Dreams' Top 60 Songs of 2012

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Postby JSparksFan » Sat Dec 29, 2012 7:52 pm

Dreams wrote:Thanks for your comments, JSparksFan. If only JSparks released a new decent single in 2012 (I was thoroughly unimpressed with "I Am Woman", "Celebration" and "SOS" was just alright) but "Battlefield" and "One Step at a Time" are all time personal favorites of mine.
I think you mean "Celebrate" but yeah, that was pretty underwhelming. Have you heard "One Wing" though? That one's pretty impressive actually. Back to catching up!

"Blow Me (One Last Kiss)" is a break-up anthem that somehow manages to be both happy and angry at the same time. P!nk's vocals during the chorus are a bit strained though. She's had better but I still enjoy it and actually ranked it a fair few places higher than you did. I cracked up at this though...

Dreams wrote:With Pink, sometimes it's hard to draw a line between her genuine talent as a singer/songwriter, performer and then Pink the caricature that only knows how to sing angsty Lesbian pop-rock with a comic flare and banal self-help songs in the form of "****' Perfect".
"All Around The World" is one of the best songs on Believe for sure. I still prefer "Baby" but I too hope that this one gets proper promotion as a full single 'cause it's very radio-friendly and would likely keep up his string of Top 10 hits. "Let There Be Love" is one of my favourite tracks from Lotus. I love the sexy lyrics and Christina's vocals are powerful but not overdone.

I'm not the biggest Miranda Lambert fan. Carrie and Taylor provide all the Country/Pop that I need but "Over You" is a beautiful ballad indeed. It's a bit off from her "The House That Built Me" best and her "White Liar" second best but it's a solid tune nonetheless. "Timebomb" is epic. It's such an infectious Pop track and is one of Kylie's career-best singles actually. The Do you wanna, wanna? bits are just too catchy and instant. It's one of my fave Pop songs of the year.
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Postby Blondini » Sun Dec 30, 2012 1:25 am

--

:oops:
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Postby Dreams » Sun Dec 30, 2012 1:48 am

Which one(s) didn't you like? :lol:
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Postby Blondini » Sun Dec 30, 2012 1:53 am

The Wanted is the one i "like".
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Postby king_oxymoron » Sun Dec 30, 2012 12:30 pm

That Saturdays comment was just to rile me wasn't it! :lol: Wings is great though, I know the girls voices now but truly on that song they are all superb so it doesn't matter so much..

I will check out Kris Allen as he is one of my fave AI's and I haven't heard any of the new set.

Leona is impressive vocally but I find that such a dull song.

The Wanted, seems about a decade ago but no denying it's a top pop song, probably agree it outranks 1Ds singles but prefer 1D overall
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Postby Spartan » Sun Dec 30, 2012 12:38 pm

The Wanted and Little Mix are both amazing!
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Postby Dreams » Sun Dec 30, 2012 11:14 pm

10. Demi Lovato - "Give Your Heart a Break"
US peak: 16 / UK peak: 194
Unbroken

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When your lips are on my lips
And our hearts beat as one
But you slip out of my fingertips
Every time you run (ridiculous but amazing ad-libbing here)


Demi Lovato was always caught in a tricky position in terms of the Disney TV-stars-turned-pop-stars vacuum in that she had never really achieved a proper crossover hit that Selena experienced at least twice and Miley achieved several times over. "Skyscraper", her obligatory "No really, I'm OK" shrieking ballad that was released after her stay in rehab due to cutting, depression, bulimia (I'm just guessing, the first one is definitely true) and eventually a diagnosed bi-polar disorder. It's not so much that "Skyscraper" and its parent album under-performed (again, she never had a pop radio hit) but aside from its first week digital #1 debut, it failed to perform in the long term and establish her as a mainstream interest pop star. The album itself is a bit of an identity crisis that ranges from introspective ballads like "Skyscraper", to low-rent R&B productions to the Disney stylized pop-rock of her earlier material to straight up pop. In 2012, "Give Your Heart a Break", which is definitely of the pure pop group, was sent to radio with little expectation other than probably finishing off a flagging album campaign. Yet, as the months passed, it seemed to gain an intense momentum that only "Party in the USA" achieved by reaching #1 on the Billboard pop chart in terms of Disney alum. While all of the aforementioned records by other artist certainly sound like massive hits, I never quite imagined "Give Your Heart a Break" would reach those dizzying heights.

For one, the song is relentless from a vocal standpoint like much of Demi's performances and the lyrics are almost knowingly clumsy. Yet, none of that detracts from how phenomenal of a pop song this really is. There's an undeniable joy and giddiness to Demi's delivery of the track and it was the perfect Summer track as it is incredibly sunny and lightweight but at the same time elicits such happiness. And that's just it, Demi's ecstatic vocal is contagious and I typically dislike her overdone histrionics or inflections. In a way, this track is an extreme opposite of the miserable "Skyscraper". The dreary poetry that is cliche as that metaphor in the title is only one of the many faults of the track. Instead of the whiny tone Demi uses in "Skyscraper", she is just as over the top in "Give Your Heart a Break" yet it absolutely fits the mood and tone of the song.

I never expected "Give Your Heart a Break" to become one of the biggest hits of 2012 on radio but am elated that it did and boosted her profile along with her X Factor gig. She may be annoying but when she has a tune this strong, she's unstoppable.
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Postby Dreams » Mon Dec 31, 2012 12:51 am

09. Christina Aguilera - "Your Body"
US peak: 34 / UK peak: 16
Lotus

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So don’t even tell me your name,
All I need to know is whose place and let’s get walking...


While hindsight is always 20/20, I am slowly coming to the realization why "Your Body" was not the 15 week Billboard #1 it should've been. Even though the premise is quite crass, even by X-Tina's standards, "Your Body" juxtaposes its quite explicit and ridiculous propositions of a one night stand with an irresistible Max Martin beat and an extraordinarily catchy collection of hooks that rival some of her biggest hits. It's not that casual sex is a topic Christina has strayed from before, one of the many standouts from the Stripped album, "Get Mine, Get Yours", thinly veiled the reference. Yet, "Your Body" flat out thrusts it in the listeners face with lines such as the main hook "All. I. wanna. do. is **** your bod-eh". While that is the making of one of my favorite songs of the year, for most pop listeners, it likely came across as too overbearing coming from a woman whose UK chart peaks match her dress size these days.

However, "Your Body" is much more than a filthy come on, it's a corker of a song that revolves around a phenomenal tune and trademark over-the-top ad-libbing from Christina that distinguish it from a traditional Max Martin production. The way she shouts out "I think you already KNOW MY NAME!" with such booming over-confidence that it is almost palpable to the listener is tremendously placed along with the final "ooh, oooooh-oooooooh-ooooh"s as the behemoth chorus winds down. It's fabulous touches such as those that make "Your Body" Christina's finest lead single since the classic "Genie in a Bottle".

So what went wrong? I guess I can see the non-appeal of the track to the average music listener but I think it is more of a symptom of a flagging music career plagued with diminishing returns and a continuously changing pop landscape in which she has not had a proper hit ("Moves Like Jagger" aside) in more than five years. And unlike your Alicia Keys, Beyonces, Kelly Clarksons she doesn't really have that multi-format appeal that they do to extend her timeline of success. I guess the most troubling thing about "Your Body" and its underperformance is that Christina and the label did essentially nothing to salvage it after the initial buzz cooled down. The no promotion excuse will forever be overused in these types of discussions (I am a Britney fan afterall...) but to not perform your lead(!) single even once aside from a brief comical Jimmy Fallon spot is very poor form. But that disconnection and lack of engagement seems to be a new symptom of not just "Your Body" but its parent album as a whole and little has been done since Lotus fizzled on the chart this last month.

Anyway, "Your Body" is an exciting pop triumph and I look forward to how X-Tina pans/praises it years from now... place your bets
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Postby Haribo » Mon Dec 31, 2012 12:53 am

"Your Body" is nice.
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Postby JSparksFan » Mon Dec 31, 2012 2:10 am

"Adorn" is decent but I find it to be quite overrated here (meaning UKMix). I feel very much like you do with "Nobody's Business". There's no denying that it's a fabulous tune and Rihanna and Chris's vocals blend very nicely as they always have but I do feel a bit disconcerted every time I listen to it which is why, despite it being one of my faves from the new LP, it's not one of my most played from Unapologetic. I've not heard that remix for "The Vision of Love" but I did like the original though not very much.

"Do You Think About Me" isn't one of my favourites from Blown Away but the album is so strong that I don't dislike even my least favourite track from it. This one is nice enough. I like the sweet lyrics but it's a bit too mellow. I agree completely that Carrie is head and shoulders above the current crop of Country/Pop females. Only Taylor Swift comes close and even she isn't quite as impressive. "Looking Hot" is nice too, one of only three tracks that I really enjoyed from their new album (the other two being the singles).

"Ho Hey" is a bit annoying but "Starships" is flawless! The chorus is really so euphoric and explosive. It's the perfect party jam and one of the most instant tunes of 2012. "Masterpiece" is probably one of Madge's career-best ballads. I love the melody and her vocals are quite solid on this track.

Still have some more catching up to do.
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Postby Spartan » Mon Dec 31, 2012 2:17 pm

Demi Lovato song is brilliant, I never really paid attention to her until this amazing song. I don't mind the Xtina song but she's had so much better. :)
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Postby Dreams » Mon Dec 31, 2012 4:43 pm

08. Cheryl - "Call My Name"
UK peak: 01 / Australian peak: 49
A Million Lights

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How'd you think I feel when you call my name
My name, SAY MY NAME, baby


I've always been apprehensive of becoming even vaguely a Cheryl Cole fan. As a pop star, she seems generally disinterested to do anything more than pop up for a high profile TV spot or shoot a couple super-polished music videos for the album. And then her follow-up to the rather good 3 Words album debut, Messy Little Raindrops, was a bit of a disaster aside from maybe two songs. Needless to say I wasn't holding my breath for a great lead single and subsequent album for her third solo outing.

Yet "Call My Name" was a storming dance number that made any of Cheryl's shortcomings as a pop star temporarily acceptable. It's a tornado of a tune that draws the listener in from the opening, high energy tempo that is almost reminiscent of the classic Thunderpuss Mix of "It's Not Right But It's OK" in its pounding beat and fast-paced rhythm. But even more than that, "Call My Name" instantly drew comparisons to Rihanna's much more recent classic, "We Found Love", which was also produced by Calvin Harris. Before I get into any hyperbole regarding "Call My Name" - I think we all can agree that "We Found Love" is the superior of the two. But not discounting "Call My Name" at all against that era-defining pop masterpiece, the former is a feverish and incredibly successful attempt to consist of one of the soundtracks of this ongoing dance-pop movement. While it is important to highlight Cheryl's shortcomings as a vocalist in terms of emotive abilities compared to Rihanna's on the utterly joyous and declarative "We Found Love", Cheryl's anxious interpretation of the lyrics still works a treat. In other words, both are sonically similar tracks delivered in different ways that really affect the final product.

"Call My Name" isn't greatly varied from the rest of A Million Lights which is mostly dominated by similarly styled dance-pop yet much of the other tracks come off much more generic and insignificant. I think that goes to show, despite Calvin Harris using a pretty inescapable blueprint for his productions, his singles generally rise above most other songs of the same genre because they bring something special and unique out of the ubiquitous style.

I love the video too. Cheryl may not do a lot of things right but she can sure star in a pop video if given a nice fat budget and hot choreography.
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Postby king_oxymoron » Mon Dec 31, 2012 5:45 pm

While I don't agree with the bad mouthing of Skyscraper let me just say..

WHAT. A. START. to the top ten. Three incredible tunes all among the best of the year. Great reading your thoughts on them, so much so that there isn't really anything I can add.

Great, great choices.
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Postby Dreams » Mon Dec 31, 2012 6:28 pm

07. No Doubt - "Push and Shove" (feat. Busy Signal & Major Lazer)
Did not chart
Push and Shove

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Ready when you’re ready,
We can run this city,
No if’s, no buts, no maybes.


The title track off of No Doubt's slept on reunion album, "Push and Shove", was a hodge-podge of what seems like two or three different songs fused into one bound by manic production that is matched by Gwen's delivery. This could be a recipe for disaster, as No Doubt sometimes gets a bit too carried away with this sort of thing like on some of their earlier material yet everything about it remains sonically TIGHT. The trademark No Doubt reggae, dancehall sound intermixed with more current trends that flirt with dubstep is a push and pull relationship as the song goes back and forth from a more furious tempo in the rhythmic verses to a more intense and slower tempo in the chorus and then it speeds up again as the latter progresses. This may seem like a total headache yet it's a concoction that works and the song remains the freshest moment on the whole album. I don't think you could call it even that tuneful yet the number of hooks more than make up for it. And even though it ticks over five minutes, the listener never has a moment to really get bored or catch themselves waiting for the next bit.

While the song is chucked full of highlights, my favorite parts probably include the the energized "Hustle 9 to 5..." verses and then the final chorus that really wraps up the song wonderfully with this celebratory feel with lines such as "Have a drink if that's what 'cha want" or "we'll shine so bright, like the city lights" that are a somewhat departure from the nonsense or babble spouted out earlier in the song. So even though the song does have some elements that really make it a fun, accessible track, I feel like it would still feel somewhat alienated from radio had it been the comeback single in place of "Settle Down". Sure, "Push and Shove" IS more vibrant, hook-worthy and busy yet I never got a feeling that 'wow, this is going to be HUGE' but rather a moment that I thought would excite me purely as a No Doubt fan as it is filled to the brim with their own quirks and idiosyncratic nature.

As it was, the song was released in sort of a buzz single fashion with its own digital release and a video in which the band looks great (but particularly Gwen, of course). Needless to say, the song didn't catch much fire and fizzled along with the album. But either way, "Push and Shove" is one of my all time favorite No Doubt songs although my favorite would probably remain "Underneath It All".
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Postby Dreams » Mon Dec 31, 2012 7:19 pm

Last one of 2012...

06. Bruno Mars - "Locked Out of Heaven"
US peak: 01 / UK peak: 02
Unorthodox Jukebox

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Open up your gates cause I can't wait to see the light
And right there is where I wanna stay


Who knew that Bruno Mars would come up with one of the most euphoric singles of the year in the form of "Locked Out of Heaven"? I know many will like to disagree as the track may seem a bit too dad friendly with its Police leanings and its reggae-inspired riff. But that little touch is just the tip of the iceberg to what is a tremendous tune that soars through its chorus and leaves me feeling like I'm in pop bliss. It's not that past Bruno Mars hits have left me cold as I am quite fond of the sappy crooning when it's as melodic as "Just the Way You Are" or his hook on "Nothin' on You" but "Locked Out of Heaven" totally ups the stakes and combines the contemporary elements of top 40 radio with the likability of its 80s influences. And the sexual innuendo somewhat grimes up the shiny, squeaky clean exterior of the song and Bruno Mars as a pop star.

While the whole song gives off such light and joy, the chorus is obviously the selling point to a very well realized record. The uplifting mood and music to the main hook are electric and contagious. Cheesy as it is, "Locked Out of Heaven" is one of those few songs that manages to put me in a positive mood just by listening to it. The middle eight synths followed with Bruno's brash post-chorus of "Yeah, yeah, yeah, yeah, can I just stay here? Spend the rest of my days here?" works to excellent effect and helps create the booming atmosphere of the track.

I was a bit underwhelmed with the rest of the album as it seemed to play it a bit too safe after the likable but ultimately superfluous debut album yet it mostly continues on the 80s-influenced path of "Locked Out of Heaven" to a more Michael Jackson inspired angle than that of The Police. Still, "Locked Out of Heaven" is one of the bigger surprises of 2012 for me. A glorious song that really sums up what pop music is all about for me.
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Postby Dreams » Tue Jan 01, 2013 11:14 pm

05. Ellie Goulding - "Anything Could Happen"
US peak: 47 / UK peak: 05
Halcyon

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Baby, I'll give you everything you need

As we enter a new year, "Anything Could Happen" seems like an optimistic note to soundtrack new beginnings and hopes, aspirations. The positive tone of the lyrics matches the liveliness and energy of the chirpy "ooh, ooh, ooh, ooh"s in the main hook of the track. In fact Ellie's high pitched vox are almost used to instrument-like effect and beautifully realized against the upbeat and almost cartoonish production. The most essential component to the track other than its general uplifting mood is the angelic middle eight. In a song that mostly rests on greatly effective production flourishes and such a naturally melodic selling point, it's easy for the artist to fall into the background of the track. And admittedly, Ellie is a bit of a second fiddle to the fabulously realized production but that artist-song relationship doesn't hinder the final product in this case.

I'm not typically an Ellie Goulding fan and actually find her rather dull as a pop star yet she's the perfect palette for this song. Her vocals are crisp, light and easily fit the dream-like atmosphere of the tune. And furthermore, as much as I love a good pop diva vocalist, an overbearing display of vox would interrupt the delicate, peacefully overjoyed sentiment of the song. Back to the stunning middle eight - I'm rarely a fan of Ellie's voice and think she's quite dreadful in the live performances I've seen - yet the delivery of this bridge is sung with such innocence and sincerity. The human element of it contrasts the rest of the song. In fact the "Baby, I'll give you everything you need..." moment is probably amongst my favorite of the year. And almost as much, the following bit where we just hear Ellie and the piano works a treat as well.

While "Lights" was one of the biggest surprise smash hits of the year for me (perhaps behind Gotye), I never quite connected with it like I did with "Anything Could Happen". But seeing as the former went against the odds to become massive, I thought the latter would be an easy sell to radio after the first took off to such an extent. "Anything Could Happen" is not dead quite yet and seems to be shuffling between lousy and quite promising spin updates in the US but it doesn't seem to be catching the same fire as its predecessor. If Ellie cannot follow-up her massive hit with such an extraordinary pop song so soon after, I'm not sure she'll ever be able to.
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Postby CrazyCrazy » Tue Jan 01, 2013 11:15 pm

I like Ellie's one! :D
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Postby Mainshow » Tue Jan 01, 2013 11:25 pm

Ellie, Cheryl & Xtina's entries are amazing.
Finally, a ukmixer ranked "Call My Name" that high!

Oh, and Bruno is great as well.
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Postby jszmiles » Tue Jan 01, 2013 11:26 pm

wow great choices inside top 10!
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Postby king_oxymoron » Wed Jan 02, 2013 1:10 pm

Oh god this is the best top 10 anywhere (except mine obv :lol:) so far! Please don't let me down with the rest!

Three amazing picks!

Actually I find this to be a weaker single of Ellie's who usually I find flawless, but it's still an excellent song with, as you allude to, incredible production.

The Bruno track is just divine, again with fantastic production values and a real authentic 80s leaning. The middle 8 bit you highlighted is just fantastically done vocally... I love that he took a risk and it worked.

And the No Doubt song... IF it had been released a single here in the UK it may well have been my No.1 - it is just EPIC

8-)
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Postby Spartan » Wed Jan 02, 2013 3:38 pm

Ellie is brilliant. Bruno is good, though not quite his best! Cheryl good too. :)
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Postby Dreams » Wed Jan 02, 2013 7:06 pm

04. Phillip Phillips - "Home"
US peak: 07 / Canadian peak: 09
The World from the Side of the Moon

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The trouble it might drag you down
If you get lost, you can always be found


There's a coronation hit that sells by the bucket loads the week after a TV singing competition show victory and then quickly fades into oblivion as a relic of that moment in time and then there's a legitimate mega-hit that transcends the gimmick of the juggernaut that launched it and becomes one of the longest running hits on the Hot 100 of the year. Phillip Phillips' "Home" was a rare case of the latter of the two. In fact even in the beginning of the song's run when it was debuted on the final week of season 11 of American Idol, the judges praised the song even apart from Phillip Phillips' performance of it and implicitly showed their surprised reactions that an American Idol coronation song could actually be a genuinely great triumph of a song instead of the traditional, overly sappy and insincere dirge they typically come up with for their finalists.

As for me, I was initially unmoved by "Home" and filed it under as a lesser Mumford and Sons, folksy knock-off. In time however, I have come to realize that it is far more than just an inferior response to that indie or alternative movement at pop radio but instead a deeply sincere attempt at grasping that sound, made popular by M&S, Fleet Foxes etc. and turning it into something with rich pop sensibility. The heart of "Home" is absolutely the emotionally-laden chants in the chorus. Backed with the coming of age and transitional lyrics, the tone of these "ooh ooh ooooh oh"s become increasingly more rampant as Phillip sings it with more passion and drive each subsequent chorus. This is matched with the intensifying percussion and instrumentation that eventually leaves Phillip's voice to shine in the bridge. But this is the whole sentiment of the song, it's about both reassurance and uncertainty and reconciling them both. In the beginning of Phillip Phillips' career, fresh off of an American Idol victory, that notion couldn't be anymore appropriate.

The single initially had an alright but not excellent performance on the chart after a nice, expected debut but a spot as the theme for the Olympics (on US TV) breathed new life into the track and gave it the massive audience it deserved. Of course the single saw a resurgence because of this and climbed the chart once again but even after the Olympics were over for months, "Home" still troubled the top ten on iTunes, the Hot 100 and the airplay chart alike. And I think it just goes to show the accessibility of the song beyond simply an attempt at attracting the "alt-rock" crowd because the song is so much more than that. And for some reason I get a somewhat festive vibe about the song, it was a really great track to listen to approaching Christmastime.

Disappointingly, early in its run, Phillip half-disowned the track by stating it is not representative of the artist he wants to be or intends to be on his debut album. I don't really see him as a 'real music' type necessarily but it was disheartening to hear him not appreciate what a special song it is. I don't see myself being invested into Phillip Phillips as an artist in the future since sampling his album but I think "Home" will live on regardless with or without him succeeding beyond it. And more so than just another "A Moment Like This" but rather as a performance piece along with being a classic. In the mean time it has given him a great launching pad and his album is already well on its way to 1 million sold in the States, it flew past 500k a week or two ago.
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Postby Haribo » Wed Jan 02, 2013 7:34 pm

"Your Body" is nice!
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Postby Dreams » Wed Jan 02, 2013 7:45 pm

Haribo wrote:"Your Body" is nice.
Haribo wrote:"Your Body" is nice.
So nice you had to say it twice. :lol:
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Postby Haribo » Wed Jan 02, 2013 7:49 pm

^ Oops! :o :oops: Well, at least what I think about the song hasn't changed since!
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