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Top 10 Best Hit Songs of 2017

In December of each year, Billboard publishes its list of the 100 biggest hit songs of the last 12 months. In response, I take it upon myself to decide which of these songs were the real hits, and which were the biggest misses. Last week, I tackled the worst, so here are the best. Let’s get started:

10. “Love Galore” by SZA feat. Travis Scott

When I see a fellow New Jersey artist rising up the charts and building a name for themselves, I’ll be the first to admit that I’m a little too quick to douse them in praise. In 2015, I did it for Fetty Wap and Charlie Puth before they respectively waned in relevance and proceeded to pump out some of the decade’s worst music. SZA grew up mere minutes away from me, and after a few years just shy of the spotlight, she finally released her critically beloved debut album Ctrl in June. I took a few months to finally get to it, but once I listened to it, I found a beautifully produced, unflinchingly sincere record that delves into the nuances of youth, romance, mental health, and the various ways they intersect.

I wouldn’t even consider “Love Galore” an immediate highlight from the record, and yet it’s still an excellent song. I do have to take a point off for Travis Scott rambling about “ass and titties” in his verse, a needlessly juvenile moment in what’s otherwise a great slice of left-of-center-but-still-grown-and-sexy R&B. Still, his verse is fine altogether, and he sounds right at home over ThankGod4Cody’s production, which is built on off-kilter, reverb-soaked percussion and analog synths that aren’t too far removed from the Stranger Things score.

This is all well and good, but SZA steals the show all on her own, exploring the complications of reconvening with a former fling. There’s a core of darkness to the lyrics, making passing references to Valium and fetishes as she zeroes in on her partner’s seeming infidelity, but she can nevertheless enjoy the situation as “long as [they] got love.” And in a year chock full of godawful vocals excused for their “authenticity,” it’s so refreshing to hear a singer in the mainstream who sounds both organic and skilled. While I may not like this quite as much as “The Weekend” or “Drew Barrymore” or “20 Something,” it’s no less worth your time.

9. “Passionfruit” by Drake

It’s easy for me to start this entry the same way I did for “Too Good” last year, addressing how “Passionfruit” was a diamond in the relative rough of the lopsided More Life “playlist.” While there is some truth to that assessment, More Life is still a noticeable improvement over last year’s uncomfortable, overhyped VIEWS. Sure, it’s still questionable to hear Drizzy put on another new accent (I’d personally like to hear him attempt a Russian accent), but his curation of global sounds is sharper and more generous than ever, and with the exception of truly annoying cuts like “Nothings Into Somethings,” the lyrics are a lot less patronizing this time around. Despite this net positive, it still remains that “Passionfruit” is easily More Life’s best offering, and perhaps Drake’s best single since “Hold On, We’re Going Home.”

For one, “Passionfruit” is built on the same sort of subdued, late-night disco groove that made “Hold On” an instant classic. But the song goes for a stark contrast from the 2013 smash’s optimistic hookup, which is mirrored by the somber minor chords, gorgeous, muted synths, and what is apparently the manipulated sound of a flute. With the tempos of his songs seemingly dropping by the year, it’s good to hear Drake over something with a more propulsive groove again, and yet it still manages to mesh with his trademark atmospherics.

Of course, the lyrical content will always be the most contentious part of any Drake song, and it’s understandable to read “Passionfruit” as yet another retread of “Hotline Bling.” But where that song may have precariously toed the line between genuine concern and alarming possessiveness, the lyrics land a lot more comfortably this time. Even a lyric like “you got issues that I won’t mention” works far better as he seems to finally understand the consequences behind his words and his actions. The end result is Drake at his finest, low-key and calm while still navigating through the most challenging of emotions.

8. “Castle on the Hill” by Ed Sheeran

Now I know this pick will likely come as a surprise to anyone who saw my previous list, where I gave Ed Sheeran the thorough bashing he deserved. I ragged on him for his appearance, his awkward lyricism and his uninspired compositions. I’m sick of the guy at this point, but that’s because I genuinely want to like him. Ed has always shown a genuine talent for crafting songs with memorable hooks and interesting concepts, so doling out plodding love ballads like “Photograph” and cringeworthy radio ploys like “Shape of You” feels like the biggest possible waste of potential. So as tired as I am of hearing songs like these in 2017, “Castle on the Hill” was good enough to remind me why I cared in the first place.

If I could sum up the sound of “Castle on the Hill” in one sentence, it’d be that it sounds like what that mediocre last Mumford and Sons album wanted to be. Built on an insistent drum groove, warm bass, ghostly organs and guitar strumming that hurts my wrist just listening to it, the verses build up to a triumphant chorus indebted to Springsteen and U2. This is one of Sheeran’s more directly rock-flavored endeavors, so his aggressive howls on the chorus sound a lot better here than on “Thinking Out Loud,” and even his falsetto sounds more vivacious than usual.

And in the midst of an album cycle dominated by anonymous songs about sex and TV montage fodder that even Queen B couldn’t salvage, “Castle on the Hill” is the only (good) single that showcases Sheeran’s distinctive songwriting flair. It’s essentially a song about growing up, but where Lukas Graham got it all wrong, this song gets it right. Like on “7 Years,” Ed recounts his younger, troublesome self, running from authority and drinking with his friends. The difference is that he learns from his mistakes, thanks to the people and the town he was sought to defy in the first place. It’s the kind of vivid songwriting that Sheeran excels at, and if he keeps at it (which is a real possibility), he might very well regain a lost fan.

7. “HUMBLE.” by Kendrick Lamar / “LOYALTY.” by Kendrick Lamar feat. Rihanna

As I stated in my previous list, it’s been really interesting to see what the Billboard charts look like with streaming becoming a bigger part of the equation. I already addressed how album tracks can perform just as well as lower-tier singles. Kendrick Lamar’s excellent fourth album DAMN. boasts the best first week streaming numbers of any album released in 2017, and as a result, multiple cuts from the album remained on the charts for weeks on end. “ELEMENT.” and current single “LOVE.” charted high enough that if they had received the proper push as singles, I would probably be talking about them alongside the two singles that actually made the year end Hot 100, chart-topping “HUMBLE.” and the Rihanna collaboration “LOYALTY.”

“HUMBLE.” was the first proper taste of DAMN., which admittedly took some time to grow on me. Sure, the blisteringly sparse, piano-driven beat by Mike Will Made It commands direct attention to Kendrick’s coded, throne-claiming bars, but it’s a far cry from the rich history and experimentation that made To Pimp a Butterfly an all-time great rap album. Still, it’s important to remember that Kendrick - at least when he’s trying - infuses his songs with some really heady subtext. It’s easy to interpret this as K-Dot proving that he can do trap just as well as Future or Migos, if not better thanks to his skillful lyricism. In the context of DAMN., it’s also a warning from the Compton rapper to himself to not let his remarkable success eclipse his message or his roots. Coupled with an instantly memorable hook and quotables like “my left stroke just went viral,” “HUMBLE.” is a well-deserved first #1 for Kendrick.

Like its predecessor, followup single “LOYALTY.” is fairly skeletal in its production, based around a warped sample of “24K Magic” (of all things!). This time, Kendrick teams up with Rihanna, who continues to prove that she can come through with an impressive flow after “Bitch Better Have My Money” and “Needed Me.” The pair explore loyalty in regards to one’s friendships, relationships, faith and ambitions, creatively quoting Jay-Z and Ol’ Dirty Bastard in the process. While the lyrical content is certainly worthwhile, the main takeaway is that Kendrick and Rihanna have truly fantastic musical chemistry, which becomes all the more apparent when they trade bars during the verses. Like “HUMBLE.,” this track is further evidence that even with sights set squarely on the mainstream, Kendrick always aims high.

6. “Bodak Yellow” by Cardi B

When compiling these lists, it’s easy to get wrapped up in the critical acclaim or the social value a song might have. This works both ways - maybe this is what influenced me to place “7 Years” and “Treat You Better” as high I did on my worst list last year. But when Cardi B’s breakout single “Bodak Yellow” became the first single from a solo female rapper to top the Billboard Hot 100 since Lauryn Hill in 1998, I immediately wondered: is it a worthy successor? Considering how many critical outlets have named “Bodak Yellow” one of the best songs of the year (including Pitchfork and The Washington Post, who both named it the best song of the year), a lot of people seem to think so. And even though I wasn’t totally sold on the song at first, I’m now more than happy to join that chorus, because this song is fucking awesome.

In one of her legendary interviews, Cardi has stated that the title “Bodak Yellow” is a reference to rapper and awful human being Kodak Black, whose flow on “No Flockin” serves as the foundation for Cardi’s song. Unsurprisingly, she does an infinitely better job with his flow, not only because she doesn’t sound like she’s having an asthma attack, but because she also delivers each bar with such boundless energy. Unlike Kodak, she also knows when to switch up her flow, capping off both verses with an impressive, Migos-esque (!) flow. A lot of hip hop traditionalists might deride “Bodak Yellow” for a lack of originality, but it’s not about who did it first, it’s about who did it right.

Even the production on “Bodak Yellow” stands out from the trap pack. Sure, it’s built on a simplistic 3-note melody, but it alternates between octaves, creating an alluring sense of unease against the changing hi-hat progressions. But what really surprises is how restrained the song first seems in its low end, using the trademark sub bass kicks fairly conservatively. It gives you the impression that it’s building up to something, and then it happens: as Cardi speeds up her flow, the kicks return in full force, resulting in one of the hardest-hitting moments rap had to offer in 2017. In a year where women deserved so much better, Cardi B is a true force of good, proving that she can go harder than so many of her male contemporaries.

5. “I Feel It Coming” by The Weeknd feat. Daft Punk

If you’ve read any of my lists in the past two years, you probably felt this coming (pun very obviously intended). I’ve raved about The Weeknd so much since then that writing a fifth (sixth if you include “The Hills” from my honorable mentions in 2015) entry about him probably scans as blind fandom or ass-kissing. Truth be told, his 2013 major label debut Kiss Land hasn’t exactly aged well, and Starboy was an overlong, frequently redundant affair with occasional flashes of innovation. But the latter album’s closing track, “I Feel It Coming,” feels like a major change of pace, and perhaps a premonition of The Weeknd’s future.

Like the previous single, the chart-topping title track from Starboy, “I Feel It Coming” is yet another collaboration with famed French house duo. While “Starboy” sounded a lot like the duo’s own “Doin’ It Right,” a collab with Animal Collective’s Panda Bear and a notable outlier on Random Access Memories, this song is more akin to the warm, nostalgic disco that dominated the rest of that album. Hell, the robots even use their trademark vocoders on their own voices this time! As unstoppable as the groove of “Can’t Feel My Face” is to this day, never has Abel sung over something that sounded so happy.

Fortunately, he seems up to the challenge of matching this energy. Normally, The Weeknd albums end on a dour note - even the bombastic “Angel” was profoundly melancholic. In one of his most effortless vocal performances to date, Abel shows that he is finally ready to commit to a serious relationship. And while the potent sexuality is still right there in the goddamn title, it comes across as a moment of real, unadulterated joy rather than simply going through the motions of tour life. The Weeknd has proven time and time again that he can switch up his sound and still come through with smash hits, and if “I Feel It Coming” is any indication, that’s not changing any time soon.

4. “Redbone” by Childish Gambino

Holy shit, have I been waiting for this. I’m not necessarily talking about “Redbone,” Childish Gambino’s greatest success to date, but rather that success in and of itself. Like so many people, I discovered Donald Glover’s hip hop project after enjoying him as Troy in NBC’s Community, one of my all-time favorite TV shows. But despite his knack for solid hooks, colorful instrumentals and outright hilarious bars, it always felt like he was close to breaking into the mainstream without ever getting there. Maybe it was the polarized critical response to Camp or the obtuse production of Because the Internet, but it was only with last year’s funk departure “Awaken, My Love!” that his music clicked more universally.

“Redbone” wasn’t that album’s lead single, but it was by far its most successful, charting for nearly a whole year and peaking just outside Billboard’s Top 10. Arguably, it’s the weirdest hit song we’ve had this year: weird enough that it spawned one of the year’s more creative memes. As a whole, the song maintains a rare balance of paranoia and sensuality, the former of which is felt instantly with the intro’s distant strings and gently thumping kicks. But any sense of dread is mitigated by the slap bass, glockenspiel and the generally lush atmosphere. With perhaps the exception of SZA, mainstream R&B in 2017 hasn’t sounded this organic and alluring, even with the inclusion of the crunchy guitar leads or the muted, creepy-as-fuck background vocals in the intro.

Amidst all the window-dressing, this is still undoubtedly Donald Glover’s song, and his vocal and lyrical contributions capture the same balance just as exquisitely. Many have pointed out that he doesn’t even sound much like himself on “Redbone,” rather emulating Macy Gray’s trademark rasp. Despite the obvious point of influence, it’s still one of the many vocal performances on “Awaken, My Love!” that oozes with color and personality. It doesn’t distract from the unsettling lyrics, though, which double down on Gambino’s oft-critiqued insecurities about relationships and racial identity, but through a more mature and knowing lens, with a chilling mantra of “stay woke.”

And while it didn’t have an impact on its placement on this list, the particular case of the song’s success is worth celebrating. “Redbone” first charted out of anticipation for the album, but it returned to the hit parade thanks to its masterful use in Jordan Peele’s excellent film Get Out. Then came the memes, where the song was sung by various characters and played from a range of different spaces. It had a distinctive sound that somehow suited it to both uses, thus making it Glover’s highest charting song. This is the rare case where a great song isn’t rejected for its idiosyncrasies, but instead rightfully embraced.

3. “Slide” by Calvin Harris feat. Frank Ocean and Migos

But then again, Childish Gambino wasn’t the only one finding long-overdue chart success this year. Obviously, I’m not referring to Calvin Harris or Migos - the former has been pumping out hits since the turn of the decade to diminishing returns, and the latter had a banner year in 2017, with their very good single “Bad and Boujee” topping the Hot 100 for three weeks. “Slide” was partially Frank Ocean’s affair, too. After last year’s excellent, understated Blonde seemingly rebuked any desire for conventional pop stardom, the R&B crooner and former Odd Future affiliate proved that he can still write a fantastic pop song that can stick with just about anyone.

What’s particularly interesting about Frank’s contributions to “Slide” is that they aren’t even far removed from the music on Blonde. He still favors a more low-key vocal delivery, and he still manages to draw compelling character portraits in his lyrics. This time, it’s about a one-night stand where the protagonist isn’t so much interested in the sex itself, but vicariously living their partner’s more opulent lifestyle, referencing jewelery and Picasso’s famous Garçon à la pipe painting. But there’s still an underlying feeling of emptiness, exemplified in the line “wrist on a wrist, a link of charms, yeah / laying, we’re still a link apart.”

Complicated emotional situations have always been a characteristic of Ocean’s lyricism, for which he sets the scene with details that frequently read as non-sequiturs. But what makes “Slide” particularly interesting is how everybody else around him is up to the same task. Quavo and Offset of Migos appear for two insanely catchy and energetic verses, but the content feels peripheral to the established theme of the song. But these guys are part of one of the most in-demand rap acts of the year, so for Frank’s character to be rubbing shoulders with them does more to establish the scene. “Slide” is also further evidence of Offset’s skillful, malleable flow, and if his recent joint album with 21 Savage is any indication, he has great potential as a solo artist.

But what about Calvin Harris, the main artist responsible for this song? “Slide” was the lead single for his excellent album Funk Wav Bounces Vol. 1, and served as a dramatic departure from the more conventional EDM he’d been producing for years. Sure, singles like “This Is What You Came For” and “How Deep Is Your Love” flirted with organic instrumentation and classic dance grooves, but the shimmering keys, palm-muted funk guitars, and the irresistible bassline add up to one of his best tracks to date. It’s a perfect summer song that provides an opulent backdrop for Frank and Migos, and it still sounds fantastic in the dead of winter.

2. “DNA.” by Kendrick Lamar

Don’t think I forgot about this one. Over the course of this year’s lists, I’ve already gone on multiple times about the impact of streaming on the year-end charts. All of this is especially true when it comes to “DNA.,” the first full track from DAMN. Despite receiving an incredible music video starring Don Cheadle, it was never released as a single. And considering the aggression on display, as well as the lack of a real hook, why would it be? Nevertheless, thanks to Kendrick Lamar’s staggering popularity on streaming services, it landed a respectable spot midway on the year-end Hot 100. It’s another landmark worth discussing, but more importantly, “DNA.” is just a goddamn incredible song.

Rather than just dissecting the individual components of the song, I’m going to do my best to explain “DNA.” in a more linear fashion. Kendrick breaks through the gate in full-force, once again accompanied by Mike Will’s hard-hitting blend of trap drums, warped synths and ominous guitar loops. The first half of the song can be boiled down to K-Dot asserting that he was born for his current status as a rap god, even comparing his own birth to the immaculate conception. He recalls all his struggles growing up, living in the projects of Compton and encountering all the “murder, conviction, burners, booster, burglars, ballers,” etc. the city had to offer, crossing everything off as effortlessly as one would do for a shopping list.

Then, “DNA.” nears its two-minute mark. After a dazzling extended verse packed with personal detail, a sample of sleazy Fox-News-correspondent-cum-sexual-harrasser Geraldo Rivera actively dismisses Kendrick’s self-justification. He claims that Kendrick exemplifies everything wrong with young black culture in an unabashed show of victim-blaming. Then another sample comes in: the countdown from Freedom 7’s takeoff in 1961. As this happens, Kendrick speeds up his flow, and the beat changes, leading into what might be one of the greatest musical moments of the decade.

At this point, the production becomes even more sparse and dissonant, built mainly on a Rick James sample and the thickest, most face-melting sub bass imaginable. K-Dot offers an intense, well-deserved rebuttal to the thinly-veiled bullshit his critics ever-so-gleefully dole out. He knows that his success was earned through blood, sweat and tears, not “sex, money, murder,” and proceeds to “[curve] all the fakes” and others who seek to undermine him or his message. In an age where Donald Trump and the GOP have been nearly given carte blanche to oppress whoever the hell they want on any given day, it’s so cathartic to hear some resistance to their rhetoric in our popular music, especially when it’s this stunningly well-crafted.

And, just like last time, before I unveil my pick for the best hit song of 2017, here are eight honorable mentions:

“XO Tour Llif3″ by Lil Uzi Vert: “XO Tour Llif3” marks the first time Uzi’s music truly connected with me, capturing both the hedonism and the mental trauma he experienced while on tour with The Weeknd atop a fittingly off-kilter beat. His vocals are among the most impassioned I’ve heard all year, making the decision to nudge this off the list in favor of SZA a particularly tough one.

“1-800-273-8255″ by Logic feat. Alessia Cara and Khalid: Speaking of mental trauma, Logic’s breakout hit exists to lend a hand to those dealing with suicidal feelings. It sees the rapper and guest Alessia Cara acting respectively as a caller and a receptionist for the titular suicide hotline. Top that off with dramatic string swells and Khalid’s potent outro, and you have a song whose impact can’t be undermined, even by the shouts of “who can relate?”

“Sign of the Times” by Harry Styles: This is undoubtedly the best solo single to come out of the 1D camp, a power ballad reminiscent of David Bowie’s best that nails the particular desire to escape that we’ve all felt at some point this year. Cut the runtime by about a minute and you’ve got the perfect template for what mainstream rock should sound like in years to come, rather than whatever commercial filler comes from Imagine Dragons.

“Mask Off” by Future: I wasn’t wild about Future’s decision to release two overlong albums in the span of a week, but both albums had their highlights, and “Mask Off” was one of them. The beautiful “Prison Song” sample is the closest thing to old school hip hop in the mainstream this year, and Future delivers a sticky hook and the sort of secretly personal lyrics that have become his forte.

“Black Beatles” by Rae Sremmurd feat. Gucci Mane: Mike Will Made It hit a stride of excellence between “Formation” and “DNA,” and this song was caught in the middle of that period, boasting a dark, pounding beat topped with alien synths that sounded like little else in the Hot 100. Rae Sremmurd and Gucci Mane don’t really do much different from the norm, but the hook has an insanely catchy melody, and I’ll take anything over “Swang” at this point.

“That’s What I Like” by Bruno Mars: Look, pretty much everybody was hopping onto the trap bandwagon this year, but Bruno Mars made the sound his own by incorporating more organic percussion and a classic soul chord progression. The same goes for the lyrics about “strawberry champagne on ice” and “everything 24 karats.” You know, because the album and its lead single were both called “24K Magic”...

“Love on the Brain” by Rihanna: It’s the final single from Rihanna’s great comeback album Anti, and while I still think “Kiss It Better” should have been a lot bigger than it was, this is a perfectly fine piece of retro soul. 2016 was the end of the Meghan Trainor era, so it was only fitting that we ushered the new year in with what a song of hers might sound like if it were any good.

“Green Light” by Lorde: This didn’t make the year end Hot 100, so by my own arbitrary rules, I can’t formally include it, so I’ll just include it in the honorable mentions out of spite. How the fuck was this not a hit?

And now, for what I consider to be the best hit song of 2017:

1. “Praying” by Kesha

When I wrote my entry on the loathsome waste of space known as Kodak Black, I introduced it by addressing that content doesn’t exist without context. Sure, “Tunnel Vision” is a thoroughly unpleasant listening experience, but what makes it all the more abhorrent is how he lackadaisically prods at the very real allegations against him, all the while taunting those who want to see him lose. While that song is a very unfortunate reminder that rape culture is very much a real thing, it’s at least comforting to see a song from the other side of the spectrum.

Of the few criticisms I’ve seen of Kesha’s triumphant comeback single “Praying,” the only one that comes close to holding any water is if the song would hit nearly as hard if the details of the singer’s abuse at the hands of human shitstain producer Dr. Luke weren’t so well publicized. But for me, a song of this caliber can’t really be performed - let alone written - without this kind of experience. Over somber piano chords, Kesha recounts the feelings of uselessness and trickery she felt under Luke’s wing, only to overcome these feelings and make herself stronger as the haunting mellotron swells behind her. Her message is made all the more stark in the line “I hope you find your peace fallin’ on your knees.”

If this were all “Praying” was, I’d still adore it for its bold sincerity, but what certifies this song as the best of the year is the way the song builds. About halfway through the second verse, Kesha’s voice leaps an octave, and her tone shifts from vulnerable to utterly strident. Gradually, strings, backing vocals, pounding drums and horns enter the fold, giving way to the deeply moving second repeat of the chorus. And then the bridge happens, and after her crushing conclusion that “some things only God can forgive,” she lets out the note heard around the world. Though Kesha’s brand was established on semi-satirical autotune pop, it’s this moment that proves all her detractors horribly wrong in their assertion that she had “no talent.”

And while the high note is remarkable in and of its self, its potency is matched by the very end of the song, where the music fades away. As Kesha delivers her final lines, you can hear her crying as she steps away from the microphone. This moment is one of the rawest concentrations of lived-in emotion I’ve heard in the mainstream in years, and all the more evidence that this is real. Some people might call “Praying” the best Adele song that she never sang, but this is Kesha’s story. Unfortunately, it’s the story of far too many women in our society as well, but as more and more powerful men are being exposed and cancelled for their unacceptable treatment of women, this song couldn’t exist at a better time.

Thank you for reading! I’m considering writing about my favorite albums of the year, so if you’d like to see something like that, please let me know!

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