11 Superb Songs, Five Minutes or More | Playlist 🎧

1. PARTYNEXTDOOR, “Savage Anthem”

PARTYMOBILE • OVO Sound / Warner • 2020

“Don’t hold your breath / Don’t wait on my love / Don’t hold your breath / Don’t wait on my love.” The penultimate cut from PARTYMOBILE, the 2020 studio album by Canadian R&B artist PARTYNEXTDOOR isn’t modest when it comes to length. That’s right, the 14^th track, “Savage Anthem” runs past six minutes in duration – the man has a lot to say, rather, a lot to sing. “Savage Anthem” features a slow pace, typical of the Canadian brand of R&B.  Furthermore, the production is incredibly lush, thanks to the skills of Andrew Cedar and Noah “40” Shebib.  Furthermore, when PARTYNEXTDOOR opts for longer melodic lines, he sounds incredibly expressive and nuanced.

The thing is, PARTYNEXTDOOR doesn’t limit himself to more legato melodic lines that fit the slow tempo.  He provides contrasts with more hip-hop oriented lines on the verses that provide the ‘savage’ element of this “Savage Anthem.” A prime example is the third verse:

“Wash my dick off before I get home
Maison Margiela on me, though
I’m the opposite of hero
The opposite of your hero
…Tucked you, then went to the strip club
VIP, I got my dick sucked
Came back to you and I kissed ya
That led to fucking on the tour bus…”

Savage AF. The gorgeous outro by the choir does provide some atoning grace to PARTY’s sketchy, sexed-up behavior though.  I definitely concur when PARTYNEXTDOOR confirms, “I ain’t shit, you gotta know now, I ain’t shit, you gotta know.” “Savage Anthem” previously appeared on a most savage playlist: 11 Intriguing Songs That are Hella SAVAGE.  ‘Savage is as savage does,’ I suppose…

2. The Weeknd, “After Hours”

After Hours • Republic • 2020

After more than a three-year-hiatus between full-length projects, three-time, Grammy-winning R&B artist The Weeknd returned in 2020 with his fourth studio album, After Hours. Prior to its release, Abel Tesfaye released three compelling singles: “Heartless”, “Blinding Lights”, and the song at hand, “After Hours”.

“After Hours” is definitely a throwback for The Weekend; it sounds like his ultra-moody music of the past.  At over six-minutes in length, it definitely runs long, but the vibe, vocal performance, and the production definitely compensate.  The dark, moody, minor production hails courtesy of Tesfaye alongside Illangelo, Jason “DaHeala” Quenneville, and Mario Winans (the “I Don’t Wanna Know” hitmaker).  Making the production so satisfying are the cutting-edge synths and the infectious groove.  Of course, it’s that potent falsetto atop the backdrop that seals the deal.

Beyond the sound and those accomplished vocals, it’s the theme encompassing matters of the heart that adds to the excellence.  The Weeknd thrives on heartbreak, asserting on the second verse, “My darkest hours / Girl, I felt so alone inside of this crowded room / Different girls on the floor, distractin’ my thoughts of you / I turned into the man I used to be, to be.”  The crème de la crème – the crowning achievement – is the chorus which may be cliché but definitely effective:

“Oh, baby
Where are you now when I need you the most?
I’d give it all just to hold you close
Sorry that I broke your heart, your heart
I said, baby
I’ll treat you better than I did before
I’ll hold you down and not let you go
This time, I won’t break your heart, your heart, yeah.”

Sure, “After Hours” is a long record, but there’s more than enough pros to make you forget you’ve been listening for six-minutes-plus.  Abel Tesfaye is in his zone here, and that’s always a winning formula.  “After Hours” previously appeared on multiple list: Awesome Songs That Tickled My Fancy: February 2020, 15 ‘A’ Songs Selected with No Rhyme or Reason, and more recently, 12 Simply Terrific Before or After Songs.

3-4. Fiona Apple, “Newspaper” + “Ladies”

Fetch the Bolt Cutters • Epic • 2020

Fiona Apple only releases an album “once in a blue moon.” It’s true; there is a gap of at least three years between every album in her discography. After releasing The Idler Wheel…, her sole album of the 2010s, her fifth album, Fetch the Bolt Cutters, arrives nearly eight years later! Who knows when the next new studio album from Apple will arrive at this rate! The good news? Fiona Apple never releases a bad album and Fetch the Bolt Cutters ranks among the best albums I’ve heard in years by any musician.  Luckily, for this list comprised of super songs at least five minutes or more, Ms. Apple has two lengthy numbers off Fetch the Bolt Cutters.

The first of the two five-minute-plus numbers is “Newspaper,” named after the percussion orchestra file created by Apple, according to Vulture.  She also states this rhythmic joint is “about two specific people,” who she doesn’t “think … will even be aware of it.” Hmm, interesting! On the longest song on Fetch the Bolt Cutters, Apple lacks finesse vocally, which is actually a big part of the charm.  She’s aggressive, assertive, and raw.  The key lyric: “I wonder what lies he’s telling you about me / To make sure that we’ll never be friends.” Damn.

 Apple slackens the pace on the follow-up ballad, “Ladies.” This is one of the most gorgeous numbers on Fetch the Bolt Cutters, featuring an assortment of keyboards (piano, Wurlitzer, and mellotron), in addition to string bass and drums.  While Apple’s vocals continue to cut right through, she’s more refined here, particularly compared to the preceding cut. But again, what is similar to “Newspaper” is the length.  Regardless, “Ladies” is a glorious five minutes.  Together, they make a nice 11-minute duo.

5. The 1975, “If You’re Too Shy (Let Me Know)”

Notes on a Conditional Form • Interscope • 2020 

“If You’re Too Shy (Let Me Know)” marked that seventh single that The 1975 released ahead of their gargantuan, 22-track album, Notes on a Conditional Form.  Perhaps “If You’re Too Shy (Let Me Know)” truly is ‘lucky number seven.’  Why? It’s accomplished in just about every facet. Instrumentally, it serves up some truly decadent ear candy.  Very much styled in the 80s vain, it’s quite sleek with its horns and keyboards, complementing the guitars. One of the brightest spots musically comes by way of an electrifying saxophone solo, again, straight out of the 80s.  Vocally, Matthew Healy remains a compelling frontman, particularly given the subject matter – online dating…we think.

“I see her online, all the time / I’m trying not to stare down there.” Hmm, maybe it’s sketchier than online dating. Regardless, Healy is particularly intrigued by her looks and the sexual potential more than a potential emotional connection.  On the second verse, he freakily adds, “I’ve been wearing nothing every time I call you / And I’m starting to feel weird about it…” Hmm, ya think Matty? Of course, it’s the chorus that’s the centerpiece – the crowning achievement!

“‘Maybe I would like you better if you took off your clothes
I’m not playing with you baby; I think that you should give it a go’
She said, ‘Maybe I would like you better if you took off your clothes
I wanna see and stop thinking, if you’re too shy then let me –
Too shy then let me know.’”

Wow.  “If You’re Too Shy (Let Me Know)” is definitely a fun, memorable cut from Notes on a Condition.  It runs long, mind you, north of five minutes, but “If You’re Too Shy (Let Me Know)” is quite the bop thanks to its sound, energetic vocals, and theme & lyrics.

6. Tame Impala, “Posthumous Forgiveness”

The Slow Rush • Island • 2020

After a five-year hiatus, Australian alternative collective Tame Impala, the brainchild of Kevin Parker returned in 2020 with their fourth studio album, The Slow Rush. The gap between Currents (2015) and The Slow Rush marks the longest between any Tame Impala LP.  The good news is The Slow Rush was totally worth the wait, with superb advance single, “Posthumous Forgiveness”, leading the charge.  ‘Posthumous’ is just a cool word – admit it.  Merriam-Webster defines posthumous as “following or occurring after death.” Add ‘forgiveness’ to the mix, and essentially, Kevin Parker is forgiving his father after he’s passed away.

On the first part of the song, Parker sings about how much admiration he had when he was younger for his late father but became aware of his flaws.  “Did you think I’d never know? Never wise up as I grow?” he sings on the chorus, continuing, “Did you hope I’d never doubt? Never wonder, work it out?” Furthermore, Parker is bothered by the fact that his dad wasted time, and ultimately, “…Decided to take all your sorrys to the grave.”

On the second part of “Posthumous Forgiveness,” Parker embraces forgiveness more.  Sure, he still mentions their estranged, tenuous relationship, but he wishes he had the opportunity to atone and repair for the relationship:

“Wanna tell you ‘bout the time
Wanna tell you ‘bout my life
Wanna play you all my songs
Learn the words, sing along.”

“Posthumous Forgiveness” is a lengthy number, running north of six minutes in duration.  That said, it’s quite intriguing from a lyrical and thematic standpoint, as well as musically.  Musically, Tame Impala provide a backdrop that incorporates psychedelia, retro cues, and marvelous soulful elements.  Vocally, Kevin Parker remains utterly superb, singing beautifully and expressively on this gem.  “Posthumous Forgiveness” previously appeared on multiple lists including 13 Songs That Explore the Power of Forgiveness, 13 P Songs Selected with No Rhyme or Reason, and more recently, 12 Simply Terrific Before or After Songs.

7. Mac Miller, “Good News”

Circles • Warner • 2020

“Good News” is the crowning achievement of Circles, the posthumous album by Mac Miller, who died at the age of 26 in 2018. One of many Jon Brion co-productions on the album, the sound of “Good News” is quite refined, with plucked strings, a subtle, but highly effective, dusty drum groove, soulful electric guitar, and superb, if modest keyboard/synthesizer touches. It’s quite ear-catching, even if it floats, opting for restraint as opposed to being dynamic.  Furthermore, it qualifies for SUPERB SONGS, FIVE MINUTES OR MORE because it runs nearly six minutes long!

Beyond the backdrop, Miller is on-point, continuing to be reflective. “I spent the whole day in my head / Do a little spring cleanin’,” he raps on the first verse, continuing, “I’m always too busy dreamin’, yeah / Well, maybe I should wake up instead.” On the second verse, he asks, “Why I gotta build something beautiful just too go set in on fire?” Quite deep and incredibly relatable.   The third verse is quite chilling and eerie, with the key lyric, “There’s a whole lot more for me waitin’ on the other side…”  The centerpiece, expectedly, is the chorus:

“Good news, good news, good news             
That’s all they wanna hear
No, they don’t like you when I’m down
But when I’m flying, oh
It make ‘em so uncomfortable
So different, what’s the difference.”

Listening to “Good News” in particular, it’s easy to be saddened knowing that Miller is no longer with us; he had so much to offer.  “Good News” is the total realization of his talent. “Good News” previously appeared on Awesome Songs That Tickled My Fancy: January 2020 as well as more recently on 11 More Really ‘Good’ Songs… It’s That Simple.

8. Childish Gambino, “12.38”

3.15.20 • mcDJ Recording /RCA • 2020

Following up the success of an album as accomplished as the 2016 gem, “Awaken, My Love!” is a tall task.  Furthermore, following the excellence of a Grammy-winning record/song like “This is America” isn’t easy either.  Regardless of the challenge, Childish Gambino (Donald Glover) definitely ‘rises to the occasion’ on 3.15.20.  3.15.20 is a prime example of a highly anticipated album where the artist ‘throws a total curveball’ yet far exceeds expectations.  3.15.20, hence, is nothing short of a masterpiece. Among the weird standouts of this timestamped effort is “12.38.”  Furthermore, it runs more than six-and-a-half-minutes long!

“She said, ‘Eat this psilocybin, I’m be right back’ / I’m like, ‘Aight’ (Aight) / ‘Ayy, I don’t know what psilocybin is’ (No) / ‘This better not be no molly’ / She just laughed and closed the door…” WTF?! 3.15.20 continues its weird but utterly fascinating journey with “12.38.”  Here, Childish Gambino oscillates between rapping and singing.  Stylistically, at its simplest, “12.38” lies somewhere between hip-hop and R&B but exemplifies eclecticism.  Thematically, the subject matter is universal – sex.  Once more, Glover brings friends along for the ride: Ink, Kadhja Bonet, and most notably, fellow Grammy winner, 21 Savage. While 21’s deadpan approach remains intact, even as his vocals are treated with effects, keeping the ambitious, experimental vibes going strong.

9-10. David Bowie, “Blackstar” + “Lazarus”

Blackstar • Columbia • 2016

On what would end up being his final studio album, Blackstar, David Bowie never misses the mark. Though only comprised of seven tracks, Blackstar is a superb, supremely creative effort that stimulates both the mind and the ears. All seven songs that grace the album are well written and performed.  Truly, Bowie left the world with a certified masterpiece. Worth mentioning, two of my favorite songs from Blackstar both fit the criteria of this list.  Much like with Fiona Apple with her two Fetch the Bolt Cutters songs, I found it near impossible to decide between “Blackstar” and “Lazarus.” So, what did I do? I included both!

“Blackstar” is the most ambitious song on the album; Bowie truly outdoes himself.  Characterizing it as both dark and enigmatic would be an understatement.  Despite its utter blackness, “Blackstar” has a beauty about it, constructed by its Middle Eastern musical cues coupled with elements of jazz and soul.  It’s a delightful 10 minutes, even with its dark and twisted vibes, dabbling in the hellish.

As for “Lazarus,” Following Bowie’s surprising passing, the record seems to foreshadow Bowie’s ultimate demise, making it equally more intriguing and more foreboding.  Throw in an unsettling music video, and things get creepier, yet more epic.  “Lazarus” like “Blackstar” is radiant, but in a morbid, twisted sort of way. Lazarus, of course, is the famous Biblical character resurrected from the dead by Jesus (one of his miracles). The key lyrics in this Biblical allusion: “I’m in heaven / I’ve got scars that can’t be seen…”

11. Jane’s Addiction, “Ted, Just Admit It”

Nothing’s Shocking • Warner • 1988 

“Sex is [indeed] violent” in the hands of one of the most famous serial killers of them  Ted Bundy (1946 – 1989). Last Podcast on the Left do a magnificent job of covering the monstrous man in their book, The Last Book on the Left: Stories of Murder and Mayhem from History’s Most Notorious Serial Killers.  But let’s refocus on this playlist (SUPERB SONGS, FIVE MINUTES OR MORE) and the song at hand, “Ted, Just Admit It…” Well, you can definitely see exactly where the ‘Ted’ part came from, hence one of the reasons the song appears on 12 Songs Written About or Inspired by Ted Bundy and 33 Great, If Disturbing Songs About Serial Killers.

“Ted, Just Admit It…” is the lengthiest song off Nothing’s Shocking, the iconic 1988 sophomore album by hard rock/metal band Jane’s Addiction. Interestingly, the album’s titular lyric appears throughout the course of this particular record.  This nearly seven-and-a-half-minute cut is the crown jewel of Nothing’s Shocking. Perry Farrell is on autopilot to say the least.

“Camera got them images
Camera got them all
Nothing’s shocking…
Showed me everybody
Naked and disfigured
Nothing’s shocking
And then he came
Now sister’s
Not a virgin anymore
Her sex is violent…”

Adding fuel to the fire is Jane’s Addiction in the prime, delivering a biting, malicious backdrop, not to mention incorporating Ted Bundy’s vocals into the mix.