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These songs were ‘almost’ famous! Here are 124 songs that missed the 100 Best Songs of 2017.  Good songs that missed the cut for whatever reason.

Ah, to be almost famous! That’s the case with these songs that missed the gargantuan 100 Best Songs of 2017 list.  The songs on this list were quite likable, but missed the fame ultimately.  Without further ado, Almost Famous: 124 Songs That Missed the Best of 2017.  Yep, this one is a big one.

 

 

 

 

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1. The xx, “On Hold”

Album: I See You

Young Turks 

“On Hold” superbly whetted the listener’s palette ahead of I See You.  As the album materializes, “On Hold” remains as a record to beat.  It opens warmly, with a beautiful timbre established by pads and synths. There is exceptional vocal chemistry and contrast between Romy Madley Croft and Oliver Sim.  This contributes to the magic without question.

2. Kehlani, “Distraction”

Album: SweetSexySavage

Atlantic

From the beginning, an excellent slow, urban contemporary vibe is constructed on “Distraction”  The vocals are confident and sultry, as Kehlani excels in her lower register, resembling Brandy   on the chorus. Other selling points include vocal production and songwriting. An excellent narrative is crafted.

3. Migos, “Deadz”

Ft. 2 Chainz

Album: Culture

300 Entertainment

“Deadz,” featuring 2 Chainz, piques interest thanks to its robust, brassy intro. At the top, they assertively chant, “You n***as in trouble.” Takeoff arguably delivers the best flow, slaughtering the third verse:

“Hop out the bed and I’m countin’ them faces / I jump out the whip and them b*tches start faintin’ / No twenties or fifties, just Benjamin Franklins / Block on lock call me Kurt Angle.”

4. Lupe Fiasco, “Made in the USA”

Ft. Bianca Sings

Album: DROGAS Light

1^st & 15^th

“Made in the USA,” featuring Bianca Sings, shouldn’t work.  It’s ‘out of character’ for the MC.  Even so, the change of pace is effective.  This is good enough to ‘turn up to,’ along with learning geography.

“All my heroes from Hollywood / Put Tony Montanas all in my hood / This rap shit came from New York City / My momma came from Mississippi.”

5. Charlie Wilson, “Blessed”

Ft. T.I.

Album: In It to Win It

RCA

Charlie Wilson opens In It to Win It thankfully with “I’m Blessed.”  He testifies about God’s goodness before delivering a stunning, spiritually-driven performance. This is well-rounded, inspiration adult contemporary R&B at its best.  He doesn’t tweak the formula, but he doesn’t need to.  The appearance by T.I. is unnecessary, but gives Uncle Charlie a youthful compadre and proves that the vet can hang with anybody.

6. Jidenna, “Long Live the Chief”

Album: The Chief

Epic

“Long Live the Chief” ranks among the crème de la crème of The Chief, the underrated debut album by rapper Jidenna. “Long Live the Chief” gives Jidenna edgy production work to spit tough, unapologetic rhymes over. The hook serves as ‘the cherry on top’ of this accomplished track: “N***as fighting over rings / N***as wanna be the king, but / Long live the chief…”

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7. Rick Ross, “Trap Trap Trap”

Ft. Young Thug & Wale

Album: Rather You Than Me

Epic

“Trap Trap Trap,” featuring Young Thug and Wale, is a clear-cut highlight from Rather You Than Me. A souped-up banger, The hook latches instantly. Rick Ross handles the first verse, testifying about toughness.  He flexes hard over epic, malicious production work, exhibiting a tight flow.  Young Thug takes the second verse, warning of the dangers of the trap, being rich, and violence – he’s armed and dangerous.  As for Wale, he goes against the grain, making an uncharacteristic record work near-perfectly.

8. Depeche Mode, “Scum”

Album: Spirit

Columbia

“Hey scum, hey scum / What have you ever done for anyone / Hey scum, hey scum / What will you do when judgement time has come?” “Scum” is ferocious, featuring distorted vocals, intense synths, and passionate anger. The source of Gahan’s anger is subject to interpretation, but he makes his point clearly.  Ultimately, he asserts, “Pull the trigger.”

9. Mansionz, “My Beloved”

Album: Mansionz

Island 

“My Beloved” gets Mansionz off to a quick start. The first sign that “My Beloved” is hot is the sample of David Lang’s “Just (After Songs of Songs).”  Beyond the allure of the music itself, Mike Posner and blackbear are on autopilot. Posner is reliant on sex as opposed to emotional depth on the first verse. The chorus is catchy as albeit, sung by blackbear. Blackbear gets two of his own verses, with the physical versus emotional trend continuing on.

10.Mansionz, “Life of a Troubadour”

Album: Mansionz

Island

“The Life of a Troubadour” is arguably the most creative, ambitious record of Mansionz. Left-field to the nth degree, it epically concludes a left-field album Mike Posner and blackbear, both playing roles within the context of the song, are assisted by Snoozegod, who also plays a role (“Oliver” to be precise).

11. G-Eazy & Carnage, “Guala”

Ft. Thirty Rack

Album: Step Brothers (EP)

RCA

The crème de la crème of Step Brothers is opener “Guala.” “Guala” is fire from the start, thanks to the use of an unlikely sample – Gnossienne No. 1 composed by Erik Satie. Add a hard, anchoring beat, and cocky and confident rhymes from G-Eazy and guest Thirty Rack, and “Guala” is a killer banger. G-Eazy flexes hard, whether he’s “killing these beats” or brashly asserts, “I put my dick on her forehead / Less conversation and more head.” Thirty Rack is no better, asserting,  “Forty hoes on my dick, huh / Fifty hoes on my dick, whoa / Sixty hoes on my dick, whoa / God damn, a n***a rich, bing.”

12. Drake, “Free Smoke”

Album: More Life

Cash Money

“Free Smoke” kicks off More Life in electrifying fashion. Following a sample-driven introduction, hard drums and ferocious rhymes by Drake take over. He comes out swinging, delivering quite a punch.  Essentially, he raps about his come-up: “Yeah, I couldn’t get a bill paid / You couldn’t buy the real things / I was stayin’ up at yo place / Tryin’ to figure the whole thing out…/ But we all so spoiled now / More life, more everything.”

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13. Father John Misty, “Ballad of the Dying Man”

Album: Pure Comedy

Sub Pop 

“Ballad of the Dying Man” is as morbid as it sounds.  Essentially, Father John Misty reflects on the temporariness of life. The dying man seems concerned about the mark he’s left.  Ultimately, Tillman states it best: “We leave as clueless as we came / From rented heavens to shadows in the cave / We’ll all be wrong someday.”

14. Father John Misty, “Two Wildly Different Perspectives”

Album: Pure Comedy

Sub Pop

“One side says / Y’all go to hell / The other says / If I believed in God, I’d send you there.” Literally, “Two Wildly Different Perspectives” covers two wildly different perspectives. Interesting, the response that Father John Misty personally has towards both sides is pitch-perfect: “But either way we make some space / In the hell that we create / On both sides.” “Two Wildly Different Perspectives” is open to multiple interpretations. It seems that FJM is referencing the dangers of politics.  The polarization caused by both sides is at an all-time high, with the back-n-forth between both creating hell.

15. John Mayer, “You’re Gonna Live Forever in Me”

Album: The Search for Everything

Columbia

“You’re Gonna Live Forever in Me” serves as the closer for The Search for Everything. John Mayer sounds exceptional vocally. While he has vocal limitations in regards to range, he uses that range flawlessly.  The songwriting matches the sheer beauty of his instrument. “You’re Gonna Live Forever in Me” gives goosebumps – chills as well as feels.

16. Joey Bada$$, “For My People”

Album: ALL-AMERIKKKAN BADA$$

Cinematic / Pro Era, 2017

“For My People” exhibits a socially-driven tone, referencing racism in America. It also depicts the ascent and ‘come-up’ of blacks.  Joey Bada$$ uses himself as the perfect example on the second verse:

“Look up in the sky, it’s a bird, it’s a plane / No, it’s the young black god livin’ out his dreams / What you mean? I been up on an ultralight beam / They don’t wanna see you fly, they just gonna shoot your wings.”

17. Mary J. Blige, “Love Yourself”

Ft. Kanye West

Album: Strength of a Woman

Capitol 

On opener “Love Yourself”, there’s a sense of drama and heartfelt emotion from the start. Mary J. Blige sets up the record, discussing love. After a slow, mysterious start, the hip-hop soul kicks in.  Hard, anchoring drums, a brilliant, looped trumpet sample, and Blige bestowing bountiful blessings with strong, emotional vocals, establish “Love Yourself” as the crème de la crème. Kanye West guests on the second verse, providing a lift as he raps about his come-up.

18. Mary J. Blige, “Set Me Free”

Album: Strength of a Woman

Capitol 

“Set Me Free” gives Strength of a Woman a jazzy, soul highlight.  Mary J. Blige continues to exhibit fierceness, even with jazzier cues employed here. She’s incredibly blunt, solidifying the parental advisory sticker gracing the album.  Clearly pissed, on the chorus she sings: “There’s a special place in hell for you / You gon’ pay for what you did to me / I’ma tell you ‘cause the truth will set me free.”

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19. Wale, “Fashion Week”

Ft. G-Eazy

Album: Shine

Atlantic 

“Fashion Week” featuring G-Eazy catches on from the initial listen. It features an excellent, rhythmic beat, which standouts among the rest of the album.  The chorus and post-choruses rock, without a doubt. Like the beat itself, Wale gives a stunning, rhythmic delivery. G-Eazy is the perfect collaborator, thinking with his pants throughout his rhymes.

20. Mali Music, “Gonna Be Alright”

Album: The Transition of Mali

RCA

“Gonna Be Alright” is golden from the jump. It’s a spiritual song about the power of faith and love.  It opens energetically with a tongue-n-cheek, jazzy sound, which turns out to be only temporary, before the record and production establish themselves. The record has that old-school sensibility with the dusty, soulful drums and prominent upright piano sound. The best way to characterize it is good vibes.  Mali Music has a well-rounded gem on his hands.

21. alt-J, “Adeline”

Album: Relaxer

Atlantic

“Adeline” eschews electronics, favoring a folksy sound. Arguably, “Adeline” isn’t quite as intriguing as the one-two punch of earlier gems “3WW” and “In Cold Blood,” but ultimately, it’s beautiful. Hard to knock the ambition and cleverness of alt-J. “Ooh, my Adeline, ooh / Down in Tasmania / Where the devil’s jaws are far too weak / To tear you away.” The band confirms that the song is about a Tasmanian devil who falls in love with a woman.

22. Bleachers, “Everybody Lost Somebody”

Album: Gone Now

RCA 

“Everybody Lost Somebody” opens mysteriously, with an interlude, coupled with excerpts of the production work, muted in the background.  This foreshadows what’s to come – a beat that hits you right in the chest, jazzy, soulful saxophones, and of course, synth action.  Expectedly, it’s another production showcase for Jack Antonoff.  Vocally, the performance is uneven, yet incredibly playful, incorporating both spoken and sung portions.  All said and done, it’s another compelling piece.

23. Bleachers, “Hate That You Know Me”

Album: Gone Now

RCA 

From the jump, “Hate That You Know Me” has hit written all over it. On the verses, Jack Antonoff builds the case against things he dislikes about himself.  He seems to be lying to others, and arguably, even to himself.  His lover, however, can read between all the BS. An uncredited Carly Rae Jepsen gives Antonoff a brilliant assist, even though she’s not prominently featured.

24. Katy Perry, “Chained to the Rhythm”

Ft. Skip Marley

Album: Witness

Capitol

“Chained to the Rhythm” ranks among the elite moments from the underwhelming Witness. The groove is infectious, while the production successfully blends urban- and tropical-pop.  Lyrically, this song is catchy and thought-provoking; the verses are socially and politically relevant. Skip Marley only plays a small role, never overshadowing Perry. The chorus puts “Chained to the Rhythm” over the top.

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25.Katy Perry, “Swish Swish”

Ft. Nicki Minaj

Album: Witness

Capitol

“Swish Swish” ranks as one of the better moments from Witness, at least contextually.  The record has its fair share of flaws, but is undoubtedly catchy. Katy Perry offers an irresistible hook that straight-up flexes in all its corny glory: “Swish, swish, bish / Another one in the basket / Can’t touch this / Another one in the casket.” Nicki Minaj adds bite with her rap verse.

 

26. Chuck Berry, “3/4 Time (Enchiladas)”

Album: Chuck

Dualtone

Arguably the most rousing song is “3/4 Time (Enchiladas),” composed by Tony Joe White.  Here, Chuck Berry sounds much younger than his age.  Like the songs preceding it, “3/4 Time” thrives off its classic, organic sound.  While contextually it’s anachronistic, it’s refreshing, sounding more captivating than so much of the rock music of today. The triple meter groove, fantastic music, and exuberant vocals by Berry make this a certified gem.

27. Lorde, “Liability”

Album: Melodrama

Republic 

“Liability” is a reflective ballad with singer-songwriter sensibilities are written all over it.  The lyrics are incredibly poetic and thoughtfully performed.  Lorde focuses on her smokier lower register, accentuating the melodrama.  The production work is conservative, led by piano sans percussion.  Regardless, the overall result is nothing short of beautiful. Lyrically, Lorde sings about being too high maintenance and how it’s ruined her relationships. Ultimately, she knows what she wants, and she has herself.  The vulnerability that she showcases here is exceptional.

28. Lorde, “Sober II (Melodrama)”

Album: Melodrama

Republic

“Sober II (Melodrama)” contrasts the original (“Sober”) drastically, bringing in dramatic strings to capture the aftermath of the fun.  Naturally, the melodrama is heightened here.  Lorde even says so: “We told you this was melodrama / (Oh, how fast the evening passes / Cleaning up the champagne glasses).”

29. 2 Chainz, “Trap Check”

Album: Pretty Girls Like Trap Music

Def Jam

“Trap Check” is close to the high level of “It’s a Vibe,” the crème de la crème of Pretty Girls Like Trap Music.  No, the tough cut doesn’t quite reach the same heights, but it packs a punch – a financial punch that is. “Rap shit check, foreign shit check / Fashion shit check, cashing shit check.”

30.SZA, “Doves in the Wind”

Ft. Kendrick Lamar

Album: Ctrl

RCA

On the unapologetic “Doves in the Wind,” SZA focuses on pussy – literally.  Essentially, she seems to be disgusted by shallowness.  There’s more to a relationship and life than just sex.  Kendrick Lamar expounds on the power of pussy on the second verse, where he utters the word at least 17 times.  He gives her a shout out at the end of the verse.

 

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31. SZA, “The Weekend”

Album: Ctrl

RCA

“The Weekend” thrives off its sensual vibes. The problem is, “My man is my man is your man / Heard it’s her man too.” In other words, SZA’s man is a man about town.  Her man drama is our pleasure on this straightforward, enjoyable slow jam.

32. DJ Khaled, “Nobody”

Ft. Alicia Keys & Nicki Minaj

Album: Grateful

Epic

“Nobody” taps Alicia Keys and Nicki Minaj, who unsurprisingly make a formidable duo. Brilliantly sampling “Nobody Knows,” performed by Pastor T.L. Barret & The Youth Choir, Khaled, Keys, and Minaj take the listeners to church.

33. Vince Staples, “BagBak”

Album: Big Fish Theory

Def Jam 

On “BagBak,” Vince Staples is amplified to the max – you betta ‘back, back.’  That’s the effect of the entire song.  He tackles numerous, heavy topics, including faith, material things, fake friends, injustices for blacks, and disdain for the government and President Trump.  He showcases immense black pride, evident from the jump.

34. Calvin Harris, “Slide”

Ft. Frank Ocean & Migos

Album: Funk Wav Bounces Vol. 1

Columbia

Calvin Harris kicks off Funk Wav Bounces Vol. 1 with a bang thanks to promo single “Slide,” featuring Frank Ocean and Migos. “Slide” served as the first indication Harris was switching up his usual style. The production is superb, characterized by good vibes and a killer groove.  Things commence with Ocean’s familiar, alt-R&B brand.  At times, he uses high-pitch shifted vocals, but listeners are also treated to his natural voice, in its illustrious beauty.  Among the best moments is the catchy, glorious hook.  Migos – Quavo and Offset only – handle the second and third verses. It’s all flex action.

 

35. Calvin Harris, “Faking It”

Ft. Kehlani & Lil Yachty

Album: Funk Wav Bounces Vol. 1

Columbia 

In contention for best song of Funk Wav Bounces is penultimate track, “Faking It,” featuring Kehlani and Lil Yachty. Kehlani is on autopilot – she’s best when she’s edgy and brutally honest.  More surprising is the fact that Lil Yachty drops a presentable rap.  Yeah, the “pepperonis” lyric could’ve been omitted, but Yachty has certainly done worse.

36. Russ, “What They Want”

Album: There’s Really a Wolf

Columbia

“What They Want” is relatively brief and simplistic with minimal production.  Nonetheless, it’s charming, unveiling its rationale for its success. Russ touts his self-made status: “I Been at this shit for nine years, now they start to call / I’m a DIY pioneer, they try to get involved.”

 

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37. India. Arie, “Give Thanks”

Album: SongVersation: Medicine

BMG Rights Management

“Give Thanks” is a perfect example of depth in spite of a lack of depth.  India. Arie approaches “Give Thanks” like a Contemporary Christian song, with repeated lyrics on the verse.  There are few lyrics, yet, her messaging is prudent and ultimately, transcendent.  At the end of the song, she brings together the few lyrics, successfully closing one of the set’s highlights:

“There will never be another day just like this / So let’s give praise now / We give praise, and ase / Say love, namaste / We give praise, for all that is.”

 

38. French Montana, “Bring Dem Things”

Album: Jungle Rules

Epic

“Bring Dem Things” is excellent from start to finish.  It features strong production work that’s fueled by a loop and superb drum programming. “Bring Dem Things” samples both Charles Mingus and Paul Simon.  Kid Daytona delivers a fantastic hook.  Pharrell offers the best rap verse of the track” He outshines French Montana, but French holds his own on one of his best verses of the album.

39. Declan McKenna, “The Kids Don’t Wanna Come Home”

Album: What Do You Think About the Car?

Columbia

“The Kids Don’t Wanna Come Home” is energetic to the nth degree.  Declan McKenna paints a portrait where the youth are clearly disgruntled, not receiving sufficient care in regards to their voice.  This is exemplified on the chorus, where he points the finger at the adversaries.

 

40. Lana Del Rey, “Summer Bummer”

Ft. A$AP Rocky & Playboi Carti

Album: Lust for Life

Interscope

There is no bummer whatsoever with “Summer Bummer,” which features dark production work with an enigmatic quality. At the top, she sings in an indulgently in an undertone, yet adds more drama – or melodrama – in the process. Ad-libs appear throughout the record from Playboi Carti, who plays a supporting role. The other featured guest, A$AP Rocky, gets his own verse, depicting shallow, undercover love. Ultimately, it’s a fun, carefree song from Lana Del Rey.

 

41.Lana Del Rey, “Groupie Love”

Ft. A$AP Rocky

Album: Lust for Life

Interscope

A$AP Rocky makes a second appearance on Lana Del Rey’s Grammy-nominated album, Lust for Life.  “Groupie Love” opens abruptly, with the robust vocals of Lana Del Rey setting the tone.  Expectedly, the sound is lush, atmospheric, indulgent. Vocally, she’s relaxed as always, never opting for a rhythmic driven delivery. As the title suggests, she characterizes the groupie who believes the famous musician whom she idolizes is her man, hence, groupie love.  Naturally, A$AP Rocky plays the role of her boo, the famous musician.

42.Tyler, the Creator, “Who Dat Boy”

Ft. A$AP Rocky

Album: Flower Boy

Columbia 

“Who Dat Boy” exemplifies tough Tyler, the Creator – the scum f**k.  After eerie, malicious production, he jumps right into unapologetic rhymes. He wants to ensure that everybody knows exactly who he is.  Despite autopilot status, he’s assisted by A$AP Rocky, who kills the second verse.  Upping the ante, they join forces on the final verse. “Who Dat Boy” is chocked full of twisted, cocky, and confident rhymes.

 

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43. Tyler, the Creator, “I Ain’t Got Time!”

Album: Flower Boy

Columbia

“I Ain’t Got Time!” is one of the catchiest and fiercest songs of the rapper’s career. Within the context of Flower Boy, if it seemed like Tyler, the Creator had lost his edginess with “Garden Shed” and “Boredom,” it returns full-fledged on “I Ain’t Got Time!” The production is superb, while T is clearly on autopilot.  Still, there’s an unexpected lyric that raises eyebrows and not because of its toughness: “Next line will have them like ‘whoa’ / I’ve been kissing white boys since 2004.”

44. Arcade Fire, “Creature Comfort”

Album: Everything Now

Columbia 

“Creature Comfort” opens in electrifying fashion, with synths leading the charge. Arcade Fire are locked into dance-rock mode, but also incorporate gritty guitar in the mix, not to mention a hard-hitting groove. The themes of “Creature Comfort” are darker than its exuberant sound, encompassing suicide and how screwed up society is.

45. Arcade Fire, “Signs of Life”

Album: Everything Now

Columbia

“Signs of Life” wasn’t quite as glorious or transcendent as “Everything Now,” but definitely not devoid of virtues. It’s groovy, and the production work is top-notch – bass, strings, horns, and so forth. A fun record, lyrically, Butler and company encompasses pleasure and excess.  The finger is being pointed to the youth for wasting precious time with temporary pleasures, phrased best on the chorus.

46. Meek Mill, Young Black America”

Ft. The-Dream

Album: Wins & Losses

Atlantic

“Young Black America” is the most meaningful from low-key Wins & Losses. Meek Mill gets socially conscious, focusing on black issues.  He’s emotional and energetic, but there’s a relaxed vibe about his delivery, that actually puts more weight on what he’s rapping.  The-Dream is a perfectly suited as a collaborator, providing a thoughtful contrast to Meek’s rhymes.

47. Andy Mineo & Wordsplayed, “Dunk Contest (Magic Bird)”

Album: Magic & Bird

Reach

“Yeah, this that, this that, this that Penny with the Shaq / Yeah, if he’s passin’ me the rock, they might not get it back.” “Dunk Contest (Magic Bird)” is da bomb.  The crème de la crème of Magic & Bird, the production is superb, both Andy Mineo and Wordsplayed drop strong rhymes, and the hook is infectious. “I just threw it off the backboard / Game winner, I’m the one they ask for / Magic Bird, Magic Bird, Magic Bird…”

48. Lil Peep, “Benz Truck (Гелик)”

Album: Call Me When I’m Sober, Pt. 1 (EP)

Lil Peep

“Benz Truck (Гелик)” stands out from the crowd.  From the start, the sound is dark and foreboding. The late Lil Peep comes off both odd and unique, embedding his personality and one-of-a-kind status. Successive listens reveal an undoubtedly hypnotic gem.  It’s by no means deep, but Peep wins us over with his charm.  The hook is a selling point.

 

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49. A$AP Ferg, “Plain Jain”

Album: Still Striving

RCA

“Plain Jane” was ‘ever-so close’ to making the big, 100 Best Songs of 2017.  The brief, rare solo banger from Still Striving shines bright to say the least. There are numerous pros including the toughness exhibited by A$AP Ferg, his flow, and the catchy, infectious hook. “Ride with the mob / Alhamdulillah / Check in with me and do your job / Ferg is the name / Ben Baller did the chain / 12 for the watch / Presi Plain Jane.”

 

50. A$AP Ferg, “East Coast Remix”

Ft.

Album: Still Striving

RCA 

The star-studded “East Coast Remix” is not only the best remix from Still Striving, but arguably, the best song.  Providing the east coast support is Busta Rhymes, A$AP Rocky, Dave East, and French Montana. Busta Rhymes has the verse to beat. Rick Ross represents the south, while Snoop Dogg, representing the west coast, gives Busta a run for his money.

51. Dave East, “Paranoia”

Ft. Jeezy

Album: Paranoia: A True Story

Def Jam 

Paranoia: A True Story gets off to roaring start.  The best song of the album, “Paranoia,” kicks things off.  A truly souped-up banger, Dave East is assisted by one of the hardest G’s of them all, Jeezy.  The production work is malicious AF, setting up a rich, if dark backdrop for East and Jeezy to paint their gritty rhymes.  The hook shines in particular.

 

52. Daniel Caesar,“Get You”

Ft. Kali Uchis

Album: Freudian

Golden Child Recordings

“Get You” featuring Kali Uchis serves as a soulful, sensual album opener.  While “Get You” hearkens back to the past, it doesn’t do so anachronistically.  Vocally, Daniel Caesar delivers a balanced, complete performance, never under- nor over-singing. Uchis plays a minimal, but effective role.

53. Daniel Caesar, “Blessed”

Album: Freudian

Golden Child Recordings

“Blessed” is a natural follow-up to “We Find Love,” in the context of Freudian. “We Find Love” was the song ultimately chosen to represent Freudian on the 100 Best Songs of 2017 list.  “Blessed” pulls things back, but doesn’t compromise quality or energy. By the end of the record, the spirit is lofty.

 

54.Dustin Lynch, “Small Town Boy”

Album: Current Mood

Broken Bow

Yes, it’s shocking that Dustin Lynch made this ‘almost famous’ list, right? Right. That said, “Small Town Boy” shines, playing directly to the country musician’s southern roots.  Rather than employing the modern bag of pop tricks, he keeps things ‘country.’ It’s platitudinous mind you, but southern charm goes a long way in country music.  The chorus is a huge selling point.

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55. Dustin Lynch, “Love Me or Leave Me Alone”

Album: Current Mood

Broken Bow

So, two Dustin Lynch songs make the ‘almost famous’ list? Yes. “Love Me or Leave Me Alone” finds Lynch maintain a sense of traditional country sensibilities. The record delivers the goods with its beautiful, powerful, and thoughtful balladry. Vocally, he impresses, showcasing a ripe set of nuanced country pipes.  Arguably, this is his best performance of the album.

56. Thomas Rhett, “Life Changes”

Album: Life Changes

Big Machine

There is clearly an autobiographical tone to “Life Changes,” which finds Thomas Rhett reflecting on the past, present, and future. Rhett talks about adopting a child from Uganda, and having a baby on his way. This particular part, the bridge, amplifies the thoughtfulness of this particular record. While it’s a serious record, it’s not blasé.  He still delivers the title track in a fun, memorable way.

57. Jack Johnson, “My Mind is For Sale”

Album: All the Light Above It Too

Republic

On “My Mind is For Sale,” production is heavier.  Even so, Johnson never seems to get bothered with the stresses of life – he’s even keel.  He tackles politics, but he doesn’t exhibit a particularly angry tone.  From the start, he paints a picture of every progressive musician’s enemy – President Donald Trump.  Throughout, Johnson negatively characterizes Trump as well as the fallout from his presidency.

58. Death From Above 1979, “Never Swim Alone”

Album: Outrage! Is Now

Warner Bros. 

Death From Above 1979 keeps things short and sweet on “Never Swim Alone.” Chocked full of energy, there are gritty, distorted, whiny vocals, a characteristic f-bomb, and sick guitar work. Ultimately, it’s simply delicious, especially the catchy chorus that tells us to, “NEVER. SWIM. ALONE!”

59. Superfruit, “GUY.exe”

Album: Future Friends

RCA

Arguably the best song from Future Friends comes by way of “GUY.exe.” While Superfruit have never lacked personality, it’s amplified on this ‘looking for love’ gem. It’s fun, groovy, and up-tempo, as Mitch Grassi and Scott Hoying search for their perfect man.  The chorus in particular is infectious, regardless where you lie on the sexuality spectrum.

60.Michael McDonald, “Hail Mary”

Album: Wide Open

BMG Rights Management

Michael McDonald kicks off Wide Open superbly with the groovy “Hail Mary.”  “Hail Mary” feels “in-the-pocket” from the start.  The sound has a vintage quality that reminds the listener why McDonald was such a legendary artist.  Electric piano, saxophone soloing – sigh.  Nearly seven minutes in length, “Hail Mary” never gets rushed.  There’s the sense that Michael could care less about length – he’s going to take his time and let the record ride out.

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61. Michael McDonald, “If You Wanted to Hurt Me”

Album: Wide Open

BMG Rights Management

“If You Wanted to Hurt Me” sounds like clear throwback to past Michael McDonald, Doobie Brothers, and Kenny Loggins gems.  The groove is the first hint of these retro vibes.  Ultimately, it’s an exceptional fusion of soft-rock, blue-eyed soul, pop, and soul with no-strings-attached.  The production is awesome, incorporating guitars, keys, horns, and ample guilty listening pleasures.  The riffs are crazy and most importantly, Michael is on autopilot.

62. Ledisi, “Add to Me”

Album: Let Love Rule

Verve

The first thing the listener will notice about highlight “Add to Me” is the sound.  The production work is awesome – soulful, slick, and modern.  The content stands out as well. Ledisi wants to know what her man is “going to add” to her – what’s he going to bring to the table to make a sound relationship. “Add to Me” paints Ledisi as an incredibly confident, strong, and independent woman who understands her worth without a man.

63. Ledisi, “High”

Album: Let Love Rule

Verve

“High” features exceptional production work.  The sound balances old- and new-school soundly. The brass hits clearly hearken back to the past, while the drum programming is sheik and modern. Vocally, Ledisi remains among the crème de la crème.  She flaunts her range towards the end of “High.” Throughout the course of the song, she’s always in command, never letting the production work overpower her.

64. Miley Cyrus, “Younger Now”

Album: Younger Now

RCA

“Younger Now” embraces ‘new’ Miley Cyrus from the start.  Here, elements of pop, country, and folk are fused together, making a different, yet interesting sound. The production work is interesting.  There are no glitzy synths, but rather a throwback sound. Perhaps it’s not innovatively eclectic, but doesn’t sound like other pop on the radio. Vocally, Cyrus flaunts her distinct pipes despite the stylistic about face.

65. Miley Cyrus, “Thinkin’”

Album: Younger Now

RCA

“Thinkin’” gave Younger Now a much-need punch.  Rather than showcasing poise, Miley Cyrus exhibits more attitude. She delivers the feistiest, most fun performance of the album. Here, the retro-pop experiments yield sensational results.

66. Tank, “When We”

Album: Savage

Atlantic

“When We” features lush, sensual production work. The standout backdrop includes slick hip-hop driven drums, clearly part of the contemporary script.  Tank delivers a superb performance, characterized by smooth vocals that exemplify sex. Notably, he matches the swagger of younger contemporaries here.  Albeit shallow, “When We” is a guilty pleasure.

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67. Marilyn Manson, “WE KNOW WHERE YOU F**KING LIVE”

Album: Heaven Upside Down

Loma Vista

“WE KNOW WHERE YOU F**KING LIVE” is dark to the nth degree.  Lyrically, from the start, Marilyn Manson isn’t playing around in the least.  The chorus is incredibly assertive, with Manson screaming to the top of his lungs.

“We know where you f**king live / We know where you f**king live / We’ll burn it down, burn it down / They won’t even recognize your corpse.”

As epic as the chorus is, the bridge is simply devastating. Lyrically, it’s all about repetition, but the impact has a pulverizing effect: “Fire, fire, fire, fire, fire away!”

 

68. Marilyn Manson, “SAY10”

Album: Heaven Upside Down

Loma Vista

The left-hand path is empowered on “SAY10,” clearly a play on Satan.  Making “SAY10” even more enigmatic and frightening is the music.  Initially, on the first verse, “SAY10” sounds completely foreboding, with Marilyn Manson singing in a whisper.  On the chorus, the deck of cards is completely revealed with a catchy, yet incredibly blasphemous hook. Chocked full of religious references, “SAY10” transcends its beastly title.

69. NF, “Green Lights”

Album: Perception

Capitol

“Green Lights” features excellent production work that characterizes Perception as a whole. While the label Christian rap is given, the hard and malicious sounds make you rethink the definition of the style. NF flexes, exhibiting his excellent flow, and showcasing the utmost confidence and swagger. Notably, he does so sans salty language.  The hook is fire.

“All I see is green lights / All I see is green lights / All I spit is real life / Bet you don’t know what that’s like.”

70. NF, “Let You Down”

Album: Perception

Capitol

“Let You Down” gives NF another deep record, focusing on his relationship with his father.  Musically, it’s sharp, thanks to pitch-shifted, effects laden vocals, hard drums, piano block chords, strings, and ample reverb. An excellent harmonic progression and sound accompanies the intro, foreshadowing what’s to come. He continues his superb flow, flaunting immense rap skills. The vocals on the chorus are strong, while the chorus itself is catchy, yet meaningful.

71. Vivian Green, “I Don’t Know”

Album: VGVI

Make Noise

Promo single “I Don’t Know” shines, successfully fusing R&B and reggae, something that works well from some and fails miserably for others.  In the case of Vivian Green, she pulls it off exceptionally well.  The reggae elements truly help to give “I Don’t Know” its infectiousness.  Viv also plays a role in that, delivering emotional, soulful vocals, questioning if she’s in love.  Besides the inclusion of reggae itself, the production work helps to take “I Don’t Know” to the next level.

72. Zak Abel, “Deserve to Be Loved”

Album: Only When We’re Naked

Atlantic

“Deserve to Be Loved” slackens the pace,  eight tracks into Only When We’re Naked. The balladry allows for Abel to showcase the full scope of his voice, specifically the nuances and cracks. The production work is beautiful, featuring a lush, soulful, old-school sound. The lyrics are lovely throughout, with Abel “bringing it home” on the chorus.

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73. P!nk, “Revenge”

Ft. Eminem

Album: Beautiful Trauma

RCA

“Revenge” is a stark contrast to “Beautiful Trauma” that precedes it on Beautiful Trauma. P!nk returns to her urban-pop days. “Revenge” is edgy, in spite of the electric piano accompaniment.  There’s plenty of attitude, thanks to some salty language and of course, a guest feature by Eminem.

74. P!nk, “Whatever You Want”

Album: Beautiful Trauma

RCA

The pros are ample for “Whatever You Want.” There’s toughness, thanks to gritty vocals and attitude by P!nk. In addition to a consistent, powerful vocal, the production has more of rock-oriented pop sound, contrasting the urban-pop of “Revenge.” Some other cool happenings include a dash of parallel minor during portions of the chorus (it’s in a major key) and of course, the chorus itself.

75. Marc E. Bassy, “Plot Twist”

Ft. Kyle

Album: Gossip Columns

Republic

There are plenty of things to like about “Plot Twist”: slick production work, killer vibe, and a sweet vocal performance by Marc E. Bassy, rich in falsetto.  Also strengthening the case of the song is the sex game, part of the plot twist. Kyle, guests on the second verse, providing a fine assist.

76. St. Vincent, “Los Ageless”

Album: Masseduction

Loma Vista

“Los Ageless,” set in a minor key, features electronic-driven production work.  On the first verse, St. Vincent sets the tone about Los Ageless, a clear play on Los Angeles.  Naturally, the chorus is the crème de la crème.  Here, the vocal production truly stands out. On the second verse, she continues to reference age and social issues.  Fittingly, the bridge marks a lyrical and musical contrast.  Clark is edgier, leading into the final chorus.

77. St. Vincent, “New York”

Album: Masseduction

Loma Vista

“New York” is chocked-full of personality, not to mention a couple of f-bombs, with ‘mother’ preceding them.  Even with some swear words, Annie Clark sounds cool, calm, and collected. Well-written and enjoyable, St. Vincent keeps things simple on “New York.” Arguably, the pre-chorus, which varies, is the best part of “New York.” Nonetheless, the chorus, which doesn’t appear until after the second verse, is strong as well.

78. Keyshia Cole, “You”

Ft. Remy Ma & French Montana

Album: 11:11 Reset

Epic

Apparent from the start, Keyshia Cole isn’t playing around on  “You.”  Clearly pissed, she’s unafraid to throw it out there.  The record opens with the ferocious chorus, which instantly sets the tone.  Charged-up and explicit, her best lyric references Chris Brown and his hit record, “Loyal.” In addition to her own rawness, Cole invites Remy Ma and French Montana along for the ride. Both get in their share of notable moments.

 

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79. Keyshia Cole, “Vault”

Album: 11:11 Reset

Epic

“Vault,” gives Keyshia Cole another fine song. It commences minimally and mysteriously. The sound palette incorporates some bass, a few spare guitar notes, and a dash of percussion.  The sound is alluring, despite being spare.  Cole adds oomph as she begins singing, delivering, beautiful and expressive vocals.  The vibe is the selling point, sounding romantic and intimate.

 

 

 

 

80. Chris Young, “Where I Go When I Drink”

Album: Losing Sleep

RCA

Ballad “Where I Go When I Drink” ranks among the crème de la crème of Losing Sleep. It commences simply with piano accompaniment. Young showcases the sheer radiance of his baritone, with excellent vocal production further accentuating his instrument. Impressively, he never pushes his voice, singing easily, yet effectively.  Also, worth noting, is the melody, particularly the chorus, which is lovely.

81. Kelly Clarkson, “Meaning of Life”

Album: Meaning of Life

Atlantic

“Meaning of Life” possesses a retro-pop, retro-soul quality.  This is thanks to the gritty lead vocals by Kelly Clarkson, backing vocals, and the six-eight, time signature.  Throughout the song, there are some truly lovely, poetic lyrics.  The chorus is powerful and well-written. Throughout “Meaning of Life,” Clarkson’s best attribute is her voice, which is nothing short of amazing.

82.Kelly Clarkson, “Whole Lotta Woman”

Album: Meaning of Life

Atlantic

“I’m a whole lotta woman / (From the way I walk and toss my hips) / I’m a whole lotta woman / (From the sound of my voice to the gloss on my lips) / I’m a whole lotta woman / (Anything I see, I want, I get) / I’m a strong, badass chick with classic confidence, yeah.” “Whole Lotta Woman” contains a heaping dose of retro-pop/soul – an awesome look for Kelly Clarkson. Her is focus is herself, as well as women’s empowerment.

83. Ty Dolla $ign, “Dawsin’s Breek”

Album: Beach House 3

Atlantic

“Dawsin’s Breek” features strong production work, the biggest selling point of the record. Ty Dolla $ign is on autopilot, doing what he does best – flex.  He pop-raps on the chorus: “I got a brand-new coupe, uh / I got a brand-new ‘Rari / I got a brand-new boo / I put my b*tch in park…” Him and Jeremih drop short verses, but the chorus dominates the song.  This isn’t a particularly deep record – certainly not transcendent – but enjoyable by all means.

84. Sam Smith, “One Last Song”

Album: The Thrill of It All

Capitol

Throwback soul vibes are alive and well on “One Last Song.” Such vibes are perceptible via the harmonic progression, production, and Sam Smith’s heartfelt, hard-hitting vocals. The production, specifically, incorporates vintage background vocals, horns, strings, and piano, all part of the soul idiom.

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85. Sam Smith, “Burning”

Album: The Thrill of It All

Capitol

“Burning,” a ballad, commences beautifully, with Sam Smith singing the chorus a cappella.  After setting the tone, piano accompaniment enters, performing an interlude. On the first verse, Smith’s emotional, but in the same token, matches the poise of the production.  He begins to pick up more steam on the pre-chorus, eventually leading into the stunning chorus.  On the second verse, he’s more liberal with his voice eventually hitting his ‘sweet spot’ and flaunting his falsetto. By the final chorus, Smith lets loose, supported by soulful backing vocals.

86. 21 Savage, Offset & Metro Boomin, “Ghostface Killers”

Ft. Travis Scott

Album: Without Warning

Epic / Motown / Capitol / Republic

Without Warning gets started off superbly with “Ghostface Killers” featuring Travis Scott.  Offset handles the hard-hitting hook, following up with a verse referencing Patek, Michael Jackson, and Adidas.  21 Savage follows, in his normal dead-pan approach. Travis Scott caps off the gem on the third verse, referencing Tom Cruise and Nike.

87. Maroon 5, “Best 4 U”

Album: Red Pill Blues

Interscope

“Best 4 U” kicks off Red Pill Blues impressively.  A sleek electro pop-R&B joint, “Best 4 U” latches from onset.  The confirmation comes on the catchy, memorable chorus: “I just want the best for you … / But I’m just not the best for you / You don’t want what I’m gonna put ya through.”

88. Taylor Swift, “Don’t Blame Me”

Album: Reputation

Big Machine

It’s easy to let the superb production work of “Don’t Blame Me” steal the show.  Shellback and Max Martin always soundly stitch up a track.  Still, as great as the wobbling synths and robust sounds are, Taylor Swift has some terrific vocal moments.  When discussing Swift, we rarely discuss her voice as much as her songwriting and ability to infuse personality into those songs. Here, she has some truly awesome, legit moments, which are aided by vocal production, but the vocal production doesn’t solely get the credit.  The ad-libs, particularly the ‘high E’ she hits are a selling point. The backgrounds don’t hurt either.

89. Taylor Swift, “Call It What You Want”

Album: Reputation

Big Machine

Interestingly, “Call It What You Want,” a teaser track from Reputation, doesn’t arrive until near the end of the album.  Nonetheless, the record ranks among the better moments from the album.  The cool vibes are, well, cool. This is a good look for Taylor Swift.

90. Tim McGraw & Faith Hill, “Telluride”

Album: The Rest of Our Life

Sony

“Telluride” is filled with superb musicianship from start to finish. Tim McGraw and Faith Hill sound awesome during their respective solo turns. Hill gets things off to a fast, alluring start.  As great as both have been separately, they sound like soulmates when singing together. Additionally, they get a lift from soulful background vocals.  There’s ample soulfulness to be had here, as this song combines the best of southern soul and traditional country.

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91. Tim McGraw & Faith Hill, “Speak to a Girl”

Album: The Rest of Our Life

Sony

Early promo single “Speak to a Girl” doesn’t arrive until nearly the end of The Rest of Our Life. Faith Hill gets first blood, continuing to serve up a compelling vocal performance.  Here she takes more of a developing role, setting up grander things for the record.  Tim McGraw follows, with a more potent, energetic performance, as it should be on the second verse.  Both artists shine on their first collaborative chorus, with Hill hitting her stride on the bridge.

92. Big K.R.I.T., “Keep the Devil Off”

Album: 4eva Is a Mighty Long Time

BMG Rights Management

“Keep the Devil Off” is glorious thanks to its vibe and production.  The sound of the record is southern to the core, hearkening back to old-school soul and gospel.  Big K.R.I.T. uses this to his advantage, fueling his fire.  There’s organ, guitar, horns, and backing vocals – sheer excellence. Even if you’re not a Christian or a churchgoer, he perfectly captures the feeling like its Sunday services, and he’s the reverend.  The chorus is definitely a key component to the infectiousness.

93. blackbear, “Bright Pink Tims”

Ft. Cam’ron

Album: cybersex

Interscope

Banger “Bright Pink Tims” opens with dark, mysterious, foreboding production work, including trap drum programming. Ultimately, the backdrop sets the tone for the record. Early on, blackbear flexes: “Yeah, I make money, I start trends / My first car, it was a Benz.” He pop-raps the first verse. While he doesn’t offer anything groundbreaking, it’s a good look all in all. The chorus is confident and assured, intact with blackbear’s natural vocals and pitch-shifted, hip-hop oriented vocals. Cam’ron drops the second verse, staring slow at first, before coming into his own.

94. Björk, “Blissing Me”

Album: Utopia

One Little Indian

“Is this excess texting a blessing? / Two music nerds obsessing.” Oh boy! “Blissing Me” is lush, radiant, and romantic. Björk delivers compelling lead vocals.  Additionally, the background vocal further amplifies the performance.  As always, “Blissing Me” isn’t without the element of mystery.  It’s unique and left-of-center. Here, her and her love interest are “sending each other MP3s / Falling in love to a song.” Apparently, “The interior of these melodies / Is perhaps where we are meant to be.”

95. Miguel, “Wolf”

Ft. Quiñ

Album: War & Leisure

RCA 

“Wolf” featuring Quiñ is an instant highlight from War & Leisure, finding Miguel growing animalistic in reference to his sexual desires. His vocals are steeped in the carnal, yielding one of his strongest performances of his career.  The old-school rock-pop cues, fused with some modern touches is brilliant.  Notably, “Wolf” is a Raphael Saadiq co-write.

 

 96. Miguel, “Come Through and Chill”

Ft. J. Cole & Salaam Remi

Album: War & Leisure

RCA 

On “Come Through and Chill,” Miguel is assisted by J. Cole and Salaam Remi.  Remi handles the production duties, giving “Come Through and Chill” a soulful, old-school sensibility.  J. Cole delivers the first verse over the chill production work, a great way to kick things off.  He’s a fitting partner for Miguel, who follows up with laid-back, sexy, sexual verses.  In between the verses he drops enjoyable pre-chorus, chorus, and post-choruses that keep it simple, yet effective. The best of those three sections is the chorus. Cole returns for another verse, adding more goodness.

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97. Sharon Jones & The Dap-Kings, “Matter of Time”

Album: Soul of a Woman

Daptone

“Matter of Time” commences Soul of a Woman energetically and fully invested.  After the initial instrumental burst (organ, rhythmic bass, horns) and cheerleading from Sharon Jones (“Oh yeah!”), she balances poise and oomph. Instinctively, she always had a knack for when to hold back and when to let loose. “Matter of Time” is well paced, with Jones growing more spirited as the gem progresses.

98. Walker Hayes, “Shut Up Kenny”

Album: boom.

Monument

“Shut Up Kenny” is a great, ‘left of center’ title for a song, particularly a country song. In this case, Walker Hayes has his musical idol, Kenny Chesney in mind.  It would seem, given the title, that Hayes is anti-Chesney.  No sir. He’s onboard with country music vet through and through, and it makes for an interesting listen. “Kenny” has its share of country music cues, yet it also has some pop sensibilities. Overall, the production work is tasty. Hayes ‘talks’ (spoken word) during the verses. Initially, it’s odd. Ultimately, this approach is somewhat off-putting, off-kilter, yet rhythmic and unique. The chorus is incredibly catchy and irresistible.

 99. Walker Hayes, “You Broke Up with Me”

Album: boom.

Monument

Walker Hayes exhibits tons of charm on “You Broke Up with Me.” Both tongue-n-cheek and novel, it offers a great glimpse at Hayes’ personality.  Furthermore, it’s incredibly groovy.  The vocals are crisp and clear. The melody is light and rhythmic, which is definitely a selling point. The chorus is the crème de la crème.  While it’s poised as a love song of sorts, Hayes has stated that it also deals with his relationship with Nashville. Boom.

100. K. Michelle, “Make This Song Cry”

Album: Kimberly: The People I Used to Know

Atlantic

“Make This Song Cry” samples the Bobby Glenn classic “Sounds Like a Love Song,” as well as interpolates Jay-Z rap gem, “Song Cry.” As always, K. Michelle delivers powerful, dramatic vocals.  It doesn’t take long for the profanity to arrive, in the form of an f-bomb on the first verse.  The chorus is tough, memorable, and catchy. There’s never a shortage of passion Michelle.  She delivers the goods on “Make This Song Cry.”

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101. K. Michelle, “Kim K”

Album: Kimberly: The People I Used to Know

Atlantic

Standout “Kim K” is fueled by 2Pac classic, “I Ain’t Mad at Cha,” a fitting backdrop as she preaches a sermon about black issues, including cultural appropriation.  Named after Kim Kardashian, K. Michelle criticizes her privilege, best evidenced on the memorable chorus.

102. Big Sean & Metro Boomin, “Who’s Stopping Me”

Album: Double or Nothing

Def Jam / Republic

 “Who’s Stopping Me” is among the most intriguing records off Double or Nothing. The biggest reason why is thanks to sampling a Brazilian singer, Nazaré Pereira (“Clarão de Lua”).  At this point in his career, Big Sean has never had a record that sounds like this, which makes it unique.  As far as his rapping, he feeds off the cool, groovy production work, delivering agile, tight rhymes.  The hook further accentuates “Who’s Stopping Me,” not to mention Sean’s big personality.

 

103. Big Sean & Metro Boomin, “Pull Up N Wreck”

Ft. 21 Savage

Album: Double or Nothing

Def Jam / Republic

Big Sean is cocky and confident throughout the course of “Pull Up N Wreck,” the crowning achievement of Double or Nothing. On the first verse, he’s slick with his wordplay, relating numerous things to cars. Furthermore, he references sex – shocker.  The chorus is absolutely infectious. 21 Savage arrives on the second verse, and he’s not playing around, spitting about sex, as well as material things and violence.  Sean returns for the third and final verse, referencing balling, Golden Eye, and connect the dots.

104. Eminem, “Walk on Water”

Ft. Beyoncé

Album: Revival

Interscope

On “Walk on Water”, Eminem reflects upon his place on Earth as well as his career, assisted radiantly by Beyoncé on the chorus.  His rhymes are honest and reflective, backed by restrained production led by piano.

105. Eminem, “Untouchable”

Album: Revival

Interscope

Eminem is socially and politically-charged on “Untouchable”, focusing on race issues. During the first part of the song, backed by a rock backdrop, he speaks from the perspective of a white man. The man isn’t empathetic, sympathetic, or understanding of the black man. As the production switches to a more contemporary sound, Eminem portrays the perspective of the black man.

106. Eminem, “Like Home”

Ft. Alicia Keys

Album: Revival

Interscope

Alicia Keys joins Eminem on highlight “Like Home,” clearly an anti-Trump statement. It should be noted, this isn’t the first time the rapper has criticized a president (“Mosh” from Encore).  Despite being critical of the president, this isn’t anti-American. Keys definitely confirms the pro-American sentiment on the chorus.

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107. G-Eazy, “Leviathan”

Ft. Sam Martin

Album: Beautiful & The Damned

RCA

“Leviathan” features a fantastic hook from Sam Martin.  The record is on autopilot from the jump.  As rock-solid as the flow and rhymes are, arguably, Martin, as well as the sensational production by G-Eazy, steals the show.

108.G-Eazy, “Love Is Gone”

Ft. Drew Love

Album: Beautiful & The Damned

RCA

“Love Is Gone” is among the most hard-hitting songs from The Beautiful & Damned.  The production work is a selling point, featuring dusty, old-school drums, and set in minor key.  Drew Love blesses us with his beautiful, distinct, and soulful vocals. Rather than relying on the shallow, G-Eazy focuses on relevant political and social issues.

109. DRAM, “Gilligan”

Ft. A$AP Rocky & Juicy J

Album: Big Baby DRAM (Deluxe)

Atlantic

“Gone off the shit again, that’s just how I live / Lost just like Gilligan on my own Island.” Fun-loving rapper-singer DRAM dropped a banger with “Gilligan,” assisted by A$AP Rocky and Juicy J.  Clearly, DRAM was opting for a harder sound, evidenced by the trap production.  The aforementioned hook, which arrives at the top of the record, ends up being infectious, at least after a couple of listens.

110. Toby Keith, “S****y Golfer”

Album: The Bus Songs

Show Dog

Toby Keith is a self-admitted “Shitty Golfer.” He spends the entirety of the unplugged, acoustic-guitar accompanied song singing about just how bad he is.  While this shouldn’t make a good song, it works because the country vet has a great sense of humor.  This is tongue-n-cheek through and through, an area where Keith has been incredibly successful in the past.

111. Charli XCX, “Boys”

Album: Boys – Single

Atlantic

On “Boys,” the lust is real for Charli XCX. A brief song, it packs a punch from the first listen.  The production is slick, while the vibe is sensual, yet in an innocent sort of way.  In that respect, the 25-year old British pop artist comes over as a teenager enamored by the opposite sex.  She’s not an adolescent, yet that’s the vibe and it’s captivating for sure. She sings in a low-key manner, aiming to give that sexy touch without truly getting sexual.

112. Steve Angello, “Rejoice”

Ft. Bishop T.D. Jakes

Album: Genesis

Size

Greek-Swedish DJ Steve Angello takes us to church on the jubilant, triumphant single, “Rejoice,” featuring Bishop T.D. Jakes. Angello creates a backdrop that has a spiritual sound – religious sensibilities. His choice of synths and pad – choral and organ namely – construct a pseudo-/ nu-gospel vibe. As important as Steve Angello is, he couldn’t have pulled this off with T.D. Jakes, who truly propels “Rejoice” into the gem that it is.  It’s all good vibes from the Bishop, who inspires people of all different walks with his passion and prudence.

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113. Mutemath, “War”

Album: Play Dead

Wojtek

Paul Meany and Mutemath strike gold on “War,” the third single from their quietly released album, Play Dead.  The grooves and instrumental riffs on “War” are irresistibly delicious.  Meany sounds terrific here.  There’s an easiness about the way he sings. It’s not that he isn’t commanding, but he doesn’t rely on histrionics to fuel the fire, which makes “War” refreshing. The pros don’t stop with grooves, riffs, and vocals.  The sounds are amazing.  Not only is the standard rock instrumentation in play, but the keyboards – the synths – adds another dimension.  Furthermore, Mutemath isn’t married only to the standard, conformist aspects of rocks, but truly explore beyond.

114. Luke James, “Drip”

Album: Drip – Single

Island

Following a three-year hiatus, Grammy-nominated R&B singer Luke James returned with sensual gem “Drip.” “Drip” has an old-school sound that doesn’t sound like contemporary R&B in the least.  It’s clearly neo-soul. From the jump, he flaunts a masterful falsetto, that has sex written all over it.  On the second verse, he utilizes more of his chest voice, but not for long – that head voice returns quickly. Capping off the exceptionalness of “Drip” is the chorus, which is simple, but effective without question.

115. ODESZA, “Line of Sight”

Ft. WYNNE & Mansionair

Album: A Moment Apart

Counter

Electronic duo ODESZA concocts a gem with “Line of Sight,” featuring WYNNE and Mansionair. “Line of Sight” has a nice ambient, enigmatic quality that initiates the song.  The groove is excellent, once it enters into the mix, following the introductory vocal statement by WYNNE. The tone of the lead vocals is marvelous – simply beautiful through and through. The first verse has a pleasant nebulousness, which contributes to the enigma initially. The chorus is catchy and well-rounded.  Ultimately, it’s well-produced, well-performed, and well-conceived with no glaring flaws.

116. Gregg Allman, “My Only True Friend”

Album: Southern Blood

Rounder

The late, great Gregg Allman leaves a gem on “My Only True Friend,” the promo single from his final, posthumous studio album, Southern Blood. “My Only True Friend” packs a punch the first time you hear it. Allman sounds top-rate, singing emotionally, soulfully, and exemplifying the southern rock spirit.  In addition to superb vocals by the late, great Allman, the songwriting is on-point, and the production is magnificent.

117. Ibeyi, “Deathless”

Ft. Kamasi Washington

Album: Ash

XL

French-Cuban Twin Duo Ibeyi shine on “Deathless,” a standout from their sophomore album, Ash. Ibeyi get an assist from talented saxophonist Kam asi Washington. Deathless” gets off to quick start, thanks to alluring synths and the distinct percussive groove.  There’s a freshness about this track that has the swagger of urban contemporary and pop music.  The eclectic sound makes this record one of a kind.

118. Musiq Soulchild, “Humble Pie”

Album: Feel the Real

Entertainment One

Veteran R&B artist Musiq Soulchild remains consistent on “Humble Pie,” a promo single and highlight from his double album, Feel the Real. His voice is incredible, chocked-full of soul and representing the Philly soul scene like a champ. The harmonic progression another selling point, maintaining complexity with its jazzy twists and turns.

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119.Rapsody, “You Should Know”

Ft. Busta Rhymes

Album: Laila’s Wisdom

Jamla / Roc Nation

Rhapsody delivers a gem on “You Should Know,” the promo single from her Grammy-nominated, third album, Laila’s Wisdom.  The production work is a selling point, providing Rapsody a soulful backdrop to spit over; she has a marvelous flow. Additionally, her tone is magnificent: she’s got a bite, toughness, and attitude. Busta Rhymes arrives, rapping over a kinder, gentler backdrop. This is a surprising change of pace for the rapper, who is known for his eccentricity and quick-paced, loud, and hard-hitting flow.

120. Rich Chigga, “Chaos”

Album: Chaos – Single

88rising / EMPIRE

“Chaos” is short and sweet.  Not sweet in regards to the rhymes – Rich Chigga goes hard. Newly turned 18, he’s serious about celebrating the milestone in his life. “Chaos” is the perfect platform for him to do so. The production bangs, and Chigga is on autopilot throughout the course of the song.

121. Token, “Little Boy”

Album: Little Boy – Single

Token

The first thing to note about “Little Boy” is the production.  One word: hot.  From the start, it’s clear that the production is fuel for the young rapper’s fire.  It has ‘banger’ written all over it, thanks to the quirky, extraterrestrial synths and slick, anchoring drums.  Once Token begins rapping he’s on autopilot.  The flow is tight, while the rhymes are chocked-full of confidence, game, swagger – the works.

122. Jeezy, “Bottles Up”

Ft. Puff Daddy

Album: Pressure

Def Jam

More than a decade into his career, Jeezy continues to bring the heat. On the turned-up “Bottles Up,” he’s assisted by ‘hype-man,’ Puff Daddy. Jeezy spits over a superb backdrop, including standard, hard-hitting trap percussion, synths, but most surprisingly, piano. Jeezy does his job by serving up biting rhymes to match the excellent production work. His flow remains top-notch.

123. N.E.R.D., “1000”

Ft. Future

Album: No One Ever Really Dies

Columbia

There’s lots to love about “1000.” The production is signature Pharrell Williams through and through: wacky synths, hard beats, and forward-thinking.  In addition to the backdrop, Williams delivers a nutty verse, led by repetition of the phrase, “Holy shit it’s working.” Future is true to himself on his guest verse, which is all ‘flex-fest.’ An odd song, particularly the form, it totally fits the band and overall vibe.

124. Abraham Mateo, “Háblame Bajito”

Ft. Austin Mahone & 50 Cent

Album: Háblame Bajito – Single

Sony

19-year old Spanish pop singer Abraham Mateo enlists American artists Austin Mahone and 50 Cent for the superb, sexy single, “Háblame Bajito.” “Háblame Bajito” establishes a sexy vibe from the jump. The production is in a minor key, giving it a dark, seductive, ‘lights off,’ bedroom oriented vibe. Mateo delivers playful, yet soulful vocals, clearly sounding invested in the girls. Mahone and 50 Cent follow suit, singing and rapping in English of course.

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