Pennebaker’s “Dont Look Back,” where Dylan at his most arrogant crushes Donovan in their hotel-room hootenanny.
Jake Bugg’s “Broken.” Ah, here’s an acoustic! Where did Bugg hatch from? In my imagination, he’s the spawn of Dylan and Donovan, somehow born from that cringe-making scene in D.A. The arc of Lana D’s career gives one hope for Obamacare: it shows how people will forget the first, flawed rollout if you eventually get it right. “Got my bad baby by my heavenly side” is inspired. Its only flaw is the dreadful lyric “Oh that grace, Oh that body/ Oh that face, Makes me want to party.” (Barf.) “Summertime Sadness” was pretty perfect. “Young and Beautiful” (which in truth is more of a piano song, with all those “sus” chords) was the best track on the disappointing “Great Gatsby” soundtrack. Two Lana Del Ray songs, “Summertime Sadness” and “Young and Beautiful.” The former is a happy song that sounds sad, and the latter is a sad song that sounds happy. (Although the relative paucity of good bridges in 2013 is a cause for some concern at least for this strummer, the bridge is often the most interesting part of a song.) My only objection to “Brave” is that Sara Bareilles let Microsoft license it, transforming a genuinely inspirational tune into an ad for second-best tablets and laptops. Luke earlier this year.) “Brave,” viciously mocked by my fifteen-year-old son for its schmaltzy lyrics, has one of the best bridges of the year. Luke and two members of his songwriting team, Bonnie McKee and Henry Walter, a.k.a. Two of my favs are in that key-“Roar” and “Brave.” “Roar” has the killingest chorus it reminds us (this is not remarked on often enough) that we are living in the era of a true master of pop songs, Max Martin, who wrote this with Dr.
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