Top 20 Songs Of 2017 (So Far)

According to Nielsen Music's recent mid-year report, hip-hop/R&B has officially surpassed rock as the most popular genre in America. It's surprising it took this long, but in 2017, our beloved hip-hop has been nothing short of dominant. The biggest stars are coming together; the top emcees are being supported by the best producers. And there's fierce competition in the underground, which is motivating the mainstream. Hip-hop is host to heated rivalries, exciting regional movements, young challengers, and tireless veterans. Sometimes it's hard to keep up with all that's going on. This list is a good start. Here are the top 20 songs of 2017. This year has already gifted us some classics, and we're just over halfway through. 

The Bronx linked up with Pompano Beach to create a club monster. If it's a young man's game, then these two are leading the charge. A Boogie's melodic timing is perfect on "Drowning," and Kodak's charisma is such that he can get away with some ridiculous toilet humor. You get the sense that it didn't take long for them to bang out this hit once they got in the studio (they dropped a far more sentimental effort with "Reminiscing," off Kodak's Painting Pictures). They've each captured a special hitmaker's confidence at a young age (Kodak at 20, A Boogie at 21), and it'll be fascinating to watch their careers take shape. 

On the night of February 25, 100 bullets were fired at Young Dolph's (bulletproof) SUV while the Memphis rapper was in Charlotte. Without commenting on the ongoing case (in which Blac Youngsta has been charged and since released on bond), the shooting was immediately attributed to Dolph's beef with Yo Gotti.

Five weeks later, Dolph addressed the shooting with the release of a surprise new album called Bulletproof. The first (and strongest) song, "100 Shots," is indicative of the unmatched attitude that has made Dolph a contender for the Memphis crown in the last couple of years. Though it's obvious that the track is dedicated to his assailants, he barely mentions the attempt on his life -- not until the chorus. And every single line builds momentum toward one of the hardest bars of the year: "HOW THE FUCK YOU MISS A WHOLE 100 SHOTS?" 

At age 39, Tity Boi (you'll learn the true, essential origin of the nickname in this song), is making better trap music than the young generation he paved the way for. He made one of the year's best trap albums with Pretty Girls Like Trap Music. In fact, it's one of the best hip-hop albums period. It's hardly worth it to differentiate between the two genres, given how influential trap is today. Having said that, 2 Chainz is an incredible rapper who raps with the riveting spirit of a seasoned trapper. On "Poor Fool," one can feel that spirit take shape as he looks back on his remarkable journey. With Swae Lee on the hook -- singing the cautionary advice of Tity's own mother, the song is a humbling story of how 2 Chainz (and trap music in general) beat the odds with sheer ambition. 

More than almost any other track, this one felt right in all scenarios -- the club, the car, the bedroom, wherever. "Crew" is an immaculate posse cut from the DMV. The groove master GoldLink earned the biggest hit of his career, with the help of the always entertaining Shy Glizzy and Baltimore singer Brent Faiyaz, whose line is probably buzzing with rappers soliciting a hook as magical as the one he gave "Crew." And though it featured an out-of-towner, somehow the remix is even better. Gucci embodies the consummate shine that made the original so good. 

It's rare that an album sits on the back burner for three years and manages to be greeted with universal acclaim upon its eventual release. Last year, SZA avowed to quit music altogether. Now, after release of last month's CNTRL, she's one of the foremost stars on TDE and in all of R&B. The album was that good. On "Love Galore," CNTRL's biggest hit, SZA goes back and forth with a forlorn Travis Scott atop a dreamy, tropical backdrop. Both SZA and her male counterpart feel love in the air, but unlike him, she won't fall for an illusion of the real thing. 

More Life was mostly an eclectic collection of fun party tracks. The deep, trembling R&B of "Teenage Fever," which comes with an instantly nostalgic J. Lo sample, hits a little harder. If Drake's moves feel calculated when it comes to tougher tracks, he's totally sincere when immersed in late-night mind games with an old flame -- when shifting the momentum toward an ill-advised hookup or drunk dial. More Life was full of new flows and new kinds of beats. His ability to navigate the sprawling influences was impressive, but he felt most like himself -- and most relatable -- on "Teenage Fever."  

The unpredictable sonic territory explored by Vince Staples on Big Fish Theory is remarkable. The album's frenetic, club-focused aesthetic slows on the fifth track, "745," which finds Vince embarking on a date night. Backed by a dark, sexy backdrop -- a cutting-edge take on G-funk -- from Detroit's Jimmy Edgar, Vince's fear of love is masked by an ultra-cool exterior. "All my life pretty women done told me lies," he repeats to close the hook. Though everything finally seems to be in its right place -- pulling up in the 745 at 7:45 -- he still can't help but feeling that this particular outing is part of the same, futile journey he knows all too well. 

This year brought yet another comeback from Hov, a man with little left to prove as far as rapping goes. Four years since his last album, Jay-Z brought his grown man bars on 4:44. He sounds less interested in competing and more focused on teaching. On "The Story of O.J.," he denies the notion that his success could ever remove him from his blackness and goes on to offer a vision of black success for his peers.

He places good credit above rain-making strip club excursions, doing so without sounding overly preachy. In many ways, Hov looks back fondly on his days of reckless spending, though perhaps that way of life -- and the music that supports it -- is no way to sustain a lucrative career. The goal is longevity -- for him, his family, and for hip-hop. 

French always comes through with at least one amazing song per year. It was "Off the Rip" in 2015, "Lockjaw" in 2016. This year's selection should be obvious. "Unforgettable" lives up to its title, in large part because of the vocals of Swae Lee -- the most angelic voice in hip-hop. But French knows how to soundtrack a good time, and he should be recognized for putting together such an uplifting club record. And French also thought up the idea for the heartwarming music video -- in which he and Swae travel to Uganda and try to keep up with an ecstatic group of young dancers in Kampala. "A fuckin' good time never hurt nobody," sings Swae. But the song's ethos goes deeper than just a good time. This is healing music. 

"DNA" is a mind-blowing display of pure rapping ability. Kendrick addresses certain perceptions of him and his blackness by cutting himself open and showing exactly what he's made of -- the royalty, the oppression, the "power, poison, pain, and joy." All these strands of his DNA are brought to life during his vicious lyrical tear. He sounds ready for a showdown, and his conviction alone -- never mind his extraordinary self-awareness -- makes him a formidable opponent. 

The surprise partnership between Kendrick and Mike Will Made-It was one of the most enjoyable parts of DAMN. Two minutes into the song, a Fox News clip accompanies a vicious Mike Will beat switch-up, and Kendrick closes the track in a fury with what has to be a frontrunner for verse of the year. 

Finally, another collaboration between the two best rappers in Atlanta -- two of the best in general. "Relationship," off Thug's Beautiful Thugger Girls, is their biggest collab to date. They trade singing verses over a lush trap beat and come out with beautiful pop music, romantic and womanizing at the same time. It's one for the Thugger girls, and it's the album's best track. Both Thug and Future poured their hearts out on their respective singing albums this year. There has been past tension between them, though they now appear to have forged a strong alliance. Here's to hoping "Relationship" is the first of many hits from this exciting ATL duo. 

DJ Khaled is bigger than ever. His whole life is geared toward viral success -- as is the life of his nine-month-old son, Asahd, who graces the front cover of his father's latest star-studded album, Grateful. The album contains every major artist in the game. Future appears on five tracks, though none of them rival anything on the two albums that he's released this year. With Khaled's albums, it's either too many cooks or too little inspiration from the cooks involved. One Grateful track, though, turned out perfectly. And it's the song with the most star power. 

Bieber's laying down killer hooks, Chance is heaven-sent, Quavo has the sweetest voice in trap, Wayne is having fun again, and the whole Asahd thing is kind of cute. Maybe 2017 isn't all bad. Honestly, for how hard he's worked, Khaled deserves this smash record. 

It was a non-album year for Drake, though he has still managed to have the second highest-selling project of 2017, second to Kendrick's DAMN. More Life -- a collab-heavy "playlist" from Drake and October Firm -- may not rival DAMN. in terms of depth, though it's full of hits that are still in heavy rotation this summer. 

"Portland," featuring Quavo and Travis Scott, is a smooth poolside track that brings the best out of all three artists involved, beginning with Drake's sly dig at his side piece's outdated iPhone. Classic Drake. He got the Niagara sensation Murda Beatz to cash in on the flute wave. Goal Team Canada. Drake gets flack for his constant efforts to keep his sound up-to-date. Songs like "Portland" serve as a reminder that he's been a fixture for the past 10 summers. That longevity speaks for itself.

Among the most influential in flow, lingo, and style, the Migos are finally getting their just due. They began 2017 with the hottest song in the country in "Bad & Boujee." But ahead of their sophomore album, Culture, they needed a worthy follow-up. "T-Shirt" -- an icy fur trapper's anthem produced by Nard & B -- was as fresh of a product as they could've supplied. 

They slowed their usual speed and snappiness for melodic, syrupy flows. Charisma drips from each line. The unsung Takeoff -- famously left off "Bad & Boujee" -- opens the song and lays down the strongest verse. After "T-Shirt," and its Revenant-inspired music video, it was obvious that Culture would live up to its title as an album that proudly reflects the spirit of innovation that has made Atlanta the most important city in present-day hip-hop.

Tee Grizzley needed one song to command the attention of the entire rap game. True to its title, "First Day Out" was recorded immediately after he got out of prison. He had been silenced for 18 months; he needed to tell his story and unleash his improbable comeback statement upon a microphone. 

He begins reflectively, as though he's humbled by his own journey. At first, it feels like the narrative is too full of detail to be a hit record, but all of a sudden -- in a seamless and thrilling transition -- the Helluva beat becomes hellish, and Tee goes into full savage mode, making you feel the full adrenaline of the most intense moments of his criminal past. In today's era, in which the hottest records often lack a focused narrative, "First Day Out" is a feat of storytelling. And Tee Grizzley is a gifted writer and storyteller, who's only just begun to share the pages of his jailhouse rhyme book. 

Kodak Black has been incarcerated for the majority of his rapid ascent. He put out last year's Lil B.I.G. Pac from behind bars. This year, he was locked up three weeks before the release of his debut album, Painting Pictures. As his prospects of freedom -- and of rap stardom -- have come into peril, his music has felt all the more vital.

"Tunnel Vision" -- at one point the No. 6 song in the country -- is the biggest hit of Kodak's career. One can feel his formidable ambition, but also the daunting uncertainty that drives his work ethic. Produced by Southside and the flute king Lil Metro, "Tunnel Vision" is an undeniable hit that's a direct product of Kodak's fight for his life. Nothing in the top 10 came close to being this raw.

Whatever your take on Playboi Carti's rapping abilities, he certainly has an ear for beats. And he's lucky to have a close collaborator in Pi'erre Bourne, who owns the best producer tag of 2017 with a quote sampled from The Jamie Foxx Show. "Yo Pi'erre, you wanna come out here?" begins one of the year's hottest tracks, which -- despite its lyrical simplicity -- was hailed by Jay-Z as "incredible." 

"In New York I Milly Rock," raps the A$AP Mob affiliate, whose offhand, choppy lyrics mesh perfectly with the beat -- a mix of SoundCloud trap and Pete Rock-esque sample work. Perhaps Hov likes the song so much because there is something distinctly New York about it -- as proven in the wild new video. All of the questions surrounding Carti's peculiar skill set mean he's doing something right -- breaking boundaries and making hits in the process. Not even the Reasonable Doubt generation can say "Magnolia" ain't a hit. If this is mumble rap, then sign me up. 

"The Heart Part 4" -- a clinic in substantive shit-talking --  was just the warm-up. At the end of March, Kendrick Lamar officially announced his comeback with "Humble," which arrived with an accompanying visual of religious fury, directed by Dave Meyers & The Little Homies. Instead of the politically-minded To Pimp a Butterfly or the funky experiments of untitled unmastered., "Humble" was a lights-out spectacle of pure confidence. He traded his recent brand of West Coast jazz for a simple, pummeling beat from Atlanta super-producer Mike Will Made-It.

The game was put on high alert, and DAMN. -- released two weeks after "Humble" -- already looks like another classic for the Compton visionary. For a few years now, we've come to see Kendrick as hip-hop's premier social prophet. He may shy away from such a label, but what he's not humble about is how seriously he takes his chosen career. He believes, with all his might, that he's the very best, and that conviction is undeniable on "Humble" and the great album that it foreshadowed.  

Another classic from the unrivaled rapper-producer duo. Perhaps their best ever. "Mask Off" was the one that immediately stood out upon the February release of Future's pristine self-titled trap album, which came a week before the R&B-focused HNDRXX -- another excellent collection. "Mask Off" is a celebration of trap music. It's Future in his bag, at his absolute coolest. 

Trap music isn't just about trapping. It's about an in-the-booth mentality -- one that Future has revolutionized. He so easily becomes one with Metro Boomin's tranquil instrumental, which immediately inspired a wave of flute-driven trap beats. The Freebandz leader coasts throughout, with utterances both off-the-cuff and profound. Mask on, mask off -- it doesn't matter. Here is a master of his craft. 

Don't underestimate those who get branded as mumble rappers. Lil Uzi Vert is one of the primary targets of the oft-derogatory label. And he's the current owner of the best song of 2017. It's nothing that can be called mumble rap; in fact, "XO Tour Llif3" is the boldest vocal performance from any rapper this year. 

"XO Tour Llif3" -- named for The Weeknd's tour, on which Uzi was an opener -- dropped in February as part of a four-track SoundCloud bundle. The TM88-produced trap-pop anthem quickly took over the world. Uzi hasn't released anything since; he hasn't needed to.

We knew the Marilyn Manson-inspired trapper was a ball of cartoonish emotion, but on "XO Tour Llif3," his ability to switch gears and plunge into the depths of depression -- without lessening the song's party-starting momentum -- was a remarkable feat. Despite veering into suicidal territory, Uzi's performance here is one of invincibility.