Tove Lo-"Queen of the Clouds" Review

Sweden has been a well-oiled pop hit-factory for decades now. Acts like ABBA, Roxette, Ace of Base, and more recently producers like Klas Ahlund, Max Martin and Shellback have all graced the airwaves with ear-worms of all pop influenced genres. Sometimes their work has resulted in embarrassingly bad one-hit wonders (anybody remember the A*Teens?), while other artists strike commercial and/or critical riches with their savvy productions (Britney Spears, Katy Perry, Backstreet Boys, etc.). Thankfully, new Swedish sensation Tove Lo enters on the latter end of the spectrum. Her debut smash "Habits (Stay High)" has been slowly dominating the charts since its release early in 2014, with its tragic portrait of a lover reduced to binging on Twinkies in her bathtub without her boyfriend by her side. That sounds a little like Taylor Swift-gone-emo, but surprisingly, that huge single is actually not a strong point of Tove Lo's debut album "Queen of the Clouds". Constructed as a concept album, Tove Lo tackles the well and worn concept of the stages of a relationship (in this specific case: The Sex, The Love, The Pain), and splits the LP into three separate but unified parts. It's an intriguing blueprint, ane one that breeds success for Tove Lo, because it shows just how diverse her oeuvre really is. She opens the album with "My Gun", an electro-pop earworm that feeds off the carnal desire of the dance-floor, but by the end is lamenting bad decisions and promising better ones on "This Time Around", which features an alt-rock/ singer-songwriter sound. Those that have become tiresome of the mindless EDM-pop of the last couple years can replenish their senses with pop/rock gems like "Got Love", but for those looking for more electronic dance can delight in the giddy "Timebomb" and bonus track "Run on Love". And of course there's plenty of material here that falls in between dance-pop and rock, whether it be pure pop "Like 'Em Young" or synth-poppy "Moments". All tracks are scattered among the three course meal of the record, appearing to be a lot to consume upon first glance but are actually easy to digest. It's what good pop music should be like, and it also gives more than just lip service to the rock and indie crowds. "Habits" may not be enough to separate Tove Lo from the rest of the alt-pop pack, but it wasn't really designed to in the first place, as it is rather just one part of a bigger picture. That picture, then, is that Tove Lo is a songwriter with a knack for pop hooks and blunt honesty. "Queen of the Clouds" is a fine testament to this; forget that it's a fully realized debut, it's one of the best pop records released in 2014, period.

Recommended Tracks:

1. The Sex                   2. My Gun                             3. Like ‘Em Young

4. Talking Body          5. Timebomb                     6. The Love

7. Moments              8. The Way That I Am         9. Got Love

10. Not on Drugs        11. The Pain                         12. Thousand Miles

13. Habits (Stay High)14. This Time Around      15. Run on Love

Nicki Minaj-"The Pinkprint" Review

Though it showed an improvement over her debut, Nicki Minaj's second album, 2012's "Pink Friday: Roman Reloaded", still inevitably felt like a sophomore slump. It debuted at number one, spawned a top ten hit in "Starships", but even a reissue, entitled "The Re-Up" couldn't save it from failing to reach the level of success that her debut did, either with the critics or the public. Minaj then had to deal with an ever-increasing criticism of her music, persona, and personal life, and when she faded a bit in the beginning of 2014, rap newcomer Iggy Azalea seemed to be poised to take the throne as hip-hop's new "it" girl. Always the self-proclaimed queen of perseverance, however, Minaj didn't take Azalea's sudden success to be a hindrance to her status, and when she collaborated with Jessie J and 2014's breakout star Ariana Grande on "Bang Bang", she quickly reminded the masses who rap's real female star was. That was a smart move on her part, although following it up with the tasteless "Anaconda" certainly was not (in regards to showing off her artistic abilities, anyway). It certainly begs the question of Minaj could ever really deliver an expansive, unified, and satisfying LP that could harken back to her mixtape days, but still draw from her recent pop-rap blends that truly have made her a star this decade. 

Her third album, the Jay-Z inspired "The Pinkprint", answers this question with a resounding yes. From watching Minaj's new stripped-down look to seeing the simple and artistic cover art, this is a record that relies less on fluff and gimmicks, and instead aims to make progressive statements with the rap genre. Misguided moments thwart total perfection (besides "Anaconda", you can do just fine without "Only" or "Feeling Myself"), but as a whole, "The Pinkprint" is definitely Minaj's best album to date. Sporting a songwriter and producers list so mind-numbingly long might at first give off the impression of desperation or excessiveness, but the music that is displayed here is actually very simple, and much like Minaj's new natural image, contains little hooplah and instead nods toward the more artsy side of the pop spectrum. Nicki's flow is as fast, energetic, and aggressive as ever, but this time around she has a bit more savvy, and ebbs and flows her words in a manner that seems natural, not forced or faked. Not to mention that her singing has marginally improved, so her softer tracks like "Grand Piano" and "Pills n Potions" are just as expressive as they should be. Indeed, "The Pinkprint" is all about baring its creator raw, laying the details of her past and her inner doubts front and center. This is dazzling on the one-two jolt of "All Things Go" and "I Lied", and it certainly would've been a triumph if the whole album played off this template. Unfortunately, the needless amount of guest rappers and singers have to come eventually (big-budget records like this always have this tendency), and while some do distract from Minaj's core intentions (here's looking at you Ariana Grande), others do lend a hand in her back-to-basics makeunder (Skylar Grey assists on the excellent "Bed of Lies"). One could say that this record is Minaj's "Prism" moment, where she finds the balance between tacky and tasteful, catering to both of her core audience of mixtape lovers and mainstream pop consumers. "The Pinkprint" is still a little scattershot in how it aims to please multiple demographics, but it still does please nonetheless.

Recommended Tracks in Bold:

1. All Things Go                   2. I Lied                                 3. The Crying Game

4. Get On Your Knees            5. Feeling Myself                   6. Only

7. Want Some More               8. Four Door Aventador      9. Favorite

10. Buy A Heart                      11. Trini Dem Girls         12. Anaconda

13. The Night is Still Young 14. Pills n Potions            15. Bed of Lies

16. Grand Piano

The Top 25 Albums of 2014

Well there was quite a lot to choose from this year! Artists from all around the world came together in 2014 to release their own uniquely successful LPs. Of course, the best of the best are ranked here, and are done so in my own personal opinion. However, if there's any album you don't see on here that you think I should know more about, always feel free to comment it up! Anyway, after twelve long months of new music, here are what I believe to be the best albums of 2014!

25. Lykke Li-I Never Learn
Billboard 200 Peak: 29
Description: The final installment in her trilogy of a woman finding peace after heartbreak, Lykke Li ends this story on a surprisingly life-affirming tone, short and simple (no pun intended to the length of the nine-song album)

24. Shakira-Shakira
Billboard 200 Peak: 2
Description: Returning to English world-pop after a five year hiatus, Shakira returns with a sunny, hummable set of songs that seeks influences from Brazil to Jamaica to the good ol' USA.

23. Dum Dum Girls-Too True
Billboard 200 Peak: 73
Description: Dum Dum who? Lead singer Dee Dee leads the DDGs to the mainstream with an album gliding on a fresh, goth-rock pulse with some pop and dance thrown in for good measure.

22. Lily Allen-Sheezus
Billboard 200 Peak: 12
Description: Also making a long-awaited return to pop, Lily Allen serves up another dose of quick-witted, sharp-tongued pop, this time tinged by R&B, dance, indie-rock, and alt-pop.

21. Ed Sheeran-X
Billboard 200 Peak: 1
Description: Now a full-fledged super-star, Ed Sheeran wastes no time penning catchy, personal songs and pairing them up with up-beat R&B and dance-pop.

20. Mary J Blige-The London Sessions
Billboard 200 Peak: 9
Description: Can you really say this is Mary J Blige changing direction entirely, or simply doing what she should've done all along? The latter is true for her latest work, which highly benefits from the deep house textures and guest appearances by Disclosure, Emeli Sande, and Sam Smith.

19. Jack White-Lazaretto
Billboard 200 Peak: 1
Description: There's no stopping this former White Stripes alum, as he delivers another great set of alt-rock that reminds modern artists (ahem, The Black Keys) who does it best.

18. Foo Fighters-Sonic Highways
Billboard 200 Peak: 2
Description: Speaking of great artists of alt-rock, the Foo Fighters also made a great comeback with their newest LP, which departs from Dave Grohl's usual subject matter and seeks to broaden their musical and lyrical breadth.

17. Tove Lo-Queen of the Clouds
Billboard 200 Peak: 14
Description: Truth be told, Tove Lo is only known for her single "Habits (Stay High)" but it's actually a pretty weak moment in an otherwise excellent collection of dance-pop and alt-pop, drawing inspiration from the three stages of a relationship (sex, love, and pain).

16. Taylor Swift-1989
Billboard 200 Peak: 1
Description: While certainly not her best album, there's something to be said of Taylor Swift's massive commercial and critical appeal. Even when her music stumbles, it's so skillfully crafted that those missteps can be forgiven. Same thing goes for this record, which still manages to rise above the modern pop standard.

15. Christina Perri-Head or Heart
Billboard 200 Peak: 4
Description: Christina Perri could be a really great therapist, as this soulful collection of self-help songs can make your day a bit brighter, as Perri moves on to the up-side of life, rather than wobbling in its tragedies.

14. Bruce Springsteen-High Hopes
Billboard 200 Peak: 1
Description: 35 years later, the Boss is still cranking out smash concept albums, without losing any of his artistic and musical credibility. 

13. Coldplay-Ghost Stories
Billboard 200 Peak: 1
Description: Coldplay has been such an ubiquitous presence since the turn of the millennium, that they really don't need to release albums any quicker than they do. The fact that we didn't have to wait that long at all for this collection of dancier pop-rock is just a gift.

12. Sarah McLachlan-Shine On
Billboard 200 Peak: 4
Description: On the same note of not having to wait super-long for another album, Sarah McLachlan returned unusually early to deliver her best album in over ten years. She sublimely balances sunny pop and stripped down rock, ending on a happy ukulele love song.

11. Kelis-Food
Billboard 200 Peak: 73
Description: Maybe Kelis just can't catch a break, because an album with soul, R&B, and jazz-pop THIS good surely should've been an instant classic. Oh well, maybe in the next four years...

10. Nicki Minaj-The Pinkprint
Billboard 200 Peak: NA
Description: If "Anaconda" worried you for a minute, you can breathe easy now. Nicki Minaj's third album is an excellent compromise between rap and dance-pop, containing much more ballads and maturity than vulgarity.

9. Lana Del Rey-Ultraviolence
Billboard 200 Peak: 1
Description: We were biting our nails to see if LDR could match her debut album's legacy. Well...she surpassed it with "Ultraviolence", taking ever part of her stage persona to a drug-influenced, hazy extreme, becoming the saddest, baddest chick in rock.

8. Sia-1000 Forms of Fear
Billboard 200 Peak: 1
Description: She's been taking the backseat for years now, so it's high time she made a triumphant album of her own volition. Needless to say, it's an alt-pop smash.

7. Katy B-Little Red
Billboard 200 Peak: NA
Description: Like Kelis, British dance artist Katy B just can't seem to break into the tough US market. Though it's no fault of her music, which on her sophomore effort "Little Red" is a poppy mix of house, dubstep, and EDM.

6. Charli XCX-Sucker
Billboard 200 Peak: NA
Description: She had a hit with "I Love It" in 2013, but who could've known that this gothy Brit just wanted to rock out and break all the rules? "Sucker" is a major change from her synthpop beginnings, but she stays true to her punk-pop ego and delivers a hell of a good time.

5. Kylie Minogue-Kiss Me Once
Billboard 200 Peak: 31
Description: Dance-pop started becoming a little drag at the start of 2014, so who better to shake things up than the Aussie who's been a prominent figurehead of the franchise for years? Ms. Minogue offers what could be her best album yet, a frothy brew of pop, synthpop, dance, and GASP, some dubstep?

4. Flying Lotus-You're Dead!
Billboard 200 Peak: 19
Description: Concept albums are the best, aren't they? Well, maybe not always, especially when centered around a subject like death, buy Flying Lotus makes it work through experimental production that incorporate electronica with jazz, R&B, and hip-hop.

3. St. Vincent-St. Vincent
Billboard 200 Peak: 12
Description: Definitely one of the more low-key albums of the year, St. Vincent keeps her eyes on the prize. The prize being a superb indie-rock record that gives veteran musicians in the genre a run for their money.

2. FKA Twigs-LP1
Billboard 200 Peak: 30
Description: The British hit it big this year (this being the fifth album on this list from that country), but no one shined the brightest quite like the silent threat FKA Twigs. She stuns with a well-rounded and accomplished debut that fuses experimental electronic production with R&B and jazz-pop.

1. Miranda Lambert-Platinum
Billboard 200 Peak: 1
Description: It's a Miranda Lambert record, which pretty much guarantees a top-notch country record. So who'd guess that nine years in she could craft her best album, the best country album of the decade so far, and the best album of 2014? She puts neo-traditional country and country-pop on equal footing, and nails it. 

Charli XCX-"Sucker" Review

It was just last year when Charlotte Aitchison was elevated from goth-pop unknown to a featured artist on Icona Pop's world-engrossing "I Love It", a move that might seem like a sell-out to some, but those die hard Charli XCX fans still loved her anyway. Critics did to: her debut album "True Romance" was met with acclaim, though was not a hit among the masses and didn't sell many copies outside Charli's native England. It was no fault of the music, which was assured, varied, and addictive all at once, but perhaps the all-black attire on its cover didn't give consumers the idea that this was the same singer who shouted her lungs out without a care on her debut mainstream hit. So resolved to make a change, Aitchison turns "True Romance" inside out for her second album "Sucker", and trades in the shade and new-wave textures for an aggressive, unabashed punk album. Whereas "True Romance" was cool, serious, and hip, "Sucker" is a raw sugar rush complete with crunchy guitars, stabs of synth, drum kits, and Charli channeling her Icona Pop persona into her own unique brand of pop. Leading into this sound was her surprise summer hit "Boom Clap", which has been remixed slightly to accompany her new punk-pop sound. It was a perfect mix of innocent and mature, with Charli easily gliding on its smooth synthpop texture. It's the most restrained moment on this record, though, and the only song here that connects this album to its predecessor. The rest of "Sucker" is pop with no limits, numerous profanities, no volume control, and most importantly, no drippy ballads that occasionally brought "True Romance" down. From the moment Aitchison screams "Fuck You, Sucker!" on the opening track, to where she sweetly coos "I Need Ur Luv" on the closing track, this is a thrilling ride from start to finish. Just like last time, Charli XCX takes the basic foundation of her sound and expands it outward. She turned goth-rock and witch house into electro-pop and synthpop before, and now she transforms punk into pop, rock-n-roll, electro-rock, even some lite dance-rock to add some different textures. That's perhaps the best part of "Sucker" as a whole, because the songs here are definitely cut from the same cloth, but Charli takes the fabric and creates something wildly different each time so no two songs sound exactly alike. The only true downside to so much variety is that it can be quite daunting to consume all at once, especially upon the first listen, the larger-than-life hooks can seem to blend with the multi-colored tapestry. But upon repeated spins, it becomes very clear that there hasn't been a punk-pop record this engaging and likeable in quite some time, certainly not within the past decade (sorry, Avril). Frankly, it's one of the best records to be released in 2014, period, regardless of genre. Charli XCX may only be 22-years old, but with two wildly different yet stunning records under her belt, the possibilities of where and how she can grow from here are quite astounding.

Recommended Tracks in Bold:
1. Sucker                     2. Break The Rules            3. London Queen

4. Breaking Up           5. Gold Coins                          6. Boom Clap

7. Doing It                8. Body of My Own                9. Famous

10. Hanging Around  11. Die Tonight                      12. Caught in the Middle

13. Need Ur Luv

Taylor Swift-"1989" Review

It only took eight years, but Taylor Swift has finally become the pop star we always knew she could be. Well, at least that's what she would like you to believe. In actuality, one could argue she was a pop artist the moment her debut album sold 11 million copies around the globe, followed by three more profoundly successful records that brought in massive sales, several top ten hits, as well as recurring criticism for Swift's not-subtle-at-all references to her ex-boyfriends. This honesty, though, is what made her fans stick around, despite all of the negative press she generated elsewhere. It also didn't hurt that her music relied so heavily on widely accessible, poppy melodies, that she transcended beyond country and brought it into the pop realm. That was her calling card: Shania-esque country-fied pop that laid her whole life in front of our eyes, while at once offering guidance through the young adults' messy transitionary life.

So, what happens when an artist decides to abandon their signature, and instead start fresh with a new look, a new sound, and a new outlook on life? That's supposedly the principal idea Swift is going for with "1989", her "first documented pop album". Of course, that claim has little effect on the initial perception of this record, because let's face it: Swift went pop long before lead single "Shake it Off" traded in the banjos for a bari sax riff. Like Sheryl Crow before her, Swift is not changing her style altogether, she's simply coming into her own, and finally settling into the brand she's been pensively avoiding. To assist in her modern pop makeover (well, maybe not a full on makeover, but more like highlights and a trim), Taylor makes the right movies, bringing previous collaborator Max Martin to helm six songs, while tapping the essential 2010s hitmaker Ryan Tedder to produce two others. Additionally, indie darlings Jack Antonoff and Imogen Heap are recruited to polish things up. The only remnant of Swift's past is Nathan Chapman, who produces one of the album's best tracks, the solely Swift-written "This Love". All the star power is here, and with Swift's uncanny songwriting abilities, "1989" has all the pieces it needs to be a pop masterwork that defines the era in which it was created.

Only one problem, the end result turns out to be a pretty mixed bag. Sometimes, Swift pulls off her indie/modern pop fusion in songs like the closer "Clean", while other tracks, namely "Out of the Woods" and "Blank Space" rely a bit too much on their slick, mechanical production. Whenever "1989" strays back into classic-Swift territory, the results are stunning ("How You Get the Girl"), while those tracks pandering to 80s pop clichés are less than stellar (this including both of the cold, calculated Ryan Tedder productions "Welcome to New York" and "I Know Places"). Individually, the songs themselves aren't necessarily bad or below the modern pop standard, but they also don't lead to a fully satisfying whole either. But, what's perhaps the most telling is when the blindingly shiny sheen of the production subsides, and the country-pop Taylor pops through the gloss, that's when "1989" shows her progression as an artist and pop craftsman. Those moments are slim, and rarely spread over an entire song, but  nonetheless, they do show that she's willing to branch out beyond her usual ex-boyfriend kiss off template. Taken as it is, "1989" is definitely a good pop record, definitely more cohesive and focused than its predecessor, but five albums in, one can't help but wish that Taylor had aimed beyond 'good'. She's changed her sound, yes, but all of the stereotypical Swift lyric clichés are still here ("Looking at it now", "You got that James Dean look in your eye" to name two) and while irresistible pop bangers like "Bad Blood" are certainly fun to listen to, it still plays off the recurring "scorned lover" template that's been Taylor's tried and true practice. And that's the issue with "1989" overall, because while Swift may be at the height of her popularity, you can't help but wonder if she's starting to run out of ideas.

Recommended Tracks in Bold:
1. Welcome to New York       2. Blank Space           3. Style
4. Out of the Woods              5. All You Had to Do Was Stay
6. Shake It Off                     7. I Wish You Would 8. Bad Blood
9. Wildest Dreams                10. How You Get the Girl
11. This Love                        12. I Know Places       13. Clean

The 2014 MaestroBlog Awards

With another successful year under the belt, it's time to reveal what YOU decided as the best (and worst) in music of the year 2014! Some categories were tight races, while others won in a landslide! All of the choices will be listed in order from the one with the most votes (the winner!) to the song/artist/album/event with the least amount of votes. Thank you to all who participated, and here are the results!!

Best New Artist-
1. Iggy Azalea
2. Sam Smith
3. Meghan Trainor
4. Tove Lo
5. Echosmith

Best Debut Single-
1. Meghan Trainor-All About That Bass
2. Tove Lo-Habits (Stay High)
3. Iggy Azalea and Charli XCX-Fancy
4. Echosmith-Cool Kids
5. Sam Smith-Stay With Me

Best Collaboration-
1. Jessie J, Ariana Grande, and Nicki Minaj-Bang Bang
2. Katy Perry and Juicy J-Dark Horse
3. Ariana Grande and Iggy Azalea-Problem
4. Disclosure and Sam Smith-Latch
5. Iggy Azalea and Charli XCX-Fancy

Best Breakthrough Artist-
1. Iggy Azalea
2. Charli XCX
3. Chvrches
4. FKA Twigs
5. Disclosure

Most Overrated Artist-
1. Kanye West
2. One Direction
3. Taylor Swift
4. Maroon 5
5. 5 Seconds of Summer

Worst Song of 2014
1. Nicki Minaj-Anaconda
2. Chris Brown-Loyal
3. Luke Bryan-Play It Again
4. MKTO-Classic
5. Becky G-Shower

Best Comeback Artist-
1. Jessie J
2. Miranda Lambert
3. Lana Del Rey
4. Sarah McLachlan
5. Lily Allen

Best Comeback Single-
1. Jessie J feat. Ariana Grande and Nicki Minaj-Bang Bang
2. Miranda Lambert-Automatic
3. Lana Del Rey-West Coast
4. Sarah McLachlan-Monsters
5. Lily Allen-Hard Out Here

Worst Music Moment of 2014-
1. Album Sales Hitting an All-Time Low
2. Selena Gomez and Justin Bieber's Relationship
3. Robin Thicke and Paula Patton's Divorce
4. Taylor Swift's Spotify Battle
5. Mariah Carey and Jennifer Lopez's Comebacks Flop

Best Music Moment of 2014-
1. Macklemore & Ryan Lewis Wed 33 Couples at the 2014 Grammy Awards
2. Barbra Streisand Becoming The Only Artist to Have a Number One Album in Six Different Decades
3. Taylor Swift Becoming The Only Artist to Have 3 Albums Debut with 1 Million copies
4. Miranda Lambert and Lana Del Rey Score Their First Number One Albums
5. 2014 American Music Awards

Most Overplayed Song-
1. Pharrell-Happy
2. Idina Menzel-Let It Go
3. Iggy Azalea and Charli XCX-Fancy
4. Sam Smith-Stay With Me
5. Katy Perry and Juicy J-Dark Horse

Worst Artist-
1. Chris Brown
2. Lil Wayne
3. Nicki Minaj
4. One Direction
5. Drake

Album of the Year-
1. Taylor Swift-"1989"
2. "Frozen" Soundtrack
3. Miranda Lambert-"Platinum"
4. Coldplay-"Ghost Stories"
5. Pharrell-"Girl"

Artist of the Year-
1. Taylor Swift
2. Ariana Grande
3. Iggy Azalea
4. Beyonce
5. Pharrell

Song of the Year-
1. John Legend-All of Me
2. Jason Derulo and 2 Chainz-Talk Dirty
3. Pharrell-Happy
4. Iggy Azalea and Charli XCX-Fancy
5. Katy Perry and Juicy J-Dark Horse

The Top 40 Songs of 2014

The time has come once again! After twelve months of hearing the wide scope of artists to grace our headphones, I've completed yet another list of the 40 most successful mainstream hits. Obviously, there was a LOT to choose from this year, and honestly so many songs became huge, it was hard to find a ranking that adequately ranked the scale of their success. But, as always, I found a way to make it work! From the British invasion (Charli XCX, Sam Smith, Clean Bandit, Ed Sheeran, Disclosure, Passenger) to the land down under (Sia, Iggy Azalea), from long-time stars (Pharrell, Katy Perry, Nicki Minaj, Maroon 5, Taylor Swift) to newcomers bred right here in the USA (Meghan Trainor, Echosmith), 2014 was a hotbed for talent, both new and old. But no matter who the artist, the radio was definitely jam-packed with hits from virtually everywhere around the world (only Asia was skipped, oddly). So, without further blabbering, here are my picks for the best songs of 2014, with their peak positions on the Billboard Hot 100 and Billboard Year-End charts!

40. American Authors-Best Day of My Life
Peak: 11     Billboard Year-End: 31

39. Aloe Blacc-The Man
Peak: 8     Billboard Year-End: 48

38. Shakira and Rihanna-Can't Remember to Forget You
Peak: 15     Billboard Year-End: 85

37. Echosmith-Cool Kids
Peak: 13     Billboard Year-End: 59

36. Tove Lo-Habits (Stay High)
Peak: 3     Billboard Year-End: 32

35. Clean Bandit and Jesse Glynne-Rather Be
Peak: 10     Billboard Year-End: 41

34. Jason Derulo and Snoop Dogg-Wiggle
Peak: 5     Billboard Year-End: 40

33. Zedd and Hayley Williams-Stay The Night
Peak: 18     Billboard Year-End: 94

32. Disclosure and Sam Smith-Latch
Peak: 7     Billboard Year-End: 28

31. Paramore-Ain't It Fun?
Peak: 10     Billboard Year-End: 47

30. Sia-Chandelier
Peak: 8     Billboard Year-End: 25

29. Calvin Harris-Summer
Peak: 7     Billboard Year-End: 33

28. Nicki Minaj-Anaconda
Peak: 2     Billboard Year-End: 36

27. Beyonce and Jay-Z-Drunk in Love
Peak: 2     Billboard Year-End: 35

26. Charli XCX-Boom Clap
Peak: 8     Billboard Year-End: 34

25. Maroon 5-Maps
Peak: 6     Billboard Year-End: 29

24. Iggy Azalea and Rita Ora-Black Widow
Peak: 3     Billboard Year-End: 26

23. Ariana Grande and Zedd-Break Free
Peak: 4     Billboard Year-End: 37

22. Ellie Goulding-Burn
Peak: 13     Billboard Year-End: 39

21. Imagine Dragons-Demons
Peak: 6     Billboard Year-End: 23

20. Justin Timberlake-Not A Bad Thing
Peak: 8     Billboard Year-End: 45

19. Passenger-Let Her Go
Peak: 5     Billboard Year-End: 19

18. Jessie J, Ariana Grande, and Nicki Minaj-Bang Bang
Peak: 3     Billboard Year-End: 27

17. A Great Big World and Christina Aguilera-Say Something
Peak: 4     Billboard Year-End: 17

16. Bastille-Pompeii
Peak: 5     Billboard Year-End: 12

15. Nico and Vinz-Am I Wrong?
Peak: 4     Billboard Year-End: 14

14. DJ Snake and Lil Jon-Turn Down for What
Peak: 4     Billboard Year-End: 15

13. Idina Menzel-Let It Go
Peak: 5     Billboard Year-End: 21

12. Taylor Swift-Shake It Off 
Peak: 1 (4 Weeks)     Billboard Year-End: 13

11. PitBull and Ke$ha-Timber
Peak: 1 (3 Weeks)     Billboard Year-End: 11

10. Meghan Trainor-All About That Bass
Peak: 1 (8 Weeks)     Billboard Year-End: 8

9. Ariana Grande and Iggy Azalea-Problem
Peak: 2     Billboard Year-End: 9

8. OneRepublic-Counting Stars
Peak: 2     Billboard Year-End: 5

7. Magic!-Rude
Peak: 1 (6 Weeks)     Billboard Year-End: 7

6. Sam Smith-Stay With Me
Peak: 2     Billboard Year-End: 10

5. Jason Derulo and 2 Chainz-Talk Dirty
Peak: 3     Billboard Year-End: 6

4. Iggy Azalea and Charli XCX-Fancy
Peak: 1 (7 Weeks)     Billboard Year-End: 4

3. John Legend-All of Me
Peak: 1 (3 Weeks)     Billboard Year-End: 3

2. Katy Perry and Juicy J-Dark Horse
Peak: 1 (4 Weeks)     Billboard Year-End: 2

1. Pharrell-Happy
Peak: 1 (10 Weeks)     Billboard Year-End: 1

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FKA Twigs-"LP1" Review

FKA Twigs (real name: Tahlia Barnett) isn't your usual success story. She started in the background, as a dancer for other Brit artists such as Jessie J and Ed Sheeran, a role which she would later despise as she was itching to make a name on her own terms. So it should come as no surprise that her debut, the very logically titled "LP1", isn't interested in playing it safe. After two EPs of sensual, ethereal alt-R&B, Twigs decides to build her first full-length upon showing the flip-side of her "Water Me" persona, virtually abandoning any sense of tonality or structural security. The opening track, titled "Preface" (Barnett is certainly a literary fanatic, isn't she?) takes her nervous, breathy vocals and loops them throughout an arrangement of electronic chaos, strung together only by a feint drum-machine that could almost drown out the vocals entirely (that is, if Barnett actually cared about using her inside singing voice). But the madness doesn't stop there, immediately following is the seductive "Lights On", that appropriately taunts and teases before its chorus delivers the aural goods. It's a pattern that's kept well intact as they record plays on, expanding into more comfortable listening (the poppy "Water Me" sequel, "Closer"), but also dropping expletives so subtly over a plethora of sounds, all synthesized, that it sounds like sex songstress Peaches--if she had class, that is. Of course, the British have been musical trailblazers for years, but out of recent memory, it's hard to find anyone that's pushed boundaries in the popular realm this far, yet still remain accessible. Maybe it's due to Twigs' explorations into the passion and desire of lust and love that make her an underground favorite, that and the fact that this is just simply great music. There are definitely low points--"Hours" runs a bit too long, while "Numbers" doesn't quite fulfill its potential--but they're far and in between on an otherwise consistently strong set of songs. Whether you're into experimental works like "Pendulum" or sexy, slow-burning R&B like "Two Weeks", there's definitely something for anyone to like here. Even if not immediately obvious, the payoff for sticking with it is all the more intense once Twigs gives you the main course (but only after you've finished your appetizers, of course). It turns this soft-spoken background dancer has a pretty big and unique voice after all. Since this is only her first record, keep an eye on this one; you might eventually give in to her charms when she claims "Nod your head and get up, I won't let you give up".

Recommended Tracks in Bold:

1. Preface      2. Lights On           3. Two Weeks

4. Hours         5. Pendulum           6. Video Girl

7. Numbers    8. Closer                   9. Give Up

10. Kicks            

The 10 Worst Songs of 2014

Welp, another year has come and gone, and another year has brought us a wide variety of songs, ranging from progressive, catchy, and amazing to stupid, listless, and some honestly quite atrocious. As always, this loud mouth blogger has something to say about the worst that this year had to bring, so let's get to it, shall we? This is my list for the 10 worst songs of 2014. Break out the popcorn, this is gonna get good!!

10. Sam Smith-Stay With Me
US Billboard Hot 1oo Peak: 2
*Snoring* ...huh what? Oh yeah that's right I was writing a blog. My lord, this song is just so, fucking, BORING!! It's literally the same three chords repeated ad nauseam with Sam's whiny, high-pitched squeaky voice saying "stay with meeeeee" over and over. Not to mention the fact that this was so damn overplayed this year it made me sick to my stomach just passing it by while I was surfing the radio. I know most of you are already cursing me out right now because "Sam Smith has a beautiful voice" and "His music is so thoughtful and good" and "He's just like Adele, how can he not be good?" That's the thing: he's NOT Adele! He wishes he could be, but ripping off her sound THIS blatantly is honestly appalling. We've literally heard all of this stuff before, why do we continue to keep jamming more of it down our throats? 

9. Magic!-Rude
US Billboard Hot 100 Peak: 1 (Six Weeks)
Now, if "Stay With Me" was so overplayed and it only reached number two, what do you think my main complaint for this chart-topping song is gonna be? Well actually, besides the fact that you could not go to any radio station without them playing this a million times an hour, I also heartily dislike it for two main reasons. The first, is that just like Sam Smith, this Canadian quartet has chosen to copy another artist's sound instead of trying to do something progressive with it. The artist of choice this time? Bob Marley, only not as good and not nearly as peaceful and intelligent. Why? This leads to my second problem: the hook of this song. "Why you gotta be so rude? I'm gonna marry her anyway". So after Magic! has just spent an entire verse explaining how our 'protagonist' is planning to propose to his girlfriend, but first asks for her dad's blessing, they essentially reject the dad's rejection by claiming "Screw you, I'll do whatever I want to anyway, making this whole entire song utterly pointless!" Well, maybe not exactly like that, but you know what I mean. Also, when the dad specifically says no (THREE times!) and you run off and just disobey him, who's the rude one here? 

8. Jennifer Lopez and PitBull or Iggy Azalea-Booty
US Billboard Hot 100 Peak: 18
As Bart Baker well put it: Here's another shitty song about booty. Last year we were forced to endure the vile "Bubble Butt" from Major Lazer, now we have gems like this song. Jennifer Lopez, known mostly for her big tushy is singing a song about big booties? What a shocker! Besides the fact that J.Lo once again stoops to tasteless commercialism to sell her music (as well as herself), she once again drags PitBull along for the ride. Although to his credit, PitBull actually is the only thing that makes this song hilarious instead of irritating. Not the case as much with Iggy Azalea, who honestly is just there to inflate J.Lo's ego even more. Believe it or not, six songwriters were needed to write this song. Yes, six! And while the music has a cool Indian-flare to it, it's also so redundant of everything else J.Lo has done, it's a miracle it wound up this good! Pair this with a music video that's trying too hard, yet not trying hard enough, and you have your eighth worst song of the year.

7. MKTO-Classic
US Billboard Hot 100 Peak: 14
First things first: MKTO, please remember the golden rule: Never mention a superior artist's work just to enhance your own. They name drop Michael Jackson, Prince, Frank Sinatra, and Marvin Gaye while comparing their love interest to Beyonce, Marilyn Monroe, and Audrey Hepburn. They additionally add references to the 40s, 50s, 60s, 70s, AND 80s, and to top it all off they further name-drop 'chic' locales such as 5th avenue and silver screens while referencing Cadillacs, diamonds, and plastic surgery (saying their crush doesn't need it, of course). When you take away all the lyrical cliches and generic R&B/rock/pop (I think I got them all?) sound, what does this song have left? Exactly, NOTHING...and the word 'classic' repeated a suicide-inducing number of times. That's not saying this is as bad as say...I don't know the Biebs or 1D, but it's still boy band teen-pop gibberish all the same. Please boys, try a little harder next time.

6. Chris Brown and Lil Wayne, French Montana, and Tyga-Loyal
US Billboard Hot 100 Peak: 9
Okay, the second you put Chris Brown, Lil Wayne, and Tyga on one track, you better believe I'm not gonna be happy about it. Dragging French Montana into it is just mean. Anyway all things aside, I don't think this song is AS repulsive as 2013's "Love More", but I'm still not throwing this guy a bone any time soon. Or ever. As always, Lil Wayne piggybacks off another artist just to get more money, fame, chart credibility etc. And Tyga...why is he here? Why is he even necessary? Who was asking for this? Oh yeah that's right...sorry I forgot their intended target audience for a minute. French Montana has gotten so much publicity for being around Khloe Kardashian, maybe he thought he should be on this too so we could remember that he, um, raps as well? However this song came about...it just shouldn't have.

5. Jason Derulo-Trumpets
US Billboard Hot 100 Peak: 14
I know what you're thinking, "How can a classically-trained musician like Maestro not like a song with the word 'trumpet' in the title?" Well basically it goes like this: just because a song title is good, doesn't mean that the song itself is good. That could not be any more true when it comes to this song: a half-assed, clumsily-written, and poorly produced affair that contains zero of Jason Derulo's sexual charisma or even a hint of personality. It's really just about the childishly simplistic trumpet riff that's so annoying I'd rather listen to the trumpet players at my college do their routine. And that's saying something! Oh, it would also sound better too. 

4. Luke Bryan-Play It Again
US Billboard Hot 100 Peak: 14
In 2013, Luke Bryan no doubt assisted Florida-Georgia Line into completely blurring the lines between the genres of country and hip-hop until a new hybrid was born: Bro-Country. Which is essentially just hip-hop music masquerading as country music by adding banjos and references to catfish dinners, rivers of beer, and trucks. Can't forget dem trucks in 'Murica!! Anyway, Mr. Bryan continued his devolution from neo-traditionalist to country party bro with "Play It Again", a...feel good (?) song that's about a girl (supposedly Luke's date for the night) wanting her favorite song to be replayed. Yeah, because we obviously haven't heard this theme before (mentioning J.Lo before this wasn't intentional, but now her song "Play" from 2001 comes to mind). Only this time around, the songwriting is incredibly lazy (if you can even call it 'song' writing...more like narrating a night out in unnecessarily tedious detail) and the music behind it is just so flat and lifeless, utterly failing the song's intentions (if there really are any). Ladies, I know Luke Bryan is a good-looking guy, but even you have to admit that he can do so much better than this (in fact he HAS done better).

3. Becky G-Shower
US Billboard Hot 100 Peak: 16
Again, another seemingly harmless pop song on the list? And so high up? I must be a little too hard on pop artists (because obviously I'M the one that's been saying all pop music is shit and that it's not 'real' music...oh wait...). Anyway getting down to it: I've never really liked Becky G as an artist in the first place. I'm sorry, I just don't dig her sound (which is...what? Pop? R&B? Hip-Hop?), and don't even get me started on "Oath", her awful collaboration with Cher Lloyd. But I digress, "Shower" is third place on this list because: you guessed it, Lazy Songwriting!! Actually, before we even get to the music can we all just take note of the fact that this entire song is about the shower? Oh I'm sorry, singing in the shower because, you know, she's in love and she feels the need to let everyone know about it over a truly terrible arrangement of beat patterns and synth arrangements. The music is so bad I actually got distracted from the lyrics for a minute, which are mediocre teen-pop at best and at their worst are just listless.

2. Florida-Georgia Line feat. Luke Bryan and Jason Derulo-This is How We Roll
US Billboard Hot 100 Peak: 15
Before I start, let me just say I didn't want to include Luke Bryan and Jason Derulo on this list twice, but...I just couldn't. Mainly, because they had the misguidance to join country's (least) favorite frat boys on a, um, song that takes "Cruise" one step beyond the blasphemous bro-country hybrid and into straight shit. Obviously, Florida-Georgia Line are one of my least favorite artists, but not because "Cruise" gave them a bad name (which it justifiably does, to be honest). I don't like them because they're music is awful, not the other way around. And cash-grab party jams like this prove why. I mean honestly, featuring two of 2014's most prominent hit-makers on a song is not just pure coincidence, "This is How We Roll" is a calculation for maximum profit in every way possible. From the not-that-country-at-all music to the endless verbal diarrhea coming from all artists involved, it's an absolute miracle that this song isn't number one on this list. It's not, because believe it or not, the worst song of 2014 managed to be even, fucking, worse.

1. Nicki Minaj-Anaconda
US Billboard Hot 100 Peak: 2
Admit it, you saw this coming from a mile away didn't you? But before I dissect this, I have to confess that I actually...kind of...like it. Okay now before you get pissed, I will remind you that this is DEFINITELY without question the absolute worst song I've heard this year. But, it's also got that 'so bad it's good' quality that pops up from time to time. But I'll leave my defenses at that because I have to tell you, it honestly dumbfounds me how Nicki Minaj went from such a great single in "Pills n Potions" to this. Like, how is this even possible, to release such a good song and such a bad song within the same number months? While "Pills" was emotional and more expressive, this non-song is just shit. The lyrics are by far the worst I've heard this year, even though they surprisingly aren't the laziest; they just lack substance and don't seem coherent at all when compared to the supposed 'love your big body' message of the song. And then there's the obvious problem of labeling this a 'feminist anthem' and then releasing a music video that's so God-awfully atrocious and anti-woman that it honestly sets Nicki's reputation back even farther than it's already gotten. But, I can forgive ALL of that nonsense when given the real reason why this is the worst song of the year: even though I've mentioned laziness countless times already, at least those songs were original and a sliver of thought obviously had to have been put into them. For Nicki Minaj to even call this 'her' song is criminal because it's not! It's Sir Mix-a-Lot's "Baby Got Back" butchered up into pieces with Nicki spewing unintelligible rhymes, and what the hell is with all that squealing in the last TWO minutes of the song? Was she gagging or something? Anyway, I've liked Nicki for a while now but good golly this might be one of the worst songs I've ever heard ever. 

And there you have it! Honorable mentions go to Jason Derulo and Snoop Dogg's "Wiggle" (no explanations needed), Maroon 5's "Animals" for turning Adam Levine into a bigger creep than he already is, Nicki Minaj's "Lookin' Ass ******" (you know what that last word is), and I'll give some lip service to the pop haters by dishonorably mentioning One Direction's "Story of My Life", for yet another pop song about nothing in particular except girls (seriously, can't they sing about anything else...anything??).

Jessie J-"Sweet Talker" Review

Right out of the gate, Jessie J delivers the opening line "I'ma do it like it ain't been done", on her third album "Sweet Talker", a very clear indication that she is ready to jump on the bandwagon of other pop artists who've been declaring the same thing since about 2010 or so. The irony is readily apparent, and unfortunately for Jessie, the rest of the album that follows this boastful statement doesn't quite prove this to be true. Well, at least not entirely. Interesting as it is frustrating, "Sweet Talker" feels like an oddly familiar melting pot of pop, soul, and R&B (maybe featuring Ariana Grande on the lead single "Bang Bang" wasn't entirely incidental...). However, when compared to Grande's 2014 effort "My Everything", this record somehow manages to seem even less coherent. Though it still offers the same amount of strong songs, they are spread so far apart on the tracking list, it often can be difficult to build up the patience to find them. Nevertheless, the highlights are still worth digging out, such as the 2-Chainz assisted "Burnin Up", or the back-half highlight "Keep Us Together". Then, of course, Ariana Grande and Nicki Minaj swing by to blast "Bang Bang" into the stratosphere of pop, producing a track so effervescent it outshines the rest of the songs here considerably. Although, the appearance of these middle-brow divas may elevate the song onto higher ground, but whether or not they boost Jessie J's American street cred is to be determined. Seeing as how her previous album "Alive" didn't even see a US release, it's certainly not hard to wonder how much of "Sweet Talker" is ambition, and how much is calculation. The hearty platter of producers and songwriters Jessie has brought in do offer a modernly diverse listening experience, restlessly changing styles and moods every few seconds. That's not to say everything gels --if Ariana Grande threw the kitchen sink with her latest album, Jessie J adds the table, fridge, and stove with it-- but at least it's admirable to see that this record is working very, very hard. Jessie does handstands, backflips, cartwheels while juggling beach balls on a unicycle, which is certainly impressive, yet when combined with her manic, overly-expressive delivery of the songs, it's also flat-out exhausting. "Sweet Talker" isn't terribly long (12 songs and 48 minutes, the standard for 2014 pop records), yet it somehow loses steam before it's even half finished. That's unfortunate for Jessie J, as she constantly tries to find new ways to distinguish her from the rest of the Brit-pop pack, she winds up tacking the backseat in her own records. Obviously, though, her star shines brightest when she lets loose and sings to her heart's content without abandon. Maybe the next time out...

Recommended Tracks in Bold:
1. Ain’t Been Done 2. Burnin’ Up                    3. Sweet Talker
4. Bang Bang            5. Fire                                    6. Personal
7. Masterpiece            8. Seal Me With a Kiss        9. Said Too Much
10. Loud                      11. Keep Us Together    12. Get Away

Maroon 5-"V" Review

By the fall of 2014, Maroon 5 had completed its evolution (or devolution, depending on how you look at it) from a blue-eyed soul/rock quintet to glossy pop act, featuring Adam Levine's shirtless body. Previewing the bands fifth album, simply titled "V", they released lead single "Maps", a track so similar to Nico and Vinz's "Am I Wrong?" you would think that Levine had eavesdropped on the recording sessions. That, or maybe our favorite shirtless heartthrob is more aware than he's been letting on. In short, that's the statement that "V" implicitly makes: Maroon 5 is a band of the times. So when pop music shifted from the butt-shaking EDM of LMFAO and Justin Bieber to the indietronic flavors of Lorde, the retro R&B Justin Timberlake hauled in with "The 20/20 Experience", and the arrival of Austin Mahone re-contextualizing the Backstreet Boys for the modern era, Maroon 5 took note of these more tasteful styles, and thus, Adam put his shirt back on. Whereas the grotesque "Overexposed" pushed his band's vulgarity to the limit, "V" is a more stylish affair. Electronics remain present, either to provide ambient noise or a low-synth wobble of "Feelings", a standard drum-kit makes its long-awaited return to a Maroon 5 album on the half-way point "Leaving California", and besides the plain pop song "Maps", its successor "Animals" also plays off the energetic pop blueprint. This one-two jolt of pop may have been designed to get the album started with vigor, but it's not particularly interesting, either. It's not until the third song, the industrial-flavored "It Was Always You", when "V" becomes more than just a singles-n-filler collection. Elsewhere, the lite-EDM track "Coming Back for You" offers some low-key relief from the tried and true practices of channeling Justin Timberlake channeling Michael Jackson. "Sugar", for example, plays off of "Off the Wall"-styled disco, complete with vocal hiccups and falsetto. And when the songs don't pay homage to MJ, then Austin Mahone becomes the cornerstone, with teeny-pop "Unkiss Me" and "New Love" included in the mix. This seemingly unholy hybrid of retro meets modern may not be the best theoretical construction of an album, but it holds up surprisingly well. It's oddly satisfying, too, when the closer "My Heart is Open" rolls around, Gwen Stefani blends her vocals with Adam's to complete a song that's neither retro nor modern, just happily no-nonsense singer-songwriter stuff. All of Maroon 5's signature album traits remain in tact: no songs over four minutes, Adam Levine at the fore, and music that exists pleasantly in the background as well as on the radio. It's just too bad that not one song on "V" actually sounds like Maroon 5. 

Recommended Tracks in Bold:

1. Maps                      2. Animals                  3. It Was Always You

4. Unkiss Me              5. Sugar                      6. Leaving California

7. In Your Pocket       8. New Love               9. Coming Back for You

10. Feelings                11. My Heart is Open

Ariana Grande-"My Everything" Review

Ariana Grande made history with "Yours Truly", her debut album released almost exactly a year ago, when it debuted atop the Billboard 200, becoming only the fifteenth solo female artist to top the chart with a debut album. The honor validated her status as one of pop's most engaging performers, even if the album responsible didn't offer a signature sound. Sure, it featured alot of Grande's voice, and even threw in a couple of catchy, fizzy pop tunes, but overall it turned out to be somewhat of a disappointment. Its mix of lite-Hip/Hop, R&B, and breezy pop didn't sustain well in the mainstream, and seemed quite outdated by the spring of 2014. Already proven to be a masterful strategist, however, Grande released the Iggy Azalea-assisted "Problem", a sassy pop track produced by Britney's hit maker Max Martin. It showed a sexier side to the Nickelodeon star, like Cat Valentine graduating from high school and venturing into an adventurous college life. Of course, Grande wants to be seen as more than a character on TV, and much of her sophomore album, "My Everything", is built upon this foundation. Gone are the doe-eyed R&B tunes and in their place stand a hodge-podge of EDM, Pop, Hip/Hop, Soul, and a couple of piano ballads for good measure. Unfortunately, what Grande decided to keep from her last record was a ridiculous amount of guest-appearances, mostly from rappers, none of which make the most of their verses (excepting the aforementioned Iggy Azalea). Also in-tact is the laundry list of songwriters and producers all trying to make Ariana Grande stand above her peers as pop's reigning princess. Perhaps this wouldn't have been a problem if the quality of musical coherence and lyrical grace were favored over throwing the kitchen sink at the listener and seeing which songs were hits or misses. Obviously, the rap-assisted songs are mostly misses, some quite frankly embarrassing ("Best Mistake" ---ironic, huh?---and "Hands on Me" being the worst offenders), while the songs with an EDM-twist are bearable (Zedd producing the best cut "Break Free"). The filler in between present some nice ideas, but too often sink into mediocre R&B-blandness, not too far off the track from "Yours Truly". Standing out amongst the murk is "Love Me Harder", a song that pulsates on a sultry groove while The Weeknd provides the only good guest appearance here. The undercutting theme of severing ties from an old-flame is long forgotten, since "My Everything" covers far too much ground to be coherent, it cannot find its way through all the hooplah. Ariana Grande is a fine singer, with a technical skill far exceeding her pop peers, but for the second time in a row she has failed to show anything more beyond potential. She certainly can't be billed as the innocent sweet girl that sang "Yours Truly" anymore, but "My Everything" also does not fulfill its purpose of separating her from that persona. And that's highly unfortunate, because "My Everything" had all the potential in the world; it just didn't know how to use it.

Recommended Tracks in Bold:

1. Intro                                    2. Problem                                       3. One Last Time

4. Why Try                             5. Break Free                                  6. Best Mistake

7. Be My Baby                        8. Break Your Heart Right Back    9. Love Me Harder

10. Just a Little Bit of Your Heart    11. Hands on Me      12. My Everything