Country: Louisiana Saturday Night by Mel McDaniel from the album I'm Countryfied. Features of this song are: Acoustic sonority, acoustic rhythm piano, extensive vamping, major key tonality and, a vocal-centric aesthetic. This older country-folk song is a good older party song and just a good spirit lifting song. Country #2: Country Boy (feat. Charlie Daniels, Chris Young, & George Jones) by Aaron Lewis from the album Town Line. Features of this song are: Country roots, bluegrass influences, folk influences, a subtle use of vocal harmony and, mild rhythmic syncopation. I could not think of a description for this song. Rap: Because I Got High by Afroman from the album The Good Times (Explicit). Features of this song are: Hardcore rap influence, southern rap roots, sparse beats, headnodic beats and, straight beats. “Because I Got High” is one of those genius, perfectly conceived and executed singles that seems to arise from the ether as if it has always been there. Sparely instrumented, recorded so nonchalantly it’s hard to believe that anybody believed that the tape was rolling, it’s a riot — it’s not just a frat rock anthem, it’s a logical, brilliant record, escalating from verse to verse, with its consciously off-handed comments still capable of eliciting extreme laughter on the 20th spin. Rap #2: DAYWALKER! by Machine Gun Kelly & CORPSE from the album DAYWALKER! (Single) (Explicit). Features of this song are: Hard rock roots, electronica influences, hip-hop influences, a subtle use of paired vocal harmony and, mild rhythmic syncopation. I could not think of a description for this song. EDM: Heartless (feat. Morgan Wallen) by Diplo from the album Heartless (Single) (Explicit). Features of this song are: Electronica influences, r & b influences, hip-hop influences, mild rhythmic syncopation and, a heavy use of vocal harmonies. I could not think of a description for this song. EDM #2: Dilemma (feat. Kelly Rowland) by Nelly from the album Nellyville. (Forgive me if this isn't EDM). Features of this song are: Club rap roots, hardcore rap attitude, r&b influences, southern rap influences and, tremendous bass. The few occasions where Nelly tries something new — namely on “Hot in Herre,” “Dilemma,” and “Rock the Mic,” three well-calculated, standout moments. The first is a trademark Neptunes production with an infectious hook, tailor-made for radio and club play; the second is a straight, saccharine interpolation of Patti LaBelle ’s 1983 hit “Love, Need and Want You” that features a duet with Destiny's Child singer Kelly Rowland , and is as likely to appeal to those who are old enough to know the original as those who are too young to realize how much of a straight cover this is. Pop: Fancy Like (feat. Kesha) by Walker Hayes & Kesha from the album Fancy Like (feat. Kesha) (Single). Features of this song are: Hip-hop influences, mild rhythmic syncopation, repetitive melodic phrasing, mixed acoustic and electric instrumentation and, major key tonality. I could not think of a description for this song. Pop #2: STAY by The Kid LAROI & Justin Bieber from the album F*CK LOVE 3: OVER YOU (Explicit). Features of this song are: Mild rhythmic syncopation, call and answer vocals, extensive vamping, paired vocal harmony and, minor key tonality. I could not think of a description for this song. R&B: Shut Up And Drive by Rihanna from the album Good Girl Gone Bad. Features of this song are: Pop rock qualities, electronica influences, r & b influences, a clear focus on recording studio production and, major key tonality. Shut Up and Drive turns New Order ’s “Blue Monday” into a sleek, forthcoming proposition, one that is as undeniable and rocking as Sugababes ’ 2002 U.K. smash “Freak Like Me” (a cover of Adina Howard ’s 1995 hit that swiped from another ’80s single, Gary Numan ’s “Are Friends Electric?“). “Shut Up and Drive” is part of an all-upbeat opening sequence that carries through five songs. R&B #2: S&M by Rihanna from the album Loud (Explicit). Features of this song are: Electronica influences, r & b influences, a subtle use of vocal harmony, extensive vamping and, minor key tonality. There’s enough quality content to maintain Rihanna ’s visibility until her next truly eventful release. (This album, coming less than a year after Rated R, did not have much buildup.) The predatory StarGate /Sandy Vee-produced dance-pop (“S&M,” “Only Girl [In the World]”) is what works best here. Remixed: The Devil Went Down to Georgia by Nickelback (This is a cover). I could not find any features for this song. The cover of this song is more modern rock and guitars instead of old folk and fiddles. This song ends up featuring more electric guitar solos than you would normally see in a song. Original: The Devil Went Down to Georgia by The Charlie Daniels Band from the album Million Mile Reflections Remixed #2: We Will Rock You (2020 Remaster) by Nickelback from the album All The Right Reasons (15th Anniversary Expanded Edition). Features of this song are: A subtle use of vocal harmony, repetitive melodic phrasing, extensive vamping, major key tonality and, a vocal-centric aesthetic. This song is a cover of We Will Rock You by Queen but more modern rock than the original version. The more rough and gravely voice of lead singer Chad Kroeger seems to (In my opinion) fit the lyrics of the song better than the original. Hip-Hop: Cyclone by Baby Bash and T-pain from the album Cyclone. Features of this song are: West coast rap influences, club rap influences, southern rap roots, r&b influences and, electronica influences. The more pop moments of this album come off much better when Lil Jon brings one of his identifiable and infectious beats for “Cyclone” with T-Pain Hip-Hop #2: Country Grammar (Hot **ahem**) by Nelly from the album Country Grammar (Deluxe Edition) (Explicit). Features of this song are: Club rap roots, southern rap roots, tremendous bass, a knack for catchy hooks and, danceable beats. By the time of Country Grammar’s release in summer 2000, the album’s title track had become a major hit single for the previously unknown St. Louis rapper Nelly , who was making his national debut. In particular, the song’s tongue-twisting chorus is downright infectious: “I’m goin down down baby, yo’ street in a Range Rover/Street sweeper, baby, cocked ready to let it go/Shimmy shimmy cocoa what? Listen to it pound/Light it up and take a puff, pass it to me now” — or something like that. Rock: When I'm Gone by 3 Doors Down from the album Away From The Sun. Features of this song are: Pop metal qualities, electric guitar wall-o-sound, major key tonality, a vocal-centric aesthetic and, a dirty electric guitar solo. The lead single “When I’m Gone” is a muscular blues-rocker that recalls Kenny Wayne Shepherd — it’s representative of the album’s predominantly mid-tempo arrangements that focus on Arnold’s contemplative lyrics. Rock #2: Thunderstruck by AC/DC from the album Iron Man 2. Features of this song are: Hard rock roots, a subtle use of vocal harmony, electric guitar wall-o-sound, call and answer vocals and, repetitive melodic phrasing. I could not think of a description for this song. New: Bad Habits by Ed Sheeran from the album Bad Habits (Single). Features of this song are: A subtle use of vocal harmony, extensive vamping, minor key tonality, a vocal-centric aesthetic and, acoustic guitar riffs. I could not think of a description for this song. New #2: Country Boy Do by Nelly & Tyler Hubbard (From Florida Georgia Line) from the album Heartland (Explicit). Features of this song are: Electronica influences, hip-hop influences, heavy use of vocal harmonies, extensive vamping and, paired vocal harmony. I could not think of a description for this song. Thank to @MOHLovesAlaska and @AlyssaPandora for the support
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