Turning 21 can be significant in many ways, but above all, by this age, one completes their transition from adolescence to adulthood. After such a long year and a wonderful birthday weekend, I decided to cap off this transition by writing about songs that have meant a lot to me thus far and that I anticipate I will cherish for the rest of my life.
Because I was born on July 23, I decided to include 23 songs in this article, avoiding repeated artists and ordering them roughly chronologically from when I discovered them. Framed as a short story, the main list comprises 10 songs, each one representing a word that describes my relationship to music as well as my identity. Under each main song, I include an honorable mention that similarly captures the essence of each chapter. Lastly, at the end of the article, I talk about three additional songs that do not squarely fit into the narrative of the rest of the piece.
Unfortunately, I had to leave a lot of songs off of this list, and even for those I included, I cannot capture everything that makes them so exceptional in the span of an entry. Nevertheless, this article does provide a comprehensive look into my musical taste and my values. Let’s dive in!
“Space Oddity” by David Bowie (Chapter 1: Imaginativeness)
Who would be better to start this list off with than David Bowie, a visionary whose discography remains among the best ever made? Songs like “Changes,” “Lazarus,” and “Rebel Rebel” are some of my all-time favorite singles, but when push comes to shove, nothing Bowie wrote resonates with me quite as much as “Space Oddity” does. Like many of Bowie’s other classics (e.g. “Life on Mars?” and “Starman”), “Space Oddity” metaphorizes outer space to emanate awe and mysticism; naturally, I gravitated towards this single’s whimsical lyrics in my earlier years.
Inspired by Stanley Kubrick’s seminal film 2001: A Space Odyssey, “Space Oddity” narrates the fictional Major Tom’s journey into the unknown, which despite initial optimism, concludes in the astronaut’s tragic demise. As he does in all of his best songs, Bowie constructs the story with a certain degree of vagueness, leaving it open for listeners to analyze themselves. Perhaps “Space Oddity” merely chronicles an unpleasant high — “Ashes to Ashes,” the sequel to this single, seems to imply this lyrical interpretation. I prefer to hold on to the theory that I developed as a child: “Space Oddity” should be interpreted at face value as a tale of a man getting lost in space. However, the brilliance of this song stems from the fact that neither of these two interpretations is correct, as it can be analyzed from many angles.
I chose “Space Oddity” as my first song, because it represents the potential of musical imagination. The sublime songwriting, exuberant instrumentation, and Bowie’s animated vocals amalgamate into an amazing piece.
HM: “Wouldn’t It Be Nice” by The Beach Boys - Like “Space Oddity,” this is a song originally released in the ’60s that instilled a sense of wonder into me as a child.
“Billie Jean” by Michael Jackson (Chapter 2: Quintessence)
“Billie Jean” is a perfect pop song, plain and simple. When I was young and still had not been exposed to much music, I remember playing my parents’ Thriller CD on an old radio in my room. Even before I understood exactly what was going on musically, I was enamored by Michael Jackson’s vocals as well as Quincy Jones’ timeless production. Thriller is jam-packed with well-crafted tunes, from the rock-inspired “Beat It,” to the sensual ballad “Human Nature,” to enthralling deep cuts like “Baby Be Mine”; however, no song illustrates the exceptionality of Michael Jackson quite as well as “Billie Jean.”
Every musical component of “Billie Jean” feels intentional in the best way possible. The first thirty seconds build tension by slowly introducing new instruments. Every harmony, vocal ad-lib, and melodic switch-up that Jackson incorporates into the song enter at the perfect time and demonstrate his vocal prodigiousness. Although the vast majority of this song centers around a mere two chords, Jones switches between these two chords so masterfully that the progression never becomes boring.
Lyrically, “Billie Jean” portrays Jackson’s paranoid side, telling the story of a fling with a girl who comes around later to pronounce the protagonist as the her child’s father. Jackson asserts that “Billie Jean is not [his] lover” and that “the kid is not [his] son,” but every repetition of these lines sounds increasingly desperate, implying that Jean’s claims contain more veracity than the protagonist is letting on. Jackson’s use of subtext in this instance only serves to elevate an already amazing song to all-time best status. “Billie Jean” solidified Jackson’s legacy as the King of Pop for a reason — it is nothing less than a spectacular pop song.
HM: “Take On Me” by a-ha — This is another exemplary ’80s pop tune with an explosive chorus and unforgettable synth melody that defined my conception of the potential of music.
“Ain’t No Mountain High Enough” by Marvin Gaye & Tammi Terrell (Chapter 3: Affection)
A love song from the height of Motown, “Ain’t No Mountain High Enough” is an iconic duet between the great (and unfortunately late) Marvin Gaye and Tammi Terrell. The lyrical construction of this single is admittedly pretty simple, but in a way, that is what makes it so wonderful. Gaye and Terrell’s declaration of unstoppable love contains no pretense — the two personas just seem to genuinely care for each other.
The instrumentation of “Ain’t No Mountain High Enough,” composed by Johnny Bristol and Harvey Fuqua, cannot be described as anything less than absolutely gorgeous. The first five seconds alone, with the twinkling keys, melodious bass, and lively drums, give me chills every time I listen to them. When the strings enter the mix and the producers ratchet up the drums for the chorus, Bristol and Harvey fill the listener’s ear with complete musical euphoria. The modulation in the bridge propels the instrumentation to a level of wonder a step beyond the one it previously occupied.
“Ain’t No Mountain High Enough” has been a personal favorite song since I was a kid because of said instrumentation, Gaye and Terrell’s impeccable vocal chemistry, and the overall sense of love and exuberance that it embodies. This single is undoubtedly a classic as well as a perfect representation of Motown at its best.
HM: “Be My Baby” by The Ronettes - Although Motown did not produce this record, its infectious melody and lush instrumentation comparably underscore its love-centered lyrics.
“I Say A Little Prayer” by Aretha Franklin (Chapter 4: Prowess)
A virtuosic vocalist and the Queen of Soul, Aretha Franklin can perform like no other artist. Although Franklin put out dozens, if not hundreds, of amazing songs in her prolific career, none stand out to me quite as much as her cover of Dionne Warwick’s “I Say A Little Prayer.” Warwick’s original song, penned by legendary songwriters Burt Bacharach and Hal David, portrays a woman expressing her love to a significant other drafted to fight in the Vietnam War. Although Warwick’s version of “I Say A Little Prayer” remains an extraordinary song in its own right, Franklin’s rendition of it elevates the tune to greatest-of-all-time status.
Before delving into how Franklin achieved such a feat, one must first understand what makes “I Say A Little Prayer” so special at its core. The most obvious contributor towards its brilliance is its chorus, which employs an uncommon 11/4 time signature and flawlessly transitions into major mode. The catchy vocal melody and sweet lyrics are also exceptional.
Nonetheless, two key details set this version apart from Warwick’s: the rich production and Franklin’s astounding vocal performance. The piano and subdued percussion blend together perfectly, having aged exquisitely like a fine wine. However, as with any Aretha Franklin song, the highlight of “I Say A Little Prayer” is the singer’s powerhouse vocals; Franklin injects so much passion into every second of the song, especially the blissful outro. In summary, “I Say A Little Prayer” easily stands the test of time because of Franklin’s vocal proficiency as well as the composers’ ingenuity.
HM: “I Would Die 4 U” by Prince — Performed by another musical virtuoso, this song comparably invokes religious imagery in a candid declaration of love.
“The World Is Yours” by Nas (Chapter 5: Aspiration)
Because of its poetic lyricism, musically diverse beats, innovative approach to crafting rhyme schemes, and Nas’s masterful flow, I consider Illmatic to be the best rap album ever made. Choosing between this song and the existential “Life’s A Bitch” for this list proved difficult, but I ultimately decided to include “The World Is Yours” due to its anthemic and uplifting message. On the surface, “The World Is Yours” encourages the listener to follow their dreams until they achieve success. However, Nas elevates this single above a basic inspirational anthem through his perspicacious commentary.
Refusing to sugarcoat the reality of his living situation, in “The World Is Yours,” Nas relays intimate details about his life to the listener. For instance, in the second verse, the rapper flips NYC’s “Big Apple” nickname over on its head, instead referring to it as the “Rotten Apple.” Subsequently, Nas acknowledges that in Queens, he had to deal with both gang violence and pernicious police officers, who he compared to “the devil’s lasso.” Despite these obstacles, Nas manages to stay grounded by finding motivation in money and his kids, which includes his daughter, Destiny, as well as a potential son. Each iteration of the chorus feels more earned than the previous one as Nas provides more insight into his life and how he keeps everything together.
In addition to its lyrics, “The World Is Yours” also sounds magnificent. During this time, Nas was absolutely at the top of his game as an emcee — his flow is as sharp as a thumbtack and his vocal delivery perfectly balances hunger with composed swagger. Moreover, Pete Rock’s piano sample from Ahmad Jamal’s “I Love Music” endures as one of the best in hip hop history. With just one listen to “The World Is Yours,” one can easily ascertain why many rap fans consider Nas a GOAT, for its quality shines as bright today as it did when the rapper originally released it.
HM: “Life Goes On” by 2Pac — This is another quintessential Golden Age rap song that motivates the listener to keep pushing forward while serving as a tribute to Shakur’s deceased friends.
“These Walls” by Kendrick Lamar feat. Bilal, Anna Wise, and Thundercat (Chapter 6: Intellect)
I doubt that many people would disagree if I were to assert that To Pimp A Butterfly is one of the greatest albums to come out of the 21st century. Coalescing a wide variety of Black American musical genres, such as jazz, soul, funk, rock, and obviously, rap, To Pimp A Butterfly scrutinizes how the United States exploits Black people while simultaneously disregarding their needs. The album is excellent from start to finish, but “These Walls” perhaps best captures Kendrick Lamar’s astute approach to lyricism.
A sequel to the rapper’s “Sing About Me, I’m Dying of Thirst” (another song that could have easily made this list), “These Walls” conveys the story of a fictional rapper exploiting his social capital to seduce the girlfriend of a man who murdered his friend. Lamar leaves a lot to lyrically unravel in “These Walls,” but the aspect of the single that leaves me the most impressed is how it flawlessly likens a wall to many different objects. Throughout the song, Lamar utilizes a wall as a metaphor for a jail cell, secrecy, the inside of a woman, and the persona’s mind, yet none of these comparisons feel forced.
Although Lamar’s verses prevail as the focal point of “These Walls,” many other musicians contribute towards its brilliance. Terrace Martin, Rance, and Sounwave produce a soothing atmosphere through their soulful instrumentation. Anna Wise plays the role of an outside observer, encouraging the song’s protagonist to pursue his hookup. Bilal’s lyrics in the song’s chorus evince the persona’s lustful attitude. In summary, “These Walls” stands out as a depiction of musical intelligence, embodying what I believe music is at its finest.
HM: “Cold War” by Janelle Monáe — This is another multi-layered song composed by one of the cleverest musical minds of the ’10s.
“Bravado” by Lorde (Chapter 7: Self-Actualization)
What is there to say about Lorde that has not already been publicly stated? At just 16 years old, the Auckland-based singer managed to flip pop music over on its head by rejecting the bombastic hedonism of the club boom, instead opting to create sleek, minimalist electropop with a strong emphasis on lyricism and harmony. Lorde’s Pure Heroine album came out when I was in middle school; as I sought to discover myself, I found solace in its authenticity and individualistic nature. Since that time, Lorde has become one of my favorite artists. Although the singer has put out many phenomenal songs since her mainstream breakout, such as “Team,” “Homemade Dynamite,” and “White Teeth Teens,” my favorite song of hers has always been “Bravado,” a cut from her first EP, The Love Club.
Taking inspiration from a Kanye West lyric, “Bravado” details the young Lorde’s struggle to adjust to the spotlight, mirroring themes Kanye mused upon on his 2010 album My Beautiful Dark Twisted Fantasy. As someone who is naturally withdrawn, I can definitely relate to Lorde’s inner conflict of having such a personality trait in an environment that demands public displays of self. Consequently, when Lorde chooses to embrace the thrill of performing despite her reticent nature, it inspires me to do the same, elevating this song’s lyrical content to personal transcendence. The beautiful imagery in the chorus merely enhances the already fantastic lyrics.
Although “Bravado” does not contain Lorde’s most flashy musical composition, its understated beauty never fails to draw me into its atmosphere. The gradual buildup from the pulsating keys in the intro to the briskly-paced chorus shows a level of impressive musical restraint from someone so young. The euphonious vocal harmonies fill out the mix of the song and occasionally dip into unexpected directions (e.g. the random Bdim chord in the outro). All in all, “Bravado” epitomizes what makes Lorde such an exceptional artist, as it displays frankness and maturity through a rapturous sonic pallet.
HM: “Dancing On My Own” by Robyn - Although this song takes influence from the club boom that Lorde rejects, it similarly channels the feeling of self-solidarity in uncomfortable public situations through its electropop elements.
“Reborn” by Kids See Ghosts (Chapter 8: Tenacity)
Speaking of Kanye West…
I have always loved “Reborn” and Kids See Ghosts, but I did not fully connect with this song until last year. On a gloomy August day in the midst of the COVID-19 pandemic, I decided to take a walk during a depressive episode. After shuffling through my liked songs on Spotify, I eventually landed on “Reborn” and decided to listen to it for the first time in almost a year. I put in my earbuds and left my house with Kid Cudi’s angelic hums filling my ears, and as soon as the first chorus came in, I related to this song in a way that I had not previously done so before.
The genius of “Reborn” comes through the repetition of the line “keep moving forward” — whenever my thoughts go to a bad place, hearing that recurrent call to persevere inspires me to pick myself up and press on. Both West and Cudi have dealt with their own share of mental health issues, so hearing them come together to reflect on their struggles and choose to proceed in spite of them provides me with a sense of catharsis. West’s palatial instrumentation reinforces the rappers’ heartfelt lyrics as both give career-best performances.
Is “Reborn” as audacious as a song like “Jesus Walks,” as meticulous as a song like “Power,” or as melodically compelling as a song like “Heartless”? In all honesty, no, it is not. With that being said, of all of the songs that West (and Cudi) have ever made, “Reborn” has impacted my life the most. During my darkest moments, the rappers’ call to keep moving forward never fails to uplift me, making it a truly incredible work of art.
HM: “The Way Life Goes” by Lil Uzi Vert feat. Oh Wonder — This is another late ’10s rap song that has consoled me during difficult times.
“In My Life” by The Beatles (Chapter 9: Reminiscence)
Like Michael Jackson, The Beatles were an integral part of my childhood, as my parents used to play their music whenever we drove in the car. However, unlike with Jackson, choosing my favorite Beatles song was easy, as “In My Life” has always been close to my heart. This song’s sentimental lyrics never fail to move me during the most momentous life events. After all, I strongly value my interpersonal relationships and enjoy reminiscing about the past, two themes that “In My Life” reinforces through its lyrical content.
Another element that makes “In My Life” so special is the chemistry between Paul McCartney and John Lennon. The singers’ voices blend perfectly as they punctiliously switch between performing in unison and two-part/three-part harmony. Ringo Starr and George Harrison also pull their weight through the well-paced drumming and wistful guitar-work respectively. George Martin’s sped up piano playing serves as the cherry on top of “In My Life”’s superb instrumentation.
After a year as change-inducing and eventful as this last year, I enjoy returning to songs like “In My Life” so that I can ground myself in my musical roots. No matter where my life takes me, I know that I will always deeply love “the people and things that went before,” as they have made me the man I am today.
HM: “Bridge Over Troubled Water” by Simon & Garfunkel - This is another song that has soundtracked pivotal moments of my life.
“Landslide” by Fleetwood Mac (Chapter 10: Contemplation)
Similarly to “In My Life,” “Landslide” ruminates on the past as well as growing older. However, this single reminds me more of my high school years than my early childhood, as I listened to it a lot during my senior year and even soloed on a rendition that my a cappella group rehearsed that year. I love how lead vocalist Stevie Nicks incorporates natural imagery into this song’s lyrics as a means to express her presentiment of growing apart from someone, namely her bandmate and lover Lindsey Buckingham.
Compositionally, “Landslide” feels bare, as Nicks’ vocals are solely backed by Buckingham’s acoustic guitar along with an additional electric guitar in the song’s bridge. Consequently, Nicks’ melancholic vocal performance receives plenty of room to shine; she perfectly executes every note she delivers, even those that slightly deviate from their intended pitch. The melody drifts up and down throughout the song like a gentle snowflake waltzing around a mountain range.
In essence, “Landslide” exquisitely portrays personal growth and transitioning into a new phase of one’s life. Through her eloquent metaphors, Nicks provides the listener with an intimate glimpse into the human experience. With just a couple of guitars and a bewitching vocal performance, Fleetwood Mac manages to cut to something real in this song.
HM: “1979” by The Smashing Pumpkins - This is another timeless rock song written in the key of D# major that reflects on growing older. (Fun Fact: The Smashing Pumpkins released a cover of “Landslide” in 1994).
Additional Songs
“Ex-Factor” by Ms. Lauryn Hill
Unfortunately, no song from The Miseducation of Lauryn Hill fits into the narrative of the list proper, but Ms. Lauryn Hill certainly still deserves commemoration. Delineating the strife of a toxic relationship, “Ex-Factor” perfectly captures the feeling of heartbreak during its 5 1/2-minute musical journey.
“Get You” by Daniel Caesar feat. Kali Uchis
Conversely, “Get You” exhibits love and sensuality through its smooth instrumentation, Caesar/Uchis’s stunning vocals, and the elegant lyricism. I especially love the last minute of the song, when a pad enters the mix to support Caesar’s ambrosial falsetto and Uchis’s mellifluous outro.
“Merry Go ‘Round” by Kacey Musgraves
Evoking the existential dread of living the rest of one’s life in small-town America, “Merry Go ‘Round” cleverly employs homophones while discussing the vices of Kacey Musgraves’s family members. The guitars’ circular melodic motif also helps to emphasize the cyclical nature of life in Golden, Texas.
Thank you so much for reading this! This is by far the most ambitious musical writing project I have embarked on thus far with this page, but I had a lot of fun making it. I will likely publish another Charlie’s Corner in August, but in the meantime, if you are reading this, I hope you enjoy the rest of your summer!
