My 50 Favourite Songs Of 2019 – Part 9 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!

Kodie Shane – Flewed Out (ft. Kevin Gates)

‘Flewed Out’ is a random loosie released by Kodie Shane in early 2019, and featuring rapper Kevin Gates. The song sees the two of them dropping a verse each over this super catchy piano beat, and has Kodie deliver a fantastic little hook too. This song is short and sweet, super enjoyable, has a great feature from Kevin Gates and is probably one of my top 10 songs of the year.

The beat is made up primarily of this simple little piano melody along with a quite frantic drum beat. The piano is the main focus of the beat, and plays this pleasant little melody which is looped throughout the song. There is also the presence of this electric guitar at times, often playing just a couple of notes, and sometimes playing more of a riff, such as during the first part of the hook. The hook itself is nice and short, real catchy, and has a nice little change up within where the drums and guitar drop out, leaving just the piano and Kodie’s vocals, sounds really good.

Kodie starts the song off on a high, with a super strong first verse showcasing her flows and melodies. Lyrically it’s nothing too special, touching on topics such as love and family, but the way Kodie rides the beat, and some of her flows and wordplay at times just sounds amazing. Kevin Gates has the second verse and probably the stronger of the 2. His wordplay is super impressive throughout, and he changes up his flow as the verse goes on, riding the beat with just as much ease as Kodie. Overall I think Kevin was a great pick for the track, with him and Kodie both being quite melodic rappers their chemistry on this track was fantastic.

In summary I’d say this is one of my top 10 songs of the year but for no real precise reason. With a great hook, pleasant little beat, and a couple of great verses the whole song is great and thoroughly enjoyable without anything in particular standing out. I hope this track ends up making it into a project, and hope that Kodie continues with this sound and keeps releasing great quality music.

• Future – Baptiize

Surprisingly I haven’t seen too much praise or many mentions of the Futures ‘The WIZRD’ album, despite Future being as popular as he is. I personally think this was one of his strongest albums, with a bunch of fantastic tracks, and one in particular, ‘Baptiize’, is one of my top songs of the year and one of my favourite Future songs ever. It’s just a really creative, impressive and interesting track, which also happens to have one of my favourite hooks of the year.

The beat throughout the song is stellar, with an incredible beat for half the song, then this amazing best switch, and then another incredible beat for the second half of the song. I think the best part of this beat and the song overall is the ridiculous contrast between the 2 halves of the song, and how well it works. The beat for the first half of the track is the real mellow one, made up of a low tempo drum beat, some spacey electronic synths that create this real atmospheric vibe, and some other angelic sounding piano and string synths used sparingly throughout. The beat starts to distort, and after the beat switch we hear a much more ‘bangin’ beat, with this thumping bass line, these real eerie foreboding synth melodies, and some rattling hi hats. Overall the beat is just one of the most finely crafted of the year, with one of the best utilised beat switches I have heard in the last couple of years.

Future does an impeccable job to match the energy of both halves of the beat with his vocal delivery throughout the verses and hook. The mellow, atmospheric half of the song see’s Future rapping in a low tempo, laid back flow, which sounds fun and is easy to understand. He touches on topics such as drugs, women, and all the things he has bought, nothing new for Future, but he does it in this super nonchalant manner for this half of the track. His hook in this first half is also one of my favourites of the year, being amazingly catchy and just flowing exceptionally. During the second half of the song, Future up’s his energy to match the thumping bass of the beat, delivering bars on similar topics but in a much more confident, in-your-face delivery, and with this real hunger in his voice. The second half also features a different hook, one which is a bit shorter and more repetitive than the first, but still just as effective in the context of the song and the beat switch. Overall Future does a ridiculously good job at flowing with ease over both parts of the beat, really showcasing his versatility and ability to seamlessly adapt to whatever beat he is faced with.

Overall, Baptiize is an extremely well executed song, with a fantastic beat switch and a great vocal performance from Future on both halves of the track. I think the hook is one of the best hooks of 2019, the verses and the beat are all spectacular, and as a whole the song just sounds super well made. This is easily in my top 10 tracks of 2019 so far, and probably would be even without the beat switch and awesome second half.

• Gucci Mane – Fathers Day

Gucci Mane’s ‘Fathers Day’ is ridiculous to put it quite simply. What starts off sounding like it might be one of Gucci’s most beautiful songs ever somehow ends up being one of the most stupidly hard and most enjoyable bangers of the last 12 months. From Gucci’s ‘Evil Genius’ Album, Fathers Day features an amazingly produced Metro Boomin beat, some incredible bars from Gucci, and a super catchy little hook too.

The song begins with this gorgeous little instrumental intro, with these beautiful strings and synths that sound like something out of a romance film, something you would ballroom dance too. Just as we hear this nice little female vocal sample and Gucci begins to rap there is this super abrupt beat switch, with the beat switching entirely from calming strings and synths to this bass heavy, eerie sounding beat with some typical trap drums and this real evil sounding synth. The beat switch is clean and the contrast between the 2 parts of the beat is extreme, but overall it works out excellently.

The hook on Father’s Day is quite short, being just 4 lines which are repeated twice, but it’s super catchy and shows Gucci utilising quite a different delivery than in the verses. As well as that, the hook lyrically is quite good, with Gucci using the analogy of Father’s Day, rapping about how he ‘Fathered this generation’ and ‘Led the current wave’ but didn’t get anything for Father’s Day. The song has 2 verses and they are both excellent, one of the best parts of the song as well as that beat switch. Gucci flows confidently throughout his verses, changing up his flow as they go on, sometimes sounding carefree and menacing, and sometimes sounding boastful and triumphant. Each verse is full of impressive wordplay and bars, and do a great job at maintaining the high quality set forth by the beat switch at the beginning of the song.

Overall I think this is one of the most ridiculously good songs of the last 12 months, easily one of my top ten. That beautiful intro and that abrupt beat switch are just masterfully done, and Gucci sounds so menacing as he flexes his range of flows over the grimy Metro produced beat. This is probably my favourite Gucci track of the last couple of years, and although it’s probably not the most accessible track to casual listeners, I’d highly recommend this one to anyone who likes Gucci but doesn’t have the time to go through all his projects, the clear standout from this album to me.

21 Savage – Can’t Leave Without It (ft. Gunna & Lil Baby)

As someone who had never really enjoyed 21 Savage before, I was extra impressed when I listened through his last album and found multiple songs I liked, with one in particular being the clear standout to me. ‘Can’t Leave Without It’ features frequent collaborators Lil Baby and Gunna, and showcases all three artists strengths over this extremely catchy beat.

The beat has this real dark tone to it, with some low tempo trap drums, this eerie piano melody and this extremely catchy little flute like melody which is used sparingly throughout the song. The hook is handled by Gunna, and is easily one of the nicest little Gunna features of the year. It’s short and quite simple, but has some quality wordplay with this catchy little rhyme scheme, and Gunna just flows so effortlessly, giving off this cool-guy laid back vibe.

21 Savage has the first verse, and this is one of my favourite verses from him on the album and possibly ever. He sounds hungry, showcasing a much higher energy flow than usual, and changing up his delivery multiple times as his verse goes on. This verse also showcases how great 21 Savage can be as a writer, with bars packed full of impressive wordplay, great metaphors and hilarious one liners. Lil Baby has the second verse and I think the weakest of the song. I think the verse sounds quite nice melodically, fits the beat well, and overall meshes well with the rest of the song, but it’s just not as impressive as the amazing Gunna hook or killer 21 Savage verse, especially considering Lil Baby has many other better verses in 2019. Fortunately after the final hook we see another appearance from Lil Baby with him performing a short outro of sorts, and this is a Lil Baby addition I absolutely love, think it sounds ridiculously good and is a really solid way to close out the song.

Overall I think this is an amazing song start to end, with one of my favourite Gunna features of the year, a decent Lil Baby feature to match, some crazy good rapping from 21 savage and that addictive little flute in the beat. This is easily one of my favourite songs of the year, and would be top 5 if I didn’t think Lil Baby’s verse was a little average at times. But none the less, an extremely impressive showing by each artist, and super enjoyable song in the end.

• Malibu Ken – Tuesday

I think Tuesday is one of the most enjoyable and most accessible tracks from my Album Of The Year, Aesop Rock and Tabacco’s ‘Malibu Ken’. It’s a great little showcase of everything that’s done so well throughout the album, from Tobacco’s arcade video game like beats, to Aesop’s incredible dense lyricism, packed full of crazy wordplay and visual imagery. What this track does best I think is tell some sort of story that’s easy to follow, which can be an issue with Aesop’s usual content due to it being so complex and packed full of metaphors and obscure references.

The beats throughout this album are hard to put into words, and the beat for Tuesday is no exception. It’s made up of these obscene electronic synths which combine to give this real video game vibe, with the synths sometimes picking up in intensity to give a real ‘end-of-the-level’ feel. The drums are subtle, and there are a number of different synths that make an appearance as the song goes on, but all add to the overall frantic video game feel. The hook is super simple and probably the only downfall of the song in my opinion. It features a couple of lines delivered in this vocoder like manner, then has Aesop spit a couple of real catchy little lines. I love the transitions into the hook from the verses, and the Aesop section of the hook sounds great, I just find the vocoder section to be a little grating at times. Really the vocoder just adds to the whole electronic feel of the beat and together they give the song this awesome arcade feel, allowing Aesop to really shine.

It can be expected that Aesop would come through with some impressive lyrics, but what I love about Tuesday is that it showcases his impressive lyricism by telling a fairly straightforward story that’s not so obscure you have to listen 10 times to understand what the song is about. On Tuesday, Aesop raps about the disgusting state of his home and of himself, whilst also acknowledging it is how he is, and touching on the topics of isolation and self acceptance, things Aesop has touched on before. Throughout the 3 full verses, Aesop tells the listener about his disgusting home and appearance in the most vivid of ways, packing each verse full of visual imagery, easy to understand metaphors and references (by his standards anyway), and a range of funny little bars as well. His delivery is clear throughout, and he flows over the obscure beat with ease, making the song such an easy listen despite being a bit wild in terms of the instrumental and lyrical content. This is one I could quote almost in full, with a plethora of impressive lines, so if you’re a fan of great writing this is a must listen for you!

Overall I think Tuesday is an almost perfect track, and if it weren’t for me disliking the little vocoder section of the hook then this could easily be in top 5 of the year territory. Regardless, this is still easily one of my favourites of the year, with some super impressive lyrics and storytelling from Aesop and an addictive beat from tobacco, as well as one of the better hooks on the album, this song just has this amazing enjoyability factor, and is one of the first I would recommend from this album. If you enjoyed this song check out the rest of the Malibu Ken album, it’s fairly short and superb start to end.

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!


– Shan –

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