the top 50 best songs of 2017

I said on Twitter a few months ago that of all of my year-end lists, this one is always the most complicated - because it's by far the most personal. With the constraint of a list of hits or talking about records in aggregate, you've manufactured some distance - but if you're just going through the list of the songs that spoke the most to you regardless of whether they were a single or not, there's no separation or barrier.

And when you add to the fact that 2017 was a tumultuous year - not just for me but for most of the world, although I did have my own share of trying times - it's a little unnerving to go through the cutting process and realize how dark it truly got. There isn't much escapism in this top 50, and what escapism does show up is very much colored by consequences waiting in the wings. I'm not saying it's downbeat - in comparison to the melancholy that colored a lot of last year, there are more pronounced moments of joy and triumph - but it is by far the most unsettled, pulling the least punches and ultimately producing a psychological profile of my year in 2017 I'm still not quite sure what to do with. But hey, all of these came from albums I covered this year, and I wouldn't have spent a month pruning this list to its form now if I didn't have faith in it - even though I can guarantee there'll be a fair few conspicuous entries that aren't here if you're comparing to other critical lists. So let's get this started...

billboard BREAKDOWN - hot 100 - january 6, 2018 (VIDEO)

And here's the episode from today, which... again, it's an episode. Transcripts for a few year-end lists are on their way out soon!

billboard BREAKDOWN - hot 100 - january 3, 2018 (VIDEO)

I am disturbingly behind in updating things here, but yeah, this was an episode. Enjoy?

billboard BREAKDOWN - hot 100 - january 6, 2018

There are only three names that matter on today's Hot 100. Sure, you could talk about how a bunch of old 2017 hits got their final wind, or how Christmas music seemed to linger a week longer than I personally expected, but the real story to open this week - with the date slightly revised because Billboard is bringing things closer in sync with their tracking week - belong to three people: Travis Scott and Quavo under their duo name 'Huncho Jack', and Cardi B, who seems to be pushing hard to extend her success into 2018.

billboard BREAKDOWN - hot 100 - january 3, 2018

I think I was expecting a lot more to actually happen this week than actually did. Sure, it's the holiday season and that usually meant things were slower - with the exception of The Voice, but we'll get to that - but we had big releases from Eminem and G-Eazy that had hype, and also from N*E*R*D, which with the continued single success could have streaming crossover... and yet that didn't happen. Sure, Eminem got a few songs, but people must have been satisfied by what they got otherwise because this was a slow week on the Hot 100. Not complaining, mind you - sorting out year-end lists is pretty difficult as it is - but still, I was expecting more.

the top ten best hit songs of 2017 (VIDEO)

Always the one that's the most entertaining to put together, a real treat here. Enjoy!

the top ten best hit songs of 2017

So as I said in my last list, I haven't considered 2017 nearly as bad of a year as some critics have, especially when it comes to the hits. Yeah, there was a lot of stupid, misinformed, or just outright offensive garbage that clogged up the charts, and I can see if you weren't willing to dig beyond the top ten you might dispirited in the dreary trap slog, but the truth is that the songs that did break away from that sound or mold - or hell, even a few of the tracks within it - were true gems across multiple genres. Yeah, country struggled in the mainstream this year, but there was real greatness in pop, hip-hop, EDM, R&B, and even some rock-leaning tunes. I wouldn't quite say the overall quality or sheer number of hits is comparable to 2015 or 2012, but it is up there. 

And what surprised me in a great way was the truly amazing hits of this year were strong enough to maybe even reach my year-end list of my favourite songs of 2017, not just the hits! And you know, for as many obscure or weird albums as I cover and then love, this is still a great feeling, that sometimes quality does win out and rise to mainstream prominence for everyone to share, and that's good for culture everywhere! Yeah, I know some of these picks might be controversial - especially in my Honourable Mentions - but as always they debuted on the year-end Hot 100 for 2017, and I did manage to find some quality here. So let's start with the Honourable Mentions, particularly one that if you saw my worst hits last year might shock you a bit...

the top ten worst hit songs of 2017 (VIDEO)

It's here, it's already controversial, and apparently the damn video malfunctioned because after rendering the damn thing three times I can't catch a break. Ah well, best hits of 2017 is coming in a day or two, stay tuned!

the top ten worst hit songs of 2017

There have been years where writing this list is easy. Sometimes it's like 2015 or 2012, where the bad songs can't diminish otherwise diminish a strong or interesting year - or on the flip side we get years like 2016, where the avalanche of awful is so pronounced I almost have too much material, and while that list might be painful to revisit, sheer rage makes it all surge out.

2017 has not been that year, and it's a little tough to explain why. You could make a comparison to 2014 in how so much of this year defaulted towards average instead of a more pronounced brand of awful - I'm certainly not as angry towards this list as I've been in previous years - but the truly excellent hits were much stronger in 2017. What I think has befuddled some critics is how pop was effectively overtaken by the hip-hop and R&B aesthetic on the Hot 100 - it might have become more pronounced in 2013 but in 2017 the takeover was complete, and if you weren't paying more attention to streaming instead of radio, you were going to be left behind. And thus in 2017 the truly bad songs are a bit of a mix of the pop songs tumbling towards the monogenre and the lazy, bargain-barrel dumpster fire that is the dregs of trap. And again, to establish the rules the songs had to debut on the year-end Hot 100 list for 2017, and purely boring doesn't just cut it for me. Given how much of this I've covered on Billboard BREAKDOWN, I've long been numbed to the endless swirl of interchangeable trap bangers and their brand of disposable mediocrity. If you want to land on this list, you need to really irritate me or piss me off, so let's get going with some Dishonourable Mentions!

video review: 'saturation iii' by BROCKHAMPTON

You know, this might have taken a bit to grow on me, but I'm really genuinely happy that it did. Fun stuff.

Anyway, probably one last album review proper before I duck into lists and one big catch-up video... stay tuned!

album review: 'saturation iii' by BROCKHAMPTON

Not going to lie, I had mixed feelings about this the second I heard about it. Hell, they're the same mixed feelings I have whenever a band or act decides to drop multiple projects in a year when they could combine them into one uniquely strong record...

Actually, I'm not sure I stand by that in the same way anymore. The fact remains that I've covered a fair few artists over the course of this show who have dropped more than one project in the course of a year, sometimes with a radically different focus and style where the quality remains consistent - look at billy woods or Eric Taxxon. I think my bigger issue with BROCKHAMPTON is that while both Saturation I and II are good albums, they're a shade away from greatness, and it's hard not to feel like the thematic arc is retreading familiar territory without really evolving on it. And then there's the other big concern: burnout - quite simply, churning out multiple records in a year with a distinct promotion and marketing arc, especially when you're an independent collective, while it might be easier in the internet age it's also the sort of work that can push working relationships to their limit. And thus when Kevin Abstract made his fakeout post that Saturation III was their last hip-hop record, I believed it - artistic collectives have broken up over far less.

Now of course that's not quite the case, and we'll probably have more BROCKHAMPTON coming up, along with solo projects, but in the mean time, the critical buzz behind Saturation III was promising, so what did we get with this?

billboard BREAKDOWN - hot 100 - december 30, 2017 (VIDEO)

And this week was pretty damn rough too... goddamn it, 2018 is not looking good going forward...

But okay, we've got some better hip-hop coming, so stay tuned!

billboard BREAKDOWN - hot 100 - december 30, 2017

So as I've been predicting, the charts are heading into the lull around the holiday season - and I mean that more than most, because I don't think I've seen the Hot 100 this static in months, with only a pretty sparse crop of new arrivals to bring any real disruption. Hopefully that means I can keep this episode short and get to work on my last few reviews before year-end lists, but hey, you never know, right?

video review: 'revival' by eminem

So yeah, this one hurt. Man, I wanted to defend this record... but I can't. Sorry, folks.

Next up, Billboard BREAKDOWN and hopefully some even better hip-hop - stay tuned!

album review: 'revival' by eminem

So do you ever have the feeling before going into a movie or game or record that while you desperately hope it's going to be good, you know deep down it probably won't be? That slow, sinking feeling as your rational mind overrides the sense of hype and the feeling that nothing could live up to your expectations, even if they aren't all that high?

Yeah, that's how I felt going into Revival - and if anything, it was even worse because I've been an Eminem fan for decades. I'll admit to being one of the fans for whom Eminem was my introduction to more hip-hop, that can rattle off multiple Eminem songs from memory - and not just the singles but deep cuts and diss tracks too. And as I grew and matured as a critic and heard so much more hip-hop and Eminem's flaws came more sharply into view, it also led to a different sort of artistic appreciation for even his worst projects - while Encore is far from good it was the sort of record that understood its purpose of artistic suicide, and I still hold Relapse is criminally underrated to this day, where Slim Shady was revealed to be as perverse and deranged as he always was before, this time without any veneer of 'cool'. And even though I'd likely agree with the assertion that Eminem becomes less impressive as an artist the more hip-hop you hear, I don't think even the best in the game would deny his talent for wordplay, his charisma, and his uncanny knack for mainstream crossover success.

And thus, when I heard Em was looking to get more political for his upcoming record, not only was I not surprised I was also extremely encouraged. For many white people Eminem was one of the few rappers they would listen to or cite as a favourite, he spoke across demographics and genres and he's never been uncomfortable speaking truth to power, especially given how much he continued to identify with his working class roots in Detroit. But in the lead-up to this release - and especially after the track and feature list was released - I had a really bad feeling going into this, with names showing a lot of potential for pop crossover but few if any of the relevant acts making conscious hip-hop right now. You'd think someone of his stature would use this opportunity to put some names over instead of pass over more production to Alex da Kid and hooks to goddamn Skylar Grey - an artist who has never been interesting or compelling and who has been neutering the power of Em's hooks for too long - but if Eminem wasn't willing to venture out of his comfort zone to make his political statement, this could be pretty rough. But again, I'm an Eminem fan, I've defended records from him that many brand as legendarily terrible - can I defend Revival?

movie review: 'star wars - episode viii: the last jedi' (VIDEO)

Whoo boy, this one got a lot of anger from a lot of people... and really, I don't think it deserved it, this is a great film.

Now what's coming up next might just deserve the anger... stay tuned?

video review: 'laila's wisdom' by rapsody

Man, about damn time I got to this one. Really is a terrific record, if you haven't already definitely make time to check this out!

Unfortunately, we've got a big one coming that I'm praying isn't a dud, but might well be. Stay tuned...

album review: 'laila's wisdom' by rapsody

So there's no good excuse for me not getting to this sooner.

Yeah, I know, believe me, I should have covered this months ago - but I'm certainly happy I'm going to be covering this before the end of 2017, especially given the mountains of critical acclaim it has received. And if anything I feel it was a long time in coming, because if there was a woman in modern rap music who has been on the cusp of really breaking through in recent years and schooling the majority of her counterparts regardless of gender bar for bar, it'd be Rapsody. Yes, Dessa will always have a special place in my heart and I'll continue to speak up for MCs like Dreezy and Noname for their respective lanes, but through her mixtapes and her pretty damn solid debut album in 2012 The Idea Of Beautiful, Rapsody made it clear she deserved more attention... which she got through big collaborations with Kendrick Lamar and Anderson .Paak, which likely helped her snag a record deal with Roc Nation and propel this album into the spotlight. And she was going big for this - her full-length albums have always been pretty hefty affairs, but getting Kendrick, Anderson .Paak, Busta Rhymes, Black Thought, Terrace Martin and primarily produced with 9th Wonder and the rest of the Soul Council was a very promising sign, I was excited for this. So yeah, I know I'm late to covering this album - I effectively had to vote it up my schedule single-handedly when nobody bothered to add it - but let's not waste time, what did we find on Laila's Wisdom?

video review: 'kimberly: the people i used to know' by k. michelle

Well, this was frustrating... honestly, I would have probably preferred to burn something out of my backlog that do this, but these reviews all do pretty well, so we'll see.

Next up, something from that backlog and I've been looking forward to this one, so stay tuned!

album review: 'kimberly: the people i used to know' by k. michelle

This is the third K. Michelle record I will have covered on this show... and at this point, I'm questioning why I'm even bothering again beyond the fact that it's the end of the year and there aren't that many new releases getting added. And yet going back to my last review, I discovered to my amusement that I was asking these exact same questions and yet ultimately made the decision that I'd probably wind up covering her again - she was such a powerhouse of blunt personality that I kept venturing back in the hopes that there'd be some refinement in her writing or that she'd fix her consistently exasperating production problems. 

But going into this record, which was promising to be more focusing on a more vibe-driven R&B sound - and was planning to do so by bringing in Chris Brown and Jeremih, lovely - I also remembered that for as mostly positive as I've been on K. Michelle's work in the past, I've rarely felt all that compelled to go back to either of the records I've reviewed from her. Now granted, K. Michelle is enough of a personality that her plans to delve into figures in her past could be entertaining, if a bit melodramatic - she's not one to shy away from airing dirty laundry - but at the same time, it was also over an hour with over twenty songs, and there aren't many artists who can sustain that sort of momentum. And yet did K. Michelle manage to surprise me here?