Hottest Verses Of 2017

These days, it’s not uncommon to hear longstanding hip-hop fans lamenting the perceived death of hip-hop. It wouldn’t be the first time. In 2006, Nas proclaimed hip-hop was dead, channeling his inner gumshoe on the voice-acting extravaganza “Who Killed It.” In 2009, Jay-Z ushered in the “Death Of Autotune,” waging war against a phenom that had become ubiquitous in hip-hop music. Now, the “old heads” and the “mumble rappers” seem more divided than ever.

Picture a dystopian musical landscape, where older hip-hop fans screaming as “lyricism” is burned in effigy by a mob of lean-fuelled, ad-lib screaming youths. Is this a reality we’ve come to experience, where “energy” is valued more than penmanship? Many would echo the sentiment, and proclaim with the certainty of any veteran mortician that lyricism as we know it is indeed dead. Yet, the conclusion feels somehow lazy, as if those reaching it are merely echoing the narrative perpetuated by memes of Lil Yachty and Joe Budden. In reality, lyricism is alive and well. In fact, it’s actually looking healthy.

Think of your favorite verse. What makes it so memorable? Is it the flow, or the subject matter, or the sheer swagger with which it was delivered? In truth, there are several factors that can elevate a verse to a near-transcendental level, and value should be placed on all of them. A good verse can reflect wisdom or hunger in equal measure. It can marvel you with sheer technical prowess, or bring you closer into another person’s psyche. Sometimes, it can make you want to spend hundreds of dollars on utter nonsense. Either way, the power of a good verse is still alive today.

On that note, here are some of the year’s best.

While the following didn't quite make it into the top twelve, each one certainly fought valiantly.

20. ScHoolboy Q - "Rockabye Baby" (Verse 2)

19. Joyner Lucas - "I'm Not Racist" (Verse 1)

18. CyHi The Prynce - "Breakfast Club Freestyle" (Full Verse)

17. Lil Dicky - "How Can U Sleep" (Verse 2)

16. J.I.D. - "D/Vision" (Verse 1)

15. Royce Da 5’9” - "Mask Off Freestyle" (Full Verse)

14. Jay-Z - "Kill Jay-Z" (Full Verse)

13. Kendrick Lamar "DNA" (Verse 2)

“You don't even know what I'ma do
When I'm in the zoo looking at the zebras
All these hoes, they some fucking cheetahs
Uh-huh, they some fucking cheetahs
Throwed off, n***a on the reefa
I've been drinking, drinking, drinking, drinking, drinking
Hennessy going all through my system,
Don't let your bitch be a victim”

It’s not easy to get on a track with Gucci Mane & Young Dolph, let alone walk away with the highlight performance, but Rae Sremmurd’s Slim Jxmmi does exactly that. From the second he segues from a stellar chorus into his opening verse, Jxmmi gets straight to business, spitting bars with a level of sauce that would make Guwop proud. It’s not exactly a lyrical tour-de-force, and Jxmmi’s bars are actually quite simplistic on paper. Yet his charismatic performance is nothing short of star-making, proving once and for all that he can thrive on his own merit.

Yes, he’s rapping about stunting, like so many of his young compatriots tend to do. Yet there is something of a veteran’s composure in Jxmmi’s voice, and he’s able to sell a line like “I’ve been drinking, drinking, drinking, drinking, drinking” with conviction, rather than obnoxious arrogance.  In a year where Soundcloud rap emerged as a dominant sub genre, you need guys like Uncle Jxmmi to come through and set the bar for all these youngsters. I expect big things for him if he continues delivering at this level.

“Fuck a skateboard, I went and got a Wraith, boy
Catholic record labels, n***s gettin' raped, boy
Birdman's a priest, moans in his synagogue
Publishin' is a sin, repent, forgive me, Lord
Shots fired, home invasion out on Palm Isle
Red beam detonators, who the bomb now?
Look you in your eyes, n***a, 'fore I say good night
And pray that Mannie Fresh'll get to see the light”

When a boss speaks, you listen. Such was the case when Rick Ross delivered the epic “Idols Become Rivals,” a no-holds-barred air out of fellow mogul, Cash Money’s Birdman. Even Chris Rock got in on the action, laying down an intro and letting you know that some serious shit was about to go down Fun fact, Chris Rock once referred to Rozay as “the best rapper in the world.” Chris Rock aside, “Idols Become Rivals” may very well go down as one of 2017’s most impactful tracks, and while Birdman never issued a response on wax, it still felt like two video game bosses going head to head in combat to the death.

The beauty of Rick Ross’ second verse is the way he delivers his disdain. It’s like a parent who isn’t mad, simply disappointed. And in some ways, that’s even worse. While the direct manner with which Ross airs out Birdman is admirable in its boldness, Ross’s lyricism is equally powerful, as the boss utilises religious iconography to weave a dark tapestry. “Catholic record labels, n***as gettin’ raped boy, Birdman’s a priest, moans in his synagogue,” raps Ross, airing out two religions for the price of one. It’s made all the more tragic when you realize that Ross and Birdman’s feud is almost biblical in nature, sharing a narrative like Cain and Abel. “Damn stunna, I loved you,” laments Ross, between verses. “I hate that it came to this.”

“Get money, act broke, that's the motto I apply by
Never boujee, we on vacay, pourin' Henny in our Mai Tai's
Never change, I'm still the same
Drinkin' Minute Maid with the hot fries
In the club, in V.I.P with y'all bitches and my guys
We get money, we don't want beef
Take that beef shit to Five Guys
Start shit, got five guys with five 9's, hit you five times
Extendos on the chopper, n***as thought we was carryin' a tripod”

Brooklyn’s Young MA first made an impression with her breakout single “OOOUUU,” and many praised the arrival of a young female rapper with talent and an undeniably rugged persona. However, the single’s viral explosion had the makings of a blessing and a curse; with vast views come equally vast expectation, which MA’s follow-up EP HerStory had trouble meeting. That all changed when MA came through with “Walk,” a hazy lyrical odyssey that finds her firing on all cylinders. The punchlines are there, her New York swagger is stronger than ever, the deliberately restrained flow ripples with confident menace. This is an MA that will put the fear of God within her doubters.

The single comes with an equally rugged video, which finds MA channeling the confident bravado of her idol 50 Cent. “Got five guys with five nines, hit you five times,” raps MA, “extendos on the chopper, n***as thought we was carrying a tripod.” While “OOOUUU” skewed closer to style on the style/substance spectrum, “Walk” sits comfortably in the middle, blending all facets of MA’s skillset into one finessed and quotable package. If her following project can capture the eerie badassery of “Walk” on a consistent basis, the game might have a new contender in the mix.

“I'ma get it, told 'em I'll fuckin' handle it
And murder the game so the service candle lit
Emergency lane and I'm swerving, damaging the whip
But shit, fuck it, I'm fucking vanishing
Had to get out of Atlanta for a little minute, you know there's madness in the fucking city
I thought it was love here, I thought I was good, I'm stuck in the mud here
I'm looking for drugs, I'm looking for big butts with the good hair
Or a ten-piece hot lemon pepper sprinkled, fries crinkled, that's the lingo
If that's your girlfriend, she acting single
I caught the pass like I'm Ochocinco”

Dreamville’s J.I.D. has emerged as a rare breed, a new-school rapper delivering quality lyricism in an era where the art form is considered dead. J.I.D.’s debut studio album The Never Story was enough to pique the interest of J Cole, and the Atlanta rapper solidified himself as one of the cleverest young rhymers in the game. In fact, his stellar verse on “D/Vision” was nearly included on this list, but “Hasta Luego” proved too formidable a contender. In fact, the single has emerged as one of J.I.D.’s most polished tracks, and his flow is quite possibly the most impressive I’ve heard all year. And while flow is one of the foundations of an excellent verse, J.I.D’s skill-set goes well beyond that.  

J.I.D’s performance on this cut has evoked comparisons to Kendrick Lamar, mainly due to the similarity in cadence and rapid-fire delivery. Yet J.I.D. is in the process of carving out his own lane, and his depiction of the Atlanta trap adds a subtle layer of darkness to “Hasta Luego’s” vibe. He doesn’t glorify the trap, but recognizes the profound effects it might have on a susceptible mind.  “There’s madness in the fucking city,” raps J.I.D, channeling some of that very madness as his verse continues to unfold, gaining momentum with every bar.That Ococinco part is particularly on point.

“I get in it then I jetted, it was a fly by, red bottoms, the thigh highs
And every time she see me, she's sayin' "I don't know why I
Fuck with n****as like you 'cause at first, you would play the shy guy"
Give me that pussy once and I always got it like the Wi-Fi, bitch
I went to visit my n***a, he caught him a charge, his cards was fraudulent
Time to go get me some yayo, I know that Andrea gon' lease that car for me
I remember when Dukie lost his arm in fuckin' armed robbery
When I seen his shit was danglin', almost felt my heart stoppin' G”

Gangsta Gibbs’ You Only Live 2wice was full of memorable lyricism, yet the opening verse on “Andrea” is a rare blend of authorship, technical prowess, and performance. Over a refreshingly soulful beat from the trifecta of Crooklin, SLWJMZ & Pops, Freddie Gibbs becomes one with the music, alternating between focused wisdom and frantic double time bars. Whether he’s reflecting on the visceral moments of his criminal past, or the intimate hours seducing the titular character, Gibbs brings an unfiltered and poetic urban realism to every lyric.

For whatever reason, Gibbs is often overlooked in the conversation of great modern lyricists. Yet his work on “Andrea” proves that he is not one to be taken lightly. Gibbs packs so much efficacy in every bar; a single line about a nightmarish robbery gone wrong contains so much imagery it could form the foundation of entire song. It’s that restraint that makes Gibbs such a deadly force behind the mic, he doesn’t have to say much to prove a point. But when he does speak, it would behoove you to listen.  

“7AM in Germany, can't believe that they heard of me
Last verse that I gotta do is always like surgery
Always tryin' to let go of anything that'll burden me
That's the reason you can feel the tension and the urgency
Last chance I get to make sure that you take it personally
Take this shit to heart, it's always executed perfectly
If we do a song it's like takin' my kids to work with me
You overnight celebrity, you one day star
Swear I Told You that I'm in this bitch for eternity
I am a reflection of all of your insecurities
Behind closed doors, a lot of 6 God worshiping”

Drake is something of a stylistic Jack-of-all-trades, and the Toronto icon has become quite adept at a variety of styles. And while his melodic, radio friendly singles often land him the most commercial recognition, one of Drake’s biggest strengths as a writer come from when he’s really in his feelings, hovering somewhere between vulnerable and triumphant. It’s been part of his charm since he first emerged with So Far Gone, and while his introspective cuts are less prevalent these days, their elusive nature have made them all the more effective. Such is the case for More Life closer “Do Not Disturb,” which features some of Drake’s best writing in a minute.

Over a low-key beat from longtime collaborator Boi 1da, Drake goes off for nearly four minutes about his current status in the game, sending subliminal shots and making inside jokes feel relatable. For somebody of Drizzy’s status, it’s interesting that many of his most powerful lines stem from when he reflects on his time before stardom, and while he’s never quite been an “everyman,” he’s able to create the illusion with practiced efficacy. As it stands, “Do Not Disturb” is a powerful reflection of his stardom,  a victory lap that feels at once triumphant of his success and mournful over what he might have left behind.

“I had a front row entry, I had the codeine kidney
I made up the Bentiaga truck, you owe me a Bentley
This the rap Ken Griffey, got at least 10 with me
Got at least 10 on me, I'm anti-phony
My girl anti-bony and she get that money
I bought all this shit, don't go acting anti on me
It's Mr. Epps in the bank, I give a F what you think
I bought a Tesla today, there's nothing left in your tank
I did everything except a fucking song with Jay
But I murdered every song I fucking did with Ye
See my verses are better and my subject is realer
See my mom was an addict and my dad was the dealer”

2 Chainz had a spectacular year on the lyrical tip, and I had half a mind to include his scene-stealing freestyle over Kendrick Lamar’s “DNA.” Yet there was something about the earnest self-reflection in “Burglar Bars” that was simply too powerful to escape. On the Pretty Girls Like Trap Music outro, 2 Chainz reflects on the scope of his career with a veteran’s seasoned eye, harkening back to his youth, and lamenting his unfinished bucket-list. And well 2 Chainz has yet to do a song with Jay, he wants us to know that he deserves to be held with the same esteem as the Hovs and the Kanyes.

Some people who aren’t familiar with Tity Boi may laugh at the notion of 2 Chainz as an accomplished lyricist, but those doubters need to pull their heads out of the sand, and listen to “Burglar Bars.” The wisdom and composure on this verse are second to none, and Chainz makes sure to back it up with a smooth-ass flow. It's Mr. Epps in the bank, I give a F what you think,” raps 2 Chainz.  “I bought a Tesla today, there's nothing left in your tank.” Some might even call the first verse of Burglar Bars the album’s defining moment. It certainly feels that way.

“Fuck being conservative, I was tryna serve it up
Stir it up, rather sell a bird than be a burglar
A third of us, ridin' 'round tryin' find a purchaser
With my lil' Spanish chick, used her as my interpreter
For some years I haven't heard from her
That was my lil' sweetie pie, can't believe I deserted her
She used to let me hide my weed in the furniture
But I had to leave cause only good deed she was worthy of
The story of a journeyer, who made it out the wilderness
No feelings 'cause I met a lot of villains on my pilgrimage
God told me, "Son, never settle like the pilgrims did"

CyHi The Prynce has always been considered among the current day lyrical greats, though the consensus was largely based on freestyles and feature verses. His debut album No Dope On Sundays was one of those projects with a malleable release date, appearing and disappearing faster than Abra in Pokémon. Many were skeptical about whether or not it would ever see the light of day, but CyHi came through and dropped the project in November. Luckily, it didn’t take long to realize that CyHi wasn’t wasting his big opportunity, and the introductory “Amen” remains one of the album’s hardest selections. Yet what truly makes it stand out are the subtleties, and CyHi's pen game stands at a near literary level. 

The second verse is peak CyHi, blending intricate storytelling and vivid storytelling with an aptitude worthy of peak Nas. The brief vignette in which he reflects on his late night activities would be enough to merit an entire song, but CyHi makes brevity an artform; the “Spanish chick” he used as an interpreter somehow feels fleshed out, the centerpiece of an entire narrative in three lines. That’s the beauty of CyHi’s lyricism. The man can say so much in a single bar, imbuing it with more detail and weight than lesser lyricists can fit into an entire song. 

“Don't ask Malcolm, ask how come?
Ask any real n***a really 'bout some
When you in the field, n***a don't play dumb
Better keep your eyes peeled in the rearview
Know a couple n****s in the ville who will kill you
Run up in your hands in the wheel and air you out
Never give a fuck, never hear you out
News clip poppin' up about you whereabouts
You don't really want the war so don't go there
Got my middle fingers up in my underwear
When I'm fucking the world on some G shit
With the waviest flow, make you seasick”

“This beat is so hard, bruh!” says Joey Bada$$, as the flutes kick in. By that point, you already know he’s about to go in. Decked in some beige Jedi Robes, the All Amerikkkan Bada$$ hit up the LA Leakers to spit a freestyle over Future and Metro Boomin’s “Mask Off” instrumental, delivering one of the year’s most impressive exhibits of lyricism, flow, and performance. Watching the video adds another level to this verse, as the sheer joy Joey displays while destroying this instrumental is comparable to a child’s unadulterated wonder. And that’s not even mentioning the godlike flow switches.

When I'm fucking the world on some G shit,  with the waviest flow, make you seasick” raps Badass, closing out the verse with some double-time intensity. It’s one of the many technical highlights, and there’s no doubt that everyone in the studio left that session in a euphoric state. Fans already know that radio freestyles can often lead to some incredible performances, as rappers get a chance to show off a little without the confines of a traditional song structure. Now, Joey’s rendition of “Mask Off” has earned a place among the quintessential radio freestyles, standing as a sobering reminder of just what this young rapper is capable of.

“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
Got that bitch high off a Perc and Adderall
Pull out the fire and you better grab it all”

By now, everyone has come to understand that each member of the Migos can spit bars, and 2017 found Offset cementing himself as an otherworldly force on the mic. Whether he be dropping murderous verses on the slasher-film vibes of Without Warning, or unapologetically stunting on Migos’ breakout album Culture, his flow, charisma, and vernacular have been consistently elite. And while Migos succeeds as a symbiotic unit, Offset’s talent has fans wondering what a solo album might sound like.

To be honest, many Without Warning cuts were in contention for this spot, but “Met Gala” stands as Offset’s most important verse of 2017. Trading bars with the legendary Guwop, Offset uses Metro’s mechanical instrumental to establish himself as a dominant lyricist, delivering a promising hint of star power that has yet to truly manifest. And when the time for an Offset solo album finally comes, there’s no doubt that “Met Gala” will stand as a pivotal moment in the rapper’s trajectory.

“I still ain't trippin', that's life, winners and losers
Drug dealers and abusers, America likes me ruthless
My therapist said I relapsed
I said, "Prehaps I Freudian slipped in European whips"
God sent me to break the chain
I'm the true and livin'
God in the flesh, the rest of these n***s is vain
A stain on the white suit, inferior IQ
N***s'll rip your shit off TIDAL just to spite you
Ahhhh, what did I do?”

When Jay-Z first announced 4:44, the older heads knew that something special was coming. It felt different from the era of Magna Carter Holy Grail, where Hov seemed to succumb to the allure of his own legend, flaunting the wealth he once slung crack to achieve; in other words, it felt masturbatory. Peak Jay-Z was one of the game’s most talented songwriters, and while it was nice to see his status blossom into a black-card toting, Basquiat owning businessman, the exchange was Faustian in nature, leaving his mic skills devolved into complacency. Yet deep down, like the athlete in their twilight years, Hov still had the smoke.

4:44 hit, answering the prayers of Jay-Z fans worldwide. The album was not only his most personal work since The Black Album, but also boasted some of his most technically sound rapping in years. The third verse of “Smile” finds Jay-Z absolutely going off on a variety of topics, alluding to his career, his business ventures, his doubts, and his haters. By the time he poses the age old question - “what did I do?” - you can hear the passion in his voice. As he once famously said on “All I Need,” he can once again reiterate here: “I guess I got my swagger back.”

“I heard the whispers, I curved the whispers
You know what the risk is
Earthed in ditches, your body revertin' to stiffness
The whole world gone mad
Bodies is addin' up, market's about to crash
N***s is fake rich, bitches is fake bad
Blacks that act white, whites that do the dab
Donald Trump is a chump
Know how we feel, punk? Tell 'em that God comin'
And Russia need a replay button, y'all up to somethin'
Electorial votes look like memorial votes
But America's truth ain't ignorin' the votes”

In terms of raw writing ability, there are few who can come close to matching the penmanship of Kendrick Lamar. DAMN. features some of K.dot’s most introspective songwriting to date, and while he continues to push the boundaries of modern lyricism, one of his most impactful verses of the year has somehow managed to slide under the radar. Before Damn. was even announced, Kendrick came through to release the musical equivalent to an album trailer, an explosive, free form anthem called The Heart Pt. 4.

“One, two, three, four, five,” raps Kendrick, with a faux sense of childlike innocence. “I am the greatest rapper alive.” A bold proclamation, yet Kendrick proceeds to make a compelling case as he continues to unleash his gargantuan second verse. One of his biggest strengths as a lyricist is his ability to paint vivid pictures with his words, colliding in a successful blend of intellectual swagger. “Me and Top Dawg playin' rock-paper-scissors in court,” he raps, turning a simple image into a grandiose statement. And while DAMN. remains an accomplished piece of work, it might have been nice to see Kendrick trade in some of the more restrained cuts for a little more of this fire.