"Ho Hey" The Lumineers

Like so many crossover hits this year, the success of the Lumineers' "Ho Hey" is largely due to the attention it garnered in a television ad campaign for Microsoft's Bing search engine this summer. Last month, it completed an ascent to #1 on the rock and alternative charts, and now this lovely, gentle slice of indie folk is gaining momentum on pop radio. Built on crowd-pleasing punctuations of ho and hey, the song radiates an understated joy ("I belong with you, you belong with me/You're my sweetheart," Wesley Schultz casually sings during the refrain) that lifts the spirits. Listeners will enjoy wrapping themselves in the warm banjo melody during the coming winter months. A-

"Va Va Voom" Nicki Minaj

Though originally intended as the lead single from Pink Friday: Roman Reloaded, "Va Va Voom" was scrapped for "Starships" and is just now seeing a release to radio. While better than any of Reloaded's other pop singles thus far, "Voom" also features Nicki Minaj at her most anonymous ever, worked during post-production until she sounds like a singing computer, with none of her signature outrageous raps to distinguish her. The blaring mush of synths and drum machine beats is appealingly club-ready, but "Voom" could belong to any of Dr. Luke's disciples. That's not a path Minaj wants to go down; the quickest way to kill a career is to become unnecessary. B

"Oath" Cher Lloyd ft. Becky G

Brat-pop princess Cher Lloyd has been one of my favorite new artists this year. Her breakout hit, "Want U Back," was among the summer's best, utterly charming in its grunting impudence toward an ex. Follow-up "Oath" trades sass for sweetness, losing some of Lloyd's cheeky allure in the process, but even professing love and devotion, she oozes a playful swagger that is instantly beguiling. Over a bouncy hook, Lloyd cherishes the fun she's had with her boyfriend, including the time they "crashed your dad's new car," and it's refreshing to hear a 19-year-old singer acting her age (take note, Justin Bieber). Guest Becky G is a flavorless non-entity; attempting to bite Lloyd's style, she mistakes quirky vocal delivery for having a personality. B

Throwback Thursday: "Bad" Michael Jackson

Aiming for an edgier image and sound, Michael Jackson took the reigns of his seventh studio album, Bad, diving further into rock influences and dark subject matter. On the title track—written, composed and co-produced by Jackson himself—he attempts a transformation into tough guy, threatening to "take you right" and "hurt your mind" over a funky bass riff. It's an invigoratingly peppy pop song, with an emphatic chorus that practically demands the listener join in the self-worship, but the sensitive Jackson is clearly playing dress-up in his bad-boy attitude. Cooing his way through sneering provocations, "Bad" comes across as more West Side Story than Boyz N the Hood. B+

25 years ago this week, "Bad" was the #1 song on the Billboard Hot 100.

"Madness" Muse

Known for dark, brooding artistry and an intergalactic scope, Muse is a gleefully outsized presence in today's indie-dominated rock music scene. The British trio's latest single, "Madness," currently reigning at #1 on Billboard's alternative chart, remains a little more earthbound than their signature hits, grounded in emotional restraint, but it keeps the drama alive with a slow-burning electro prog-rock trip. Building from a burbling bass line, through the stuttering refrain and into a revelatory climax that bursts forth to the heavens, the song is a thrilling depiction of the titular lovesickness. A-

"Anything Could Happen" Ellie Goulding

It's been a great year on the Hot 100 for foreign artists, who have ruled the chart for half of 2012 thanks in large part to Canada's Carly Rae Jepsen and Australia's Gotye. Also among the notables is quirky Brit Ellie Goulding, making her own impressive run to #2 this summer with sleeper hit "Lights," originally released in July 2011 and now the owner of several longevity records. She's back with "Anything Can Happen," a synth-y love song with retro sensibilities that serves as the lead single from her sophomore effort, Halcyon. Its jaunty midtempo bounce and cheerful message are pleasant enough, but except for the ethereal post-chorus chanting, "Happen" lacks the urgent energy that made "Lights" so immediately grabbing. B

"The A Team" Ed Sheeran

Everybody loves a good tragedy once in a while; that's what's kept Romeo and Juliet alive in high school theaters across the country and propelled Adele to diamond sales of 21. So watch for the imminent success of Ed Sheeran's "The A Team," a delicate portrait of a woman's harrowing descent into drug addiction and prostitution. A hit in the singer-songwriter's native Britain last year, it is now taking off in the U.S., where the lilting melody and gritty subject matter have already pushed it toward the top ten of adult contemporary and rock radio. Wrapped in an inviting acoustic guitar riff, "A Team" is a stinging cipher, slowly revealing the depths of its grim reality. It's the best kind of downer: an unexpected sucker punch to the gut—and one that bruises all the more with knowledge of its inevitability. A

Throwback Thursday: "A Moment Like This" Kelly Clarkson

Where would American Idol be without "A Moment Like This"? Though an immediate cultural sensation upon its debut in the summer of 2002, the grandaddy of reality talent competitions arguably would not have survived a decade as television's biggest show if it hadn't proved itself a legitimate platform for launching a music superstar. Launch a superstar it did, however, in the form of inaugural winner Kelly Clarkson, whose debut single made a then record-breaking jump to the top of the Billboard Hot 100 in its third week of release.

Among Idol coronation songs, a notoriously terrible bunch, "Moment" is also the best (save this year's "Home" by Phillip Phillips, spared the indignity of inspirational treacle). That is perhaps the lucky result of its early place in Idol history, before the string of increasingly cringe-worthy anthems about The Journey. With its nods to destined romance and "that one special kiss," "Moment" is really just a love song in the Whitney-Mariah-Celine grand melisma tradition. Of course, having Clarkson touch on those themes in the context of winning a reality show is slightly odd, but against a backdrop of swelling strings, the sentiments play nicely, if a little empty. B

10 years ago this week, "A Moment Like This" was the #1 song on the Billboard Hot 100.

"Sweet Nothing" Calvin Harris ft. Florence Welch

He's got a keen sensibility for crafting club-bangers, but what distinguishes Calvin Harris—and has turned him into pop music's latest producer-of-the-moment—is the ability to inject his EDM creations with a deeper emotional authenticity. Though that's not always the case (as evidenced by this summer's flat "Let's Go"), "Sweet Nothing," a new collaboration between the Scottish DJ and British songstress Florence Welch, rings with vivid pain and heartbreak. Much of that credit is due to Welch, an incredible performer of music, who elevates her amorous defeat into something approaching spiritual crisis. But her passion is matched by Harris, conducting an overlay of synth loops both heavy and vibrant that reflects the song's clash of confusing emotions. B+

"Feel Again" OneRepublic

Since 2007's breakout smash "Apologize," Colorado quintet OneRepublic have been adult contemporary radio's go-to group for mellow meditations on love and life. It's a sleepy niche, suitable for calmer rush-hour commutes but not exactly brimming with exciting artistry. So how refreshing to hear Ryan Tedder and his bandmates put a little more pep in their step on "Feel Again," the lead single from their upcoming third studio album, Native. Featuring aching vocals, a tambourine and hand claps galore, it's a sort of white-boy gospel revival love song—reminiscent of the Killers' "All These Things That I've Done"—that truly invigorates the listener as it pulses with celebratory passion. A-

"Try" Pink

On "Try," the second single from her latest album, The Truth About Love, Pink veers away from her typical fist-pumping pop-rock sound. Perhaps softened by motherhood (daughter Willow Sage is a year old), Pink is sentimental—dare I even say, forgiving—as she reflects on getting over a soured relationship. (There is no rock star posturing or bitter name-calling in sight.) The new demeanor works for Pink, whose husky voice has always been well suited to raw expressions of heartbreak and her troubled youth. But "Try" is ultimately let down by its production, which overwhelms such a tender sentiment with harsh power balladry. B-

Throwback Thursday: "I Gotta Feeling" Black Eyed Peas

There's an elusive alchemy to crafting a hit song. One must find the right blend of trendy sounds, distinctive artistry and cultural buzz—and then hope for a little bit of luck (or payola) to take it the top of the charts. All those elements came together in perfect unison for the Black Eyed Peas in 2009, when "I Gotta Feeling" spent an astounding 14 weeks at #1 on the Billboard Hot 100, becoming the first song to sell over 7 million digital downloads in the process. How?, one may be inclined to wonder upon reflection. "Feeling" is certainly no work of pop genius, despite its liberal appropriation of Bar Mitzvah vernacular. But when has that ever been a problem for mainstream audiences? Following the explosive success of Lady Gaga, as well as BEP's impressive 12-week run at #1 with "Boom Boom Pow" just prior, their dance-pop party anthem was naturally poised to be the soundtrack of the summer (and beyond). Besides, in the dark, this throwaway B-level debauchery becomes an A-worthy exaltation of those cherished hazy memories.

Three years ago this week, "I Gotta Feeling" was the #1 song on the Billboard Hot 100.

"Catch My Breath" Kelly Clarkson

Kelly Clarkson has spent the better part of the last half-decade trying to recreate the magic of "Since U Been Gone." After the nearly career-ending flop of 2007's dark and angry My December, she has slowly climbed her way back to the top of the charts with a string of power-pop anthems clearly inspired by that Max Martin/Dr. Luke-penned smash. Results have ranged from lackluster copycats ("My Life Would Suck Without You") to spirited reimaginings ("Stronger [What Doesn't Kill You]," a #1 hit earlier this year), but none has reached the euphoric satisfaction of "Gone," which remains one of the best songs of the 2000s.

"Catch My Breath," the first single from Clarkson's forthcoming greatest hits collection, falls toward the latter end of that spectrum. Floating on airy synths, it doesn't invite immediate comparison to the grittier rock edge of "Gone." Then the enormous chorus kicks in. Nominally a reflection on her life since winning American Idol ten years ago, Clarkson's wails of "catching my breath" could just as easily work as another of the feeling good now that you're gone post-breakup kiss-offs that have been her bread and butter. "Breath" is not a bad song, but it's very basic, just going to prove that old adage: Sequels rarely improve upon the original. B

"Adorn" Miguel

It's no secret that R&B music is going through a bit of a rough patch right now. (Look no further than the top ten of Billboard's R&B chart last week, which featured only one song that has cracked the top thirty of the Hot 100.) So it's nice to see an artist like Miguel still committed to the genre—and making great music to boot—even as his peers reach for new ways to stay relevant in a difficult industry climate. His current #1 hit, "Adorn," is steeped in tradition, built on a relaxed groove reminiscent of '70s soul. It also has a delightful warmth about it, radiating simple but infectious joy as Miguel promises to celebrate his woman. That kind of good feeling—not the artificial satisfaction of party anthems, but genuine love—could stand to make a comeback of its own on radio. Maybe Miguel is just the saving grace R&B has been waiting for. A-

"Skyfall" Adele

It's been 50 years since Bond, James Bond, first graced the silver screen, and in celebration, Adele yesterday released "Skyfall," the theme song from the series' upcoming 23rd film of the same name. In contrast to recent efforts by the likes of Madonna and Chris Cornell, the track forgoes contemporary trends and action movie pacing for a more classically Bondian vibe. Backed by a lush 77-piece orchestra and a sample of Monty Norman's iconic original 007 theme, Adele is sultry and evocative, recalling those great Shirley Bassey tunes of yesteryear. The stately elegance of "Skyfall," however, is unlikely to leave listeners much shaken or stirred. B+

Throwback Thursday: "Total Eclipse of the Heart" Bonnie Tyler

A prevalent theme of 1980s popular culture is BIG: the hair, the technology, and of course, the power ballads. From Journey's tale of a small town girl living in a lonely world to Foreigner's searing inquiry into what love is, cheesy epics were standard fare in pop music—and perhaps none is greater than the glorious slice of Velveeta that is Bonnie Tyler's "Total Eclipse of the Heart." Featuring a boys' choir, an extended organ solo and lines like "Every now and then I get a little bit tired of listening to the sound of my tears," the song is utterly over-the-top, heightening the drama at every turn until it threatens to topple into bombastic nonsense. And yet it doesn't, because Tyler is so fully committed to the wild emotional ride that her climactic explosions of voracious passion keep the insanity aloft. Under the care of her powerful pipes, it all makes perfect sense. To paraphrase the chorus, desperate yearning and pop grandiosity can never be wrong together. A

29 years ago this week, "Total Eclipse of the Heart" was the #1 song on the Billboard Hot 100.

"50 Ways to Say Goodbye" Train

Admittedly, Train is not my favorite band; the goofy, relentlessly peppy brand of mom rock on which their recent career has soared is like my anathema. But surely "50 Ways to Say Goodbye" is some sort of low, even for them. Never mind that it sounds just like a mariachi-ized version of "Drive By"—Train's last single and one of the year's most annoying hits—because why not?! The true pain resides in the song's utterly witless central joke: lead singer Pat Monahan can't accept that his girlfriend dumped him, so he'll tell everyone that she died in absurdly extravagant fashion. Hilarious! I can't blame her for leaving. D-

"Locked Out of Heaven" Bruno Mars

Forget the singles artists (that means you, Flo Rida) and the fading veterans (sorry, Usher!). What the music industry needs right now is a true male pop star, and Bruno Mars—whose debut album, Doo-Wops and Hooligans, earned platinum sales, two #1 hits and six Grammy nominations—is probably the closest we have. Mars has distinguished himself over the past two years, both as a writer and a performer, for his ability to make retro influences feel strikingly current. That sensibility is on full display in new single "Locked Out of Heaven," the first from his sophomore effort, Unorthodox Jukebox. Featuring a reggae-fied New Wave inflection, it sounds like a lost Police track, updated for the 21st century with the occasional electronic touch. Mars sells it with a darkly alluring urgency that suggests this is exactly what pop radio has been missing. He's especially fantastic on the middle eight, wailing in tortured ecstasy as though he's just discovered the greatest pleasure he can never have. A-