Hottest Songs Of 2017

2017 was a year that saw rap singles topping the charts in a way they hadn’t in over a decade. In October, Post Malone and 21 Savage’s “rockstar” became the fifth rap song to reach No. 1 on the Hot 100, tying a record that had not been reached since 2006; the year of D4L’s “Laffy Taffy” and Chamillionaire’s “Ridin’.”

Even as the genre has become more melodic in recent years, songs like Cardi B’s “Bodak Yellow,” Kendrick Lamar’s “HUMBLE.,” and Migos’ “Bad and Boujee” all hit the top spot without sung hooks, hopefully leaving behind the days of Charlie Puth features in the dust. These were far from the only hip-hop and R&B songs that felt inescapable over the last 12 months. Lil Uzi Vert’s “XO Tour Llif3” transformed him from a teen SoundCloud idol to a superstar, giving one of the year’s darkest hooks a packaging so sugary, your mom couldn’t help but sing along. Future’s “Mask Off” again echoed the contrast of light and dark with a shout-along chorus and hypnotic flute line that made it one of the year’s most instantly recognizable -- and how could we forget, memeable -- musical phrases. Playboi Carti's "Magnolia" was a breakout moment for rapper and producer alike. SZA's "Love Galore" was a star-making R&B crossover we'll be talking about years down the line.

Rap singles have always been this popular and important, but this year, it felt like they got a little more recognition. This, of course, has a lot to do with the transition to legitimate streaming and the role of playlists in discovery; Rap Caviar still the most popular of them all. The charts and the playlists, while more accurate than they have been in years past, can't possibly represent everything, so we've assembled a list of 50 songs that showcase all that was great and transcendent in hip-hop and R&B in 2017. Scroll through to see what made the list. You can also peep our Spotify playlist with all of the songs you see below (minus Jay-Z's music, which is still locked away on Tidal), so you can take 2017's hottest tracks with you wherever you go.

“Wild Thoughts” was the third single release ahead of DJ Khaled’s Grateful. If we were told that DJ Khaled was planning on sampling Santana's “Maria Maria,” we may have scratched our collective heads at it. However, the way the production came together,  with the classic sounds of Santana’s guitar riff carefully crafted into the beat, makes Khaled’s version simply feel like a modern update on Santana’s original-- basically, if “Maria Maria” were an r’n’b/rap record. Thus it was easily loveable worldwide, just as Santana’s. Rihanna leads the chorus on this beat while Bryson makes a subtle but necessary appearance on the third verse. Santana even co-signed the song when he told Billboard that the trio brought his 1999 song to a “new dimension.” He added: "'Maria Maria” was and will always be that feel-good summer song that speaks to women, and “Wild Thoughts” is an extension of that summer song vibe that is timeless."

- Chantilly

Gucci Mane’s DropTopWop is a personal favorite of mine, largely in part to Metro Boomin’s eerie brand of production. From the minute “Finesse The Plug Interlude” pops off, you already know it’s about to be a feverish trip. The pitched-down chime melody sounds like something out of Pokemon Blue’s nightmarish cousin, yet the trap percussion elevates this cut into the hardest of stratospheres. Generally, interludes are seldom album highlights, but Guwop wastes no time in demolishing this instrumental. “I'm a shyster, I'm spiteful and I love rifles, and I love white folks, I walk on a tightrope,” raps Guwop, picking up momentum with every bar. “Trick you out your cargo, I feel like Pablo, my hood is a jungle, get burnt like charcoal.”

Ever since his release from prison in 2016, Gucci Mane has been rapping like a man possessed. His flow is sharper than ever, and “Finesse The Plug” does an excellent job in highlighting his keen ear for melodies. All the while, Metro’s haunting beat bangs ever onward, lending a subtle layer of additional menace to Guwop’s threats. This song is perfect for night-driving through empty streets, where shadow and neon sign collide with the light of a full moon. Don’t sleep on this underrated banger from a 2017 Man Of The Year candidate.

- Mitch

“Idols Become Rivals” may be 2017’s best and most justified diss track. Birdman’s unfair business practices have been the subject of conversation for years within the industry, and came to a head when Lil Wayne announced plans to to part ways with Cash Money due to millions he was owed by his once-father figure. Ross, who has seen the mistreatment from the sidelines, has presented perhaps the most damning takedown of Birdman we’ve seen from an artist yet. After expressing what might be the most hilariously sincere disappointment over illegitimate jewelry ever put to record, Rozay rips into his former friend while recognizing his own complicity. “I pray you find the kindness in your heart for Wayne / His entire life, he gave you what there was to gain / I watched this whole debacle so I'm part to blame,” he raps, before sending out a closer for the history books. “Last request, can all producers please get paid?”

- Trevor

This I Decided single that has since gone platinum is easily a top three contender for heavy hitters off the whole album. Big Sean bounces back from a slow chorus, singing, “She make that back move (damn) She made her titties move (goddamn) I make the city move (like whoa)” to the upbeat, fast rapping verses of a certain gyal having little time but “a lot of action.” The single was the second release (behind “Bounce Back”) ahead of the album’s official drop. Last month I Decided went platinum, selling over 1 million copies since being released back in February. “Moves” will seemingly always be a track that’s appreciated when bumped and should recall the same feels as when you hear the 2011 Nicki Minaj-assisted “Dance (a$$)” beat, if it doesn’t already.

- Chantilly

While much of Flower Boy finds Tyler, the Creator exploring the theme of growth (as the album title indicates), “Who Dat Boy” is somewhat of a reversion to the old Tyler — terrorizing suburbia in a fit of adolescent mania. He receives a bootleg face transplant courtesy of Dr. A$AP “Nick Riviera” Rocky; his new facial topography symbolize his place in society, several standard deviations from the mean on the bell curve of freakiness. The beat is as abrasive and dissonant as a horror film soundtrack, and It’s one of Tyler’s best to date.

- Danny

“XO Tour Llif3” is a hard single to follow up. Though Uzi had already built a fanbase on SoundCloud prior to the runaway hit’s release, he had never seen success of that magnitude, and surely, planning his next move was something that was labored over. Two songs took off on streaming following the Luv Is Rage 2’s release: “Sauce It Up,” a high-BPM banger favored by the SoundCloud crowd, and “The Way Life Goes,” a sweet, catchy gem that further explored his pop-punk leanings. In the end, Uzi, or more likely his label, chose the second path. “The Way Life Goes” lifts its chorus from an admittedly sappy and borderline corny song from UK indie pop outfit Oh Wonder, but Uzi is able to inject the song with an emotional core its cutesy presentation originally lacked. The characters in Uzi’s verses, whether or not completely autobiographical, always contain a certain depth, and he cleverly ties the liberally used sample into the narrative of the relationship with a simple “I was listening to this song, It goes like.” Much like “XO Tour Llif3,” before it, the song refuses to get old because its surface-level appeal is simple, but its themes are fascinatingly complex.

- Trevor

It was an up-and-down year for Meek Mill, with a questionable prison sentence marring what had otherwise been a strong twelve months of musical output for the Philly rapper. In particular, the track “1942 Flows” was the exclamation point on his Wins & Losses release, detailing how his drive and determination have overcome any and all obstacles that have been placed in his way.

“Started off poor with plans to earn more/Now we own stores and f**k the baddest whores,” he begins, eventually touching on how even shots fired his way from the thugs on his block can’t kill him because “they ain’t real enough.” That defiance in the face of the world telling him he isn’t good enough shines through in the lyrics, which give the effects-drenched beat some added bite and flavor. From Drake to Pennsylvania judge Genece Brinkley, Meek Mill has a message for all of the haters: “I ain’t close to done yet.” Hopefully Meek is a free man and making music again as soon as possible.

- Matt

Dreamville's J.I.D. quietly snuck under the radar with the release of The Never Story, which solidified him as one of the game’s most promising young lyricists. With shades of Kendrick Lamar and a young Three Stacks, the kid known as Jid provided an alternate brand of Atlanta hip-hop, centering more around mediation, clever bars, and of course, braggadocio. “Never,” the album’s somewhat titular track, finds J.I.D. going in over some hazy production from Christo Welch and Childish Major, showcasing a seamless flow over some eerie, alien synths.

Once the beat switches, however, all bets are off. J.I.D. closes things off with an all out lyrical assault, and it’s no wonder that the young rhymer caught the attention of J Cole. With an excellent debut under his belt, it’s only a matter of time before J.I.D. becomes a staple.

Joyner Lucas has a way with words and his depiction of opposite forces in the heat of America’s political battle could not be expressed more accurately in his single “I’m Not Racist.” This track proves how hip-hop is the proper newsstand for emitting today's culture. It shows the power that the genre holds and how much can be expressed with crafted lyricism in just under seven minutes. Instead of using the video to show clips of Trump, protests or headed political moments, Joyner took an easier but more powerful route by putting his reversed lyrics in the mouth of the stereotypical Trump supporter. CNN dubbed the track as "the brutal race conversation nobody wants to have” and bless Joyner for forcing the conversation and previewing both sides in a manner that makes it easy to understand. If you don’t get goosebumps from this track then I urge you to listen once more and really take it in. 

In the leading moments to his chart-topping album DAMN., Kendrick delivered something for the fans. For any K.Dot day-ones, his “Heart” series has been a notable part of his career. Over four separate beat changes, Kendrick continues to prove why he’s at the top of hip hop. Along with carrying the narratives from the other three parts, he describes the change in lifestyle while continuing to gun for every rapper’s position in the game.

Since dropping GKMC in 2012, Kendrick’s presence has paved its own lane that strayed away from many of his contemporaries. While his albums are complete bodies of work with a thematic statement that drives the whole project, joints like “Heart Pt. 4” showcase Kendrick’s ultimate drive: to be the greatest rapper alive.

- Aron

2017 was the first year that Rae Sremmurd didn’t release an album since their debut, but in many ways, they were more visible than ever. Swae Lee had his greatest feature year yet, but with “Perplexing Pegasus” (as well as Mike WiLL’s “Perfect Pints”), he made the argument that his rightful place is still alongside his brother Slim Jxmmi. Stepping back from the soaring hooks he’s become known for, Swae’s chorus finds him back in rap-mode, using his flare for imagery in an infectious hook that blends fantasy and reality. “Only thing I'm here for is perplexin',” he raps in a stream-of-consciousness-like flow, justifying his more surreal lines: “Caterpillar whip and I lowered it.” Jxmmi’s verse is more straight-forward: “Lil' Jxm', I got a problem I'm in love with money, I'm in love with ballin',” he raps in a way that recalls the brothers’ early party-starting anthems. Later on, Swae has his head in the clouds once again, describing the euphoria the song evokes quite perfectly: “caught a jet stream.”

- Trevor

While most listeners will grapple onto the political activism that seeps into every crevice of Joey Bada$$’ LP All-Amerikkkan Bada$$ album, the Pro Era rapper is actually most impressive in the more reflective moments he has along the way. Case in point is “Rockabye Baby,” where he and ScHoolboy Q reminisce about their drug dealing past, their age-old gang affiliation and, using the wage gap that is still felt in a big way by minorities in the United States as a conduit, ask a larger question about their place in society actually is.

Q in particular really digs his heels in when it comes to taking his real-world experience and applying those lessons to America’s socioeconomic hierarchy as a whole. “Park the car around the corner,” he spits, “I'll be there in a second/The murder weapon on me, f**k if this bitch start flamin'/The cops patrollin', get that punk ass American flag ceremony/Aww, damn am I going too far?” Plenty of hate has been thrown at not only the Trump administration, but the values that any public opposition associate with his supporters, and these lyrics are no different. They cut close to the bone, but not in a blind rage; more methodically, like a surgeon’s precise examination of something that used to be alive.

- Matt

Bootleg audio of “Gave Your Love Away,” recorded during a Louis Vuitton fashion show in June, helped drive hype for Majid Jordan’s The Space Between as much the album’s actual singles. Dumped after committing an unforgivable sin, Majid Al-Maskati stumbles through a post-breakup haze, unsure where to go or what to do next. The song is not a relationship post-mortem; Majid can hardly bear to move past the fact of the breakup itself. He has only just left the woman’s house. The driving groove and muted harmonies of Jordan Ullman’s production suggest an accelerated heartbeat. It is only towards the end of the song that Majid can bring himself to form parting words: “Make time for love, take time for love.”

- Danny

21 Savage, Offset and Metro Boomin set the tone for Without Warning with a spooky and haunting intro track for their Halloween release. Metro Boomin creates a mood with his production, an eerie trap beat with bells that ring like a haunted church from an old horror movie.

Offset leads the direction with the hook. While he and Travis Scott delivery fashion forward verses, 21 Savage’s monotone but trademark flow comes through with menacing and murderous bars that tie the song together.

- Aron

SZA’s Ctrl is an album that is difficult not to immerse yourself in. Fans of the TDE singer will probably have a hard time picking a favorite track outside of the obvious singles. “Broken Clocks,” is one of the deep cuts that immediately felt like an important piece within the singer’s unique world. Any pre-existing fan of SZA will remember the struggles she had in getting the album released, to the point that she nearly gave up on music. “Broken Clocks” reflects on the juggling the emotional weight of a love life with the work that must be done to get by, in some ways mirroring the the frustrations of a conflicted artist. “All I got is these broken clocks / I ain't got no time / Just burning daylight,” she sings poetically on the chorus. It may seem like time is always working against us, but thankfully with Ctrl, the timing was just right.

- Trevor

Daniel Caesar captivated his fans with this piano driven melody. This is a major hit that’s a close contender to Freudian's other single, “Get You” featuring Kali Uchis. Although it’s a beautifully produced song, the infectious lyricism has a sad tale that reflects on losing "the girl of his dreams." Also singing, "We find love, we get up, and we fall down, we give up." Daniel was once just another Toronto artist on the rise who has worked the door at a popular nightclub, experienced being homeless and many other ventures on the road to success, all the while some of his best hits were floating on Soundcloud - for example “Violet.” A memorable performance by Daniel was a live acoustic session in Toronto’s Trinity Bellwoods Park, where he sat and sang to fans on the same bench that provided him a bed.   

- Chantilly

Future’s HNDRXX felt like it was full of pop smashes, even if radio success never actually came to fruition. You can blame a few things for that, most notably the decision to share bland bonus tracks bolstered by Nicki Minaj and Chris Brown as singles rather than actual album tracks, but the biggest casualty at the end of the day is “Incredible,” a banger that sounds like it could be a hit in any one of the past ten years. Pop genius Dre Moon (“Drunk in Love” and “I Luh Ya Papi” being the shimmering crown jewels on his resumé) birthed a beat that’s propulsive, lively, and funky, and Future just floats.

- Patrick

“100 Shots” is a masterclass in buildup. Dolph gets a two-minute verse before any trace of a hook shows up, drums don’t show up until a minute in, and the bass doesn’t arrive until after the two minute mark. When we finally reach the, “How the fuck you miss a whole hundred shots” climax, the payoff is huge. One part classic Dolph boast track, one part musing on mortality (“Nobu in Malibu was my last supper”), the Bulletproof opener is 2017’s “Many Men,” a true story beefed up by a world-class braggart.

- Patrick

First of all, hello again, N.E.R.D. It had been a minute since we heard from the Pharrell lead collective and damn, this beat makes us glad to have them back on the grid. Although the sounds of Pharrell’s voice are refreshing, the best part of this song is when Rihanna comes in taking over with her boppy verses, even if her accent is no longer present. The song alone is an instant turn-up, but the visuals for the beat made the song so much better. Seeing Rihanna give Mette Towley (the epic dancer) a buzz cut and have her break down in a now-signature move, made everything about it so much more appealing.  

- Chantilly

You know you’ve reached an absurd level of stardom and confidence when you start spelling and counting on the hooks of potentially huge singles. Fergie listed off letters every chance that she got in her prime, but 21 Savage might be the highest-counting chart success since Bill Haley listed the hours of the day on “Rock Around the Clock.” “Bank Account,” as well as ISSA as a whole, helped establish 21 as more than just a one-note murder rapper, fleshing out his monotone style to include some humor and levity. The way he stretches syllables— “I ain’t cuffin’ noooooo action”— and finds a new pocket for every verse proves that this guy’s got more to offer than seamlessly blending in with nightmarish Metro Boomin beats.

- Patrick

“Roll In Peace” is a quintessential track in South Florida’s flourishing music scene. Two artists that have carried prominence are Kodak Black and XXXTENTACION. Aside from their music and the buzz they created, the two are artists whose names hold extensive controversies. “Roll In Peace” not only brought the two polarizing figures together but had the two of them relating with each other over their legal woes.

- Aron

Above the sample of Tarro’s remix of THEY.’s “Deep End,” A Boogie sets the tone for his album with a detailed verse describing his life prior to the release of The Bigger Artist. Boogie uses the intro track as a thesis statement for the rest of the project. Lines like “I made a milli in less than a year and I blew it on stupid shit/Typed it in like, how to make a milli, I used to google it,” are detailed examples of what he’s been trying to accomplish in the rap game.

“No Promises” is Boogie’s triumphant and formal entrance into the rap game. It not only cements the sound for the album but it’s a detailed account from a kid from New York City adjusting to his newfound fame.

- Aron

This song was easily one of the best tracks of summer 2017. It was heard on all radio stations and was probably bumped at most pre-drink sessions. It brought some much-needed love and recognition to French Montana and his abilities as a hit-creating rapper. If you recall, the song was actually first posted in 2016 with Jeremih instead of Swae Lee on the hook, but was quickly pulled down for unknown reasons. Swae’s feature on the track pulled him away from his regular Rae Sremmurd duties and hears him holding up most of the beat covering the bridge, hook and a verse. French told Time that going to Uganda to film the dance-off video “was a sign” and the “best decision” he’s ever made. “It became a lifestyle, and a spark in the mind of listeners to help people. When I made that song, I looked at it like I was making a song that would last forever,” he added. French brought the dancers along on his U.S. tour and committed to funding their education. He said he saw himself in the kids, since he grew up in poverty in his early life in Morocco. “I wish someone could have grabbed me from Africa,” he said. The song has a whole new meaning now, right?

- Chantilly

Freddie Gibbs You Only Live 2wice tended to get glossed over by a few of 2017’s higher profile release, but the project stands out as one of the strongest front-to-back listens of the year. Fuelled in part by Freddie’s harrowing experience being falsely accused of rape and imprisoned overseas, You Only Live 2wice is full of dense lyricism and lush, vivid production. And while tracks like “Alexys,” “Andrea,” and “20 Karat Jesus” are brilliant in their own right, the hypnotic allure of “Amnesia” is simply too irresistible to ignore. The instrumental required the collective minds of Dupri, Dnyc3 & Jaynari, and each producer formed like Voltron to create a sonic journey that’s equally haunting and seductive.

In fact, “Amnesia” may low-key stand as one of the year’s most underrated bangers. Freddie Gibbs slides onto the beat with a double time flow, commandeering the wailing synth with his baritone bars. “Yeah, I just did 50 chickens in a row, I just did 50 cities in a row” spits Gibbs, making a case for possessing one of the game’s hardest flows, “back to back Benz, Bentley in a row.” Honestly, you never really hear Freddie Gibbs in the conversation of best flow, and that’s a damn shame. And while “Amnesia” may lack the substance of some of You Only Live 2wice’s deeper cuts, it manages to stand out as the project’s most accessible tracks. It doesn’t matter if you’re vibing at home or wilding out in the club; the second “Amnesia” pops off, it’s already over.

- Mitch

Gucci Mane had another prolific year, but “Met Gala,” one of the highlights from the rapper’s Metro Boomin-assisted project DropTopWop, is all about Offset. While Quavo killed the hook game this year, Offset’s most thrilling form came in the form of verses. On Met Gala, he delivers what could be his standout performance of the year, bringing his signature triplet flow to its most brutally physical brink. he closes the verse with a stunning three-syllable run of rhymes: “Hop on the jet, this a 20 passenger / Offset a maniac, I'm the massacre / I take your heart out and shoot your bladder up / Get to the top and we blew the ladder up / Ran up my money, I'm talkin' lateral.” Of course, reading it off the page doesn’t do it justice, proving that as skilled a writer as Offset may be, he’s a captivating performer first and foremost.

- Trevor

The Super Slimey mixtape has its ups and downs, but “Killed Before” is in the definite ‘up’ category, as are the other solo ventures on the project-- we kinda wish this spot would also double as one for “Cruise Ship,” which is Thug’s sparkly and absolutely dripping track in the first half of Super Slimey. “Killed Before,” however, is loved for different reasons. Fans instantly gravitated towards the guitar strumming, country-esque but minimal vibe that’s laden on London On Da Track’s production. Thug, ever the creator of flows, wobbles along vocally, reflecting the plucking of the acoustic guitar, dragging out his flow in certain instances, the highlight being: “different colored diamonds I’ma peaaaacockkkk” (we had to mention it). Getting to see Thug rap those lines aloud, the first time he did it, too, is also the #1 moment from my personal memories of 2k17 list, FYI.

“Killed Before” finds Thug at once vulnerable and flexing-- and that’s all relayed within the hook-- “Everyone know I've been killed before / I've been bent like a centerfold,” but he continues quickly to the flex: ‘I crap with my money, no / Drop the top get a breeze, ohh / Got four million in jewelry, ohh / Let that money fly to the ceiling, woah / Did you pay someone's tuition, no (woah) Do you own a store, no,” each bookended with its own flavor of Thug’s melodic ad-libs.

As alien as Thug might look/sound/be, he’s only human.

- Rose

When Future and Young Thug announced they would be dropping a surprise collaboration album called Super Slimey, the excitement surrounding the rollout immediately risked overshadowing the album itself. When the project eventually dropped that night, early reactions were a little underwhelming, especially considering that both Future and Thug already delivered stellar projects this year. And while Super Slimey has proven to be a grower, the album’s most immediate song was clearly the Offset assisted “Patek Water,” produced by DY, Southside, and Rex Kudo.

Over a bouncy, woodwind driven beat (not unlike Future’s “Mask Off”), Young Thug and Offset slide over the beat like the titular element, while Future lends his melodic prowess for the hook. In all honesty, “Patek’s” biggest draw is simple: Offset unleashed. The Migos member proves his viability as a solo artist, flowing his ass off with lines like “hold it down 'cause the plug is illegal, ridin' 'round with a dub and a eagle, I heard that money get evil, prayin' to God to keep me from demons.” Insofar as lyrical substance is concerned, “Patek Water” is admittedly shallow. But don’t get it twisted - there are still some major waves to be found in this ocean.

- Mitch

Mike WiLL Made-It-produced “Dawsin’s Breek” has less in common with Dawson’s Creek, the defining teen drama of the Third Eye Blind generation, than it does with Top Gear. Ty Dolla $ign begins the song by giving the listener a tour of his extensive car collection, then swiftly curves several would-be lovers and peels off into the distance with his number one lady riding shotgun. Beach House 3 includes a few casual admissions that Ty is dealing with substance abuse issues; is ”swimming in the wave, I got lost in” such an admission, or simply a euphemism for hot sex?

- Danny

While your mileage may vary on the significance of Post Malone’s contributions to hip-hop music after his ill-advised comments about the depth and seriousness of the genre, it is important to separate church and state, at least a little bit here, and acknowledge that “rockstar,” was definitely one of the year’s most significant tracks. It was the song that spent the longest time atop the Billboard Hot 100 out of the many, many competitors that rap unleashed upon music consumers this year, proving its commercial viability and also potentially how it fills a particular void or niche within the culture.

Some might think culture is a strong word to use there, but let’s unpack what this song was, prior to Posty’s brash honesty with the public. It set a new Apple Music single week streaming record, it married the cool vibes of 21 Savage’s music with the excess-driven lyrics that so often accompany Malone’s studio offerings and, as the sum of its parts, used a hook-friendly setup to  take both of their profiles to new heights. They were known primarily to hip-hop fans prior to the release of “rockstar,” but now they’re associated with unabashed mainstream success. For better or for worse, this song means a lot to at least two careers.

- Matt

Sometimes songs click fully on the first listen, revealing all of their intricacies in a matter of minutes, and this year, no song was as immediately gratifying as “Ric Flair Drip.” Its fast-paced beat sounds simple, but it’s straightforwardness is an effect of the years Metro Boomin has spent honing drum patterns and synth sounds. It doesn’t need any fancy bells and whistles; it’s a bare-bones banger. I haven’t even mentioned Offset, who uses the track to make the most convincing case for a solo career that any of the Migos have given us at this point. The way he busts into a quicker cadence on “It’s the Boominati way, a lotta Lambs, a lotta Wraiths” and then doubles it on the next verse (“Beat the chopper, hundred round total, like it’s a car collision”) shows the verbal dexterity we’re used to from the group, but with an added bit of attention to the flow of a song. Metro and Offset make this look easy, but it’s not.

- Patrick

Ladies and gentlemen, may I present to you rap’s new empress.

Cardi B officially hit the big time with “Bodak Yellow,” the record-setting single that made her the first woman in nearly 20 years to have an unassisted hip-hop song reach the top of Billboard’s Hot 100 chart. During that meteoric rise to fame and fortune in the music industry, Cardi also became one of rap’s most dependable soundbite providers, never shying away from an opportunity to call out the haters and anyone who tried to put her down on social media or during public appearances.

Back to “Bodak” though. Inspired at least in part by Kodak Black’s 2014 track “No Flockin’,” it went on to nab the Single of the Year award at the 2017 BET Hip Hop Awards, where she beat out the likes of “Bad & Boujee,” “Humble” and “Mask Off.” Cardi also scored a couple of Grammy nods, including one for Best Rap Song. With the uncannily catchy combination of the trap-style instrumental, the simple lyrics and Cardi’s effortlessly delivered vocal performance, this song gave the hip-hop sector of the music world a new female superstar to call their own.

- Matt

2 Chainz’s “Saturday Night” is the best album opener in recent memory. Leave it to Tity Boi to open up his rap album--  titled Pretty Girls Like Trap Music no less -- emphasis on Trap Music -- with a ferocious guitar ballad and piano drum roll that wouldn’t sound out of place on a ‘70s rock album. We only have to wait 20 seconds though, to know it’s a 2 Chainz album, as the elder MC punctuates the electric guitar with deliberate force, his Southern accent putting emphasis on any variety of word rhyming with “back;” “black,” “act.” 2 Chainz actually uses the word “back” 11 times by the middle of his first verse, yet each time feels fresh and new, as is his skill and prowess when it comes to delivery and rhyme scheme. By now, it's almost no longer a secret that 2 Chainz is actually a dope ass lyricist (!) -- it’s a fact that Chainz himself has helped unearth, all the while colleagues and comrades those around him have continued to co-sign and elevate him, like, “we told you.”

This outside-the-box rap record is perfect in a few ways: perfect album opener, perfect for your Saturday night pre-drink, mid-turn-up, all-the-way-turn-up, and can even act as a little Monday morning motivation if you so choose it.

- Rose

Even in a year that was already dominated by Migos as a unit, solo Quavo remains one of 2017’s rap MVPs. For all the “(Feat. Quavo)” we saw this year, many of them were for hooks, and “Good Drank” is arguably the finest example of the wholly impressive lot. Quite the opposite of his recent work with Travis Scott, Mike Dean provides a spare, piano-led beat for “Good Drank,” and Quavo’s hook feels larger than life over it, but in this case, the melody transcends his performance. When 2 Chainz and Gucci Mane took the song to Fallon, they made up for Quavo’s absence with a “Trap Choir” of gospel singers, who brought new life to the immortal chorus, but also proved just how far it can be taken while maintaining its emotinal power. This is all without speaking to 2 Chainz and Gucci Mane’s verses, who, like everyone else on the song, sound inspired in a way that only comes when you're aware you're part of something special. As the beat rides out, Chainz makes that very clear: “Mike Dean This shit hard as fuck, bruh. You a living legend, I appreciate that. Guwop, I'm glad you home, cuz. Quavo, you already know man. You got next on these n---as, double salute, man.”

- Trevor

Before 4:44, Jay-Z’s previous two solo albums were steering the legend in a bit of an alarming direction. While Blueprint 3 and Magna Carter Holy Grail featured a fair number of bangers, it seemed as if Jay was allowing his lavish habits to weigh him down like the Persian rugs that undoubtedly decorated his mansion. In other words, the fire seemed to be fading, and after delivering a healthy dose of classic material, it seemed okay for Jay to indulge in a little coasting. Yet not only is Hov one of the most accomplished songwriters in music, but he’s also as a man who recently celebrated his 47th birthday, experienced a nine year marriage, had children, opened businesses, lived through rap beefs, and so much more. Fans wanted, no, needed some of that wisdom.

Not only did 4:44 deliver Jay at his most profound, vulnerable, and honest, but it also marked a return of that fire. “Smile” stood out as an immediate personal favorite, and I couldn’t help but smile the first time I heard Jay-Z “wax poetic bout’ bein’ back in the Lexus.” In fact, the entire third verse is one of the Jigga Man’s hardest since American Gangster. Plus, he also throws in a surprising revelation about his mother’s sexuality, proving once again that we’re so invested in Jay that we actually feel connected to his family; the sign of a true icon. While “The Story Of OJ” may have had a larger societal impact as a whole, “Smile” finds Jay-Z at his modern best, weaving a narrative of personal history and clever braggadocio, rapping his ass off in the process.

- Mitch

Amity Island, the setting of Steven Spielberg’s Jaws, is a fictional analog for the affluent summer colony Martha’s Vineyard. Access to the shores of Amity Island is a luxury–temporarily denied by the presence of a man-eating shark.

In “Big Fish,” Vince Staples presents the horrors of Jaws as realities of life Long Beach, California. To be a “real Artesian” is both a badge of pride and a death sentence, as he articulates in the song’s music video; he is the lone sailor of a sinking ship, stoic and resigned to his fate as his vessel plunges inevitably into shark-infested waters. Whether or not Staples ever meets his death, his predicament leaves a psychic toll.

- Danny

Drenched in vocals effects and sun-soaked synthesizer accents, Future’s “Draco” was one of the pleasant surprises on his self-titled studio effort that represents the better of the two long-form projects he gifted to the public in 2017. While his songs are usually grounded in some sort of moody earthiness, this track is as spacey as Future gets, with lyrics about Lamborghini doors and pills falling into his soda adding to the dreamlike atmosphere that blankets every inch of this track.

The rapper, who tried to get more soulful and introspective on HNDRXX, sticks with the flexing here, letting all the women in his life know that, sadly, any deep connection they thought they had was just a mirage. “She thinks she the one but to me she ain't nothing but a thrill,” he says, painting a picture of a drug-induced grind session on the dance floor that led to a romantic outing where Future was already preoccupied with looking for his next conquest. It’s a weird anti-love song that, musically, has the instrumental qualities that one might associate with rap’s version of a bubbly head-over-heels tale. However, as with other songs on that album, such as “I’m So Groovy,” Future somehow makes odd sonic combinations work again and again.

- Matt

“T-Shirt” arrived while winter was in full swing. Despite the fact that the item of clothing the song is named after is most appropriate for warmer months, the song itself feels icy as fuck. Maybe it’s cavernous sound of the winding beat provided by X.L & Nard & B, which is echoed by Travis Scott-like ‘ouuhh’s’ from Quavo, or maybe it’s just the cinematic, snow-covered music video.

When this single dropped as the third from their CULTURE album, it was exactly what we needed, little did we know at the time. We already had “Bad & Boujee” on every playlist by this time; Donald Glover had given the song its infamous Golden Globes shout-out, boosting it to its #1 entry on the Billboard 200; we had also received “Call Casting,” another necessary notch in the CULTURE roll-out, a record which gave Takeoff some much needed solo-shine time as he monopolized the hook and gave us a show-stealing first verse. These were two pieces of the puzzle. Takeoff needed some sort of recuperation for his lack of the “Bad & Boujee” pie, and so as fans, we were satiated when the piano-jingling “Call Casting” arrived. Thus, we were not necessarily ready, nor expecting, the fire that is “T-Shirt” to impact only a few days later. “T-Shirt” was important, not only to confirm that “Bad & Boujee” and “Call Casting” were not flukes (meaning, expectations were set high as fuck for the at-the-time-still-upcoming album CULTURE, and they were to remain there. Perhaps most importantly, too: they were to be met!), but to bring the trio full circle, to once again unite fans and the group as a wholly structure. “T-Shirt” was a firm reminder that despite any disparities or any individual appearances, Migos are first and foremost a trio, and that’s how they work best. It's very much a group affair, it’s a record that makes it much more difficult to dissect your “favorite” out of. Not only that, the song manages to make a common subject matter in hip-hop feel unique. Part of the record’s appeal, is its charm when broaching the drug-dealing topic-- it’s an everyday trope for most rap artists, but Migos deliver it in a way that wasn’t tired, pulling from the depths of Atlanta rap history with a lesser-known Shawty Lo reference making up the punchy hook, while each member’s verse is basically one quotable bar after another, putting words together in a way that is at once organized/logical, smile-inducing/head-scratching-- Takeoff’s opening bar “Neck water faucet, mocking birds mocking” summarize that description succinctly.

- Rose

There are three sure things in life: death, taxes, and Drake dropping an absolutely brilliant pop song once a year. Following “Take Care,” “Hold On, We’re Going Home,” “Hotline Bling,” and “One Dance,” “Passionfruit” took the mantle this year. Many of the aforementioned songs are other genres— afropop, ‘80s R&B, reggae— and “Passionfruit,” with its subtle house rhythm and Moodymann intro, follows suit. This is what makes Drake the most skilful curator (or vulture, depending on how you view him) of our time: the ability to graft himself onto nearly any pop-adjacent style under the sun.

His vocal melody on here, composed by only two people: Drake and British producer/songwriter Nana Rogues, is effortlessly devastating in its lilting chord changes and provides all the melodic changes that the otherwise stagnant track needs. Drake’s learning to do more with less, and considering how he’s controlled the zeitgeist for the better part of a decade, that’s a scary thought.

- Patrick

Collectivism survived 2017, thanks primarily to the Creek Boyz (“With My Team”) and also to Brockhampton, the ragtag boy band that stole America’s heart. “JUNKY,” from Brockhampton’s album Saturation II, may or may not be some kind of Wiccan ritual. The band’s beatsmith Romil Hemnani whips out his trusty erhu and plays a bone-chilling melody—it is the fire around which his bandmates will gather, the fire that nourishes their bodies and souls. Kevin Abstract raps first, and he raps well enough to keep rapping. But he doesn’t keep rapping—he passes the mic to his bro Ameer Vann, who raps then passes the mic to Merlyn Wood, and they go around the circle like this—Matt Champion, Joba, Dom McLennon—until everyone has rapped. Wu-Tang style. There is no chorus.

Kendrick and Mike Will Made It were the most unlikely rapper-producer success story this year. Obviously, “Humble” was their crowning achievement (more on that later), but the more sinister, varied “DNA” is also very deserving of a shout-out. Like another one of Kendrick’s best tracks, “M.A.A.D City,” this one’s a two-parter, but this time it only takes around three minutes to cram in two thrilling halves. The almost Spaghetti Western-esque opening gives way to a chaotic conclusion that, according to Mike Will, was the product of Kendrick refusing to stop flowing. Over the masterful, motormouthed second verse, Mike Will proves his genius by splicing in a snippet of Rick James yelling “Gimme some ganja!” during a live performance, an odd choice but one that lends “DNA” an urgency and infectiousness that some of Kendrick’s work has lacked in the past.

- Patrick

“Crew,” Goldlink’s first single to crack the Billboard Hot 100, generated so much buzz that HBCU marching bands covered it, Gucci Mane remixed it, and the Recording Academy nominated it for Best Rap/Sung Performance. The video celebrates colorful fur coats and clout goggles; the song celebrates the diverse talent coming out of the DMV (counting Baltimore’s Brent Faiyaz). Goldlink and Shy Glizzy attack the Teddy Walton-produced beat from different angles. Goldlink skins and Shy Glizzy stabs. While a huge boon to both of these rappers’ careers, “Crew” may have been a more monumental star-making moment for Faiyaz, whose flawless and tender hook makes the world appear to glitter and turn in slow motion.

- Danny

While Young Thug and Future are an undeniable pairing, “Relationship” seems like the collaboration that should’ve happened long-ago. At a point in both their careers where their sounds are refined, “Relationship” is a perfect dive into pop music without compromising what either are about.

Beautiful Thugger Girls is Thug’s prosperous attempt into pop music and “Relationship” is the pinnacle of it both commercially and critically. They’ve clearly found comfort in their own sounds and hold positions as pioneers of melodious trap, but here, they step out of their own boxes to tap into a mesh of genres where country meets trap meets pop. It’s an exemplary effort the two should’ve used as a template for Super Slimey. “Relationship” showcases their infectious chemistry.

The song’s impact stood out the most this year. “Relationship” rang through summer 2017 as a definitive song on the season’s playlist. 

- Aron

“Love Galore” featuring Travis Scott was a single released before the initial drop of SZA’s gold-certified album, Ctrl. The whole melody, lyricism and simplicity of the song’s nature resonated with many, with SZA so-perfectly depicting the usual complications of a modern day relationship. “Why you bother me when you know you don't want me? Why you bother me when you know you got a woman?” I mean, ladies, I think it’s fair to say we’ve all been there. Travis coming in on the second verse gives the perspective of the male in the whole situation. The accompanied video to the song adds more fuel to the beat, seeing Travis and SZA act out their respective roles - SZA, the disgruntled but in-love woman; Travis the standoffish man who continues going back despite his contemplations. The most poignant and real R&B can often come from a dysfunctional relationship or a broken heart, but that can also translate into some top-charting records, such as this tune right here. While SZA’s album as a whole delivers many songs like these, each deserving of individual attention and praise, “Love Galore” takes the cake as the most loved and most appreciated.

- Chantilly

“Yo Pi’erre you wanna come out here?”

This was the Pavlovian phrase that preceded what would become one of the most physical beat drops of 2017. Even to those familiar with Carti and the burgeoning sounds of what we called “SoundCloud Rap” this year, the cascading bass line and urgent synth swell that gave the song its shape was a shock to the senses. The name used at the beginning of the song of course belonged to producer Pi’erre Bourne, who, despite delivering a large catalogue of great production this year, was propelled primarily by this breakthrough hit. His dynamic with Carti resembles the same synergy captured by 21 Savage and Metro Boomin last year, as “Magnolia” became a calling card for both beatmaker and vocalist. Which brings us to Carti, whose economical flows both pushed the art of rap in a new direction while referencing timeless rhythms like Mannie Fresh’s one-syllable-per-bar verse from “Get Your Roll On.” He’s never been more commanding than on “Magnolia”’s hook; one of the most infectiously quotable rap performances in recent memory, and also one of the most raw.

- Trevor

“The Story of O.J.” is probably the best music video of the year. Its play on the racist stereotypes of cartoons from the '30s, and 40's provide the backdrop for Jay Z’s discussion of blackness, how it inevitably defines every black person. Jay encourages younger black artists to put down the money phone and start a trend of generational wealth. He rolls his eyes at O.J Simpson, who thought he could divorce himself from his skin color.

"O.J. would get to a space where he's like, 'I'm not black, I'm O.J.' Like Tiger Woods would get to a space and think, 'I'm above the culture,'" Jay Z said in the TIDAL mini-documentary Footnotes for The Story of O.J.. "And that same person when he's playing golf and playing great, you're protected. When you're not, they're gonna put pictures of you drunk driving and, like, embarrass you. That world will eat you up and spit you out." 

- Danny

In April, renowned lyricist Kendrick Lamar dropped “Humble,” the first single off DAMN. Produced by Mike WiLL Made-It, “Humble” found Kendrick exploring a different side of his character, a manifestation of the cockiness displayed on songs like “Control” or “The Heart Part 4.” In truth, Kendrick has always been at his most entertaining when he’s feeling himself, and “Humble” finds him in rare form, sounding utterly without urgency. It also helps that Mike WiLL hooked K.Dot up with one of the trappiest beats to ever grace a Kendrick Lamar album. In fact, for a little bit of trivia, the beat was originally meant for Gucci Mane.  

While the instrumental may have been new territory for the Compton icon, Kendrick navigates Mike WiLL’s carnival-esque production with his foot pressed firmly against the rap game’s proverbial neck. It’s kind of ironic that Kendrick is telling others to “be humble” while turning in a GOAT level performance, but maybe that’s the point. While his flow may seem ostensibly simple, remember, there are levels to this shit. The masterful way Kendrick manipulates his voice would make Dan Castellanata proud. And let’s be honest, who else could make “my left stroke just went viral” go viral?

Kendrick even comes through with a rendition of the Soundcloud staple - the “yeah” flow - and imbues it with a playful sense of gravitas. “Ay, I blew cool from AC, ayy, Obama just paged me, ayy,” raps Kendrick, casually clipping in a presidential namedrop. Someone get this man some ass with as many stretch marks as humanly possible. Lord knows he’s earned it.

- Mitch

Time stopped, ever so briefly, when the world first heard Young Thug say “YEE HAW” on this intro track from Beautiful Thugger Girls. While the prospect of a full-blown country Thugger album is still a terrifying one, his whole cowboy steez on this one song is enough to cure the world of a thousand acoustic guitar-wielding Post Malones, by virtue of being truly groundbreaking. Here we have a zooted ATLien at his most sexed-up and debauched crowing over a clip-clopping beat alongside a British teen who delivers a show-stopping coda on the song. This should not work.

But “Family Don’t Matter” does work, and is yet again a testament to Young Thug being the most adventurous musician in the world. His cadence, vocal tone, and accent seems to change every other line, bending to the whims of the country overtones but then also steering the song in entirely different directions. He’s in full cowboy cosplay for the unforgettable line, “Country Billy made a couple milly,” but then name-drops two British cultural mainstays, Rolls Royces and Picadilly Square, in the next line. Young Thug’s always been at his best when the rest of the world has no idea what’s going on, and few of his singles have been as utterly confounding as this.

- Patrick

How do you turn bottomed-out sadness into a world-conquering hit? Emo artists of the mid-2000s were the last to master that formula, and that’s the main influence Lil Uzi Vert leans on for his biggest song to date, the inescapable “XO Tour Life.” The track, along with many by the late Lil Peep, would be a straight up emo smash were it backed by guitars rather than trap beats, and contained a few less lyrics about cars, drugs, and money. It almost instantly crossed over, with Uzi sharing a video of a London crowd reciting the song word-for-word about two weeks after its release on SoundCloud, long before it was considered an official single.

“XO Tour Life” conjures up an odd feeling if you’ve ever seen an excited crowd turning up while singing along. Should you feel uncomfortable about glorifying its self-medication and depression? Does singing about it help? These are the type of questions that good art should invoke, and while we don’t often look to chart-topping pop singles for moral quandaries, the ones that do allow for some soul-searching seem poised to stand the test of time. If Uzi continues plumbing the depths of his soul while also rewriting the rules of pop, he’ll be enshrined in both the emo and hip hop halls of fame.

- Patrick

They didn’t invent the trap sound, they didn’t put the Southern hip-hop scene on the map, but no group from ATL, arguably since Outkast, has completely galvanized the rap community as much as Migos did in 2017. The album Culture is (so far) the biggest jewel in the crown shared by Quality Control’s Pee and Coach K, the two men who are largely responsible for the meteoric rise to prominence of Quavo, Offset and Takeoff. These three men, together and then separately, have done nothing but dominate the rap game over the past 12 months.

The now-legendary hook by Offset sets the tone perfectly for this track, capturing the group’s swagger and particularly his flow so well that it has been copied by many an emcee ever since, propelling him into Most Valuable Feature territory. He stands right next to Quavo in that category, who brings a combination of intimidation and goofiness to his verse that is pretty well unparalleled in the world of hip-hop music. I mean, who else is going to rhyme “ratatouille” with “boobie” and be taken seriously as one of the must-have personalities on a rap record? That’s what I thought.

Finally, we have Lil Uzi Vert, the man who brought the heat with “XO Tour Llif3,” another one of the year’s biggest songs. He comes through with what ended up being a somewhat controversial verse. Despite the debates surrounding Uzi’s verse, just like the Migos, his flow is top-notch, bringing some added style to an already too-cool-for-school vibe that the ATL trio seem to constantly exude. Of all the bangers on their Culture LP, “Bad & Boujee” will surely go down as a club classic that will continue to be heard on many a drunken night out for many years to come. Also, I wonder if Offset is going to use the same crockpot he mentions in the song for his holiday cooking.

- Matt

“Mask Off” is a sneaky and unsuspecting Future hit. Tucked in the middle of his self-titled album, it was not chosen as a single from the album initially (that honor was bestowed upon “Draco,” still a hit in its own right), however it quickly gained the “single” label after the FutureHive made it so. What the FutureHive says will be law. The flute-driven, lackadaisical beat of “Mask Off” might whurr past you at first, before the itch to replay, and replay, and replay hits. That seemed to be the consensus, and soon enough, “Mask Off” was the chosen song from FUTURE, making its way into playlist and streaming heaven (the #6 most-consumed song this year-- streams, radio plays, Shazams, you name it, according to Variety), chart heaven (it peaked at #5 on the Billboard 200, Future’s highest-charting song to date), and RIAA heaven (certified quadruple times platinum).

What about “Mask Off” resonated so deeply with the FutureHive, and then shortly thereafter, the rest of the world? Metro Boomin’s beat takes its infamous flute jingle from a 1976 record, “Prison Song” by Tommy Butler. It’s intriguing to juxtapose these two songs, however briefly. Butler’s is a haunting tale about prison bars, an abused people, and the search and accompanying struggle for freedom. Future’s record winds up equally chilling, although his prison cell seems to be made up of self-made bars; Percocet, molly, money, and the constant pursuit (but: “never chase no bitch”). The idea of “mask off” is simple yet deep, which is perhaps part of the song’s allure. It’s a concept we can all relate to, easily enough: having to hide our true selves from the world/someone/something; and the feeling in turn, of being able to finally take ‘off’ one’s mask, is equally universal. The slinking rhythm of the beat, combined with Future’s hoarse but crisp vocals make for an eerie pairing, it’s replay value soaring further with Future’s quick repetition and punctuated bars in the hook. Future’s lyrics mix the high with the low, using a flow that moves up and down with the flute’s floundering. Drug houses and food stamps are contrasted by his astounding amount of chains and luxurious ocean views, calamari-eating Wednesdays and Maybach references are sidled between semi-automatic references and big Pharma pursuits. In the end, though, he shrugs it all off: “fuck it, mask off.” 

- Rose