The Best Songs of 2019

Image via Complex Original

Album: Still Summer in the Projects

Producers: Mustard and GYLTTRYP

Much of 03 Greedo’s recent music addresses the harrowing 20-year prison sentence he received in 2018, but few are as gleefully defiant and catchy as “Bet I Walk” from Still Summer in the Projects, his collaborative release with Mustard. Greedo’s loose recording style gives all of his songs a conversational quality, and it makes throwaway taunts feel particularly biting. “I was bumpin’ when you n****s had acne/Get it poppin,” he flexes on the song’s sole verse. Even the lengthy spoken outro is incendiary, as the California MC brags about the 30 albums he has stashed away and shrugs off his lengthy bid with Mafioso nonchalance. Thankfully, Greedo may be eligible for parole much sooner than originally anticipated, and, if “Bet I Walk” is to be believed, he’ll be draped in diamonds when he steps out. —Grant Rindner

Album: Assume Form

Producers: James Blake, Metro Boomin, Dre Moon, Wavy, and Dan Foat

On “Mile High,” James Blake moves away from the downtempo, broken-hearted pop he’s made a career out of, and towards a mysterious, narcotized interpretation of modern trap music. Metro Boomin adds some rhythmic texture, and Travis Scott turns in a reliably good vocal performance. Musically, it’s not flashy, but the sparseness gives Scott enough room to mess with flows and move between rhyme patterns. Like any great producer, James Blake uses his skillset to amplify everyone around him. Even though this is Blake’s project, “Mile High” is another Travis Scott anthem. —Will Schube

Album: Jesus Is King

Producers: Kanye West, Xcelence, and BoogsDaBeast

Even those who were skeptical about a full album about Jesus from Kanye West in 2019 couldn’t help themselves from nodding along to its clear highlight, “Follow God.” The production here is vintage Ye, as he flips Whole Truth’s 1974 song “Can You Lose by Following God” into a dusty, uptempo track that should please anyone who still pines for a return of the “old Kanye.” On an album that at times falters due to shallow songwriting, Kanye delivers honest, true-to-himself lyrics here, letting us in on his own imperfect relationship with God. Using an argument with his dad as an anecdote, he gets more personal and focused on “Follow God” than we’ve heard him in years. It’s been a strange few years for Kanye West fans, but songs like this serve as reminders of his enduring musical gifts. —Eric Skelton

Album: Wow... That’s Crazy

Producers: Todd Moore and Norva “VA” Denton

Wale’s “On Chill” sums up what we can call a “situationship,” the place in between a committed relationship and a friendship. But Wale and Jeremih’s vocals manage to make the track feel more romantic and intimate than distant. Wale’s poetic wordplay, delivered with a raspy tone, is hypnotizing, while Jeremih draws listeners in with a soothing chorus. Ordinarily, situationships would have a negative connotation, but Wale manages to explore that side of love in a way that’s both beautiful and immediately enjoyable. —Jessica McKinney

Album: One of the Best Yet

Producer: DJ Premier

It would be an understatement to say rap has changed dramatically since 2003, when Gang Starr released its last album—and even since 2010, when Guru died of cancer. But this year, armed with unreleased vocals from the late rapper, Preem dropped One of the Best Yet, a new collection of Gang Starr music. The first single from the project was “Family and Loyalty,” which saw Guru rhyme alongside J. Cole—someone who, in an alternate reality, might have appeared on an earlier Gang Starr song. Over a lush soundscape from Preem, the two weigh in on wealth, with Guru letting it be known that “diamonds are like having the whole world in your hand/Diamonds are like the shows I ripped with no band.” This song is an overdue reminder of what we lost when the artist born Keith Elam passed. —Lucas Wisenthal

Album: Sueños

Producers: Dímelo Flow and Rike Music

Sech’s “Otro Trago” has been ringing off in Spanish clubs since it dropped, and has over 400 million views on YouTube because reggaeton fans consume music like NBA Youngboy fans. You’d be hard-pressed to walking into a Latin establishment that rents out hookahs and not hear this record. Sech’s soulful sounds make you want to grab a shorty and hit that perreo all night. He’s the genre’s newest star, and this is a great start to what looks like a long and fruitful career for the Panamanian. —Angel Diaz

Album: Pain and Love

Producer: AXL Beats

After the long reign of Pop Smoke’s “Welcome to the Party” this year, Fivio Foreign’s “Big Drip” took over New York City, shutting down city streets and all (there’s even video evidence on Twitter). The energy this songs brings is both dangerous and contagious. Once the beat hits, it’s hard to have regard for human life. The AXL Beats production takes control of your soul and makes everyone within earshot mob out as if they just fell in love with a lit bitch, and things of that nature. —Angel Diaz

Album: Chasing Summer

Producers: Michael Uzowuru, Jeff Kleinman, and Mike Hector

“Hair Down” is a song about freeing yourself from self-loathing in order to live confidently, but it’s not overly preachy. Near the song’s end, SiR hands off to Kendrick Lamar, who delivers a dizzying, rapid-fire verse on one of his only guest appearances of the year. Maybe it’s the fact that both SiR and Kendrick Lamar are California natives, or that they are both members of Top Dawg Entertainment, but whatever it is, the two work very well together, and created a cozy song that will live well past the season change. —Jessica McKinney

Album: Brandon Banks

Producers: Teej and Mike Dean

The stakes of “Meet Again” are clear from the jump, as Maxo Kream uses the intro to shout out friend after friend currently serving time behind bars. Relying on his significant technical skill and commanding baritone, Maxo paints a grim picture, with the only respite from the bleakness of prison being the love shown by these wounded souls. “I miss them days when we was mobbin’, we was robbin just for fun/If you was fightin’, then we fightin’, jump ’em, ain't no one on one,” Maxo says. It helps that the beat by Teej and Mike Dean coats everything in a nostalgic glow, thanks in part to a choice sample of 70s disco band Cloud One. Maxo says that the song was partially inspired by Nas’ 1994 “One Love,” itself an ode to incarcerated associates, and it’s easy to picture “Meet Again” inspiring another gut-wrenching classic a decade or two down the line. —Grant Rindner

Album: The Plugs I Met

Producer: DJ Shay

Benny was so excited to get a verse from King Push that he was ready to bodyslam his own mother. Hopefully he didn’t actually do it, but I understand his excitement. Both rappers talk their coke shit on “18 Wheeler,” with all the inside baseball and tasteless punchlines (“Stabbed it in the pot so many times, you think OJ done it”) you’d expect.  Benny also brings an unexpected burst of sadness about authorities who won’t allow him to escape his past. And Push, well, he somehow makes a Master P reference sound hot in 2019. For that alone, he deserves to keep the crown. —Shawn Setaro

Album: Eternal Atake 

Producers: Brandon Finessin, Starboy, Mayyzo, and Loesoe

Lil Uzi Vert’s “Futsal Shuffle 2020” begins with a sample of Tyler, the Creator saying, “Sing that shit! Are you dumb?” The song isn’t a sing-along, though. Instead, it’s something that will make you break out into serious footwork on the dance floor. Uzi even made a point of sharing a series of instructional dance videos before the record’s arrival. “Futsal Shuffle 2020” isn’t your typical hip-hop dance record, but nothing Uzi does is typical, and this is bound to get the people going. The production feels inspired by Geometry Dash video games, full of frenzied arcade sounds, giving Uzi a unique musical backdrop to drop memorable lines about provolone, Prada sweatsuits, and everything else going on in his world. Now, we wait for the rest of Eternal Atake to arrive. —Jessica McKinney

Album: N/A

Producers: Metro Boomin, Dre Moon, Illangelo, and the Weeknd

The Weeknd returns to his roots with his first single release of the year, “Heartless,” which finds Abel at his sleaziest, as he unleashes cocky and self-indulgent lyrics about sex and drugs. “Call me up, turn that pussy to a faucet/Duffle bags full of drugs and a rocket,” he sings. After the singer lures listeners in with unapologetic songwriting, Metro Boomin introduces buoyant, trippy production, giving the track a unique vibe that’s both twisted and fun. Any version of the Weeknd is great, but the dark, villainous persona that we see on “Heartless” is our favorite. —Jessica McKinney

Album: Trying To Find My Next Thrill

Producer: Lil Rich

Cousin Stizz’s “Perfect” sounds chiseled, as if it was birthed in someone’s cold dusty basement with water pipes leaking onto the floor. A single from Trying to Find My Next Thrill, “Perfect” is a hood love story. Don’t get me wrong, this is no Murder Inc. collab, but if Ashanti and Ja Rule’s time came in 2019 instead of the early 2000s, their music might’ve sounded like this. Cousin Stizz drops off two quick verses about being on the streets with a ratchet girl he loves. And Young Miami closes out the song with a verse that defines the raunchy and carefree attitude that put the City Girls on the map. Produced by Stizz’s executive producer Lil Rich, the beat is so brawny that any rapper would’ve gladly hopped on this one. But we’re very glad Stizz and Yung Miami got their hands on it first. —Kemet High

Album: The Best in the World Pack

Producers: Asoteric, Ljay Currie, and Lil CC

Hearing Drake and Rick Ross on a track together feels so natural at this point. They have far more hits than misses, and “Money in the Grave” keeps that streak alive. The track is a grandiose declaration of Drake and Ross’ power, influence, and riches, and right out of the gate, Drake dishes out cocky lines like, “I really might tat ‘realest nigga’ on my face”). Ross’ syrupy delivery on the third verse is also pleasantly flashy, as he delivers flexes of his own. Surprisingly, this song did not nab a nomination at the 2020 Grammys; instead, the nod went to the duo’s other collaboration, “Gold Roses.” Still, “Money in the Grave” is the luxurious collaboration we want from Drake and Rick Ross at this point in their careers. —Jessica McKinney

Album: Sli’merre

Producer: Pi’erre Bourne

A few years back, Young Nudy getting 21 Savage on one of his songs could be seen as a favor; the pesky upstart soliciting his superstar cousin’s name for an extra boost. But now, after years of consistent excellence, Nudy is more 21’s peer than a mentee or family perk recipient. Nudy’s run has peaked with the sublime Pi’erre Bourne collaboration, Sli’merre, and the album’s best song is the flute-led “Mister,” which finds 21 and Nudy going bar for bar with each other, both deserving of the acclaim they’ve found—albeit during drastically different timelines. “Mister” a dopeboy anthem for a new generation. It’s playful, but cut with menace, the looming threat implied but never revealed. “Mister” is Nudy at his best, both playful and full of personality, but willing to cut your throat if you cross him or his family. —Will Schube

Album: Lover

Producers: Jack Antonoff and Taylor Swift

It’s only been out for four months, but it’s already clear that “Lover” will still be getting played at weddings across the world for decades. In an era of pop music where it’s often tantalizing to chase fleeting stylistic trends, Taylor Swift and Jack Antonoff set out to make a timeless love song instead, opting to create “Lover” using instruments made entirely before the 1970s. Mission accomplished. Over a slow-burning, tantric backdrop, Taylor keeps things simple as she delivers perennial lyrics like, “My heart’s been borrowed and yours has been blue/All’s well that ends well to end up with you.” You may now kiss the bride. —Eric Skelton

Album: Please Excuse Me for Being Antisocial

Producer: 30 Roc

In interviews, Roddy Ricch often claims that he “doesn’t really sing.” Of course, anyone who has heard the 21-year-old artist float on songs like “Ballin” or “Down Below” knows that’s a preposterous statement to make. Of the young rappers coming up right now, Roddy just might have a better ear for melody than them all. His talents as a vocalist shine through on “The Box,” but the song also hints as to why Roddy may be reluctant to box himself in as a singer. The guy can rap his ass off, too. Yeah, he has a gift for melody, but he can also deliver razor-sharp, clever bars about his upbringing in Compton, with a level of precision that’s uncommon amongst his peers. It still feels a little early to pick a standout song on his exceptional debut album, Please Excuse Me for Being Antisocial, but “The Box” shows just how well-rounded of an artist Roddy Ricch really is. Honestly, when we look back on this list years from now, we might realize “The Box” deserved to be ranked much higher, but it’s only been out for a week at the time we’re publishing. Peep the No. 1 spot on the list to see how we feel about Roddy Ricch songs we’ve had a more substantial amount of time to live with. —Eric Skelton

Album: Perfect Ten

Producers: Mustard and GYLTTRYP

The Migos were relatively quiet in 2019 after taking some time to focus on solo releases, but “Pure Water,” which is anchored by a pulsating beat from Mustard, is a reminder that they’re still capable of a hit at any moment. Quavo, Offset, and Takeoff each deliver catchy verses about money and women, but what really takes this one over the top is their mastery of ad-libs over Mustar’s production. Whoo! Whoo! Ice! Mustard once compared the single to a house party in Los Angeles, but really, “Pure Water” is like a party that couldn’t be contained to somebody’s house and flooded into the streets, shaking the whole block. —Jessica McKinney

Album: N/A

Producers: ROSALÍA, Frank Dukes, and El Guincho

ROSALÍA goes off on this. She’s talking shit like a rapper, bro. She’s a star, an idol, and a jewel of the purest form. She puts roses on her Porsche Panamera. These are bars, folks. You’re not going to feel alive until you pull up to Spanish night when this is playing and shorty hits you with that perreo that’ll send you to meet God. And let us not forget about the wonderful contributions of J. Balvin, and producers El Guincho and Frank Dukes, for bringing that beautiful old school reggaeton vibe to life. A lot of conversation started after this song dropped because some feel ROSALÍA is appropriating Latinx culture and trying to hop on the new Urbano wave that’s been taking over, being that she’s from Spain and not, say, South America or the Caribbean. I don’t speak for everyone, but I don’t take issue with it. To each their own, though, right? Everyone is entitled to their opinion. Either way you feel, this song slaps, so try to enjoy things. —Angel Diaz

Album: N/A

Producer: Nick Mira

Juice WRLD’s “Bandit,” featuring YoungBoy Never Broke Again, was the latest step in his sudden rise to rap prominence, before his unfortunate passing in December. Unafraid of the pressure of following up hits like “Lucid Dreams,” he strived to reach new heights with new collaborators. “Bandit,” a song about being a savage in the streets and in the sheets, finds both Juice and YoungBoy floating in the melodic rap pockets that they’ve mastered over the last few years. As such, the Nick Mira-produced song was an instant hit, racking up ungodly numbers on YouTube, and representing a true reflection of where the rap game stands in 2019. Rest in peace Juice WRLD. —Kemet High

Album: N/A

Producers: Bad Bunny and Tainy

If “Callaita” was a Drake song, it would be much bigger here in the States. On this song, Bunny sings about a quiet girl who’s a freak on the low. So, basically, every Drake song ever. It sounds much better in Spanish, trust me. But Bunny isn’t shaming her, he’s just speaking on the secret affair they’ve had. This was the perfect song to listen to when you were drunk this summer. Many an old flame was hit up after this song played at the bar. Bunny and Tainy should look into making a whole tape together to really get in their bag, and either ruin or rekindle relationships in 2020. —Angel Diaz

Album: N/A

Producer: Young Chop

As a producer, there are worse creative decisions than letting Future freestyle over your beat for three minutes. On first glance, that’s what Young Chop has done with his Future collaboration, but “Ammo & Juice” is more than a high profile meet-up between two artists looking for a nice check. “Ammo & Juice” isn’t featured on either of the two albums Chop released this year, but it might just be the best thing he did all year. Chop has been an icon for years, and by linking up with Future, the two re-imagine the landscapes they typically reside in to create a song that meets in the middle of Atlanta and Chicago. It goes down easily, but still has the sharp sting of a Windy City winter day. Future’s flow moves a little angrier than typical for the Atlanta legend, perhaps pushed by the heavy bass of Chop’s arrangement. A collaboration of this magnitude could have fallen flat, but both artists jumped at the opportunity to try something new. The result is a Freaky Friday of sorts, with Young Chop basking in the Atlanta glow and Future putting on for the Chicago legends we’ve lost along the way. —Will Schube

Album: AI YoungBoy 2

Producer: Buddah Bless

YoungBoy is for the kids, and with the release of AI YoungBoy II earlier this year, those kids propelled the album to the top of the Billboard charts. YoungBoy’s success is so ubiquitous now that he’s practically too big to fail. And with albums that range from 15 to 20 songs, there are bound to be a few duds, but with AI YoungBoy II, the Baton Rouge rapper’s ratio is sharp. The standout here is “Make No Sense,” a two-and-a-half minute jaunt that finds YoungBoy’s Auto-Tuned crooning turned up to 11, with the rapper imbuing his delivery with an aggressive yelp that’s equal parts catchy and lyrically sharp. It’s YoungBoy at his best, which tends to be less consistent over the course of longer albums. On “Make No Sense,” though, he reminds us why he’s been a superstar in the making for the past few years. —Will Schube

Album: DIE FOR MY BITCH

Producers: Keanu Beats and Baby Keem

It’s difficult to pinpoint what exactly makes Baby Keem’s music great. His vocals are malleable—he can rap for mosh pits and wounded lovers alike. His melodies are simple and understated, and his beats are often skeletal. Yet, he’s one of 2019’s most captivating and promising new artists, and tracks like “Orange Soda” prove why, even if you can’t quite articulate it. The production’s eerie synth could provide the perfect soundtrack to take a drive for a late-night hookup, and Keem’s bars are lusty and urgent, while still maintaining his brilliant deadpan humor. “You want me drop a band on some cute shoes?/You want me be the man you can vent to?” he asks, weighing just how far he’s willing to go for physical pleasure. Ultimately, “Orange Soda” is Keem at his most irreverent and charming, covering topics other rappers have explored ad nauseam, but with an idiosyncratic charm. Perhaps he says it best himself on the second verse, “Baby Keem: not a wave, I’m a vibe, ho.” —Grant Rindner

Album: Gangalee

Producers: Dímelo Flow, Sharo Torres, and Karloff

Farruko and Bad Bunny really put the reggae in reggaeton with this one. My coworker and I were in Puerto Rico earlier this year, and we couldn’t stop playing this—especially because I had kush in the fanny pack (la cartera) for the entire week we were there, really living what these rappers rap about! Seriously, though, “La Cartera” has (to me) easily the best hook of the year behind “Old Town Road.” If you don’t agree, then it’s probably because you didn’t pay attention in your Spanish 101 class. Anyways, YKTFV. —Angel Diaz

Album: N/A

Producer: Kevin Parker

Tame Impala’s Kevin Parker has always been a restless songwriter, but his new approach on “Patience” comes as a bit of a surprise. Moving away from the ’60s and ’70s influences of albums past, Parker finds himself exploring the worlds of glam, disco, and dance floors across the globe. It’s a stunningly efficient piece of pop music, with Parker’s glassy voice floating across the ice rink-smooth foundations laid by the song’s drums and synths. Tame Impala has always been about the little flourishes between the lines—the moments that happen just below the surface. Here, that’s an occasional hand clap or barely-there percussion. “Patience” almost feels like a long-lost DJ mix crammed into five minutes, with Parker moving between sections so quickly, it’s as if he’s writing the song as it’s being recorded. The washy vocals and skittering synths grab Parker’s attention for long periods of time, but he still grows uncomfortable locking into any groove for too long. On “Patience,” Parker flirts with guitar solos, multi-part harmonies, and an extended jam. None come to fruition, and the track ends as abruptly as it began. Kevin Parker started to feel comfortable, and that’s against the rules. —Will Schube

Album: When I Get Home

Producers: John Carroll Kirby, Pharrell Williams, and Solange

The amount of talent on this song is unreal. Pharrell and The-Dream have about a zillion hit songs between them, and have ruled the radio for decades. Add to that mix the unique talents of Playboi Carti, and then put that combination into Solange’s idiosyncratic genius, and you have a result so stacked that it’s simply unfair to the competition. The song (much like the rest of the album) is an ode to Houston, to blackness, to black women, to Screw and the genre he started, to resilience, and to the entirety of the South. To have all that wrapped up in evocative, poetic phrases and memorable melodies, along with those Stevie Wonder-like synths, is almost too much for us mere mortals. Knowles sisters, we hardly deserve either of you. —Shawn Setaro

Album: CrasH Talk

Producers: Baby Keem, Nez & Rio, and DJ Fu

Picking the song to announce his long-awaited return was a challenging task, but by choosing “Numb Numb Juice,” Schoolboy Q made sure he came back with a bang. Clocking in at just 1:47, the track doesn’t have a wasted second. Even when he’s rolling through pretty well-trod lyrical territory—touching on gangbanging, women, and weed—Q tackles the topics with such verve it feels as if he’s abstained from all three of them since 2016. The refrain here is downright spiteful, as Q dismisses actions deemed “bitch shit” with palpable, venomous disdain. The switch in cadences from the first verse to the second shows that he has perfect command of his raspy voice and knows how to get the absolute most out of it. This incendiary intro to CrasH Talk belongs with Schoolboy Q’s absolute best work. —Grant Rindner

Album: Rap or Go to the League

Producer: 9th Wonder

2 Chainz’s over-the-top personality is central to his appeal, but on Rap or Go to the League’s “Threat 2 Society,” he offers us as close to an unvarnished origin story as we’re likely to ever get. Over a sample of “So Good to be Alive” by the Truthettes (chopped by 9th Wonder), Chainz reminisces about both simpler times in Atlanta and the harsh reality of adolescence shaped by drugs, violence, and poverty. “You n****s cryin’ over spilled milk/Probably never seen your friend killed/Probably never seen your dad die / Or played dodgeball with fed time,” he raps without a trace of hubris. Most affecting are his own admissions of fault. “I done some things I ain’t proud of/Like sold my mom drugs,” he admits. But just as he turned around his life through music, the verses on “Threat 2 Society” each end on a positive note, as he shows thanks for his family, wealth, and success. Towards the end of the song, 2 Chainz raps, “This beat hard enough to put Jay on it,” but he does a stellar job handling it all on his own. —Grant Rindner

Album: Revenge of the Dreamers III

Producers: J. Cole and T-Minus

Fans have been looking for J. Cole to ignite a rap beef with his peers since he went platinum with no features for the first time. That day will probably never come, but we do see Cole straddle between firing a few warning shots and unifying a divided industry on “Middle Child.” Cole kicks off the track with braggadocious bars and threats (“Niggas been countin’ me out/I’m countin’ my bullets, I’m loadin’ my clips / I’m writing down names, I’m makin’ a list”), but later outlines his place in the rap game. He illustrates a family tree, wedging himself between two generations. He’s the teacher and the student, offering up gems of advice to rookies, while revealing the knowledge he’s absorbed from lunches with Hov. —Jessica McKinney

Album: So Much Fun

Producers: Nils and Wheezy

When the first line on a song is “Rose gold seats on a fuckin’ helicopter,” you know you’re in for something special. “Bad Bad Bad,” one of the standout tracks from Young Thug’s So Much Fun, is a gleeful, surreal spending spree featuring Thugger and his protégé, Lil Baby, both at the peak of their powers. While the Atlanta iconoclast is mostly known for his woozy, cascading melodies, his rapping atop this razor-sharp beat from Wheezy and Nils is pinpoint precise. Thug’s tight staccato delivery allows the lyrics to shine, as he flexes about everything from having six figures tucked in the walls of a trap house to building a supervillain lair. Baby’s flow, by contrast, feels fluid and steady; it’s as if he recorded the whole verse in a single breath. It’s the perfect complement, not only to Thug’s vocals, but also the crispness of the claps and snares. “Hot” and “The London” may have overshadowed it from a commercial standpoint, but “Bad Bad Bad” is one of Thug’s most sublime (and wonderfully ridiculous) songs in years. —Grant Rindner

Album: N/A

Producers: Ghostrage and Quay Global

On “Out the Mud,” two of Atlanta’s most celebrated trappers turned rappers deliver a lesson in going from nothing to something. “Took the whole gang from out the hood and put 'em on the payroll,” Lil Baby raps over a hard-hitting backdrop, courtesy of frequent collaborator Quay Global (and Ghostrage), while Future breaks down the odds: “Where I'm from, you either gotta murder, if you make it out you a god.” The track, dripped in a magnetic flute loop, counts as the first official collaboration between the two—and it sounds like there’s more in store if Super Slimey 2 becomes a reality. Their chemistry on tackling the street come-up shouldn’t come as a surprise, as Future previously praised Lil Baby as being one of the GOATs of trap music today. “I give it to Lil Baby. Lil Baby and Gunna… Right now, they them dudes.” Real recognize real. —Edwin Ortiz

Album: Die A Legend

Producers: Iceberg and JD On Tha Track

This summer, it was hard to escape the melodic menace of “Pop Out.” The collaboration was perfect for the moment, with Chicago’s Polo G and the Bronx’s Lil Tjay delivering threats both frequent and sundry above the somber keys that temper JD on tha Track and Iceberg’s production. There’s robbery talk, gun talk, an LL Cool J reference, and, perplexingly, this couplet from Tjay: “Got that .40 on my side and I’m just rollin’ past the jakes/Both my hands could do the job and I ain’t talkin’ masturbate.” We’ll let that one slide, mostly because we had “Pop Out” on repeat for a minute this year. —Lucas Wisenthal

Album: IGOR

Producer: Tyler, the Creator

On an album like IGOR, where every song is deliberately placed to work on its own and as part of a larger whole, Tyler, the Creator manages to imbue each moment with enough energy to work on its own accord. The album is best consumed as a whole, yes, but each song is strong enough to stand on its own as a single. One of the best of these is “A Boy is a Gun,” although it’s difficult to pick out any moment and hold it above the rest on an album this peerless. On IGOR, Tyler spends a lot of his time mixing his voice into a tapestry of sounds, rarely standing out in a discernible way. It’s a marvelous departure from his earlier works, which were aggressive in their insistence on Tyler’s raps being at the center of the song. But here, the approach is an outlier, with Tyler spending most of the album mingling with his collaborators. He still does that here, although less explicitly. Solange lends some vocals, but this is Tyler’s show. He almost free-associates his bars, moving from lost love to current obsessions. It’s a throwback beat, full of dusty samples, ’70s vocals, and a collection of different melodies coalescing into a whole. Tyler sounds at peace, reveling in the genius of his own creation. —Will Schube

Album: 7

Producer: YoungKio

Just one year ago, Lil Nas X was sleeping on the floor in his sister’s home, and now he has a Grammy-nominated, diamond-certified single. The success of “Old Town Road” can be credited to Nas X’s persistent social media campaign, an assist from a country music legend, and the controversy that unraveled as a result of Billboard’s classification process. But no matter the catalyst, the track stands on its own as an undeniably catchy force to be reckoned with. Built around a simple message and an irresistible hook, “Old Town Road (Remix)” dominated the charts and commercial airwaves. Importantly, it also became a mega-hit in every elementary and middle school across the country. By the end of the year, some of the excitement around “Old Town Road” has been lost after we’ve all heard it a million times, but it’s hard to deny the magic around this song when it first dropped. —Jessica McKinney

Album: KIRK

Producer: DJ Kid

The most open-hearted track of DaBaby’s dazzling career also happens to be one of his best. Though KIRK, his second album of 2019, was primarily a well-deserved victory lap, its lead single was a sober, contemplative exploration of Baby’s father and grandmother passing, his strained relationship with his brother, and his early struggles, all viewed through the lens of his newfound fame. “My brother be thinkin’ that we don't love him and let him struggle like we ain't family/Like I won’t give up all I got to see you happy, n***a,” he says on the first verse. DaBaby raps in passionate, precise double-time atop a beat from DJ Kid that is so soulful it’s genuinely shocking there’s no credited sample. The North Carolina rapper often projects an image of a larger-than-life playboy without a care in the word, but “Intro” reminds us that behind that persona is a family man grappling with life and loss like the rest of us. Play this for everyone who says all his songs sound the same. —Grant Rindner

Album: Meet the Woo

Producer: 808MeloBeats

Pop Smoke’s “Welcome to the Party” is a chaotic track anchored by the Brooklyn rapper’s hauntingly deep voice and catchy ad-libs. The lyrics are sinister and violent, but full of one-liners that can easily double as Instagram captions. The song is so distinctly Brooklyn, thanks to Pop Smoke’s thick accent and a BK drill beat from producer 808MeloBeats, but he makes the most of his breakout moment to branches out far beyond his own borough. If “Welcome to the Party” wasn’t a staple on your house party playlist this year, was the function even poppin’? —Jessica McKinney

Album: Indigo

Producers: Vinylz, J-Louis, and Noah “40” Shebib

“No Guidance” is a seductive cut that you wouldn’t necessarily expect to go so hard in the club, but something about it is just so damn catchy that DJs couldn’t stop playing it this year. Drake opts to sing on the track rather than lay down a rap verse, setting up a sing-off between the two that provides complementary textures to “No Guidance,” with Drizzy’s soft vocals building the song up before exploding into Brown’s harmonies. At the beginning of the decade, the mention of Chris Brown and Drake’s name in the same sentence was a sign of a gossip headline. Now, it’s the recipe for a hit single. —Jessica McKinney

Album: When I Get Home

Producers: John Carroll Kirby, Metro Boomin, and Solange

Solange’s “Stay Flo” is all about taking life to the face. Beginning with a few taps on the xylophone and a simplistic bass line from Peter Lee Johnson (who also did compositions for Ty Dolla $ign’s “LA,” Big Sean’s “Sunday Morning Jetpack,” and Ariana Grande’s “Moonlight”) the song is filled with dreamy melodies perfect for slithering into bed at night, or to put on first thing in the morning. Metro Boomin is enlisted to enhance the foundation laid by John Carroll Kirby. Descending in the calmest of ways, Solange sings about the inevitable tribulations of daily happenings for a song that feels like the modern-day version of K-Ci & JoJo’s “Life.” Moral of the story? Shit happens. But, like a face mask, Solange uses “Stay Flo” to remind people that you’ll go through things every day; wash it off your face and keep it pushing. —Kemet High

Album: Fever

Producer: LilJuMadeDaBeat

2019 was the year that both Megan and DaBaby broke into the mainstream, jumping to the top of everyone’s lists for Rap Rookie of the Year consideration. So, it only makes sense that their collaboration would end up near the top of our list. “Cash Shit” contains the best elements from both artists: Megan’s humor and in-your-face sexuality, and DaBaby’s flowing triplet rhythms and perfectly timed pauses. If the phrase weren’t discredited because of an album that somehow never quite made it to Spotify, I’d be tempted to call this song the best of both worlds. —Shawn Setaro 

Album: WHEN WE ALL FALL ASLEEP, WHERE DO WE GO?

Producer: Finneas O’Connell

Billie Eilish is the future, and her single “bad guy” is the highlight of her meteoric year. Duh. It’s the unexpected, sobering banger that not even the 17-year-old knew would dominate the charts. The song’s power comes from its progressive build-up. As the beat drops and the bass starts booming, giving the feeling of everything becoming unhinged, Billie maintains control with mellow humming. Although her vocals are often compared to whispers, her delivery doesn’t come off as that of a timid singer fighting to be heard. Instead, she’s bold and devilish in an endearing kind of way. This song helped birth the anti-pop heroine the genre was thirsting for, and reimagined what a teen icon looks and sounds like. —Jessica McKinney

Album: N/A

Producer: DJ L Beats

I know some people really fuck with G Herbo’s original version, “Gangway,” but I would be inclined toward recency bias and stand by Uzi’s take, mainly because I try to copy his dances randomly (especially when I have “Free Uzi” blaring through the speakers while I drive). Who doesn’t feel like shifting imaginary gears when this comes on? Also, this proves once and for all that Uzi can fucking rap. Y’all gonna have to stop frontin’ un día desto. This song and video are amazing. Also, bonus points for the song turning out to be prophetic, as Uzi seems to have fixed his label situation and Eternal Atake is finally on its way. They really freed Uzi. —Angel Diaz

Album: Bandana

Producers: Madlib, Freddie Gibbs, Ben “Lambo” Lambert, and Eothen Alapatt

This is textbook rap, folks. Everything from Freddie and Pusha’s verses to Killer Mike’s chorus to Madlib’s beat is hip-hop perfection. This is the shit them old heads are always talking about missing these days. Push’s verse brings the feeling back, and somehow his tales of hustling always sound like a new adventure. He’s like that uncle who tells you the same story over and over again, but he does it so well that you keep listening, like it’s the first time you heard it. Shouts to Uncle Push! —Angel Diaz

Album: N/A

Producer: Hit-Boy

“Racks in the Middle” feels like when you walk outside for the first time, the sun hits you, and you feel rich. It’s aspirational, like a Polo commercial. Nipsey’s line “Limo tint the V-12, double check the details” always makes me feel a way, even more so now that he’s gone. Nip was really supposed to take over after this track, but unfortunately, he was taken from us a month later. Let Roddy Ricch’s soulful vocals and Nipsey’s truth wash over you like that first hit of a blunt after a long day. Because of this song, I’ll always aspire to have racks in my center console as I cruise through various cities for the rest of my life. —Angel Diaz

Album: Revenge of the Dreamers III

Producers: Pluss, Christo, and Nice Rec

“Pistol grips get to squeezing/wish a nigga would, like Liam Neeson,” one of the most outrageous bars of the year, foots the price of admission onto this list on its own. That it’s just one of a handful of delightful moments across these three minutes and 22 seconds is why it’s so high. The Dreamville compilation album Revenge of the Dreamers III arrived under the burden of high expectations thanks to its storied creative sessions, but on first listen, “Under the Sun” effortlessly swatted any concerns or anxieties away. This is everything you want from a track on a compilation album: elite verse from the general; a compelling showcase for the label talent (again, Lute, Liam, wow); an A-list feature from DaBaby; and an even more A-list uncredited cameo from Kendrick Lamar. Nothing new, sure, but Dreamville’s prospects are quite bright. —Frazier Tharpe

Album: So Much Fun

Producer: Wheezy

“Hot” proves that Young Thug hasn’t passed the torch to Gunna, but instead, the two are creating one roaring flame together. The So Much Fun single moves slowly, with the confidence of an apex predator in the jungle. Stalwart producer Wheezy crafted one of his best beats ever here: a hellish carnival of brass, flute, and booming bass. The production’s slow creep is a perfect backdrop for Thug’s high-pitched flow, as he ping pongs around the mix, reflecting on his harsh past and putting his many biters in their place. There’s such verve and inventiveness to Thug’s bars that even when he’s rapping about non-existent luxury products like Cartier jeans or a Chanel Patek Philippe watch, we’re all in without a question. Gunna is equally impressive here, delivering intricate internal rhymes and a smooth, understated flow that feels like a deliberate choice to contrast the beat. And the Travis Scott-assisted remix, which got the big-budget blockbuster video treatment, only made the single more unstoppable. “Hot” is a controlled burn that’s just on the edge of raging out of control—a perfect synthesis of Young Thug, the underground favorite; and Young Thug, the mainstream star. —Grant Rindner

Album: IGOR

Producer: Tyler, the Creator

To think that “Earfquake” was originally written to be performed by Justin Bieber or Rihanna is intriguing, to say the least. But fate had other plans. In Tyler’s own hands, the track digs into an intoxicating vibe that sounds more likely to become the soundtrack to a scene of HBO’s Euphoria than a typical Billboard chart-topper. Disregarding traditional song structure conventions, “Earfquake” relies on chorus loops and ad-libs. Tyler dances over distorted production as he delivers high-pitched vocals, which are balanced with Charlie Wilson’s soulful harmonies. Playboi Carti also deserves praise for his dizzying verse near the song’s end, coming through with an addictive take on his impressionistic baby voice flow. You might not hear “Earfquake” in the club, or even on mainstream radio, but the record is a gem, and a standout among Tyler’s growing arsenal of show-stoppers. —Jessica McKinney

Album: thank u, next

Producers: Scootie and TBHits

Ariana Grande’s vocals have always been out of this world, but she went full interstellar on this one. Who else but the formidable writing trio of Ariana, Victoria Monét, and Tayla Parx could craft a song that analogizes deep space travel with negotiating breathing room in a relationship and make it sound this good? The beauty of thank u, next is in the way it renders the specifics of Ariana’s love life down to its base relatable concept, fulfilling its role as therapy for her, but not at the expense of being an enjoyable earworm of a pop song for us. No track on the album does this to greater effect. Ari sounds so dulcet as she coos white lies like, “You can come and kiss me through the phone tonight,” to placate some poor guy (wonder who?). She requires no deeper meanings or explanations behind simply needing me time. Who could blame any man for believing her? —Frazier Tharpe

Album: Baby on Baby

Producers: Jetsonmade and Pooh Beatz

Not only did DaBaby have the biggest breakout year of any hip-hop artist in 2019, he may have had the best year in all of rap. Dropping two of our favorite albums of the past 12 months and tallying more Billboard Hot 100 hits than any other artist (regardless of genre), DaBaby built a bulletproof resume this year. And the cherry on top of it all was his true breakthrough moment, “Suge.” DaBaby’s crisp vocals punch straight through throbbing production from Jetsonmade and Pooh Beatz, as he delivers brazenly confident lyrics about keeping $32,000 in one of his pockets (and a glock in the other) after signing a deal with Interscope. He even figures out how to say “Tell your bro I’m a motherfuckin’ tutor” in a way that still sounds cool as hell. As rap has become increasingly focused on melody in recent years, fans have been growing hungry for an exciting new rapper who prefers a more traditional approach, and DaBaby comes right on time. Relying on a powerful vocal delivery, clever bars, and an oversize personality, “Suge” feels fresh and familiar at once. As we near the end of 2019, there is growing chatter about how DaBaby supposedly keeps “making the same song over and over.” But how can you blame him when the blueprint (“Suge”) is so good? As time goes on, he’ll have the chance to explore more stylistic territories, but for now, let’s sit back and appreciate how flawless this song truly is. —Eric Skelton

Album: Perfect Ten

Producers: Mustard, GYLTTRYP, and Justus West

Whenever aliens finally visit, it’s going to be tough to explain the circumstances that led to “Ballin” not being a top-five Billboard hit and unanimously declared Song of the Summer. So Mustard and Roddy Ricch will have to settle for Song of the Year. Thankfully, the recognition is finally starting to roll in, all the way to a Grammy nomination for Best Rap/Sung Performance. Mustard’s album Perfect Ten more than lives up to its title, and “Ballin” is its crown jewel, a feel-good anthem so infectious you’ll need antibiotics just to stop running it back. Roddy’s joy is our joy, as he revels in a victory lap he could’ve never imagined he’d be able to take, and with so many more wins to achieve down the road. With one flip of 702’s “Get It Together” and a beat that feels like the radiance of the L.A. sunshine harnessed on wax, Mustard and Roddy’s collaboration is the beam that pierced an often dark and cloudy year. —Frazier Tharpe