Track 2 of their 6th LP, The 2nd Law. According to Bellamy, the song was written after a fight with his then-fiance Kate Hudson:

You’ve had a fight with your girlfriend and she goes off to her mum’s house for the day and you’re on your own going: ‘What did I say? I’m sure a lot of blokes have that experience in the early stages of relationships where you go, ‘Yeah, she’s right, isn’t she?’.

Musically, its calm, minimal electronic arrangements makes it similar to Depeche Mode.

The fourth studio album by Chicago rapper Lupe Fiasco, released through Atlantic Records on September 25th, 2012. The project was executive produced by Lupe himself along with Free Chilly. View the full list of album credits here.

Check out some reviews below:
- Dead End Hip Hop mixed
- The Needle Drop
- Pitchfork 6.8/10

Cop on iTunes or buy a hard copy on Amazon

Gail Simone, one of the best writers in the comics industry and probably its best known female writer, is notorious for inserting subtext and innuendo in her work (see JLU’s “Double Date”). She wrote “The Mask of Matches Malone” for season 2 of Batman: The Brave and the Bold and producers Michael Jelenic & James Tucker wrote a song that lives up to Simone’s writing style.

Too well, in fact. While the episode did air in Australia, it was later banned from television and never even made it to air in the US (it was included on the DVD). There were other factors involved, but this was the big one (unlike some of the men mentioned in the song…)

Catwoman – Nika Futterman
Black Canary – Grey DeLisle
Huntress – Tara Strong

Continuing from Mylo Xyloto, Hurts Like Heaven continues the story of Mylo and Xyloto, and opens up the world to the listener, as well as early life. With 1984 8-bit synths, amazing drumming, refrained bass hooks, distorted and high-hitting guitars, and the best vocals from Chris Martin, the song will rivet you through damnation and back, as it talks about the oppression of government, rebellion, and love, with Silencia turning into a living hell.

Talking through the early points of Mylo’s life, his parents were affiliated with a sparker gang known as the “Car Kids”. Through the course of the song, it talks about their struggles, and their eventual capturing, leaving Mylo emotionally unstable since the witnessing, and his parents to rot in jail.

Keys compares herself to the discreet, nonjudgmental and protective nature of a diary in this slow jam from her second studio album.

“I Won’t Back Down” was the lead single from Tom Petty’s 1989 release Full Moon Fever. The song features guitar and background vocals from both Jeff Lynne and George Harrison. Drums were performed in the track’s music video by Ringo Starr, but they were actually played by session drummer Phil Jones.

This was Petty’s first single without The Heartbreakers credited as his backing band. Members of the band did play on the album, however.

The song peaked at #12 in the US, #16 in Australia and #28 in the UK.

Petty recalled the recording of this song to Mojo magazine:

At the session George Harrison sang and played the guitar. I had a terrible cold that day, and George went to the store and bought a ginger root, boiled it and had me stick my head in the pot to get the ginger steam to open up my sinuses, and then I ran in and did the take.

“Talk” is the third single from Coldplay’s third album, X&Y. It features lyrics about feeling insecure and how conversation could fix it, and a recurring melodic hook directly inspired by the synth motif prevalent in Kraftwerk’s “Computer Love”.

Commercially, it was a success, reaching number one in Poland and the Netherlands and the top ten in Spain and UK. In the US, it hit the top ten of Alternative and Adult Pop Songs, and topped the Hot Dance Club songs.

In “Sierra Leone,” Frank talks to a (fictional) younger version of himself who fooled around and got a girl pregnant.

He uses the extended metaphor of Sierra Leone’s “pink skies” to refer to his the girl’s vagina and womb, all the while discussing maturing in the face of impending parenthood. Whilst he’s an aloof and irresponsible “teenager” at the start of the track, he’s a seemingly responsible father figure by the close.

Though the story is fictional, this kind of emotional maturity holds special weight for Frank – his own father left his family when he was five years old, leaving him without this kind of upbringing.

The spoken and sung call-and-response may be a homage to Marvin Gaye’s 1971 track “Save the Children.”