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Ah, fun creating a playlist with limited criteria – freedom feels so free! After dropping some 15 G Songs Selected with No Rhyme or Reason, 13 P Songs Selected with No Rhyme or Reason, and 15 S Songs Selected with No Rhyme or Reason, it felt totally right to assemble another playlist with NO RHYME OR REASON. Keeping things random, the letter of choice for the latest edition just happens to be L, hence, 15 L SONGS SELECTED WITH NO RHYME OR REASON.
Just as a reminder, the main criteria for 15 L SONGS SELECTED WITH NO RHYME OR REASON are that the title of the song must begin with the letter ‘L’ OR the word that begins with ‘L’ must be the first word of note. 15 L SONGS SELECTED WITH NO RHYME OR REASON features music courtesy of Black Atlass (“Lie to Me”), Dua Lipa (“Levitating”), Hayley Williams (“Leave it Alone”), Lil Uzi Vert (“Lo Mein”), and Selena Gomez (“Look at Her Now”) among others. Without further ado, join into this random L-song list which has NO RHYME OR REASON!
1. Dua Lipa, “Levitating”
Future Nostalgia • Warner • 2020
“I believe that you’re for me, I feel it in our energy / I see us written in the stars / We can go wherever, so let’s do it now or never / Baby, nothing’s ever, ever too far.” Picking out the most accomplished, most fun songs on Future Nostalgia is tough – there’s literally an album’s worth of bops. “Levitating” makes a compelling case among the crème de la crème, considering the ‘loving’ has the pop star rising/floating, defying gravity. Every chorus is pretty amazing throughout Future Nostalgia, but “Levitating” hits especially hard:
“I got you, moonlight, you’re my starlight I need you, all night, come on, dance with me I’m levitating.”
2. Hayley Williams, “Leave It Alone”
Petals for Armor • Atlantic • 2020
“If you know love / You best prepare to grieve.” The thoughtfully penned “Leave it Alone,” produced by Taylor York, finds Hayley Williams totally consumed with grief. The record has an extremely somber tone from the onset, instrumentally and lyrically. On the first verse, she sings, “‘Cause now that I want to live / Well everybody around me is dying / Now that I finally wanna live / The ones I love are dyin’.” Thinking about family members dying – people you care about leaving you – is totally depressing and overwhelming. On the second verse, she’s further ‘triggered,’ providing a specific example of loss:
“You don’t remember my name somedays Or that we’re related It triggers my worry Who else am I gonna lose before I am ready? And who’s gonna lose me?”
The centerpiece of the record is the chorus, where “The truth’s a killer / But I can’t leave it alone…” “Leave it Alone” previously appeared on the playlist, 11 Solitary Songs That Are Totally Alone.
3. Kane Brown & John Legend, “Last Time I Say Sorry”
“Last Time I Say Sorry” • Sony • 2020
When Legend and Brown sing together, there are a couple of bumps in the road with the biggest bump at the onset, where Legend dominates, while Brown sings in a lower register. This is an off-putting moment in my eyes, considering they’re singing the chorus, the centerpiece of the record:
“I won’t say I’m sorry over and over Can’t just say I’m sorry, I’ve gotta show you I won’t do it again; I’ll prove my love is true I hope the last time I said sorry Is the last time I’ll say sorry to you.”
Things improve when Brown ascends, and harmonies come into play. The songwriting is dedicated and repentant. The production and sound embrace more of the pop end of country, which should please more casual listeners less dedicated to traditional country music. Ultimately, it’s a moderate success, not necessarily a resounding one; it has its fair share of moments.
4. Selena Gomez, “Look at Her Now”
Rare • Interscope • 2020
Additionally, backing vocals and colorful harmonies that help make “Look at Her Now” satisfying. The most satisfaction occurs on the repetitive chorus: “Mm-mm-mm… / Look at her now, watch her go.” “Look at Her Noow” won’t change your life, but it’s enjoyable, with lovely production by Ian Kirkpatrick, and a star-studded team of writers including Julia Michaels and Justin Tranter.
5. Conan Gray, “Little League”
Kid Krow • Republic • 2020
On “Little League,” Conan Gray reminisces back on his younger days, wondering where the time went, what’s become of his friends, and such. Often, when we are kids, we want to grow up as quick as possible. Once you reach adulthood, you remember the memories and times of the past, and you long to return back to them, at least every so often. That’s exactly what Conan does on “Little League,” a great preface for arguably the album’s crowning achievement, “The Story”, which concludes Kid Krow.
6. Jhené Aiko, “Lightning & Thunder”
Ft. John Legend
Chilombo • Def Jam • 2020
The collaboration with John Legend is a bit surprising and unexpected. Why? Legend tends to be an overt, powerhouse, where we associate Aiko being much more chill – cool, calm, and collected. Surprisingly, the four-and-a-half-minute “Lightning & Thunder” is effective, with both vocalists meeting somewhere in the middle of two very distinct vocal approaches. In addition to their respective, solo verses, they join forces on the final chorus and post-chorus, singing about their relationship/the plight of love:
“What kind of spell do you have me under? Oh, what in the hell, I’m starting to, starting to wonder Can’t help myself, lightning and thunder … It’s just like lightning and thunder…”
7. Tame Impala, “Lost in Yesterday”
The Slow Rush • Island • 2020
Parker’s philosophy regarding the past is best summed up on the pre-chorus, where he sings: “So, if they call you, embrace them / If they hold you, erase them.” The key seems to be releasing the bad memories, and not letting them destroy you. Further confirmation of moving beyond the past occurs on the chorus, where Parker scolds all of us who keep returning to, well, YESTERDAY:
“And you’re gonna have to let it go someday You’ve been diggin’ it up like Groundhog Day ‘Cause it might’ve been somethin’, don’t say ‘Cause it has to be lost in yesterday.”
“Lost in Yesterday” previously appeared on the playlist, 11 Compelling Songs That Are Totally Lost.
8. Black Atlass, “Lie to Me”
“Lie to Me” • XO / Republic • 2020
“Lie to Me” has no shortage of pros. First of all, the production is superb, courtesy of DANNYBOYSTYLES and Oligee. They give Black Atlass a mighty backdrop to paint his colorful, expressive, and sexy vocal upon. That mighty backdrop includes lush keyboards, synths, and anchoring beat. Throw in a minor-key, and the vibe is absolutely electrifying on “Lie to Me.”
The production is awesome but so is Black Atlass. As aforementioned, he paints those stellar vocals atop the superb production work. He continues to showcase vocal similarities to The Weeknd, including a flawless falsetto that’s ripe AF. The listener is most blessed on the chorus, where “lie to me” features that epic, falsetto treatment:
“So, lie to me Lie to me Lie to me babe I’m feeling all that I can take Lie to me Lie to me Lie to me babe And my heart will never break.”
Besides the chorus, of course, there’s plenty of alluring moments in regard to songwriting. Basically, Black Atlass is experiencing heartbreak, and as he sees his ex, well, he doesn’t want to know about her current relationship. Therefore, she should – wait for it – LIE. Clearly, he’s still in love with her. Fleming admits he is the blame for their break-up on the second verse, admitting “I fucked this up / You know I can be brave / I can be kind / I can be yours / Just give me time…”
It may have been two years since hearing from Black Atlass, but he returns with a bang on “Lie to Me.” His voice is absolutely amazing. The songwriting and theme of the record are relatable, perfectly tailor to his strengths artistically. Not enough people were listening to Alex Fleming in 2018. More should tune in for his return in 2020. “Lie to Me” previously appeared on the playlist, Awesome Songs That Tickled My Fancy: February 2020.
9. Pluko, “the lovely one”
“the lovely one” • Splendid Society • 2020
“the lovely one” is nothing short of epic. Pluko absolutely wows on this instrumental record with colorful, sparkling production work. Even being an instrumental cut, it follows a standard form that’s nearly identical to any pop song. That said, this is definitely more of a multidimensional cut, particularly given the fact that the listener is treated to a variety of different, totally awe-inspiring sounds. Furthermore, pluko does a bang-up job with contrast. The best moment of the record occurs during the chorus/drop section. Here, the rhythmic synths hit you right in the face, sounding as if they are going to pop right out and consume you. Honestly, it one of the best and most distinct production touches I’ve heard in electronic music in some time. All the while those synths attack, a hard-hitting beat anchors the record down.
When “the lovely one” was premiered, it was premiered via This Song is Sick. Truthfully, the song is indeed sick. Furthermore, so is pluko. Honestly, no words were necessary considering the music of “the lovely one” speaks volumes all by itself. Popping synths, banging drums, and a high level of musicianship makes “the lovely one” a certified bop. “The lovely one” was previously selected among Awesome Songs That Tickled My Fancy: March 2020.
10. Lil Uzi Vert, “Lo Mein”
Eternal Awake • Atlantic • 2020
“Lo Mein” kicks off with the aforementioned chorus, which begins enigmatically before the knocking backdrop is fully realized. The chopstick referenced by Lil Uzi Vert is a gun, if you couldn’t quite decipher the lingo (he also mentions the ‘clip’). Furthermore, Balmain is a lux brand, clearly not in my budget! Anyways, besides the sick chorus, the post-chorus is pretty rad, particularly the dripped-out ending end:
“When it come to the drip, not in front of me Wearin’ Balenciaga on my jacket, my shirt And my pants, and my socks, and my undies.”
If any song is a prime fit for 15 L SONGS SELECTION WITH NO RHYME OR REASON, it’s this one.
11. H.E.R., “Lost Souls”
Ft. DJ Scratch
I Used to Know Her • RCA • 2019
The brief “Lost Souls” has Lauryn Hill written all over it. For one, it samples Hill’s classic, “Lost Ones” from her 1998 masterpiece, The Miseducation of Lauryn Hill. Besides the prominence of the sample, and that vintage 90s hip-hop sound, H.E.R. emulates Hill lyrically and in regard to how she performs the song. “Confusing self-conscious with self-confidence,” she raps with attitude on the first verse, continuing, “So you monogamous, but body positive / Post pills you swallowing for a following / What he got to offer? He don’t see the kids that he fathering.” Like Ms. Hill, H.E.R. is woke AF lyrically. It’s summed up brilliantly with the titular lyric, which appears on the chorus:
“A lost soul can’t lead the people, no A lost soul can’t lead the people, nah A lost soul can’t lead the people, no A lost soul can’t lead the people, uh.”
“Lost Souls” previously appeared on the playlist, 11 Compelling Songs That Are Totally Lost.
12. Harry Styles, “Lights Up”
Fine Line • Columbia • 2019
“Lights Up” contrasts most of the songs that appeared on Harry Styles’ debut album, self-titled solo debut album. “Lights Up” has elements of vintage and retro, led by the robust bass line and the keyboards. Still, there are also some modern cues, including the sleekness of the vocal production and some programming as well. The record possesses a great groove, and fine production work courtesy of Tyler Johnson. Vocally, Styles remains a force, sounding absolutely marvelous, as he makes it clear he will “Shine, step into the light” and notably, ‘never go back.’
Honestly, it’s the lyrics, the accompanying music video, and the significance of October 11, 2019 that add to the speculation regarding Styles’ sexuality. Does he care? Probably not. There does seem to be elements of bisexuality implied in the music video, while the lyrics seem to be ‘open-minded’ without specifically addressing sexuality. But the chorus seems to ‘open the door’:
“All the lights couldn’t put out the dark Runnin’ through my heart Lights up and they know who you are Know who you are Do you know who you are? (Oh).”
“Lights Up” previously appeared on numerous playlists: 11 Awesome Songs That Tickled My Fancy in October 2019, 12 Interesting Songs That Reference Bisexuality, and A Compendium Comprised of 100 Notable LGBTQ+ Songs.
13. Camila Cabello, “Living Proof”
Romance • Epic • 2019
The best moment is undoubtedly the chorus, where Cabello delivers some of the most impressive falsetto of her career:
“Where did you come from baby? And were you sent to save me? Ooh, there’s a God in every move Ooh, and you’re the living proof The way you hands can’t shake me Soft to the touch like, baby Ooh, there’s God in every move Ooh, and you’re the living proof.”
Cabello excels at being sultry and sexy, and “Living Proof” is no different. She also manages to throw in some blasphemy, further accentuating the suggestive, sensual nature of this single. On the first verse, she sings, “I wanna study every inch of you / ‘Til you trust me to make the angels come through.” Wow. On the second verse, she’s a bit more devilish, as she sings, “Show your demons, and I might show you mine.” Of course, on the pre-chorus, sex and religion co-exist seamlessly: “Like a choir singing, ‘Hallelujah,’ / When my body’s crashin’ right into you.” “Living Proof” previously appeared on the monthly best of playlist, 11 Awesome Songs That Tickled My Fancy in November 2019.
14. MGMT, “Little Dark Age”
Little Dark Age • Columbia • 2018
“…And the more I straighten out / The less it wants to try / The feelings start to rot / One wink at a time.” Throughout “Little Dark Ages,” VanWyngarden compellingly delivers the ‘frightening,’ poetic lyrics. While he never forces things, he sounds more assertive compared to the past, which suits the lyrical content and theme. Ultimately, “Little Dark Age” is a fine track – well-rounded and creative through and through. “Little Dark Age” appeared on two, dark-centric playlists: 18 Light & Dark Songs, In Three Phases and, more recently, 17 Thrilling Songs Infused with Darkness.
15. Sturgill Simpson, “Life of Sin”
Metamodern Sounds in Country Music • High Top Mountain • 2014
On the intentionally vintage, retro country joint, Sturgill Simpson “Thank(s) God for this here life of sin.” His honesty is appreciated throughout the course of the record, apparent from the jump.
“Well, lately things have been a little more complicated Quality of life has got me down Well, sex is cheap, and talk is overrated And the boys and me are still working on the sound.”
That’s only the beginning of the laments for Simpson. Love comes into play, as does the bottle, with Simpson adding, “But the paranoia is slowly creepin’ in / I keep drinkin’ myself silly.” Of course, the self-hatred is quite relatable when he asserts, “Every morning when I rise look in the mirror and despise / The sight of everything and all that I’ve become.” Been there Sturgill, been there! This is a modern, old-school country record at its best. “Life of Sin” previously appeared on the sinful playlist, 12 Thrilling, But Utterly Sinful Songs.
[Photo Credits: Atlantic, Brent Faulkner, Columbia, Def Jam, Epic, High Top Mountain, Interscope, Island, The Musical Hype, Pixabay, Republic, Sony, Splendid Society, Warner]
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