's a reason It's Time is considered the best song of Imagine Dragons' discography. It's a beautifully creative and masterful blend of folk rock and arena rock. That guitar riff sounds so good during the verses, and it instantly makes you want to sing along. It's mixed so well, and it's a pleasure to hear every single time. It's unfortunate that Imagine Dragons later developed somewhat of a negative reputation, because I really do like everything I've heard from them. Even still, I consider this one of their best songs. Though if I were to choose my favorite song from them, I'm still gonna have to go with Radioactive or Shots. At least we can all agree that this song is still awesome.
Number 7
This song I feel needs no introduction.
Gangnam Style
Psy
Psy 6 (Six Rules), Part 1
#47 on Year End 100
Whereas overexposure can make me sick of most pop songs (Let It Go, See You Again, etc.), in 2012, the overexposure made this song grow on me immensely. I'd call this a guilty pleasure, but frankly, I think enough people like it that I don't have to feel guilty about it. This is the most fun K-pop song I've ever heard, thanks to that awesome synth riff and Psy's ridiculousness. And I'm not just talking about the video. Even though I can't speak Korean, I can tell that this is meant to be a silly song, possibly poking fun at Korean culture. Yeah, there's more to it than that, but, again, I don't speak Korean. Even without the video, numerous parts of the song easily get stuck in my head, but I don't want them out. It's a goofy song, and honestly, I think the world is better off for it. I'm okay with this being the most viewed YouTube video of all time.
Number 6
Once upon a time in 2008, I heard a song on the radio. And I hated that song. Then I heard more songs from the same artist. I hated every single one of them. Even to this day, I can think of very few songs from this artist I would willingly listen to. And then I started researching for this list and...let's just say my streak ended. In other words, there's a Katy Perry song on this list.
The One That Got Away
Katy Perry
Teenage Dream
#41 on Year End 100
You don't have to tell me that this song is kinda contradictory to the stuff Katy Perry would usually put out: empowerment anthems like Firework, kinda dumb songs like I Kissed A Girl, or fantasy-driven oddballs like E.T. Ultimately, if I can help it, I try to judge a song on its own merits and not by whoever's singing it. I can't always do it (see: Chris Brown), but here, I have no qualms calling The One That Got Away a legitimately compelling song. Hell, I actually liked all the Katy Perry songs that were on the year end list in 2012. This one in particular stands out because of framing. Unlike in Part Of Me, Katy isn't trying to assure you that she's above a recent break-up. Here, she's vulnerable and full of regret, which is a lot more realistic and relatable. And she really sells it with her performance, too. All of this accompanied with some beautiful production, and, well, you've won me over. Congrats, Katy Perry. Aaaaaaand then Dark Horse happened, shoot.
Number 5
So, both of the artists on the track were on songs I put on the worst list for 2012. Small world I suppose.
Take Care
Drake ft. Rihanna
Take Care
#23 on Year End 100
Some of you might remember that Todd in the Shadows listed this as his favorite song of 2012. And honestly, I'm pretty surprised I don't see this on best of lists more often. The beat work is quiet yet refined, presenting a chilling yet humbling atmosphere, with both Drake and Rihanna giving heartfelt performances. I always enjoy Drake a lot more when he shows some emotion, which unfortunately felt rare throughout his 2015 discography. He sounds gorgeous here, spilling his heart out to a girl with a bad reputation. Then you also have Rihanna herself, giving a stellar performance too. It's by far her best on the year end list. Together, they're brutally honest, creating an incredible dynamic. This song sends shivers down my spine, but in a good way. It feels more sophisticated than anything either of these two would usually make, and yet it doesn't come across as jarring. This is easily the best song either of them has made in years. And yet, we have four more songs to go through.
Number 4
Speaking of songs I think deserve a little more recognition...
Blown Away
Carrie Underwood
Blown Away
#70 on Year End 100
This song is brutal. And that's something I never imagined saying about a country song. Actually, I think this song's status as country is pretty debatable. Any guitar in this song is mostly drowned out by the piano, reverb, and percussion. The only real noticeable country things about it are Carrie's vocals and maybe the fact that it takes place in Oklahoma. Still, I don't care if this is fake country, because it's good fake country. Though the guitars are hardly a presence, that doesn't mean the production is bad. In fact, it's quite the opposite here. The pianos give this song a real punch with the reverb providing some grit to what's inherently a dark song. Here, Carrie sings the story of a girl who's been abused by an alcoholic father, with the mother supposedly long dead. A storm brews up that threatens to tear apart her home, but she sees it less as a threat and more as catharsis. She sees it as an opportunity to put the abuse and trauma behind her. The storytelling is vivid and gripping, making the listener feel uncomfortable. Basically, it accomplishes everything it tries to do. Just goes to show you that just because a song lies about being country doesn't mean it's a bad song.
Number 3
Set Fire To The Rain
Adele
21
#12 on Year End List
Even though I wasn't paying much attention at the time, I could see that Adele was basically setting the world on fire in 2011 and 2012. And she deserved to. This isn't even quite my favorite song from her, so the fact that it's ranking this high on my list should say something. It's one of the first songs that comes to my mind when I think of power ballads for a reason. The instrumentation and Adele's vocals are suspenseful, with a great payoff every time the chorus comes around. It's an epic listen to say the least. Almost like it signifies the end of something. Which it does, considering lyrically it's about a breakup of a relationship that never should have been. It's matched with such raw intensity, which is exactly what it needs to be. Although the imagery of setting fire to the rain is a confusing one to say the least. Suppose it is somewhat fitting that you need a burning intensity to fight through the tears, though. Regardless, this song is an absolute joy to listen to, especially the live version.
Number 2
Like one of the earlier songs on this list, I have seen this particular performer live. I barely even knew who they were at the time because they were an opening act for Billy Joel. Unfortunately, they didn't play this song. Which is a shame, because I would've loved to hear it. But, without that concert, I don't know if I would have been able to appreciate this song as much as I do.
Not Over You
Gavin DeGraw
Sweeter
#60 on Year End 100
Say, a lot of these songs have a lot to do with relationships, don't they? Regardless, this song is phenomenal in the way it captures my emotions. And that's in no small part thanks to Gavin's raw intensity. He frequently sounds like he's on the verge of tears, especially on the last part of the chorus. It sends shivers down my spine and can be hard to listen to at times. It's heartbreakingly honest, and puts Gavin in a vulnerable position. To me, it takes a lot of emotional maturity to say that your heart hasn't fully mended yet. And the instrumentation here is phenomenal, swelling perfectly to match the emotion of the subject matter and Gavin DeGraw's performance. It's to 2012 what Style was to 2015 for me: powerful, sweeping production that compliments a passionate performance, and one that I'm not about to get out of my head anytime soon. For 2012, it's the best example of emotional storytelling in music. Well, aside from my number 1.
In the meantime, let's take a look at some Honorable Mentions.
Burn It Down
Linkin Park
Living Things
#100 on Year End 100
Hopefully people saw this single as a return to form after A Thousand Suns, because I sure do. This has the sort of intensity that I want and expect from Linkin Park.
Everybody Talks
Neon Trees
Picture Show
#22 on Year End 100
Yeah I'm a sucker for rock. This isn't a particularly special song, but it's hard to resist its energy and flavor. There was better indie rock in 2012, but I'd feel remiss not to at least give this a mention.
Paradise
Coldplay
Mylo Xyloto
#69 on Year End 100
Admit it, you've had that hook stuck in your head at least once in the past few years. And for good reason.
So Good
B.o.B
Strange Clouds
#80 on Year End 100
To quote Neil DeGrasse Tyson, "Being five centuries regressed in your reasoning doesn't mean we all can't still like your music."
Ass Back Home
Gym Class Heroes ft. Neon Hitch
The Papercut Chronicles II
#51 on Year End 100
Yeah, I wasn't really expecting a song with a title like this to be this heartfelt, but it delivers in spades. Neon Hitch and Travie McCoy provide a great dynamic together and it's produced well enough to fit the theme. Was not really expecting that.
Even If It Breaks Your Heart
Eli Young Band
Life At Best
#99 on Year End 100
Of the two country songs I've brought up on this list, this is definitely more authentically country. It's a simple tale about a boy with a passion of music and dreams that seem impossible. And hey, what's wrong with that? See? I can like country.
Die Young
Ke$ha
Warrior
#85 on Year End 100
Back in high school, Ke$ha was one of my most hated things about pop music. Since then I've softened on her for the most part. Even before then, this was the closest I've come to liking a Ke$ha song. And now I really do like it. It's fun and loose, and nowhere near as obnoxious as her usual material. Good on you.
Red Solo Cup
Toby Keith
Clancy's Tavern
#82 on Year End 100
Okay there is a third country song before we close this out. It feels surreal that an established artist would sing a song about a piece of plastic meant to hold beer (or probably Sprite in my case), but it works surprisingly well as a joke. Buckley be damned.
And finally...
Number 1
2012 will forever be defined by two major music trends. One: silly novelties that are actually a lot better than we usually expect. Two: music that invokes more thought than you typically expect of your average pop song. Though this was a trend that feels short-lived, it's one that I feel was important, because for a brief moment, people could actually take pop music seriously. Sometimes. I'm not gonna pretend that this influence was everywhere, but sometimes it only takes a track or two to make you realize that we don't give pop music enough credit sometimes. And in my opinion, there's no song from 2012 where this shines brighter than in my Number 1 pick. In a music scene that's dominated by Katy Perry and Drake, it's amazing this song did so well. But I'm glad it did.
Some Nights
fun.
Some Nights
#14 on Year End 100
You didn't think I forgot this, did you? Or maybe you just saw this from a mile away because I'm that predictable. Either way, ah well. Some Nights stands out as the best of fun.'s three hits. Nate Ruess and crew used the title track of their sophomore release to turn teenage angst and loneliness into one of the most emotionally moving songs of the decade. Its sound and music video invoke the feeling of war. From the percussion that sounds like it's being played by an army drummer boy to Nate Ruess' lyrics of confusion as he fights for something he doesn't even understand or believe in. It beautifully personifies the sort of uncertainty with moving on. Or does it? Ruess has only really given vague statements on the song's themes, and the writing does make it easy to apply it to multiple situations. You would think this opens it up to the same problems that plague something like Fight Song, but instead it adds to the experience. After all, there are still details, such as being separated from loved ones or the lyric "who the f*** wants to die alone?" By the way, sometimes I feel like breaking down and crying when I hear the lyric "I missed my mom and dad for this?" Basically, I love everything about this song. Every production quirk hits absolutely perfect for me, from the guitar solo towards the end, the use of autotune, and the way the drums stop so the lyrics can shine through a little brighter. I love the way the song naturally swells and dims down. At times it feels like the song follows a structure unlike your typical pop song, kinda like Queen's Bohemian Rhapsody. Again, the Queen influences are here, and they are very much welcome. Like my other picks for best hit songs of the year (Same Love, Come With Me Now, and Uptown Funk!), this is a song I want to be influential. I want artists, particularly in the indie scene, to craft something special both lyrically and musically. And though fun. will likely never see the same level of mainstream success they had in 2012, their legacy won't be forgotten. After all, they were responsible for the best hit song of 2012.
Next up? Well, 1989 actually. Not the Taylor Swift record, worst and best of lists for the year. Halston tells me this is the worst year for pop music. Hold me.
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