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Childish Gambino, Years & Years, Janelle Monáe, Drake, and Shawn Mendes earn songs in the top-five of the “50 Best Songs of 2018 (So Far).”

That time of year has come! What time? Time to attempt to assemble a list of the best songs of 2018 (so far).  Assembling the ‘best’ songs is nothing short of a daunting task that seems to get tougher year after year.  Records and songs are > than albums these days, which makes compile a list of 50 songs incredibly tough. This list will continue to evolve as the year progresses, with the potential for some of these songs being axed when the final list arrives in December.  Nonetheless, for now, here are the 50 Best Songs of 2018 (So Far) in my humble opinion.

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1. Childish Gambino, “This Is America”

This is America– Single • RCA • 2018

Childish Gambino (Donald Glover) returned with a bang in 2018 with single “This is America”.  While the approach lyrically is simple on this record, the socially-conscious message that Glover makes is pitch-perfect – clearly relevant to the times. Throughout the course of the record, Glover references policing in America and gun violence, important issues in the black community, as well as focusing on excess as a distraction from those truly important matters. A stark contrast from the throwback soul of “Awaken, My Love!”, Glover shows incredible giftedness and versatility as a musician.

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2. Years & Years, “Sanctify”

Palo Santo • Universal Music • 2018

British electro-pop band Years & Years brilliantly fuses sexuality and spirituality on “Sanctify”, the promo single from their 2018 album, Palo Santo. The production is bright, despite being set in a minor key (there are some major moments). Anchored by a beat fit for any hip-hop record, plus fine keyboard/synth work, the backdrop sets up Y&Y for a surefire bop.  Adding to the glory, frontman Olly Alexander delivers exuberant, expressive vocals, filled with authenticity. The chorus is the centerpiece, but there are numerous notable lyrics, including the following excerpt with a double meaning:

“You don’t have to be straight with me

I see what’s underneath your mask

I’m a man like you, I breathe the rituals of the dancer’s dance…”

The “straight” lyric is key, as Alexander, who is gay, was inspired with experiences with straight guys.  In the linked article from Attitude, Olly asserts said straight guys were “struggling with their sexuality.” He touches upon issues of masculinity in regards to sexuality. “Sanctify,” hence, is a superb addition to the LGBTQ repertoire, as well as socially-conscious music overall.

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3. Janelle Monáe, “Pynk”

Ft. Grimes

Dirty Computer • Bad Boy • 2018

“Pynk, like the inside of your… baby.” Dirty Computer, the third album by eclectic R&B artist Janelle Monáe, is by far her boldest and most personal, with highlight “Pynk” leading the charge. On the verses, Monáe likens pynk to vagina, women in general, and feminism. The theme of the record – feminism and same-sex female attraction/love – earns more attention than the production and sound of the record, which is excellent in its own right. Dirty Computer comes off as Monáe’s coming out party – she officially came out as pansexual during the album rollout.

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4. Drake, “God’s Plan”

Scary Hours • Cash Money / Young Money • 2018

“God’s plan, God’s plan / I can’t do this on my own… / Someone watchin’ this shit close, yep, close…/ Might go down as G.O.D., yeah, wait / I go hard on Southside G / I make sure that north-side eat.” On the melodic “God’s Plan”, a number one hit single by Drake, the rapper-singer seems to acknowledge God himself (“I can’t do this on my own”). Even so, he still references his share secular ideas. “God’s Plan” has been one of the biggest hits of 2018, particularly the accompanying music video that finds Drake giving back.

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5. Shawn Mendes, “In My Blood”

Shawn Mendes • Island • 2018

Canadian pop heartthrob Shawn Mendes masterfully exhibits vulnerability, resolve, and soulfulness on the emotionally-driven, powerful, and resolute “In My Blood”.  From the start, he exhibits his best attribute – his voice.  On the first verse, Mendes shares his struggles: fears, insecurities, and loneliness.  He casually sings portions of this verse in his lower register, amplifying his vulnerability.  The second verse is shorter, but a bit more melodic. By the pre-chorus/chorus sections, the full scope of his vocal expressiveness is unleashed. The soulful beastliness of his vocals, plus the ad-libs, arrive in their full, youthful glory on the titular lyric (“It isn’t in my blood”).

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6. Drake, “Nice for What”

Nice for What – Single • Cash Money / Young Money • 2018

Drake gets the rare honor of landing multiple songs on the best of list (so far). “God’s Plan” was certainly his ‘ace in the hole,’ but the superb “Nice for What” replaced “God’s Plan” at no. 1 on the Billboard Hot 100. “Nice for What” brilliantly samples the beloved, Lauryn Hill classic, “Ex-Factor”.  The producers soundly use the sample, speeding it up, yet retaining its original glory. An excellent, old-school, hip-hop soul beat anchors down the record. Drake drops a compelling, rhythmic flow, oscillating between pop-rap and unpitched rhymes. Musically, he makes good choices, specifically the use of space allowing Hill’s sampled vocals to shine.

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7. BØRNS, “I Don’t Want U Back”

Blue Madonna • Interscope • 2018

“I should’ve known better when you’re coming to bed at four in the morning / I should’ve taken your eyes avoiding me as a warning.” Uh-oh – relationship issues! Michigan bred, Cali-based alternative musician BØRNS nails it on “I Don’t Want U Back”, a single from his 2018 sophomore album, Blue Madonna.  The biggest selling point of “I Don’t Want U Back” is BØRNS’ distinct, beautiful voice. He exhibits a beastly, yet radiant tone with his high-pitched vocals. The falsetto is masterful to say the least.  Additionally, the production shimmers, while the songwriting is both memorable and thoughtful, particularly the chorus.

“I sleep better than every night you were lying next to me

Don’t wanna see your face, you need to face the facts

I don’t want you back

I don’t want you back.”

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8. Ghost, “Rats”

Prequelle • Loma Vista • 2018

Grammy-winning Swedish metal collective Ghost returned amped-up on “Rats”, the promo single for their fourth studio album, Prequelle. Regarding “Rats,” Ghost mastermind Tobias Forge shared with Revolver,  “It’s actually not technically about rodents.  It’s about something spreading as wildfire and completely destroying things quicker than you know.” Rats” commences with a pummeling, hard-hitting groove from the start.  The rhythmic guitars sound athletic, while Cardinal Copia (Forge) delivers clear, commanding vocals. In addition to the compelling lead vocals, the vocal harmonies are quite impressive. Harmonically, “Rats” has some truly distinct moments.  As for the chorus, Ghost keeps things short and simple: “Them rats!”  The heat is turned up on this hard-rocking gem.

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9. Jay Rock, “King’s Dead”

Ft. Kendrick Lamar, Future & James Blake

Black Panther Music from and Inspired By • Interscope • 2018

Jay Rock, Kendrick Lamar, Future, and James Blake join forces for hard-nosed banger “King’s Dead”, the second single from Black Panther the Album Music from and Inspired By.  From the start, the beat is trunk-rattling. Kendrick Lamar drops a ferocious hook.  Jay Rock gets ‘first blood’ with the first verse, matching the toughness of the backdrop. Future follows, with a variation on the hook, assisted by Kendrick Lamar.  He’s a perfect fit, delivering one of his elite, outlandish hooks.  The bridge, mostly performed by Future, is bizarre, yet utterly intriguing. Later, James Blake initiates the second part of the song, in all his enigmatic, electronic excellence.  Lamar proceeds to go H.A.M. on the second verse, while the beat and overall sound remains hard-hitting.

“Red light, green light, red light, green light…

Fast cars, fast money, fast life, fast broads

Egotistic, goin’ ballistic, why God?”

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10. Christina Aguilera, “Fall in Line”

Ft. Demi Lovato

Liberation • RCA • 2018

“Fall in Line”, the third single from Liberation, features a grinding, soulful, six-eight groove, perfect fuel for the fire for Christina Aguilera and Demi Lovato. Aguilera gets to work with controlled, but nuanced vocals on the first verse.  The message, aimed towards girls, is pitch-perfect: “…You do not owe them / Your body and your soul.” Aguilera’s beastly vocals begin to appear on the pre-chorus, letting her pipes rip on the chorus (joined by Lovato). Lovato takes the lead on the second verse, similarly maintaining composure and poise, before spreading her wings and flying on the chorus.  The true magic occurs throughout when these two join forces, particularly the second and third iterations of the chorus.  Clearly, empowerment is the central message.

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11. Alice in Chains, “The One You Know”

The One You Know – Single • BMG Rights Management • 2018

Iconic grunge/hard-rock band Alice in Chains made an impressive comeback after a five-year hiatus with a menacing, rocking new single, “The One You Know”. Enigmatic and foreboding to the nth degree, the collective conjures up some truly ‘off-kilter funk’ instrumentally, carried by hellish, menacing bass and guitars. There’s clear-cut dissonance, amplifying utter darkness.  The unsettling nature of “The One You Know” makes it alluring. The vocals shine most on the chorus, where there’s more musical consonance and a change of harmonic progression.  If the verse seems to lean on a harmonic vamp, the chorus ‘spreads its wings.’

“Tell me, does it matter

If I’m still here, or I’m gone?

Shifting to the after

An imposter, I’m not the one you know.”

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12. Kendrick Lamar & SZA, “All the Stars”

Black Panther Music from and Inspired By • Interscope • 2018

“This may be the night that my dreams might let me know / All the stars are closer, all the stars are closer, all the stars are closer.” Kendrick Lamar and SZA shine on  “All the Stars”, the stellar promo single from Black Panther Music from and Inspired By (Black Panther Soundtrack). “All the Stars”has more of a pop, electro-driven urban sound.  Not necessarily what’s normally expected from either musician, ultimately, it works out magnificently.  Following the stellar chorus by SZA, Lamar delivers his awesome rhymes without a hitch.  SZA goes on to shine on her own verse.

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13. Janelle Monáe, “Make Me Feel”

Dirty Computer • Bad Boy • 2018

On “Make Me Feel”, Janelle Monáe blends throwback 80s R&B-funk production, and modern, urban contemporary fare.  Notable instruments used are guitars and of course, keyboards. Also, Grammy-nominated pop singer-songwriter Julia Michaels serves as a co-writer. The influence of Prince is evident, particularly the yelps that occur on the bridge section.  Monáe delivers sexy-sounding vocals, in line with liberated, risqué, and sensual nature of Dirty Computer.

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14. Nicki Minaj, “Chun-Li”

Chun-Li – Single • Cash Money • 2018

Nicki Minaj is in full-on, hard-nosed, tough-as-nails mode on “Chun-Li”, the first of two songs by the rapper to make this list.  Not merely exuding ‘that attitude’ all by herself, the production provides fuel for her fire.  The backdrop is minimalist, comprised of a hard-hitting beat, sound effects, and a recurring synth.  Minaj tends to excel with simpler, repetitive productions, so it’s not surprising that she is again successful on “Chun-Li.”  While “Chun-Li” isn’t ‘brand-new,’ game changing stuff for Minaj, she executes the flex-fest well, while channeling her badass Chun-Li persona.

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15. Carlos Vara, “Numb”

Numb – Single • Carlos Vara • 2018

“You fill me up to pour me up / You build me just to break me down.” “Numb” is the debut single by 20-year old, Nashville-based pop-soul newcomer, Carlos Vara. It blends old-school soul with some modern pop and urban contemporary trickery.  Among the superb sounds are the vintage guitar chords, dusty, hard-hitting drums, a dash of trumpet, and synths. Narratively, Vara’s lover has him completely out of sorts.  With his expressive, robust pipes, he sums up his feelings, particularly on the chorus, the record’s centerpiece.

“You make me go numb

Hypnotized, I know it’s dangerous

Don’t speak, just make me come down.”

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16. MGMT, “Hand It Over”

Little Dark Age • Columbia • 2018

“The smart ones exit early / And the rest hope for a shoulder.” “Hand it Over” checks off all boxes in regards to being a ‘MGMT record.’ That includes (1) thoughtful songwriting, (2) lush, psychedelic production cues, and (3) a clever harmonic progression. Andrew Vanwyngarden delivers chill, easy-going vocals. Even with such a laid-back approach, he still packs a punch with his beautiful tone, and a casual f-bomb. Accentuating his own performance and the record as a whole are choral backing vocals, responding spiritedly with the titular lyric.  This occurs during the chorus sections appearing at the end of the song.

“This time (Hand it over)

It’s yours and it’s mine (Hand it over)

One thing on my mind (Hand it over)

It’s rightfully mine (Hand it over).”

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17. Sofi Tukker, “Batshit”

Treehouse • Ultra • 2018

From the get-go, the Sofi Tukker hit  “Batshit” is chocked-full of fun.  It’s danceable, infectious, and undoubtedly irresistible. Is it “batshit crazy?” A little bit.  Notably, Tucker Halpern has a much more substantial vocal role compared to other songs from the duo.  Sophie Hawley-Weld also gets in on the action, with arguably the most important part of the song – drum roll please – the titular lyric! Yes, Hawley-Weld holds “batshit” down like a champ, while Halpern follows-up with “I’m batshit crazy.” Notably, “Batshit” incorporates an interpolation of the narcissistic classic, “I’m Too Sexy”.

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18. Troye Sivan, “My My My!”

My My My! – Single • Capitol • 2018

Troye Sivan has a winning record on hands with “My My My!”, which is groovy, honest, and sexy.  The record features sleek, modern production work, a sound that perfectly matches the low key, mid-register vocals of Sivan on the verses and pre-chorus.  Despite the fact that Sivan keeps things ‘cool, calm, and collected,’ “My My My!” packs a punch. Lyrically and vocally, Sivan gives off a sexy vibe.  On the first verse, he sings, “Don’t make me wait another day / ‘Cause passion is passion / You know it just as well as me.” He goes on to say, “Now, let’s stop running from love / Let’s stop, my baby.” The arrival point is the chorus, which amps up the energy level.  He’s not one who opts for gospel histrionics, but still, his passion and authenticity are indisputable.

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19. MNEK, “Tongue”

Tongue – Single • Virgin • 2018

23-year old rising English dance, pop, and R&B artist MNEK showcases massive potential on his utterly infectious single, “Tongue”. “Tongue” begins abruptly with MNEK showcasing the beauty of his voice. He possesses a gorgeous tone and a compelling falsetto, particularly on the pre-chorus section.  A surprising change of pace occurs on the chorus, where he begins singing in his lower register, in somewhat tongue in cheek fashion.  Ultimately, it’s this part of the song that’s the crowning achievement of “Tongue.”

“So, I’m putting both hands over my mouth
I can only hope nothing’s gonna come out
But there it is on the tip of my tongue
(I think I love you)
I think you’re the one.”

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20. Ariana Grande, “No Tears Left to Cry”

No Tears Left to Cry • Republic • 2018

“No Tears Left to Cry” marked the first new Ariana Grande single since the Manchester terror attack. Beginning moderately slowly, following the dramatic, lush, and smoothly sung intro (the eventual chorus), a danceable groove transforms “No Tears Left to Cry.” Grande shows exuberance, singing playfully in her lower register on the verses. She gradually ascends, hitting her stride – her commanding upper register – on the chorus.  The chorus is catchy, though what truly stands out about it is how uplifting it is.

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21. Carrie Underwood, “Cry Pretty”

Cry Pretty – Single • Capitol Nashville • 2018

Carrie Underwood exhibits superb musicianship on her second single of 2018, “Cry Pretty”. The pulse of “Cry Pretty” is initially carried by guitar, panned to the right.  Drums and bass arrive later, confirming the lilting, six-eight meter.  After showcasing restraint on the first verse, Carrie Underwood reaches a fever pitch on the powerhouse chorus. Complementing her soaring vocals is dynamic, ‘souped-up’ production work.  This is country music (as opposed to country-pop) in the hands of one of its more skilled singers.  Underwood shows off some incredibly sick vocals, incorporating falsetto, grit, runs, and whelps.  By the end, Underwood ‘lets her rip,’ and it’s nothing short of glorious.  You can feel the authenticity.

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22. Leon Bridges, “Bet Ain’t Worth the Hand”

Good Thing • Columbia • 2018

Soul enthusiasts will feel like they returned to their heyday listening to “Bet Ain’t Worth the Hand”. The old-school shtick is alive, with harp arpeggios, glockenspiel, strings, and a lush backdrop.  The production is perfect fuel for Leon Bridges’ fire, regardless whether he needed the extra spark or not.  The falsetto is formidable, while his chest voice is incredibly commanding and emotional. Adding to the jubilance is the solid songwriting with an undeniably prudent message.  Short and sweet, “Bet Ain’t Worth the Hands” proves to be a stellar opener on his sophomore album, Good Thing.

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23. Nicki Minaj, “Barbie Tingz”

Barbie Tingz – Single • Cash Money • 2018

Nicki Minaj returns with “Barbie Tingz”, the second of two songs by the rapper to make this list. “Barbie Tingz” commences with unique, synth percussion.  Eventually, the beat becomes plum crazy, giving the record its best feature – aside from Minaj of course.  The drum programming is a mix between old-school and new school, providing perfect fuel for Nicki’s fire.  Naturally, she does wonders with the minimalist, skeletal record.  She’s chocked-full of energy, hard-nosed and unapologetic, and ready to throw knockout punches.

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24. Justin Timberlake, “Say Something”

Ft. Chris Stapleton

Man of the Woods • RCA • 2018

“Say Something”  comes closest to the characterization that Justin Timberlake provided regarding Man of the Woods.  The guest appearance and co-write by Chris Stapleton confirms the country influence, but it’s also perceptible within the production, specifically rhythm guitars, vocal harmonization, and other intentional cues.  Still, Timberlake doesn’t shy away from the pop, vocally and percussively. The repetition of the chorus perfectly exemplifies modern pop, and urban music. Timberlake and Stapleton deliver compelling performances, particularly when they join forces. Repetition bodes in Timberlake’s favor here, particularly the infectious, memorable chorus.

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25. Camila Cabello, “Never Be the Same”

Camila • Epic • 2018

Hard drums anchor “Never Be the Same”, the opening song from Camila, the debut studio album from Camila Cabello.  On the verses, Cabello never pushes her voice much. Her stunning falsetto shows up, in all its sexiness and sweetness, beginning on the pre-chorus. She exhibits the most vocal oomph during the high-flying chorus.

“It’s you babe

And I’m a sucker for the way that you move, babe

And I could try to run, but it would be useless

You’re to blame

Just one hit of you, I knew I’ll never be the same.”

Although somewhat casual, “Never Be the Same” proves to be a solid start to Camila, and among the better songs of 2018.

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26. Felix Jaehn, “Cool”

Ft. Marc E. Bassy & Gucci Mane

I • Virgin • 2018

German DJ Felix Jaehn shines as ‘bright as a beacon’ on “Cool”, the opening gem from his debut album I. Jaehn, who serves up bright, sunny, and smooth production work with some serious vibes, gets the assist from urban-pop singer Marc E. Bassy and mush-mouthed, ubiquitous Southern rapper Gucci Mane.  Bassy delivers soulful, tropically-infused vocals showcasing his beautiful tone.  He gets the honors of dropping the centerpiece of “Cool,” the chorus.  As for Gucci Mane, he drops ‘characteristic,’ southern rap rhymes on the third verse.  He’s accompanied by Jaehn’s sunny-sounding, triumphant horns.

 

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27. Diplo, “Look Back”

Ft. Dram

California (EP) • Mad Decent • 2018

It’s always special when two unlikely musicians join forces.  That’s the case on “Look Back”, where producer Diplo enlists the services of rapper/singer DRAM. “Look Back” features dynamic production with touches of guitar, keyboards, bass, and big drums.  The sound stylistically can be described as a mix of pop, rock, and soul.  As with many productions with Diplo on the boards, the result is a distinct sounding record. DRAM blesses the record with truly expressive, soulful vocal, spoiling us with falsetto.  There’s also a killer chorus, where he ‘kills it’ with biting vocals and sick runs.

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28. KYLE, “Playinwitme”

Ft. Kehlani

Light of Mine • Atlantic • 2018

Light of Mine is chocked full of goodness, but arguably nothing is better than “Playinwitme” featuring Kehlani. From the start, “Playinwitme” has hit written all over it. Set in a major key, the record bursts with optimism and fittingly, playfulness.  KYLE dominates the majority of this record, beginning with a catchy, melodic chorus, accompanied by piano. The melodic, pop-rap continues on his first verse, where he’s clearly on autopilot.  On the second verse, Kehlani arrives in all her glory.  Picking up where the rapper left off, she impresses with her pipes, delivering her own set of memorable lyrics. The two eventually join forces on the brief bridge, and the final chorus.

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29. Charlie Puth, “Done for Me”

Ft. Kehlani

Voicenotes • Atlantic • 2018

“Done for Me”  keeps the hits right on coming for Charlie Puth, who really ‘steps up his game’ on his sophomore album, Voicenotes.  “Done for Me” embraces urban contemporary music, an excellent look for Puth.  The beat – the groove – makes this record perfect for dancing. Vocally, he continues to be more compelling, possessing an enviable tone. Assisted by Grammy-nominated artist Kehlani, she sounds terrific, never over-singing, delivering a balanced, nuanced vocal performance.  The chemistry between Kehlani and Puth is great towards the end of the record, where they harmonize and provide ad-libs.

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30. Billie Eilish & Khalid, “Lovely”

Lovely – Single • Darkroom / Interscope • 2018

Rising pop artist Billie Eilish and Grammy-nominated R&B artist Khalid exhibit superb vocal chemistry on the radiant “Lovely”. “Lovely” opens with mysterious, rhythmic piano, followed by moody, lush strings. Ultimately, “Lovely” features beautiful, relatively simple and subtle production.  Eilish takes the lead on the first verse, while Khalid serves up subtle contributions before becoming a full-fledged duet partner on the second half of the verse. On the second verse, the two flip-flop roles.  The pre-chorus, following both verses, is more intense than the chorus itself, arguably the crowning achievement of “Lovely.” Still, the chorus is chilling and haunting in its subtlety serving as a key example of the marvelous vocal chemistry that characterizes “Lovely.”

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31.Arctic Monkeys, “Tranquility Base Hotel & Casino”

Tranquility Base Hotel & Casino • Domino • 2018

Most critics embraced Tranquility Base Hotel & Casino, the unique comeback album by British alternative band Arctic Monkey, though some where more skeptical.  Personally, the album was intriguing and a refreshing change of pace from Alex Turner and company. Minor key title track “Tranquility Base Hotel & Casino” ranks among the crème de la crème, arguably the crowning achievement. Turner sings about an imaginary hotel and casino, possibly on the Moon. According to an EW interview, Turner, referencing the title track states, “…Whether we’re actually talking about a sort of hotel-casino complex on the moon or not is debatable.”  Weird to the core, “Tranquility Base Hotel & Casino” encompasses politics, philosophy, technology… it’s something.

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32. Panic! At the Disco, “Say Amen (Saturday Night)”

Pray for the Wicked • Fueled by Ramen • 2018

Panic! At the Disco – specifically Brendon Urie –seems to be experiencing some ‘inner-conflict’ on standout single “Say Amen (Saturday Night)”. “Say Amen (Saturday Night)” hails from the band’s 2018 album, Pray for the Wicked (arrives June 22). The production work is a work of art throughout, including fantastic keyboard work, horns, and massive, pummeling drums. The choruses represent the most epic moments, as well as summing up the record’s message. The push-and-pull is what makes “Say Amen (Saturday Night)” so compelling. Urie is struggling with spirituality versus being free and living it up.  He uses his brilliant vocals to convey this, exhibiting tremendous grit, and packing a sizable punch.  His falsetto is simply marvelous.

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33. Eden, “start//end”

Vertigo • Astralwerks • 2018

“Start//End”  begins with lovely, lush, robust strings. There’s a distinct, expressiveness about EDEN (Johnathon Ng) vocally – he’s authentic, emotional, and passionate. Following a dramatic verse, the pre-chorus signals a shift within the record. Unstable, it’s intriguing, unpredictability piques interest, continuing through the chorus, where an identity is established.

“(I’ve missed times) It’s played out

(Been disconnected) I’ve moved on

(I stressed time) Get fucked up

(Forgetting timing) My new draw.”

The electronic vibe and a sense of stability and groove establish themselves on the bridge and successive chorus. Finally, the second verse arrives, with the clear identity of the record established, intact with lush strings and electronic backdrop.  “Start//End” is the crowning achievement of Vertigo, and one of the more interesting songs of 2018.

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34. Marlon Williams, “Nobody Gets What They Want Anymore”

Ft. Aldous Harding

Make Way for Love • Dead Oceans • 2018

Marlon Williams and Aldous Harding make a brilliant pair on “Nobody Gets What They Want Anymore”, a gem from Williams’ sophomore album, Make Way for Love. Harding gets first blood, exhibiting pure, robust vocals. The initial accompaniment is simple guitar, which is lush and appealing.  Williams arrives on the following line, taking command of the verse.  He delivers equally glorious vocals.  Eventually, following another verse in a similar vein, the two join forces, in exquisite harmonies, singing the titular lyric. With combined forces comes expanded production that’s more dynamic and fuller in instrumentation. Williams dominates the end of the song, which contrasts the majority.

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35. Migos, “Stir Fry”

Culture II • Capitol / Motown • 2018

“In the kitchen, wrist twistin’ like it’s stir fry.” Migos’ Culture II was an album excessive in length – one hour and 45 minutes! Nonetheless, the album yielded one of the better songs of the collective’s career in “Stir Fry”.  Prepare to get nourished with this irresistibly delicious banger. The production plays a huge role in its success, with an alluring, rhythmic groove as well as the synths.  This definitely propels the Migos, who sound more invested than usual. They certainly owe Pharrell Williams big money for that backdrop.

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36. Tori Kelly, “Help Us to Love”

Ft. The HamilTones

Help Us to Love – Single • Capitol • 2018

Tori Kelly asks God to “Help Us to Love” on her gorgeous, uplifting contemporary gospel single featuring The HamilTones, the official background vocalists for Grammy-winner Anthony Hamilton.  Kelly never over-sings, packing a punch without doing too much.  She amps up the intensity beginning on the dynamic bridge section yet remains in control. The HamilTones fuel her fire with stunning vocal harmonies, solidifying the contemporary gospel sound.

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37. Hayley Kiyoko, “Curious”

Expectations • EMPIRE • 2018

Hayley Kiyoko shines on “Curious”, one of many standouts from her debut album Expectations.  She is exuberant, sparkling in her upper register on the infectious pre-chorus. She follows up with incredibly rhythmic vocals on the chorus, where her attitude and feistiness are a pro. Sexuality plays a pivotal role here (and on Expectations as a whole), as Kiyoko is curious about a previous relationship with a girl who is now with a boy.  This fun, well-produced record that builds a strong case for Kiyoko artistically.

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38. Zayn, “Let Me”

Let Me – Single • RCA • 2018

“Sweet baby, our sex has meaning.” Ooh la-la ZAYN.  It’s certainly not shocking that the urban-pop star addresses sex on his 2018 single, “Let Me”. Compared to his former number one single, “Pillowtalk”, “Let Me” is less explicit, smoother, and much more tasteful. The backdrop is smooth, urban-pop at its best.  It’s incredibly uncluttered, with ample space for the production to ‘breathe’ you might say.  ZAYN delivers some superb vocals, particularly when he sings in falsetto. Further amplifying the excellence of “Let Me” are the lovely vocal harmonies on the chorus.

 

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39. Kali Uchis, “After the Storm”

Ft. Tyler, the Creator & Bootsy Collins

Isolation • Virgin • 2018

“After the Storm” serves as the proudest moment of Isolation, the debut album by Colombian-American singer Kali Uchis. Uchis delivers cool, calm, and collected vocals, yet still manages to pack a punch and exhibit both artistry and personality.  Thematically, she reflect upon a break up. Produced by hip-hop jazz collective BADBADNOTGOOD, and featuring Bootsy Collins and a classy rap from Tyler, the Creator, “After the Storm” is a feel-good, 70s soul gem that just happened to arrive in 2018.

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40. Arctic Monkeys, “Four Out of Five”

Tranquility Base Hotel & Casino• Domino • 2018

“Advertise in imaginative ways, start your free trial today.” Like the aforementioned title track (#31 on this list), “Four Out of Five” is in the running for the crowning achievement of the strange but alluring Tranquility Base Hotel & Casino.  That’s surprising given the fact that at its simplest, Arctic Monkeys frontman Alex Turner is singing about the rating that the Tranquility Base Hotel & Casino taqueria received. Nonetheless, Arctic Monkeys make this record incredibly intriguing lyrically, musically, and vocally.

“Take it easy for a little while

Come and stay with us, it’s such an easy flight

Cute new places keep on popping up…

I put a taqueria on the roof, it was well-reviewed,

Four stars out of five

And that’s unheard of.”

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41. The Weekend, “Call Out My Name”

My Dear Melancholy, (EP) • Republic • 2018

“Call Out My Name” opens My Dear Melancholy, (EP)   in moody fashion, set in a minor key. The production work by Frank Dukes helps to establish the vibe, particularly the piano, dark synths, and the soulful drum groove.  After exhibiting more poise and restraint on the first verse, the chorus soars, incorporating some distorted vocals, expanded vocal range, and more oomph all around.  Listening to the opener, the authenticity and emotion is indisputable.

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42. Father John Misty, “Mr. Tillman”

God’s Favorite Customer • Sub Pop • 2018

Mr. Tillman, good to see you again / There’s a few outstanding charges just before we check you in.” The opening line of  “Mr. Tillman”, as well as the rest of the song, comes from the perspective of a hotel concierge.  Let the record show that Father John Misty remains ‘true to self’ on “Mr. Tillman,” the promo single from his fourth studio album, God’s Favorite Customer. Mr. Tillman” is groovy, singer-songwriter/alternative rock at its best.  The lyrics are incredibly entertaining, novel, and tongue-in-cheek. The chorus is hella catchy.

“I’m feeling good

Damn, I’m feeling so fine

I’m living on a cloud above an island in my mind

Okay babe, don’t be alarmed this is just my vibe

No need to walk around

No, it’s not too bad a crime.”

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43. Ruston Kelly, “Asshole – Demo”

Asshole – Single • Rounder • 2018

Ruston Kelly refers to himself as an asshole on “Asshole (Demo)”. Pretty straightforward –Merriam-Webster defines an asshole as “a stupid, annoying, or DETESTABLE person.” The reason why the rising singer/songwriters Kelly considers himself detestable is as follows:

“Taking everything for granted

The moment someone does something nice I take advantage

Easy breezy only when it pleases me, I’ve been told

I’m kind of an asshole.”

Despite being explicit and totally unapologetic – Kelly is incredibly ‘rough around the edges’ – “Asshole” oozes with personality and appealing raw, hardnosed vocals.

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44. Confetti, “People Suck”

People Suck – Single • Confetti • 2018

“I hate people, I hate people ‘cause people suck, man / People suck and they keep on fucking sucking.” Confetti has got next, and don’t let a soul tell you different! From first world problems, to taking a shot at Donald Trump (“And Hillary sucks too”), the collective’s debut single “People Suck” is nothing short of awesome.  The production blends pop, rock, and old-school hip-hop (over a dusty beat).  Even though Confetti remains even keel in regards to vocal performance, the cleverness, hilarity, and truth of the lyrics pack a punch.  This is definitely a crowd-pleaser to put your fists up in the air, drop an f-bomb, and/or opt for the visual version by flipping the bird.

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45. J Cole, “ATM”

KOD • Dreamville / Roc Nation • 2018

The trap is alive on “ATM,”a highlight from the surprise 2018 J. Cole LP, KOD.  Notably, elements from the album intro also return – “There are many ways to deal with this pain / Choose wisely.” “ATM” at its simplest is about money.  J. Cole seems to reference his own excess of the past, potentially shades the new crop of rappers about their greed, and also discusses money issues within the black community.

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46. Lil Dicky, “Freaky Friday”

Ft. Chris Brown

Freaky Friday – Single • Commission Music / BMG Rights Management • 2018

Simply calling Lil Dicky “one of a kind” might be an understatement.  The comedic rapper, who made quite the splash with his 2015 album Professional Rapper, returned with a new single in 2018, “Freaky Friday”, assisted by Chris Brown.  The results end up being utterly ridiculous, as both artist trade places (like the movie) and sing and rap about it. For Lil Dicky specifically, his flow is tight, as always, while his rhymes are absolutely absurd.  The outro may be the most interesting part, where “Freaky Friday” gets real freaky, involving Ed Sheeran, DJ Khaled, and most hilariously (or disturbingly), Kendall Jenner.

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47. Ezra Furman, “Suck the Blood from My Wound”

Transangelic Exodus • Bella Union • 2018

Gender-fluid rock musician Ezra Furman maintains something of cult-following. Self-described as a ‘Queer Outlaw Saga,’ Furman’s 2018 album Transangelic Exodus is incredibly underrated as well as incredibly special. “I woke up bleeding in the crotch of a tree,” Furman sings on phenomenal opening highlight, “Suck the Blood from My Wound.”  Furman sings with incredible grit, delivering his concept of transangelicism.

“Blood on my angel’s lips blends with his make-up

… Peeling off bandages to unfold his wings

The doctors said they’d have to stay on for another three weeks

Fuck it baby, let ‘em bruise, let ‘em break

But bleed, let ‘em bleed.”

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48. John Legend & BloodPop®, “A Good Night”

A Good Night– Single • Columbia • 2018

Award-winning R&B artist John Legend shines on his pop-soul single, “A Good Night”, produced by BloodPop®. From the start, the groove is easy-going and feel-good.  It’s soulful, but clearly, John Legend is joining ‘the times’ – rather a more contemporary sound.  In addition to joining ‘the times’ musically, he also gets a f-bomb out of his system (“I had no intention I would get fucked up tonight.”) Following a confident, verse, the pre-chorus adds syncopated electric piano, further inciting head-nodding. Throw in the infectious, fun nature of the lyrics, and “it’s all good.” The chorus is the centerpiece of the record.

“But everything’s gonna be alright

I think I just met my wife

I know it’s gonna be a good night

I think I just met my wife.”

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49. James Bay, “Us”

Electric Light • Republic • 2018

On ballad “Us”, a highlight from his sophomore album Electric Light, British singer/songwriter James Bay delivers a soulful sound, created by piano, organ, and background vocals. Incorporating vintage cues, “Us” also weaves in modern touches. Bay does a fantastic job of showing vocal poise early-on. He goes on to compel with falsetto on the first iteration of the chorus, later switching to full-voice on the second iteration. The pacing of the record is fantastic, beginning relatively slow, then picking up steam. Ultimately, “Us” is an impressive record.

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50. Lenny Kravitz, “It’s Enough”

Raise Vibration • BMG Rights Management • 2018

“When will the desire for love / Outweigh the desire for power?” Lenny Kravitz makes it clear he’s not happy with the current social-political climate on “It’s Enough”, the promo single for his forthcoming album, Raise Vibration (September 7). “It’s Enough” is a lengthy single, running eight minutes in duration.  It benefits from an incredibly soulful groove that is reminiscent of the Marvin Gaye classic, “What’s Going On.” In addition to being soulful, the groove has a distinct, ‘percussive’ nature.  Kravitz sings about the many problems that plague America including racial injustice, unarmed shootings, and political corruption and lies.  A simple chorus sums up the sentiment of the times.

“It’s enough, it’s enough, it’s enough / In the system, you cannot trust / It’s enough, it’s enough
/ When the whole wide world is corrupt / It’s enough, it’s enough / And we all are just getting fucked / It’s enough, it’s enough.”

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