Kendrick Lamar went double-platinum on his own terms with the most acclaimed recording of 2017, a year that also featured breakout albums by the likes of SZA and Father John Misty, both of whom turned up as musical guests on "Saturday Night Live."
The year also brought welcome returns from such veterans as LCD Soundsystem (their first release in seven years) and Tommy Stinson's Bash & Pop (back from a 26-year-absence).
It hasn't been the easiest of years to get through, given the toxic political climate that defines this moment in our nation's history. But a number of the more inspired artists on this list did what they could to help us through these troubled times by filtering the struggles that divide us through a fresh perspective, from Lamar to Hurray for the Riff Raff's Alynda Segarra, whose Puerto Rican heritage informed a number of her album's hardest-hitting moments.
Here's a look at top highlights of 2017 in music
1. Hurray for the Riff Raff, “The Navigator”
This deeply soulful effort filters vivid storytelling through echoes of street-corner doo-wop, the Brill Building, early Van Morrison, punk as Patti Smith defined it, country as the Rolling Stones defined it, Alan Lomax field recordings, Puerto Rican folk, the Velvet Underground and several generations' worth of thinking-person's rock and roll. A concept album that follows a “wandering soul named Navita at a crossroads of identity and ancestral weight,” it’s both intensely personal and as political as sharing the intensely personal entails in 2017.
On “Rican Beach,” Alynda Segarra sings, “Now all the politicians, they just squawk their mouths / They said ‘We'll build a wall to keep them out’ / And all the poets were dying of a silence disease / So it happened quickly and with much ease.”
But the album’s emotional apex is “Pa’Lante.” The title is Latin American slang for moving forward, and as the emotional suite examining the pain that comes with cultural assimilation arrives at its triumphant climax, she begins to punctuate her every thought with a cry of “Pa’Lante.”
She’s searching for her “lost humanity” and finds it in a soulful celebration of her heritage as a native New Yorker of Puerto Rican descent without pretending that the forces that have made her feel the need to prove her worth are any less oppressive. Released against the backdrop of what’s going on right now in terms of immigration, it’s especially cathartic, depressingly relevant and profoundly on point.
A masterpiece that feels like it was meant to be one, “The Navigator” finds Segarra more than living up to the lyrical hook of “Hungry Ghost” – “I’m ready for the world.”
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2. Kendrick Lamar, “DAMN.”
This is, without a doubt, the year’s most universally-acclaimed release. And with good reason.
Musically speaking, it marks an inspired retreat from the jazz-inspired grandeur of “To Pimp a Butterfly,” the better to engage the hip-hop world on its own terms in hard-hitting highlights as on point as “DNA” and “Humble,” the latter of which became his first chart-topping entry on the Hot 100 (unless you count his guest spot on that Taylor Swift song).
But even if it feels more like a mainstream hip-hop album, complete with a guest spot from Rihanna on the hit single, “Loyalty,” it’s as ambitious in its own way as his previous release, from the lush orchestration and gospel-flavored vocals that set the tone for his opening monologue to the lyrical narrative that runs throughout as Kung Fu Kenny weighs in on the struggles of the black experience in Donald Trump’s America.
And he filters that experience through frames of reference reaching from the Book of Deuteronomy (“The Lord shall smite thee with madness and blindness, and astonishment of heart”) to Geraldo Rivera deliberately misrepresenting the lyrical essence of Lamar’s “Alright” to suit his own political agenda. Lamar wouldn’t do what Rivera does because as “DAMN.” repeatedly suggests, the most inspired rapper of his generation spends as much time looking in his own damn mirror as inviting those who need it more to take a look in theirs.
MORE: Kendrick Lamar launches DAMN. Tour in Glendale
3. Playboy Manbaby, “Don’t Let it Be”
These local punks set the tone with the scathing political satire of “You Can Be a Fascist, Too,” a track they first shared in the wake of November’s election because as they noted on Facebook, “We feel like every societal catastrophe deserves a proper theme song.”
From the call-and-response of “I am right / I am correct” to the skronking No Wave sax to Robbie Pfeffer’s unhinged vocal, it’s the perfect introduction to an album that makes its way through such obvious highlights as the sax-fueled “Last One Standing,” a spirited working-class anthem called “Cadillac Car” and “Don Knotts in a Wind Tunnel.”
They bring the party to a close with the hilarious, inflammatory social commentary of “White Jesus,” on which Pfeffer takes a page from Randy Newman’s playbook, assuming the role of the character he’s setting out to criticize. “I wanna worship a straight American Jesus,” he sneers, “who looks just like we does / And hates foreigners, too.” The sad part is, that character is not alone.
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4. St. Vincent, "Masseduction"
It's apparently tempting to view "Masseduction" as Annie Clark dipping a tentative toe in the mainstream, an impression based in large part on her co-producing (and co-writing several numbers) with Jack Antonoff of fun., who's done similar work with Taylor Swift and Lorde.
But there's a reason nothing here has followed those two multi-platinum pop stars up the charts. They may have brought her pop smarts into sharper focus, but there's no mistaking cuts as willfully eccentric as the title track or "Pills" as anyone's idea of a mainstream breakthrough.
It also features some of Clark's most vulnerable moments, setting the tone with the trembling delivery of "Hang on Me" and demanding to know “How can anybody have you and lose you and not lose their minds too?” on "Los Ageless," a highlight whose robotic pulse and outbursts of abstract guitar are disco as Bowie once explored it.
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5. SZA, "Ctrl"
The alternative R&B singer's first album, "Ctrl" spawned two platinum singles, "Love Galore" (which features an assist from Travis Scott) and "The Weekend."
But anyone who settled for the singles would do well to re-explore them in the context of "Ctrl," a deeply personal affair on which she memorably sets the tone with "Supermodel," exacting revenge on a real-life ex by letting him know in a song that she's been sleeping with his friend.
On "Love Galore," she asks a weekend lover, "Why you bother me when you know you got a woman?" And what makes the album even more compelling is the way she offsets the lyrical frankness and false bravado with heartbreaking vulnerability, her soulful delivery underscoring the sadness of "Why I can't stay alone just by myself? / Wish I was comfortable just with myself / But I need you."
6. Sampha, “Process”
This is a deeply emotional full-length debut for the British songwriter.
Highlights range from the achingly beautiful opener, "Plastic 100º C," to the trembling vulnerability he displays on the gospel-flavored "No One Knows Me (Like the Piano)," a sentence that ends with "in my mother's home."
That song broke my heart before I’d even read that the songs on this album were written as the 28-year-old was processing the grief of having lost his mom to cancer in 2015.
It’s not all pain and grieving, though. On “Under,” he sings of romantic obsession and “Incomplete Kisses” is a cautious first step toward putting the past behind him “’Cause if you deny others inside, it gets harder to move along.”
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7. Thundercat, “Drunk”
The man’s musical chops are a given. He’s a monster on the bass with few if any equals in that magic place where jazz and funk collide.
On “Drunk,” he’s invested those chops in an intoxicating concept album, setting the tone in a silky falsetto with a wistful invitation to “go hard, get drunk and travel down a rabbit hole.” But there’s also a song about wanting to be your cat.
Highlights range from the dizzying speed bass of the jazz-funk instrumental “Uh Uh” to the yacht-rock gold that is “Show You the Way,” on which he shares the smoothest vocal spotlight of 2017 with soft-rock icons Kenny Loggins and Michael McDonald (who joined him onstage at Coachella). And Kendrick Lamar returns the favor of Thundercat having guested on “To Pimp a Butterfly” with a fiery rap on the melancholy slow jam “Walk on By.”
8. Jay Som, “Everybody Works”
Melina Duterte recorded this entire album in her bedroom. But despite the introspective nature of the lyrics and the way that first song sounds like it was captured in the middle of a dream, Duterte’s second album sure doesn’t feel like the work of a bedroom-pop auteur.
Too many of the album’s highlights rock too much to warrant that description, from the richly orchestrated pop charms of “The Bus Song” to the post-punk grinding of “1 Billion Dogs.” Whatever mood she’s conjuring on any given song, though, there’s a vulnerability to the lyrics and the way they’re sung.
And in that sense, it does kind of welcome you into her world, if not her bedroom (even it does feel like a full band throwing down in there).
9. Bash & Pop, “Anything Could Happen”
“Anything Could Happen” finds Replacements bassist Tommy Stinson reviving not only the name but the rollicking, post-Faces rock-and-roll spirit of the early ‘90s group he formed when the Replacements went their separate ways in 1991.
Which is to say if you liked the Replacements, Stinson’s new material should speak directly to the part of you that once responded to the misspent part of his misspent youth with “I’m in love; what’s that song?”
This is the year’s best straight-up rock-and-roll release, from the reckless abandon of “Not This Time” to the understated unplugged charms of “Shortcut,” the bittersweet country of “Anytime Soon” and the singalong chorus of “Never Wanted to Know.”
10. Father John Misty, “Pure Comedy”
I’m doubling down on my previous assertion that Josh Tillman is the Randy Newman of his generation.
The singer sets the tone here with a deeply soulful title track that weighs in on the “miracle of birth” as the first step in an existential comedy of errors, getting in swipes at religious hypocrisy, man’s legacy of building fortunes based on poisoning his offspring and how We the People keep choosing “these goons they elected to rule them.”
It’s a darkly comic gut punch and the perfect introduction to an album packed with richly orchestrated chamber-pop arrangements topped by Tillman’s withering yet wildly entertaining portrait of humanity as “a race of demented monkeys.”
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11. Raekwon, “The Wild”
The trouble with staying in the game as long as Raekwon has, is that the game keeps moving and people who haven’t been paying attention to the old guy on the sidelines may wrongly assume he’s got no moves left.
Those people need to hear this album, Raekwon’s seventh, arriving no fewer than 22 years down the road from his career-defining debut, “Only Built 4 Cuban Linx….”
The words fly fast and furious over well-chosen soul samples, whether painting gritty portraits of a life that requires him to dip his bullets in cyanide or sharing a heartbreaking tribute to the late great Marvin Gaye that chronicles the glories of his rise to stardom and the tragedy of being murdered at the hands of his father.
12. Spoon, “Hot Thoughts”
They’ve always had one of the greatest rhythm sections in the business, so it stands to reason that when Spoon decide to hit the dance floor here, the groove is undeniable.
But there’s a psychedelic quality at work, too, which may or may not have a thing to do with the fact that Dave Fridmann, a producer best known for his long association with the Flaming Lips, returned to co-produce.
The unifying theme here is a mesmerizing sense of atmosphere, from the sweet lackadaisical swagger of “Do I Have to Talk You Into It,” which brings the funk like David Bowie in a German nightclub, to the bleary-eyed soul vibe of “I Ain’t the One.”
13. Goldlink, "At What Cost"
This D.C. rapper calls his blend of house and hip-hop “future bounce.” And that certainly applies to tracks as futuristic as “Same Clothes as Yesterday.”
But other highlights draw on old-school soul (“Have You Seen that Girl?”) and the elastic funk of classic DC go-go (“Hands On Your Knees,” complete with a Kokayi chant of “Get you’re a—up off the wall, off the wall, off the wall”).
Those tracks were both produced by the great Kaytranada, as was another soulful highlight, the Jazmine-assisted “Meditation.” And when Wale turns up on the bass-driven "Summatime," it's like the summer smash that got away.
14. Tennis, “Yours Conditionally”
Alaina Moore and Patrick Riley first made a name for themselves on the strength of 2011’s “Cape Dory,” a concept album about a sailing trip the couple took.
Six years later, they’re back with a fourth album, this one written on a five-month sailing trip around the Sea of Cortez. And maybe that sounds like a marketing gimmick, but on both occasions it resulted in an album that sounds like it was written by a couple on a sailing trip.
It’s soulful, soft-rock gold, from the breathtaking opening track through such highlights as the wistful “Fields of Blue” and “Matrimony.”
15. All Them Witches, “Sleeping Through the War”
There’s not much hope of sleeping through the war while this record is playing.
Yes, these Nashville stoner-rock sensations ease into the rock with a soothing psychedelic waltz. Or so they lead you to believe. But no sooner does the singer let you know he’s sleeping through the war than the distortion pedals kick in, backed by soaring, operatic female vocals. And that’s before all psychedelic hell breaks loose nearly four minutes in.
There are heavier moments ahead (see the headbanging post-Melvins splendor of “Don’t Bring Me Coffee”). But it’s more the way they blend the atmospheric and explosive elements together here that gives “Sleeping” its ultimate power.
16. LCD Soundsystem, "American Dream"
James Murphy sets the tone here with a haunted lullaby for his baby, who’s having a bad dream in his arms.
A sense of dread hangs over much of Murphy’s first LCD Soundsystem album since 2010. There’s a jittery funk groove underscoring the anxiety of “Other Voices,” where he sings “And these doors all have locks on them / Like tinfoil hats, man.”
Elsewhere, Murphy exorcises existential demons, eulogizes David Bowie (the excellent “Black Screen”) and weighs in on a world gone mad over pulsating post-punk on “Call the Police” (“Well, there’s a full-blown rebellion but you’re easy to confuse / By triggered kids and fakes and some questionable views”).
17. Ty Segall, "Ty Segall"
Segall’s latest leaves no corner of the psychedelic universe unharvested.
The lumbering stoner-rock swagger and over-driven amps of the glorious opener, “Break a Guitar,” the whimsical freak folk of “Talkin’,” the rollicking “Thank You Mr. K,” which rocks like early Pink Floyd gone garage-punk, stops to break a bunch of glass, then kicks back into overdrive.
On "Warm Hands (Freedom Returned)," he and his bandmates stretch out for more than 10 minutes, making their way through all those moods and more while rarely staying in one place for long.
And if you like psychedelic music more contagious and concise than that, the back of the album boasts a pair of gems – "Orange Color Queen" and "Papers."
18. Syd, "Fin"
She's been a member of Odd Future and the Internet. "Fin" is her first full-length solo release, and it feels like the arrival of a major talent in the making.
Her vocals are soulfully stunning, whether investing a track like "No Complaints" or "Nothin to Somethin" with the self-assurance it takes to sell a line like "If I go to hell, hope my b----es get to visit" or exuding the vulnerability she brings to "Insecurities," where she sets the scene with "You can thank my insecurities / For keeping me around you babe." But even then, she finds the inner strength to talk away.
19. Vince Staples, "Big Fish Theory"
Taking his cues as much from U.K. EDM as anything resembling modern hip-hop, "Big Fish Theory" may be Staples' most artistically compelling effort yet.
From the skittering beats and atmospheric textures of "Crabs in a Bucket" to the ominous, bass-driven closer, "Rain Come Down."
And "Bagbak" finds him weighing on life in Donald Trump's America. “We need Tamikas and Shaniquas in that Oval Office / Obama ain’t enough for me, we only getting started / The next Bill Gates can be on Section 8 up in the projects/ So ‘til they love my dark skin / B****, I’m goin’ all in.”
20. Cigarettes After Sex, "Cigarettes After Sex"
Among the more alluring albums of the year, this self-titled debut is a haunting collection of cinematic pop songs that owe much of their appeal to Greg Gonzalez's wistful delivery, underscoring the intimacy of the lyrics as the album drifts from one romantic ballad to the next.
"I remember when I first noticed that you liked me back," he sighs in the opening line of the opening track. "We were sitting down in a restaurant waiting for the check / We had made love earlier that day with no strings attached / But I could tell that something had changed how you looked at me then."
21. The Orwells, "Terrible Human Beings"
These Chicago garage-rock enthusiasts wear their debt to the Pixies like a badge of honor, going so far as to include a self-effacing tribute to Black Francis, mocking their own public image (as "terrible human beings") in a song whose shouted chorus is "Black Frankie's got my world in his hands."
And like their heroes, they offset sugar-coated pop hooks with reckless abandon, abrasive guitars, dark imagery and unhinged vocals (in places). There's a depraved indifference to their celebration of debauchery at all costs, but it hasn't been that long since they rolled out of high school.
If you're gonna cast yourself as a terrible human being, that's the time to do it.
22. The Old 97's, "Graveyard Whistling"
If you’ve followed the Old 97’s at all, you know Rhett Miller has a certain flair for clever turns of phrase. And there are no shortage of those on their 11th album.
"All who wander are not lost,” goes the chorus of one alt-country ballad, “just me.” In "Jesus Loves You," he's competing for affection with the Son of God. And he's not going down without a fight. "Well, you can talk to Him all night / But I'm right here / He makes wine from water / But I just bought you a beer."
This album was recorded in the same room as their 1996 major-label debut. And all the qualities that made them stand out in a saturated market at the time are still in full effect here.
23. The Mr. T Experience, "King Dork Approximately"
The Berkeley pop-punk veterans' first release in 13 years shares a title with Dr. Frank's second young adult novel (a sequel to “King Dork,” which in turn started life as an MTX song).
He revisits "King Dork" here as "King Dork Redux," and there's a title track that sounds like the mid-'60s Kinks doing country. He opens the album with "Cinthya (With a Y)," a song as funny as it is contagious, with Dr. Frank taking a stand on behalf of those who choose to spell their name a little different than the rest.
And on “High School is the Penalty for Transgressions Yet to Be Specified” filters the essence of Ray Davies at his most theatrical through Dr. Frank’s distinctive lyrical and vocal sensibilities.
24. Foxygen, "Hang"
This album opens on a richly orchestrated gem that imagines a world where Elvis Costello was doing his best to filter everything he learned from Philly soul through the pop sensibilities he picked up from a stack of classic K-Tel compilations of the early ’70s with more than occasional echoes of a young Bruce Springsteen.
And lest you think it’s done with smoke and mirrors, they brought in an actual 40-piece symphony orchestra to flesh things out. The result is an album as ambitious as it is contagious.
It's all a bit over-the-top, but it's done with conviction that carries them through the more outrageous moments.
25. Strand of Oaks, “Hard Love”
This album continues Tim Showalter’s welcome transition from sensitive singer-songwriter fare to the more expansive palette he began exploring on 2014’s “Heal.”
He’s a rocker at heart, a sensibility that comes through loud and clear here, from a title that wears its love of ‘80s Springsteen hits as proudly as those kids in Arcade Fire ever did to the majestic sheen and nostalgia of “Radio Kids,” an arena-rock anthem that leaves no doubt as to what decade’s hits have him feeling nostalgic, which despite a quick lyrical nod to the Modern Lovers is clearly the ‘90s.
It's kind of weird, then, that the most compelling track is “Cry,” a breathtaking ballad that moves at a glacial, deliberate pace.
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