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