Every time we pause to look at the last however many years of music, things seem stranger and harder to pin down. Not the music itself, necessarily, but rather how it reaches us and finds its way into our lives. In 2010, Pitchfork had been regularly using Twitter for just over a year. Streaming music was around but was a minor concern. Smart phones weren't something you took for granted. All of these changes and many more have altered how we experience music, but one thing is certain: great songs never stop coming. Five years on, to mark the half-decade, here are 200 of our staff's favorites.
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- Sub Pop
- Bella Union
'Hollywood Forever Cemetery Sings'
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Despite J. Tillman's creative proclivity (both as a one-time member of Fleet Foxes, and as a solo artist) over the past decade, it took a fake name for him to hit it big. 'Hollywood Forever Cemetery Sings' is a disarmingly catchy ballad hewn from decades of downcast Laurel Canyon rock and dressed up in the finest imitation-Parsons jacket a Sub Pop advance could buy; it views the world through the conflictory lenses of libido and loss, sobriety and drug binges. At its core, it's an elegy for a love tainted by the reaper's touch. 'Someone's gotta help me dig,' Tillman moans to his lady, but is he referring to his deceased relative or someone—or something—further into the void, just beyond his grasp? Heard next to the clattering backbeat, it's that very barfly philosophizing that makes this Fear Fun cut so lovable. —Zoe Camp
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Father John Misty: 'Hollywood Forever Cemetery Sings' (via SoundCloud)
- Smalltown Supersound
- Lindstrøm & Christabelle
'Lovesick'
In early 2010, the producer Hans-Peter Lindstrøm took a break from disco to release a low-lit electro-pop album with the Norwegian-Mauritian singer Isabelle Sandoo. I say Sandoo is a singer, but what she does is more like pillow talk set to a beat, which she follows with the casual interest of a cat batting at a toy. She sighs, she feints, she commands attention with little to no effort at all—an approach that reaches back through a history of pilled-out disco divas all the way to the torch singers of the ‘50s, who managed the uncanny trick of making cold feel hot. “Are you gonna be there?” she wheezes on “Lovesick”—“are you sure you’re gonna call back?” Grammatically, it’s a question, but it doesn’t sound like she cares much about the answer. —Mike Powell
Lindstrøm & Christabelle: 'Lovesick'
- Quality Control
- Migos
'Versace'
Rap purists hate Migos. Haaaate them. From the jump, the 'empirical lyrical miracle' crowd have taken this young Atlanta trio—who've adopted Gucci Mane as their God MC and spit triplets about Norbit and Takis instead of, I dunno, their Adidas—as the three brand-loyal horsemen of the rap apocalypse. But when's the last time anybody in the backpacker crowd coughed up a hook as indelible as 'Versace', these dudes' brain-sticking tribute to Gianni and them? Or snuck quite so many internal rhymes into a verse without leeching all the joy out of it? The impossibly catchy, sneakily hilarious 'Versace' always reminds me of a lesson from another Southern spitter, once reviled, now revered: 'If we too simple, then y'all don't get the basics.' —Paul Thompson
- Last Gang
- 4AD
'Fineshrine'
Despite her sing-song vocal patterns, Megan James' lyrics focus on darker, harsher subject matter than you might expect. Take 'Fineshrine', a song about loving someone so much you want to disappear into their guts: 'Get a little closer, let fold/ Cut open my sternum, and pull/ My little ribs around you/ The rungs of me be under, under you.' When you pair words like that with Corin Roddick's ebullient, gently dark instrumentation, it's part Grimms' fairy tale, part moving meditation on never being close enough, of not being able to save someone when it's their time to disappear. —Brandon Stosuy
- Sacred Bones
- The Men
'Bataille'
The Men—aka NYC’s most inscrutable band—are currently five albums deep into a career that has zigzagged between scorched-earth punk rock to cacophonous hardcore guitar squalls a la Sonic Youth to jangly folk vibes and Grand Funk-style American classic rock (sometimes all on the same record). “Bataille”—from the band’s 2011 album Leave Home—is a blast of exquisitely blown out r-a-w-k that inexplicably takes its name from that of a famous French intellectual. Despite an opening riff that could almost trick you into thinking you were about to hear a druggier version of Motörhead’s “Ace of Spades”—and the fact that the song sounds as if it might have been recorded inside an echo-filled cave lined with steel—“Bataille” is a kind of glorious post-punk explosion that manages to cram about 50 different musical ideas into four short screamy minutes. At a time when the Men were at their most wonderfully schizophrenic, “Bataille” manages to harness all of the band's conflicting ambitions—doom, drone, punk, pop, and abject noise—and squeeze them into one track. It’s totally possible to listen to this song a thousand or so times and never really make out a single clear vocal, but it hardly matters. “Bataille” isn’t about words; it’s all about pure release. —T. Cole Rachel
- Roc Nation
- Def Jam
'Only Girl (In the World)'
“Only Girl (In the World)” represents the pinnacle of bright red-haired, Loud-era Rihanna—brassy, carefree, sexual, and maybe just a little bit selfish—complete with club-thumping production from hitmakers Stargate and a pitch-perfect extended selfie of a video (which, for what it’s worth, premiered one week after the initial release of Instagram). Coming from someone like Katy Perry or Beyoncé, the demand to “make me feel like I’m the only girl in the world” would have felt coy, maybe even inappropriate. But from Rihanna, whose career at the time was plagued with accusations of raunchiness and exhibitionism, it sounds like an honest request. As a career-defining single for a pop starlet, “Only Girl” is perfect because it’s grounded in the idea that egomania can be orgasmic. The video’s wish-fulfillment quality only adds thrust to the rush of empowerment: If the song demands fireworks, give the woman fireworks! How could you deny her? —Abby Garnett
Rihanna: 'Only Girl (In the World)'
Rihanna: 'Only Girl (In the World)'
- White Label
- Blawan
'Getting Me Down'
Something of a locus for the turn towards house (and away from dubstep) that UK dance music underwent around the turn of the decade, 'Getting Me Down' had been lighting up dancefloors almost a year before it was officially released. But even that couldn't soften its landing when it finally hit like a meteor strike in 2011. The R&B edit to end all R&B edits, 'Getting Me Down' took an overused Brandy vocal and gave it a giddy, hopped-up backing track, full of the growling basslines and sledgehammer percussion that would come to define the much harder techno material Blawan would produce later. It’s now an outlier in the catalog of one of this decade’s most uncompromising techno producers, but then how could it not be—'Getting Me Down' would stand out in any context you put it in. —Andrew Ryce
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Blawan: 'Getting Me Down'
- The Dogon Society / Decon
- Jay Electronica
'Exhibit C'
Eventually, Jay Electronica will release a full-length album. It's difficult to say what level of interest or excitement will attend it—truly powerful, charismatic artists tend to have the ability to organize the pop-culture narrative around their movements, however erratic or infrequent. Jay Electronica, however, seems bent on riding this theory all the way out—the news feed for his career in the last three years resembles a basement refrigerator containing only baking soda. It may create a capital-M moment, or it might drop uselessly like a pod from a rotted tree.
What is certain, however, is that it will happen safely outside the corona of excitement and possibility that surrounded the release of 'Exhibit C', released in final days of 2009. That moment arrived perfect and already preserved in amber--as Just Blaze, keeper of the East Coast flame, pushed a Billy Stewart sample beneath a filter, Jay Electronica told the most coherent and compelling story he's ever bothered with, painting a vision of himself as homeless, sleeping in the rain, fighting off hunger pangs, receiving visitations from angels. The irony, of course, is that despite all the agonizing waiting, he knocked the song out in 15 minutes. —Jayson Greene
Jay Electronica: 'Exhibit C'
- Swamp 81
- Addison Groove
'Footcrab'
The British producer Addison Groove—Antony Williams, better known as the dubstep artist Headhunter—discovered Chicago juke and footwork the way most non-Chicagoans did back in the late '00s: by watching videos of dancers on YouTube. He made 'Footcrab' as a way of folding juke tracks into his own DJ sets; the song is paced according to dubstep's conventional tempo, but the stuttering vocal loops and syncopated toms are more in keeping with footwork's hyperkinetic flutter. While 'Footcrab' isn't really a footwork track, it helped whet European palates for the form, hitting shelves shortly before Planet Mu brought out actual footwork records from DJ Nate and DJ Rashad, and finding its way into the boxes of DJs from Ricardo Villalobos to Mr. Scruff; a B-side remix from DJ Rashad and DJ Spinn, meanwhile, closed the circle. —Philip Sherburne
Addison Groove: 'Footcrab'
- National Anthem
- Chvrches
'The Mother We Share'
Chvrches achieved maximum likability with 'The Mother We Share', and you can prove it with the following: 'likable' became the desperate, last line of defense for people trying to find reasons to dislike it. They'd have a point if Chvrches were really trying to be an indie rock band, but the Scottish trio are done with that part of their lives; two of the members did stints in miserablist post-rock bands while Lauren Mayberry has the double indignity of a law degree and a failed career in music journalism. After years of trying to appeal to various groups of stock-still, grimacing dudes, Chvrches crowd-please with equal and opposite force with a single so brilliant and on-target, they put a damn neon bullseye on the album cover.
The original version was good, the one on The Bones of What You Believe was a charm offensive, an already-sharp song given diamond-cutting production. So there's nothing 'edgy' about the lazer-guided melodies, bombastic synth-drums, and heat-seeking timeliness: it's ca. 2013 electro-pop performed like rock, while Mayberry's sisterly cadence turns her vague lyrics into something familiar and comforting, dropping an f-bomb in the perfect place, so you could fool yourself into thinking this was indie rock rather than pop made by former indie rockers. As we speak, major labels are blowing a lot of money in search of bands who can sound anything like this and Chvrches nailed it on the first try in their basement. If you have to dislike 'The Mother We Share' for any reason, make it that. —Ian Cohen
Chvrches: 'The Mother We Share' (via SoundCloud)
- In the Red
'I Bought My Eyes'
Ty Segall is capable of writing more good songs in one year than many of his peers manage in an entire decade. In 2012, he let loose with three full-length albums while fidgeting with a variety of genres (psych-folk? garage-glam?). But it was Slaughterhouse—the only one recorded under the moniker of “band”—that showed Segall’s true prowess when it comes to fusing fury with melody. “I Bought My Eyes” is four minutes of stoner rock euphoria—a track that builds from a simple guitar line into a boiling fuzzed out monster of Stooges-worthy riffs and Neanderthal drums. In a perfect fantasy scenario, this is the song you’d be blasting if you found yourself driving a flaming Trans Am as it zoomed skyward off the side of a cliff. At a time when the very term “garage rock” has become nearly meaningless (or, in many cases, a total pejorative), Ty Segall’s messy and masterful take on the genre kicks every conceivable kind of ass, making goofy songs filled with breakneck guitar lines, hooks seeming made for hair-tossing, and lots of “ooh ooh oohs” sound like the best and most necessary thing in the world. —T. Cole Rachel
- Mexican Summer
- Best Coast
'When I'm With You'
If she's too simple, her detractors don't get the basics. Yes, it's a song about how when Bethany Cosentino's narrator is with someone, she has fun. Yes, it's one of at least three Best Coast songs that rhyme 'lazy' with 'crazy,' a statistic that seems both lazy and crazy. But Cosentino and bandmate Bobb Bruno's success in capturing the lazy, the crazy, and especially the fun, fun, fun of new love's dumbstruck swoon is what helped them survive chillwave's 2009 beach-bum deadbeat summer. Southern California's proudest indie ambassadors have kept maturing and thriving, but they've never made a better postcard for paradise than this bit of surf-flecked fuzz-pop. And anyway, it was at least two-dimensional all along: When Cosentino howls that 'I hate sleeping alone,' she lays bare the loneliness that makes the rest of the track's joy so much sweeter. When it's playing, which isn't often enough considering this single isn't even on the vinyl edition of 2010's Crazy for You, I have fun. Don't we all hate sleeping alone? —Marc Hogan
Best Coast: 'When I'm With You'
- Polydor
- Seven Four
- Innovative Leisure
'The Fall'
Following an indie-R&B trend of dank themes and abstract sonics, a once-anonymous L.A. duo countered with minimal soul music of delectable sweetness and immaculate clarity. On a record done up in the plush upholstery of '80s soft rock and smooth jazz, the acoustic disco of “The Fall” stands out, as Robin Hannibal spins a glittering web of strings, horns, and pattering snares. Against its forward motion, serene piano chords softly pound at the backs of the bars, lingering as if trying to freeze time, like romance does. The lyrics are similarly caught between propulsion and drag, alternately addressing a lover who is about to leave and one who has gone. Milosh’s creamy contralto has equivocal zones of temperature, often so hot or cold you can’t tell which. His voice sounds feminine less because it’s high than because it’s soft, cleansed of aggressive effects. Though sultry, the song feels refreshingly virtuous, even chaste. Behind Rhye’s temporary anonymity was something so ordinary that, weighed against the twisted drives of the Weeknd, it felt rare: a gentle guy singing to his wife. —Brian Howe
- Universal Republic
- Island
'Shake It Out'
Throughout the Big Music boom of the early part of the decade, no voice boomed bigger than Florence Welch’s. That five-alarm howl would go on to propel her to dizzying heights of dancefloor domination and Hollywood glamour, but nowhere did Welch sound more gloriously skyscraping, more monumentally huge, than on “Shake It Out”. This song is release, an embodiment of the ultimate in pop catharsis. Lyrics about casting off the devils of the past, blown heavenward by church organ and a backing choir (featuring a then-unknown Jessie Ware). A chorus that feels like coming up for air after nearly drowning. A 10-second-long, sinus-clearing high note. “Shake It Out” is truly one of the great sonic exhales of this decade. —Amy Phillips
Florence and the Machine: 'Shake It Out'
Florence and the Machine: 'Shake It Out'
- Big Beat / Mau5trap
- Skrillex
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'Scary Monsters and Nice Sprites'
An American Warped Tour upstart adopts a burbling dance underground and drags it screaming into the mainstream. Derided and championed with colorful analogies typically involving dial-up modems and Autobot intimacy, Skrillex's take on dubstep lit a match under the feet of young folks hunting for ever more aggressive sounds and infuriated purists with its redline perversion. Without 'Scary Monsters' tracks like Taylor Swift's 'I Knew You Were Trouble', Britney's 'Hold It Against Me', and even Kyary Pamyu Pamyu's 'Invader Invader' would sound radically different. Bass drops and wobbles have become another de rigueur influence on pop music along with EDM at large, and while those sounds might have found such a prominent spot in the Top 40 eventually, the jarring, alien ferocity of 'Scary Monsters and Nice Sprites' gave them a shove. —Jake Cleland
Skrillex: 'Scary Monsters and Nice Sprites'
Skrillex: 'Scary Monsters and Nice Sprites'
- Jagjaguwar / 4AD
- Bon Iver
'Perth'
The tracklist of Bon Iver's second LP is equally split amongst real places, specific landmarks, and real-sounding places that Justin Vernon made up. Fitting that its opener entirely conflates the physical and imaginary aspects of a geographical location: there's Perth, Australia, 'the most remote city on Earth', and 'Perth', which presents it as the literal edge of civilization. A heraldic, ascending introductory reverie, the clatter of field snares, an avalanche of muddy, gritty distortion triggering resounding tremors of double kick drums—these all feel like echoes from a violent and costly military strike, as reverb surveys the eerie detente like a hovering cloud of gunsmoke and last breaths. But what exactly happened in 'Perth'? Tough to say, as with most songs on Bon Iver, memory is incapacitated by both photographic recall and total blank spots. Perhaps 'Perth' is just the rummy, revisionist war story of Justin Vernon laying waste to the Myth of Bon Iver; convincing himself he actually went out to that cabin in the woods because he could convalesce by making as much noise as he wants. —Ian Cohen
Bon Iver: 'Perth'
- What's Your Rupture?
'Stoned and Starving'
There comes a time in a rock singer's life when the dream is just not what you thought it was going to be. The cyclical nature of touring grows tiring; planes lose their romance; and weed, somehow, is no longer a vehicle to cerebral possibility. The jokers in Parquet Courts have killed their best song, 'Stoned and Starving'—a flawless go at smoked-out guitar squall and droning New York street poetry. Or they have, at least, retired it. 'I was reading ingredients/ Asking myself should I eat this,' Andrew Savage spoke-sang, rejecting the status quo with subtlety and humor. The song captures the essence of Parquet Courts, a breed of intellectual slackerdom that is all too rare nowadays. Less than two years since it entered our collective consciousness, 'Stoned and Starving' is already a myth. Thurston must be proud. —Jenn Pelly
- Matador
'Ohm'
When Ira Kaplan, Georgia Hubley, and James McNew sing “Lose no more time resisting the flow”—softly repeating the latter half in delicate, three-part harmony—they’re giving us an unscientific but wholly valid life lesson: Things fall apart, so don’t waste your time kicking against the goads. “Sometimes the bad guys come out on top; sometimes the good guys lose,” they sing. People change. People die. Cry, but don’t lose your mind. “Ohm” conveys musically exactly what’s being instructed lyrically. The annular guitar and hypnotic chanting offers a fugue state—a way to find that flow and ride it for seven minutes. At the same time, the song’s own beauty and brilliance is the flip side of the coin, because Yo La Tengo are the good guys. And it’s comforting to know that sometimes the good guys win. —Joel Oliphint
Yo La Tengo: 'Ohm'
- Record Makers
- Kavinsky
'Nightcall' [ft. Lovefoxxx]
Vincent Belorgey is a Parisian producer whose career output has gravitated to a specific story, an alter-ego soundtrack for something that only exists in the orbit of his serrated, intense electro-house. But his own mise en scene, a blurry neo-noir/VHS slasher flick pastiche of post-mortem restlessness and gleaming sports cars, could still thrive when grafted to somebody else's vision. And whatever separates the undead-in-a-Ferrari backstory of Kavinsky from Ryan Gosling's enigmatically violent wheelman in Nicolas Winding Refn's Drive is overcome by mutual influence. A sleepwalking dirge compared to the uptempo precedent set by earlier cuts like 'Testarossa Autodrive' and 'Wayfarer', 'Nightcall' lives and dies (and un-lives) by its tension—and not just the tension of the music's gothic synthpop, like a Depeche Mode 45 flipped down to 33 ⅓. It's really in the exchange between Kavinsky's robotic wraith of a voice, promising unnerving revelations on the border of rekindled romance and transformative horror, and Lovefoxxx's ambivalence, a confused longing that knows she's talking to a phantom but doesn't entirely believe it. —Nate Patrin
Kavinsky: 'Nightcall' [ft. Lovefoxxx]
- Top Dawg
- Schoolboy Q
'There He Go'
Status and opulence have always been a virtue in hip-hop. “There He Go”, making incredible use of a Menomena sample, illustrates what success looks like during the initial come-up. Q doesn’t have bodyguards with him just yet when he takes a trip to the mall, but when he gets there, people recognize him. (“They be like ‘there he go!’”) He might not be famous enough to have his CD stocked in the FYE just yet, but he’s still got money. (“Got my daughter swaggin’ like her mothafuckin’ daddy, though!”) He lives in a house with a patio. (“What a motherfuckin’ view.”) Oh, and obviously, he has tons of sex. It’s a song by a man who isn’t quite acquainted with A-list decadence, but with his wild-eyed delivery, you can tell he’s loving this, and you’d love it, too. https://bucketenergy.weebly.com/zoo-tycoon-2-abc-download.html. —Evan Minsker
Schoolboy Q: 'There He Go'
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He is the former One Direction member.
A good-looking with 47 tattoos.
Zayn Malik, he is drop-dead gorgeous who born 1993.
He has a pair of mesmerizing blue eyes.
He is dating with the supermodel Gigi Hadid.
Most important, his voice is enchanting.
So today we’re gonna share with you a list of Zayn Malik songs top 10 hits on YouTube.
Let’s get started.
Zayn Malik Songs List
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1. Dusk Till Dawn(ft. Sia)
“Not tryna be indie
Not tryna be cool
Just tryna be in this
Tell me are you too”
Not tryna be cool
Just tryna be in this
Tell me are you too”
“Dusk Till Dawn” is a song by Zayn Malik, featuring Australian singer-songwriter Sia.it is the lead single from Zayn’s 2017 album. This song also the soundtrack of the official trailer, “The Mountain Between Us”.
This song topped the charts more than 20 countries, including UK, Canada, France, and Australia, etc.
When the prelude pops in, Zayn’s softly vocal grasp your ear firmly. And Sia’s potent voice run into Zayn’s magnetically voice, the harmonize combination is magnificent.
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2. I Don’t Wanna Live Forever( Fifty Shades Darker)
“I don’t wanna live forever
Cause I know I’ll be living in vain.
And I don’t wanna fit wherever
I just wanna keep calling your name
Until you come back home”
Cause I know I’ll be living in vain.
And I don’t wanna fit wherever
I just wanna keep calling your name
Until you come back home”
“I Don’t Wanna Live Forever” is a song recorded by Zayn Malik and American Singer and songwriter Taylor Swift. It’s also a soundtrack of the film Fifty Shades Darker.
It remains on the Billboard Hot 100 for 21 weeks, the best place is No.2. Its MV won the MTV Video Music Award forBest Collaboration at the 2017 MTV Video Music Awards.
It’s totally different from the other male and female’s Chorus. Taylor in charge of the bass section and narrate the meaning of relationship, while Unbelievable, Zayn uses a falsetto in high pitches, brings the song unforgettable.
ZAYN, Taylor Swift - I Don’t Wanna Live Forever (Fifty Shades Darker)
3. Pillowtalk
“Pillow talk
My enemy my ally
Prisoners
Then we’re free it’s a thriller.”
My enemy my ally
Prisoners
Then we’re free it’s a thriller.”
“Pillowtalk” is a song of his debut studio album “Mind of Mine” as the lead single.
It’s Zayn’s debut single after he split from One Direction, for his debut album “Mind of Mine”.
It debuted at the No.1 of the chart in the US and the UK, and more than 12 countries, it received 767,251,767 views until now.
Its MV features Zayn Malik’s girlfriend, the American Model Gigi Hadid. They two hold and kiss each other, while Zayn sings lovingly to unburden himself. The lyric of the song dissect the relationship between the couple, “it’s paradise, and it’s a warzone.”
4. Still Got Time
“This could be something
If you let it be something
Don’t scare me away
Turning something’s into nothing babe
You’re already used to the games babe
You play your role and I play the same”
If you let it be something
Don’t scare me away
Turning something’s into nothing babe
You’re already used to the games babe
You play your role and I play the same”
“Still Got Time” is a song by Zayn Malik, featuring Canadian singer and rapper PartyNextDoor. It gets 45,218,155 times review on YouTube.
It’s a bright and vivacious song; you would feel like put the work behind and move your body when the music begins.
Zayn sings in a relaxing and easy way to convince a girl that she is too young to worry about love, while the MV background is he explores in the house party.
If you like the “Passionfruit” of Drake, maybe you would like to hear this song, because both men have the different tone.
5. Like I Would
“Know it’s late but I’m so wired
Saw your face and got inspired
Guess you let it go now you’re good to go
It’s cold-hearted cold-hearted”
Saw your face and got inspired
Guess you let it go now you’re good to go
It’s cold-hearted cold-hearted”
“Like I Would” is first released as the promotional single from his debut studio album “Mind of Mine”. This song topped the Country’s dance charts of the Billboard Hot 100, and reached the top 40 in 8 countries, included the UK, Canada, Australia, etc.
Musically, “Like I Would” is an electro-R&B dancing song which mixing disco groove and funky hook.
Lyrically, this song tries to prove to the ex that her next lover cannot compare to him, and he is the best one she ever meet.
6. It’s You
“Cover the scars, I’ll let’em bleed
So my silence
So my silence won’t
Be mistaken for peace
Am I wrong for wanting us to make it?”
So my silence
So my silence won’t
Be mistaken for peace
Am I wrong for wanting us to make it?”
“It’s You” is a song from his debut album “Mind of Mine”. It gets several high music critics. Zayn was called the “world’s best singer” after this song.
Its MV is beautiful just like the song, the black and white depict scenes in a slow motion. Zayn singing in front of a piano while the co-star Nicola Peltz enjoying in the pool. It receives 29,451,126 times review on YouTube.
This slow-paced, R&B balled is so beautiful and heavenly. Zayn’s unique falsetto just sings to himself, sing to his former lover and previous relationship.
7. Wrong(ft. Kehlani)
“Oh when I in the same light
Show me in the same light
Feels right come and take flight”
Show me in the same light
Feels right come and take flight”
“Wrong” is a song by Zayn Malik, featuring American singer Kehlani. It serves as the third single from Zayn’s debut album “Mind of Mine”.
According to Zayn, originally he wrote it as a rap, so the song lyric expresses that finding love in the wrong place.
But Kehlani’s voice involves in, they two singers just match so well. It feels like they just made for each other. Its beats of the music seem some kind of attraction, makes me want to single cycle.
8. BeFour
“Numb on a roof
Set it on fire
Just to give me proof
I’m living on a wire”
Set it on fire
Just to give me proof
I’m living on a wire”
“BeFour” is a song by Zayn Malik; it’s from his debut album “Mind of Mine”. It climbed to the No.4 place of US Bubbling Under Hot 100 Single (Billboard).
This smooth R&B song combines disco and soul music. It also knowns for Zayn’s falsetto begin at 2’22 during middle sections.
The song talks about Zayn’s former career when he was in boy’s band One Direction.
And how the critics made him feel suffocated and lost during that time.
But in my opinion, when he can write his story into this song, he gets stronger at that time. So when you feel confused or lost, maybe this song will bring you comfort.
9. She
“She wants somebody to love
To hold her
She wants somebody to love
In the right way”
To hold her
She wants somebody to love
In the right way”
“She” is shown as the 5th track on his debut album “Mind of Mine”. It got the No.8 place on US Bubbling Under Hot 100 Singles (Billboard).
This song talks about how a girl wants to be loved and treated by her couple in life. And Zayn not only sings to tell the truth but also his attempt to accomplish that.
Solid state physics ashcroft mermin solution manual free download. Girl, if you have anyone wants to be with or already being with, but he seems doesn’t know you so well.
Play this song!
10. TiO
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“I can taste it on your mouth
And I can’t leave it
You’re a freak Iike me
Can’t you see
We can work this something out”
And I can’t leave it
You’re a freak Iike me
Can’t you see
We can work this something out”
“TiO” is a song by Zayn Malik; it is from his debut album “Mind of Mine”. The song name TiO equal to “take it off”.
It was listed on one of the year’s best song by Fusion. In this song, Zayn just hammering listeners with the phrase “take it off” 30 times.
When the light was dim, would you take it off for the one you love?
Zayn Malik Albums
From 2010 to 2015, Zayn was a member of One Direction. Because of the band’s musical direction, he was unable to sing or write the kind of R&B music he had originally pursued before joining the band. So, he decided to quit the band in 2015 and looked for a break from One Direction.
After quitting from the band, the 23-year-old ex-One Direction member started to work for his solo material. He has dropped his debut solo alternative R&B studio album, Mind of Mine, in 2016. This album won critical acclaims, which debuted at NO.1 in many countries, such as the United Kingdom, Australia, Canada, the United States and more. Click here to stream Mind of Mine.
Tips: If you want to free download Mind of Mine YouTube playlist, I would recommend AnyMusic to you. I’m going to illustrate how AnyMusic works as follow.
https://bucketenergy.weebly.com/vegas-movie-studio-free-download.html. Firstly, I need to paste the URL of the YouTube playlist to AnyMusic. Then, I can either click “All” to download the whole playlist or select some of my favorites to download at a time.
Zayn Malik Tour 2018
Currently, Zayn doesn’t have any tickets on-sale. Find upcoming event tour dates and schedules for Zayn at his official site.
More Information
Official Site: http://www.inzayn.com
Wikipedia: https://en.wikipedia.org/wiki/Zayn_Malik
YouTube channel: https://www.youtube.com/channel/UC3PdiRW5dUA4V70ueeR1eHA
Facebook: @zayn
Twitter: @zaynmalik
Instagram: @zayn
Wikipedia: https://en.wikipedia.org/wiki/Zayn_Malik
YouTube channel: https://www.youtube.com/channel/UC3PdiRW5dUA4V70ueeR1eHA
Facebook: @zayn
Twitter: @zaynmalik
Instagram: @zayn
Summary
So, that’s all for Zayn Malik’s songs for today.
Which one is your favorite?
Did you already free download it?
Don’t forget to free download any of Zayn Malik’s songs by clicking the link below each YouTube video.
Finally, thanks for your reading.
If you have any question, please feel free to leave your comments below.
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- 1. Zayn Malik song free download
- 2. Zayn Malik albums
- 3. Zayn Malik tour 2018
- 4. Zayn Malik more information