Logic, Kendrick Lamar, Bruno Mars, Sam Smith, and Childish Gambino rank among the elite on the ‘100 Best Songs of 2017’ year-in-review playlist.
After much brainstorming, debating, listening, ordering, and reordering, the final edition of the best songs of 2017 has arrived. Is it perfect? No. Is it imperfect? Definitely…probably. There were lots of great, worthwhile songs that arrived throughout the course of 2017. There are naturally a couple of songs from 2016 because they made their most impact in 2017. After compiling some favorites, the number far outnumbered the 100 allotted spots. But after some cuts, and still maintaining a few instances were artists indeed have multiple entries, here are the 100 Best Songs of 2017.
1. Logic, “1-800-273-8255” (Ft. Alessia Cara & Khalid)
Everybody • Def Jam • 2017
With the release of “1-800-273-8255” Logic released the biggest, heaviest, and most meaningful song of his career. What makes “1-800-273-8255” so heavy? The title is the phone number for the National Suicide Prevention Lifeline. Logic approaches the song as a progression, starting from the suicidal perspective, encouraging the suicidal person to embrace life, and the suicidal person coming to the desire to live. He’s assisted by an angelic Alessia Cara and Khalid, who provides the punctuation mark, as the suicidal person who’s seen the light.
Suicide is a major issue. Originally appearing on another playlist (26 Notable LGBTQ Songs Since 2010), “1-800-273-8255” doesn’t explicitly mention the LGBTQ community, but it’s a key component of the accompanying music video. The video focuses on a black gay teen struggling with his sexuality. He contemplates suicide, but gets the proper help, as well as acceptance. Can you say feels?
2. Kendrick Lamar, “HUMBLE.”
DAMN. • Interscope • 2017
“I’m so fuckin’ sick and tired of the Photoshop / Show me somethin’ natural like afro on Richard Pryor / Show me somethin’ natural like ass with some stretch marks.” On energetic single “HUMBLE.,” Kendrick Lamar testifies about his come-up. Naturally, he emphasizes being humble, with a brilliant, gimmicky hook. Although some believe it’s a diss track, most likely, it’s more transcendent.
3. Bruno Mars, “That’s What I Like”
24K Magic • Atlantic • 2016
“That’s What I Like” thrives off immense swagger and sexiness. Furthermore, it brilliantly balances the 80s cues that dominate 24K Magic and the urban contemporary sound. The bridge, not to mention Mars’ exquisite falsetto, represent surefire, high-flying moments.
4. Sam Smith, “Too Good at Goodbyes”
The Thrill of It All • Capitol • 2017
One lonely piano chord precedes the beginning of Sam Smith’s vocal performance on the stunning “Too Good at Goodbyes.” As always, Smith sounds absolutely gorgeous, showing off his unique vocal tone and brilliant falsetto. Like his best work, “Too Good at Goodbyes” is (1) a ballad and (2) centered around love. Structurally, the pre-chorus serves as a key section:
“And every time you hurt me, the less that I cry
And every time you leave me, the quicker these tears dry
And every time you walk out, the less I love you
‘Baby, we don’t stand a chance, it’s sad but it’s true.”
5. Childish Gambino, “Redbone”
Album: “Awaken, My Love!” • Glassnote • 2016
![Childish Gambino, "Awaken, My Love!" [📷: Glassnote]](https://i0.wp.com/themusicalhype.com/wp-content/uploads/2016/11/childish-gambino-awaken-my-love-glassnote.jpg?ssl=1 "Childish Gambino, \"Awaken, My Love!\" [📷: Glassnote]")
“Redbone” is a soulful R&B record that’s clearly a throwback to the past. The chorus, in particular, is saturated with soulfulness. Glover’s vocals are gritty and drenched in effects, specifically pitch-shifted. With redbone, he’s referencing a “light skinned female mixed with black and another race.” According to Childish Gambino, he and numerous black dudes desire a redbone.
6. Khalid, “Location”
American Teen • RCA • 2017
![Khalid, American Teen [📷: RCA]](https://i0.wp.com/themusicalhype.com/wp-content/uploads/2020/08/khalid-american-teen-rca.jpg?ssl=1 "Khalid, American Teen [📷: RCA]")
The best attribute “Location”, the breakout hit single from teen R&B artist Khalid, are the beautiful, distinct, expressive vocals. No one who sounds like Khalid, hence, he sets himself apart from the rest of the pack. Beyond the slick production work, this is a well-rounded song, as he sensationally shares the desires of his young heart.
7. Demi Lovato, “Sorry Not Sorry”
Tell Me You Love Me • Island / Hollywood • 2017
“Sorry Not Sorry” kicks off Tell Me You Love Me with a serious bang. This is a slick, urban-pop joint with crossover written all over it. There are pitch-shifted vocals, hard anchoring drums, soulful, gospel-tinged piano, and of course synths. Demi Lovato shows off her chops throughout, soaring to the highest of heights.’ Her best moments come on the chorus, where she’s supported by backing vocals.
8. Kesha, “Praying”
Rainbow • Kemosabe • 2017
“‘Cause you brought the flames and you put me through hell / I had to learn how to fight for myself / …I’ll just say this is I wish you farewell / I hope you’re somewhere prayin’.” Kesha gave us all chills on “Praying,” the promo single for Rainbow. “Praying” marked her first departure – a stark contrast from her past work. A ballad, it’s clear from the jump she’s aiming for empowerment for herself, and others who’ve been in an unfortunate situation. By the end of the song, the powerhouse vocals are mind-blowing. The most surprising moment is when she nails a high F that no one – NO ONE – thought she could hit. Kesha ‘steps up her game,’ opting for empowerment and thoughtfulness over gimmickry and silliness.
9. Father John Misty, “Pure Comedy”
Pure Comedy • Sub Pop • 2017
“Pure Comedy” is the centerpiece of Pure Comedy, setting the tone of the album lyrically and musically. The lyrics are ambitious, and pure genius, finding Father John Misty referencing societal issues including women’s rights, religion, and politics. Musically, a full palette of sounds further confirms its excellence.
10. Ed Sheeran, “Shape of You”
÷ (Divide) • Atlantic • 2017
“Shape of You” was destined to be the hit it became. Though the sound is somewhat uncharacteristic of Ed Sheeran, the change of pace is incredibly successful. “Shape of You” is soundly produced (Steve Mac), with a dance-able, tropical tinge. As always, Sheeran remains consistent vocally, weaving effortlessly through the rhythmically quick melody. All in all, it’s a fun, infectious gem.
11. Sam Smith, “Pray”
The Thrill of It All • Capitol • 2017
“You won’t find me in church, reading the Bible / I am still here and I’m still your disciple / I’m down on my knees, I’m beggin’ you, please / I’m broken, alone and afraid.” On the powerful ballad “Pray,” Sam Smith expresses his skepticism towards religion and the existence of God. Nonetheless, he feels the need to pray and try to believe in something: “I have never believed in You, no / But I’m gonna pray.”
12. Ryan Adams, “Do You Still Love Me?”
Prisoner • Blue Note 2017
“Why can’t I feel your love? / Heart must be blind / What can I say? / I didn’t want it to change / But in my mind, it’s all so strange.” “Do You Still Love Me?” Initiates mysteriously and exhibits sensitivity, amplified by the use of an organ pad. The sensitivity is short lived, with guitar interjections intensifying the emotion. Ultimately, the pacing and development of the record are superb. Adams begins his vocal performance tenderly, eventually embracing an assertive, gritty approach.
13. Jay-Z, “4:44”
4:44 • Roc Nation • 2017
Without question, “4:44” is the best song from the critically-acclaimed Jay-Z album, 4:44. “4:44” features one of the most awesome samples of the album, courtesy of British soul band Hannah Williams & the Affirmations (“Late Nights & Heartbreak”). Notably, Kim Burrell provides additional vocals, which fit seamlessly into the music. Interestingly, the title track was conceived at 4:44 A.M. and clocks in at 4:44 in length. While the production and overall sound are radiant, the message is truly ear-catching. Jay-Z apologizes to Beyoncé for his infidelity – starting from the opening tip. “4:44” is the crown jewel.
14. Luis Fonsi & Daddy Yankee, “Despacito (Remix)” (Ft. Justin Bieber)
Universal Music Latin/Republic
Luis Fonsi, Daddy Yankee, and Justin Bieber deserve to be proud. The vast accomplishments that “Despacito” accomplished throughout the course of 2017 are enough to earn it a spot on this list. Amazingly, it’s the first Latin song to reach no. 1 on the Billboard Hot 100 since “The Macarena” in 1996. Furthermore, it tied “One Sweet Day” for most weeks at no. 1 – 16 weeks! Beyond its résumé, “Despacito” is “smooth as butter” and incredibly catchy, Spanish and all.
15. Harry Styles, “Sign of the Times”
Harry Styles • Columbia • 2017
“Just stop your crying, it’s a sign of the times / We gotta get away from here…” On “Sign of the Times,” Harry Styles delivers an impressive vocal performance that is perfectly suited for this rock-pop ballad. As the song progresses, his voice only grows riper. “Sign of the Times” is beautiful, tackling topics of morbidity, heaven, and being open as opposed to covert.
16. Portugal. The Man, “Feel It Still”
Woodstock • Atlantic • 2017
Alternative bands can rarely tout scoring a top-five pop hit on the Billboard Hot 100. Portland, Oregon standouts Portugal. The Man have bragging rights with one of the grooviest, infectious songs of 2017, “Feel It Still.” The production is crisp and clear, while frontman John Gourley delivers sensational, light, airy, and agile high-pitched vocals. Reminiscing rarely comes off this excellent.
17. Kendrick Lamar, “DNA.”
DAMN. • Interscope • 2017
‘DAMN,’ “DNA” bangs hard from the jump as Kendrick Lamar shares the composition of his DNA. Ultimately, various things characterize him. He raps in maddening fashion, showcasing insane wordplay. The bridge divides the song into contrasting parts, addressing the ubiquitous topic of racism. The second verse is the most ferocious, backed by a malicious beat.
18. Migos, “Bad and Boujee”(Ft. Lil Uzi Vert)
Culture • 300 Entertainment • 2017
19. The National, “The System Only Dreams in Total Darkness”
Sleep Well Beast • 4AD • 2017
The National frontman Matt Berninger describes the thought-provoking, superbly-produced “The System Only Dreams in Total Darkness” as “An abstract portrait of the weird time we’re in”. That explains the odd vibes of the record. On the first verse, lyrically, he’s disappointed and arguably, deceived. Such deception continues throughout the chorus section, which masterfully captures the sign of the times.
“The system only dreams in total darkness
Why are you hiding from me?
We’re in a different kind of thing now
All night you’re talking to God.”
20. Cardi B, “Bodak Yellow”
Atlantic
“Said, ‘Lil bitch, you can’t fuck with me if you wanted to’ / These expensive, these is red bottoms, these is bloody shoes.” On “Bodak Yellow,” rap newcomer Cardi B isn’t playing around. She’s as confident and tough as any male rapper. Backed by malicious production, she’s on autopilot from the start. She characterizes herself as a hard worker, as well as referencing luxury brands including BAPE and Yves Saint Laurent. Furthermore, she discusses her private parts. It may lack in substance, but it’s an electrifying banger.
21. Foo Fighters, “The Sky is a Neighborhood”
Concrete and Gold • RCA • 2017
“The Sky is a Neighborhood” is the ‘cat’s meow,’ commencing lushly, with an ambient sound, led by choral vocals, guitar, and cello. Soon enough, Dave Grohl enters like a “bull in a china shop,” giving the song an edgier, hard-rock sound. Even so, he possesses a soulfulness, and “Sky is a Neighborhood” has ample pop sensibilities. The chorus is the crowning achievement, featuring mammoth, menacing guitars and biting, exuberant vocals.
22. Kelly Clarkson, “Love So Soft”
Meaning of Life • Atlantic • 2017
“Love So Soft” is a feisty, soul-pop joint that shows off mad personality from Kelly Clarkson. It is arguably the crowning achievement from Meaning of Life. There are retro cues and vibes on this minor-key pop record, which prove to be a perfect match for Clarkson. Such cues include the punchy, boxy drums, gospel-driven backing vocals, and the horns. The repetitive, biting chorus is modern, in line with the gimmicky pop dominating the game these days. The best feature is the vocals. Clarkson’s pitch is great, her tone is ripe, and the nuances sublime. The falsetto towards the end is sick.
23. P!nk, “What About Us”
Beautiful Trauma • RCA • 2017
After a five-year hiatus, P!nk came back strong with Beautiful Trauma. The ‘strength’ isn’t only represented by the quality of the album, but also the commercial performance week-one. She sounds top-notch on “What About Us,” arguably the crowning achievement of Beautiful Trauma. Vocally, while she packs a punch, she also exhibits great control. The chorus is a major selling point:
“What about us?
What about all the times you said you had the answers?
What about us
What about all the broken happy ever afters?
What about us
What about all the plans that ended in disaster?
What about love? What about trust?
What about us?”
24. Demi Lovato, “Tell Me You Love Me”
Tell Me You Love Me • Island / Hollywood • 2017
“Oh, tell me you love me / I need someone on days like this, I do / On days like this.” “Tell Me You Love Me,” the title track from the album of the same title, features top-notch production work, particularly during the rousing chorus. Next come the voice, as Demi Lovato delivers a terrific performance filled with powerful, heartfelt, high notes. The verses capture your attention, while the chorus hits you right in the chest, face – everywhere. By the time you get to the final iteration, you personally want to tell Demi Lovato, “I love you.”
25. Sampha, “(No One Knows Me) Like the Piano”
Process • Young Turks • 2017
“(No One Knows Me) Like the Piano” is an emotional, reflective gem that grips the listener from the jump. A subtle record, the lyrics pack a punch, not to mention the personal, authentic vocals of Sampha. He characterizes the piano in his mother’s home as his confidante – the sole person who understands his feelings, issues, and otherwise. Ultimately, he has returned home, not only for his beloved childhood piano, but also due to the illness and eventual death of his mom.
26. DJ Khaled, “Wild Thoughts” (Ft. Rihanna & Bryson Tiller)
Grateful
Epic
DJ Khaled constructs a surefire hit with “Wild Thoughts,” enlisting the help of Rihanna and Bryson Tiller. The first thing that stands out about “Wild Thoughts” are the Latin vibes. A certain, late-90s classic is sampled – “Maria, Maria,” courtesy of Santana. Instantly it gives “Wild Thoughts” a major lift. Rihanna is on autopilot from the jump, sexed up, enticing her man with her naughtiness. She confirms her “wild thoughts” on the repetitive, but irresistibly delicious chorus. She continues throwing mad innuendo on the second verse. Bryson Tiller, who sings the third verse, kicks the explicitness up a notch. The recipe is a great one: awesome production, superstar cast, and of course, sex.
27. The xx, “Say Something Loving”
I See You
Young Turks
Romantic gem “Say Something Loving” finds The xx – Oliver Sim and Romy Madley Croft – tackling insecurities brought on them by love. Rhythmic tension is established following the intro, an intensity that remains throughout the chorus. The chorus varies throughout the song, but the sentiment is consistent:
“You say something loving
it’s so overwhelming, the thrill of affection
feels so unfamiliar
You say something loving
Without hesitation it hits me, hits me
It feels so unfamiliar.”
28. Kelly Clarkson, “Move You”
Meaning of Life
Atlantic
“Move You” is an uplifting, thoughtfully written ballad about moving one another in regards to a relationship. Essentially, Kelly Clarkson wants to ‘complete’ her husband and ‘be his everything.’ The tempo is slow, but heavy pop/rock drums add some punch. Overall, the production is a selling point, including gospel choral vocals, guitar, and strings. Those choral vocals truly elevate “Move You,” providing more fuel for Clarkson’s lead. Not that she needed it – she’s inspired all on her own.
29. Ed Sheeran, “Perfect”
Album: ÷ (Divide)
Atlantic
On “Perfect,” a standout from ÷, Ed Sheeran keeps in step with love, a subject that graces some of his best, most thoughtful songs.
“Baby I’m dancing in the dark with you between my arms
Barefoot on the grass, listening to our favorite song
When you said you looked a mess, I whispered under my breath
But you heard it, darling, you look perfect tonight.”
“Perfect” has an endearing, soulful quality that hearkens back to years before Sheeran was even born. He’s sincere, exhibiting authentic, genuine emotions, carried by his personality. “Perfect” doesn’t break new ground, but he executes it near-perfectly. The feels are there ladies and gents.
30. Julia Michaels, “Issues”
Nervous System (EP)
Republic
“Issues” is arguably one of the most relatable, down-to-earth pop songs of 2017. Singer/songwriter Julia Michaels lays out the case for the success of their relationship perfectly throughout the course of the song. It all comes together on one of the year’s most memorable choruses:
“‘Cause I got issues, but you got ‘em too / So give ‘em all to me and I’ll give mine to you / Bask in the glory, of all our problems / ‘Cause we got the kind of love it takes to solve ‘em / Yeah I got issues / And one of them is how bad I need you.”
31. Tim McGraw & Faith Hill, “The Rest of Our Life”
The Rest of Our Life
Sony
Tim McGraw and Faith Hill shine on “The Rest of Our Life,” the second single and title track of their joint album. From the start, there’s a soulfulness, old-school sensibility about “The Rest of Our Life.” Perhaps it’s the piano, the organ, or the six-feel, but it’s clear the classic vibes are intentional. It feels warm and inviting. McGraw kicks things off vocally. He’s commanding as always, but also sentimental, showcasing a gentler quality. Hill joins him on the chorus, before magnificently singing the second verse. Expectedly, the vocal chemistry between the two is excellent. The vocal production only amplifies the magic, highlighting the harmonies. The crowning achievement occurs on the thoughtful, high-flying chorus.
32. Jay-Z, “The Story of OJ”
4:44
Roc Nation
“The Story of O.J.” is one of many standouts hailing from the critically-acclaimed Jay-Z album, 4:44. “The Story of O.J.” incorporates samples from Nina Simone (“Four Women”) and Funk Inc. (“Kool Is Back”). The Simone sample gives “O.J.” a jazzy quality. The hook emphasizes that black is black, regardless of status or shade. Naturally, the record is controversial, most notably thanks to stereotypical Jewish references.
“You ever wonder why Jewish people own all the property in American? This how they did it.”
33. Chris Stapleton, “Them Stems”
From a Room: Volume 1
Mercury
“This morning I smoked them stems / Yeah, that’s the kinda shape I’m in / I’m in a bad, bad way again.” “Them Stems” shines, thanks to being unapologetic. Chris Stapleton has been smoking “them stems” – those left-handed cigarettes. “Them Stems” is arguably the most fun joint (no pun intended) on From a Room: Volume 1, as well as follow-up From a Room: Volume 2. There’s simply an undeniable infectiousness about Stapleton’s situation.
34. Sofi Tukker, “F*ck They”
Ultra
“I don’t give a fuck about they.” Sofi Tukker (Sophie Hawley-Weld and Tucker Halpern) don’t hold back on “Fuck They.” After the initial detonation of ‘the bomb,’ a sick, danceable beat anchors the feisty joint. Hawley-Weld offers up cool vocals that eschew histrionics, but still packs a punch. Her upper register vocals help to amplify the energy. Also, it doesn’t hurt she drops those bombs left and right. Halpern gets into the action as well as “Fuck They” eventually employs some good ole call and response. As Sophie continues to emphasize she “don’t give a fuck about they,” Tucker adds, “Who’s they,” “They don’t even give a fuck,” and “Who’s they anyway.” Explicit, but infectious.
35. Arcade Fire, “Everything Now”
Everything Now • Columbia • 2017
Arcade Fire returned in a big way in 2017 with dance-rock record “Everything Now,” the promo single from album Everything Now. Frontman Win Butler delivers a respectable, tasteful vocal performance, intact with its fair share of playful moments. The production work is superb, incorporating rhythmic guitars which help retain an acoustic, folksy vibe that contrasts the disco sensibilities. The M.O. Is literally everything now. Throughout the song, the phrase means different things, both good or bad.
36. Future, “Mask Off”
Future • Epic • 2017
“Mask Off” gave Future a monstrous hit on his first of two studio albums released in 2017, Future. The production features the signature southern rap drums that characterize the album, but the sound is lighter. This change of pace adds some variance. Depth is an issue, but Future has his reflective moments. The druggy hook is the crème de la crème:
“Percocets, molly, Percocets … / Rep the set, gotta rep the set / Chase a check, never chase a b***h / Mask on, f**k it, mask off … / Percocets, molly, Percocets / Chase a check, never chase a b***h / Don’t chase no b***hes”
37. Ed Sheeran, “Castle on the Hill”
÷ (Divide) • Atlantic • 2017
“Castle on the Hill” is one of three Ed Sheeran songs that appears on this list from his third studio album,÷ (Divide). “Castle on the Hill” embraces more of the singer-songwriter, pop-rock sound. Sheeran superbly constructs a narrative, autobiographical approach, particularly on the verses. The chorus is the selling point, as he delivers enthusiastic, energetic vocals. Beyond thoughtfully composed verses and chorus, the bridge is incredibly strong.
38. Logic, “Black SpiderMan” (Ft. Damian Lemar Hudson)
Everybody
Def Jam
“Black SpiderMan” features lush, gospel-tinged production work, giving the record an exuberant quality. Logic sings respectably on the hook, over the spiritually-driven backdrop. Following the spirited hook, he breaks into quick-paced, spirited rhymes. The central theme – everybody is included. He highlights race, sexuality, and religion. The titular lyric arrives towards the end of the lengthy verse, with Logic changing the perceptions of familiar things, including references to black Jesus.
39. Chris Stapleton, “Tryin’ to Untangle My Mind”
From a Room: Volume 2
Mercury
“Tryin’ To Untangle My Mind” shimmers from the start. This is good ole, old-school, traditional country music at its best. Stapleton embraces outlaw country, clearly contrasting the dominant, modern, pop-oriented style. Stapleton gives his all and couldn’t care less about being anachronistic or old-school. Instead, he goes against the grain and trends, and comes out on top. His artistry and skill is impeccable.
40. DJ Khaled, “I’m the One” (Ft. Justin Bieber, Quavo, Chance the Rapper & Lil Wayne)
Grateful
Epic
On the gargantuan album Grateful, former no. 1 hit “I’m the One” keeps the momentum alive and well. DJ Khaled secures guest appearances from Justin Bieber, Quavo, Chance the Rapper, and Lil Wayne for an irresistibly infectious ride. “I’m the One” isn’t particularly innovative, but incredibly catchy and easy on the ears. Admit it – Justin Bieber sounds great here.
41. 21 Savage, “Bank Account”
Issa Album
Epic
“Bank Account” is by far the crowning achievement of Issa Album. Featuring simple production built around a guitar line, spare some synths, and an anchoring groove, it’s magical. Furthermore, the subtlety of 21 Savage’s delivery is perfectly suited. Even though the sound is kinder and gentler, there’s still fire. The repetitive hook is infectious, even if references to shooters shouldn’t have that effect.
42. blackbear, “do re mi”
Album: digital druglord
Interscope
“Do re mi fa so fuckin’ done with you, girl / So fuckin’ done with all the games you play / I ain’t no tic tac toe / Send the X and O’s on another note.” So, blackbear wrote a song about pitch syllables and it became a hit? Wow! “Do re mi” has NOTHING to do with pitch syllables, aka solfege – at least beyond constructing a catchy chorus. Using those pitch syllables only amplifies the catchiness and cleverness of “Do re mi.” blackbear is unhappy with his girl. If he didn’t break up with her previously, “do re mi” is the final straw. Remaining profane, he asserts, “Bitch, you crazy.”
43. Spoon, “WhisperI’lllistentohearit”
Hot Thoughts
Matador
Although the title track has an argument for inclusion as well, the best song from Hot Thoughts is arguably “WhisperI’lllistentohearit.” A mouthful, “Whisper” begins slower in tempo, with an enigmatic sound. Britt Daniel seems to encourage a lonely soul. Following a slower pace, the record kicks up the tempo and infuses more energy. Lyrically, Daniel compels, particularly when he treads on the absurd:
“Candy man drives a fast car
He can be there any time
His fuel is anticipation
It’s good to feel wanted sometimes
All these expectations
Waiting for my cells to divide
Wait, is that too maudlin?
’m just look for some sign of life.”
44. Alt-J, “3WW”
Relaxer
Atlantic
“3WW” (Three Worn Words) kicks off the alt-J album Relaxer splendidly. The sound is folksy, with a pleasing quality that sets the tone of the album. The lyrics are poetic, with great vocal performances from members Gus Unger-Hamilton and Joe Newman, as well as guest contributions from Ellie Rowsell. “3WW” encompasses love and sex, with the love being temporary.
45. Zedd & Alessia Cara, “Stay”
Interscope
The collaboration between Zedd and Alessia Cara on “Stay” is magical all in all. Cara imparts tale of desire, wishing him to stay despite the fact he’s leaving. Attached, she admits her shortcomings throughout the course of the song. The best moment comes on the chorus, where she truly rises to the occasion, backed by the sick production work of Zedd. Never overproduced, “Stay” always remains in control, never crossing the line.
46. The xx, “Dangerous”
I See You
Young Turks
“Dangerous” kicks off I See You with a controlled punch. The brass hits give the opener an edge, but the record never grows raucous or loses the sense of control. The groove is infectious, while the cool, calm, and collected approach of Romy Madley Croft and Oliver Sim is quite successful. Perhaps calling “Dangerous” electrifying is an overstatement, but it sets the bar high for I See You and easily ranks among the year’s best.
47. Camila Cabello, “Havana” (Ft. Young Thug)
Epic
“Havana” gave Camilla Cabello her first big hit as a solo artist. After the meh “Crying in the Club” and the fun, but overshadowed “OMG,” “Havana” was the song that resonated. And why not? There’s Latin influence within the production, sound vocals by Cabello, and an irresistible, infectious hook. There’s acquired taste Young Thug too, but Cabello holds down this gem herself like a champ.
48. Imagine Dragons, “Believer”
Album: Evolve
Interscope
The script for promo single “Believer” plays true to the identity established by Imagine Dragons. The drums are gargantuan, packing a mean punch. Dan Reynolds continues to deliver overt vocals, with a bite. He also employs a mean falsetto which is key here, particularly during the chorus. Rhythmically, the melody of the pre-chorus on “Believer” is quick-paced, with a dash of hip-hop sensibility. The chorus – the crème de la crème –is anthemic, with a strong urban influence. All in all, it’s tough NOT to be a believer in “Believer.”
49. Queens of the Stone Age, “The Way You Used to Do”
Album: Villains
Matador
The ambitious and energetic single “The Way You Used to Do” ranks as one of the crowning achievements from Villains, the 2017 album from Queens of the Stone Age. “The Way You Used to Do” is produced by revered English producer Mark Ronson. A refreshing record, it combines the grit of rock music and the fun, groove of vintage pop and soul. Distorted guitars depict the utmost devilishness, yet it’s radiant, if ungodly ear candy to the listener’s ear.
50. Lorde, “Green Light”
Melodrama
Republic
“Green Light” served as an early indication that Lorde was evolving her sound on her sophomore album, Melodrama. Being a departure, “Green Light” gives her a fresh start. Lorde doesn’t sound particularly smooth vocally, but her raspy, coarse tone is quite appealing. Her intensity is a selling point, as she shows feistiness from the onset. After delivering the pre-chorus in her lower register, everything comes together on the chorus, which is incredibly infectious.
“‘Cause honey I’ll come get my things, but I can’t let go
I’m waiting for it, that green light, I want it.”
Dance-able production work and fantastic backing vocals provide the cherry on top.
51. Miguel, “Told You So”
War & Leisure
RCA
The brilliant “Told You So” follows, showcasing Miguel at his grooviest. While there are synths, the pop-rock guitars still play a big role in the success and overall production approach. The influence of Prince is loud and clear here. While “Told You So” sounds fresh in 2017, it also easily could’ve hailed from the 80s. Throughout the course of “Told You So,” he’s soulful, commanding, and clearly on autopilot. Thematically, amplified by the accompanying music video, this is no ‘dance party’ – it goes deeper.
52. Sigrid, “Don’t Kill My Vibe”
Don’t Kill My Vibe – EP
Island
Sigrid isn’t a big name…YET. Judging by her soaring pop single “Don’t Kill My Vibe,” the 21-year old Norwegian artist won’t experience a lack of notoriety for long. “Don’t Kill My Vibe” latches from a first listen with its exuberant vocals and compelling production to match. Who would dare kill this girl’s vibe?
53. The Killers, “Tyson Vs. Douglas”
Album: Wonderful Wonderful
Island
“When I saw him go down / Felt like somebody lied / I had to hold my breath ‘til the coast was clear.” Las Vegas band The Killers dropped a superb, sports-related songs with “Tyson vs. Douglas.” It also ends up being among the best songs of the year. “Tyson vs. Douglas” is incredibly clever, using a famous boxing match to fuel its fire. Unlike the aforementioned boxing-specific chorus, the verses focus on a bigger picture, more personal and pertinent to Flowers. The bridge specifically sheds light on Flowers’ feels:
“Lookin’ out the window out on the street
My boy and his mother
And I think of me
Feelin’ the slip again
Don’t wanna fall
You said it was nothing, but maybe you’re wrong.”
54. Rag’n’Bone Man, “Human”
Human • Sony Music • 2017
“Human,” the breakthrough single by Rag’n’Bone Man has been around since 2016, but didn’t grace the charts until 2017. It has all the ingredients of a hit – It’s groovy, well written, and it’s chocked full of soulful vibes. Furthermore, it’s relatable: “I’m only human after all / Don’t put the blame on me.”
55. Charlie Puth, “Attention”
Album: Voicenotes, 2018
Artist Partner Group
In 2016, Charlie Puth dropped a critically panned debut album entitled Nine Track Mind. The silver lining was platinum success for the up-and-coming pop star. He ‘ups the ante’ on the flirty, fun “Attention,” which serves as the promo single for his 2018 sophomore album, Voicenotes. His falsetto is even riper than before, and generally, he packs more punch vocally. The production is also strong, benefiting from an infectious, danceable groove.
56. J Balvin & Willy William, “Mi Gente” (Ft. Beyoncé)
Universal Latin / Republic
The best way to characterize “Mi Gente” is a fiery, Latin banger. J Balvin, Willy William, and Beyoncé shine on this surefire hit, featuring an infectious Latin (reggaeton) hip-hip beat. J Balvin is on autopilot. Beyoncé sings in both English and Spanish, naturally most perceptibly sexed-up on the English portions. J Balvin and Beyoncé make a great collaborative team, trading lines throughout different parts of the song. All in all, “Mi Gente” features solid performances, solid production, and infectious energy for years to come.
57. Daniel Caesar, “We Find Love”
Freudian
Golden Child Recordings
“We Find Love” is one of the best songs from Freudian, the debut album by up-and-coming Canadian R&B artist, Daniel Caesar. “We Find Love” gives Freudian a bit more oomph, even if it only pushes the tempo up a few beats per measure. It’s still slow, but there’s greater intensity, greater confidence, and greater presence from Caesar here. Beautiful choral vocals amplify the record to the nth degree, blurring the lines between urban contemporary and contemporary black gospel.
58. Dua Lipa, “New Rules”
Album: Dua Lipa
Warner Music UK
Up-and-coming English-Albanian pop star Dua Lipa seemed to come out of nowhere in 2017. For most of the year, admittedly, she wasn’t on the radar of The Musical Hype. She gets her just do with a spot on the year-end best songs list with “New Rules,” where she refuses to reconcile with or be ‘done wrong’ by an ex, no matter how tempting it is.
59. Sofi Tukker, “Best Friend”
Ultra
It’s all good for Sofi Tukker on “Best Friend,” their second entry on the best songs of 2017 list. Great production, solid vocals (gimmicky and natural), and catchy songwriting help make “Best Friend” a hit. “Best Friend” commences with a bang. The friendship begins with an abrupt intro (the eventual chorus), backed by a sick percussion groove. It’s followed by a more aggressive instrumental, with biting horns leading the charge. The groove intensifies, setting up the infectious pre-chorus and chorus sections. The Knocks, NERVO and Alisa Ueno get in on the infectious, groovalicious action.
60. Spoon, “Hot Thoughts”
Hot Thoughts
Matador
Hot Thoughts kicks off spiritedly with standout, “Hot Thoughts.” Interestingly, the title track possesses a danceable quality, despite the fact Spoon isn’t a pop band. Even given its pop sensibilities, the record rocks hard enough to please fans and rock enthusiasts alike. Both musically and lyrically this is an enticing record. While Britt Daniel and company partake of innuendo, they never cross the line. About a romantic interest, given the cited city, the assumption is she’s Japanese.
61. N.E.R.D., “Lemon” (Ft. Rihanna)
No One Ever Really Dies
Columbia
N.E.R.D. makes a huge comeback with “Lemon,” assisted by Rihanna. Pharrell Williams kicks things off crazily, pop-rapping over an up-tempo, frantic backdrop. Following the unapologetic verse, he drops an incredibly catchy, yet bizarre refrain. He continues his high-flying pop-rap on the second verse, stepping aside for Rihanna to rap the chorus. She’s filled with attitude, stealing the show. While “Lemon” may be bizarre, but it’s bizarre in the most epic way.
62. The Killers, “Run for Cover”
Wonderful Wonderful
Island
“Run for Cover” finds Brandon Flowers and company turned up to the nth degree, with 80s new wave cues going full throttle. This is clearly The Killers’ wheelhouse. Flowers pushes his voice to the limit, showcasing infectious energy. The best moment is the powerful, gargantuan chorus. As far as content, there are politics, as well as a reference to Sonny Liston. The central idea seems to be about losses – making mistakes and their ramifications. Ultimately, it rocks.
63. 2 Chainz, “It’s a Vibe” (Ft. Ty Dolla $ign, Trey Songz & Jhené Aiko)
Pretty Girls Like Trap Music
Def Jam
2 Chainz strikes gold on “It’s a Vibe.” Depth is eschewed, but the vibe is legit. Ty Dolla $ign and Trey Songz perfectly amplify the sexual intent of the number. 2 Chainz spends his verse rapping about money, sex, and hustling. Adding the feminine touch is Jhené Aiko, who sounds as sensual as ever in her sweetest, ‘cool-as-a-cucumber’ voice.
64. Jason Isbell and the 400 Unit, “Anxiety”
The Nashville Sound
Southeastern
“Anxiety” is nothing short of epic. Fitting for an equally epic artist like Jason Isbell and the 400 Unit. The lengthiest song off The Nashville Sound, “Anxiety” is worth every bit of its seven minutes. The title explains it all – Isbell can’t get past his anxiety. On the chorus, he passionately sings:
“Anxiety
How do you always get the best of me?
I’m out here living in a fantasy
I can’t enjoy a goddamn thing.”
What causes his anxiety? Life itself. On the first verse, he’s worried about losing his family, which is his world. On the second verse, he starts it off with “It’s the weight of the world.” The music on this particular song is awesome, particularly the instrumental at the end.
65. Alt-J, “In Cold Blood”
Relaxer
Atlantic
“In Cold Blood” features a sharp, gritty, and robust sound. This fun, deadly record centers around “Pool, summer, summer, pool, pool summer / Kiss me.” Sure, using binary code to commence a song lyrically doesn’t sound like your typical good time, but it’s one of the quirks that makes “In Cold Blood” special. Clever wordplay and trying to interpret the record itself makes it a surefire gem.
66. Paramore, “Hard Times”
After Laughter
Fueled By Ramen
Though it loses some of its luster on the final, year-end edition of this list, “Hard Times” remains among the elite of 2017. The record marked a departure for Paramore. From the jump, the sound is based in 80s cues – a stark contrast for Hayley Williams and company. Ultimately, it’s successful, keeping the band fresh and relevant. The lyrics reflect the theme: overcoming hard times and moving beyond them. Another stellar moment occurs during the bridge, where Williams is coming down, and rebuilding harmonious relationships with those closest to her.
67. Charlie Wilson, “Smile for Me” (Ft. Robin Thicke)
In It to Win It
RCA
“I’m here to say / When everything ain’t okay / I promise it’s gonna change / So won’t you smile for me.” Okay, okay – “Smile for Me” is more mid-tempo than ballad. Nonetheless, the ‘feels’ are definitely here! “Smile for Me” gives Uncle Charlie one of his most soulful, exceptional moments from In It to Win It. Paired with neo-soul standout Robin Thicke, “Smile for Me” is simple in concept, but reaps massive benefits of being so simplistic. Essentially, Wilson and Thicke tout the power of a smile and showing resolve through the hardest of times. The vocal chemistry between the two is magnificent – two truly gifted musicians.
68. Miguel, “Sky Walker” (Ft. Travis Scott)
War & Leisure • RCA
Promo single “Sky Walker” continues in all its glory. Miguel continues to deliver vocally, adding some swagger as well. Like the two songs that precede it, “Sky Walker” generally possesses the sound we associate with the musician. There are some tweaks – “Sky Walker” sounds more modern – but there’s still the sense that he still has ‘one foot in the door of the past.’ In regards to messaging, it’s all about denouncing and proving haters wrong, something that is made clear from the jump. Travis Scott guests on the second verse, playing into the message and flexing lyrically. He doesn’t break new ground, but it’s enjoyable all in all.
69. Gabriel Garzón-Montano, “Crawl”
Jardín
Stones Throw
“Crawl” employs some impressive harmonic twists and turns, eliminating predictability. Besides showcasing a fantastic knack for music theory, the romantic joint thrives. Gabriel Garzón-Montano is undoubtedly infatuated with his bae:
“I act a damn fool
Baby when you crawl around on me
And I’ll thank you too, it’s true
Lapping up the whole damn thing love it when you sing.”
70. Fleet Foxes, “Third of May / Ōdaigahara”
Crack-Up • Nonesuch • 2017
“Third of May / Ōdaigahara” is the crème de la crème of Crack-Up, the third studio album by Fleet Foxes. A truly epic record, only the brave will attempt to decode the lyrics themselves. Thankfully, frontman Robin Pecknold gives his own annotations, explaining his brilliant use of homophones, coincidences, and various dates. In addition to the breathtaking, specific lyricism, the music is equally genius, shifting from major to minor, and incorporating Japanese music at the end.
71. The Killers, “The Man”
Wonderful Wonderful
Island
The Killers kill it on their cocky, electrifying comeback single, “The Man.” The sound is malicious, anchored by a ‘takes no prisoners’ groove. Even before the bravado of the frontman Brandon Flowers blesses the track, it’s clear The Killers are in a “kick ass and take names” sort of mood. Indeed, they do just that, especially on the chorus:
“I got gas in the tank
I got money in the bank
I got news for you baby, you’re looking at the man
I got skin in the game
Headed to the hall of fame
I got news for you baby, you’re looking at the man.”
72. Lorde, “Supercut”
Melodrama
Republic
On standout “Supercut,” the ninth track from Melodrama, Lorde relives a wild relationship through a supercut. What exactly is a supercut? A supercut is a compilation of a large number of video clips, typically showing examples of a repeated or clichéd action or phrase in films or broadcasts. Essentially, in the context of the song, the relationship seems to be overvalued – shallower and less glamorous than it is viewed from the participants’ perspective.
73. Alt-J, “Deadcrush”
Relaxer
Atlantic
“Deadcrush” is the most contemporary-sounding record from the alt-J album, Relaxer. Here, the band incorporates hip-hop sensibilities in the most alternative way possible. Perhaps odder than the sound is the subject matter – literally, dead crushes! The dead crushes are photographer Lee Miller and, taking it even further back, Anne Boleyn. A verse is dedicated to each, describing how their historical suitor felt about each. In regards to Miller, Alt-J states, “Man Ray went cray cray over you.” In regards to Boleyn, well, “Henry Tudor left you lifeless.”
74. Halsey, “Strangers” (Ft. Lauren Jauregui)
Album: Hopeless Fountain Kingdom
Astralwerks
“She doesn’t kiss me on the mouth anymore / ‘Cause it’s more intimate, then she thinks we should…” “Strangers” serves one of the singles from Alt-pop artist Halsey’s sophomore album, Hopeless Fountain Kingdom. “Strangers” contrasts most of Hopeless Fountain Kingdom, establishing itself as an LGBTQ song early-on. The chorus confirms the LGBTQ tilt:
“Said that we’re not lovers, we’re just strangers
With the same damn hunger
To be touched, to be loved, to feel anything at all.”
Lauren Jauregui, a member of Fifth Harmony, shares her side of the story on the second verse. Both unite on the bridge:
“I miss the mornings with you laying in my bed
I miss the memories replaying in my head
I miss the thought of a forever, you and me
But all you’re missing is my body.”
75. Keyshia Cole, “Incapable”
11:11 Reset
Epic
Keyshia Cole delivers well-rounded, powerful lead vocals on “Incapable.” Perhaps the best way to describe the performance is as high-flying. One of her best attributes is her upper register, which thrills on the memorable chorus.
“Oh what, oh what a feeling
The one that I thought I needed
Was incapable, incapable of needing me back
Incapable, incapable of loving like that.”
Perhaps there are too many sections in regards to the form of the song, but ultimately, Cole gives too much of a thrilling, heartfelt, and impactful performance to ignore or over-criticize this gem. This is among the best songs from 11:11 Reset.
76. Jason Isbell and the 400 Unit, “Cumberland Gap”
The Nashville Sound
Southeastern
“Cumberland Gap,” the second song off of The Nashville Sound, continues the excellence of the Grammy-nominated album by Jason Isbell and the 400 Unit. Contrasting the opener, “Cumberland Gap” has more of a rock edge. Electric guitars add a grittiness to the sound. Additionally, the tempo is quicker. The chorus is simple, yet irresistible: “Maybe the Cumberland Gap just swallows you whole.” What’s the context? Isbell paints a picture of living life in a box, without more variation and aspirations. Hence, living the life in (around) the Cumberland Gap – literally or metaphorically – can seem like a deathtrap of sorts because of limited opportunities.
77. SZA, “Love Galore” (Ft. Travis Scott)
Ctrl
RCA
“Done with these niggas / I don’t love these niggas / I dust off these niggas / Do it for fun.” On “Love Galore,” SZA writes off men, specifically black men. Even so, he hollas at her nonetheless, with the sole intent of having sex. That’s the role Travis Scott plays on the third verse. Cleverly, he references SZA leaving him, then naturally, references his prowess in the bedroom. Perhaps electrifying is an understatement, but “Love Galore” packs a punch.
78. P!nk, “Beautiful Trauma”
Beautiful Trauma
RCA
After commencing as a ballad, opener “Beautiful Trauma” picks up steam, accelerating the pace, and filling out the production. P!nk impresses vocally, oscillating between smoother and coarser vocals. Her punchier, more assertive vocals are fabulous, and the vocal production amplifies the excellence. “Beautiful Trauma” is filled with sounds, shifts, and plenty of excitement.
79. The War on Drugs, “Holding On”
A Deeper Understanding
Atlantic
The War on Drugs deliver a gem with “Holding On,” which boasts a bright, rhythmically-driven, enthusiastic sound. Frontman Adam Granduciel sounds superb vocally, showcasing a beautiful tone and an undeniable exuberance that matches the production work. The lyrics are poetic and honest on the verses, as he depicts the push and pull of love. He is distressed over the state of the relationship, eventually questioning if he’s held onto the past for too long.
80. Brett Young, “In Case You Didn’t Know”
Brett Young
Big Machine
California country singer Brett Young was one of the breakout artists of 2017. That’s amazing considering his age – he’s a ripe 36. Just proves, “age ain’t nothin’ but a number,” to quote Aaliyah. For whatever reason, after reviewing numerous tracks and inserting them into various playlists, somehow “In Case You Didn’t Know” fell through the cracks. It shouldn’t have. This country ballad screams ‘feels’ all over, most impressively on the authentic, thoughtful, high-flying chorus.
“In case you didn’t know
Baby I’m crazy ‘bout you
And I would be lying if I said
That I could live this life without you
Even though I don’t tell you all the time
You had my heart a long, long time ago
In case you didn’t know.”
81. Sharon Jones & The Dap-Kings, “Call on God”
Soul of a Woman
Daptone
“Call on God” fittingly concludes Soul of a Woman, the final album by the late Sharon Jones, in the gospel-infused, deep-, southern soul style. Jones’ vocals are incredibly powerful and sincere. Here, at the very end, Jones is witnessing – testifying to God’s goodness, mercy, and ‘wonder working power.’
82. Reba McEntire, “Back to God”
Sing It Now: Songs of Faith & Hope
Big Machine
Reba McEntire blessed the world with her first gospel album in 2017, Sing It now: Songs of Faith & Hope. While the entire album is incredibly uplifting, “Back to God” ranks among the most moving moments. With all the problems that plague the world, Reba asserts, “We gotta give this world / Back to God.” This is a song that certainly appeals to the Christian base, embracing the power of faith and prayer above all. Even though “Back to God” isn’t a new song (Randy Hauser composed and sang it originally in 2008), Reba makes it her own, giving it new life.
83. Calvin Harris, “Rollin” (Ft. Future & Khalid)
Funk Wav Bounces Vol. 1
Columbia
“Rollin,” the third single from Calvin Harris’ new album, Funk Wav Bounces Vol. 1, provides some truly enticing ear candy. Harris is on-point in regards to production work, while Khalid does shows off his glorious vocal talents against a chill AF backdrop. Future delivers a performance that’s a bit rough around the edges, but nowhere near killing the killer vibe.
84. George Ezra, “Don’t Matter Now”
Columbia
George Ezra keeps it short and sweet on “Don’t Matter Now.” The production is exuberant, channeling vintage rock and soul. The rhythmic guitar, bass lines, and horns stand out in particular. Add to the mix sensational backing vocals and a fun, carefree performance from Ezra. All in all, George has a good thing going for him.
85. Rex Orange County, “Apricot Princess”
Apricot Princess
Rex Orange County
“Apricot Princess” opens with lush production work, thanks to strings, vibes, and thoughtful orchestration. Rex Orange County sets the tone, which is emotionally driven. After professing his love over a slow tempo, things speed up. Rex wants to show the world that she means and is the world to him.
86. Kesha, “Old Flames (Can’t Hold a Candle to You)” (Ft. Dolly Parton)
Rainbow
Kemosabe
One of the very best songs from Kesha’s third studio album, Rainbow, doesn’t arrive until near the end. Regardless, cover “Old Flames (Can’t Hold a Candle to You)” is certainly worth the wait. “Old Flames” gives Kesha another country cut. She enlists the original artist who performs the gem, country royalty Dolly Parton. Ultimately, the duet is magical, memorable, and among the crème de la crème of the artist’s career.
87. Depeche Mode, “Where’s the Revolution”
Spirit
Columbia
“Where’s the revolution? / Come on, people / You’re letting me down.” Depeche Mode were critical of the current state of affairs on their 2017 album, Spirit. Indeed, Spirit was fittingly chocked-full of spirit, particularly on “Where’s the Revolution.” The source of the frontman Dave Gahan’s anger is government and the game of politics. Even as Gahan criticizes those in power, the chorus points the finger at the people (aforementioned). By the bridge, the revolution ensues, characterized by repetition: “The train is coming… / So get on board / Get on board…/The engine’s humming.” The production is intense, amplified by its minor key.
88. Khalid, “Shot Down”
American Teen
RCA
“Shot Down” is one of the best moments from American Teen, the debut album by R&B artist Khalid. Arguably, the ballad resides in the same league as the teen musician’s breakthrough single “Location.” Throwback, yet fresh, he blesses the listener with his soulful, distinctive instrument, singing about over-infatuation.
“I been through it whole
I’ve been through the worst
But I never knew how much our love could hurt
Over my family I put you first…”
89. John Legend, “One Woman Man”
Fifty Shades Darker
Republic
Among the best songs from the Fifty Shades Darker soundtrack is “One Woman Man,” courtesy of John Legend (co-written with Toby Gad). Legend gives the soundtrack a timely lift when he arrives. As soulful as ever, he shows his knack for nuance and emotionally-driven vocal performances. Ultimately, “One Woman Man” ranks among the crème de la crème because of its authenticity. This could easily appear on a John Legend album and feel right in place.
“A one-woman man
A one-woman man, oh
Want you all to myself
Don’t want nobody else…”
90. Knox Fortune, “Lil Thing”
Paradise
Knox Fortune
Sometimes, the best songs of the year aren’t necessarily the biggest. That’s the case with “Lil Thing” from up-and-coming singer-producer Knox Fortune. The best way to characterize Fortune is as alternative – he’s ‘one of a kind.’ Notably, the twenty-something Chicago musician has worked with Chance the Rapper. In the case of “Lil Thing” from his quietly released project, Paradise, Fortune has summer on his mind, delivering surefire trippy, psychedelic excellence.
91. G-Eazy, “No Limit” (Ft. A$AP Rocky & Cardi B)
The Beautiful & Damned
RCA
G-Eazy seems to be everywhere these days. He’s remained busy in 2017, highlighted by the release of his third studio album, The Beautiful & Damned. “No Limit” serves as the promo single for the set. G-Eazy is assisted by Cardi B and A$AP Rocky. Rocky sets the f**kboy tone of “No Limit,” which totally suits G-Eazy. G-Eazy follows up with a cocky post-chorus, as well as a verse that encompasses sex, money, and his uncompromising confidence. He returns for the third verse, referencing Costco rubbers, Damn Daniel, and Saint-Laurent. Cardi B drops the second verse, matching the unapologetic nature of G-Eazy.
92. The Chainsmokers, “Something Just Like This” (Ft. Coldplay)
Memories… Do Not Open
Columbia
There’s a lot to criticize about Memories…Do Not Open, the debut album from The Chainsmokers. However, “Something Just Like This,” a collaboration with Coldplay, is a bright spot. Drew Taggart relinquishes lead vocal duties to Chris Martin and “it was very good…” something like that. The record’s best moments come on the chorus, which is chocked full of exuberance, courtesy of the vocals, synths, and driving rhythm.
93. Big Sean, “Sunday Morning Jetpack”
I Decided. • Def Jam • 2017
“Thank you, God, for all my setbacks / ‘Cause he the reason I’m able to give back / This feels like my Sunday morning jetpack / Feel like I sent prayers up and got blessed back…” “Sunday Morning Jetpack” ranks among the most mellow songs on I Decided. Furthermore, it is one of the most beautiful songs on under-the-radar LP. Big Sean thrives in reflective mode, while The-Dream used limitedly, also sounds exceptional.
94. Halsey, “Alone”
Hopeless Fountain Kingdom • Astralwerks • 2017
“I know you’re dying to meet me / But I can just tell you this / Baby, as soon as you meet me / You’ll wish that you never did.” “Alone,” another standout from Halsey’s sophomore album Hopeless Fountain Kingdom, samples popular soul gem “Nothing Can Stop Me” (Marilyn McCoo and Billy Davis, Jr.). Vocally, her tone sounds particularly beautiful here. Clearly, she’s opting for a more soulful, R&B oriented sound, matching the backdrop. Interestingly, Halsey references how she’s changed over the years.
“She said she told you she knows me, but the face isn’t right
\She asked if I recognized her and I told her I might.”
95. Walk the Moon, “One Foot”
What If Nothing • RCA • 2017
“Cross my heart / And hope to die / Taking this one step at a time / I got your back if you got mine / One foot in front of the other.” Walk the Moon deliver the goods on the exuberant “One Foot.” “One Foot” commences exuberantly with ripe falsetto from Nicholas Petricca. The production work is bright, anchored down by a driving groove. The vocals are strong throughout it course, the lyrics are catchy, the production work is slick AF, and the song is well-rounded. The crowning achievement of “One Foot” – the chorus.
96. Melanie Fiona, “Remember U”
BMG Rights Management
Underrated Canadian R&B singer Melanie Fiona made an awesome comeback in 2017 with her heartbroken single, “Remember U.” The single is ultimately set to appear on Fiona’s 2018 comeback album. Despite the fact that R&B is in an odd place, Fiona doesn’t abandon it in the least on “Remember U.” This gem thrives off its old-school sensibilities – horns, piano, and soulful guitar anchor “Remember U” down. This is new ‘soul,’ allowing Fiona to show off incredible authenticity and emotions vocally. Furthermore, it’s clearly in her wheelhouse – heartbreak. The best moment for ‘feels’ is the soaring chorus, where strings accentuate the heartfelt vibes.
“‘Cause all I do
All I do is remember you
Remember you, you, you, you!
All I do
All I do is remember you
All that I’ve been through!”
97. Marvin Sapp, “Close”
Close • Provident • 2017
Marvin Sapp showcases a beautiful vocal tone throughout the course of “Close,” the crowning achievement of his album of the same title. As the song progresses, the performance grows progressively more rousing, thanks to authentic, emotional lead vocals, backing choral vocals, and dynamic production. Gospel music is naturally filled with the spirit, meant to uplift its recipients, much like the minister at the church “fills up” the parishioners. “Close” packs the same punch, giving the listener the utmost hope and conviction to make it through life’s hardships and many tribulations. In that regard, “Close” is pitch perfect.
98. Halsey, “Bad at Love”
Hopeless Fountain Kingdom
Astralwerks
On the powerful “Bad at Love,” Halsey is open about being bad at love. On the first verse, she references her “boy back home in Michigan.” Ultimately, she messes it up and “Now he’s gone and he’s calling [her] a bitch again.” On the second verse, it’s a “girl with California eyes.” Unfortunately, she “Never got a chance to make her mine / Because she fell in love with little thin white lines.” There’s not much more to add – “Bad at Love” is pretty self-explanatory.
99. Daley, “Until the Pain is Gone” (Ft. Jill Scott)
The Spectrum • BMG Rights Management • 2017
“Yeah ‘cause I know that you get lonely / So show me the things you’re scared to show me / We can go on and on and on / ‘Til the pain is gone / (‘Til the pain is gone).” British R&B singer Daley amplifies the emotions on the soulful “Until the Pain is Gone,” featuring Jill Scott. It initiates lushly, showcasing its urban identity from the onset. While it’s old school, the vibe is refreshing because it’s the ‘rarer’ flavor as opposed to the dominant, predictable one. Making a formidable team, Daley and Scott deliver authentic performances about the plight of love.
100. Joey Bada$$, “Y U Don’t Love Me? (Miss AMERIKKKA)”
All-AmeriKKKan Bada$$ • Pro Era / Cinematic Group • 2017
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