The Best Songs of 2018

Complex Original

Album: N/A

Producer: Quintin Gulledge, DJ Mustard, and CJ Knowles

One of the most bizarre disputes in music this year involved “Trip,” Ella Mai’s follow-up single to “Boo'd Up.” Jacquees, who is known to flip an original from time to time, hit the studio for an Ella-approved Quemix (“She put all the fire [emojis] up under the shit,” he told The Breakfast Club), only to have it scrubbed from the internet after 10 Summers label head and producer DJ Mustard sent a cease-and-desist. Mustard says Jacquees was trying to monetize the remix; Jacquees claims he wasn’t. What’s clear as day, though, is how great “Trip” is. Ella floats over the smooth, piano-driven beat with finesse, and Jacquees brings new life to it with his own take. Whether it’s Ella Mai or Jacquees’ version, “Trip” made its mark in 2018. Don’t be surprised if one of these artists is holding the R&B crown in a few years. —Edwin Ortiz

Album: N/A

Producer: Ludwig Göransson and Childish Gambino

The narrative surrounding “This Is America” has already changed so many times, it's easy to forget the song has only been out for seven months. It arrived with a bang in May, alongside one of the best music videos of the decade. Then, as time went on, people started to whisper, “Well, the song itself isn’t nearly as good as the video.” Eventually, plagiarism rumors came and went. But as 2018 draws to a close, “This Is America” has endured as one of the year’s 50 best songs. Childish Gambino’s wide vocal range, innovative use of guest ad-libs, and addictive melodies give the Ludwig Göransson-produced song staying power after repeat listens. It’s no accident this thing has nearly half a billion plays on YouTube. —Eric Skelton

Album: East Atlanta Love Letter

Producer: T-Minus

When it comes to R&B collaborations, J. Cole’s record is full of hits and very bad misses. Fortunately, “Pretty Little Fears” falls into the former category. After 6lack's lovelorn coos, J. Cole arrives to give those yearnings some poetic definition. One mellifluous set of bars later, you have your latest bunch of #relationshipgoals captions: “Beautiful black child, come and share your black cloud/For your vibe and your smile, I don't mind a lil’ rain” and “You that red pill that a nigga found in the Matrix/Before I had you this shit was fantasy.” Naturally, “Pretty Little Fears” dropped right before cuffing season. —Brian Josephs

Album: N/A

Producer: Cássio

Valee’s “Womp Womp” was an undeniable summer slapper this year. Jeremih takes a break from his familiar buttery falsetto to spit bars about Walmart, Bally Total Fitness, and peach cobbler. Then Valee, one of Complex’s Best New Artist picks for 2018, makes his first appearance just past the 1:30 mark, with a unique flow that’s since been (allegedly) imitated by vets and newcomers alike. Cassio’s trappy production, punctuated by ominous keys, gives what would otherwise be a relatively silly (albeit horny) song a sexier feel. It may be winter now, but trust me, this shit still rings off. —Carolyn Bernucca

Album: Die Lit 

Producer: Pi’erre Bourne

In 2018, it feels a little fucked up to make gun violence sound this much fun, but somehow Playboi Carti makes it work. An energetic standout from Die Lit, “Choppa Won’t Miss” is “Magnolia” 2.0. It’s a threat, not a warning, made slightly less menacing by Carti and Thugger ad-libbing gun noises, including “pew, pew, pew!” and “grrrah!” The Atlanta natives take turns flexing over a wailing Pi’erre Bourne beat that fittingly sounds like the sirens they’re outrunning. Come for the dream team that is Carti and Pi’erre, stay for Young Thug bragging about only wearing skinny jeans. —Carolyn Bernucca

Album: My Dear Melancholy,

Producers: Frank Dukes and Skrillex

Petty Weeknd might be my favorite Weeknd. Without him saying their names, everyone knew that this My Dear Melancholy, cut was Abel singing directly to Bella Hadid and referencing his past relationship with Selena Gomez (which he brings up a few times on the extended play) while trying to figure out his emotions about the situations. The best part? He ended up back with Bella by year’s end, which means that she more than likely heard this cut, swooned, then responded to one of those late-night DMs. —khal

Album: SR3MM

Producer: Jean-Marie Horvat, Juicy J, Mike Will Made-It, and Mally Mall

“Powerglide” is a cheat code. Take a Three 6 Mafia sample (“Side 2 Side”), add a dash of Triple 6 royalty in the form of Juicy J, swirl in a fire Swae Lee hook and a hella hyped Slim Jxmmi verse, and you have a certified smash. The duo released “Powerglide” as a single in March, alongside two solo cuts: Swae’s “Hurt To Look” and Jxmmi’s “Brxnks Truck.” Neither of the solo tracks landed commercially, but “Powerglide” was a reminder of their strength as a duo. While it didn’t hit the top of the charts either (it peaked at No. 28 on the Billboard Hot 100), it was a clear reminder that Rae Sremmurd is still the best at this party-starting shit. Just FYI, you haven’t lived until you’ve seen the boys perform this song while they blast oversized bottles of champagne onto a crowd as confetti falls from the heavens. Life-changing. —Kiana Fitzgerald

Album: Kids See Ghosts

Producer: Benny Blanco, E*Vax, Plain Pat, Dot Da Genius, and Kid Cudi

Kanye West and Kid Cudi are no strangers to sharing their personal struggles on wax, and with “Reborn” they take an extra step to establish new perspectives on maneuvering through hardships. While Kanye delivers a standout verse that touches on his reclusiveness, mental health, and criticism of recent actions, it’s Cudi who commands the limelight with a hook of the year contender and a sobering realization that change starts from within: “I had my issues, ain’t that much I could do/Peace is somethin’ that starts with me.” The record is as therapeutic as it is inspirational, with a resilient tone that brings hope when those signature hums come in. “We are both reborn after what we went through,” Cudi told Billboard following its release. “I couldn't have made a song like ‘Reborn’ until now, because I didn’t feel reborn yet.” Take it from Cudder: Keep movin’ forward. —Edwin Ortiz

Album: The Carter V

Producer: AJayones

First of all, what the fuck was that intro? It makes no sense, but it’s already legendary. Then that AJayones beat drops and it's hard not to have flashbacks to an era when Wayne was running laps around his competition. But the best part of this song is Wayne bringing “whoadie” back into the rap lexicon. I’m grateful that white people and suburban kids didn’t figure out how to gentrify that word after all these years. God is good. —Angel Diaz

Album: MUDBOY

Producer: YungLunchBox

YungLunchBox’s production on this joint sounds frantic, like a rush hour commute in the belly of NYC. Sheck’s style is even more frantic with bridges disguised as verses. “I live a, I live a Mud Boy lifestyle, killers on speed dial/Don't fuck with Sheck Wes, we gon' break a key down/Call that bitch 2K, how she blow me out/Shoot it on the 4K, might just put the leak out/Hot Boy lifestyle, pull up with them thangs out/Nigga, I'm from New York, outside where we hang out/I just sip that poison, niggas sippin' tea now” are easily some of my favorite bars this year. They just sound beautiful over that beat, and even better when the packs come in through my Gmail. —Angel Diaz

Album: Oxnard

Producer: Om’Mas Keith and Anderson .Paak

Remember Creepa from the MTV reality show classic G’s to Gents? He was the dude who called his large sunglasses “hater blockers,” because there were constantly haters around. Transfigure that concept into a funk number, broaden it to include paparazzi, feature one of today’s best rappers, and you get “Tints.” The Oxnard single centers around the idea of having to roll with the tinted windows up, even as the Cali weather is best enjoyed with the top down. There are hints that this is also meant to hide inner pain (“I need tint so I can live with a peace of mind”), but the song rides off an exceedingly infectious two-step giddiness. It’s ecstatic, even though you know the bliss is temporary; even Creepa had to renounce the hater blockers by the show’s end. —Brian Josephs

Album: November

Producer: D.K. the Punisher

SiR’s November is a brilliant album from start to finish, but it’s a challenge to complete a full listen once you get to “D’Evils” and realize it needs to remain on repeat. The sample of Jamaican artist Billy Boyo’s ’80s single “One Spliff a Day” sets the foundation for the stunning D.K. the Punisher-produced track. Even with hard-hitting bass, the production finds a way to feel incredibly mesmerizing, and SiR’s unique writing gives the song a personal charm as he works on floating beyond negative energy and staying calm. Those sentiments are brought to life through an expertly balanced mix of soothing vocals, a dizzying sample, and booming production. —Adrienne Black

Album: Outer Peace

Producer: Toro y Moi

Almost a year and a half after the release of his fifth studio album, Boo Boo, Chaz Bear, aka Toro y Moi, emerged once more, this time with a fresh new sound. In Chaz’s previous work, his vocals have at times felt like an added bonus to the centerpiece that is his dreamy chillwave production. On “Freelance,” though, his voice is the star of the show, as he waxes poetic about the tech bros of Silicon Valley over a pulsating funk beat. He’s got bars, too: “Mystic staring at his phone for oneness/Silver or black mirror, what’s the difference?” The track marks an exciting pivot for Chaz as we prepare for the arrival of his next album, Outer Peace. —Carolyn Bernucca

Album: KOD

Producer: J. Cole

J. Cole’s frank but empathetic letter to rap’s new wave, “1985,” largely sidesteps the old-man-yells-at-cloud-of-weed-smoke tone that often happens whenever veteran MCs try to talk to their younger counterparts. Cole does so by offering advice from his decade of experience in rap, warning about saving money, playing into the negative expectations of fans, and taking care of the people around you. Unlike some moments on KOD where Cole’s bars carry a sense of condescension, “1985” feels like an earnest attempt to spark conversation, which is likely why it led to productive dialogue. —Grant Rindner

Album: Golden Hour

Producer: Kacey Musgraves, Ian Fitchuk, and Daniel Tashian

The disco drums make the groove on “High Horse” easy to lock into, but the uptempo track is really a showcase for Musgraves’ first-rate pen. While plenty of songwriters struggle to depict three-dimensional humans outside of a romantic framework, Musgraves is one of the best in industry at character studies. The conceited, delusional subject of “High Horse” is instantly recognizable to anyone who...isn’t that person. Golden Hour is one of the year’s richest, most beautifully crafted records, and “High Horse” is a fine example of what happens when a savvy songwriter is operating at the peak of her powers. —Grant Rindner

Album: Big Bossin, Vol. 2

Producer: Cardo

Cardo has many lanes, but his velour-smooth beats that inspire you to light a cigar or take a scenic route in the whip are my personal favorites. How could Payroll Giovanni hear this lush masterpiece and not craft a song about luxury cars? The first time I listened to this, I almost booked a flight to Cali just to cruise the PCH. There are brash gangsters, and then there are cool, collected hustlers. Giovanni is the latter, and this is a perfect soundscape for him to talk his shit while shitting on your net worth and meager moral code. Don’t sleep. —Frazier Tharpe

Album: N/A

Producer: Tyler, the Creator

Tyler, the Creator dismissed “Okra” as a “throwaway song” when he uploaded it to YouTube in March, but we still can’t stop listening. After he pushed himself to explore lush new territory on Flower Boy in 2017, the song marked the first in a series of loosies that Tyler dropped in 2018 for fans of his old “hard hitting raps and dark toned instrumentals.” Calling it a throwaway song is probably just Tyler’s way of relieving himself of expectations, but whatever the case, it’s great to hear him let loose with a non-album track like this. On “Okra,” Tyler talks his shit, rhyming about $30,000 Balenciaga travel bags, Grammy nominations, and new McLarens. For a guy who once claimed to be bored with rapping, it sure sounds like he’s found a way to have fun behind the mic again. We’re here for it. —Eric Skelton

Album: Redemption

Producer: Aaron Bow and Teddy Walton

One minute and 49 seconds into “ES Tales,” Jay Rock poses a very specific, yet wide-ranging question: “Don’t you know no good? Don’t you know no good, bitch?” When I first heard that line, I immediately lost my shit. Mostly because I recognized it as a callback to a classic episode of Martin, when Martin Lawrence portrays one of his many characters, Elroy Preston. (Take a guess who he parodied.) Jay Rock throwing such a pointed reference into a track about life in the projects of Eastside L.A., the central theme of his stellar album Redemption, proved to me what 2018, in full, has indicated: Jay Rock is thinking about all sides of the equation now. He’s ready to be a crossover star, and not just the street rapper hanging in the background at TDE. To do that, he’s bridging the gap between the life that he knows so well and the rest of the world. Finally, the rest of the world is ready to hear him out. —Kiana Fitzgerald

Album: Black Panther: The Album

Producer: Matt Schaeffer, Sounwave, CuBeatz, and Cardo

After he did so much heavy lifting in 2018, it was refreshing to hear a carefree Kendrick Lamar on Black Panther: The Album’s “Big Shot,” a collaboration with Travis Scott that is only slightly less catchy than their 2016 hit collab “Goosebumps.” The digital flute melody is one of the most infectious additions to a banner run of rap woodwinds in recent memory, and Lamar sounds downright giddy comparing himself to rap moguls 50 Cent and Diddy. Scott, meanwhile, pulls out several different flows on a jam-packed verse that features plenty of allusions to his hometown of Houston and a clever Steve Harvey quip, to boot. —Grant Rindner

Album: Beerbongs & Bentleys 

Producer: Post Malone and Louis Bell

On “Psycho,” Post Malone leans into everything his dissenters despise with reckless abandon, employing Auto-Tune, a cloudy trap instrumental, and featherweight lyricism for an irresistibly simple pop rap ballad. Post knows exactly what he’s doing, inviting the king of guest verses, Ty Dolla Sign, in at the two-minute mark to drop 16 bars just before we can remember what we’re listening to. And it’s all bolstered by addictive production, courtesy of Louis Bell and Post himself, which is shiny enough to see your reflection in. I haven’t always been the biggest Post Malone fan, but I have to admit he proved me wrong here. Basically, this is how I feel when I’m listening to “Psycho.” —Carolyn Bernucca

Album: Isolation

Producer: BADBADNOTGOOD

Kali Uchis has a sound that effortlessly folds nostalgic, soulful harmonies into a modern style. Ahead of the release of her debut album, Isolation, Kali delivered quite the attention grabber with “After the Storm,” featuring longtime collaborator Tyler, the Creator. While some of her peers strive to create an old-school style, Kali isn’t trying. This is natural for her. A mesmerizing bassline, dreamy vocals, and delicate chords are completed with a surprise appearance from the legendary Bootsy Collins, who Kali had previously named as a dream collaborator. Thankfully, speaking things into existence really does work. A dream come true for Kali turned out to be a gift for all of us. —Adrienne Black

Album: Scorpion

Producer: Cardo, Yung Exclusive, and Boi-1da

There are only a few times a year when the entire Complex office stops dead in its tracks. One of those rare occasions in 2018 that wasn’t Kanye-related came when Drake dropped his “God’s Plan” video. Two by two, staffers started mumbling to each other and pressing play. Before long, the whole floor was watching Drizzy give away money to grateful fans. And the oddest thing happened: What I can only assume was the scent of freshly cut onions from the taco place next door must have come wafting in, because all of a sudden there were a whole lot of moist eyes. “God’s Plan” as a song is great and a worthy No. 1, if a bit heavy on the self-mythologizing. But when you add the Karena Evans-directed video to the mix, it gets even better. Now, if you’ll excuse me, I have to get up from my desk for a second. I just re-watched the video to prepare for writing this, and that onion scent seems to be coming into the office again. —Shawn Setaro

Album: Caution

Producer: Mariah Carey, Lido, Skrillex, and Poo Bear

With all this talk about the King of R&B on the timeline, maybe we need to just accept that Mariah Carey might rock the crown right now. Or, at the very least, she proved that there are so many artists making weaker R&B tracks out there that she could swoop in with her R&B/pop/hip-hop-straddling album Caution and reclaim her top spot as That Chick. “The Distance,” which featured Ty and production from Lido, Skrillex, and Poo Bear, proved how easy it is for her to reach back into her bag and serve everyone some ’90s-drenched R&B realness like it’s nothing. —khal

Album: NOT ALL HEROES WEAR CAPES

Producer: Metro Boomin, Allen Ritter, and Wheezy

Young Metro came out of retirement in a big way with one of my favorite tapes of the year. And who better than Rookie of the Year candidate Gunna to link up with him? “Space Cadet” is easily the best track on an album with multiple bangers. Gunna bounced on this shit like Neil Armstrong taking his first steps on the moon. He graduated from space cadet to astronaut this year. Having just received information from my sources over at NASA, I'd like to take this occasion to shout out to Gunna for leading our mission to Mars. —Angel Diaz

Album: Championships

Producer: Tarik Azzouz and StreetRunner

Meek Mill’s Championships is fueled by righteous indignation over his treatment by the U.S. criminal justice system, and “What’s Free” finds Meek recapping his arduous year with the help of a late-career gem of a verse from JAY-Z. The track is derailed briefly by Rick Ross’ homophobic possible jab at 6ix9ine, but the other MCs quickly pick the momentum back up. The beat from Tarik Azzouz and StreetRunner is brutally efficient, sampling the Notorious B.I.G.’s “What’s Beef?” while still feeling forward-facing and not too focused on the past. Hov’s verse, a pseudo-State of the Union, touches on everything from his relationship with Kanye West to his disregard for streaming numbers to the colonial roots of Thanksgiving—and it’s best summed up by Meek’s reaction: Sheeeeeessshhhhh! —Grant Rindner

Album: Drip Harder

Producer: Turbo and Tay Keith

Gunna is all of us when he interrupts Drake’s verse to emphasize that folks have absolutely got to hear this, no cap. Drizzy’s contribution, all quotable braggadocio and almost-convincing mob talk, is perhaps his strongest of the year, while Lil Baby and Gunna showcase the discrete skills that make them such complementary collaborators. Lil Baby’s verse sees the nascent superstar taking stock of his whirlwind year, and his subtly melodic hook is as infectious as his best work on Harder Than Ever or Street Gossip. Gunna, meanwhile, delivers a nimble flow that bubbles atop Tay Keith’s sinister instrumental like the Hi-Tech he pours on his opening line. Drake’s wattage often leaves his younger collaborators in the shadows, but Baby and Gunna each find their way into the spotlight and prove why they’re among rap’s flashiest newcomers. —Grant Rindner

Album: Invasion Of Privacy 

Producer: Craig Kallman, Tainy, and J. White Did It

Heavily sampling a track as recognizable as Pete Rodriguez’s “I Like It Like That” always runs the risk of getting too campy, but Cardi and her collaborators’ conviction made “I Like It” an instant smash. It was a summer jam that we had to wait two agonizing months to appreciate in the perfect context. Cardi flexes her Afro-Latina heritage as well as her internet savvy (“Yeah, they call me Cardi B/I run this shit like cardio” was reminiscent of a 2017 viral tweet), while Bad Bunny and J Balvin shine on each of their verses, proving why they were two of the year’s most dynamic international stars. That Cardi managed to reach No. 1 with a hard-hitting trap anthem and a melodic Latinx anthem only cements her status as one of rap’s surefire hitmakers. —Grant Rindner

Album: ASTROWORLD

Producer:  Travis Scott, Cubeatz, Mike Dean, and Jbeatzz

Only Travis Scott could pull off an elaborate, star-studded ode to staying true to your roots. “Stop Trying to Be God” features James Blake, Kid Cudi, Stevie Wonder, and Earth, Wind & Fire’s Philip Bailey, along with production contributions from Cubeatz, Jbeatzz, and Mike Dean. There are enough names to fill a movie poster, but the track is remarkably cohesive. A demure Scott offers two of ASTROWORLD’s sharpest verses, warning about staying clear-eyed and avoiding the pitfalls of fame, while the track subtly blooms and takes on an ecclesiastical tone beneath Blake’s string of existential questions. ASTROWORLD has its share of high-octane thrill rides, but “Stop Trying to Be God” is the meditative moment that truly showcases Scott’s artistic growth. —Grant Rindner

Album: Scorpion 

Producer: Tay Keith 

Drake sang so much this year that people actually started mentioning his name in the “King of R&B” conversation. The Grammys even gave him an Album of the Year nomination before considering Scorpion for Best Rap Album. But we still love it whenever Aubrey puts extra bass in his voice, gets on his tough-guy-Drake shit, and blacks out over ominous beats. In 2018, that happened every time he heard Tay Keith’s producer tag. After discovering the beast that comes out of himself over Memphis production on BlocBoy JB’s “Look Alive,” Drake went back to Keith again on “Nonstop.” This time, we were treated to Mac Dre and Al Haymon references, alongside classically Drake lines like, “Bills so big, I call ’em Williams, for real.” Scorpion had its share of snoozers, but “Nonstop” was a rousing exception. —Eric Skelton

Album: Everything Is Love

Producer: Pharrell Williams, JAY-Z, and Beyoncé

“Apesh*t,” the crown jewel from Bey and JAY’s Everything Is Love, is a certified anthem. Sure, Migos laid the foundation for the hook and swagger over this Pharrell-produced banger, but words and flows sound different when Queen Bey is in the driver’s seat. From their shade to every artist beneath them who isn’t doing stadium shit to Hov flipping and bouncing those ape references crazy, this cut should be put up in the rafters for the GOAT Carter collaborations in existence. If this isn’t going off during your New Year’s turn-up, your squad is doing it wrong. —khal

Album: DAYTONA

Producer: Kanye West

The opening track of Complex’s Best Album of the Year finds King Push chomping and snarling right out of the gate. The Virginia Beach native reminisces on his own days of drug dealing while blasting today’s so-called trappers for not being about that life. He employs enough innuendos to warrant multiple verified Genius annotations, and his disgust with the frauds is more than apparent—even without a single signature “yugghck!” One of the best gifts Kanye offered us this year was the production on “If You Know,” with its sample of French electronica duo Air’s “Twelve O’Clock Satanial,” which rings in your ears like a fire alarm long after the track has ended. Whether or not you actually know, the song will make you feel like you do; just don’t tell Push that. —Carolyn Bernucca

Album: Dirty Computer

Producer: Mattman and Robin

When “Make Me Feel” came out, there were rumors, later debunked, that Prince performed on the track. It’s easy to see why—Janelle’s single and “Kiss” have similarities in feel (both are minimal and funky) and arrangement (each contains modified nods to the 12-bar blues form). But “Make Me Feel” is far more than an update of the second-greatest bass-less song of the 1980s (the greatest, of course, is “When Doves Cry.”) “Make Me Feel” contains multitudes: the spirit of “Kiss,” but also of MJ’s “The Way You Make Me Feel” and James Brown’s “I Got the Feelin.’” The last of these is something Monáe makes explicit in her live performances, which mash up “Make Me Feel” with James’ “Baby baby baby” classic. Even with all of this in its DNA, the song is still its own entity: a mouth-percussion-heavy bop for the ages that doubles as a confession on the dance floor, no Madge. —Shawn Setaro

Album: Harder Than Ever

Producer: Wheezy

First things first: “Yes Indeed” is way too fucking short. At less than two and a half minutes, it starts with somewhat of a cold open as Drake raps in a low, measured tone about the things that most frequently run across his mind: digital dashes, being a legend already, and his impenetrable crew. The production itself, handled by Wheezy, is phenomenal. It has an almost regal flair, but Wheezy reaches down into the depths of his big-ass bag of bass to remind us that this is still rap. By the time Lil Baby comes in, his vocals sound almost jarring next to those of Drake, a voice we all know well by now. For many, this was an introduction to Baby, but for the previously initiated, this was a moment of triumph. Not only did Baby make it onto a song with one of rap’s behemoths, he cracked the Billboard Hot 100 Top 10 (peaking at No. 6) and delivered the song’s most memorable line. If you don’t know it off top, I suggest you spend more time with “Yes Indeed.” It deserves it. —Kiana Fitzgerald

Album: Negro Swan

Producer: Devonté Hynes

Great songs are often born out of imperfect situations, and that is certainly the case with Blood Orange’s Negro Swan single, “Charcoal Baby.” After buying a guitar for the first time in years, Dev Hynes loaded his new Fender up with so many effects that it was “completely out of tune on the whole song.” But those unique tones ended up forming a perfect backbone for a song that champions individuality and perseverance. Hynes describes the track as “a celebration of black skin,” and it serves as the high point on an album full of gorgeous instrumentation and strikingly honest storytelling. “Charcoal Baby” is an undeniably beautiful song with an important message. —Eric Skelton

Album: Sweetener

Producer: Pharrell Williams

Sweetener marked a turning point for Ariana Grande, and nowhere is that more apparent than on “R.E.M.” Although it was originally written by Pharrell Williams for Beyoncé, Grande makes the number all her own, without relying on the ultra-high notes that punctuate most of her hits. Williams worked his magic into the production, injecting the dreamy doo-wop instrumental with the youthfulness of a new crush and the maturity of an adult relationship for a sound that’s at once innocent and grown. Vocally, Grande pivots to a richer, silkier R&B cadence, toeing the line between adolescence and adulthood as she sings of hiding photos of her love interest (à la Helga Pataki) and suggests that certain body parts have received the Good Housekeeping seal. Complete with a sugary (no pun intended) interpolation of the Chordettes’ “Mr. Sandman,” “R.E.M.” will transport you to a simpler era—one of varsity jackets and drive-in movies. How appropriate for such a talent. —Carolyn Bernucca

Album: N/A

Producer: Shorty Complete, Kronix Magical, and Young Martino

This is a case where the remix becomes the original. It’s like the reggaeton version of a ‘90s Bad Boy record when Puff would make you forget the OG version even existed after he gave you his version. Adding Bad Bunny, Nicky Jam, and Ozuna to the mix with Nio García, Darell and Casper Mágico took this to places non-pop reggaeton songs have never gone before. The video has almost a billion and a half views on YouTube alone, and it’s seven minutes long! This is the only posse cut love song I’ve ever heard. It’s the “Reservoir Dogs” of breakup songs. The ladies can have “Thank U, Next”—that was a nice breakup song. But “Te Boté” is not only for the fellas, it’s also the better record, and the stats confirm it. I know it’s ranked lower on this list, but we all aren’t gifted with bilingual abilities, so I’ll just let these gringos pretend like they always do. Reggaeton has entered the mainstream once again, and this time it’s here to stay. —Angel Diaz

Album: Scorpion

Producer: TrapMoneyBenny and BlaqNmilD

I wrote about Drake going bounce with “In My Feelings” and “Nice for What” over and over and over this year. And I’d do it again. As a longtime fan of NOLA rap, I was thrilled that Drake decided to dabble in the style, bringing along local talent (producer BlaqNmilD) while paying homage to the city’s legends (peep the Magnolia Shorty sample) and traditions (BlaqNmilD’s second-line-inspired “In My Feelings” coda). But the bounce homage isn’t the only reason “In My Feelings” works. The mystery over Keke’s identity, the viral dances, the inclusion of the City Girls (who themselves recently did a bounce song), the video with Phylicia Rashad—all of it added up to something that was more than just a song. It was a true cultural moment—a time when a goofy former child actor from Toronto brought us all together in joy, silliness, and J-Lo similes. —Shawn Setaro

Album: Swaecation 

Producer: Mike Will Made-It and Marz

Lord, lord, lord, this is what a daily drive to Soho House Malibu does to a transplanted ATLien. You can practically hear the waves crashing in Mike Will’s airy beat on “Offshore.” Curiously, Swae chose not to work with his mentor on the bulk of his solo album. A shame, since this is an ideal example of what a Jxmmi-less, heartthrob-angling Swae should sound like. Most of the runtime is ceded to Young Thug, ever the shapeshifter, warping and warbling an extra-long verse until the track becomes putty in his hands. He can switch flows like a stick shift and switch topics just as swiftly, landing the line of the year with, “I’ll slap the shit out of Donald Trump any day,” a welcome non-sequitur in a song otherwise about splashing on your girl and splashing around in sand. But Swae is still the anchor, setting a tone and strengthening his powers as a crucial vibe contributor (see: "RIP Screw"). “Offshore” is proof alone that the Swaecation experiment was worth it, and worth more. —Frazier Tharpe

Album: N/A

Producer: D.A. Doman

I have a secret: The first time I heard “Taste,” I was not here for it. (Is it really a secret if most people feel the same way? Hmm...) Many of Tyga’s songs sound extraordinarily similar. They typically stick to the West Coast bounce he’s been eating off of since “Rack City,” and while that’s not necessarily a bad thing, it can become boring after a while. But Tyga struck gold with “Taste.” How? It starts with that fucking sample: “Ooh, ooh, ooh!” Add in some “doo-doo-doos” (one time for the producer, D.A. Doman) and you have the foundation for one of the catchiest songs of 2018. On “Taste,” Tyga is spitting the same game he’s been kicking for a solid decade now, asking women to do things no man should ever (publicly) ask a woman to do. But for some reason, with this particular beat, it just works. Oh, yeah, Offset has a feature on this one, too, which is a surefire way for any song to get burn on the radio these days. In some ways, “Taste” is a paint-by-numbers track that happened to catch on, but I can’t even be mad at it. —Kiana Fitzgerald

Album: DAYTONA

Producer: Kanye West

Pusha-T has explained multiple times that DAYTONA’s core concept is being respectful of your time and giving you what you need. Thus, we get a very economic seven songs after years of waiting. Still, DAYTONA’s best moment is when Pusha-T gets exhibitionistic. “The Games We Play” is a series of quotables that brushes off the delay (“They tweet about the length I made ’em wait: What the fuck you expect/When a nigga got a cape and he’s great?”) that reminds listeners that whether in 2002 or 2018, everything is still Pusha-T. In fact, the timing is a big part of why this anthem feels crucial. In a year in which clout-chasing has become an obsession, he’s proudly reminding y’all that he’s cut from a different cloth. “To all of my young niggas, I am your Ghost and your Rae/This is my Purple Tape, save up for rainy days,” he says. Of course you believe him. —Brian Josephs

Album: TESTING

Producer: Skepta

For our mid-year Best Songs list, I asked for a Rocky and Skepta tape, and folks, I’m disappointed because we still haven't received one. Hopefully, 2019 will be a different story. Anyway, “Praise the Lord” is the best song on Rocky’s polarizing TESTING album. And the visual for it makes the song that much better, especially when you add in the fact that Skepta not only produced the beat, but he paid homage to DMX with his flow. Rocky puts out his best performance on the album on this track, as well. Let’s annoy Rocky and Skepta into giving us a full-length project! Oh, and big shouts to Skepta for the vintage Avi he has on in the vid. —Angel Diaz

Album: Black Panther: The Album

Producer: Teddy Walton and Mike Will Made-It

Jay Rock and Kendrick Lamar have opposing styles that always complement each other. They proved that once again with “King’s Dead,” a track so good it landed on both the Black Panther soundtrack and Jay’s Redemption album. Kendrick’s somewhat childlike voice, paired with catchy call-and-response ad-libs, sets the stage for Jay to enter with a brash verse of his own. Then Future comes through with a strained, “La di da di da, slob on me knob.” On first listen, it was tough for anyone take this seriously, but who are we to question Future’s genius? He clearly knew he had something. It’s playful and it’s infectious. It just works. The extended Black Panther version of “King’s Dead” opens with chants from the film and gifts us with a taste of James Blake’s soft vocals as a quick transition into a beat change and another verse from Kendrick. Given new life by one of the best music videos of the year, “King's Dead” is a song we’re still not tired of. —Adrienne Black

Album: Victory Lap

Producer: Kacey Khaliel, Brody Brown, Larrance Dopson, and Mike N Keys

No one brings that Left Coast realness quite like Nipsey Hussle and YG. On Nipsey’s street-certified Victory Lap, the two cliqued up to rain down grown man facts over some of the crispiest, candy-painted bass out there. “Either I’m genius or you niggas scary” exudes so much truth about Nipsey’s life, and if you aren’t up on his story and struggle, this might be the song to throw on. Adding YG to the track shows how these two Gs can see past their differences to spit that raw game to those who need to hear it. No smut on this track’s rep. —khal

Album: Simi

Producer: Tay Keith

Tay Keith set the year off right with a banger, and Drake began his 2018 onslaught of song-stealing features on “Look Alive.” This was also Blocboy’s proper introduction to the world, as the song became a monster, going 3x platinum. The hook is infectious and the beat will have you trying to do the shoot dance no matter how uncoordinated you are. To top it off, “Look Alive” made Tay Keith’s producer tag into a household meme. Drake is talking tough on this, too, as if he's trying his bully character on for size. Kanye should’ve known. —Angel Diaz

Album: ASTROWORLD 

Producer: TM88, Mike Dean, Gezin of 808 Mafia, and WondaGurl

“No Bystanders” is a perfect Travis Scott song. It doesn’t have as many global streams as some other tracks on ASTROWORLD, but nowhere else on the record is Travis’ full range of abilities on display quite like this. Grabbing vocal swatches from Juice WRLD and Sheck Wes, he weaves together the defining sounds of 2018 rap in a way that would make any classically trained composer proud before flexing his own vocal muscle with one of the hardest-hitting verses of his career (play this the next time someone tries to tell you Travis can’t rap). Then there’s the Three 6 Mafia-inspired “Fuck the club up” chant, which has served as a weekend rallying cry since August. If you still haven’t felt the joy of yelling along to “No Bystanders” in a crowded room full of strangers this year, make sure you do that when you go home for the holidays. This is Travis Scott firing on all cylinders, and it needs to be experienced in an environment that’s about to spiral out of control. —Eric Skelton

Album: N/A

Producer: No I.D.

There are so many layers to this diss track: the blackface photo, the shots Pusha took at Drake's parents, the bars about Drake’s heritage, the outing of a hidden son and the fact that Drake was going to let the world know about him with an adidas campaign, the 40 dig, “The Story of OJ” beat, and the swiftness with which this came after “Duppy Freestyle.” Pusha wasn’t able to stop Drake’s sales, but he definitely was able to shift the conversation to what really matters in a rap battle: bars. David truly slayed Goliath in the court of public opinion with this one, and that’s OK. I mean, if Jay was able to survive “Ether,” Drake should be able to survive this, right? It would’ve helped if, you know, Scorpion was at least as good as DAYTONA, but that wasn’t the case—at least according to us. And as we can see, this beef isn’t going to end any time soon. I honestly lose my mind every time the beat comes in and Pusha says “easy money” without a care in the world, as if “Duppy Freestyle” was just a tickle, a body shot that he was able to eat. Fuck it, I might get “chop the tops off the coupes” tatted on my belly. —Angel Diaz

Album: N/A

Producer: Social House and TBHits

On November 1, Ariana Grande's ex-fiancée Pete Davidson joked about the pair’s broken engagement in a promo for that week’s episode of Saturday Night Live. The clip was met with backlash, most notably from Grande herself, who tweeted, “For someone who claims to hate relevancy u sure love clinging to it huh.” The pop star followed that up with what appeared to be a dismissive clapback of the highest caliber: “thank u, next.” We didn’t know it then, but those three little words would change the face of breakup music and mark one of the year’s biggest music moments.

Just two days later, and 30 minutes before the aforementioned SNL episode, Grande dropped “Thank U, Next,” a three-and-a-half-minute display of gratitude and grace in the face of a breakup—because it’s 2018, and we’re pivoting to amicable splits. Tommy Brown’s glimmering production provides the perfect balance of nostalgia and positive energy, allowing Ariana to both reminisce on her past relationships and celebrate them: “I’ve loved and I’ve lost/But that’s not what I see.” When Ariana reminisces, she’s specific; there are no sneak disses or even regular disses, just direct shoutouts to the men who have taught her love, patience, and pain. By the second verse, she’s moved on to self love (no Divinyls), and verse three finds her looking hopefully toward the future. My phone was buzzing for two full hours after the song dropped, as all of the most important women in my life texted me to revel in the special joy that is finding a new anthem. Grande’s first No. 1 single is fun, uplifting, and infectious; it’s everything pop music should be. —Carolyn Bernucca

Album: Drip Harder

Producer: Turbo

Two of the year’s biggest rappers also happened to be new artists: Lil Baby and Gunna. The Atlanta MCs have been working together since at least last year; they’ve traded features back and forth on their myriad mixtape releases. But their partnership was solidified in October when they released their first joint project, Drip Harder. The lead single, “Drip Too Hard,” was a mix of what made each artist successful: Lil Baby’s ability to craft the fuck out of a verse and hook, and Gunna’s unceasing flow, which could very well have stood on its own. Floating atop Turbo’s production of reserved faux guitar and bass that hits just so, Baby and Gunna’s vocals swim together (“You gon’ fuck around and drown off this wave”—get it?) like the rappers have been working together forever. If this is where they’re at after just one year of close collabs, lord knows what they’ll be capable of come 2019. On a personal note: I’ve listened to “Drip Too Hard” so many times, bro. So many times. And it never seems like enough. —Kiana Fitzgerald

Album: Scorpion 

Producer:  BlaqNmilD and Murda Beatz

We had Drake fucked up. VIEWS was turgid. More Life was better, but he still didn't see fit to submit it to the Grammys. Then, on the run-up to formally announcing his next proper album after an overdue break, Drake entered the year with Big Thanos Energy on a Y’all Had Me Fucked Up tour of force. It was in the music, most noticeably on “Look Alive,” that he turned his sabbatical into a cynical barb. It was in his actions, when he boldly wrote, “IS ALL I’M DROPPING THIS YEAR,” under a fire alarm. Then he dropped “Nice For What,” and fuck if I didn’t believe him.

Drizzy loves to mean mug and talk tough, and there is nothing more villainous than dropping a hit this ready-made and effortless. Note for note, “Nice For What” might be his most undeniable radio hit to date, and he made it while playing 2K with Murda Beatz, no less! With a classic sample via Murda's seamless “Ex-Factor” flip, simple yet earworm-y bars, and a Big Freedia-indebted bounce infusion, this was the feel-good song of the summer. It was released right on time, in April, as the spring thaw finally set in, before Drake handed his enemies a detonator that turned smooth sailing into choppy waters, inspiring him to make the feel-sad song of the summer. But I digress. Before Drake’s year took a turn and his music turned with it, he was poised to run 2018 with a flawless victory. “Nice for What,” with its least-problematic bars of all Drake Empowerment Records and pitch-perfect video, went from rally song to time capsule. Drake may have stopped feeling good, but the good vibes are still reverberating. —Frazier Tharpe

Album: ASTROWORLD

Producer: Hit-Boy, OZ, Cubeatz, Tay Keith, Mike Dean, and Rogét Chahayed

Mike Dean, the Houston-reared multi-instrumentalist, posted a video earlier this year showing a young Travis Scott performing in what appeared to be the opening set of a small festival stage. You could count the number of people in attendance on one hand. Mike Dean stood in the corner, playing the keyboard, likely smoking a blunt, recording the burgeoning rapper with all the fondness of a mother watching their child at a swim meet. He then posted another video of Travis Scott performing to a packed-out arena. The point was to show that hard work pays off, but also that Travis Scott had arrived.

And no song has hailed his arrival more than track three on his third studio album. A three-part sage, “Sicko Mode” represents everything great about ASTROWORLD. As staff writer Kiana Fitzgerald noted, the album is at its best when it’s being “extraordinarily cohesive” while making sure to never feel settled. Nothing embodies that more than Travis’s first Hot 100 No. 1 record. Produced by an honor roll of current hit makers—Hit-Boy, OZ, Cubeatz, Tay Keith, Mike Dean, and Rogét Chahayed—the song does a funny thing by feeling hyper modern, even while harkening back to the ’90s with vocals samples and nods to the Notorious B.I.G. and Houston legend Big Hawk.

Then there’s the rapping. Drake doing what amounts to a warmup on the opening verse, but then comes back with his expertly tailored brand of cool-to-the-touch midnight rage. Yeah, we heard the rumors about the verse being partly about him riding through Hidden Hills looking for Ye, but the more important and memorable part comes from the intro/chorus where he does that thing where he reminds us all of how little he had, before cleverly noting how much he’s attained. He also rapped the most responsible drug lyric of the past decade.

But while Drake gets most of the credit for showing out on “Sicko Mode,” Travis punches above his weight, with some slick lines detailing the chasm between what he sees and what everyone around him—girls, homies, jewelers—sees. Bet you didn’t expect the jeweler-selling-fruit line, did you? Of course you didn’t. But going forward, you should. If nothing else, “Sicko Mode” shows that Travis’ insistence on honing and building his sound is unrelenting, and even though he’s made it to the top of the charts, there’s more he wants to do. —Damien Scott