Top 10 Worst Hit Songs of 2001

Top 10 Worst Hit Songs of 2001

Hello, and welcome back for another Year-End worst list, this time going back to my first full year of life, 2001. I’d planned to cover this year anyway, but Pulse Music Board is currently hosting a rankdown (ranking/countdown) of the Billboard Year-End list for 2001, so it got priority over 2017, which will be the next year I look at. 

I’ve heard many people say that the Early 2000s (2000-2002/3) was the last time popular music was good, but I’ve also heard people call 2001 a bad year for music, and after listening to all 100 songs on the 2001 Year-End list (although eight of those songs were repeats from 2000, I only listened to them because of the aforementioned rankdown), I understand both perspectives on this year. On the one hand, the time between 1999 (when Billboard relaxed their rules on what could and could not chart) and 2010 (the last year Rock was relevant) was the golden age of variety on the Hot 100, a time when all of the major genres (Pop, Hip-Hop, Rock, R&B and Country) could see success, and 2001 was no exception. On the other hand, the majority of songs on the 2001 Year-End list gave me absolutely nothing to talk about, to where I had to listen to the list a second time in order to remember how a good half of the songs went.

The 92 songs that debuted on the Billboard Year-End Hot 100 for 2001 got a cumulative score of 278/460, or 60.4% of a theoretically perfect score, higher than 2014 and 2019, but lower than that of 2010. It’s time to get onto the list itself, but as per usual, here are some Dishonorable Mentions.

Dishonorable Mention: Follow Me by Uncle Kracker (Peak: #5, Year-End: #19)

Man, this Uncle Kracker song sure does exist, doesn’t it?

Jokes aside, this is just a boring song that is sunk by Uncle Kracker sounding like he has a cold and the poorly written lyrics. Nothing else to talk about here, let’s move on.

Dishonorable Mention: When It’s Over by Sugar Ray (Peak: #13, Year-End: #46).

Another song that doesn’t give me much of a reaction, but makes the DM’s because the guys from Sugar Ray sound like frat-bro douchebags who just wanna get laid.

Dishonorable Mention: I’m Real by Jennifer Lopez ft. Ja Rule (Peak: #1, Year-End: #5)

This is mainly on here because of the farting synth that plays every five seconds, that’s pretty much it.

Dishonorable Mention: Loverboy by Mariah Carey ft. Cameo (Peak: #2, Year-End: #80)

Listen, I know that Mariah Carey is a great singer, but she can do much better than this cheap, dated production and endlessly repetitive lyrics.

Dishonorable Mention: Family Affair by Mary J. Blige (Peak: #1, Year-End: #31)

I’m sorry, Sean from Diamond Axe Studios, but I’m not a fan of this song, probably because “dancerie” isn’t a real word.

Dishonorable Mention: Survivor by Destiny’s Child (Peak: #2, Year-End: #23)

The last cut from the list, Survivor is saved solely by its admittedly well written lyrics and decent vocals. Other than that, however, it was one of the songs I least want to hear ever again. The production is cluttered and grating, and the chants of “WUT” in the chorus is quite annoying. I can hear the good song in here desperately trying to get out, but the bad elements drown out any semblance of quality it may have had.

Now, let’s get onto the list itself, starting with one of the worst cases of graverobbing I’ve ever heard.

#10: Music by Erick Sermon ft. Marvin Gaye (Peak: #22, Year-End: #83)

Graverobbing in popular music is quite common nowadays (see all the posthumous releases from XXXTentacion), but I think this may’ve been the song that started it all. Using a vocal sample from a 1982 album cut, the sample somehow makes Marvin Freakin’ Gaye sound bad, repeating the line “just like music” every ten seconds, and as another reviewer once said, I am not a fan of repetition in music. Erick Sermon is a total non-presence, and while I can sorta get into the funky groove, there’s this farting synth that plays in the background throughout the whole song. While I wouldn’t necessarily call this bad, it’s not something I’d ever want to return to, and the graverobbing is what gets this on the list.

#9: Someone To Call My Lover by Janet Jackson (Peak: #3, Year-End: #38)

If there was any song in 2001 that wasted its potential, it was this one. Built around a sample of Ventura Highway, the guitar line is actually pretty nice, but then it throws all that away. First, you have the dang beeping sound, which is annoying to say the least. The second problem is that the song is sugary sweet and chipper to the point of annoyance, especially when Janet goes “ay ay ay ay ay ay…”.  While I don't have a problem with Bubblegum Pop on principle, this is just too much for me.

#8: Get Over Yourself by Eden’s Crush (Peak: #8, Year-End: #92)

By 2001, the Teen Pop boom of the Late 90s was clearly on the decline (all of this stuff would be gone within two years), and one of the clearest examples of said decline would be this annoying little ditty. The production, while not exactly bad, definitely hasn’t aged well, and the girls from Eden’s Crush (a short lived Early 2000s girl group formed from an equally short lived TV show) lack any personality, aside from some annoying tendencies. Lyrically, it’s just this girl telling her ex boyfriend to “get over himself”, but it’s execution makes me not want to side with the girls in this song. While this is by no means the worst Teen Pop song of 2001 (we’ll get to that later), it’s not something I ever want to hear again.

#7a: Love Don’t Cost A Thing by Jennifer Lopez (Peak: #3, Year-End: #26)

#7b: Play by Jennifer Lopez (Peak: #18, Year-End: #72)

Yep, the other two J-Lo songs on the 2001 Year-End list are jointly taking the #7 spot on this list. I’m gonna talk about both of them together, because not only are they by the same artist, but they also have the same problem.

I don’t really mind most of either song. The lyrics aren’t at all bad or offensive (although they are a complete non-presence), and while J-Lo is a dollar store Janet Jackson (who you may recall took the #9 spot on this list), she’s not a bad singer. No, the problem with both of these songs is the production. Love Don’t Cost A Thing has these clunky, banging drums and drum machines that play every few seconds, while Play has a terribly dated beeping synth riff, both of which wear out their welcome in record time. I could see either of these songs being passable (not good, but passable), but alas, that was not to be.

#6: Bootylicious by Destiny’s Child (Peak: #1, Year-End: #42)

Do I really need to explain why this song sucks? It’s literally called Bootylicious. I’ll admit that the sample from Edge Of Seventeen isn’t all that bad, but come on, it’s called BOOTYLICIOUS. The lyrics are completely stupid, and while the ladies from Destiny’s Child do redeem this a little bit, it’s still a ridiculous song that I’m better off not hearing again.

#5: I’m A Thug by Trick Daddy (Peak: #17, Year-End: #89)

I’ll be honest, most of this song isn’t really all that bad. Sure, it has kids singing about being thugs, but for some reason it doesn’t really bother me. Trick Daddy’s a solid rapper, and the beat is just fine. That leaves one area that could be the reason this is in the bottom five: the lyrics, or really just one line in particular. Most of the lyrics are just typical Gangsta Rap stuff, including a bit about all the people and institutions he hates, police, judges etc. That’s all fairly normal in Hip-Hop, the relations between law enforcement and the Black community can be… strained to say the least. However, Trick Daddy doesn’t stop there…

“F**k the family of the victim”.

Seriously? “F**k the family of the victim”? I was legitimately shocked when I heard that line, and knew immediately that it was going to be on the list. Trick Daddy, count yourself lucky that I didn’t put this at #1 by default, because I can’t call that lyric anything other than inexcusable, even for a Gangsta Rap song.

#4: Southern Hospitality by Ludacris (Peak: #23, Year-End: #77)

Now we’re getting into the songs that I can’t find anything redeemable about. Southern Hospitality is one of the most boringly terrible songs I’ve ever heard in my life. The production is droning and a total non-entity, aside from these annoying buzzing synths. Sure, there’s this beat switch-up halfway through, but that only lasts a good 30 seconds out of this nearly five minute song. Ludacris, despite being a by and large energetic rapper sounds completely bored and like he doesn’t care. The lyrics are a totally empty mix of flexing and lusting upon ladies, not something up my alleyway to say the least. Luda, I know I’ve put you on my worst lists twice, and chances are this isn’t gonna be the last time, but I know you’ve got it in you to make great music, and I hope to hear some of that going forward in my journey through pop music.

#3: Oochie Wally by Nas and Bravehearts (Peak: #26, Year-End: #98)

If you know about this song, then you know why it’s on the list, but if you don’t, let me just say that this might just be the single filthiest song that I’ve ever heard in my entire life. I mean, the song literally opens up with a woman orgasming, and said orgasm noises are heard throughout much of the song. Instrumentally, the main element is a repeating exotic flute riff, but that’s not why this makes the list. There are so many filthy and gross lyrics in here that I don’t have time to go through them all, so I’ll just stick to the chorus.

“He really really really f**ked my coochie”

Yeah, I think we know that already.

“He really really really turned me out”

I don’t know what that means, nor do I want to.

“He really really really got to gut me”

That can’t be a good thing, can it.

“He really really made me scream and shout”

You are now now rocking with Will.I.Am and Britney B*tch.

Really, I don’t feel like going through any other lyrics in this song, so if you haven’t heard this, I recommend you either avoid it and remain blissfully ignorant, or listen to this and prepare to be irrevocably scarred by the grossness of this rightly forgotten turd. I honestly don’t know why it didn’t end up at #1, but this is how the list turned out, so let’s get on to the penultimate pick for this list.

#2: He Loves U Not by Dream (Peak: #2, Year-End: #28)

You know how I mentioned earlier in the post that there was gonna be another Teen Pop song on the list? Well, this is it. The bottom of the Late 90s/Early 2000s Teeny Bopper barrel. The instrumentation is a terribly dated mix of synths and drum machines, but that’s not the main reason this is on the list, much less at #2. No, that would be the toxic, bitchy attitude of the lyrics and performers. Lyrically, it’s not a bad concept, telling off a girl who’s trying to take her boy, but not only is there very little evidence that she’s actually trying to steal her boy, but if that were the case, I would actually want her to succeed, because the girls from Dream sound like the most petty of middle school drama queens, and the horrendously annoying backing vocals sure don’t help. Maybe I could give the lyrics and conceit of the song a pass if Dream (who were around 15 at the time) actually wrote it, but no, it was written by grown-ass adults who should’ve known better. Dream, more like a Nightmare. 

I’m honestly surprised by my own #1 pick. I mean, I knew it’d be on the list when I first heard it, but it just kept getting worse and worse to where it climbed all the way to the top of this list. This is a song that exemplifies everything wrong with it’s genre, and that I find nothing redeemable in. While this list may be subject to further revision if I ever redo this list in video form, this is how it turned out right now. So, without further ado, here is the Worst Hit Song of 2001.

#1: It’s Been Awhile by Staind (Peak: #5, Year-End: #14)

Post-Grunge is a genre that gets a very, very bad rep among music reviewers, and I didn’t totally get it. After all, I like bands like Daughtry and Switchfoot, and I don’t even mind Nickelback all that much. However, hearing this sludgefest has changed my mind completely, because this is an absolutely dreadful song. The lyrics are supposed to be about getting past your troubles, but frontman Aaron Lewis’ lifeless, monotone vocals make it sound like the most “woe is me” thing ever, and the drab, sludgy instrumentation sure doesn’t help. As previously mentioned, I don’t hate Post-Grunge on principle, but I certainly get the hate now. This song is utterly worthless, and it is The Worst Hit Song of 2001. The best list will be up within the next week or so, have a happy leap day everyone!

Top 10 Best Hit Songs of 2014

Top 10 Best Hit Songs of 2014

Now that we’ve gotten the bad stuff from 2014 out of the way, let’s take a look on the bright side, shall we? 2014’s good music came from a variety of genres and artists, and there were 19 hit songs from 2014 that I would consider truly great (20 if you count a borderline case that I will be addressing shortly). So, let’s not take up anymore time and dive straight into the Best Hit Songs of 2014, starting of course with the Honorable Mentions.

HM: Drunk On A Plane by Dierks Bentley (Peak: #27, Year-End: #79)

So, here is the borderline case that I mentioned in the intro. A last minute addition to the Honorable Mentions, Drunk On A Plane tells the story of a guy who was dumped at his wedding, having to take his would-have-been honeymoon alone. He proceeds to get intoxicated on his flight to Cancun, partying along the way. It pulls off the bittersweet emotional narrative flawlessly, similar to many Luke Combs songs that would come later in the decade (cough cough, Even Though I’m Leaving). However, the guitar solo has one particularly shrill note, which kept this from being firmly in the Great Tier, but the rest of the song more than makes up for it. Who knows, this could end up growing on me, but as of now, it’s just an HM.

HM: Team by Lorde (Peak: #6, Year-End: #18)

The follow-up to Lorde’s massive successful and influential breakthrough hit Royals, Team is an all-around bop. While the opening repetition of the line “send the call out” does get tiring, the rest of the song does more than enough to make up for it (wait, didn’t I just say the same thing about Drunk On A Plane?). Do the lyrics make any sense to me? No, but I honestly don’t care all that much when the hook is this infectious. Now, if only Green Light had made the 2017 Year-End list, then I’d really have something to talk about.

HM: Burn by Ellie Goulding (Peak: #13, Year-End: #39)

Another song with nonsensical lyrics that nonetheless coasts onto the Honorable Mentions based on it’s vibe alone. It uses the typical fire = intensity metaphor, but the explosive EDM production does more than enough for me to give it a huge pass, and I’m sure that it’d bump at a party. While Ellie Goulding never made another hit as good as Lights (a strong candidate for the best hit of 2012), this isn’t too far off.

HM: She Looks So Perfect by 5 Seconds Of Summer (Peak: #24, Year-End: #93)

Yes, that line in the chorus is ridiculous. In fact, pretty much every line in the chorus is laughably corny (I’m looking at you, “your lipstick stain is a work of art”), but when the song takes the high energy of Pop-Punk (while leaving behind the whininess of many other Pop-Punk songs) and combines it with a kickass Hard Rock riff on the chorus, I really couldn’t care less. It’s one of the few legit Hard Rock songs we got in the Top 40 in the 2010s, and I’ll take what I can get.

HM: The Monster by Eminem ft. Rihanna (Peak: #1, Year-End: #16)

Eminem and Rihanna collaborate yet again for another fantastic song, this time dealing with the pressure that comes with fame, and the demons that come with said fame. In contrast to the dated sludge that defined much of 2014’s Hip-Hop production, The Monster has upbeat Electronica production that, while still of it’s time, has aged much better than My N***a and Lifestyle. It’s no Love The Way You Lie, but it’s still the best Rap hit of 2014.

HM: Sweater Weather by The Neighbourhood (Peak: #14, Year-End: #75)

The only hit by Alternative band The Neighbourhood, Sweater Weather captures both the excitement and anxiety that comes from falling for someone in both its lyrics and sound. I’ve seen this named as the best hit of the year in other rankings, and while I obviously don’t agree, it’s still a dang good Indie Rock song.

HM: Bailando by Enrique Iglesias ft. Sean Paul, Descemer Bueno and Gente De Zona (Peak: #12, Year-End: #38)

In contrast to so many terrible Reggaeton songs that would come later in the decade, Bailando actually manages to be fun and romantic, something you’d actually want to dance to. While it still has the stock “dun da dun da” Reggaeton beat, it adds fully fleshed out Latin Pop instrumentation on top of it, and replaces the bitterness of songs like Te Bote with lyrics about dancing and having a good time. Even though I’m a Gringo who has no Iberian heritage whatsoever (the only Latin heritage I have is from Northern France, and even that is very minor), I feel qualified in saying that this is what Latin music is supposed to sound like.

HM: Rather Be by Clean Bandit ft. Jess Glynne (Peak: #10, Year-End: #41)

This song is boring, and I love it. It’s quite possibly the most impeccably produced song in pop history, and every single element of the song comes together flawlessly. However, it honestly feels too polished for its own good, and the lyrics are total nonsense (“switch up the batteries”? What in the name of Aunt Jemima is that supposed to mean?). Still, if you were to ask me what a great pop song sounds like, I’d point you to this one right here.

HM: Story Of My Life by One Direction (Peak: #6, Year-End: #24)

Screw you guys, this song is fantastic! A Pop Rock song with Folk elements (this did come out in 2013, after all), this showed real artistic growth from the bubblegum pop that made them famous (or infamous, these guys were HATED back when I was in 5th Grade). The lyrics detail the narrator’s struggles in his relationship with a girl, and the vocal performance is absolutely wonderful. I never hated One Direction, I probably never will, and I can say that this is a fantastic song.

HM: Come With Me Now by KONGOS (Peak: #31, Year-End: #88)

The fluke indie hit by South African rock band KONGOS, Come With Me Now is one of the most kick ass hits of the entire 2010s. Featuring both a badass pedal steel guitar solo and a FREAKING ACCORDION. The lyrics express how the narrator feels that his life is so empty that even the Devil finds no use in corrupting his soul, and that he needs something more exciting, if also dangerous in his life. While I don’t necessarily love this as much as a lot of other folks do, I still like this a lot, and you could consider this my Honorary #11. I’m sure you guys know what that means, it’s time for our Top 10 Best Hit Songs of 2014!

#10: Classic by MKTO (Peak: #14, Year-End: #50)

To start off the list proper, we have one-hit wonders MKTO and their Le Wrong Generation anthem, Classic. Built around an infectious groove that reminds me more than a little of Oh What A Night by The Four Seasons, these guys serenade a girl who they view as timeless and classy, referencing Michael Jackson, Prince, Marvin Gaye and other retro pop culture figures and trends. The reason that I bring up the Wrong Generation meme is that the song literally says that he thought he was born in the wrong time before he met this girl, and that he sees the world as having “gone plastic”. It’s funny that a song about lamenting modern pop culture became a Top 20 hit in and of itself, but when the groove is this strong and the hook is this great. This song’s so Classic.

#9: The Man by Aloe Blacc (Peak: #8, Year-End: #48)

And speaking of classics! Featuring an Elton John interpolation, The Man by Aloe Blacc is a fantastic throwback to classic Soul music. The instrumental is a timeless blend of piano, percussion and strings, with gospel backings to Aloe’s silky smooth vocals. Lyrically, Aloe is recalling how he persevered through tough times and made it out on top, and how he’ll help those who are going through the same struggles that he overcame. The chorus is pure boasting, but Aloe is such a confident performer that I believe that he is indeed The Man. This is also one heck of a pump up song, as I remember listening to this after I won a floor hockey tournament back in the day and feeling like the most badass mo’fo, even though I was just a thirteen year old white kid. It’s a shame that this has been forgotten over the past six years, because it’s a real gem, go give it another listen, you won’t regret it.

#8: Cool Kids by Echosmith (Peak: #13, Year-End: #59)

Here’s a bit of a change of pace from our last pick. In contrast to the self-confidence of The Man, Cool Kids tells the story of those who don’t fit in with their peers, fading into the background while others get all the attention. The 80s-influence Pop Rock instrumentation manages to sound both upbeat and depressing, fitting the vibe of the lyrics to a tee. While the frontwoman isn’t a very interesting vocalist, she’s fine enough to make the song work.

Truth be told, the reason this is on the list is because it’s way too damn relatable. While I was never bullied in High School, the school’s social cliques had been formed in Elementary School, and I only moved there in 7th Grade, so while I tended to get along with everyone pretty well, I didn’t make many friends. I always felt like an outcast, so when I relistened to this song while researching 2014, it just clicked for me, and I knew immediately that it was likely going to make the list. Sure enough, it grabbed a low but secure spot on this list.

#7: I Don’t Dance by Lee Brice (Peak: #33, Year-End: #98)

Aww, that’s sweet. The first of two country songs on the list is Lee Brice’s ode to his wife, dancing with her even though he’s not a good dancer. The lyrics are just about the sweetest thing I’ve ever heard, and the instrumentation is simple, yet effective. While I’m not the biggest fan of Lee Brice’s voice, he sells the song well enough to clinch this a spot on the list, albeit lower than it could’ve been with another vocalist.

#6: Pompeii by Bastille (Peak: #5, Year-End: #12)

Yeah, big surprise this made the list. A song wrapped in references to the Roman city of Pompeii that was destroyed by the Eruption of Mount Vesuvius in 79 A.D., the lyrics could either be interpreted literally as about the eruption itself, or figuratively as about a relationship that is falling apart. The instrumentation is made of a mix of heavy, pounding percussion, a synth line straight out of a Mario game, and gothic chanting that, according to the song’s genius page, is Latin for “alas”. I don’t know what else I could say about this one, it’s an awesome (in both the casual and Biblical sense of the word) song that I’ve loved since I was 13, and that most other people seem to as well.

#5: Ain’t It Fun by Paramore (Peak: #10, Year-End: #47)

This is the second best list in a row where Paramore has made the Top 5, but this trades out the Soft Rock of The Only Exception (my favorite hit of 2010) for 80s influenced Pop Rock on Ain’t It Fun. Said bouncy, fun instrumentation is contrasted brilliantly with the lyrical content, which is a reminder that you’re not always going to be the center of attention when you’re an adult. Hayley Williams is as great a vocalist as ever, and there are even some Gospel touches in the latter part of the song. This turned out to be Paramore’s biggest hit, and they would never come close to these heights again, but you know what, when your biggest hit is this, I can’t be too upset.

#4: A Sky Full Of Stars by Coldplay (Peak: #10, Year-End: #51)

Now, for quite possibly the most beautiful hit of the year. The blend of electronic and acoustic instrumentation courtesy of Avicii (R.I.P.) gives this track an astronomically large atmosphere (pun 100% intended), and the drop is Mid 2010s Electronica at it’s best. The lyrics compares the object of Chris Martin’s affection (presumably his wife Gwynteth Paltrow, with whom he was going through a divorce with at the time) to A Sky Full Of Stars, someone he will love unconditionally even if it is not reciprocated (“I don’t care, go on and tear me apart”). While a lot of EDM from this time has aged pretty badly, this holds up flawlessly six years later, and I’m likely to return to it for years to come.

#3: Chandelier by Sia (Peak: #8, Year-End: #25)

I don’t even know where to start with my #3 pick. One of the many songs about partying and getting drunk that came out of the first half of the 2010s, this stands out from most of those songs by being more emotionally complex and thoughtful. The narrator throws all caution to the wind by going out and partying, regardless of the crazy things that may happen there (“I’m just holding on for tonight”), and even though she’ll probably wind up with a nasty hangover and feel embarrassed of herself (“here comes the shame”). On the vocal front, Sia doesn’t just go right to the limits of her range, she blows right past them at times, I can’t imagine how she sings this live on tour. She’s not the only thing that goes over the top, though, as the production is as explosive and bombastic as anything I’ve ever heard in any genre. Just a fantastic pop song, one of the best of the 2010s, and that’s no exaggeration.

#2: Dirt by Florida Georgia Line (Peak: #11, Year-End: #66)

So I was actually first exposed to this song through Diamond Axe Studios and Cicabeot1’s Worst of 2014 list, specifically the dishonorable mentions. I gave a preliminary score of 6/10, because I was expecting to hear them say something stupid, and after all, it was a dishonorable mention on their list, so why should I expect anything good out of it? However, my preliminary score was so high because I knew that something like this was right up my alley. A Country-Rock power ballad about one’s appreciation for the land and with an anthemic chorus that wouldn’t sound too out of place in a song like I Don’t Wanna Miss A Thing? I might as well check it out.

Well, I’m sure you know what happened next. This isn’t just Florida Georgia Line’s best hit, this might be the best song in their entire discography. This is one of the few times where they didn’t come off as total meatheads, which is the case even on songs of theirs I like. In contrast to the chintzy, already dated after two years Meant To Be, the bombastic Country Rock on this song holds up more than well, and the lyrics, while a list of things associated with farms and rural areas, are delivered with conviction and sincere passion. That alone would be enough to get this a pretty secure spot on the list, or at least into the Honorable Mentions, but then it throws in one of the best lyrics that I ever heard.

“You know you came from it, and someday you’ll return to it”.

They were originally gonna cut the line because they thought it was corny, but as someone who has gone to more than a few Ash Wednesday services in his life, that hits right home. I could go on about how I feel about that line, but I don’t want to bore you with my religion-based ramblings, so I think it’s best that I move on to my #1 pick.

Honestly, I’m surprised by my own #1. I mean, I knew I liked this song, and that it was likely going to be on the list somewhere. Dirt was my initial frontrunner, and for a while I thought that Chandelier was going to end up winning, but it turned out not to be, as this turned out to best both of them. So, without further ado, here is my #1…

#1: Hey Brother by Avicii (Peak: #16, Year-End: #60)

We’ve finally arrived, my favorite hit song of 2014. A Country-EDM mashup, Hey Brother shows genre blending at its best. Featuring uncredited vocals from Bluegrass singer Dan Tyminski, the instrumentation on the verses is predominantly acoustic, with guitar, piano and a drum beat, before shifting more towards the electronic side on the buildup and drop. Lyrically, it is about the narrator’s love for his family, even through great distance, and the lengths he would go to in order to help them when they’re in need. Honestly, I don’t have it in me to go on some long-winded analysis, so I’ll just say that this is a damn near perfect song that I will return to for years to come. Hey Brother by Avicii, The Best Hit Song of 2014. R.I.P. Avicci, 1989-2018

I will be participating in two Pulse rankdowns this month. The first will be of Every #1 Hit of the 2010s, which will most likely not become a separate blog post, while the second will be of the 2001 Billboard Year-End list, which I will absolutely be turning into a Best and Worst list for my blog. Expect to see the worst list sometime around the end of the month, while the best list will likely be coming in March. Until then, take care, I’ll see you guys next time.