There is also of course, the oft mentioned list of music I bring up from time to time on the Cycle which has become shamefully thickened with things I assured myself I would get to eventually. (If you’re reading this and somehow haven’t read any of those then know that it’s where I regularly write about music I’ve been listening to.) Which was a fun exercise, for sure, but part of me has felt like that was time that could’ve been spent appreciating the now instead of dwelling on the past. I was doing so for one half of each Nonary Cycle I wrote in 2020. Probably feels that way because I have demonstrably spent too much time listening to and thinking back on music that came out in the previous decade. The volume of albums from artists I am into that I’ve been meaning to check out but didn’t has felt astronomically high compared to previous years. That’s something I’ve accepted and am comfortable with knowing. I mean, I usually don’t listen to everything that I want to when it comes out. Plenty of artists I admire and respect put out music in 2020 that I just straight up did not listen to. The things that’ve been bugging me about not just this list but all of music I listened to in 2020 is how much of it came from very predictable outlets and, weirdly enough, how little attention I seemed to give new music from familiar names. Even after having a whole month of 2021 to mull it over, I’ve no doubt in my mind that these are the picks for my favorite music of 2020. ![]() I thought about it for about an hour, jotted down everything that immediately came to mind sometime in late December. You can also be a mere individual, like myself, with no aims to figure out what the best thing is, instead shifting the focus onto their favorite things of the year and run into some hangups too.īut you know what? Actually putting together this list of releases wasn’t an issue in the slightest. It can be difficult if you’re a group of friends, colleagues, coworkers or some other assembly of human minds trying to organize a year’s “Best of” for your outlet, podcast or publication or whatever. Even though their name remains the same, they’ve proved that the evolution from “boy band” to “man band” can result in pop bliss.Reflecting back on the year in a given medium, no matter the medium that serves as the focal point, can be a pretty difficult task. In 2020, they began hosting All I Have To Give Radio on Apple Music Hits. Since Richardson’s return in 2012, Backstreet Boys have continued to tour and release albums. The 1999 follow-up Millennium was stuffed with hits that would help define turn-of-the-century pop, including the swaying “I Want It That Way” and the despairing “Show Me the Meaning of Being Lonely.” Black & Blue, released in 2000, maintained the Boys’ position in Top 40 royalty, with singles like the pulsing confessional “The Call” and the wide-eyed “Shape of My Heart.” Following a brief hiatus in the early 2000s, the group returned in 2005 with Never Gone, which featured a more grown-up sound that peaked on the crashing power ballad “Incomplete.” Richardson left the band the following year, but BSB soldiered on in the years that followed, releasing albums that showed off their still-strong harmonies, headlining cruises, and sharing a headlining slot with New Kids on the Block on the arena-filling NKOTBSB tour. album, Backstreet Boys, came out in August of that year. ![]() success came in 1997, when the sparkling ballad “Quit Playing Games With My Heart” established the quintet as teen idols their first U.S. That song was a hit in Europe, but their first taste of U.S. Nick Carter, Howie Dorough, Brian Littrell, AJ McLean, and Kevin Richardson began their career playing amusement parks and shopping malls around Orlando, FL, releasing their first single, the swaggering “We’ve Got It Goin’ On,” in 1995. Assembled in 1993, Backstreet Boys were primary in spearheading the Y2K boy-band revival with smooth harmonies, precision-grade pop songs, and pinup-ready looks.
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