It’s the instrumental, produced by Ian Kirkpatrick and with backing vocals from Julia Michaels, and its countless little embellishments that push the track over the top for me. Dua, of course, delivers her vocal lines with flawless composure, as she does on every track on Future Nostalgia. It’s a tender come on that has enough vulnerability to feel relatable. The lyrical themes are like many other tracks on the album approaching a new romantic encounter with the resolve to maintain your composure, but soon finding your defences lowering themselves against your better judgement, and falling head over heels again, your racing mind soothed by the comforting presence of your new partner. Despite that it’s a deceptively typical song for the album. “Pretty Please” is my favourite song from my favourite album of 2020. It’s far and away the weirdest song I’ve heard all year, and all the more fantastically enjoyable for it. The second half is a lot more restrained, but little less entertaining, with Peggy delivering a supremely catchy melodic flow over a warbling synth line.
#HARDEST SONG ON GOOD AM MAC MILLER MOVIE#
If you’ve seen the movie Frank where the mentally ill title character attempts to compose his “most likeable song ever”, then you’ll have an appreciable grasp of what you’re in for. Over this Peggy delivers simultaneously the hardest and the funniest verse of the whole year, declaring his intentions to “go pop” and this piece of madness is his ironic attempt to do so, stacking the verse with clout chasing disses directed at Drake. The song is broken into two distinct halves, the first of which is absolutely insane, the instrumental is a broken cacophony of cymbal crashes and chanting, with a wet-sounding ticking beat and an assortment of random sound effects.
“Covered in Money!” is easily my favourite track of his. It’s rare that I enjoy the music of underground, experimental rapper-producer-singer JPEGMAFIA as much as I wish I could, but he’s consistently improved since the release of his pretty rough debut “Black Ben Carson” and his many non-album singles of 2020 have been his best material to date. However, I’m fairly content with the ten songs I’ve refined my choices down, although I have been anxious to avoid repeating myself and instead spotlight songs and artists I haven’t had the chance to publish about before. Nonetheless, I heard a lot of music I loved this year, and out of more than a hundred albums, picking just ten tracks to single out for particular adulation was no small challenge. I know it’s likely that any exceptional qualities the year might seem to have likely arisen from a combination of recency bias and the fact that it’s only in recent years that I have begun devouring albums so assiduously. The harder you look, the more you’ll find that’s worthy of praise, so I’ll make no broad claims about what a phenomenal year 2020 has been for music. I’ve long held the opinion that the era of art with the most merit is always the one you most study.
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