As always with this time-consuming project, a song MUST have a music video in order to qualify for the list (sorry Childish Gambino). December 15th, 2017 is the cutoff date for all 2017 music videos. Anything released after that date is eligible for next year's list. There is a playlist featuring the songs in order from 40-1 in order at the very bottom of the page in case you do not want to click each individual link as you read along the list.
Here is a list of songs that were in close consideration for the Top 40 Songs of 2017 that just missed the cut...
Countdown Contenders
Arcade Fire - Electric Blue
Asgeir - Stardust
Charly Bliss - DQ
Emily Haines & The Soft Skeleton - Fatal Gift
Haim - Right Now
Run The Jewels - Call Ticketron
Sundara Karma - Happy Family
Sylvan Esso - Radio
The World Is A Beautiful Place & I Am No Longer Afraid To Die - Marine Tigers
To the actual list... (click song titles for accompanying video)
#40. Chance The Rapper "Same Drugs"
A song that ranks somewhere in the middle of an awesome 2016 mixtape, "Same Drugs" was not at all what I was expecting when I initially noticed the song title. It features Chance, a piano and backing vocals from many including the tremendous Erryn Allen Kane. The song is a somber tune about the drifting apart of two love interests and the differences in their mutual hobbies over time. As Chance has confirmed over Twitter, the song is not at all about drugs. It's a pretty obvious metaphor that is a pleasant enough listen that it barely even qualifies under the rap genre. Chance's charisma carries the track into the top 40 of the year as he continues to be one of the most interesting musicians around. The rapper has broken through into the mainstream through both his charitable efforts and optimism and this cuddly puppet video did not hurt the cause.
Fun Fact: Without technically releasing an album (Coloring Book being the first mixtape to ever be nominated at the Grammy's), Chance won three Grammy Awards at the 2017 ceremonies.
#39. Julien Baker "Turn Out The Lights"
Criminally ignored by some (admittedly myself) in 2015, Baker is the biggest breakthrough folk singer I've heard since Brandi Carlile a decade ago. The incredible amount of emotion she puts into her vocals are startling at times. Many of her singles tend to have a build up that lasts two to three minutes until she turns her voice up as loud as it can go. "Turn Out The Lights" is the best example of Baker at her highest of heights. It is just Baker, her voice and her guitar until the final minute when a very discreet drumming can be found by an attentive listener. It's a sad song that reminds me of Sinead O'Connor at her peak.
Fun Fact: #39 on my 2016 list? "Love Again" by Run The Jewels featuring Gangsta Boo.
#38. Tei Shi "How Far"
Another relatively new artist that has been unfairly ignored. Tei Shi (born Valerie Teicher) has been brewing for a few years with two EPs that garnered some attention and finally, an album called Crawl Space this year that received barely any attention in the #ListSeason ranks. This surprised the hell out of me because Tei Shi jumps from genre to genre, making one of the most refreshing and intriguing records of 2017. On "How Far", Tei Shi finds herself making an early St. Vincent song with even better vocals. It's a highlight on Crawl Space and really shows the potential that she has to appear on future countdowns of both mine and hopefully, eventually others.
Fun Fact: Teicher was born in Argentina.
#37. Sam Smith "Too Good At Goodbyes"
The king of choirs returned in 2017 after a three year absence. Smith did not do anything too interesting or thrilling on his second album, The Thrill Of It All. Luckily, having a voice like Sam Smith, Adele, Beyonce' or Gallant means you get some free passes on making otherwise okay songs sound incredible, simply by using the instrument of one's voice. Smith pretty much crafted a less controversial (RIP Tom Petty) version of 2014's "Stay With Me" and it was a lock to break through as a hit late in the year despite the transitioning from 2014's pop dominance to present day young rapper takeover. He might get some undeserved Grammy nominations in 2019 after dominating only two years ago but, if "Too Good At Goodbyes" receives any attention for award season, it certainly won't be unwarranted.
Fun Fact: "Too Good At Goodbyes" has reached #4 on Billboard's Hot 100, #7 as of the week of December 30th.
#36. Father John Misty "Total Entertainment Forever"
Nobody plays the character (it is a character, right?) of trolling, self-righteous asshole better than Josh Tillman (AKA: Father John Misty) right now. I just want to thank Kid Cudi for not only introducing me to Haim (this band that was really awesome in 2013) and for dropping MGMT's greatest song ("Pursuit Of Happiness") but, for also introducing me to Father John Misty (his "Hollywood Forever Cemetery Sings" was heavily sampled on Cudi's "Young Lady"). The former Fleet Foxes' drummer has had some solid showings in the past but, Pure Comedy elevated him from "quirky folk singer" to "Elton John meets the internet" as the 74-minute tour into piano ballads about the end of the world made him more of a vocalist than everyone had previously assumed. The video for "Total Entertainment Forever" is a trip as it includes Macauly Culkin playing Kurt Cobain being crucified in a virtual reality world made of papier-mache'. The entire song is about how entertainment has taken over our lives and is the only enjoyment for some in their lives, as it has dominated our American culture. If "Bedding Taylor Swift every night inside the oculus rift"does not grab your attention, maybe the saxophone will.
Fun Fact: Pure Comedy is nominated at the Grammy Awards for Best Alternative Music Album.
#35. Thundercat featuring Michael McDonald and Kenny Loggins "Show You The Way"
Continuing on the story of a Marshawn Lynch-lookalike samurai who loses his arms in a battle in his kitchen in 2015's "Them Changes", the video for "Show You The Way" sees our samurai find peace with his disability through means of getting some weird black substance knocked out of his skull (depression?). The song is the funkiest modern music that yacht-rock dads and uncles everywhere will eat up because Kenny Loggins and Michael McDonald are involved and sound just as they did (although, slightly less intelligible) thirty years ago. This random trio of artists is a highlight of Thundercat's Drunk and the chill vibes given by what sounds to be an underground music club's respectful applause once McDonald's name is announced brilliantly contributes to the mood on a fun collaboration.
Fun Fact: "Them Changes" was my #19 song of 2015.
#34. Paramore "Fake Happy"
Paramore has come a long way from the pop-punk days of the mid-to-late aughts as the band has gone from sounding like an Avril Lavigne side project (which is not a diss) to becoming a standout rock band with heavy pop influences. After Laughter is a pop album with nearly emo rock lyricism and "Fake Happy" is a standout with Hayley Williams feeling alone as the only person masking her emotions in a group setting. It's one of the smarter tracks to make the charts this year and it's all sung over a seemingly uplifting beat in a deceptive tone. It's Lily Allen meets Paramore which is great because, despite their drifting further into pop music, it's still Paramore at it's core and that is noticeable.
Fun Fact: This is Paramore's fourth appearance on one of my annual Top 40s.
#33. Bruno Mars "Versace On The Floor"
Bruno Mars used to just be a generic pop singer that butchered a Grammy tribute to Amy Winehouse for me, personally. Now, he's the coolest pop singer since pre-nineties Michael Jackson. "Uptown Funk" was a throwback-to-Motown masterpiece and my #3 song of 2014, "24K Magic" was G-funk meeting present day braggadocio hip-hop and my #10 song of 2016 and "Versace On The Floor" is a let's-get-freaky R&B throwback that showcases his voice in a much better manner than the more popular "That's What I Like". He's done playing the nice guy that just wants to sit at a piano and droll on about how perfect his lady friend is, he just wants to be a badass with some sensual moments as the Mars' character develops new traits.
Fun Fact: The music video co-stars Zendaya, a woman famous for singing and acting, who I had only seen in advertisements for acne prevention.
#32. Lana Del Rey featuring The Weeknd "Lust For Life"
On the self-titled track from her fifth album, Lana Del Rey enlists upon the help from her friend and male equivalent, The Weeknd to dance on the H of the Hollywood sign. "Lust For Life" sounds nothing like the Iggy Pop hit from many decades ago as it is doo-wop meets moody Tumblr music. Much like "Versace On The Floor", this song is pure sex, as both musicians go back and forth telling their partners to "take off all of your clothes". Much like "Too Good At Goodbyes", it is exactly what you would expect a song by these two artists to sound like and it does not even matter because it just fits perfectly. I do wish that The Weeknd could have gotten to showcase his vocals a little bit more here but, that's just nitpicking what is otherwise a phenomenally produced pop song.
Fun Fact: Pop genius Max Martin co-wrote the lyrics to "Lust For Life".
#31. Father John Misty "Pure Comedy"
Back to this eccentric fellow. The title track from his third album is a six-minute epic rant about how absurd it is to be a human and the flaws and turmoil that can follow within human logic. It's the political thinkpiece to end all thinkpieces. This is another song by Josh Tillman that could have easily been a younger Elton John's track if he made his music with much more contempt for those around him. The video is genuinely disturbing as it combines political figures and memes with the Pure Comedy album cover suddenly animated at the center of it, in all of the cover's creepy, artistic glory. The yelling Tillman does near the climax of the song is a welcome break from his somewhat monotone singing voice that otherwise takes up a majority of the album.
Fun Fact: According to albumoftheyear.org (a website that tracks all of the aggregate song and album end-of-year lists), "Pure Comedy" was the #26 song of 2017.
#30. Kendrick Lamar "DNA."
DON CHEADLE ALERT! DAMN. is a very good album that is being overrated somehow because every functioning publication agrees that it is one of the five best records of the year. "DNA" is the highlight of Lamar's fourth album as it begins with a real audio clip of Geraldo Rivera criticizing Lamar's lyrics as read to him by a white woman, with no real context on Fox News. Lamar then goes in harder, better, faster, stronger with his quick-witted lyricism than on any other track from DAMN.. The song is about Lamar's pride in his heritage and is pretty much his "fuck you" to any person that twists his songs to be a promotional device for stereotyping or any other way to diminish his heritage. The beat-switch in the middle of the song is the most intense moment in 2017 rap music.
Fun Fact: K. Dot trails only Jay Z in Grammy Nominations for 2018 with 7 compared to Mr. Carter's 8.
#29. Charli XCX "Boys"
Some songs are simplistic yet essential to music-listening ear (for example: Imogen Heap's "Hide And Seek"). Very rarely does it occur that a song gets enough of a push in either direction for my end of year list based on it's video. This song seems to have both down pat as it is a short, childish song that is playful in a fun way (not in a Meghan Trainor, overly cutesy way) and the video fits right in with the lyrics as it stars a bunch of semi-famous boys trying to model for the female (or male) viewers. A fun time is had by all and don't think it's lost on me that this is basically the female version of songs/videos male musicians have been making for years. The reversal of roles is just as entertaining as the video for "Baby Got Back" and this time, it stars familiar faces like Riz Ahmed, Mac DeMarco, Ezra Koenig and Jack Antonoff. Charli XCX is quietly one of the most important pop artists we have right now.
Fun Fact: The video was also directed by Charli XCX.
#28. Ed Sheeran "Castle On The Hill"
Plenty of people in the pop circles of the world lost a lot of interest in Ed Sheeran when [Divide] turned out to be his poppiest (and least original) album of his short yet dominant career. "Shape Of You" got all the airplay and replay buttons but, "Castle On The Hill" was the Sheeran-est of Sheeran tracks from his third album. The second single was what we had come to expect from the 26-year old singer/songwriter as it tells a story of a reunion among friends from school catching up and reminiscing on days gone by. The video fits perfectly with the lyrics and the song is likely to win over older fans of Springsteen in it's lyrical content and he becomes a one-man Mumford & Sons with the guitar and the gravel hitting his high notes on the chorus. We need more of this version of Ed Sheeran and less of the love-struck, pop superstar Sheeran
Fun Fact: Ed Sheeran was Billboard's Artist of the Year for 2017.
#27. Radiohead "Man Of War"
Technically a 1997 song, only released for the first time ever as a bonus track on Radiohead's OKNOTOK, a 20th anniversary edition of their timeless classic, OK Computer, "Man Of War" is just as awesome now as it would have been in the late nineties. It is one of the greatest songs I have ever heard that did not make the final cut of an album ("Only One" by Kanye West is near the top of this list but, I'm not sure who else would make that list because I'm just naming songs off the top of my head at the moment). The song was a perfect release after their cold and relaxed A Moon Shaped Pool because while it also heavily incorporated strings, "Man Of War" was a return to a more classic rock sound that could be a hint at what is next to come from the greatest band around.
Fun Fact: The original version of this song was recorded for the 2015 James Bond film, Spectre.
#26. P!nk "What About Us"
Music certainly shifted toward politics in 2017 (what didn't?) and even a fun pop-rocker like P!nk was not immune to ranting about greedy politicians. P!nk really outdid herself on the choreography executed in this music video full of interpretive dancing and flexibility. The song itself starts as a ballad and turns into something we haven't heard much of from her since "Get The Party Started" and that's a dance song by the artist formerly known as Alecia Moore. It became one of the more overplayed songs in the midwest and yet, I never tired of it. For most, this would be a generic song with boring lyrics but P!nk has been doing this for close to two decades and can adapt to changes in the monoculture of music better than most.
Fun Fact: P!nk won the Michael Jackson Video Vanguard Award at the 2017 MTV VMA's and capped off her career-spanning montage of hits with an intense performance of this song.
#25. Danny Brown "Ain't It Funny"
Coming off of one of the most electric albums of 2016, "Ain't It Funny" only got it's proper respect on this year's list with the music video being unveiled in March. Everything Danny Brown does or creates is bizarre yet unavoidably enthralling. The 36-year old rapper from Detroit used many electronic influences on his Atrocity Exhibition album and even made some songs ready for the dance floor, no matter how dark and serious the subject matter might have been. "Ain't It Funny" is about Danny acknowledging his addiction troubles and explaining that he wants to get past this phase of his life but, it might just last forever because he knows no other way out than to keep getting high. It's depressing as hell but, that beat produced by Paul White is insane and the bits of saxophone make this way more fun than the subject matter insists. The video is just as trippy as the song thanks to Jonah Hill making his music video directorial debut.
Fun Fact: Atrocity Exhibition was my #9 album of 2016.
#24. Miguel "Told You So"
Miguel made a song that sounds like both the eighties and the future. Miguel was already one of the world's coolest R&B singers and then in 2014, he tried and aced his stint in the rock genre. Now in 2017, he released his poppiest record to date in War and Leisure. The song doesn't have the meme-ability of the "Splish!" ad-lib in "Skywalker" but, the production of this track is like nothing else I heard this year. Again, the song has a political undertone as Miguel was warning the world about where it's headed on earlier tracks from his fourth album and the climax is reached here with the 32-year old reminding the listener of his previous warnings now coming to fruition.
Fun Fact: #24 on my 2016 list? "On Hold" by The xx.
#23. Selena Gomez "Bad Liar"
When it comes to Disney pop stars, Miley Cyrus WAS the only one to take seriously until she completely abandoned her awkward phase and shunned it from her life as if "Wrecking Ball" and "We Can't Stop" weren't awesome songs. Now, Selena Gomez has been lurking in the shadows for years as the next pop star to be taken seriously and with her most unique song to date, "Bad Liar" hints at her possibly reaching her prime. The song heavily samples the bassline from Talking Heads' "Psycho Killer" and the music video is the most fun story full of twists over a short span of less than four minutes released all year. I prefer this Gomez to the EDM-feature Gomez but, both are putting together quite the Greatest Hits catalog.
Fun Fact: "Bad Liar" was the first song ever to have it's music video premiere on Spotify.
#22. (Sandy) Alex G "Bobby"
Alex G was an indie rocker with critical acclaim and some heavier songs than most on this list. (Sandy) Alex G is the persona Alex Giannascoli adopted once he recognized there was another Alex G singing on Youtube and it's best to just avoid any potential legal battles if either of these two become megastars. (Sandy) Alex G is well on his way with the superb record, Rocket, of which "Bobby" is not even the best song. The song is the most folk tune on my top 40 and with Giannascoli's voice harmonizing alongside his backup singer, Emily Yacina, it is a beautiful song that has Giannascoli pondering whether or not his dedication to his significant other made him turn into a less satisfied, genuinely depressing person.
Fun Fact: #22 on my 2016 list? "Skipping Stones" by Gallant featuring Jhene Aiko.
#21. The Weeknd featuring Daft Punk "I Feel It Coming"
Canadian Michael Jackson enlisted upon Daft Punk for much of 2016's Starboy, including the title-track that made my list last year (#12) but, their robotic voices only made an appearance on this retro-yet-futuristic sounding instant classic pop song. Of course, this is the first time we've heard Abel Tesfaye want anything more than a one-night stand from a relationship and that's nice to know since he's been involved in a couple of high-profile relationships. The video looks like something released on VHS tape, a thing I have not thought about in a long time and sees The Weeknd and Daft Punk in space. It's his most danceable hit since "I Can't Feel My Face" as he continues his hot streak with his second appearance on my 2017 list.
Fun Fact: "I Feel It Coming" was the #34 song on Billboard's 2017 Hot 100 list.
#20. Alex Cameron featuring Angel Olsen "Stranger's Kiss"
Alex Cameron is a character. No, seriously. His name might actually be Alex Cameron but his failed-musician act actually translated into an overnight success story this year with some help from his more famous friends (Ex: Brandon Flowers, Kirin J. Callinan and Angel Olsen). "Stranger's Kiss" is the highlight of his second album, Forced Witness, as Cameron gives a Springsteen-esque performance and Angel Olsen does her classic, folk Angel Olsen thing. The video is just as unique and artistic as the song itself. Jemima Kirke of Girls fame plays a woman obsessed with a street performer (presumably the character of Alex Cameron) so much so that she completely adapts his look and wins him over as they then perform as a duo. The production of this track features multiple layers of saxophone around the chorus and makes it Cameron's grandest showing of all music he's done up to this point.
Fun Fact: Jonathan Rado of Foxygen produced the entirety of Forced Witness.
#19. St. Vincent "New York"
Annie Clark has always been one hell of a songwriter and with an assist via Jack Antonoff production, she made her cleanest ballad yet in "New York". Of course, the lyrics are still pure St. Vincent as the chorus cannot be played on any mainstream radio stations. At first, I just assumed that Antonoff had gone too far in his quest to turn all superb female indie acts into pop stars. Eventually, the song grew on me as it did most everyone else. The song just fits within the context of Masseduction, pushing boundaries (to the extent that boundaries can still be pushed in 2017. It's the most realistic depiction of Clark in love, describing her former partner as a "hero" and "friend". It may not seem revolutionary in the grand scheme of music but, it is another swerve from a tremendous artist that many were not fully expecting.
Fun Fact: This is St. Vincent's 5th song to make one of my top 40 lists.
#18. Grizzly Bear "Mourning Sound"
With one of the worst, most bizarre music videos I have ever seen, it's a good thing that this single was a lock for the top 40 the first time I heard it. Grizzly Bear was just another folk band with one defining hit "Two Weeks" for about eight years until they released this perfect night-driving song. The lo-fi guitars combined with the harmonious vocals and monotonous keyboarding may have rubbed some hardcore Grizzly Bear fans the wrong way by taking their sound into a direction that could be described as "too poppy" or "desperate for a hit" in the way that songs like "Feel It Still" by Portugal. The Man. can still sneak through into America's hearts and eardrums but, this song works in causing goosebumps every time.
Fun Fact: One of the members of Grizzly Bear is actually named Christopher Bear.
#17. Arcade Fire "Everything Now"
Despite one of the most obnoxious marketing tours for any music ever, The Butlers and company came through once again with a song that will easily become a staple of their epic live shows for years to come. "Everything Now" is one of the more joyous examples of a band becoming a little too poppy to not be accused of selling out by their core fans. With production assistance from half of Daft Punk (Thomas Bangalter) and Steve Mackey, the bassist from Pulp, Arcade Fire pulled off the greatest homage (or ripoff) to ABBA the music world has seen. With both this song and The Killers' "The Man", it's almost as if disco is having a renaissance and with all of the negativity in both music and world news nowadays, for a politically charged band to try and go into disco? I am here for it.
Fun Fact: "Everything Now" was Arcade Fire's first number one on any Billboard chart, with it reaching #1 on the Adult Alternative Songs chart.
#16. Dua Lipa "New Rules"
Counting in music has not been this fun since Feist's "1234". In a year that saw more women empowering each other than any years previous, this helpful aide of a pop song told of how to get over that guy that some just cannot get over. It's one of the catchiest songs for a new artist since "Call Me Maybe" and "All About That Bass" except, unlike those songs, this track feels fresh ad catchy without becoming an annoyance. 22-year old Dua Lipa is now one of music's most exciting new acts as this song is not only a bonafide hit but, "New Rules" has one of the strongest accompanying music videos for any song in 2017.
Fun Fact: Spotify named Dua Lipa as the most streamed female artist in the UK.
#15. Sylvan Esso "Kick Jump Twist"
Nobody was doing synth pop better than the duo of Amelia Meath and Nick Sanborn this year. With the arrival of their second album, What Now, came a more refined sound and a more easily danceable record than it's self-titled predecessor. "Kick Jump Twist" is what it sounds like when you give the band a five-hour energy and ask them to come back with a song about how it feels to be confident. The video captures the song perfectly as dancer Gary Reagan goes ALL IN on nailing choreography that somehow matches the beats perfectly and that is something you will never see in any mosh pit.
Fun Fact: What Now is nominated for Best Dance/Electronic Album at the 60th annual Grammy Awards.
#14. John Legend featuring Chance The Rapper "Penthouse Floor"
Originally a song entirely dedicated to being another addition to John Legend's long career of slow, sexual jams, "Penthouse Floor" became much more than that as he and producer Blake Mills worked on the track. Eventually, Legend changed plans and decided to combine the funkiest non-"Redbone" tune of 2017 with a song advocating for equality among social classes. The song has heavy racial undertones, including Chance The Rapper playing a white man telling a joke that ends in Chance jumping either down from his now-elevated status as a successful black man in a tone that resembles that of a slave master. It's quite the contrast between musical content and lyrical content and can evoke many different emotions, depending on who is listening and when they are listening.
Fun Fact: This is Legend's first appearance on my annual Top 40 since 2013's "Made To Love" featuring Kimbra.
#13. Arcade Fire "Creature Comfort"
When I heard that Arcade Fire was releasing an album in 2017, I had zero clue that the first two singles would sound like an ABBA cover band ("Everything Now") and something out of a video game menu from the 1980's but, the latter is exactly what the first ten seconds of "Creature Comfort" brings back memories of. The second single then turns into an Arcade Fire song about depression and uncertain futures. It also happens to be the only track on Everything Now that I would consider Alternative Rock (a genre they have dominated for over a decade). There's a reason "Creature Comfort" has been the closest thing to a universally well-received track among all the mixed reviews of the band's fifth record and that's because it is the most well put-together song with realistic depictions of characters that still resemble the bones of an Arcade Fire song.
Fun Fact: There were two official videos released for this song, the original version linked above and the Pop-Up Videos homage that I prefer for it's humorous depictions of the band.
#12. St. Vincent "Pills"
"Drugs are bad, 'mkay?" is not a revolutionary idea nor is spicing it up by hinting that the government is somehow controlling everyone's minds by tricking us into continuously abusing these pills but, St. Vincent just makes everything a little bit freakier and it works once again. Lyrically, she lays everything on the table as something people only accomplish as a result of the drugs they take. "Pills" also takes us behind the scenes of what Annie Clark claims to have been up to in the down-year she had between touring for her self-titled fourth album and the creation of this fifth album, Masseduction. It remains unclear as to whether or not Clark actually had struggles with any addictions or vices during her time away from music, however brief that really was but even if it isn't, she still knows how to sell one hell of a catchy, quirky story.
Fun Fact: The chorus to this song is mostly sung by Clark's ex, Cara Delevingne.
#11. Logic featuring Alessia Cara and Khalid "1-800-273-8255"
It may seem like an eye-rolling statement after the song reached it's peak outreach but, naming a beautiful song about not giving up on life (and relating to the possibly suicidal listener) the actual Suicide Hotline number and nothing else... "Who can relate? (Woo!)"... is a brilliant move on Sir Robert Bryson Hall II (AKA: Logic)'s part. Enlisting upon two Best New Artist nominees at this year's Grammy's before they were even known nominees made this bases-clearing triple a home run. Sure, the ad-libbed "WOO!" is one of the worst things in music this year but, it's the one thing preventing this song from being a 5-star, possible #1 Song of the Year candidate on everybody's year-end lists. The video is a short film about a young gay man struggling with his sexuality and eventually, his coming out of the closet and surprise, surprise! A Second Don Cheadle Alert! Dude was everywhere this year so, props to him. Also if you get the time, check out the VMA's performance of this song as it is one of the better live performances I saw all year and it happened at the damn VMA's.
Fun Fact: Drew Taggart of The Chainsmokers (a duo highly unlikely to ever make any of my lists) actually shares a co-writing credit on this song.
#10. Kesha featuring The Dap-Kings Horns "Woman"
After the tragic death of Sharon Jones, it was incredibly refreshing to hear anything Dap-Kings related get attention and sound upbeat after their biggest ally was no longer around to continue their legacies together. Overall, it was really great to hear some of the group that's contributed to Amy Winehouse's "Rehab", Mark Ronson & Bruno Mars' "Uptown Funk and the David Byrne/St. Vincent album still making some of the most upbeat, funky music around. Also refreshing, was hearing Kesha (no more Ke$ha, only Kesha) make an upbeat, party-starter of a track after all of the shit that kept her out of music for the past six years. There were plenty of uplifting anthems for women in a year where plenty of women were fighting back against the system that's benefited the opposite gender for literally ever but, this one was one motherfucker of an anthem.
Fun Fact: #10 on my 2016 list? "24K Magic" by Bruno Mars.
#9. Lorde "Green Light"
If there was one instrument that seemingly always worked in the past for making hit songs that was also criminally ignored in 2017, it was the piano. Low and behold, Jack Antonoff was there to save the piano from extinction by making sure Lorde's underground hit of a second album, Melodrama, was chock full of pianos, ballads, intense lyrics and pristine pop production. The first single off the critically acclaimed album made everyone question what direction Ella Yelich O'Connor was headed in. Was she going too poppy? Was Jack Antonoff having a bad influence on the personality of her songs? Was she going full-on optimist when everyone else is worried about the future the way Chance The Rapper, M.I.A. and Miley Cyrus had? As it turns out, none of those worries came to fruition. Her album gained no traction on the Billboard charts and instead, she stayed a critical darling and with good reason... "Green Light" fits perfectly as the opener on the Melodrama album as it is clearly a new day for this 21-year old performer but, she's still Lorde and she's just added dance music to her resume'.
Fun Fact: Melodrama is nominated for Album of the Year at the 2018 Grammy's.
#8. Lorde "Perfect Places"
Much like how "Green Light" was the perfect album opener for Melodrama, "Perfect Places" was the perfect conclusion to one of the better albums released this year (That list is coming New Years' Eve). Sonically, "Perfect Places" sounds like "Green Light Pt. 2" but while "Green Light" is about her first heartbreak, "Perfect Places" is just a shout out to all of the cities she stayed in while creating this album. With New York, New Zealand and many other locations on the Lorde tour map becoming her perfect places of solace that helped her recover from the heartbreak, it was a really uplifting note for such an emotional album to end on.
Fun Fact: Melodrama being nominated for the Grammy's Album of the Year category is the only nomination Lorde received this year. The last time this exact scenario went down? 2001, Paul Simon's You're The One.
#7. Sylvan Esso "The Glow"
"The Glow" is the perfect song to choose when introducing someone to Sylvan Esso. It was inspired by lead singer Amelia Meath's obsession as a high school student with The Microphones' The Glow Pt.2, it is also one of the rare songs on the list that isn't too interested in being lyrically lengthy as there are many "Ooooh OoooOOOhoo"'s and instrumental breaks. Overall, this one highlights Meath's vocals and producer Nick Sanborn's mixing better than any Sylvan Esso track. The song really hits with all of it's power coming right after the acapella track, "Sound", on the Grammy-nominated album, What Now.
Fun Fact: Amelia Meath used to sing backup for Feist.
#6. Feist featuring Jarvis Cocker "Century"
Speaking of Feist, Leslie Feist came back with a quiet bang this year as the entirety of her fifth studio album, Pleasure, is recorded in low fidelity sound. It was a bold choice by the 41-year old Canadian folk singer and in the case of "Century", it 100% paid off. Coincidentally, this song is about the wait that it can take for one to meet their true love or ultimate partner. With just Feist, her guitar and some seemingly angry clapping, this is as close as lo-fi music can come to creating a certified banger. The song gets a slight boost from one of the more fun music videos of 2017 that sees Feist leading a gang of dancers that runs into another gang of dancers led by actress Maria Doyle Kennedy and eventually, they fight. Meanwhile, among the fighting gangs of dancers stands Jarvis Cocker, the lead singer of Pulp, reciting some facts about the concept of a century. It's a bizarre yet welcome break from what could have otherwise been a monotonous record.
Fun Fact: #6 in 2016? "Vincent" by Car Seat Headrest.
#5. Craig Finn "God In Chicago"
A late entry into the field of consideration, I first discovered "God In Chicago" thanks to one online comment that seemed shocked yet incredibly pleased to see this song on some other publication's end of year song ranks. The former frontman of The Hold Steady, Craig Finn has been flying solo for six years now and only now did he finally grab my attention (sorry Craig) with the EXTREMELY midwestern (so, there's a bit of a bias from me here but, not enough to change it's spot within the list were I from southern Utah or something) "God In Chicago". Finn narrates the aftermath of a young man presumably dying of an overdose and falling in love with a woman who did business with the now-deceased young man, who is also the narrator's brother by the way. The track ends on an uncertain note with no real explanation for where things were headed after the girl begins sobbing. It's the most uniquely amazing track of 2017 and there are still four songs better than it somehow.
Fun Fact: I too, have never been to Chicago.
#4. Sampha "(No One Knows Me) Like The Piano"
Oh, you didn't think it could get sadder? THINK AGAIN! Sampha has been lurking for a while both as a featured artist on many SBTRKT songs and as a soloist on his 2016 single, "Blood On Me". In 2017, he released his first album, Process, and proved himself worthy of all the previous hype. "(No One Knows Me) Like The Piano" is the ideal song for a new artist as he not only showed he could play an instrument pretty damn well but, he also explained his admiration for said instrument. Tie that all together with the inspiration of his recently-deceased mother driving the track and you have a real pull-at-the-heartstrings moment every time he places a finger on the ivory.
Fun Fact: Sampha's Process won the Mercury Prize for best album from the UK/Ireland.
#3. Wolf Alice "Don't Delete The Kisses"
The Top three songs were all in the heaviest of consideration for the #1 song of 2017 and going into making this list, I had no idea what was going to be around Wolf Alice's "Don't Delete The Kisses", I was just unnecessarily certain that this song would be my #1 song of the year from the moment it was released (because it's very easy to forget awesome songs once another awesome song comes around by a completely different band/artist). The second single from the band's second album, Visions of a Life, sees lead singer Ellie Rowsell like we've never heard her before. She practically whispers every bit of the song that isn't the chorus and when the chorus kicks in, it is clear that this is one of the best sad-driving songs of the decade.
Fun Fact: NME named Visions of a Life their #2 album of 2017.
#2. Harry Styles "Sign Of The Times"
There were many things I thought a Harry Styles debut track would sound like... Prime mainstream David Bowie was not one of those things. There are not many people trying to revive the pop-rock sounds of the 70's but fuck it, when the face of one of the world's biggest boy bands goes that route with his very first solo single, maybe the genre has a chance after all. Styles showcases his stronger-than-his-bandmates vocal range while describing trying to avoid emotions during difficult moments. It's a pretty baller move for Styles to deviate this far from what people were expecting and it is almost reminiscent of how Justin Timberlake became one of the coolest dudes on the planet after just being that curly-haired dude from N*Sync.
Fun Fact: Harry Styles was the substitute hot for The Late Late Show on December 13th when James Corden was absent for the birth of his daughter.
#1 songs of year's past
2006. P!nk "Stupid Girlz"
2007. Amy Winehouse "Rehab"
2008. Kanye West ft. Dwele & Connie Mitchell "Flashing Lights"
2009. Santigold "L.E.S. Artistes"
2010. Yeah Yeah Yeahs "Skeletons"
2011. Adele "Someone Like You"
2012. Santigold "The Keepers"
2013. Arcade Fire "Afterlife"
2014. St. Vincent "Birth In Reverse"
2015. Courtney Barnett "Depreston"
2016. Dirty Projectors "Keep Your Name"
The #1 song of 2017
After the year that was 2017 ended with five straight months of every famous, non-Don Cheadle male being revealed as a sex monster, it was pretty obvious that this song was way bigger than I ever thought it was upon my first few listens. For instance, here is a rundown of my reactions every time I heard this song...
- Upon first listen, I thought Kesha was going a weirdly religious route but, saw the obvious smackdown she just gave her former producer in the lyrics.
- Upon second listen, I thought "Damn, it's about time we got some Kesha minus the autotune. This is really promising!"
- Upon third listen, all of this other shit has come out about how gross men in power can get and oh shit, Kesha's song is gaining in importance, popularity and it's clearly a grower since it sounds better every time I hear it.
- Upon fourth listen, more information on sexual assaults in male-dominated professions has surfaced and it's caused me to do a little bit of self-reflection. Has there ever been a time where I was unaware of how creepily I myself had acted? Wait a minute, wasn't there a middle school trend that involved something dangerously close to harassment? Did I make a ridiculously stupid decision to grab a butt when I was 14? Oh fuck, literally every answer is yes. Well shit... This really does happen everywhere, every damn day. Why did I do this? To fit in with whatever toxic masculine fuckery was going on at my middle school? Luckily, I was smart enough to realize that this was a fucked up way of acting, even at 14. Apparently some people just don't? Get it together, dudes.
Ok, I think I've deviated from the topic at hand... "Praying" was released in early July and ended up defining the year in a few ways. There's the obvious #MeToo movement connection but, there's also the female pop star gets tremendous reviews despite mediocre Billboard chart performances (see also: Lorde, Selena Gomez, Charli XCX), the piano being the main instrument on a phenomenally written song (see: #4, #5, #9) and then there's just Kesha being a straight-up badass, yelling "fuck the haters" at every turn (see also: "Woman"). When she released "Tik Tok" and had my #4 song of 2010, not even I expected her to ever top that but, I am so, so glad that she did after I saw her appearance on the "Nashville" episode of Noisey and thought "This isn't going to end well". I've been wrong before and I was wrong when I watched that episode. Now to improve.
Here is the Spotify Playlist from 40-1
Here is the YouTube Playlist from 40-1
Here is a playlist of rejects that were in consideration
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| Don Cheadle's reaction upon finding out there was no third DON CHEADLE ALERT! |
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