At EST. 1997, we chose the 19 “97” albums of 2014, which simply means the 19 best albums of 2014. If you’re familiar with the way we review songs/albums, then you know that “97” is our top score. We love every album on this list, ranked them according to how much, and weighed in with a few thoughts about each. Please feel free to comment with your thoughts, as well! We’d love to hear from you and engage in any discussion.

The 19 “97” Albums of 2014

19. X by Ed Sheeran (June 20th)

The fiery haired crooner doesn’t disappoint with his sophomore effort. With an acoustic guitar still at it’s core, X (pronounced as “Multiply”), does an incredible job at expanding Sheeran’s sound from his typical folk/acoustic tunes with its infusion of hip hop elements. From the quintessential wedding track “Thinking Out Loud”, Pharrell Williams-assisted jam “Sing”, to ode to self-sabotage, “I’m A Mess”, X plays on every one of your heart strings. —Charneil

18. The Pinkprint by Nicki Minaj (December 15th)

After releasing and promoting singles like the minimalistically somber “Pills N Potions,” the heavily “Baby Got Back” sampled Hip Pop “Anaconda,” and the candid feature heavy Hip-Hop number “Only,” the overall sound of Nicki Minaj’s third album was still up in the air.  The Pinkprint (a nod to Jay-Z’s The Blueprint trilogy) ends up being a serious R&B influenced sit down with Minaj’s emotional heartbreak and life struggles front and center.  Not even a Katy Perry co-penned Ariana Grande track or a Beyoncé feature could bring the much needed high octane Dance Pop to the album which fans have grown accustom to from Minaj (see “Super Bass,” “Starships”).  Surprisingly deluxe cuts like “Shanghai” help to at least end the album on a more exciting note. Go to tracks: “The Night Is Still Young,” “Shanghai,” “Win Again” –Keenan

17. The Lyricist’s Opus by Chrisette Michele (November 24th)

Following the release of 2013’s Better, Chrisette Michele embarked on a new career path with the launch of her own website, RichHipster.biz and the release of this EP in November, titled The Lyricists’ Opus. While her path toward artistic and creative freedom truly began with her 2012 mixtape, Audrey Hepburn, this EP marked her first commercially independent release. The Lyricsts’ Opus fits right in with her catalog, yet it is different. Mainly because it really does feel like one, unified… well, opus. Or, as Chrisette describes on the intro, “one long piece, with 5 movements.” The EP flows, one track into the next, with lush orchestration guiding each track along.  “Make Us One,” especially, is quite the fitting anthem for our world today.  The standout track, however, is “Together,” but every song is truly great. Hopefully, 2015 brings a full length album from Chrisette… no doubt it’ll be on par, or better. –Vincent

16. Platinum by Miranda Lambert (June 3rd)

Miranda Lambert released her fifth album Platinum this past year. It’s an album that manages to make Western swing, 80s arena rock, and honky tonk sound reasonable together. The emotional terrain covered on the album is just as impressive. With a through line about the meaninglessness of going platinum (both in terms of sales and hair color), the album shows Lambert isn’t content to rest on her laurels. Lambert is one of the very few females who can make a real dent on the Country charts, and she’s the Country artist adding the most artistic heft to the industry. –Jason

15. Aquarius by Tinashe (October 7th)

Tinashe’s debut album, Aquarius, was a surprisingly cohesive collection of R&B tunes. It’s equally commercial as it is artistic: you’ve got the sexy and club-ready tracks and the more introspective ones reflecting on love and relationships, all tied together by aptly placed interludes that recall the iconic Janet Jackson, interesting production and solid writing. The album is a mix of new ethereal sounds and past influences reworked to make them relevant in 2014’s musical landscape. Tinashe is someone whose career is going to be interesting to follow. Highlights: “How Many Times,” “Cold Sweat,” “2 On.” –Mario

14. 1989 by Taylor Swift (October 27th)

Following the massive Pop success Taylor Swift’s 2012 album Red achieved (including her first Billboard Hot 100 #1 hit) it was no surprise that her followup album would continue its Pop exploration.  1989 is a departure from her Country Pop roots, and sees Swift attempt to create an 80s influenced Pop album in 2014.  Despite being released in October, 1989 became 2014’s biggest selling album, impressive!  While not nearly as experimental as the dub step/Pop “I Knew You Were Trouble.” the mid tempo heavy album is certainly adequate music for your Muzak shopping experiences.  Expect to hear cuts from the album overplayed on radio well into 2015, because, well, it’s Taylor Swift. Go to tracks: “New Romantics,” “Bad Blood,” “Style” –Keenan

13. Xscape by Michael Jackson (May 13th)

After the disappointing handling of the last posthumous Michael Jackson album, expectations for Xscape were low. Fortunately, things were different for this project and finally we were given “new” Michael Jackson worthy of the hype. The remixes at times were questionably overproduced, and the choice to feature Justin Timberlake was, well, uncomfortable… but the album’s saving grace was Michael himself. L.A. Reid made the wise choice to release the original demos alongside his commissioned remixes. With these demos, we were able to hear the songs in the state that Michael had left them. After all, the only person who can truly bring a Michael Jackson song to completion is Michael Jackson. While his fans undoubtedly will never pass up hearing more unreleased music, it will never be the same as the King of Pop crafting and releasing a truly new album. Regardless, an album of 8 Michael Jackson demos still bests most albums released in the last year… and that’s saying something. Standout tracks include “Blue Gangsta” and of course the lead single, “Love Never Felt So Good,” a posthumous swing-laden disco jam that wouldn’t sound out of place on his landmark Off the Wall album, yet didn’t sound of place in disco-inflected 2014 either. “Love Never Felt So Good” featured a majestic guitar line and is the kind of carefree pop jam the greats make sound effortless. –Vincent and Jason

12. Turn Blue by The Black Keys (May 12th)

The Black Keys’ 2014 release Turn Blue doesn’t rank among their very best albums. It’s still a solid release, though, and that it manages to be one of the best Rock records of 2014 is saying something. It showcases a band in full command of its talent. On Turn Blue the band incorporated elements of 70s psychedelia, Disco, and even Funk into their sound. It also managed to add a few stadium anthems (“Gotta Get Away” in particular) to their already impressive repertoire. –Jason

11. In the Lonely Hour by Sam Smith (May 26th)

If 2014 brought us any album that seemingly had a clear path for Grammy nominations surely it was Sam Smiths debut album In The Lonely Hour.  Featuring heartfelt lyrics, vocals and range, and immaculate musical arrangements that may easily stand the test of time -don’t be surprised if February 2015 sees Smith snatch a few of his impressive six nominations!-  With radio ready cuts including “Like I Can,” and “Make It To Me,” singer-songwriter-producer Smith is here to stay with us well past his undeniable 2015 Grammy wins. Go to tracks: “Stay With Me,” “Life Support,” “Like I Can” –Keenan

10. Anybody Wanna Buy a Heart? by K. Michelle (December 9th)

On her second album K. Michelle lets her life experiences take the center stage. Reportedly inspired at large by her affair with Idris Elba, Anybody Wanna Buy a Heart? displays a more sensitive and mature side of K. Michelle. Her lyrics and her melodies have become stronger, her vocals have acquired the art of subtlety and the production features a number of old school R&B influences that never feel out of place. A consistent body of work from start to finish that clearly represents an evolution in her discography. Highlights: “Love ‘Em All,” “Maybe I Should Call,” “Something About the Night.”  –Mario

09. Ultraviolence by Lana Del Rey (June 13th)

There was a lot of pressure on Lana Del Rey to deliver with the follow up to her 2012 breakthrough album, Born to Die, and she did not disappoint. Her music isn’t for everyone, nor is it for every mood. Her music is slow, deep, conceptual and moody. It requires your full attention to be fully appreciated; or it can just be played in the background to set a mood. Fittingly so, as Lana’s music often feels cinematic with it’s involved and often dramatic production. With Ultraviolence, though, she experimented a bit sonically by enlisting Dan Auerbach of The Black Keys to produce the bulk of the album, which gave it a certain cohesiveness, and also a bit more of a rock feel than her last set. However, both have one thing in common: they seem impersonal. Hopefully, Lana is less theatrical and more personal on her next album. Don’t get me wrong though, it’s a great album. Aside from the flawless lead single, “West Coast,” be sure to check out “Brooklyn Baby,” “Ultraviolence,” “Shades of Cool,” “Pretty When You Cry,” and “The Other Woman.” –Vincent

08. rose ave. by You+Me (October 14th)

Fans of P!nk and City and Colour were pleasantly surprised this year with an unexpected new musical pairing: You+Me. The duo released their debut album, rose ave., in October and it was near perfection. P!nk is famed for her hit pop/rock singles, but on each album, she always had a folksy song or two. With You+Me, she joins Dallas Green to craft this entire album of folksy, bluesy, soulful bliss. While at times it does get a bit same-y, if listened to independently, each song stands out for its individual beauty. The beauty of the songs lies not only in the music and lyrics, but most especially the fantastic vocal performances from both. Their voices blend together is such perfect and complimentary harmonies. No word on whether this album is a one-off collaboration or if the duo will continue to collaborate, but hopefully there is more to come. Standout tracks: “Break the Cycle,” “Capsized,” “You and Me,” “Love Gone Wrong,” and the fantastic cover of Sade’s “No Ordinary Love.”–Vincent

07. Journey to Freedom by Michelle Williams (September 9th)

With Journey to Freedom, Michelle Williams fearlessly delivered. It is an album comprised of uplifting messages, soaring vocals, and impeccable production. The wait indeed was long, but so worth it. The album flows wonderfully both sonically and thematically.  For example, “Need Your Help” is the perfect opener, and flows wonderfully into “Yes.”  Or, when “Believe In Me” is followed by the optimistic and uplifting “In the Morning” that almost reaffirms the final message of “Believe In Me,” it’s magical.  The reflective “If We Had Your Eyes” follows, and “Say Yes” closes the album with a final moment of celebration and praise.  With her Destiny’s Child sisters by her side, Michelle comes full circle on the album closer.  By ending the album with “Say Yes,” it’s almost as though she’s letting the haters know that Jesus already said yes to this masterpiece – so any hate, any negativity, any no’s, are moot points. However, calling this album anything but a masterful body of work would be a challenge.  So, get slain in the spirit as you experience Michelle Williams’ Journey to Freedom. –Vincent

06. Broke With Expensive Taste by Azealia Banks (November 6th)

A long period of struggle with major labels and their politics probably inspired Azealia to make this record as perfect as possible and the mission was definitely accomplished. Broke With Expensive Taste is the proof that perseverance and faith in your own work will pay off. It’s an unconventional Hip-Hop record, built like an extensive DJ set where the songs have no clear structure and the genres (Rap, House, even Salsa) mix effortlessly under Azealia’s sharp flow and lyrical confidence. She carries the entire album by herself, sung portions included, and she doesn’t fail in keeping the listener’s attention level high. Azealia’s not worried with trends and commercial success, all she wants is her music to speak for itself and in that sense she’s won. Highlights: “Gimme a Chance,” “Ice Princess,” “Chasing Time.”  –Mario

05. Love, Marriage & Divorce by Toni Braxton and Babyface (February 4th)

We’ll forever have to be grateful for Babyface talking Toni Braxton out of retirement, because otherwise we’d have never got this album. This is the reunion R&B fans had been waiting for and it finally happened. Both coming from divorces, Toni and Kenny decided to put their own experiences into music and wrote an album that chronicles a couple’s journey throughout marital issues, the realization that the love is gone, separation and finally the hope of reuniting again after all the hurt and pain. Their voices blend incredibly well and it’s just a pleasure to listen to them together because there’s a real connection and a palpable chemistry to be felt. This album being rewarded with a Grammy in February would be the icing on the cake to seal this magical collaboration. Highlights: “Sweat,” “I Wish,” “Take It Back.” –Mario

04. Black Messiah by D’Angelo and the Vanguard (December 15th)

Rush released in accordance with protests related to the deaths of black men at the hands of police, D’Angelo’s Black Messiah was 14 years in the making. D’Angelo said he speaks through his music, and with its chaotic instrumentation and socially conscious lyrics, boy did we all get the message. At the same time, Black Messiah is an album that simmers and reveals itself with continued listening; we’ll still be dissecting this album 10 years from now. It’s what we need now, though, and it can easily sit alongside the seminal works of Marvin Gaye and Sly Stone. –Jason

03. 2014 Forest Hills Drive by J. Cole (December 9th)

In speaking of the album, J. Cole said that 2014 Forest Hills Drive had to come out this year. It’s a damn good thing that it did, because this year in music would have indeed been incomplete without. Or, at least, quite lacking. With 22 days to spare, Cole dropped an album with no singles or promotion but a whole a lot of quality.  As I mentioned in my review of the album, the album is at this point, his defining album. Not the peak, because his career has only just begun, but a defining turning point. Sonically, lyrically, mentally – Cole feels like he has truly found himself. Or at least, is on the right path. He is an inspiring leader in hip-hop, and while he and the rest of the world may not realize it yet… he very well may be the savior not only of the music, but of the culture it inspires via his mission to send positive, uplifting messages to his listeners. –-Vincent

02. BEYONCÉ by Beyoncé (December 13, 2013; November 25, 2014)

Yes, technically it came out in 2013… but, oh well. It came, but it never went anywhere. BEYONCÉ, the album and the woman, was an ever present force throughout 2014 with the success of singles like “Drunk In Love,” “Partition,” “***Flawless” and “7/11.” Then of course there was the On the Run Tour and HBO specials. “Yoncé” was indeed “all on our mouths like liquor” in 2014. Beyoncé’s self-titled 5th LP dropped on the world unannounced, like a bomb. Each song is accompanied by its own music video that matches its audio counterpart and boosts the overall listening experience. However, BEYONCÉ was more than just a cultural phenomenon. It’s actually a phenomenal album as well. The album represents the growth of Beyoncé as an artist, showing that she is able to challenge herself with each release and improve her work.

While it may seem more commercially viable in sound than its predecessor 4, BEYONCÉ is an unconventional album. The songs have no definite structure, the beats and melodies change midway through. Beyoncé holds back vocally as well, she opts for a subtler and raw approach on most of the tracks and even showcasing her rapping skills. The big vocal performances of her previous work are nowhere to be found, but the arrangements are still tight and enriched by harmonies and layers of background vocals. Musically, as well, she explored landscapes that were completely new to her catalog. Each song on BEYONCÉ is impeccably produced, and often to the credit of Beyoncé’s ingenious decision to collaborate with multiple producers on most of the tracks. By combining some of the best names in contemporary R&B, Hip-Hop and Pop, Beyoncé crafted stunning and unique sounds for each song. She reinvented herself and her sound, subtly and without seeming desperate like some other “rebel hearts” these days.

Lyrically, the album is cocky, vulnerable, mysterious, empowering and socially conscious all at the same time. With its personal lyrics, Beyoncé has never shared so much, so introspectively. She was deep, reflective, and inspiring. She said things of significance with the feminist messages of “***Flawless,” the empowering “Superpower,” the motivational “Pretty Hurts” and the thought-provoking “Ghost.” She chronicled her love for her husband and daughter on “Blue.” Listening to each song is like entering a whole new world, fittingly accentuated by their equally impressive music videos.

It has been said the album draws from Janet Jackson’s 90s work: twenty years ago Miss Jackson similarly declared her sexual liberation on her own iconic self-titled album, but BEYONCÉ has more of The Velvet Rope‘s darker tones, and her “partition” is like her own “velvet rope”. Overall the album is a win artistically and commercially, as well as a much welcomed focus on the album as a body of work instead of a collection of individual tracks. BEYONCÉ is unforgettable, lyrically, sonically and visually. The only thing more exciting than experiencing it over and over again is the anticipation of what she’s going to do next. –Vincent and Mario

01. Me. I Am Mariah… The Elusive Chanteuse by Mariah Carey (May 27th )

Mariah Carey’s 14th studio album inserted itself alongside her best work at a time when most thought she was in a creative rut. It is a collection of songs skillfully put together to create a journey through the past 4 years of her life. Me. I Am Mariah is the craft of a woman going through a dissolving relationship, using her writing to tell the story of her disappointment and her reflections, to reminisce on the good moments of the past and to express the anger and resentment towards what the love she felt has now become. The lyrics on this album are Mariah’s most personal and introspective since Charmbracelet (2002) and that’s what makes it all the more special.

This album is also sort of a journey through different eras of R&B music: from the Motown/Stax era of the 60s, through the late 70s and early 80s with Disco and finally the early 90s Hip-Hop and contemporary Urban sounds. Mariah effortlessly mixed the different nuances of the music she’s always loved and nurtured. It’s her own declaration of love and loyalty to a genre that’s been struggling to remain relevant in the mainstream culture.

And finally, 24 years into her career, the Elusive Chanteuse still continues to deliver a masterclass in vocal ability. Her glorious voice carries the entire album with its different registers and textures, from the husky low notes to the shrill highest ones, maintaining incredible power and clarity throughout. Mariah has always been the master of vocal arrangements and this album does not contradict that: layers of harmonies and background vocals embellish each song while keeping a coherence to the melodies and leaving behind new little elements to be found on each listen. After all, she did essentially delay the album a year with endless “finishing touches.”

However, one must never question a musical genius. Her delays made the album what it is. Had she released it when originally planned it would be lacking its features from Stevie Wonder (playing harmonica on “Make It Look Good”), Nas (“Dedicated”), Wale (“You Don’t Know What to Do”) and no doubt probably some of the cutest, more matured vocal contributions from Ms. Monroe and Rocky on “Supernatural,” an ode to her twins. Not to mention the album’s final three songs, including the infectious “Money” (and two covers, “One More Try” and “Heavenly”) would have never been crafted.

Chanteuse shines on nearly every track, though. From our #2 song, “Dedicated,” which perfectly encapsulates the notions of nostalgia we love here at EST. 1997, to the emotionally raw ballads like “Cry.” and “Camouflage” (which, in hindsight, are undoubtedly about her marriage) to the more contemporary Hip-Hop inspired tracks, the album has it all. Cuts like “Thirsty” and “Faded” flawlessly fit in with current trends while also boasting personal, honest and witty lyrics. The shade is ever-present on Me. I  Am Mariah, and peaks on the disco-inspired “Meteorite” on which MC likens overly “turnt up” pop starlets to quickly-fading shooting stars. However, she does embrace new talent, notably on the 2013 hit single “#Beautiful” featuring Miguel, one of the album’s highlights because it embodies all that makes Carey great. With “#Beautiful” she proved that not only could she still craft a quality song, but a commercially successful one, too.

Me. I Am Mariah… The Elusive Chanteuse was a return to form all around for Mariah, a balanced mix of all of the elements that have contributed to her legacy: relatable writing, strong melodies, incredible vocals. A trifecta that represents the strength of this veteran diva who still continues to amaze fans all over the globe.  –Mario and Vincent

The post The 19 “97” Albums of 2014! appeared first on THE 97.

At EST. 1997, we chose the 19 “97” songs of 2014, which simply means the 19 best songs of 2014. If you’re familiar with the way we review songs/albums, then you know that “97” is our top score. We love every song on this list, ranked them according to how much, and weighed in with a few thoughts about each. Please feel free to comment with your thoughts, as well! We’d love to hear from you and engage in any discussion.

The 19 “97” Songs of 2014

19. “Jealous” by Nick Jonas

Following older mid-Jonas bro Joe’s 2011 shot at Pop R&B solo superstardom, chances weren’t looking too good for remaining Jonas bros.  However, 2014 saw Nick Jonas take his stab at a more mature sound, image, and persona with quite different results.  With a large Pop fan base, Urban Pop appeal, and relatable lyrics, Nick found his first major solo hit with “Jealous.”  With a rocky public Jonas Brothers disbandment in 2013 behind them, lets just hope newfound solo heights Nick’s music and acting has seen doesn’t leave fellow JoBros Joe and Kevin slightly jealous too! –Keenan

18. “2 On” by Tinashe, featuring ScHoolboy Q

Back in the early 2000s when the Lil Jon’s Crunk genre was blowing up for the male acts like Usher, Petey Pablo, and Trick Daddy along came a young female R&B act, Ciara, to take the sound to the next level with her debut single “Goodies.”  In 2014 it was Tinashe’s turn, becoming the first female to achieve a big hit along with current go-to Hip-Hop producer DJ Mustard. The Westcoast influenced Hip-Hop beat paired with airy light hearted vocals was exactly what Tinashe needed to “turn up with the big boys.” Following in Tinashe’s footsteps don’t be surprised if more female artists begin to utilize Mustard’s beats (à la Fergie “L.A. Love (la la)”) in 2015. –Keenan

17. “Chandelier” by Sia

Few choruses hit as hard in 2014 as the titanic one on Sia’s “Chandelier.” The song was written about Sia’s battle with alcoholism and somehow captures both the woozy release and the lonely downfall of the disease. Sia delivers an unhinged vocal, matched by swelling strings, that becomes a battle cry. –Jason

16. “Uptown Funk” by Mark Ronson and Bruno Mars

Funk is back with style! But, the great thing about it is that it is back with the true influences and the real throwback nods to the real masters of the early 80s who made the genre great. Mark Ronson did a masterful job to re-create the funk vibe and he made a great choice with the perfect Bruno Mars feature. The song is an explosion of energy, catchiness and just makes you want to get up and dance! –Mario

15. “Stay With Me” by Sam Smith

Following the massive success other soulful English acts like Amy Winehouse and Adele achieved stateside, it’s no surprise a male counterpart would soon follow.  After being featured on two big Dance hits, Disclosure’s “Latch” and Naughty Boy’s “La La La,” Sam Smith released his solemn, Soulful tune “Stay With Me.”  With relatable lyrical content, vocal skill on display, and a timeless musical arrangement there’s no surprise that “Stay” topped multiple U.S. charts and Smith’s solo reign continued well into 2014. –Keenan

14. “Something in the Water” by Carrie Underwood

Carrie Underwood’s fifth studio album was delayed due to her pregnancy, but she still treated her fans to two new songs on her first greatest hits collection. Religious tale “Something in the Water” managed to both recall her debut single “Jesus, Take the Wheel” and heighten its impact with a personal narrative and vocal gravitas. –Jason

13. “Roller Coaster” by Toni Braxton and Babyface

The combination of smooth production and lush vocals from Babyface and Toni Braxton are completely front and center on Love, Marriage & Divorce‘s opener, “Roller Coaster.” As the first track on the record, its subject matter is that of relationship turmoil, something many people can relate to. “Roller Coaster” captures exactly the atmosphere of the 90s, a time when Toni and Babyface defined the sound of R&B music with their collaborations. –Mario

12. “Apparently” by J. Cole

Cole arrived in December with the last minute, all-at-once drop of his album, 2014 Forest Hills Drive (which also appears on our Top Albums list) but by no means was his material “least.” Though it had no singles in the conventional sense, “Apparently” was sent to radio and had a video that dropped on album release day. Cole explained the reasoning behind this being that he didn’t want the song to go unnoticed, and video/radio treatment no doubt would bring it more attention. Rightfully so, the track, as I mentioned in my review of the album, is one of the album’s standouts, and one of Cole’s best. It likely won’t go on to become a huge hit single by any means, but that is not where his ambition lies. J. Cole makes quality music, and that is why this isn’t the last of his tracks on our list. –Vincent

11. “Partition” by Beyoncé

Beyoncé fully owned her sexuality with her visual album, and “Partition” is the pinnacle of her sexual awakening. On the sparse but sensual track, Beyoncé takes her lyrics to an explicitly sexual height. However, as I noted in my write up about the song, there is more to “Partition” than meets the ear. While it caused quite the stir and garnered Beyoncé plenty attention for being so provocative, the public failed to look beyond the sexual front of the track. “Partition” is actually more vulnerable than it appears. Regardless, it was one of the year’s most noteworthy moments… visually, lyrically, musically and culturally. –Vincent

10. “You Don’t Know What to Do” by Mariah Carey, featuring Wale

In the years of the Disco throwback, Mariah couldn’t resist delivering a jam herself. Though, for her, it’s not exactly something new nor is it trend chasing. Mariah was bringing hints of Disco back as early as 1991 on the Emotions album (check out “To Be Around You”). Aided by Jermaine Dupri on production, Wale with a guest verse and the Love Unlimited orchestra on instrumentation, Mariah is going in on a lover who can’t make up his mind. Her voice is full and crisp over the sample of “I’m Caught Up in a One Night Love Affair.” “You Don’t Know What to Do” was such a missed opportunity at a global and defining hit from this album, but at least we know Mariah is still capable of delivering these big upbeat numbers that helped define her in the 90s.  –Mario

09. “Blank Space” by Taylor Swift

Taylor Swift. I have a hate-love relationship with her. I really don’t want to like her, but I can’t help but enjoy some of her songs. “Blank Space” is one of those.  From Red, I enjoyed “Trouble,” but “Blank Space” is on a whole different plane. With “Blank Space” (like on the horrid “Shake It Off”) she addresses the public’s perception of her with this tongue-in-cheek song about her own love life. Ironically, the most crucial line to understanding the song, though, is often misunderstood for her saying something about “Starbucks lovers” which miraculously translates into “got a long list of ex lovers.” The song is infectious and anthemic pop-perfection that you can’t help but sing-a-long with. It is truly one of the year’s best songs, and will no doubt go down as a classic pop record from this decade – on par with, say, “…Baby One More Time” (not-so-ironically helmed by the same producer, Max Martin). The list of pop royalty had a “blank space,” and in 2014, T. Swift wrote her name in permanent ink. –Vincent

08. “Say Yes” by Michelle Williams, featuring Kelly Rowland and Beyoncé

Since early 2013, the ladies of Destiny’s Child have reunited on a number of occasions. First with a new song called “Nuclear,” tucked away on a compilation album of their Love Songs, then during Beyoncé’s iconic Super Bowl performance. A few months later, they appeared again for a collaboration on Kelly’s album, and finally in the background vocals and music video for Beyoncé’s “Superpower.” As exciting as all that was, none of their musical reunions packed quite as much punch as when Michelle Williams unexpectedly dropped “Say Yes” in June of 2014, featuring vocals from Kelly Rowland and Beyoncé. The Nigerian praise song, featuring a hard, calypso-inspired beat, was the kind of Destiny’s Child reunion one would expect: fierce, empowering, and ready for the club! Sure, it might be a gospel song, but that didn’t stop anyone from getting their good and holy twerk on to it. Having racked up close to 13 million views since its release, its video found the ladies reunited as well, and helped the song to become Michelle’s biggest solo hit to date. While it’s definitely a collaboration, Michelle still owns the track and holds onto it as her own. Together, though, Michelle, Beyoncé and Kelly delivered flawless vocal performances and those harmonies we all miss. “Say Yes” definitely gave fans a reason to praise, and made for one of the most exciting moments of 2014. Looking forward, it has also left fans wanting more, anticipating what 2015 may have in store for the ladies of Destiny’s Child. –Vincent

07. “i” by Kendrick Lamar

2014’s anthem for self-love, “i” is a true confidence booster. Kendrick chose this upbeat single to anticipate his new album. Built over a groovy sample of The Isley Brothers’ “Who’s That Lady,” the track recalls Outkast and even a bit of Lauryn Hill. Kendrick is letting everybody know that he’s paying no mind to the negativity and he’s willing to stay positive and spread that vibe because he believes in himself and what he can do. It’s refreshing to hear such a positive and relatable message in Hip-Hop again. –Mario

06. “Part II (On the Run)” by Jay-Z and Beyoncé

As a sequel to “03 Bonnie & Clyde” this is an even better song. The production with the Electronic elements is more mysterious and atmospheric and fits the lyrical theme of danger and rebellion better. Beyoncé’s subdued and almost dark vocals add a lot to the vibe of the song as well. “Part II (On the Run)” was easily the best song on Magna Carta… Holy Grail and proved that Bey and Jay together are still the hottest couple in music. Their work together continues to reach new heights.  –Mario

05. “West Coast” by Lana Del Rey

Lana introduced “West Coast” with a repeating clip of her spiraling on a west coast beach, taken from its full length video (which offers little more of note beyond the spiraling) and that just about embodies my relationship with the song. “West Coast” is a vibe-y, mood song with lush production and vocals. I’m still not really sure of what she’s going on about, but it doesn’t really matter. The song just feels good… better than most other songs to be released this year. –Vincent

04. “The Worst” by Jhené Aiko

This is the song that put Jhené on the map after years on the come up. “The Worst” is a song about a dangerous relationship with the kind of person you want to keep far but, at the same time, cannot help but staying with. The cold quality of Jhené’s soft vocals over the synths of the production give it a great effect and Jhené’s choice to interpolate lyrics from Jay Z’s “Excuse Me Miss” is also clever in the context of the song. One of the best R&B tracks of the year for sure. –Mario

03. “***Flawless” by Beyoncé, featuring Chimamanda Ngozi Adichie or Nicki Minaj

I wonder if Beyoncé knew when she decided to put it on her album that “***Flawless” would cause such a stir. Regardless of whether or not she expected it, she certainly owned all of the buzz it brought. Why did “***Flawless” incite such passionate reactions? Because Beyoncé asserted herself as a “feminist,” or at least seemed to by including clips from Chimamanda Ngozi Adichie in this female empowerment track. However, any questions of whether Beyoncé considered herself a “feminist” or not were answered by her performance at the 2014 MTV VMA’s where she stood proudly in front of a screen reading “FEMINIST” as she performed “***Flawless.” Dropping the remix with Nicki Minaj didn’t hurt, either. Like “Partition,” “***Flawless,” too is deeper than it seemed, but more on that here. Though it was released at the tail end of 2013, “***Flawless” took off fully in 2014 thanks to being serviced to radio in conjunction with its remix shortly after the infamous “elevator incident.” For that, and the innumerable “I woke up like this” selfies and t-shirts, “***Flawless” takes the cake as one of the year’s most culturally influential tracks. –Vincent

02. “Dedicated” by Mariah Carey, featuring Nas

Mariah Carey has always been fond of nostalgia, both lyrically and musically. “Dedicated” off her 2014 album Me. I Am Mariah may be her nostalgic pinnacle, though. Lyrically the song is a “fuck letter” to hip-hop that cleverly incorporates references to 80s and 90s urban music by artists like Eric B and Slick Rick, while musically incorporating Wu-Tang Clan (with its “Carey like Mariah” sample). That it manages to be both longing and upbeat, vintage and fresh is a minor miracle. –Jason

01. “Be Free” by J. Cole

No song is quite better suited to be named the best of 2014 than J. Cole’s “Be Free.” While never commercially released, “Be Free” transcends the more common goals of the “single.” It was released in August as a reaction to the murder of Michael Brown, and unfortunately continued to be an anthem for the remainder of the year in light of other events in America. Cole appeared on David Letterman in “promotion” of his album, but instead opted to perform only “Be Free” (which isn’t on his album) and added a third verse. The original track and live performances are extremely emotional, and even a bit hard to listen to, but Cole’s honesty and willingness to share his emotions with the world deserve the utmost respect. His emotions are not his alone, but shared by millions of other people worldwide who are also horrified at the state of the world. “Be Free” is the best song of 2014 because it embodied the collective thoughts of any living, breathing human being with a conscience in 2014. For some time, music has been void of a voice like Cole’s, and if this is the role he’d like to fulfill, well, then, a role well chosen indeed. And I can’t quite think of anyone better. –Vincent

The post The 19 “97” Songs of 2014! appeared first on THE 97.