Last time we looked at the worst songs this year brought, but there were still plenty of great songs, which we will be looking back on today. Once again, any song that made the top 40 in the US or Canada is eligible for this list.
First, some honourable mentions that just missed the list.
"Ain't It Fun" by Paramore
(US Peak: #10/CAN Peak: #27)
This song uses a variety of different sounds, making the instrumentation highly enjoyable and interesting, with a mix of different genres, accented really well by the gospel choir, Hayley Williams' vocal performance, and the guitar line. Lyrically, it deals with decision making and living in the real world, accepting the reality of a situation. Admittedly, some lines come across as condescending, and a little stupid, but it is framed correctly to relay the message of striving to be bigger. Keeping it off the list, is the fact that it is overlong, the lyrics basically ending a minute in, making the rest of the song highly repetitive. Despite that, this song still makes for an enjoyable listen.
"Centuries" by Fall Out Boy
(US Peak: #20/CAN: N/A)
And, moving from a more sarcastic song, we come to a song that is a considerable battle cry. Patrick Stump's big vocal performance and vocal calls lend this song bombast, to sell the lyrics of striving for power. While some of the lines feel overdone, there are some interesting lyrics surrounding the progression of legends, and how "some turn to dust or to gold," and talking about empowerment, and it's enough to make this track highly enjoyable for me.
"Waves (Remix)" by Mr. Probz & Robin Schulz
(US Peak: #14/CAN Peak: #10)
Personally, I preferred the original version of this song for having greater swell, but this version was the one that charted, and it is still great. The breezy guitar line fits perfectly with the imagery surrounded waves, and Mr. Probz' vocal delivery has a lot of soul to sell the song, along with some grit to have some character. The lyrics also use the imagery of waves really well, painting the girl as this beach he can see, even when she isn't around, but their problems, the waves, send him slowly drifting away from her. What brings this song down for me is how obviously the vocals were sped up to match the tempo of the beat, but it just sounds awkward, along with the fact that the song doesn't build-up to a very satisfying climax, with the strings and horns that sold the original sounding submerged. In spite of this, "Waves (Remix)" is still an excellent song.
"River Bank" by Brad Paisley
(US Peak: #54/CAN Peak: #37)
This song has some dumb jokes and puns, but as a whole, the song is great. The instrumentation is fun, with the lyrics talking about how while they are not at the top and rich, they are happy with what they have, and are "laughing all the way to the river bank" and still having fun. There are lines that fantasize striking rich, but it sticks to the original premise, being fun, and still having a decent message about counting your blessings.
"Habits (Stay High)" by Tove Lo
(US Peak: #3/CAN Peak: #3)
With songs on the radio talking about partying and drugs, this song lends some context to that. The narrator describes the need to keep partying and stay high to be able to get over this relationship that didn't work out, with the bleak delivery and instrumentation backing it up, as a tale of self-destruction is told. The bridge is the part where is culminates, describing the need to not go home alone again. What knocks this song down is how sudden the song turns to being about a relationship, during the hook, but the first verse had no mention of it, and the context comes across as jarring. Also, there is little done to describe getting out of this situation, and while it is framed correctly to show the situation is bleak, the lyrics don't paint how this situation could be used for growth, and just continues this harmful lifestyle. The song still works, but that makes the landing shakier.
"The Man" by Aloe Blacc
(US Peak: #8/CAN Peak: #14)
This song has Aloe Blacc's great, unique vocals, paired up with strong instrumentation, sold by the horns section, along with the gospel elements to create a compelling build-up and climax. This all works well to sell the lyrics of stepping up, facing a situation, and working to succeed, even if you've been let down before. The message of these lines work to sell the assertion of being "the man," and give the track a sense of power, which is sold in a big way by the arrangement. Letting down this song, however, is a weak hook that hurts the memorability of the song, keeping it off the list.
"Sing" by Ed Sheeran
(US Peak: #13/CAN Peak: #4)
Between this and "Don't", Ed Sheeran has got me on board. The use of an acoustic guitar instead of an electric guitar works great in combining Pharrel's funky style with Sheeran's more folk-inspired sound. It, along with Ed Sheeran's vocal performance, sells the atmosphere of the song, being the height of a party. Ed Sheeran's sing-rap cadence also fits well with the rhythm, landing it this mention on this list.
"Best Day Of My Life" by American Authors
(US Peak: #11/CAN Peak: #5)
As much as I liked "Happy", I felt this song sold the optimistic tone better. The vocal effects gives lead singer's vocals great presence and power. The instrumentation is the highlight of this song, with the banjos, mandolins and guitars playing a bouncy melody that all fits together perfectly, along with the percussion. The backing vocals' chants sell the optimistic tone of the song. As a whole, it just works.
"Riptide" by Vance Joy
(US Peak: #32/CAN Peak: #27)
I wasn't the biggest fan of the vocals on this song, but on repeated listen, they lend a decent personality to fit with the lyrics and light, guitar-driven instrumentation. The lyrics describe growth, getting detached from former friends, taking risks, using the riptide to represent this, as he finds a girl, taking the risk of how this will affect his life, like a riptide pulling someone to the dark side, which has risks. The vocals don't quite work for me, personally, but they have a lot of investment to sell this track.
With that, let's get to the list.
15. I mentioned in my last countdown how this artist had disappointed me over the course of the year, as I had hopes that he would use his unique instrumental choices, and be able to grow as an artist and improve lyrically. That was squandered in record time with his last few singles. While this song wasn't the song that gave me the greatest hope, it was still awesome.
#15- "Talk Dirty" by Jason Derulo ft. 2Chainz
(US Peak: #3/CAN Peak: #3)
I stood by this song from the first time I heard it over a year ago, hoping it would become a hit, and, thankfully that happened. What really sells this song is the sampled saxophone during the hook, courtesy of Balkan Beat Box's fantastic song "Hermetico", which was also used to provide a world-flavoured horns section throughout the rest of the song. What makes the sample work is how orchestra hits are added in the pre-hook to create a great crescendo, leading to the saxophone driven hook. Derulo's lyrics aren't great, but the topic of the song justifies the sample, as it works perfectly. Some of the implications of these lyrics are questionable, but Derulo has a number of clever lines, working with the theme of not understanding each other, and travel, to make a number of jokes that are actually sold with his energetic, non-serious delivery. 2Chainz, however, while also having a lot of energy, has a far worse verse, going off-topic and saying a number of terrible lines, which was enough to knock this song back a few spots. In the end, however, the rest of the song managed to make this fun song able to make this list, albeit at a lower spot.
Unfortunately, Derulo's unique work would devolve into "Wiggle", which was essentially a poor version of this, and "Bubblegum", which kept the stupidity of "Wiggle", but even less unique. For fun Jason Derulo songs, I'll stick to this.
14. And we get yet another fun, world-inspired song. I mentioned in my last countdown that this song was awesome, and I was not kidding.
#14- "Fireball" by Pitbull ft. John Ryan
(US Peak: #23/CAN Peak: #16)
You can take plenty of what I said about why "Talk Dirty" is awesome, and use it to describe this. Pitbull's takes his name, Mr. Worldwide, and actually backs it up with this world beat, using cowbells, Spanish guitars, and horns section, sampling the saloon style of "Tequila", giving this song a lot of instrumental flavour. John Ryan's hook has a lot of personality and energy, fitting perfectly with the instrumentation, building a crescendo that is payed off with a riff that, while not as strong as the one from "Talk Dirty", is still very well done. Pitbull comes in with even more energy, using a flow reminiscent of Run DMC, and actually comes up with some decent punchlines, even if not all of them stick the landing. I'm disappointed to see this song flop, but this song is still great.
13. More Spanish guitars? Hell yeah!
#13- "Bailando" by Enrique Iglesias ft. Descemer Bueno & Gente De Zona
(US Peak: #12/CAN Peak: #13)
Enrique Iglesias had been making a number of club songs to keep up with the times in the past few years, but none of them, since "Tonight (I'm Fuckin' You)", have caught on, and for good reason. Thankfully, this song managed to gain massive success, gaining the longest run at #1 on the Hot Latin Songs Chart. What makes this song are the guitars mixed with the percussion, for a strong beat, and the backing vocals' chants throughout the song, giving the song flavour. The lyrics poetically describe dancing with a woman, as Enrique's strong delivery sells the song. I'm hoping the success of this song will encourage more material like this from Enrique, because he is far better at selling this material than he is at selling club songs.
12. Well, it's winter, which means it's sweater weather.
#12- "Sweater Weather" by The Neighborhood
(US Peak: #14/CAN Peak: #68)
Using the imagery of a girl putting her hands in his sweater, this song, describing sex, sets up a strong atmosphere with the instrumentation, backing vocals, and the reverb. Helping matters is the descriptive lyrics, that don't get overly explicit, and the lead singers performance, which sells the song, along with creating a solid cadence throughout the verses. Personally, I would've turned down the reverb a little, as it overtakes the lead singer's vocals at some points, but otherwise, it works perfectly in creating the atmosphere. Even when it isn't winter, I'll be listening to "Sweater Weather".
11. If your path guided you to make this song, then no, you are not wrong.
#11- "Am I Wrong" by Nico & Vinz
(US Peak: #4/CAN Peak: #1)
In this song, the question is asked of if the right path is being taken, and the risks being taken for success. Both performers give a strong delivery, which paints them as truly asking the question, of if they are wrong for taking this path, but then asserting how they feel strongly about taking this path, and working for success. Also helping matters is the unique instrumentation, which an interesting, breezy guitar line, along with the percussion, that show the outside influences this band is working with. The percussion and backing vocals also lend this song some power, to sell the message of the song.
While I doubt Nico & Vinz will stick around for long, given their different styles, their song "In Your Arms" actually managed to chart, and giving hope that they may have further success.
While I doubt Nico & Vinz will stick around for long, given their different styles, their song "In Your Arms" actually managed to chart, and giving hope that they may have further success.
10. I have no idea how to open this one, aside from saying this song just really works.
#10- "Stay With Me" by Sam Smith
(US Peak: #2/CAN Peak: #1)
What really makes this song for me are Sam Smith's delivery and the gospel choir. Sam Smith provides great vocals, with a lot of investment in selling the song's lyrics, asking this one night stand to stay, as he feels the need to not be alone, and feel love, as he feels these human emotions, which he questions, thinking if this really is love, or just a one night stand. His delivery suggests the greater feeling, in spite of his questioning. The piano melody would normally feel underweight, but what makes up for it in a big way is the gospel choir, working a climax during the hook and bridge, the sell the passion of the song. It gives the song an expansive atmosphere and a lot of swell, and guaranteed it a spot on this list. With this, and Sam Smith's other hits, all of which are good, Sam Smith looks like he may stick around, and I absolutely support that.
9. I've always liked OneRepublic, but "Counting Stars" was easily the best song they'd ever recorded, and that sound fit them really well, so I was hoping they'd stick to it. They did, and my love for this song does not run out.
9. I've always liked OneRepublic, but "Counting Stars" was easily the best song they'd ever recorded, and that sound fit them really well, so I was hoping they'd stick to it. They did, and my love for this song does not run out.
#9- "Love Runs Out" by OneRepublic
(US Peak: #15/CAN Peak: #4)
While "Love Runs Out" doesn't have as strong a melody as "Counting Stars", the bassline and percussion, along with the echo effects, lend this song expansive power to sell the lyrics, along with a strong hook. The lyrics also mention doing what you want, and being there for one another, and what steps are taken to step up and do that. It mentions how everyone wants that success and love, and how they will continue to strive for it, until it is all gone. And with vocals screaming with intent, it sells that message effortlessly.
8. This song was everywhere this year, and I had no problem with that. Man, I need some better intros.
#8- "Problem" by Ariana Grande ft. Iggy Azalea
(US Peak: #2/CAN Peak: #3)
The saxophone was everywhere this year and, with the obvious exception of "Hangover", was used really well to create solid grooves, like in this song. The vocals, while they get too shouty at points, are great, and the energy of them mix with the percussion and saxophone really well. Lyrically, the best part of the song is the use of contrast. They describe being in a relationship with someone who is clearly a bad influence, but not being able to leave that person, in spite of knowing they are trouble. While Ariana Grande plays a more vulnerable role, Iggy Azalea's solid verse comes in as an assertive counterpoint, who leaves this person, and learns how they should not stay with that troublesome person. With this conflict, it shows two sides of a situation, and paints it well, making this an easy contender for this list.
7. More Ariana Grande. I am sold!
#7- "Love Me Harder" by Ariana Grande ft. The Weeknd
(US Peak: #7/CAN Peak: #10)
I've seen a number of people who expressed outrage about Ariana Grande singing about sex. Guys, just be glad she isn't pulling a Miley Cyrus, and actually made it good. This is probably Ariana Grande's best vocal performance to date, which is quite a feat, and The Weeknd, who actually toned down his lyrics for this song, fits perfectly as a partner for Ariana Grande. The hook also gains enough momentum to sell the song, and build to a strong climax, with the harmonies. The production also has enough energy to carry the song, yet maintain the intimate atmosphere. These elements are enough for me to buy into the song, and for the song to make this list.
6. Yet another song that really should have been a bigger hit. Thankfully, it is eligible for this list.
#6- "Love Me Again" by John Newman
(US Peak: #30/CAN Peak: #18)
John Newman is a phenomenal vocalist, bringing in a lot of power, energy and feeling to this song, along with his current hit with Calvin Harris, "Blame". This song has a throwback style, but does it really well. The horns section provide a solid tempo and foundation for this synthline, that, while having a creeping feel to it, also has a groove-able melody. Once again, the vocals are the true selling point on this track, selling the hook, which asks this girl if she can love him again, as John Newman brings strong emotion and presence to this song.
5. Normally, religious music is just uninteresting. Not all of it, but they tend to have little for me to grasp on to. There are exceptions though, like this song.
#5- "Take Me To Church" by Hozier
(US Peak: #2/CAN Peak: #2)
This is one of those songs which I'm not even completely sure what to make of it. Clearly, I love the song, considering how high it is on the list, but some of the imagery seems to go over my head due to my lack of familiarity with this kind of subject. From what I can gather, this song is less about the religion, and more about using religious imagery, comparing this girl to a goddess, and how he is there for her, and while he knows people would disapprove of this relationship, he makes the decision to follow this love. Hozier's vocals are great on this song, will a strong mid-range, howling during the hook to give you the feel of the song. The composition also helps, with a bass-driven instrumentation, creating a dark atmosphere, while the backing choir creates a contrast to it. This drives the conflicted nature of the lyrics, where he knows that while this relationship is not accepted, he can't help but have the feeling of worshiping this goddess.
4. Nick Jonas managed to make a comeback with his new single, "Jealous", which managed to hit the top ten. I actually have a review planned for it, where I plan on describing why it does not work. Perhaps he should have taken notes from this song, of the same title.
#4- "Jealous" by Chromeo
(US Peak: N/A/CAN Peak: #12)
While "Sing" used more folk-inspired elements to drive the funky beat, this electrofunk song modernizes it, making it found fresh and well-produced, maintaining the groove, formed by the great bassline and melody. This would easily be enough to earn this song a spot high on the list, especially with the vocals that move smoothly from a lower range to a falsetto. The lyrics, however, actually frame the situation properly, where the feeling of jealousy is known to be a problem, which the singer can't help but feel. With Nick Jonas' song, this appeared to be the intention, but the framing was far more confused, and actually worked to justify that feeling. This song doesn't do that, and actually shows the attempts to not let this feeling pass, making the song work far better. Thank god for Canadian Content Laws, or this song might not have received airplay. Fortunately, it did here. That also helped the next song on this list gain success.
3. People complain about a lack of diversity in hip hop, and how rapping about weed is a cliche. I agree that it has become cliche, but that topic doesn't automatically make a song bad. In fact, "Young Wild & Free" was one of my favourite songs of 2012, and this song, with its music style and content, seems to be Canada's response to it. And it actually managed to be even better.
#3- "Higher" by Classified ft. B.o.B
(US Peak: N/A/CAN Peak: #31)
Like "Young, Wild & Free", this song works with an old school approach, building the hook around a great sample from Jackie Wilson's "Higher And Higher", which works with the instrumentation to actually make this song about weed sound fun, giving the song some colour. This alone puts it miles ahead of party songs other rappers put down this year, which felt far too dark to work with the lyrics about having fun. What helps matters in this song is the fact that both rappers deliver a solid performance, and the lyrics are more clever about smoking weed than the majority of other songs in this vain release combined. The lyrics are actually subtle about the subject of weed, comparing it to a relationship, in stating their love for it, the times they get separated, and how the love will stay until it's gone. All of the metaphors stick the landing, and make this already fun song work another level as well, making it able to be taken in other way.
2. As you can see from the rest of the list, there are several new, unique sounds showing up on the charts, a trend that's been happening over the past few years. In my opinion, a lot of these sounds have been awesome, and I hope it continues, so we get more stuff like this. For a song about disaster, it sure isn't one.
#2- "Pompeii" by Bastille
(US Peak: #5/CAN Peak: #5)
The obvious highlight of this song is how it sounds. The choir of backing vocalists chanting mixes with the bombastic drums and synths to give this song a sense of gravitas and grandeur. The choir also works with the ancient themes of the lyrics, Pompeii being know as a place for the wrath of the gods, which is exactly what this choir makes me think of. Speaking of the lyrics, one may argue it is insensitive to compare a natural disaster that killed thousands to the troubles in the life of a person today. I'd argue the situation only describing the world around them falling apart, and the feelings in that situation, it justifies the lyrics.
The band stated that the lyrics were a conversation between two corpses in Pompeii, and that lends another side to this song's lyrics. Like in "Problem", it shows how two different people would think in a problematic situation, where one is thinking that if they can just ignore the problem, it will be like everything is fine, but the other thinking about how there is no way to think that, and how bad an idea it is to make the situation seem less fatal. Not only does this work as showing the thoughts of two people, but it also works as showing the conflicting thoughts a single person may have in a situation as terrible as their world falling apart. The singer also manages to switch his tone, going from a more optimistic performance, to showing a sense of fear and desperation. And yet, with all that, there was still one song that beat it. Let's see what it was.
1. I knew from the moment I heard this that it would be my #1. Not only is it my favourite song of the year, but it is also my favourite song of the decade.
#1- "Come With Me Now" by KONGOS
(US Peak: #31/CAN Peak: #7)
Everything about this song works for me. The accordion fits incredibly well with the rock instrumentation, showing the outside influences of this band, playing a great melody line, working as a solid crescendo for the hook. Like in "Best Day Of My Life", the guitar tone is chosen really well, so that when it plays the melody of the accordion, it sounds completely cohesive with the rest of the sounds in the song. The lyrics are punchy, describing the fear of just being a follower, and how they have been wasting their lives just breathing, and not thinking for themselves. The lead singer's tone fits this perfectly, as he has a lot of grit in his voice, but sings quieter during the verses, as he sings of his fear, which he previously did not have, but not only thinks of that. As the hook and bridge comes in, he sings louder, and shouts out these lyrics of going crazy and taking risks, possibly even being a leader. The pre-hook has the vocals sung clearly as they set this hook up, to show a solid transition. This song sold its message to me in a stronger way than any other songs this year, and carried the best elements of multiple songs on this list, especially the trend of more unique sounds coming in this year. For that, it is my favourite song of 2014.
The following songs charted, but sadly did not chart high enough to make this list, but they would have made it if they did chart high enough;
"3005" by Childish Gambino
"Body Language" by Kid Ink ft. Usher & Tinashe
"Angel In Blue Jeans" by Train
"Good Kisser" by Usher
"She Came To Give It To You" by Usher ft. Nicki Minaj
"Sleeping With A Friend" by Neon Trees
"Shell Shocked" by Juicy J, Wiz Khalifa & Ty Dolla $ign ft. Kill The Noise & Madsonik
"Shell Shocked" by Juicy J, Wiz Khalifa & Ty Dolla $ign ft. Kill The Noise & Madsonik
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