My 50 Favourite Songs of 2019 – Part 3 of 10

Hey all!

During the latter half of November 2019 I’m going to be doing a little write up on my top 50 songs of 2019. This is just a draft for now really, and is more accurately my top 50 songs from December 2018-September 2019. I’m without a computer at the moment so have been unable to listen to the last 7 weeks of music, but once I have caught up I will post a final ‘Top 50 of 2019’ list, which will be much more accurate.

I’ll be doing this in 10 parts (with 5 songs each), with the first being Tuesday 19th, and another coming out each day for the following 2 weeks. So, with that said, read on, listen to some of the songs, and let me know what you think, hopefully you discover some songs you enjoy!

• Rich The Kid – Like Mike (ft. Jay Critch & A Boogie Wit Da Hoodie)

I’m a big Rich The Kid fan, which seems rare, so when I listened to his 2019 album ‘The World Is Yours 2’ I came across a bunch of tracks I thoroughly enjoyed. There was one clear standout though, with one of the songs easily being the best all round, and that is ‘Like Mike’, featuring Jay Critch and A Boogie Wit Da Hoodie. I’ve said multiple times in these write ups that certain songs have ‘one of the better hooks of the year, which basically means it has a great hook, but not top 5 worthy. This song however, has what I would consider easily one of the top 5 hooks of the year, and on top of that 2 great verses which compliment the song well.

This is another song with a real basic beat, with the drums doing nothing too special, and the beat being made up of some real poppy synths. As mentioned, the quality of this song that makes it stand out amongst the other great songs on the album is the hook, one of my favourites of 2019. Rich The Kid enlists label mate and frequent collaborator Jay Critch for hook duty, and to say he delivers is an understatement. The way Jay Critch delivers the hook is exceptional, with an amazing flow which switches up a couple of times throughout, and some great wordplay and rhyme schemes that just make this hook so so enjoyable to listen too. On top of all that, there are some amazing bars within, my favourite being;

“I’m on a roll like dice,

You gotta pay the price,

She give me face like Skype”

All together, it comes down to the fact that this hook is insanely catchy, largely thanks to Critch’s delivery and annunciation of the bars.

The song features 2 verses, the first being from Rich The Kid and the second being from A Boogie. Despite the hook being the standout to me, I think both verses are in no way weak. Rich The Kid’s verse flows well over the basic beat, he has some solid rhyme schemes, and he has a bunch of decent bars as well. A Boogie continues his stretch of great features in 2019 with an amazingly delivered verse, flowing in a much more melodic way than Rich, all while mixing up his flows and spitting a super solid verse about how good he is with women. Both verses could be better, but regardless I thoroughly enjoy them both, and each add to the song overall, with the hook bringing up the song into top 50 range.

In summary, I’d say this song is a great showing of all 3 artists talent, showcasing Jay Critch’s amazing flow (one of the best in the game I think), Rich’s ability to not be so one dimensional, and A Boogies knack for flowing over any beat with ease and while maintaining his addictive melodic delivery. Easily one of the best hooks of the year, and nothing bad enough to bring the song down at all

• Lil Pump – Stripper Name (ft. YG & 2 Chainz)

Over an oddly addictive beat, a super catchy hook, and with the help of fellow rappers YG and 2 Chainz, ‘Stripper Name’ from Lil Pump’s ‘Harvard Dropout’ is one of the strangest, funniest, and most fun listens of the year.

All 3 rappers have a verse each on Stripper Name, with all three verses revolving around the topic of strippers, and in particular each artists experience with certain strippers. YG has my favourite verse on the track, flowing confidently over the strange instrumental, and delivering some great quotables, including my favourite of the track;

“I got a bitch named Nisha, yeah she down to fuck,

And I don’t do doo-doo, so I don’t do the butt,

Swallow your pride, and swallow this nut,

She said ‘take me on a trip’, ‘Take this dick and shut up”.

2 Chainz follows YG and his verse is just as enjoyable, also flexing his laid back flows and hilarious lyrics and wordplay. Lil Pump has the first verse, and does a great job at holding his own alongside the 2 more established rappers, delivering an extremely enjoyable verse in terms of lyrics and flows. His verse is just as funny as the feature verses, and he rides the beat just as well.

The hook is simple, with Pump just spitting 4 basic bars before repeating; “I don’t know the bitch but I know her Stripper Name”. Despite being simple, it’s very effective and one of the best parts of the song, tying together all the verses amazingly. The beat is also one of the best part of the tracks, with this strange synth giving the track a real mellow vibe, but the heavy 808’s making the song a banger overall. It’s easily one of the stranger beats of 2019, but that just helps it standout amongst the plethora of music being released, and each artist works the beat perfectly.

Overall, this is a weird mix of being a chill song, a banger, and one of the funniest songs of the year. Pump, 2 Chainz and YG all ride the beat seamlessly, and lyrically don’t take themselves too seriously, delivering some of the most hilarious one liners of 2019. Just an all round fun and interesting song, one of the 2 standouts for me from Lil Pumps album.

• Rick Ross – Running The Streets (ft. Denzel Curry & A Boogie Wit Da Hoodie)

‘Running The Streets’ is my personal favourite song from Rick Ross’ 2019 project ‘Port of Miami’, and one of the best collaborations of 2019. Rick Ross enlists A Boogie Wit Da Hoodie and Denzel Curry, and does an exceptional job at combining the 3 artists seemingly different sounds to give us a beautiful, well written and super enjoyable track.

Both the beat and the hook on this song are quite simple, but really set the mood and the theme of the track out well. The hook is basically just Rick Ross saying ‘Running, Running, Running the streets’ among other simple lines, but this really leads well into the verses, with each artists verses boasting about their respective come ups, and the fact that they now ‘run’ the hoods they grew up in. The beat may be simple, but is one of the best parts of the song and really ties it all together. Composed mainly of a super clean sounding piano melody, the beat also contains sections of intense church organs, some subtle brass instrumentation during the hook, as well as a simple drum beat which is present throughout. The beat as a whole gives the whole song this real nostalgic, reminiscent kind of vibes, but at the same time the church organ and the brass instrument sections give the track this real triumphant feel.

Each of the 3 verses are exceptional, seriously. All 3 of them ride the piano based beat with ease, all without sacrificing their respective signature sounds; Ross being this cool gangster type, Denzel using his aggressive fast paced flows, and A Boogie showing off his amazing melodies. All 3 of the verses are also a great showcase of their writing skills, with each artist delivering a wide range of solid and personal bars, touching on topics such as love, family, gang violence, and dealing with loss. I don’t have a favourite verse on this, with each artist delivering an extremely personable and yet enjoyable performance.

Going in to this I was excited but nervous, not thinking the sounds would mesh well despite liking each artist, but Rick Ross really shocked me. I think Rick Ross takes each artists signature sounds and blends them together perfectly on this track, giving each of them a chance to flex their rapping and writing skills over the simple piano based beat. This is probably my favourite Rick Ross song for 3-4 years, and is one I can see myself coming back to for a long time.

• Quando Rondo – New One’s (ft. NoCap)

New Ones, a track from Quando Rondo’s ‘From The Neighbourhood To The Stage’ project, is a real vibe. Featuring fellow melodic rapper and up and comer NoCap, this song combines the 2 artists similar styles incredibly well, with both of them delivering an emotional but extremely enjoyable performance over this super chill guitar based beat.

The beat is so pleasant sounding on this, sets a real mellow mood for the whole song. Made up primarily of a chill drum beat and a beautiful little guitar melody, for the most part the beat takes a back seat and allows the bars to really shine. The beat also features this amazing little synth which is like a distorted female vocal ‘ahhh ahh’ sound, really adds a nice little touch to the instrumental. The hook is one of the standout features, and is insanely catchy. At times I’ll listen to this track and during the chorus I’m like ‘wow this is the best lil baby song of the year’, but it is actually NoCap who delivers the hook, despite sounding Lil Baby like. The hook just sounds amazing, delivered melodically and containing some amazing lines, including one of my favourites;

“I can buy a hundred steaks, and I still won’t meet the cops,

My jewellery frosty flakes, I barely got time to see my pops.

Quando and NoCap both spit a verse each, and both do so with amazing melodies and emotion-packed bars throughout. Despite being 2 artists amongst many who are riding this current melodic rap wave, each of them have a unique sound and showcase it well on this track. Quando has the first verse, and melodically the whole thing sound great, with Quando rapping about such things personal to him, such as suicide and sticking by his day ones. NoCap has the second verse, and is the best part of the track to me. He flows with ease for the duration of his verse, has this super emotional, melodic delivery, and spits the best bars of the song. One of my favourite bars of the song is in this verse, which is;

“But Ay, that’s how it be,

I just didn’t see it in you”

(Smart use of ABC for anyone that didn’t catch it).

In summary, this song does an exceptional job at standing out in a sub-genre that I feel is extremely bloated in 2019, being this ‘melodic trap’ wave. With a beautiful, relaxing beat, and an extremely catchy hook, NoCap and Quando have a difficult job to hold up the quality of the song, but both bring their A-game with some amazing verses, and as a result we have a song that is both beautiful and fun, and one that’s enjoyable enough to keep coming back to.

• Yung Gravy – The Boys Are Back In Town (ft. Pouya, Ramirez & TrippythaKid)

‘The Boys Are Back In Town’ is one of the most ridiculous songs of the year, with 4 rappers delivering a range of hilarious bars in a real in-your-face intense fashion, over one of the best made and most fun instrumentals of the year. The posse cut is from Yung Gravy’s 2019 project ‘Sensational’, and features fellow rappers Pouya, Ramirez & TrippythaKid.

I’ll start with the beat, which is one of the best parts of the song and one of the better beats of 2019. Overall it’s quite an experimental beat and one that’s hard to accurately describe, combining some heavy bass throughout the track (probably some of the best bass this year), a slightly mundane electronic cowbell like synth, some rattling high hats, and this insane little beat switch on the hook which has this instrumentation that gives a real circus vibe. The ridiculous beat is only strengthened by the obscure structure of the song, which has the 4 rappers taking turns spitting 4-8 bars before throwing over to the next. It features a short hook of sorts, which contains that amazing beat change and Gravy introducing the rapper who delivers the following verse. The beat and the loose structure combined give the whole song this real experimental feel, while still making the song seem super natural, almost as if the 4 artists were just sitting around spitting bars with each other trying to outdo one another.

The song is further strengthened by the bars, which are quite frankly exceptional for the duration of the track. Each of the 4 artists have 2-3 small 4-8 bar verses, but each of them match the eclectic beat perfectly, rapping with high intensity flows, solid rhyme schemes, and great quotables all around. The heavy bass really helps the bars to hit harder, and the change up in instrumentation during the hook really breaks up the song so it doesn’t sound like a cypher. I’m incredibly impressed with each rappers contribution to the track, and actually think they all deliver a solid 10/10 performance. Start to finish this song is crazy enjoyable in terms of the vocal performances and deliveries, with Gravy even ending the track promptly after a hilarious couple of bars.

Overall this is easily one of the best made songs this year, considering how different and experimental it is, it’s exceptionally well mixed and mastered, and strangely accessible. Considering Yung Gravy had never worked with the 3 featured artists before, the chemistry between the group is unmatched, with all 4 rappers sounding like they are having a great time with some fellow rappers they have been rapping with for years. As someone who was either unfamiliar with, or not a fan of all 3 featured artists, this was an exceptional showing of the potential of all 3, and I implore you to check this song out even if you aren’t familiar with some or all of the artists.

• Summary & Discussion

Spotify playlist of all songs here!

Apple Music of all songs here!

Have you heard any of these songs before? What are your opinions on them?

Do you have any recommendations for me based off these songs?

If you havn’t heard them before, I’d highly recommend giving them a listen and letting me know what you think!

Thanks!

– Shan –

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