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‘Awesome Songs That Tickled My Fancy: August 2020’ features Cardi B, The Killers, Mariah Carey, Miley Cyrus, Omar Apollo & Troye Sivan.
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Ah, it’s time to select the best songs of month: AWESOME SONGS THAT TICKLED MY FANCY: AUGUST 2020! All of the songs on Awesome Songs That Tickled My Fancy: August 2020 were released as singles or as an album track in August 2020, or whereabouts (I reserve the right to make exceptions). Musicians that made our ears perk up in the month of August include Cardi B, The Killers, Mariah Carey, Miley Cyrus, Omar Apollo, and Troye Sivan among others. Without further ado, here are 21 AWESOME SONGS THAT TICKLED MY FANCY: AUGUST 2020!
1. Cardi B, “WAP”
Ft. Megan Thee Stallion
“WAP” • Atlantic • 2020
Modesty is never the modus operandi, with “whores” being the first word of the song on the intro (the record samples “Whores in This House” by Frank Ski). Cardi B asserts at the end of the intro, “Wet-ass pussy, make that pullout game weak, woo.” She goes on, on the chorus to speak about the wetness, while on the first verse, asserts, “Hop on top, I wanna ride / I do a Kegel while it’s inside.” As for Megan Thee Stallion, on the second verse, she begins with a bang: “Gobble me, swallow me, drip down the side of me / Quick, jump out ‘fore you let it get inside of me.” It doesn’t stop there as both have additional verses with absolutely shocking, highly sexual lyrics. The ‘freaky’ perspective won’t be relatable or win everyone over but give them credit for such a raw joint that at least temporarily distracted us from all the bad beats in the world.
2. Mariah Carey, “Save the Day”
Ft. Ms. Lauryn Hill
The Rarities • Columbia • 2020
Carey, who is 50 years old (can you believe it), sounds incredibly strong throughout “Save the Day.” That, my friends, is the biggest takeaway. There has been some criticism of the abilities of her voice as she gets older and past her lucrative prime, but she’s still quite potent here. Furthermore, this recording doesn’t play it conservative – we get the full range of Carey from the lows to those soaring, dynamic highs. All I’ve got to say regarding “Save the Day” is Mimi, u betta sang gurl!
3. Omar Apollo, “Stayback”
“Stayback” • Warner • 2020
Vocally, Omar sounds utterly sublime; he excels in this vibe, without questions. His falsetto is ripe, while his playful delivery is incredibly alluring. As far as the songwriting, the catchy chorus is definitely the centerpiece:
“You know I been feeling you since way back But I couldn’t even make the words to say that, say that If I could switch bodies you know I’d change that, change that But you could never love me so stayback, stayback.”
Omar remembers a relationship from the past but also seeks to move past it, having his former lover “stay back.” Essentially, his love issues/pain/plight are our listening pleasure – definitely an awesome song that tickled my fancy in August 2020!
4. Miley Cyrus, “Midnight Sky”
“Midnight Sky” • RCA • 2020
“Midnight Sky” is written and produced by some of the best in the game. Notably, “Midnight Sky” samples “Edge of Seventeen” by Stevie Nicks, nothing short of an awesome choice. Obviously, the sample alone signals another about face for Miley: ‘disco-pop.’ Most importantly, “Midnight Sky” features aggressive, assertive vocals from Miley Cyrus. Her instrument has always been her best weapon; she has a distinct, cutting, powerful voice. She uses her vocals to command this fresh, yet retro dance/disco pop number. Well written, it features a straightforward, easy navigable form. Cyrus delivers her most passionate vocals on the chorus:
“I was born to run, I don’t belong to anyone, oh no I don’t need to be loved by you (By you) Fire in my lungs, can’t bite the devil on my tongue, oh no I don’t need to be loved by you.”
5. Troye Sivan, “Rager teenager!”
In a Dream (EP) • Capitol • 2020
Examining key sections, the pre-chorus might be the best. It’s more dynamic than the chorus, and establishes the ‘liberated’ sound:
“I just wanna go wild I just wanna fuck shit up and just ride In your car tonight In your bed tonight I just wanna sing loud I just wanna lose myself in a crowd In your arms tonight Or in his arms tonight.”
The pre-chorus is varied each time, keeping things fresh and providing variance. The chorus remains the same each time with no variation. Calmer, it’s potent as well: “Hey, my lil’ rager teenager / Tryna figure it out…”. Besides those two sections, the instrumental outro is a nice touch. Great singing, great writing, and great production makes “rager teenager!” a gem. The swear words also give it a little more pizzazz!
6. The Killers, “My Own Soul’s Warning”
Implode the Mirage • Island • 2020
Flowers shows poise on the verse, but kicks things up a notch beginning with the pre-chorus (“I tried going against my own soul’s warning / And in the end, something just didn’t feel right”). He absolutely soars on the chorus, flexing his gorgeous tone as well as how truly powerful and potent he can be.
“But then I thought I could fly And when I hit the ground It made a messed up sound And it kept on rattling through my days And cutting up my nights Like a goddamn knife And it got me thinking, no matter how far I just wanted to get back to where you are.”
7. Billie Eilish, “my future”
“my future” • Darkroom / Interscope • 2020
Perhaps the biggest surprise, beyond the optimism (“‘Cause I’m in love / with my future / Can’t wait to meet her…”) is a change of pace. Had Billie Eilish kept going with balladry, “no future” would’ve still been a winner. The contrast, adding a sick groove and picking up the tempo, was very thoughtful and unexpected ultimately. All in all, “my future” is another winner from this talented teen, period. Fancy tickled!
8. Juice WRLD, “Smile”
Ft. The Weeknd
Legends Never Die • Interscope • 2020
Hard to find a more suitable collaborator for Juice WRLD than The Weeknd; this is a perfect match. As always, Abel Tesfaye brings emotion, sex, and those silky-smooth tenor vocals. “When our skin is touching, I need drugs to love you,” he sings, continuing, “You want so much more from me, but I can only fuck you.” Yep, that’s The Weeknd. Both musicians get quite a boost from sleek production work courtesy of Cxdy, Nick Mira, and Taz Taylor. Ultimately, this late addition to Legends Never Die is pretty awesome to say the least.
9. Alicia Keys, “So Done”
Ft. Khalid
ALICIA • RCA • 2020
“So Done” features a lovely harmonic progression, which helps to construct a chill, sensual, and soulful sound. The production is strong with guitars serving as the main accompaniment. The sound is throwback but also refreshing in 2020. The biggest reason why it’s a winner for Keys is her voice. Keys has had her share of vocal imperfections with some of her later album releases (compared to her early classics), but she sounds strong here. Furthermore, I like the vocal chemistry that she has with Khalid. She ensures that she’s the star, with Khalid serving masterfully as a role player in the overall timbre.
10. The Neighbourhood, “Cherry Flavoured”
Chip Chrome & The Mono-Tones • Columbia • 2020
With The Neighbourhood songs, you’ve got to appreciate that aesthetic and vibe are quite important. That’s the case here on “Cherry Flavoured,” where we have a detuned pad and acoustic rhythm guitars that help establish a ‘druggy’ sound. That druggy sound appears to be by design as ‘highness’ is mentioned throughout the record. We get the first taste of it on the very brief first verse when Jesse sings, “Sweet and sour motivation / Wish I could keep concentration.” Of course, he doesn’t as the chorus addresses his unhealthy high… That said, the refrain, a distinct section that follows the post chorus speaks of a more positive high:
“Cherry flavoured conversations with you Got me hanging on Down to Earth from all the waiting Take me somewhere beyond.”
It seems as if Rutherford and company could be referencing fans and those who love them as opposed to potentially destructive drugs. The second verse is longer and more dynamic than the first, fitting given the progression of the record itself. It’s followed by the chorus, post-chorus, and an abbreviated refrain – wacky form to say the least. An outro, which is an about face, concludes this intriguing, unique record.
11. Fousheé, “Deep End”
“Deep End” • 2020
“I been trying not to go off the deep end I don’t think you wanna give me a reason...”
Fousheé gives us commanding, expressive, and nuanced vocals. Furthermore, she conveys a big personality, which speak to her artistry. She’s classy but also unafraid to bring in some ‘stank.’ Sung vocals dominate, however, she’s equally effective when she ‘busts a rhyme.’ “Deep End” previously appeared on 13 Deep Songs Where the Depth is Real.
12. EARTHGANG, “Powered Up”
“Powered Up” • Dreamville / Interscope • 2020
As for Johnny Venus, he delivers the simple and repetitive, but highly effective chorus: “I’m powered up, it’s now or nothing.” Can’t go wrong with that! Furthermore, Venus raps the second verse – a prime example of eccentric genius:
“Baby doll, break a leg, electric lady, power sex Sippin’ on the sun and a cup of Windex Cause she ain’t really seen none like me yet Cannibalistic, animal instinct, you n***as hurt and Jesus wept.”
Bars, bars, and more bars ladies and gentlemen! Hence, an awesome song that definitely tickled my fancy in August 2020!
13. Brandy, “Borderline”
b7 • Entertainment One • 2020
“Heart drops to the floor / ‘Cause there’s no you and I,” she sings on the fourth verse, continuing, “Maybe in another lifetime (Right place) / Caught me at the wrong time (Wrong time).” If nothing else, one appreciates the consistent authenticity and personal nature of the lyricism throughout b7. Honestly, there were a number of ‘awesome songs that tickled my fancy’ from the album.
14. Joji & Diplo, “Daylight”
Nectar • 88rising / 12Tone Music • 2020
This record sounds quite different from the previous singles released in advance of Nectar, which is a selling point. As for Joji, he’s on autopilot addressing the topic of love – breaking up/heartbreak. Sure, he claims not to care – “I’m not layin’ in bed with a fucked-up head” – but clearly, the breakup has affected him. He even says so on the pre-chorus prior:
“And I’ve been a hero, helpless I’m in hell And I’ve cried up and down in these hallways Blamed myself.”
Basically, with “Daylight,” it’s the idea that you’re fine that things have ended, yet, you still experience pain or at least a bad memory. He makes it clear how different he is from his ex, who’s “Hiding on the FM radio / I sing along just to sing my thoughts at someone.”
15. BTS, “Dynamite”
“Dynamite” • BigHit Entertainment • 2020
The crowning achievement, unsurprisingly, is the catchy, infectious chorus; it instantly gets stuck in your head!
“‘Cause I, I, I’m in the stars tonight So watch me bring the fire and set the night alight (Hey) Shining through the city with a little funk and soul So I’ma light it up like dynamite, woah-oh-oh.”
Also, worth praising is the sleek production, something we’ve come to expect from BTS and K-Pop music in general. This contemporary disco-pop single is a nice blend of retro, modern pop and contemporary R&B – sweet! Furthermore, I must say, I appreciate the key change that comes at the end of the record; we only rarely get modulations in pop music these days. Fancy tickled!
16. Travis Scott, “The Plan”
“The Plan” • Warner Bros. Entertainment • 2020
“The Plan” features an enigmatic intro. It’s intense, rhythmic, and unsettling, set in a minor key. Upon a first hearing, I asked myself, what the hell is happening? Post tone-setting intro, the listener is even further off-put, with those wild, pitched vocals by Travis Scott. Without listening closely, or cheating by checking out the lyrics, initially, he sounds unintelligible. Of course, said lyrics are actually the chorus, with the clearest words being the titular lyric: “You don’t know where we stand / It’s true / Know the plan.” After things settle in, the magic of “The Plan” is, revealed in all its glory. Scott starts dropping some bars that are easy to discern and certainly entertaining. Not deep, there are definitely noteworthy moments:
“Close the opera Hear the red and blue outside, I think our option’s up I recrossed it ‘round the map, I had to line it up...”
17. Surf Mesa, “Somewhere”
Ft. Gus Dapperton
“Somewhere” • Astralwerks • 2020
“Somewhere” is an enjoyable record from start to finish. The production by Surf Mesa is well-rounded, suited to Dapperton’s vocal style. Aguirre constructs a sleek backdrop, characterized by sugary sweet synths, warm pads, and anchored by an infectious groove. Dapperton completes the painting that Aguirre begins bringing colorful, expressive vocals and lyrics to the table. Dapperton reveals the cards at the beginning; the chorus is the first section we hear:
“By the stroke of my hand I’ll never hold you again Go and save that love for someone For something, for somewhere And by the weight of my head I’ll always drown in regret You saved that love for someone For something, for somewhere.”
It’s pretty catchy and relatable with love fueling the fire. From there, Gus provides the details of the narrative. It’s all about the breakup. Things are broken between two former lovers and Gus is bummed about it to say the least. All in all, there’s lots to like about this joint.
18. Bazzi, “Crazy”
“Crazy” • Atlantic • 2020
Bazzi’s best moment is undoubtedly the chorus, where his falsetto is ripe AF:
“Bitch, you crazy How’d you get so out of your mind? Tell me, baby When did this get so out of line? Don’t understand, it’s so wild It’s like a child that’s in denial Bitch, you crazy (What?) How’d you get so out of your mind? Mind, mind, mind.”
It doesn’t stop there though. I like the fact that he throws some spoken-word lyrics during the second verse, further amplifying his personality:
“A world on fire and you couldn’t care less ‘Til we can’t take a breath (Oh no) And the air in our chest is some air full of death (Oh-oh)...”
“Crazy” is successful for a variety of reasons. The vocal performance is chief amongst them. Furthermore, it’s quite accessible, with an easy navigable form, on-point production, and a sweet, utterly sublime chorus. HYFR my fancy’s tickled!
19. Nas, “Ultra Black”
Ft. Hit-Boy
King’s Disease • Mass Appeal • 2020
One truly clever lyric comes near the end of the second verse: “Hall & Oates, I can’t go for that / Motown Museum, Detroit, I’m ultra black.” Essentially, the rapper doesn’t want the ‘culturally appropriated’/whitewashed version – no disrespect intended – he wants the legit, black and proud version. I debated several songs to include from King’s Disease honestly, ultimately settling on the promo single which is perfect for time such as these.
20. Myylo, “Bored to Tears”
“Bored to Tears” • Myylo • 2020
With Myylo, we know we’re going to get boys – that box is always ticked off the checklist. What we never know is what a new song will sound like. He’s awesome at surprising us even if we can predict the subject matter. On “Bored to Tears,” we get a dash of urban-pop production. The beat is definitely idiomatic of modern music times with its hip-hop/trap sensibilities. Has he ever gone this hard? Even with those hip-hop cues and electronic synths, this is still very much a pop song. As always, Myylo doesn’t underwhelm in the attitude department. He gives us playful vocals and lyrics. In this case – as you read in Exhibit A at the 🔝, he’s “Bored to tears /…with these boys round here.” Amen – hallelujah! As always, we get even more fun, particularly the bad date with the “Hank in a tank with a nip slip” from the gym. Fancy tickled!
21. Lecrae, “Deep End”
Restoration • Reach • 2020
Lecrae delivers an awesome flow – something we’ve come to expect from the rapper over the years. He sounds agile, expressive (vocal inflections, breaths, etc.), and incredibly energetic. On “Deep End,” he’s open and honest about wrestling with faith, and about his feelings regarding the issues plaguing the world (racial inequality, police brutality, coronavirus). Of course, the big takeaway is that God prevented him from going ‘off the deep end’ and has helped him and continues to help work through all of this. Sure, “Deep End” is spiritual like most Lecrae songs, but also, he keeps things fresh and interesting, particularly with the woke pop cultural references (“Yeah, I might go crazy / I might go MJ back in the 80s”). “Deep End,” just like the aforementioned “Deep End” by Fousheé, previously appeared on 13 Deep Songs Where the Depth is Real. Fancy tickled!
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