Top 10 Best Hit Songs of 2017

Top 10 Best Hit Songs of 2017

Welcome back to my lame-ass blog, now that I’ve covered the worst of 2017, it’s time to get on to the best of 2017. While 2017 didn’t have a large amount of great music, I still value these songs as much as I would songs from any other year. There were thirteen songs this year that I would give a 5/5, but we’ll begin this countdown with three great songs that unfortunately missed the Year-End list. Let’s get going, shall we?

Honorable Mention: Green Light by Lorde (Peak: #19, Year-End: N/A)

The comeback single from Lorde that unfortunately flopped, Green Light is about Lorde waiting to get over her ex after he cheats on her. It begins with Lorde sing-rapping in a restrained and yet angry manner, before transitioning into a Coldplay-esque piano line and atmospheric prechorus and finally into the explosion that is the main hook. It’s fantastically written, performed and produced, especially on the aforementioned piano line and on the solo after the final chorus. Had this not flopped and made the year-end list, it likely would’ve been in my Top 10.

Honorable Mention: When It Rains It Pours by Luke Combs (Peak: #33, Year-End: N/A)

What, you didn’t think that this Luke Combs stan would find a way to smuggle this onto the list? Yeah, this song is awesome. After Luke’s girlfriend dumps him, he has a string of good luck, such as getting $100 from a lottery ticket, winning a radio contest for a vacation in Panama City, meeting a hot waitress at Hooters and not having to see his ex’s grumpy mom anymore. Luke’s voice is as great as ever, and this is also one of his best produced songs. If this has made the Year-End list, it would’ve easily been in my Top 5.

Honorable Mention: Versace On The Floor by Bruno Mars (Peak: #33, Year-End: N/A)

Ooh boy, this gem. I’m not sure if it would’ve been my #1, but it would’ve been pretty damn close, because this is about as close to objectively perfect as a pop song can get. A throwback to R&B love ballads of the 80s and 90s, every single thing about this is about as good as a baby-making song can get. The lyrics hit the balance of being seductive without being pushy, the retro instrumentation is flat-out gorgeous and Bruno’s just singin’ the hell out of this. I think this has firmly cemented its status in the pantheon of sex songs (or at least it has for me), and I look forward to many long, steamy nights where this will inevitably play, and spoiler alert, this was not the only song from 2017 that fits that description.

Honorable Mention: Sign Of The Times by Harry Styles (Peak: #4, Year-End: #87)

The first of the two honorable mentions that were eligible for the proper list, Sign Of The Times should be a song that I like a lot more. A throwback to Classic Rock, Sign Of The Times builds from a simple piano ballad to an explosion of a chorus. Considering how many power ballads have been on my lists, you’d expect this to be on the list proper, and pretty high at that. Well, the main things keeping me from fully resonating with this are the disconnected lyrics, which wouldn’t be a problem if Harry Styles was a more powerful and/or compelling vocalist (think Steve Perry), but he isn’t, so it can’t connect. Still, this is an objectively great song that more than deserves to be an honorable mention.

Honorable Mention: All Time Low by Jon Bellion (Peak: #16, Year-End: #75)

One of the winners of the annual Fluke Indie Hit Sweepstakes, Jon Bellion notched a Top 20 hit with All Time Low, a truly interesting song about realizing that you’re at the lowest point you’ve ever been in your life after a breakup. While I like Jon’s weird voice and the verses, the “low low low low low low low low low” chorus goes on for a little too long, leading it to just get edged out by my #10. So, what could said #10 be?

#10: Havana by Camila Cabello ft. Young Thug (Peak: #1, Year-End: #96)

Starting off the list proper, we have Camila Cabello reflecting on the lover she left back in Havana. Unlike the overblown My Oh My, Havana keeps Camila’s voice in her lower range, which is where she works best (Senorita worked because Camila is adorable on that song). Young Thug comes along and is as unintelligible as ever, but as in Goodbyes, it somehow worked out for him. The Latin instrumental is tight and restrained, and the horns are awesome. While this was technically a much bigger hit in 2018, landing in the Year-End Top 5, I use whatever Year-End list it debuted on, which is why this counts as a 2017 hit in my book. Great job, Camila, make more of this and less of… this.

#9: Malibu by Miley Cyrus (Peak: #10, Year-End: #89)

Miley Cyrus went from Partying In The USA to swinging nude on a wrecking ball to making this sweet song that my sister for some reason hates. It’s almost too adorable for words. The lyrics are a well written ode to her on-and-off relationship with Liam Hemsworth, who she would later marry… and then divorce just a few months later, but that’s beyond the scope of this song. The Indie Rock instrumentation sets the chill, romantic vibe impeccably. I noticed quite a few Pop artists dabbling in Rock in 2017, and while this is by no means the best of those songs, this is still really dang good. Now how about something a little less sweet?

#8: Praying by Kesha (Peak: #22, Year-End: #67)

One of the few times I ever ventured into the world of current Pop Music in 2017 was when I went to the county fair with a friend of mine. We listened to the radio while he was driving, and on our way home, this song came on. I initially thought that it was a really good break-up song, but my friend informed me that it was about a popstar who’d been abused by her producer, although he’d forgotten exactly who it was (the radio station didn’t show the title of the song). 

It turned out to be Kesha. She’d been in a years-long legal battle with her former producer Dr. Luke, who she’d accused of numerous abuses, sexual and otherwise. On the one hand, Kesha sings that she hopes he’ll repent for his sins and change his ways, but she also says that she’s about to end this man’s whole career, which appears to at least be partially true, as since Kesha’s first accusations against Dr. Luke came out in 2014, his production career has for the most part dried up, and you know what, if you can’t do the time, don’t do the crime.

For years, Kesha (or Ke$ha) was the poster girl for trashy club music that people would cite as an example of why modern (as in Early 2010s) pop music sucked and it was so much better back in them good ol’ days (and yeah, Ke$ha made some truly horrible songs, see my Worst of 2010 list for more). However, I’d heard that, behind the autotune, she was actually a really good singer, and good Lord did this song confirm that! She spills her heart out in every note of this song, and that whistle note at the climax of the song gives me chills every time. It’s a truly gut-wrenching song, and it deserves all the accolades that critics and reviewers gave it back in 2017.

So, if I have all this praise for the song, why isn’t this higher on the list? Why only #8? Well, as Todd said in his best list where he put it at #6, it’s a lot to take in, and I can’t listen to this song all that much. I’ve never been through what she’s been through, so while I can appreciate this song, it doesn’t really click for me on some personal level. I may be doing somewhat of a disservice to this song, but this is just how the list turned out, so let’s get on to #7.

#7a: That’s What I Like by Bruno Mars (Peak: #1, Year-End: #3)

#7b: 24K Magic by Bruno Mars (Peak: #4, Year-End: #16)

Yep, Bruno’s gettin’ a tie here, because Bruno Mars is awesome. While neither of these songs may be quite as amazing as Versace On The Floor, they’re still great pastiches of 80s and 90s Pop Music.

Let’s start off with Bruno’s biggest 2017 hit, That’s What I Like combines a smooth R&B instrumental with Bruno’s fantastic voice to make yet another baby-making staple. While the lyrics about treating your girl to a life of luxury may seem overindulgent and cliched to some, and while I understand those complaints, it still doesn’t take much away from this.

Hey, how about we talk about Bruno’s other big 2017 hit, 24K Magic? It’s basically the sequel to Uptown Funk. Yeah, that’s pretty much all it is, just Uptown Funk Part 2. However, do you guys remember how I brought up a ranking I did of Every #1 Hit Of The 2010s during my segment on Bodak Yellow? Well, Uptown Funk was #4 on that ranking, so when you’re ripping off a song as awesome as that, you’re still gonna get something pretty dang good. The only reason this isn’t higher is because the “gotta blame it on Jesus” line really rubs me the wrong way, but other than that, it’s one of the funnest songs I’ve ever heard. Bruno, whenever you drop that fourth album, I expect great things from you. Keep it up!

#6: There’s Nothing Holdin’ Me Back by Shawn Mendes (Peak: #6, Year-End: #23)

I mentioned in my worst list that I was in my Le Wrong Generation phase in 2017, but there were a few songs that slipped through the cracks, the most notable of them being There’s Nothing Holdin’ Me Back by Shawn Mendes. As with Praying, I first heard this song when I was listening to the radio with my friend, but while Praying was a song that I respected more than I actually listened to, TNHMB became a staple of my playlist that was mainly composed of Dad Rock. 

It’s no wonder that this song broke through. Rather than the downbeat, xanax-ed out mush that was much of 2017’s pop music, TNHMB has some actual energy to it, not to mention a pulsating Rock edge that was sorely needed (and still is sorely needed). Also contrasting both the depression of Halsey or the vapid flexing of Migos, the lyrics are about how this girl takes away his fears and brings him to new heights, and even if they go way too far, hey, they’ll make it through just fine. Oh, and Shawn ain’t doin’ too bad as a vocalist here either, as he’s got a ton of youthful energy and charisma to carry this already awesome song to being one of the most uplifting hits of the entire decade. 

#5: The Fighter by Keith Urban ft. Carrie Underwood (Peak: #38, Year-End: #100)

Keith Urban is basically the Maroon 5 of Country. He started off as one of the shining stars of 2000s Country (Somebody Like You is one of my favorite country songs of all time, and it’s a damn shame that it was caught between 2002 and 2003, not making either Year-End list), before selling out hard in the 2010s. 

However, just because this song is a total sellout doesn’t mean that it isn’t one awesome sellout. If this song had been pushed to Pop stations alongside Country stations (think 10,000 Hours), it’d have been a much bigger hit. The opening guitar line is very similar to the one from P.Y.T. by Michael Jackson, but honestly, this might just Beat It (huh, get it?). Keith sings about how he’ll stand up for his girl, played by Carrie Underwood in the chorus. Sure, she doesn’t have a huge role in the song, but she’s definitely a welcome addition.

Outside of the performers, this is basically a pop song, but you know what, it’s a damn good pop song, and I’m not complaining that it nabbed the bottom spot on the Year-End list. Hey, speaking of songs that are compared to Michael Jackson…

#4: I Feel It Coming by The Weeknd ft. Daft Punk (Peak: #4, Year-End: #34)

This is the other Baby-Making jam from 2017, and while it’s not quite as amazing as Versace On The Floor, it’s still sexy as hell. Tons of comparisons have been made between The Weeknd and Michael Jackson, and while I think that’s definitely true, a closer comparison for this song in particular would probably be Sexual Healing by Marvin Gaye, and if I’m bringing THAT lovemaking classic into the equation, then you know this is seriously sexy. Heck, there’s even a really good mashup of the two.

Comparisons aside, this is one smooth jam. Daft Punk brings their great-as-ever production to back up Abel’s silky smooth vocals. For a song about gettin’ freaky between the sheets, the lyrics are actually really well written, assuring this girl that he understands how she’s been heartbroken by other guys and that he can take his time. The chorus repeats the phrase “I Feel It Coming”, which should sound really dirty (because it is), but Able sells it as the smoothest thing ever. Not to get too graphic here, but I can just imagine being a sperm cell head bobbing to this song while swimming towards the egg, it’s that sexy. While I wouldn’t necessarily call myself a fan, I do think that The Weeknd is a great artist, but you know who my favorite artist is?

#3: Hurricane by Luke Combs (Peak: #31, Year-End: #76)

Yup, anyone who read my Best of 2019 list shouldn’t be surprised in the slightest that Luke’s debut single makes the list, nor should they be surprised that it’s on the podium. If you called me a Stan, I wouldn’t argue nor get offended, because that’s exactly what I am for this guy.

I can understand why someone would think this was badly produced, what with the drum pads at the beginning and the wall of sound in the chorus. I’ve seen Luke compared to 2000s Mainstream Rock in that regard, and while I don’t disagree all that much, it’s less of an insult for me personally because I was a kid in the second half of the 2000s, so that era of rock is a nostalgia bomb for me. No problems with the production for me.

Lyrically, it’s about Luke running into his ex while hanging out at a bar and having all those emotions from their relationship flood back to him, hence the Hurricane analogy. 

However, it’s Luke’s performance behind the mic that rocketed this up the list. Luke’s one of the most powerful and charismatic performers I’ve ever heard in any genre, and he’s got an incredible ability to put his all into anything he performs and sell it, and boy does he sell it here. I think that’s why he blew up so fast, because his persona was so much different from the meatheaded Bro-Country stars that preceded him, even if the lyrical content isn’t all that different. I could gush about Luke until the cows come home, so let’s just get on to the penultimate song, shall we?

#2: Water Under The Bridge by Adele (Peak: #26, Year-End: #88)

Surprise, Adele is on the list, and this is far from the last time that she’ll make an appearance on one of my best lists. As with The Weeknd, I wouldn’t really consider myself a fan of her per se, but I do respect the heck out of her as an artist, and Water Under The Bridge is pretty much as great as you’d expect an Adele song to be.

Like most of Adele’s discography, it’s about a relationship, but unlike most of those songs, it’s not about a breakup, or at least one that’d actually happened. She’s talking about her then future husband, saying that she wants to be with him, but is concerned that it’ll end up falling apart (which it did, for the record, they got divorced last year). The instrumentation is built around a funky guitar line and has a bombastic, Rock-ish chorus, and Adele is… well, Adele, of course her voice is great here. I really don’t need to say more about it, it’s just a wonderful song, but alas, it was nudged out for the #1 spot…

My #1 pick is… really predictable. This was one of the songs in 2017 that music critics and reviewers praised out the wazoo, and while I didn’t agree with some of them, this one deserved every bit of acclaim it got. It’s nowhere near this artist’s biggest hit, but not only is it his best hit, it might even be the best song in his entire discography. So, without further ado, I give you The Best Hit Song of 2017.

#1: Castle On The Hill by Ed Sheeran (Peak: #6, Year-End: #40)

Let’s just cut to the chase and get to why this is my #1, starting with the instrumental. The song begins with a U2-esque guitar line and drumbeat, and you may recall that U2 topped my Best of 2001 list with Beautiful Day. The song then adds a backing guitar for Ed’s verse and heavier drums for the pre chorus, before exploding into a monstrous hook, easily up there with the aforementioned Beautiful Day as far as “best choruses ever” go. Ed does the same thing with his vocals, beginning more restrained on the verse, adding some tension on the pre chorus and finally letting it all loose on the chorus. It’s probably the best I’ve ever heard Ed Sheeran sound on a song, he would’ve been a great frontman for a rock band.

However, the strongest element of the song is easily the lyrical content. I’ve got a real soft spot for songs where someone reflects upon their past. This is the main reason that I’m one of the few people who’ll come to the defense of Photograph by Nickelback, sloppily written as it is. Castle On The Hill, on the other hand, has none of Nickelback’s sloppy writing, as this is just a fantastically written song. While driving to his hometown (presumably after touring the world), Ed reflects upon his childhood and teen years, remembering everything he experienced, good and bad, whether that be breaking his leg when he was six, running through the fields while evading the cops and royally messing up his first kiss. 

However, what really puts this song over the top is the bridge before the final chorus, where Ed reveals where his childhood friends are now.

“One friend left to sell clothes

One works down by the coast

One had two kids but lives alone

One's brother overdosed

One's already on his second wife

One's just barely getting by

But these people raised me and I can't wait to go home.”

Just wonderful.

I listened to this song so many times on the way to sporting events in High School, looking out the window and watching the world fly by, to where this song about nostalgia has itself become nostalgic for me. If any Ed Sheeran song from 2017 deserved to top the charts for three months and become one of the biggest hits of all time, it certainly wasn’t Shape Of You, but this wonderful piece of music, and this is without a doubt The Best Hit Song of 2017. Next up on the chopping block: 1992, one of Pop Music's most historically important and transitional years. I was originally going to do 2012 next, but Pulse opened up a rankdown for '92, and I don't like covering years that end with the same number back to back, so 1992 it is, followed by a year that doesn't end with a two, and then I'll get to 2012. Do your best to not catch the Coronavirus (and if you do, stay inside and do your best not to infect anyone else) and have a great day.