The Best J. Cole Songs

Over the course of his career, J. Cole has amassed a catalog of music that includes platinum albums and singles, as well as notable guest verses and loosies. Here are the best songs of J. Cole's career thus far.

May 15, 2018

Image via Getty/Tim Mosenfelder

Few rappers this generation can match the credentials of J. Cole. In a decade’s time, the Fayetteville, North Carolina representative has garnered critical acclaim, stacked Billboard Top 40 hits, and reached the status as a top tier act who bucks the conventional music rollouts for moments that connect directly with his fans, not to mention collecting a handful of platinum plaques with little to no help, thus inspiring one of the better rap memes the internet has to offer.

From The Come Up to Cole World: The Sideline Story to KOD, Cole has shown a maturation through his music, and based on his latest release, he hasn’t plateaued, which means the best is yet to come.

Still, with five solo albums, three mixtapes, and a handful of other various projects under his belt, the 33-year-old star has pieced together a catalog of memorable performances. These are J. Cole’s best songs.

Album: Born Sinner

Producer: Elite & J. Cole

J. Cole had already proved himself with his debut album. Yet, two years later he was still being attacked for surface-level characteristics like his bushy eyebrows and jacked-up grill. In true Cole fashion, he put his rebuttals into this song off his sophomore project, Born Sinner. The first verse is a defense inside a flex—essentially, I hear you haters, but I’m so talented I don’t need to be perfect to win.

But Cole is savvy enough to never give his critics his full attention, so he broadens it to encourage everyone trying to fit themself into superficial boxes for society’s sake. Getting TLC on the hook was a feat not only for its throwback appeal, but for how it signaled that while Cole was using himself as an entry point, he was, as always, speaking for the everyman—and woman. —Dria Roland — youtube.com

**Album:** *Born Sinner*

**Producer:** Elite & J. Cole

J. Cole had already proved himself with his debut album. Yet, two years later he was still being attacked for surface-level characteristics like his bushy eyebrows and jacked-up grill. In true Cole fashion, he put his rebuttals into this song off his sophomore project, *Born Sinner*. The first verse is a defense inside a flex—essentially, I hear you haters, but I’m so talented I don’t need to be perfect to win.

But Cole is savvy enough to never give his critics his full attention, so he broadens it to encourage everyone trying to fit themself into superficial boxes for society’s sake. Getting TLC on the hook was a feat not only for its throwback appeal, but for how it signaled that while Cole was using himself as an entry point, he was, as always, speaking for the everyman—and woman. —*Dria Roland*

youtube.com

**Album:** *Born Sinner*

**Producer:** Elite & J. Cole

J. Cole had already proved himself with his debut album. Yet, two years later he was still being attacked for surface-level characteristics like his bushy eyebrows and jacked-up grill. In true Cole fashion, he put his rebuttals into this song off his sophomore project, *Born Sinner*. The first verse is a defense inside a flex—essentially, I hear you haters, but I’m so talented I don’t need to be perfect to win.

But Cole is savvy enough to never give his critics his full attention, so he broadens it to encourage everyone trying to fit themself into superficial boxes for society’s sake. Getting TLC on the hook was a feat not only for its throwback appeal, but for how it signaled that while Cole was using himself as an entry point, he was, as always, speaking for the everyman—and woman. —*Dria Roland*

Album: 2014 Forest Hills Drive

Producer: Willie B

J. Cole has employed a two-sided perspective approach on his most recent albums, with “03’ Adolescence” he impressively zooms in on a life before fame—before he even left Fayetteville—that details his fears and concerns of what the next phase in his life will be. It’s a vivid and relatable picture he contrasts to that of a friend who seemingly has it figured out. Then, Cole drops the bomb from the friend’s perspective: “Listen, you everything I wanna be that's why I fucks with you/So how you looking up to me when I look up to you?" —Edwin Ortiz

Album: Attention Deficit

Producer: DJ Green Lantern & Mark Ronson

Attention Deficit was to be Wale’s introduction to the masses, but he played himself when he tagged in then-labelmate J. Cole, who proved he was a bit more hungry. Cole's guest verse on “Beautiful Bliss” upstaged Wale so much it was downright disrespectful. The song itself, also featuring Melanie Fiona, was largely forgettable, until Cole burst through with “punchlines like gut checks,” alerting listeners that he was on deck and up next: "And tell dem ni**as at the top we want yo spot we are for real / And, yeah, we heard you got it locked but like dem socks we on your heels."

His flow was airtight and his bars were rapid and buoyant. When Wale jumped back in for a third verse, it felt superfluous. J. Cole had already said all there was to say, whetting appetites for his debut that was still two years away. —Dria Roland — youtube.com

**Album:** *Attention Deficit*

**Producer:** DJ Green Lantern & Mark Ronson

*Attention Deficit* was to be Wale’s introduction to the masses, but he played himself when he tagged in then-labelmate J. Cole, who proved he was a bit more hungry. Cole's guest verse on “Beautiful Bliss” upstaged Wale so much it was downright disrespectful. The song itself, also featuring Melanie Fiona, was largely forgettable, until Cole burst through with “punchlines like gut checks,” alerting listeners that he was on deck and up next: "And tell dem ni**as at the top we want yo spot we are for real / And, yeah, we heard you got it locked but like dem socks we on your heels."

His flow was airtight and his bars were rapid and buoyant. When Wale jumped back in for a third verse, it felt superfluous. J. Cole had already said all there was to say, whetting appetites for his debut that was still two years away. —*Dria Roland*

youtube.com

**Album:** *Attention Deficit*

**Producer:** DJ Green Lantern & Mark Ronson

*Attention Deficit* was to be Wale’s introduction to the masses, but he played himself when he tagged in then-labelmate J. Cole, who proved he was a bit more hungry. Cole's guest verse on “Beautiful Bliss” upstaged Wale so much it was downright disrespectful. The song itself, also featuring Melanie Fiona, was largely forgettable, until Cole burst through with “punchlines like gut checks,” alerting listeners that he was on deck and up next: "And tell dem ni**as at the top we want yo spot we are for real / And, yeah, we heard you got it locked but like dem socks we on your heels."

His flow was airtight and his bars were rapid and buoyant. When Wale jumped back in for a third verse, it felt superfluous. J. Cole had already said all there was to say, whetting appetites for his debut that was still two years away. —*Dria Roland*

Album: N/A

Producer: Bink

We got Drake's "Jodeci Freestyle" back when everyone was cool and hip-hop's rising stars were making the rap equivalent of pre-season scrimmages: enjoyable, friendly competition, and a show of what to expect in the near future. Cole understood this moment, and did what you do when you have the last verse in front of a big audience: show the fuck out.

His opening lines are out of character and, to be honest, lackluster. But then Cole flips it with, "Ain't that what you wanted? Stuntin' on you ni**as / Came in this game never frontin' on you ni**as." He continues on, taking issue with his perception of audiences underestimating him while propping up the underserving. He even takes aim at Complex toward the end of his lyrical waterfall of accolades, accomplishments and accusations. And he does it all while stealing the spotlight from one of his brightest peers. —Brandon "Jinx" Jenkins — youtube.com

**Album:** N/A

**Producer:** Bink

We got Drake's "Jodeci Freestyle" back when everyone was cool and hip-hop's rising stars were making the rap equivalent of pre-season scrimmages: enjoyable, friendly competition, and a show of what to expect in the near future. Cole understood this moment, and did what you do when you have the last verse in front of a big audience: show the fuck out.

His opening lines are out of character and, to be honest, lackluster. But then Cole flips it with, "Ain't that what you wanted? Stuntin' on you ni**as / Came in this game never frontin' on you ni**as." He continues on, taking issue with his perception of audiences underestimating him while propping up the underserving. He even takes aim at Complex toward the end of his lyrical waterfall of accolades, accomplishments and accusations. And he does it all while stealing the spotlight from one of his brightest peers. —*Brandon "Jinx" Jenkins*

youtube.com

**Album:** N/A

**Producer:** Bink

We got Drake's "Jodeci Freestyle" back when everyone was cool and hip-hop's rising stars were making the rap equivalent of pre-season scrimmages: enjoyable, friendly competition, and a show of what to expect in the near future. Cole understood this moment, and did what you do when you have the last verse in front of a big audience: show the fuck out.

His opening lines are out of character and, to be honest, lackluster. But then Cole flips it with, "Ain't that what you wanted? Stuntin' on you ni**as / Came in this game never frontin' on you ni**as." He continues on, taking issue with his perception of audiences underestimating him while propping up the underserving. He even takes aim at Complex toward the end of his lyrical waterfall of accolades, accomplishments and accusations. And he does it all while stealing the spotlight from one of his brightest peers. —*Brandon "Jinx" Jenkins*

Album: Truly Yours 2

Producer: Canei Finch

Cole flexed his lyrical abilities on this classic mixtape cut while also making some poignant social commentary on how America only fucks with black people when they’re entertainers. This song is special because it shouts out the underrated Kenny Lofton, brilliantly flips the Manhattans, and features an underrated Young Jeezy verse. This is one of those tracks that you have to run back a couple times just because the L is still lit. —Angel Diaz — youtube.com

**Album:** *Truly Yours 2*

**Producer:** Canei Finch

Cole flexed his lyrical abilities on this classic mixtape cut while also making some poignant social commentary on how America only fucks with black people when they’re entertainers. This song is special because it shouts out the underrated Kenny Lofton, brilliantly flips the Manhattans, and features an underrated Young Jeezy verse. This is one of those tracks that you have to run back a couple times just because the L is still lit. —*Angel Diaz*

youtube.com

**Album:** *Truly Yours 2*

**Producer:** Canei Finch

Cole flexed his lyrical abilities on this classic mixtape cut while also making some poignant social commentary on how America only fucks with black people when they’re entertainers. This song is special because it shouts out the underrated Kenny Lofton, brilliantly flips the Manhattans, and features an underrated Young Jeezy verse. This is one of those tracks that you have to run back a couple times just because the L is still lit. —*Angel Diaz*

Album: 2014 Forest Hills Drive

Producer: J. Cole & Phoenix Beats

To the delight of ‘90s kids everywhere, Cole kicked off “No Role Modelz” with “First things first, rest in peace, Uncle Phil,” just one of the many quotable lyrics in “No Role Modelz.” While the song can play the part of club banger thanks to the horns and its catchy hook, the lyrical content gets a little deeper. Cole touches on both society’s and his own lack of role models, and the effects of that absence. The song bangs for sure—just don’t listen to the lyrics too hard or you might catch yourself tearing up. —Kameron Hay — youtube.com

**Album:** *2014 Forest Hills Drive*

**Producer:** J. Cole & Phoenix Beats

To the delight of ‘90s kids everywhere, Cole kicked off “No Role Modelz” with “First things first, rest in peace, Uncle Phil,” just one of the many quotable lyrics in “No Role Modelz.” While the song can play the part of club banger thanks to the horns and its catchy hook, the lyrical content gets a little deeper. Cole touches on both society’s and his own lack of role models, and the effects of that absence. The song bangs for sure—just don’t listen to the lyrics too hard or you might catch yourself tearing up. —*Kameron Hay*

youtube.com

**Album:** *2014 Forest Hills Drive*

**Producer:** J. Cole & Phoenix Beats

To the delight of ‘90s kids everywhere, Cole kicked off “No Role Modelz” with “First things first, rest in peace, Uncle Phil,” just one of the many quotable lyrics in “No Role Modelz.” While the song can play the part of club banger thanks to the horns and its catchy hook, the lyrical content gets a little deeper. Cole touches on both society’s and his own lack of role models, and the effects of that absence. The song bangs for sure—just don’t listen to the lyrics too hard or you might catch yourself tearing up. —*Kameron Hay*

Album: Major Key

Producer: Hollywood JB

One major criticism of J. Cole through the years is that he doesn't mix things up enough. He doesn't get creative enough with production or flows. But this is the type of J. Cole I love, because he is mixing it up, and though this song was hidden on a DJ Khaled album, it's still some of his best work. His tight flow snaps in a quick pocket while he rhymes about the thought of retiring from rap and going out on top. Surely, we're all glad that Cole didn't actually hang it up. —Chopz — youtube.com

**Album:** *Major Key*

**Producer:** Hollywood JB

One major criticism of J. Cole through the years is that he doesn't mix things up enough. He doesn't get creative enough with production or flows. But this is the type of J. Cole I love, because he is mixing it up, and though this song was hidden on a DJ Khaled album, it's still some of his best work. His tight flow snaps in a quick pocket while he rhymes about the thought of retiring from rap and going out on top. Surely, we're all glad that Cole didn't actually hang it up. —*Chopz*

youtube.com

**Album:** *Major Key*

**Producer:** Hollywood JB

One major criticism of J. Cole through the years is that he doesn't mix things up enough. He doesn't get creative enough with production or flows. But this is the type of J. Cole I love, because he is mixing it up, and though this song was hidden on a DJ Khaled album, it's still some of his best work. His tight flow snaps in a quick pocket while he rhymes about the thought of retiring from rap and going out on top. Surely, we're all glad that Cole didn't actually hang it up. —*Chopz*

Album: 4 Your Eyez Only

Producer: J. Cole & Ron Gilmore

As Dreamville member and 4 Your Eyez Only co-executive producer Elite told Complex, the album was mainly from a perspective that was not J. Cole’s. That’s on display with “Change,” where the rapper tackles the death of his friend (who goes by James) while pledging a commitment to leading by example (“After all the fame I felt, I evolved/I no longer bury demons, I be a vessel for the truth until I'm barely breathing”). Cole's laser focus on the narrative shines through. There's also a duality at play here; Cole’s growth as an individual, and the response to the fatal shooting of James. So what’s really changed? —Edwin Ortiz — youtube.com

**Album:** *4 Your Eyez Only*

**Producer:** J. Cole & Ron Gilmore

As Dreamville member and *4 Your Eyez Only* co-executive producer Elite told Complex, the album was mainly from a perspective that was not J. Cole’s. That’s on display with “Change,” where the rapper tackles the death of his friend (who goes by James) while pledging a commitment to leading by example (“After all the fame I felt, I evolved/I no longer bury demons, I be a vessel for the truth until I'm barely breathing”). Cole's laser focus on the narrative shines through. There's also a duality at play here; Cole’s growth as an individual, and the response to the fatal shooting of James. So what’s really changed? —*Edwin Ortiz*

youtube.com

**Album:** *4 Your Eyez Only*

**Producer:** J. Cole & Ron Gilmore

As Dreamville member and *4 Your Eyez Only* co-executive producer Elite told Complex, the album was mainly from a perspective that was not J. Cole’s. That’s on display with “Change,” where the rapper tackles the death of his friend (who goes by James) while pledging a commitment to leading by example (“After all the fame I felt, I evolved/I no longer bury demons, I be a vessel for the truth until I'm barely breathing”). Cole's laser focus on the narrative shines through. There's also a duality at play here; Cole’s growth as an individual, and the response to the fatal shooting of James. So what’s really changed? —*Edwin Ortiz*

Album: Truly Yours 2

Producer: J. Cole

“Cole Summer” finds J. Cole in a fascinating spot. He has classic mixtapes and a Jay Z co-sign, but his first shot at the big time didn’t quite go the way he envisioned: the track finds him comparing his time in the studio with pop producers Stargate to “detention.” The spoils allowed his mother to retire from her job. But, he jokes, if his next album flops, “it’s back to the post office—both of us.”

Cole tries to avoid that fate by taking a Lauryn Hill sample (“Ms. Hill, please don’t sue me,” he pleads) and being equal parts confessional, funny, braggadocious, and fourth-wall-breaking—there’s a notable moment where he rhymes proudly about seeing Wayne’s World on TV and working a reference into the verse as a result. “Cole Summer” does a great job reminding us what we loved about Cole in the first place, and in setting the stage for what would become Born Sinner. —Shawn Setaro — youtube.com

**Album:** *Truly Yours 2*

**Producer:** J. Cole

“Cole Summer” finds J. Cole in a fascinating spot. He has classic mixtapes and a Jay Z co-sign, but his first shot at the big time didn’t quite go the way he envisioned: the track finds him comparing his time in the studio with pop producers Stargate to “detention.” The spoils allowed his mother to retire from her job. But, he jokes, if his next album flops, “it’s back to the post office—both of us.”

Cole tries to avoid that fate by taking a Lauryn Hill sample (“Ms. Hill, please don’t sue me,” he pleads) and being equal parts confessional, funny, braggadocious, and fourth-wall-breaking—there’s a notable moment where he rhymes proudly about seeing *Wayne’s World* on TV and working a reference into the verse as a result. “Cole Summer” does a great job reminding us what we loved about Cole in the first place, and in setting the stage for what would become *Born Sinner*. —*Shawn Setaro*

youtube.com

**Album:** *Truly Yours 2*

**Producer:** J. Cole

“Cole Summer” finds J. Cole in a fascinating spot. He has classic mixtapes and a Jay Z co-sign, but his first shot at the big time didn’t quite go the way he envisioned: the track finds him comparing his time in the studio with pop producers Stargate to “detention.” The spoils allowed his mother to retire from her job. But, he jokes, if his next album flops, “it’s back to the post office—both of us.”

Cole tries to avoid that fate by taking a Lauryn Hill sample (“Ms. Hill, please don’t sue me,” he pleads) and being equal parts confessional, funny, braggadocious, and fourth-wall-breaking—there’s a notable moment where he rhymes proudly about seeing *Wayne’s World* on TV and working a reference into the verse as a result. “Cole Summer” does a great job reminding us what we loved about Cole in the first place, and in setting the stage for what would become *Born Sinner*. —*Shawn Setaro*

Album: N/A

Producer: Canei Finch

It’s rare these days to hear J. Cole have fun on a track. It’s even more rare for him to rap over someone else’s beat for his own song. But that's what makes this Canei Finch-laced loosie even more of a gem. Success outweighs stress and slights as Cole revels in his new life situation on a song that gave us “only fuck with hat tricks, bitches with a few goals” and a line about Vanessa Simmons that spurred one of the most bizarre one-sided beefs in rap history, when Diggy Simmons chose to clap back in his sister’s defense. —Frazier Tharpe — youtube.com

**Album:** N/A

**Producer:** Canei Finch

It’s rare these days to hear J. Cole have fun on a track. It’s even more rare for him to rap over someone else’s beat for his own song. But that's what makes this Canei Finch-laced loosie even more of a gem. Success outweighs stress and slights as Cole revels in his new life situation on a song that gave us “only fuck with hat tricks, bitches with a few goals” and a line about Vanessa Simmons that spurred one of the most bizarre one-sided beefs in rap history, when Diggy Simmons chose to clap back in his sister’s defense. —*Frazier Tharpe*

youtube.com

**Album:** N/A

**Producer:** Canei Finch

It’s rare these days to hear J. Cole have fun on a track. It’s even more rare for him to rap over someone else’s beat for his own song. But that's what makes this Canei Finch-laced loosie even more of a gem. Success outweighs stress and slights as Cole revels in his new life situation on a song that gave us “only fuck with hat tricks, bitches with a few goals” and a line about Vanessa Simmons that spurred one of the most bizarre one-sided beefs in rap history, when Diggy Simmons chose to clap back in his sister’s defense. —*Frazier Tharpe*

Album: Friday Night Lights

Producer: J. Cole

This one hits close to home. It dropped while I was in college and always stuck out to me as a very personal song that I can relate to every time the holidays come around. That's what's great about Cole; he's so relatable. This Friday Night Lights cut is top tier J. Cole storytelling, and in a way that showcases how good his flow can be when he's really on. Still crazy that this was only his second project and he was this good. —Chopz — youtube.com

**Album:** *Friday Night Lights*

**Producer:** J. Cole

This one hits close to home. It dropped while I was in college and always stuck out to me as a very personal song that I can relate to every time the holidays come around. That's what's great about Cole; he's so relatable. This *Friday Night Lights* cut is top tier J. Cole storytelling, and in a way that showcases how good his flow can be when he's really on. Still crazy that this was only his second project and he was this good. —*Chopz*

youtube.com

**Album:** *Friday Night Lights*

**Producer:** J. Cole

This one hits close to home. It dropped while I was in college and always stuck out to me as a very personal song that I can relate to every time the holidays come around. That's what's great about Cole; he's so relatable. This *Friday Night Lights* cut is top tier J. Cole storytelling, and in a way that showcases how good his flow can be when he's really on. Still crazy that this was only his second project and he was this good. —*Chopz*

Album: Cole World: The Sideline Story

Producer: J. Cole

The intro to “Rise and Shine” features Jay Z speaking of a rapper somewhere in the world who is gunning for his spot, and stating that he would find him and sign him because he doesn’t want any problems. No one can relate to that anonymous rapper more than Jermaine Cole. The hardest song on Cole World: The Sideline Story, “Rise and Shine” shows Cole putting together all of his strongest qualities (conviction, flow, delivery) into the total package and dropping three excellent verses that are littered with hard-hitting punchlines. Cole was so deep in his bag here that Shane Battier even caught a stray bullet. When Cole said he was “meaner than Katrina mixed with Gina,” you believed it. —Kameron Hay — youtube.com

**Album:** *Cole World: The Sideline Story*

**Producer:** J. Cole

The intro to “Rise and Shine” features Jay Z speaking of a rapper somewhere in the world who is gunning for his spot, and stating that he would find him and sign him because he doesn’t want any problems. No one can relate to that anonymous rapper more than Jermaine Cole. The hardest song on *Cole World: The Sideline Story*, “Rise and Shine” shows Cole putting together all of his strongest qualities (conviction, flow, delivery) into the total package and dropping three excellent verses that are littered with hard-hitting punchlines. Cole was so deep in his bag here that Shane Battier even caught a stray bullet. When Cole said he was “meaner than Katrina mixed with Gina,” you believed it. —*Kameron Hay*

youtube.com

**Album:** *Cole World: The Sideline Story*

**Producer:** J. Cole

The intro to “Rise and Shine” features Jay Z speaking of a rapper somewhere in the world who is gunning for his spot, and stating that he would find him and sign him because he doesn’t want any problems. No one can relate to that anonymous rapper more than Jermaine Cole. The hardest song on *Cole World: The Sideline Story*, “Rise and Shine” shows Cole putting together all of his strongest qualities (conviction, flow, delivery) into the total package and dropping three excellent verses that are littered with hard-hitting punchlines. Cole was so deep in his bag here that Shane Battier even caught a stray bullet. When Cole said he was “meaner than Katrina mixed with Gina,” you believed it. —*Kameron Hay*

Album: Born Sinner

Producer: J. Cole & Anthony Parrino

When Born Sinner came out in 2013 on the same day as Yeezus, many people—like, um, me—paired "Runaway" and Kanye's "New Slaves" together in a kind of diptych. They were songs that dealt with the lingering effects of white supremacy. They were also songs that, inappropriately to some, used chattel slavery as a metaphor for the ever-present need to consume forced on us by modern capitalism.

But “Runaway” is about much more than that. It’s Cole wanting commitment but unable to leave his wild ways behind. It’s him realizing that life lessons can come from people you don’t admire. It is, sadly, Jermaine setting up the dichotomy of “good girl” and “whore” yet again. And it turns at the end to slavery—not only as metaphor, but also as a historical fact that has eerie, devastating resonances in the present. —Shawn Setaro — youtube.com

**Album:** *Born Sinner*

**Producer:** J. Cole & Anthony Parrino

When *Born Sinner* came out in 2013 on the same day as *Yeezus*, many people—like, um, me—paired "Runaway" and Kanye's "New Slaves" together in a kind of diptych. They were songs that dealt with the lingering effects of white supremacy. They were also songs that, inappropriately to some, used chattel slavery as a metaphor for the ever-present need to consume forced on us by modern capitalism.

But “Runaway” is about much more than that. It’s Cole wanting commitment but unable to leave his wild ways behind. It’s him realizing that life lessons can come from people you don’t admire. It is, sadly, Jermaine setting up the dichotomy of “good girl” and “whore” yet again. And it turns at the end to slavery—not only as metaphor, but also as a historical fact that has eerie, devastating resonances in the present. —*Shawn Setaro*

youtube.com

**Album:** *Born Sinner*

**Producer:** J. Cole & Anthony Parrino

When *Born Sinner* came out in 2013 on the same day as *Yeezus*, many people—like, um, me—paired "Runaway" and Kanye's "New Slaves" together in a kind of diptych. They were songs that dealt with the lingering effects of white supremacy. They were also songs that, inappropriately to some, used chattel slavery as a metaphor for the ever-present need to consume forced on us by modern capitalism.

But “Runaway” is about much more than that. It’s Cole wanting commitment but unable to leave his wild ways behind. It’s him realizing that life lessons can come from people you don’t admire. It is, sadly, Jermaine setting up the dichotomy of “good girl” and “whore” yet again. And it turns at the end to slavery—not only as metaphor, but also as a historical fact that has eerie, devastating resonances in the present. —*Shawn Setaro*

Album: Cozz & Effect

Producer: Trauma Tone

Technically this is a Cozz song, but Cole's arresting guest verses hold "Knock The Hustle" hostage. Produced by Trauma Tone, the beat's soulful melody saunters over the unmistakably hip-hop drums—right up J. Cole's alley. His passion cuts through as he details the dichotomy of growing up street adjacent and the temptation that pushes young black kids with less into worse.

"Tread softly, my ni**a moving state to state running late watch 'em / Tryna avoid state troopers, that's the weight watchers / Run this dope set this cake til they say 'Gotcha' / Or til the fat lady sings, and ni**as hate operas / And Oprah hate ni**as / Make no mistake that we know the stake still, we hope to make over eight figures / Slim chances, but ni**as bet against the odds / and who am I to criticize how you play your cards, dawg."

He drills deeper in the second verse, juxtaposing his life with the path of his incarcerated brother:

"I guess I love a lot / Because the more I do my thang the more I feel the guilt and shame that my brother's not / Reminisce as we was kids screaming "Fuck a cop" / Guess he took it serious, for me that shit was just for props."

It's one of Cole's best outings and it's not even his song. —Brandon "Jinx" Jenkins — youtube.com

**Album:** *Cozz & Effect*

**Producer:** Trauma Tone

Technically this is a Cozz song, but Cole's arresting guest verses hold "Knock The Hustle" hostage. Produced by Trauma Tone, the beat's soulful melody saunters over the unmistakably hip-hop drums—right up J. Cole's alley. His passion cuts through as he details the dichotomy of growing up street adjacent and the temptation that pushes young black kids with less into worse.

"Tread softly, my ni**a moving state to state running late watch 'em / Tryna avoid state troopers, that's the weight watchers / Run this dope set this cake til they say 'Gotcha' / Or til the fat lady sings, and ni**as hate operas / And Oprah hate ni**as / Make no mistake that we know the stake still, we hope to make over eight figures / Slim chances, but ni**as bet against the odds / and who am I to criticize how you play your cards, dawg."

He drills deeper in the second verse, juxtaposing his life with the path of his incarcerated brother:

"I guess I love a lot / Because the more I do my thang the more I feel the guilt and shame that my brother's not / Reminisce as we was kids screaming "Fuck a cop" / Guess he took it serious, for me that shit was just for props."

It's one of Cole's best outings and it's not even his song. —*Brandon "Jinx" Jenkins*

youtube.com

**Album:** *Cozz & Effect*

**Producer:** Trauma Tone

Technically this is a Cozz song, but Cole's arresting guest verses hold "Knock The Hustle" hostage. Produced by Trauma Tone, the beat's soulful melody saunters over the unmistakably hip-hop drums—right up J. Cole's alley. His passion cuts through as he details the dichotomy of growing up street adjacent and the temptation that pushes young black kids with less into worse.

"Tread softly, my ni**a moving state to state running late watch 'em / Tryna avoid state troopers, that's the weight watchers / Run this dope set this cake til they say 'Gotcha' / Or til the fat lady sings, and ni**as hate operas / And Oprah hate ni**as / Make no mistake that we know the stake still, we hope to make over eight figures / Slim chances, but ni**as bet against the odds / and who am I to criticize how you play your cards, dawg."

He drills deeper in the second verse, juxtaposing his life with the path of his incarcerated brother:

"I guess I love a lot / Because the more I do my thang the more I feel the guilt and shame that my brother's not / Reminisce as we was kids screaming "Fuck a cop" / Guess he took it serious, for me that shit was just for props."

It's one of Cole's best outings and it's not even his song. —*Brandon "Jinx" Jenkins*

Album: Friday Night Lights

Producer: J. Cole

This was it. Here is where we saw J. Cole take the true first step toward becoming the artist that he is today. On "The Autograph," Jermaine breaks down how he's dealing with newfound fame and his day one fans that still ride for him today. For an artist with as big of a fanbase as J. Cole's, it's songs like these that laid the groundwork to that base. Cole flips it all during the third verse with some insane lyrical skills, while showcasing a IDGAF attitude. —Chopz — youtube.com

**Album:** *Friday Night Lights*

**Producer:** J. Cole

This was it. Here is where we saw J. Cole take the true first step toward becoming the artist that he is today. On "The Autograph," Jermaine breaks down how he's dealing with newfound fame and his day one fans that still ride for him today. For an artist with as big of a fanbase as J. Cole's, it's songs like these that laid the groundwork to that base. Cole flips it all during the third verse with some insane lyrical skills, while showcasing a IDGAF attitude. —*Chopz*

youtube.com

**Album:** *Friday Night Lights*

**Producer:** J. Cole

This was it. Here is where we saw J. Cole take the true first step toward becoming the artist that he is today. On "The Autograph," Jermaine breaks down how he's dealing with newfound fame and his day one fans that still ride for him today. For an artist with as big of a fanbase as J. Cole's, it's songs like these that laid the groundwork to that base. Cole flips it all during the third verse with some insane lyrical skills, while showcasing a IDGAF attitude. —*Chopz*

Album: KOD

Producer: Deputy & J. Cole

J. Cole has faced many a critique, and one of the primary ones is that he makes boring music. Sure, he can rap, but his beats are lackluster, he doesn’t deviate from what he knows, and he can’t consistently make hit records. Enter “ATM.” The track is a true earworm, with an infectious hook that is easy to sing along to and shows off Cole’s rapid fire delivery, a style that has become prevalent in hip-hop today. Whether this track was meant to be an elaborate troll for his critics and detractors, or Cole was really just trying to step out of his comfort zone, the song is undeniably catchy—so much so that it became the official song of the 2018 NBA Playoffs for ESPN. —Kameron Hay — youtube.com

**Album:** *KOD*

**Producer:** Deputy & J. Cole

J. Cole has faced many a critique, and one of the primary ones is that he makes boring music. Sure, he can rap, but his beats are lackluster, he doesn’t deviate from what he knows, and he can’t consistently make hit records. Enter “ATM.” The track is a true earworm, with an infectious hook that is easy to sing along to and shows off Cole’s rapid fire delivery, a style that has become prevalent in hip-hop today. Whether this track was meant to be an elaborate troll for his critics and detractors, or Cole was really just trying to step out of his comfort zone, the song is undeniably catchy—so much so that it became the official song of the 2018 NBA Playoffs for ESPN. —*Kameron Hay*

youtube.com

**Album:** *KOD*

**Producer:** Deputy & J. Cole

J. Cole has faced many a critique, and one of the primary ones is that he makes boring music. Sure, he can rap, but his beats are lackluster, he doesn’t deviate from what he knows, and he can’t consistently make hit records. Enter “ATM.” The track is a true earworm, with an infectious hook that is easy to sing along to and shows off Cole’s rapid fire delivery, a style that has become prevalent in hip-hop today. Whether this track was meant to be an elaborate troll for his critics and detractors, or Cole was really just trying to step out of his comfort zone, the song is undeniably catchy—so much so that it became the official song of the 2018 NBA Playoffs for ESPN. —*Kameron Hay*

Album: Born Sinner

Producer: J. Cole & Jake One

With a runtime of one minute and eighteen seconds, "Mo Money" is the most concise song in J Cole's catalog—and it's great. His flow is smooth, and follows an age old pattern of sticking with one end-word to generate impact and a reliable song to rap along to. A decent portion of life is centered around the almighty dollar and our relationship with it: having money, losing money, needing money, wasting money, loving money, hating money... With that said, it's not far-fetched to rap about it from various perspectives and mention it 31 times in one song. —Brandon "Jinx" Jenkins — youtube.com

**Album:** *Born Sinner*

**Producer:** J. Cole & Jake One

With a runtime of one minute and eighteen seconds, "Mo Money" is the most concise song in J Cole's catalog—and it's great. His flow is smooth, and follows an age old pattern of sticking with one end-word to generate impact and a reliable song to rap along to. A decent portion of life is centered around the almighty dollar and our relationship with it: having money, losing money, needing money, wasting money, loving money, hating money... With that said, it's not far-fetched to rap about it from various perspectives and mention it 31 times in one song. —*Brandon "Jinx" Jenkins*

youtube.com

**Album:** *Born Sinner*

**Producer:** J. Cole & Jake One

With a runtime of one minute and eighteen seconds, "Mo Money" is the most concise song in J Cole's catalog—and it's great. His flow is smooth, and follows an age old pattern of sticking with one end-word to generate impact and a reliable song to rap along to. A decent portion of life is centered around the almighty dollar and our relationship with it: having money, losing money, needing money, wasting money, loving money, hating money... With that said, it's not far-fetched to rap about it from various perspectives and mention it 31 times in one song. —*Brandon "Jinx" Jenkins*

Album: Born Sinner

Producer: J. Cole

There’s only one word I’d use to describe an artist that tries to match the flow of The Notorious B.I.G.: ballsy. However, if you’re going to trust anyone with sampling a Biggie track that does his legacy justice, it should definitely be J. Cole. He dropped this track on his sophomore album, and there could not be a more fitting way for Cole to describe his rising success than with bars inspired by a certified legend. Paying homage to Biggie’s “Notorious Thugs,” Cole makes sure everyone knows he’s here to stay. On the track, he asks listeners to “label us notorious.” Don’t worry, Cole—we already do. —Alessandra Maldonado — youtube.com

**Album:** *Born Sinner*

**Producer:** J. Cole

There’s only one word I’d use to describe an artist that tries to match the flow of The Notorious B.I.G.: ballsy. However, if you’re going to trust anyone with sampling a Biggie track that does his legacy justice, it should definitely be J. Cole. He dropped this track on his sophomore album, and there could not be a more fitting way for Cole to describe his rising success than with bars inspired by a certified legend. Paying homage to Biggie’s “Notorious Thugs,” Cole makes sure everyone knows he’s here to stay. On the track, he asks listeners to “label us notorious.” Don’t worry, Cole—we already do. —*Alessandra Maldonado*

youtube.com

**Album:** *Born Sinner*

**Producer:** J. Cole

There’s only one word I’d use to describe an artist that tries to match the flow of The Notorious B.I.G.: ballsy. However, if you’re going to trust anyone with sampling a Biggie track that does his legacy justice, it should definitely be J. Cole. He dropped this track on his sophomore album, and there could not be a more fitting way for Cole to describe his rising success than with bars inspired by a certified legend. Paying homage to Biggie’s “Notorious Thugs,” Cole makes sure everyone knows he’s here to stay. On the track, he asks listeners to “label us notorious.” Don’t worry, Cole—we already do. —*Alessandra Maldonado*

Album: 4 Your Eyez Only

Producer: J. Cole

"Neighbors" is an incredibly sad song. It's also one of J. Cole's best. The backstory for one of the standout tracks of 2016's 4 Your Eyez Only is that Cole got a house in an affluent neighborhood for the purpose of creating music with his homies. His white neighbors, however, suspected the Dreamville crew was up to no good, and called the cops. A SWAT team raided the house, looking for dope, and found nothing, resulting in this track. Cole weaves the story of the incident in with the overarching difficulties of being a black man in a country still intimidated by black bodies. The last thing you hear of the song is: "So much for integration / Don't know what I was thinkin' / I'm movin' back to South Side." It sounds dramatic, until you put yourself in Cole's shoes. —Kiana Fitzgerald — youtube.com

**Album:** *4 Your Eyez Only*

**Producer:** J. Cole

"Neighbors" is an incredibly sad song. It's also one of J. Cole's best. The backstory for one of the standout tracks of 2016's *4 Your Eyez Only* is that Cole got a house in an affluent neighborhood for the purpose of creating music with his homies. His white neighbors, however, suspected the Dreamville crew was up to no good, and called the cops. A SWAT team raided the house, looking for dope, and found nothing, resulting in this track. Cole weaves the story of the incident in with the overarching difficulties of being a black man in a country still intimidated by black bodies. The last thing you hear of the song is: "So much for integration / Don't know what I was thinkin' / I'm movin' back to South Side." It sounds dramatic, until you put yourself in Cole's shoes. —*Kiana Fitzgerald*

youtube.com

**Album:** *4 Your Eyez Only*

**Producer:** J. Cole

"Neighbors" is an incredibly sad song. It's also one of J. Cole's best. The backstory for one of the standout tracks of 2016's *4 Your Eyez Only* is that Cole got a house in an affluent neighborhood for the purpose of creating music with his homies. His white neighbors, however, suspected the Dreamville crew was up to no good, and called the cops. A SWAT team raided the house, looking for dope, and found nothing, resulting in this track. Cole weaves the story of the incident in with the overarching difficulties of being a black man in a country still intimidated by black bodies. The last thing you hear of the song is: "So much for integration / Don't know what I was thinkin' / I'm movin' back to South Side." It sounds dramatic, until you put yourself in Cole's shoes. —*Kiana Fitzgerald*

Album: Friday Night Lights

Producer: Kanye West

Before the subs, the sus phone calls, and the release date showdowns, for the briefest moment, GOOD Music and the New Roc were united. One of the most thrilling components of GOOD Fridays was the unpredictable weird alchemy of collaborators Kanye assembled on any given week. Lloyd Banks, the pairing of Bieber and Raekwon, reuniting CRS—anything could happen. Fans campaigned for weeks for the ascendant J. Cole to get his due. And when it finally happened, he didn’t disappoint. GOOD aren’t slouches, and yet, Cole objectively wipes the floor with the whole team, even Pusha T, with a verse that feels like even more of a new prince’s coronation than “A Star is Born.” On that song, he asked, could he be one? On “Looking For Trouble,” he strides in like Vince McMahon and demands we make way for the chosen one. Idols became rivals. —Frazier Tharpe — youtube.com

**Album:** *Friday Night Lights*

**Producer:** Kanye West

Before the subs, the sus phone calls, and the release date showdowns, for the briefest moment, GOOD Music and the New Roc were united. One of the most thrilling components of GOOD Fridays was the unpredictable weird alchemy of collaborators Kanye assembled on any given week. Lloyd Banks, the pairing of Bieber and Raekwon, reuniting CRS—anything could happen. Fans campaigned for weeks for the ascendant J. Cole to get his due. And when it finally happened, he didn’t disappoint. GOOD aren’t slouches, and yet, Cole objectively wipes the floor with the whole team, even Pusha T, with a verse that feels like even more of a new prince’s coronation than “A Star is Born.” On that song, he asked, could he be one? On “Looking For Trouble,” he strides in like Vince McMahon and demands we make way for the chosen one. Idols became rivals. —*Frazier Tharpe*

youtube.com

**Album:** *Friday Night Lights*

**Producer:** Kanye West

Before the subs, the sus phone calls, and the release date showdowns, for the briefest moment, GOOD Music and the New Roc were united. One of the most thrilling components of GOOD Fridays was the unpredictable weird alchemy of collaborators Kanye assembled on any given week. Lloyd Banks, the pairing of Bieber and Raekwon, reuniting CRS—anything could happen. Fans campaigned for weeks for the ascendant J. Cole to get his due. And when it finally happened, he didn’t disappoint. GOOD aren’t slouches, and yet, Cole objectively wipes the floor with the whole team, even Pusha T, with a verse that feels like even more of a new prince’s coronation than “A Star is Born.” On that song, he asked, could he be one? On “Looking For Trouble,” he strides in like Vince McMahon and demands we make way for the chosen one. Idols became rivals. —*Frazier Tharpe*

Album: Friday Night Lights

Producer: J. Cole

Don’t you miss this Cole? I sure do. His mixtape era had me thinking he was gonna be running the game. While he may no longer be rap’s top dog, Cole has figured out a lane for himself and it doesn’t seem like he’s interested in leaving it. He sells out arenas, goes platinum every time he drops, and makes the music he wants to make. This song was a prediction: “You ni**as hated and I levitated further/ Knew I would kill the game, premeditated murder.” Things may’ve not gone as he and his early fans expected, but he still figured out how to make the lines he rapped in this song come true. —Angel Diaz — youtube.com

**Album:** *Friday Night Lights*

**Producer:** J. Cole

Don’t you miss this Cole? I sure do. His mixtape era had me thinking he was gonna be running the game. While he may no longer be rap’s top dog, Cole has figured out a lane for himself and it doesn’t seem like he’s interested in leaving it. He sells out arenas, goes platinum every time he drops, and makes the music he wants to make. This song was a prediction: “You ni**as hated and I levitated further/ Knew I would kill the game, premeditated murder.” Things may’ve not gone as he and his early fans expected, but he still figured out how to make the lines he rapped in this song come true. —*Angel Diaz*

youtube.com

**Album:** *Friday Night Lights*

**Producer:** J. Cole

Don’t you miss this Cole? I sure do. His mixtape era had me thinking he was gonna be running the game. While he may no longer be rap’s top dog, Cole has figured out a lane for himself and it doesn’t seem like he’s interested in leaving it. He sells out arenas, goes platinum every time he drops, and makes the music he wants to make. This song was a prediction: “You ni**as hated and I levitated further/ Knew I would kill the game, premeditated murder.” Things may’ve not gone as he and his early fans expected, but he still figured out how to make the lines he rapped in this song come true. —*Angel Diaz*

Album: Friday Night Lights

Producer: Mario Winans, Carmelo Famouss, & Bryan-Michael Cox

J. Cole jacked the hell out of Cassie's "Must Be Love" beat for his "Back to the Topic" freestyle. Appearing on Friday Night Lights, "Back to the Topic" is the song that you quote to another J. Cole fan to prove your standom. It's three straight minutes of rap-your-face-off bars like, "Got ni**as shouting out 'The ‘Ville, I gotta go there' / Boy, don’t you know you get shot over there?" Cole's sole mission here is to impress, but he incorporates different styles of attack, from serious concerns about backstabbing friends to light flirtations with Rihanna. Friday Night Lights was Cole's stutter-step into the mainstream, and he brought the hunger from his early mixtape days with him on songs like "Back To The Topic." With each step forward into rap stardom, Cole recalls the energy from this freestyle. —Kiana Fitzgerald — youtube.com

**Album:** *Friday Night Lights*

**Producer:** Mario Winans, Carmelo Famouss, & Bryan-Michael Cox

J. Cole jacked the hell out of Cassie's "Must Be Love" beat for his "Back to the Topic" freestyle. Appearing on *Friday Night Lights*, "Back to the Topic" is the song that you quote to another J. Cole fan to prove your standom. It's three straight minutes of rap-your-face-off bars like, "Got ni**as shouting out 'The ‘Ville, I gotta go there' / Boy, don’t you know you get shot over there?" Cole's sole mission here is to impress, but he incorporates different styles of attack, from serious concerns about backstabbing friends to light flirtations with Rihanna. *Friday Night Lights* was Cole's stutter-step into the mainstream, and he brought the hunger from his early mixtape days with him on songs like "Back To The Topic." With each step forward into rap stardom, Cole recalls the energy from this freestyle. —*Kiana Fitzgerald*

youtube.com

**Album:** *Friday Night Lights*

**Producer:** Mario Winans, Carmelo Famouss, & Bryan-Michael Cox

J. Cole jacked the hell out of Cassie's "Must Be Love" beat for his "Back to the Topic" freestyle. Appearing on *Friday Night Lights*, "Back to the Topic" is the song that you quote to another J. Cole fan to prove your standom. It's three straight minutes of rap-your-face-off bars like, "Got ni**as shouting out 'The ‘Ville, I gotta go there' / Boy, don’t you know you get shot over there?" Cole's sole mission here is to impress, but he incorporates different styles of attack, from serious concerns about backstabbing friends to light flirtations with Rihanna. *Friday Night Lights* was Cole's stutter-step into the mainstream, and he brought the hunger from his early mixtape days with him on songs like "Back To The Topic." With each step forward into rap stardom, Cole recalls the energy from this freestyle. —*Kiana Fitzgerald*

Album: 4 Your Eyez Only

Producer: Elite, Blvk, J. Cole, & Childish Major

The title track of 4 Your Eyez Only is a storytelling epic that pulls off the “Stan”-esque tricky feat of shifting perspectives three-quarters of the way through. The song begins through the eyes of James, a character who pops up elsewhere on the record. He’s Cole’s longtime friend, drawn deeper into a dangerous life he knows will end badly. James addresses much of the song to his young daughter, explaining his life and the ways it’s likely to end far too soon.

But in the end, it becomes clear that the song itself is Cole shaping and telling James’ story, so that the daughter will understand her now-deceased father’s legacy, and so that she and “all the other children” can have something to hold on to. “Your daddy was a real ni**a not ’cause he was hard…, although that was true,” Cole ends the song. “Your daddy was a real ni**a because he loved you.” —Shawn Setaro — youtube.com

**Album:** 4 Your Eyez Only

**Producer:** Elite, Blvk, J. Cole, & Childish Major

The title track of *4 Your Eyez Only* is a storytelling epic that pulls off the “Stan”-esque tricky feat of shifting perspectives three-quarters of the way through. The song begins through the eyes of James, a character who pops up elsewhere on the record. He’s Cole’s longtime friend, drawn deeper into a dangerous life he knows will end badly. James addresses much of the song to his young daughter, explaining his life and the ways it’s likely to end far too soon.

But in the end, it becomes clear that the song itself is Cole shaping and telling James’ story, so that the daughter will understand her now-deceased father’s legacy, and so that she and “all the other children” can have something to hold on to. “Your daddy was a real ni**a not ’cause he was hard…, although that was true,” Cole ends the song. “Your daddy was a real ni**a because he loved you.” —*Shawn Setaro*

youtube.com

**Album:** 4 Your Eyez Only

**Producer:** Elite, Blvk, J. Cole, & Childish Major

The title track of *4 Your Eyez Only* is a storytelling epic that pulls off the “Stan”-esque tricky feat of shifting perspectives three-quarters of the way through. The song begins through the eyes of James, a character who pops up elsewhere on the record. He’s Cole’s longtime friend, drawn deeper into a dangerous life he knows will end badly. James addresses much of the song to his young daughter, explaining his life and the ways it’s likely to end far too soon.

But in the end, it becomes clear that the song itself is Cole shaping and telling James’ story, so that the daughter will understand her now-deceased father’s legacy, and so that she and “all the other children” can have something to hold on to. “Your daddy was a real ni**a not ’cause he was hard…, although that was true,” Cole ends the song. “Your daddy was a real ni**a because he loved you.” —*Shawn Setaro*

Album: 2014 Forest Hills Drive

Producer: Cardiak, CritaCal, & !llmind

"Love Yourz," the penultimate track on J. Cole's career-shifting album, 2014 Forest Hills Drive, is the product of a man coming to terms with his reality. Cole juxtaposes his path into stardom with his rough upbringing; his imagination of what rap stardom would be with the real cost of fame; and his attempts to be strong with the feeling of weakness.

"It's beauty in the struggle, ugliness in the success / Hear my words or listen to my signal of distress / I grew up in the city and though some times we had less / Compared to some of my ni**as down the block, man, we were blessed / And life can't be no fairytale, no once upon a time / But I be goddamned if a ni**a don't be tryin'."

He's speaking to his audience and himself over !llmind's somber keys and marching band-like percussion. As he paints a picture depicting life's valleys and peaks, his final verdict is acceptance of self and the struggle to overcome. "No such thing as a life that's better than yours." That's a big fact, and has become his ethos since the song's release. —Brandon "Jinx" Jenkins — youtube.com

**Album:** 2014 Forest Hills Drive

**Producer:** Cardiak, CritaCal, & !llmind

"Love Yourz," the penultimate track on J. Cole's career-shifting album, *2014 Forest Hills Drive*, is the product of a man coming to terms with his reality. Cole juxtaposes his path into stardom with his rough upbringing; his imagination of what rap stardom would be with the real cost of fame; and his attempts to be strong with the feeling of weakness.

"It's beauty in the struggle, ugliness in the success / Hear my words or listen to my signal of distress / I grew up in the city and though some times we had less / Compared to some of my ni**as down the block, man, we were blessed / And life can't be no fairytale, no once upon a time / But I be goddamned if a ni**a don't be tryin'."

He's speaking to his audience and himself over !llmind's somber keys and marching band-like percussion. As he paints a picture depicting life's valleys and peaks, his final verdict is acceptance of self and the struggle to overcome. "No such thing as a life that's better than yours." That's a big fact, and has become his ethos since the song's release. —*Brandon "Jinx" Jenkins*

youtube.com

**Album:** 2014 Forest Hills Drive

**Producer:** Cardiak, CritaCal, & !llmind

"Love Yourz," the penultimate track on J. Cole's career-shifting album, *2014 Forest Hills Drive*, is the product of a man coming to terms with his reality. Cole juxtaposes his path into stardom with his rough upbringing; his imagination of what rap stardom would be with the real cost of fame; and his attempts to be strong with the feeling of weakness.

"It's beauty in the struggle, ugliness in the success / Hear my words or listen to my signal of distress / I grew up in the city and though some times we had less / Compared to some of my ni**as down the block, man, we were blessed / And life can't be no fairytale, no once upon a time / But I be goddamned if a ni**a don't be tryin'."

He's speaking to his audience and himself over !llmind's somber keys and marching band-like percussion. As he paints a picture depicting life's valleys and peaks, his final verdict is acceptance of self and the struggle to overcome. "No such thing as a life that's better than yours." That's a big fact, and has become his ethos since the song's release. —*Brandon "Jinx" Jenkins*

Album: The Warm Up

Producer: J. Cole

Easily one of my personal favorite Cole songs and surely in his top 10 overall. One of his earliest recordings, "Lights Please" is everything that Cole eventually became as a rapper; this is the song that got him signed by Jay Z. The track features Cole trying to take his material to a deeper level; the storytelling is A1, with a nice showcase of his lyrical prowess. The bouncy beat serves Cole well as he hits a catchy cadence for the hook. —Chopz — youtube.com

**Album:** *The Warm Up*

**Producer:** J. Cole

Easily one of my personal favorite Cole songs and surely in his top 10 overall. One of his earliest recordings, "Lights Please" is everything that Cole eventually became as a rapper; this is the song that got him signed by Jay Z. The track features Cole trying to take his material to a deeper level; the storytelling is A1, with a nice showcase of his lyrical prowess. The bouncy beat serves Cole well as he hits a catchy cadence for the hook. —*Chopz*

youtube.com

**Album:** *The Warm Up*

**Producer:** J. Cole

Easily one of my personal favorite Cole songs and surely in his top 10 overall. One of his earliest recordings, "Lights Please" is everything that Cole eventually became as a rapper; this is the song that got him signed by Jay Z. The track features Cole trying to take his material to a deeper level; the storytelling is A1, with a nice showcase of his lyrical prowess. The bouncy beat serves Cole well as he hits a catchy cadence for the hook. —*Chopz*

Album: 2014 Forest Hills Drive

Producer: Vinylz

At the end of the first verse of "A Tale of 2 Citiez," J. Cole says something simple, but telling: "I'm tryna write a story, can I get a glimpse?" That question stretches itself across the entirety of the song as Cole's character morphs into another person because of his desire to be down. Cole hands production duties over to Vinylz, who made a beat that manages to sound like menacing church bells warning of an impending chaos. The storyteller of the song changes from observer of dastardly deeds to participant: the language of the hook switches from "can you blame a ni**a that ain't never had things?" to "do you wanna be another ni**a that ain't never had things?" because this version of Cole wants to flaunt, too—at all costs. "A Tale of 2 Citiez" is about being stuck in a situation and having no way out but by climbing on the backs of the people in your way. By the end, Cole knows he has to atone for his actions. —Kiana Fitzgerald — youtube.com

**Album:** *2014 Forest Hills Drive*

**Producer:** Vinylz

At the end of the first verse of "A Tale of 2 Citiez," J. Cole says something simple, but telling: "I'm tryna write a story, can I get a glimpse?" That question stretches itself across the entirety of the song as Cole's character morphs into another person because of his desire to be down. Cole hands production duties over to Vinylz, who made a beat that manages to sound like menacing church bells warning of an impending chaos. The storyteller of the song changes from observer of dastardly deeds to participant: the language of the hook switches from "can you blame a ni**a that ain't never had things?" to "do you wanna be another ni**a that ain't never had things?" because this version of Cole wants to flaunt, too—at all costs. "A Tale of 2 Citiez" is about being stuck in a situation and having no way out but by climbing on the backs of the people in your way. By the end, Cole knows he has to atone for his actions. —*Kiana Fitzgerald*

youtube.com

**Album:** *2014 Forest Hills Drive*

**Producer:** Vinylz

At the end of the first verse of "A Tale of 2 Citiez," J. Cole says something simple, but telling: "I'm tryna write a story, can I get a glimpse?" That question stretches itself across the entirety of the song as Cole's character morphs into another person because of his desire to be down. Cole hands production duties over to Vinylz, who made a beat that manages to sound like menacing church bells warning of an impending chaos. The storyteller of the song changes from observer of dastardly deeds to participant: the language of the hook switches from "can you blame a ni**a that ain't never had things?" to "do you wanna be another ni**a that ain't never had things?" because this version of Cole wants to flaunt, too—at all costs. "A Tale of 2 Citiez" is about being stuck in a situation and having no way out but by climbing on the backs of the people in your way. By the end, Cole knows he has to atone for his actions. —*Kiana Fitzgerald*

Album: N/A

Producer: Elite & J. Cole

I wanted this to be No. 1. With respect to all of the great songs Jermaine Cole has created since this relatively early entry, he’s never been so convincingly swaggering, never been quite as cocky and engaging as he is here. This is the sound of a guy who’s done being anxious about his come-up, and done letting pushbacks control his narrative. Rap—and Roc Nation’s—prodigal son came out of the development jungle fully-formed and ready to fuck the goofy’s up. Simba’s back and the crown shimmers in his eyes. Let the journey begin. —Frazier Tharpe — youtube.com

**Album:** N/A

**Producer:** Elite & J. Cole

I wanted this to be No. 1. With respect to all of the great songs Jermaine Cole has created since this relatively early entry, he’s never been so convincingly swaggering, never been quite as cocky and engaging as he is here. This is the sound of a guy who’s done being anxious about his come-up, and done letting pushbacks control his narrative. Rap—and Roc Nation’s—prodigal son came out of the development jungle fully-formed and ready to fuck the goofy’s up. Simba’s back and the crown shimmers in his eyes. Let the journey begin. —*Frazier Tharpe*

youtube.com

**Album:** N/A

**Producer:** Elite & J. Cole

I wanted this to be No. 1. With respect to all of the great songs Jermaine Cole has created since this relatively early entry, he’s never been so convincingly swaggering, never been quite as cocky and engaging as he is here. This is the sound of a guy who’s done being anxious about his come-up, and done letting pushbacks control his narrative. Rap—and Roc Nation’s—prodigal son came out of the development jungle fully-formed and ready to fuck the goofy’s up. Simba’s back and the crown shimmers in his eyes. Let the journey begin. —*Frazier Tharpe*

Album: Born Sinner

Producer: J. Cole

J. Cole made "Power Trip" for everybody who's ever pined for someone from afar—to the point of slight obsession. TBH, this song sounds like a restraining order on the rocks. The curious thing here is this isn't the first time Cole has crafted a song about unsolicited advances. 2009's The Warm Up introduced us to this imaginative side of Cole, through "Dreams," a much creepier song that Cole mentions on "Power Trip" as the first dedication to the girl he's eyeing. "Power Trip" is Cole revisiting that extremely sus alter ego. As a rapper, Cole is a storyteller by default. But his strongest moments are when he steps outside of his comfort zone and drags us with him into a storyline we were never expecting. The musical components of the song—Miguel's essential feature, the trunk rattling production provided by Cole himself—combined with Cole's willingness to venture into strange territory, are why "Power Trip" is the best song of his career thus far. —Kiana Fitzgerald — youtube.com

**Album:** *Born Sinner*

**Producer:** J. Cole

J. Cole made "Power Trip" for everybody who's ever pined for someone from afar—to the point of slight obsession. TBH, this song sounds like a restraining order on the rocks. The curious thing here is this isn't the first time Cole has crafted a song about unsolicited advances. 2009's *The Warm Up* introduced us to this imaginative side of Cole, through "Dreams," a much creepier song that Cole mentions on "Power Trip" as the first dedication to the girl he's eyeing. "Power Trip" is Cole revisiting that extremely sus alter ego. As a rapper, Cole is a storyteller by default. But his strongest moments are when he steps outside of his comfort zone and drags us with him into a storyline we were never expecting. The musical components of the song—Miguel's essential feature, the trunk rattling production provided by Cole himself—combined with Cole's willingness to venture into strange territory, are why "Power Trip" is the best song of his career thus far. —*Kiana Fitzgerald*

youtube.com

**Album:** *Born Sinner*

**Producer:** J. Cole

J. Cole made "Power Trip" for everybody who's ever pined for someone from afar—to the point of slight obsession. TBH, this song sounds like a restraining order on the rocks. The curious thing here is this isn't the first time Cole has crafted a song about unsolicited advances. 2009's *The Warm Up* introduced us to this imaginative side of Cole, through "Dreams," a much creepier song that Cole mentions on "Power Trip" as the first dedication to the girl he's eyeing. "Power Trip" is Cole revisiting that extremely sus alter ego. As a rapper, Cole is a storyteller by default. But his strongest moments are when he steps outside of his comfort zone and drags us with him into a storyline we were never expecting. The musical components of the song—Miguel's essential feature, the trunk rattling production provided by Cole himself—combined with Cole's willingness to venture into strange territory, are why "Power Trip" is the best song of his career thus far. —*Kiana Fitzgerald*

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The Best J. Cole Songs

30. "Crooked Smile" (2013)

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29. "'03 Adolescence" (2014)

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28. Wale f/ J. Cole "Beautiful Bliss" (2009)

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27. Drake f/ J. Cole & Dennis Graham "Jodeci Freestyle" (2013)

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26. J. Cole f/ Jeezy "Kenny Lofton" (2013)

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25. "No Role Modelz" (2014)

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24. DJ Khaled f/ J. Cole "Jermaine's Interlude" (2016)

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23. "Change" (2016)

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22. "Cole Summer" (2013)

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21. "Grew Up Fast" (2012)

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20. "Once An Addict [Interlude]" (2018)

19. "Home for the Holidays" (2010)

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18. "Rise And Shine" (2011)

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17. "Runaway" (2013)

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16. Cozz f/ J. Cole "Knock Tha Hustle" (2014)

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15. "The Autograph" (2010)

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14. "ATM" (2018)

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13. "Mo Money (Interlude)" (2013)

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12. "1985" (2018)

11. "Ni**az Know" (2013)

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10. "Neighbors" (2016)

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9. Kanye West f/ Pusha T, Big Sean, CyHi The Prynce, & J. Cole "Looking For Trouble" (2010)

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8. "Premeditated Murder" (2010)

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7. "Back To The Topic [Freestyle]" (2010)

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6. "4 Your Eyez Only" (2016)

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5. "Love Yourz" (2014)

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4. "Lights Please" (2009)

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3. "A Tale of 2 Citiez" (2014)

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2. "Return of Simba" (2011)

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1. "Power Trip" (2013)

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