12

Jealous (ft. Kendrick Lamar) - Fredo Santana

Seeing Fredo Santana in the cut would truly be a scary sight. His plethora of facial tattoos and name association with Chief Keef make him one of the most feared teenage faces in Chicago, IL, much less modern hip-hop. However, he has grown substantially out of the shadow of ring leader Keith "Chief Keef" Cozart in the past 12 months, releasing 4 mixtapes and garnering an impressive feature from King Kendrick.

Don't let Fredo's pubescent facial hair fool you; his guest feature (all 2 seconds of it) in Drakes, "Hold On, We're Going Home" featurette proves Mr. Santana is a skilled multitalent AND hardened street presence. 

Kendrick Lamar, the year's MVP on many lists, provides a solid lyrical offering, connecting his past theme of familial alcoholism ("Drunk right now, so you know I mean it") with his family's history in Fredo's home city ("Those who say they know me know that Chitown's like my second home"). "Jealous" is probably the best release by a Chicago rapper this year (I'll exclude Kanye from that definition; Yeezus was all about the European influence).

16

Numbers on the Board - Pusha T

Before Yeezus season was even approaching, the creative mastermind of Kanye West had his fingers in several other projects. His jocular, competitive, and yet malicious influence carried through to Terrence Thornton's first solo release, and its single visual offering on May 10, 2013. 

Jay-Z had put together a freestyle-esque diss track directed at his his dissenters a week or two prior, "Open Letter." He addressed media disapproval over a recent vacation to Cuba with his spouse, Beyonce Carter (né Knowles). As readers of this post may have noticed, that song did not make it into the Top 150... But it did beget the release of "Numbers on the Board." Terrence tells the story of Ye phoning him from Paris to notify that he would drop the track, to keep up with the real hip-hop "fire" from Jay Z. In 15 minutes.

The Don Cannon-produced beat received a special Mr. West touch-up (Kanye executively produced the album; the dark, minimal Yeezus vibe is embedded in the song). Terrence gets boastful, even scary. The old-ass Jay Z sample only adds to the mystique of one of the darkest songs to chart highly on this list.

Royals - Lorde

"Royals," by almost all measures, was one of the most popular songs of 2013. Radio play on alternative, pop, and adult stations boosted the 16 year-old New Zealand songstress' soothing, pretty song to international acclaim. Because of this, there is a vast amount amount of online blog literature in praise and analysis of Lorde. One of my favorites is Pitchfork's piece on the "indification" of pop music, and vice versa. Another is Complex's brief, and far from absolute, analysis of the hip-hop imagery used in her lyrics.

Without preaching too much, I will offer a short thinkpiece more in line with Complex's work. Lorde cites "gold chains," "Cristal," "tigers on a gold leash," and "Maybachs" as iconic symbols of excessive wealth, and how her and her lover will never experience such financial esteem, but instead have their own love to exceed the benefits of modern royalty. However, the images she chooses to cite are not only American in nature, but images of American hip-hop from the past decade or so. Is Tyga, with his tiger on a chain, a true "royal" in the sense that Lorde wishes to criticize? She is offering a social critique of excessive wealth, yet Tyga's annual income and societal clout is dwarfed by others in America. He is both a target of international teenage songwriters and a goofy caricature of young black wealth. He is by no means a royal who enjoys the privileges Lorde seems to look down upon. Why does Lorde choose to name the Maybach automobile brand, most commonly associated in American music culture with Maybach Music Group CEO Rick Ross? Is Cadillac, or Mercedes-Benz, or Land Rover not a more esteemed vehicle of American excess?

Perhaps Lorde's visions of American excess are purely derived from pop culture, and as a 16 year-old New Zealand native her perspective is skewed. This is no reason to analyze her position differently than any other song which offers social commentary. Her commentary suggests an ascetic life is one suited for her and her lover; the life of "royals" is worthy of dismissal. But her characterization of royalty is inaccurate; hip-hop artists with first generation, self-made money and stupid possessions do not constitute America's influence-wielding body.

142

Southern Comfort Zone - Brad Paisley

Some opening lyrics:

"Not everybody drives a truck, not everybody drinks sweet tea
Not everybody owns a gun, wears a ball cap boots and jeans
Not everybody goes to church or watches every NASCAR race"

You can see where this is going. Some generic Southern passion to ignite some summertime patriotism, nothing major. ...Or is it?

Yes, it is. But still, Brad puts on a massively successful tour every summer, has a loyal fan base, and seems like a stand-up bro. He deserves a spot somewhere on this list.

Wild For the Night (ft. Skrillex) - A$AP Rocky

Regardless of A$AP's secret society affiliations, doubts about the integrity of his music, and occasional sailor outfit, this track is a pure banger. Skrillex has lost some cultural standing in recent months, but I guess "Scary Monsters and Nice Sprites" couldn't satiate the masses forever.

Check out the visuals if you're looking for a real fiesta (or just A$AP Mob + Skrillex chilling in the Dominican Republic).

Black Skinhead - Kanye West
by Jimena P.

That's the top song if you don't know now you know. I wouldn't say it is my favorite song but it is the top song, doggie dog.

*Jimena is my girlfriend and a 2nd year at Northwestern University. We are in Paris for New Year's this year.

65

Who I Am (ft. 2 Chainz and Big Sean) - Pusha T

A friend of mine once joked that Pusha T leaked this track, saw how poorly the reception was online, and thus his album was pushed back, yet again. I have been waiting on Push's solo debut for quite some time now. To me, his personal narrative exceeds that of nearly every other rapper in the last decade. In brief, he sold cocaine and crack in his hometown of Virginia Beach, VA, made thousands, and used those funds to promote a rap career with his brother, Malice. After several quality but low-selling releases as the duo Clipse, Malice chose to abandon the dopeman/rapper route and find God. He is now a preacher.

This left Terrence in an odd position. Lyrically dextrous and flush with coke money, he found his way to Kanye West's GOOD Music label. As a featured guest on GOOD Friday releases and MBDTF, Pusha T solidified himself as a lyricist, style icon, and bona fide Yeezy associate.

If the width of his nostrils aren't enough of a visual cue to his past career, his boisterous and frightening delivery confirm his kingpin status. Despite my friend's claim, features from 2 Chainz and Big Sean almost always make for a dangerously catchy hip-hop track (see: All Me - Drake). And with executive production from Yeezus himself, Yeezy season lasted all summer long. Look for more cuts off of My Name Is My Name higher up on the list.

8

Employee of the Month - 2 Chainz

The artist formerly known as Tity Boi receded from the limelight in 2013, coming off a banner year in 2k12 with a new album, the summer's best verse, and 99 total features (at $100,000 each, because he's just that GOOD). Tauheed Epps' September 10 release, B.O.A.T.S. II: ME TIME, was a strong follow-up, but casual hip-hop listeners probably didn't need more 2 Chainz in their face to fuel rap's critics.

Diplo does it right with this luxurious backing beat, but 2 Chainz' verses are far from memorable. Still, I appreciate the high energy braggadocio. Earning the vaunted EotM title at an Atlanta strip joint never seemed so glamorous.

BBC (ft. Nas) - Jay Z

Pharrell has had a banner year: he produced numerous Billboard hits, was a main visual and musical feature on one of the most hyped releases of my lifetime (Daft Punk's Random Access Memories), and his streetwear collaboration with Japanese style icon Nigo, Billionaire Boys Club, celebrated its 10th anniversary. Fittingly, the shaker-heavy, dance-y "BBC" is track number ten on Jay Z's capitalist success story, Magna Carta Holy Grail.

Since the extensive ad slot during Game 7 of the 2013 NBA Finals, the most hyped element of the album was bound to be the backing beats. Timbaland, Rick Rubin (as a prop), Pharrell, and Swizz Beatz are all featured as musical collaborators; this beat makes a strong appearance at 2:43. Groovy!

Nas exhibits some strong flow, but would we expect less: "Now I'm smoking loud in Ibiza / Mix the D'USSE with the reefer." Oops! According to RapGenius, Nas lost his $1 million Henessey partnership over this line, choosing to reference Jay Z's cognac of preference. And Jay wouldn't let him change it, even after Nas offered a new verse... Oh well, still made for a fresh, catchy summer jam.

113

Hate Being Sober (ft. 50 Cent, Wiz Khalifa) - Chief Keef

Chief Keef has evolved from reckless Southside youth to cultural punchline. The now 18 year old Keef (ne Keith Cozart) has experienced a lot this year: a first studio release, prison, and the 2nd birthday of his daughter. Although physically mature, he has not matured lyrically or stylistically since he began his rise to ghetto stardom several years back.

"Hate Being Sober" contains an awful message, but it's an easy listen. Fiddy and Wiz over middling verses, but considering Curtis hasn't given us much to chew on this calendar year, any appearance was news. He will drop a full-length project in January 2014.

Bugatti (ft. Future, Rick Ross) - Ace Hood

The average American would have a hard time relating to Ace Hood in his situation--after a hard night of activities, he awakes in a $300,000 foreign luxury performance vehicle. Although removed from society's current ills, this overproduced banger endured many weeks of radio play. Future really steals the show with a powerfully autotuned hook. A top candidate for "Hook of the Year."

Dope (ft. Rick Ross) - Tyga

Tyga appears to be a scrawny mixed-race punk with a lot of tattoos, and the music video for Dope not only presents him as such, but also as extravagantly wealthy. Your favorite Vietnamese-Jamaican rapper comes through hard on this hashtaggy, gloating single, but the real star of the show is The Boss, Rick Ross: "Hating on hood niggas dying around here / Bath Salt Boss, got insurance on the beard."

Ross has been known for waxing over the truth lyrically, but it is especially strange of him to assume the title "Bath Salt Boss." Perhaps living in Florida, where the use of recreational bath salts is on the rise, Ross fears that the face-eating tendencies of some bath salt users will affect his signature beard? Either way, the old Dre and Snoop sample really make this one a quality track of SoCal hip-hop in 2013.

72

Switch Up (ft. Common) - Big Sean

A summer filled with fresh rap releases was capped with the much-anticipated sophomore offering from Detroit's Sean Anderson, Hall of Fame. Considering that Guap, the album's first single, dropped in November of 2012, it was a long wait. Guap was fresh, well-produced, and dumb: all elements critical to the success of a Big Sean release. The album's second single, released in April, strayed away from that formula.

Abandoning boyish flatbrimmed hats and hockey jerseys for a neat-collared white get-up, Switch Up's cover was a sign of things to come. Big Sean and his GOOD Music reps crafted a bizarre but culturally relevant distorted neon aesthetic that would characterize his album. I don't have a good link to identify the recent cultural interest with bright colors and "trippy" themes, but rave culture has enjoyed mainstream appreciation in recent months--probably not an effect of Big Sean album covers. Rather, his change in image was to acclimate to this new social obsession.

Thankfully, Sean Don stays true to his roots as a corny, silly lyricist over an echo-y No I.D.-aided track. Some highlights:

"D-Town I ride around, me and my dog like Charlie Brown"

"D-boy / Never sold but I got more lines than corduroy"

And Common, of poor quality feature notoriety (see: Get Em High (ft. Talib Kweli, Common) - Kanye West), manages to turn in a pretty strong offering on verse two.

Power Trip (ft. Miguel) - J. Cole

Many hip hop performers who handle their own production find themselves in a confined commercial environment; while they have total control of the making of their music, they cannot readily turn out enough material to stay relevant. J. Cole had previously experienced success as one of these artists. 2011's Cole World: The Sideline Story was a highly-touted release, with "Can't Get Enough," "Work Out," and other cuts receiving considerable airplay on urban radio. This single from his sophomore release validates J. Cole as a viable radio-ready rapper whose nominal street credentials (he has a college degree, how ignorant can he pretend to be?) are overshadowed by his production talent.

Many of J. Cole's lyrics give off the impression that he is an overzealous, try-hard student of the industry. Fortunately, he scraps that angle for a purely lustful narrative of a high school-type love affair: "Well this has gotta be the longest crush ever / If I ever get a fuck, it'd be the longest bust ever." The story is simple, but impassioned.

A crackly, nostalgic intro busts into pulsing bass, the kind of bass that comes from a fat, outdated car stereo system. Miguel does his thing as well as ever. Power Trip is an easy personal listen and a solid, accessible hip-hop track for group situations.