![]() ![]() ![]() Raunchy, fun and infinitely quotable, she joins Megan Thee Stallion for a shameless ode to, well, wet-ass p****, that flies in the face of those who might suggest these women's sexuality is a shortcoming. Kiana FitzgeraldĬardi B dropped exactly one song this year, but after "WAP," any more might have been overkill. To put it simply, the "Savage Remix" is the remix to end all remixes. Both Bey and Meg approach this collaboration as a balancing act: they work to be relatable to listeners, with references to current trends, while presenting themselves as untouchable by their peers. White Did It, doesn't change much instead, Beyoncé liberally sprinkles her ad-libs throughout the chorus and behind Megan's effusive, revamped bars, and sing-raps full verses, complete with harmonized background vocals. The production, handled by frequent Cardi B beatmaker J. Surprise-released in April, the track, featuring Thee Beyoncé, is a complete reimagining of Megan's standout cut from her Suga EP. (That number now sits at a cool 29.5 million.) While the original song was doing exceptionally well on its own, "Savage Remix" reached new heights, hitting No. Within two weeks of TikToker Keara Wilson uploading her own choreography to the song, a viral dance challenge took off, leading to more than 3 million unique videos being posted to the platform. "Savage" was a runaway hit before a remix was even conceived. Like many of Lenker's best songs, "anything" finds healing and grace in these moments of connection, even while recognizing they won't last forever. In her high, soft voice, Lenker speaks her desire plainly: "I don't want to talk about anything / I wanna kiss, kiss your eyes again" and, later, "I wanna sleep in your car while you're driving / Lay on your lap when I'm crying." Knowing that Lenker's latest albums were written in the aftermath of a breakup, it's hard not to hear heartache beneath the song's romance "Didn't you believe in me," the way she sings it, can sound like a plea for reconciliation from an ex-lover or an acknowledgement of gratitude. But gradually, it draws inward, becoming a song about the danger, violence and rupture that the world presents and the way small moments of intimacy can create a shield against them. ![]() "anything" opens on sketches of memory that peer out at the world - hazy and intense, sometimes romantic and sometimes frightening. "If you want to remember," he advises helpfully at one point, "better write down the names." -Tom Moon But by the song's end, the listmaking itself feels like a heroic act. It could be that he's just rattling stuff off the top of his head. Mystery." He's grasping for sounds that might provide consolation, comfort, a sliver of enlightenment, and as he invokes each artist and every song, his plainspoken reverence becomes striking. "Play John Lee Hooker," Dylan commands his listener (or maybe his smart speaker?). Just past the song's halfway point, he turns to a trusted source - his record collection - and begins the most unusual litany of disassociated listening recommendations ever recorded. The lugubrious mood sustains for 17 minutes, with Dylan seeking to understand the tragedy and its many cultural aftershocks. "We're gonna kill you with hatred, without any respect," Bob Dylan sings over muted funeral-home piano-and-violin chords, putting himself in the minds of the plotters. "Murder Most Foul" begins as a rumination on the cold, calculated assassination of John F. This is largely due to the fact that Spotify launched at the start of that decade.īelow is the data we used to create this infographic, which can be sorted by track name, artist, play count, track length, or release date.Listen on the streaming platform of your choice. The Billions Club contains over 300 songs, with the majority being released in the 2010s. ![]()
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