Part 1: Best Music Downloader 2017/2018 for Mac/PC

Comparing to streaming music online, it's more acceptable to download MP3 music on Mac/Windows lest network disconnection. And to make music downloading easier, an admirable music downloader for Mac and Windows is essential. MacX Video Converter Pro (Windows version) incontrovertibly delivers a satisfying answer on downloading MP3 music both on Mac (macOS Mojave) and Windows (10) platform.

It not only allows you to download music from SoundCloud, Pandora, GrooveShark audio music sites, but also music video sites like YouTube, Dailymotion, Vevo etc. Moreover, the best YouTube music downloader Mac 2017 is also featured with fast speed and high quality reserved. For example, less than 30 seconds are needed for this music songs downloader to download mp3 mp4 on YouTube.

How to Save Music Offline on Mac/Windows with the Best Music Downloader 2017/2018

No matter you wanna download MP3 music on Mac or Windows computer, you need to free download best 2017 music downloader on your computer first. Click for Windows version as well. Then open your browser to copy your target music URL from YouTube, SoundCloud, Vevo, Pandora etc.

Step 1: Launch MacX Video Converter Pro, and click 'YouTube' > 'Add Link' button to get ready for music download. Click 'paste & analyze' button to detect your music details automatically.

Step 2: Choose MP3 as output format. If you have copied the music video URL, you can download MP4 music video as well. And then one more step is required to convert MP4 to MP3 with the best music downloader. Namely, check the box to 'auto add to convert list', and choose 'To Music' column to pick MP3 or AAC, AC3 as output format.

Step 3: Click 'Browse' to specify the output folder path.

Step 4: Press 'Download Now' to start downloading MP3 music. The process will be completed in the twinkling of an eye.

After you have downloaded MP3 music, you can not only enjoy them on computer, but also transfer them to iPhone iPad as long as there is a superb iPhone transfer. The sister program of MacX Video Converter Pro named MacX MediaTrans empowers you to import music from Mac to iPhone iPad iPod seamlessly. Not just the MP3 files music, but all kinds of music files like AAC, FLAC, WMA, M4A etc., the music transfer would auto convert any audio formats to MP3 or AAC in the transferring process. Furthermore, you can even make ringtones for iPhone with the excellent tool too.

This year, music was all about context: artists addressed a tumultuous world or created a new one, pushing boundaries in voice and instrument. Pop stars parsed love and heartbreak, electronic producers found inspiration around the globe and in their backyards, and hip-hop morphed and changed at light speed. As voted by our staff and contributors, here’s our list of the 100 Best Songs of 2017.

Listen to selections from this list on our Spotify playlist and our Apple Music playlist.

• Capitol

• Maggie Rogers

“On + Off”

As a humble music student from Maryland, Maggie Rogers rose to fame after catching Pharrell's ear with her enigmatic pop song “Alaska.” The upbeat electro track showcased Rogers’ keen intuition as a songwriter and arranger. Now “On + Off” finds her a brilliant alchemist, joining styles from across the sonic spectrum under a swooping arc. Brittle synth pop, heartland folk, quiet storm R&B, deep house, velvety dream pop, even a trace of gospel choir: They’re all here, in the brilliant stained glass mirror through which she sees the world. –Zoe Camp

Listen:Maggie Rogers, “On + Off”

• Interscope

• Kamaiyah

“Build You Up”

Between signing with Interscope and landing a spot on XXL’s Freshmen class of ’17, Kamaiyah Johnson made plenty of power moves over the past 12 months. Her greatest may be “Build You Up,” a punchy neon pep talk that repurposes Tony! Toni! Toné!’s 1990 chart-topper “Feels Good” into a burst of R&B optimism.

Kamaiyah has said she wrote “Build You Up” to empower young women within a cultural landscape where such anthems are scarce. True enough, in her catchy track, the Bay Area MC lifts up her peers as she stresses their right to love and respect. “If he don’t show you love, then he’s less than/Never stress it, tell that brother get to steppin’,” she instructs. Words to live by. –Zoe Camp

Listen:Kamaiyah, “Build You Up”

• Barsuk

• Charly Bliss

“Percolator”

The 2001 film version of Josie and the Pussycats was a commercial failure, but many of us grew to love its power-pop soundtrack anyway, and some even formed bands. Charly Bliss stand out among them by favoring pop over force: “Percolator” offers a few moments of grimy guitar before attacking the listener with hooks instead. Eva Hendricks’ voice has the capricious shape of an inner monologue, squeaking out each wry line: “Swimming in your pool, I am pregnant with meaning/Could I be more appealing, writing slurs on the ceiling?” It’s sardonic, self-deprecating, and utterly serious all at once. Satirizing the music industry as a psy-ops conspiracy, Josie and the Pussycats also suggested how much fear and disdain youthful ardor can provoke. Call it power—something “Percolator” has. –Chris Randle

Listen:Charly Bliss, “Percolator”

• Epic

• DJ Khaled

“Wild Thoughts” [ft. Rihanna and Bryson Tiller]

“Wild Thoughts” is proof that DJ Khaled’s sheer determination to engineer Top 40 hits can actually pay off. Strategic in his appeals to nostalgia, Khaled essentially recreated Santana and the Product G&B’s 1999 hit “Maria Maria,” retaining its shuffling Latin percussion and seductive guitar lines. Perhaps Khaled knew a Latin-tinged pop song could rule the U.S. charts for the summer—but only if an English-speaking superstar jumped on it, as evidenced by Justin Bieber’s remix of Luis Fonsi and Daddy Yankee’s “Despacito.”

After eight years of trying to get Rihanna on a track, Khaled finally landed an elusive feature, and her ability to exude carefree sex appeal proved a perfect match for the slinky beat. Confident and restrained, Rihanna dips to the lowest parts of her range to make playful phrases about temptation sound as sensuous as possible. Bryson Tiller contributes a just-fine verse that expectedly mentions D’usse and not-so-expectedly references The Waterboy. Add in the occasional over-exuberant ad-lib from DJ Khaled, and you have the recipe for a great summer bop. –Michelle Kim

Listen:DJ Khaled, “Wild Thoughts” [ft. Rihanna and Bryson Tiller]

• Gotti Made-It / EMPIRE

• Yo Gotti

“Rake It Up” [ft. Nicki Minaj]

For decades, strip clubs in the South have served as a testing ground for hip-hop songs, and Yo Gotti handcrafted “Rake It Up” as a pole-friendly anthem. But instead of the usual “make it rain” tropes centered around the power of the patron, the Memphis rapper shifts the energy to the dancers raking up wads of cash after a successful night on the job. Producer Mike WiLL Made-It finesses hi-hats and big bass into a spacious beat that’s filled out by Gotti and Nicki Minaj, who makes rhyming the word “China” five times in a row sound ingenious on one of her most showstopping features in recent memory. Here, the women are moneymakers, and Nicki is center stage. –Kristin Corry

Listen:Yo Gotti, “Rake It Up” [ft. Nicki Minaj]

• Sub Pop

“A Wall”

Earlier this year, as the White House bungled the implementation of its “Muslim ban,” sparking airport protests and civil rights lawsuits, Downtown Boys were holed up in Steve Albini’s Chicago studio cutting their Sub Pop debut, Cost of Living. Vocalist Victoria Ruiz and guitarist Joey DeFrancesco earned their activist stripes organizing for labor and civil rights in their home base of Providence, Rhode Island; they’re not used to watching from the sidelines. But the record they cut will endure long after the current administration has left office, and “A Wall,” its opening salvo, perfectly captures their righteous rage. In between the driving bassline and soaring sax melody, Ruiz and DeFrancesco shout down jingoistic imperialism. It’s an extension of the band’s live shows, which are equal parts dance party and discourse. Ruiz confronts and challenges her audience, encouraging us to decolonize our minds while examining our own complicity in oppressive structures rooted in white supremacy. On a record full of defiant statements, “A Wall” is among the most forceful. –Matthew Ismael Ruiz

Listen:Downtown Boys, “A Wall”

• Father/Daughter

“The Embers”

Lætitia Tamko never says anything about fire on “The Embers,” the opening track of Vagabon’s debut album, Infinite Worlds. In a rougher version, at the end of Vagabon’s 2014 EP Persian Garden, the same song was titled “Sharks.” You could argue the original title made more sense, because Tamko sings here—laconically, unforgettably—about being “a small fish” in a sea of voracious predators. But “The Embers” fans her artistic statement of self-belief into a glowing, quiet-loud opus that evokes both classic Modest Mouse and recent Hop Along. It’s proof that there are other seas for small fish, particularly the New York D.I.Y. community that nurtured Vagabon. And yet, in showing how someone made to feel marginal can transform that sense of vulnerability into strength, the song also reveals determined souls can set any situation brilliantly ablaze. –Marc Hogan

Listen:Vagabon, “The Embers”

• Island

• Big Shaq

“Man’s Not Hot”

It was a banner year for grime-related humor, first seeing Roll Safe achieve meme-level fame, and then Big Shaq’s “Man’s Not Hot” proving itself the most quotable British product since Lethal Bizzle’s “Rari Workout.” Casual observers might wonder if grime parodies are better than grime tracks, but “Man’s Not Hot” renders that distinction moot by being an excellent example of each. Indeed, it joins in a tradition of songs (e.g., the Darkness’ “I Believe in a Thing Called Love”) that so expertly lampoon their chosen genre they become part of its firmament.

“Man’s Not Hot,” which originated as a freestyle on BBC Radio 1Xtra, is the brainchild of British comedian Michael Dapaah, who builds the track around one wry observation—why are young toughs always mugging in parkas?—and withholds the punch line long enough to practice his gun noises and turn “donut” into an insult. He also brags about his deodorant and ups the stakes (“Man can never be hot/Perspiration ting”), wrapping the track so tightly in patois and bravado that it hardly matters whether you’re doubled over laughing or marring your search history with “uckers.” –Andrew Gaerig

Listen:Big Shaq, “Man’s Not Hot”

• Island

• Jessie Ware

“Midnight”

“Midnight” is the sound of walls tumbling down, the kinds used to shield a heart from love. Upon its release, Jessie Ware described the song as one she’s “always wanted to be able to sing” and it exudes a newfound confidence, shining with every note. Ware sounds powerful and poised as she embodies the full force of falling for someone. “Can I miss you in the daylight?” she sings, underscoring the question’s idyllic naivety. But for all the vulnerability contained within these lyrics, Ware’s vocals are the grandest revelation here, capturing the beautiful discomfort of such a feeling. She employs her higher register to stunning effect, and this iteration of old soul-tinged pop is Ware at her most impressive. –Briana Younger

Listen:Jessie Ware, “Midnight”

• DFA

• CCFX

“The One to Wait”

“The One to Wait” begins quietly, with a wash of guitar and a gentle breakbeat. And then Mary Jane Dunphe, a singer who always sounds like she’s announcing herself to the world, announces herself to the world, and CCFX sounds for a moment like the type of brilliant post-punk act that arrives like a summer storm to reorganize your thoughts about rock music.

The end result isn’t quite so dramatic, thankfully. CCFX is Dunphe’s collaboration with Trans FX’s Chris McDonnell, and the dream pop they conjure is the most luxurious environ she's inhabited yet. On “The One to Wait,” her voice swoops and eddies through a tale of longing and indecision, her phrasing and tone almost sculpture-like in its exaggerated poses. The lyrics and puddled guitars suggest sadness, but the song’s melody seems to slope ever upward, never quite cresting. It creates a fidgety, nervous energy that carries the track as you wonder if Dunphe is going to let loose. She doesn’t, because some storms just drizzle all day long. –Andrew Gaerig

Listen:CCFX, “The One to Wait”