Running through the 6 with MY WOES!

The song’s not that spectacular outside of this one meme, but it’s an important moment in Drake’s rising career.

Recommended Ranking: 45-50.

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Diss Track of the Year. This is a song that benefits from context, but even outside the Drake-Mill beef (how it tornadoed through), Drake serves those bars like Dippin Dots at a 5k, flowing from one burn to another. I’ll leave someone to mine the highlights.

Even the single cover is a diss.

It’s a shame that Mill’s career took a hit for this, but that what happens when you go after the game’s A-lister without the sufficient bars.

Recommended Ranking: 6-10.

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AKA: The song that confused indieheads and hiphopheads alike.

This won’t get #1, because I can think of some more emotionally earnest bangers on this list, but as an outright banger, it’s one of the decade’s boldest.

You have tropical chill house, dancehall, and rap thrown together, and it works. Even as Young Thug spews obscenities throughout his verses, his carefree affection fits the evening mood to a (Y)T.

We need more songs like this–ideally ones that I can play in front of kids. It’s an utter shame I didn’t to spin this one at one of my cross-country parties, because I associate this song with those moments.

Recommended Ranking: 2-10.

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Don’t have many strong thoughts on it right now, but just listen to and read the chorus.

Recommended Ranking: 30-40.

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“Perfect” mostly works due to its connection to Taylor Swift’s “Style”. But among the choruses of 2015 that take a similar approach, it doesn’t even wear it better.

I’m referring to “Colors”.

Recommended Ranking: No ranking.

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“Angel” is a cheesy, on-the-nose way to end the album. Although it does play the role of an album closer, with Abel letting go of his lover, the duet ending comes off as too much of a kid choir for this song to really hit its emotional core.

Compare it with Kiss Land’s “Tears In the Rain”.

Also, where is that female vocalist? Since she hasn’t taken off let, “Angel” doesn’t even work as a “passing of the torch”, as it could’ve. If you’re going to introduce a new artist at the new of an important pop record, you better kickstart her career or you hurt the song’s meta component. (“The Blacker the Berry” is one song that benefits from its societal context.)

Recommended Ranking: No ranking.

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I consider Revival to be an average release, but this is one of the more eyecatching Top 40 releases. At first, I was wishing for Selena to burst out in a true climax, but she exercises restraint throughout “Good For You”, making for a boiling nightcap.

As cheesy as the marquise diamond line is, it feels like such a jab. However, A$AP Rocky’s verse feels disposable.

Ultimately, while it could make Top 50 in a theoretical Pop list, someone has to make a strong case for this song in order for it to rank.

Recommended Ranking: 45-50 at best.

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“Terrence Loves You” could’ve easily been a snoozefest, but Lana keeps one’s attention throughout, escapluating the best of her downbeat sensibilities.

Lana embraces heartbreak, and she embraces it quietly. With little more than a piano for most of the song, along with violins and sax drifting through, Lana invites us into her gloom:

I lost myself when I lost you
But I still got jazz when I’ve got those blues
And I lost myself when I lost you
And I still get trashed, darling, when I hear your tunes

Another talking point: “Ground Control to Major Tom”. The interpolation isn’t thrown in. It comes off as an impossible plead to a distant lover.

It might be too downbeat to rank particularly high, but I think it has a fighting chance if more people sit down and listen.

Recommended Ranking: 25-50.

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“Pity Party” a stellar pop song that emotes with the mix of irony and unirony that pop does best. Another one of my personal SOTY contenders.

Melanie does a great job taking a 20th century Judy Garland sample, and breathing new life into it with a 21st century trap-pop gloss. It’s exciting in the way that Tove Lo’s “Stay High” is.

In short, it bangs.

The lyrics are also riveting. Although obvious in approach, Melanie furthers the Cry Baby persona with quips such as “maybe if I casted out a spell
But told them decorations were in pastel ribbons.”

This should be considered one of Pop Genius' top 10 songs of 2015, but in this list’s context, it’s somewhere in the 15-20 range.

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I’d nominate “Philosopher”, since it’s a strong contender for my personal SOTY.

“Emily” does get my vote for 25-50. Tate does a good melancholy baritone, and this shines on this track. Kaye’s harmonization is cake icing.

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