“ Put this pussy right in your face, swipe your nose like a credit card,” demanded Cardi, single-handedly making a case for both mouth-spitting and the immediate demise of contactless payments during a highly contagious pandemic. In place of maximalism, Cardi and Meg stood ferociously imaginative in penning their sordid loveletter to wet ass pussy, and the eminently quotable one-liners * ahem* come thick and fast.Ĭrucially, the two featured artists were perfectly matched partners in filth, one-upping each other with gleeful precision. With two of the most trailblazing names in rap at its helm, ‘WAP’ didn’t need bells and whistles. Could there be any other?Ī sparse, juddering beat, an artfully deployed sample of Frank Ski’s 1992 Baltimore club staple ‘Whores In This House’ and the dual talents of Cardi B and Megan Thee Stallion – there really were no added frills to be found on ‘WAP’. The most talked about song of 2020 is also our Number One. Scratch that: a classic RTJ anthem, and the one the world needed.īest bit: Pharrell yelling “ SHIIIIIT” like he’s doing his best impression of Clay Davis from The Wire before dropping the already immortal “ look at all these slave masters posing on yo’ dollar” line. Arguably the pick of the bunch on the record is ‘JU$T’, which saw Killer Mike and El-P linking up once again with Rage Against The Machine’s legendary shouter-in-chief Zack de la Rocha (“the unofficial third member of Run The Jewels,” El-P declared recently) and inviting Pharrell along for the ride – not a bad line-up, right? Recorded at Rick Rubin’s Shangri-La studios, ‘JU$T’’s searing critique of capitalism, crime and social injustice in the US over El-P’s bouncing and Neptunes-nodding beat made for a classic RTJ composition. RTJ roared back into life in 2020, packing a powerful, politically charged punch with their deservedly acclaimed ‘RTJ4’ album. It’s an astonishing song: one that fuses witty lyricism with megawatt hooks, and a reminder that Taylor Swift is an artist who should never be underestimated.īest bit: The rich storytelling: Swift brings Harkness’ story to life through concise, pithy couplets like “ And in a feud with her neighbour / She stole his dog and dyed it key lime green“. Here, Swift engaged masterful storytelling techniques over Dessner’s glitchy, cantering production, vividly spinning the tale of Harkness’ life while drawing parallels between the sexist criticism both women have received (such as being called “ mad” and “ shameless”).
But it wasn’t until The National’s Aaron Dessner (who collaborated with Swift across her eighth album ‘Folklore’) sent Swift the original instrumental for ‘The Last Great American Dynasty’ that she finally felt the time was right. Swift had wanted to write a song about Rebekah Harkness, the American socialite who used to own the singer’s house in Rhode Island, for years. Taylor Swift – ‘The Last Great American Dynasty’
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