In 2004, Rolling Stone magazine cemented its place in music history with the publication of its 500 Greatest Songs Of All Time list. It became a cultural touchstone, sparking debate, celebration, and endless listening. Viewed hundreds of millions of times, the original list captured a specific moment in musical taste and history. However, the world of music never stands still. Just as technology and culture evolve, so too does the landscape of popular song. Recognizing this dynamic evolution, Rolling Stone undertook a significant project: a complete reboot of their iconic list.
More than two decades after the initial ranking, and two and a half years after a fully revamped version in September 2021, Rolling Stone has once again revisited and refreshed its definitive compilation of the greatest songs. This latest update, completed in early 2024, acknowledges the seismic shifts in music creation and consumption. The iPod, once a symbol of modern music access, is now a relic, and artists who were toddlers when the first list debuted, like Billie Eilish, are now defining contemporary sound.
To ensure the 2024 list resonated with current musical perspectives and broadened its scope, Rolling Stone convened a diverse and extensive panel of over 250 voters. This group included artists, musicians, and producers spanning genres and generations – from Angelique Kidjo to Zedd, Sam Smith to Megan Thee Stallion, and M. Ward to Bill Ward. Industry insiders, leading critics, and seasoned music journalists also contributed their expertise, each submitting a ranked list of their top 50 songs. The results were meticulously tabulated, reflecting a wide spectrum of musical appreciation and knowledge.
The sheer volume of songs considered underscores the depth of this project. Nearly 4,000 songs received votes, demonstrating the vastness of the musical universe and the rich tapestry of popular song. While the 2004 list leaned heavily towards classic rock and soul, this updated version reflects a more inclusive and contemporary understanding of musical greatness. Listeners will find a significantly increased presence of hip-hop, modern country, indie rock, Latin pop, reggae, and R&B. In fact, over half of the songs on the 2024 list are new additions, not featured in the previous ranking. Even within the Top 100, a third of the songs are fresh selections, signaling a substantial re-evaluation of what constitutes the greatest songs of all time.
The result is not merely an update, but a transformation. The 2024 list offers a more expansive and inclusive vision of pop music, celebrating the ongoing evolution of songcraft and recognizing the diverse voices that continue to reshape music history with every beat.
Harry Styles, ‘As It Was’
harry styles as it was
Image Credit: Youtube
Harry Styles’ “As It Was,” the lead single from his third album, captures a relationship in turmoil with a captivating sonic duality. The song balances introspective, sometimes anxious lyrics with shimmering, spun-sugar synths, creating a veneer of pop delight that subtly masks deeper emotional complexities. The track opens with a disarming, playful moment – Styles’ goddaughter Ruby’s giggle and goodnight message – immediately drawing the listener into an intimate space. This lighthearted beginning contrasts sharply with the lyrical exploration of a relationship in crisis. As the song progresses, the initial sweetness gives way to a more troubled undercurrent. The lyrics become increasingly revealing, hinting at anxieties and unspoken questions (“What kind of pills are you on?”). The bridge, a whirlwind of “high-speed internet” thoughts, further intensifies the sense of inner turmoil beneath the polished surface. “As It Was” is a masterclass in pop songwriting, demonstrating how a seemingly upbeat melody can effectively amplify and underscore lyrical depth and emotional vulnerability, earning its place among the greatest songs.
Townes Van Zandt, ‘Pancho and Lefty’
late great townes van zandt
Townes Van Zandt’s “Pancho and Lefty” is a narrative masterpiece, an epic story-song woven with threads of friendship, betrayal, and the harsh realities of life on the run. While the song achieved mainstream country success through Willie Nelson and Merle Haggard’s popular 1983 duet, it is Van Zandt’s own 1972 rendition, featured on The Late Great Townes Van Zandt, that truly embodies the song’s poignant heart. His delivery is forlorn and world-weary, perfectly capturing the doomed fates of Pancho and Lefty. The opening verse is a masterstroke of lyrical imagery, painting a vivid picture of a life lived on the margins: “Living on the road my friend/was gonna keep you free and clean/now you wear your skin like iron/your breath as hard as kerosene.” Van Zandt himself described the song’s creation as almost mystical, stating in 1984, “It’s hard to take credit for the writing, because it came from out of the blue.” This sense of effortless, almost divinely inspired songwriting, combined with the song’s timeless narrative and melancholic beauty, solidifies “Pancho and Lefty” as a cornerstone of American songwriting.
Lizzo, ‘Truth Hurts’
Lizzo’s “Truth Hurts” is an anthem of self-love and empowerment, a gale-force breakup banger delivered with unmatched swagger and soulful vulnerability. For Lizzo, the song is deeply personal, reflecting her own experiences and truths. While she later added a writing credit to Mina Lioness for the iconic line, “I just took a DNA test, turns out I’m 100 percent that bitch,” the song’s explosive energy and empowering message are undeniably Lizzo’s own. Originally released in 2017, “Truth Hurts” initially gained traction but didn’t explode into mainstream consciousness until 2019. A pivotal moment came when Gina Rodriguez’s character drunkenly sang the song in the Netflix show Someone Great. This viral moment catapulted “Truth Hurts” to new heights, solidifying it as Lizzo’s signature hit and a cultural phenomenon. Its infectious beat, combined with Lizzo’s unapologetic self-affirmation, makes “Truth Hurts” a modern classic, resonating with listeners seeking confidence and resilience in the face of heartbreak.
Harry Nilsson, ‘Without You’
Harry Nilsson’s rendition of “Without You” is a masterclass in vocal performance and strategic career reinvention. Originally written and performed by Badfinger, Nilsson’s cover transformed the near-despondent ballad into a chart-topping hit. Nilsson himself was remarkably candid about the song’s commercial motivations, stating, “We did it because my career was on the wane and we wanted something to make a hit.” He recounts searching through Beatles albums, mistakenly believing it was one of their songs, highlighting the tune’s inherent melodic strength. Producer Richard Perry amplified the song’s emotional impact, adding lush strings to showcase Nilsson’s desperate, soaring vocals. This combination of Nilsson’s raw vocal talent and Perry’s production choices proved commercially potent. “Without You” reached Number One, earning a Grammy nomination for Record of the Year and revitalizing Nilsson’s career. The song’s enduring appeal lies in Nilsson’s emotive delivery, capturing the raw ache of heartbreak in a way that continues to resonate with audiences.
Carly Simon, ‘You’re So Vain’
Carly Simon’s “You’re So Vain” is more than just a song; it’s a cultural phenomenon, the definitive diss track wrapped in soft-rock sophistication and enduring mystery. The central question – who is the subject of Simon’s biting critique? – has fueled speculation and fascination for decades, becoming one of music’s most enduring puzzles. Simon has revealed that actor Warren Beatty inspired the second verse, but the identity of the primary “vain” subject remains elusive, adding to the song’s allure. Musically, “You’re So Vain” is a perfect storm of 1970s soft-rock brilliance. Paul Buckmaster’s lush orchestration provides a rich backdrop for Simon’s witty lyrics and Mick Jagger’s subtle background vocals add a layer of rock-and-roll cool. The track is both musically and lyrically sharp, delivering its sting with a smooth, almost nonchalant, elegance. This combination of lyrical intrigue and musical polish has cemented “You’re So Vain” as a timeless classic, ensuring its place in the pantheon of greatest songs.
Cyndi Lauper, ‘Time After Time’
Cyndi Lauper’s “Time After Time” is a ballad of enduring love and quiet devotion, born from studio improvisation and initial artist apprehension. Lauper co-wrote the song with keyboardist Rob Hyman as her debut album, She’s So Unusual, neared completion. Despite its now-iconic status, Lauper was initially hesitant about releasing it as a single, fearing a ballad would misrepresent her overall artistic persona. “I asked them to please not put ‘Time After Time’ out as the first single,” Lauper explained, highlighting her concern that it would precede the more upbeat, signature sound she wanted to establish. Her instincts about sequencing, however, were ultimately incorrect for single releases. Following the effervescent “Girls Just Want to Have Fun,” “Time After Time” became her first Number One hit, demonstrating the power of its emotional resonance. The song’s success lies in its heartfelt sincerity and relatable theme of steadfast love, proving that Lauper’s versatility extended beyond pop anthems to encompass deeply moving ballads.
The Pixies, ‘Where Is My Mind?’
The Pixies’ “Where Is My Mind?” perfectly encapsulates the band’s unique blend of sonic dissonance and pop sensibility, a defining sound for alternative rock in the late 1980s. Emerging from the Reagan-era landscape of often gloomy bands, The Pixies carved a distinct path with their “freakish pop instincts,” and “Where Is My Mind?” stands as a prime example. Joey Santiago’s lead guitar line is undeniably catchy, possessing a melodic hook that rivals many Top 40 hits, yet delivered with the Pixies’ signature alternative edge. The song’s cultural impact amplified significantly a decade after its release when it became iconic through its inclusion in the film Fight Club. However, even before Fight Club, “Where Is My Mind?” had already permeated the DNA of alternative radio, influencing countless bands from Nirvana to Korn. Black Francis’ cryptic response when asked about his songwriting ability – “It’s nice to have space. How much can one brain deal with?” – mirrors the song’s enigmatic and thought-provoking nature. “Where Is My Mind?” is a testament to the power of unconventional pop craftsmanship and its lasting influence.
Kanye West, ‘Stronger’
Kanye West’s “Stronger” is a bold declaration of musical ambition and stadium-sized sound, marking a significant evolution in his artistic trajectory. For his third album, Graduation, West consciously aimed for a broader, more anthemic sound, directly inspired by his touring experiences with U2 and the Rolling Stones in 2006. He sought to create songs that could command massive venues, learning from masters of stadium rock. The core inspiration for “Stronger” came from Daft Punk’s “Harder, Better, Faster, Stronger,” which West brilliantly sampled and reshaped into his own grandiose statement. His admiration for Daft Punk extended beyond their music to their persona, noting, “These guys really stick with the whole not-showing-their-faces thing. Just amazing discipline — that’s straight martial-arts status.” “Stronger” embodies this ambition, fusing Daft Punk’s electronic edge with West’s signature bravado and lyrical themes of overcoming adversity. The result is a powerful, genre-bending track that not only rocks stadiums but also solidified West’s position as a musical innovator.
Miles Davis, ‘So What’
Miles Davis’ “So What” is a jazz standard of unparalleled coolness and accessibility, the opening track to the seminal album Kind of Blue. It’s a song that has permeated popular culture, likely soundtracking countless dinner parties with its laid-back, sophisticated vibe. However, “So What” was revolutionary for its time, representing a significant departure from traditional bebop chord changes. It embraced a more open-ended modal style, allowing for greater improvisational freedom. Pianist Bill Evans described Davis’s composing process as spontaneous, often developing material just hours before recording sessions. Despite this seemingly last-minute approach, the all-star band – featuring John Coltrane, Cannonball Adderley, Bill Evans, Paul Chambers, and Jimmy Cobb – sounds remarkably cohesive and deeply connected to the music. Coltrane and Adderley’s saxophone solos have become as iconic within jazz as the song itself, and the rhythm section’s effortless swing creates a sense of floating on air. “So What” is more than just a jazz tune; it’s a cultural touchstone, representing innovation, improvisation, and timeless cool.
Bad Bunny, ‘Titi Me Pregunto’
Bad Bunny,
Image Credit: Youtube
Bad Bunny’s “Tití Me Preguntó” is a vibrant showcase of the Puerto Rican superstar’s boundless creativity and eccentric pop genius, seamlessly blending diverse Latin rhythms and unexpected sonic shifts. The song effortlessly mixes frantic dembow beats with a sophisticated sample from bachata master Anthony Santos, culminating in a coda with a touch of Latin psychedelia, demonstrating Bad Bunny’s genre-bending approach that has captivated the global mainstream. He navigates these diverse elements with panache and a playful sense of humor. The song’s premise, centered around the archetype of the concerned Latin American aunt inquiring about her nephew’s romantic life, serves as a springboard for a hilarious and salacious lyrical tirade, all set to a bouncy, party-ready vibe. In typical Bad Bunny fashion, the song unexpectedly transitions into moments of moody self-reflection, adding depth to its otherwise lighthearted exterior. “Tití Me Preguntó” is a testament to Bad Bunny’s innovative approach to Latin pop, showcasing his ability to blend humor, introspection, and diverse musical styles into a globally resonant hit.
Lil Nas X, ‘Old Town Road’
Lil Nas X’s “Old Town Road” is a genre-defying phenomenon, a testament to the power of internet virality and cross-cultural musical fusion. Montero Hill, then an Atlanta college dropout sleeping on his sister’s couch, was seeking his break in music when he discovered a beat by Dutch producer YoungKio. The track, built around a banjo sample from a Nine Inch Nails song, sparked Hill’s imagination. “I was picturing, like, a loner cowboy runaway,” he explained to Rolling Stone, envisioning a unique blend of country and hip-hop. Within a year, “Old Town Road” became the longest-running Number One song in history, capturing a cultural zeitgeist and seemingly encapsulating centuries of American cross-cultural exchange within its concise one minute and 53 seconds. Its unlikely combination of country tropes, trap beats, and meme-ready lyrics resonated across demographics, proving the transformative power of online platforms and the evolving definition of genre in contemporary music. “Old Town Road” is a landmark song, emblematic of the digital age and its impact on music creation and consumption.
The Breeders, ‘Cannonball’
The Breeders’ “Cannonball” is an indie rock gem, born from Kim Deal’s post-Pixies creative resurgence and a touch of sibling rivalry. After receiving a fax informing her of her dismissal from the Pixies, Kim Deal formed The Breeders, enlisting her twin sister Kelley on guitar, despite Kelley’s lack of experience. This seemingly audacious move paid off spectacularly when “Cannonball,” an absurdist, infectiously catchy track, became an MTV sensation in 1993. Kelley Deal’s playful retort to those who viewed The Breeders as a side project – “No, actually … the Pixies are a side project” – encapsulates the band’s independent spirit and burgeoning success. While The Breeders went on hiatus shortly after their initial burst of fame, the effortlessly fun, trampoline-like bounce of “Cannonball” has ensured its enduring appeal. Its quirky charm, Kim Deal’s distinctive vocals, and the song’s overall infectious energy have solidified “Cannonball” as a quintessential 90s alternative anthem.
The Weeknd, ‘House of Balloons’
The Weeknd’s “House of Balloons” is a groundbreaking track that established his signature sound and enigmatic persona, marking a new direction for R&B. In his early career, Toronto singer-songwriter Abel Tesfaye deliberately cultivated an air of mystery, releasing his first Weeknd album without photos or interviews. “The whole ‘enigmatic artist’ thing, I just ran with it,” he explained, embracing the anonymity. The title track of House of Balloons was pivotal in defining his career, both thematically and musically. Lyrically, it explored themes of drugs, sex, and depression with a raw honesty that resonated with listeners. Musically, the song’s innovative sample of Siouxsie and the Banshees’ “Happy House” signaled a fresh, darker, and more alternative approach to R&B. “House of Balloons” was a sonic and thematic blueprint for The Weeknd’s subsequent superstardom, showcasing his ability to blend vulnerability with cutting-edge production and establishing him as a leading voice in contemporary music.
Solange, ‘Cranes in the Sky’
Solange on the cover of her new album, A Seat At The Table.
Solange’s “Cranes in the Sky” is a deeply introspective and sonically lavish neo-soul masterpiece, born from personal reflection and keen social observation. In conversation with her sister Beyoncé, Solange described the song’s inspiration, partly stemming from the rapid real estate development she witnessed in Miami. “This idea of building up, up, up that was going on in our country at the time, all of this excessive building, and not really dealing with what was in front of us,” she explained, using urban development as a metaphor for internal emotional processes. She turned this external observation inward, examining her own feelings about change, self-doubt, and personal aspirations. Conceived years prior, the song was ultimately completed with producer Raphael Saadiq, resulting in a rich tapestry of neo-soul introspection. “Cranes in the Sky” is a testament to Solange’s artistic depth, her ability to weave personal experience with broader social commentary, and her creation of music that is both deeply personal and universally resonant.
Lil Wayne, ‘A Milli’
Lil Wayne’s “A Milli” is a masterclass in lyrical dexterity and beat construction, a showcase of his unparalleled rapping prowess over a minimalist yet potent instrumental. Producer Bangladesh crafted the beat by looping the opening chords of Gladys Knight and the Pips’ “Don’t Burn Down the Bridge,” then layering in a hard-hitting volley of trap drums. Originally intended for a Young Money Entertainment compilation, featuring skits from various label artists, “A Milli” ultimately became a solo showcase for Lil Wayne’s lyrical brilliance. He dominates the track, delivering a breathless, virtuosic performance, blacking out in the booth and dazzling listeners with his complex rhyme schemes and effortless flow. The minimalist beat, far from being a limitation, provides the perfect canvas for Wayne’s lyrical acrobatics. “A Milli” is a testament to Lil Wayne’s status as a rap icon, his ability to command attention with sheer lyrical skill, and the power of a perfectly matched rapper and beat.
Azealia Banks, ‘212’
Azealia Banks’ “212” is a raw and explosive hip-house banger, a breakout track that announced her arrival as an uninhibited and fiercely talented provocateur. In 2011, Banks was a teenage rapper-singer with evident talent but limited industry traction. Producer Jacques Greene recalled discovering a Dutch house-sounding track that was “absolutely insane,” providing the sonic foundation for Banks’ breakthrough. Over Lazy Jay’s jittery, high-energy beats, Banks unleashed a ferocious freestyle, celebrating her New York hometown and incorporating sexually explicit lyrics with unapologetic confidence. Initially released as a viral track, “212” quickly gained momentum, becoming a hip-house anthem that earned Banks a major label deal with Interscope. The song’s raw energy, Banks’ commanding presence, and its fusion of hip-hop and house music established “212” as a defining track of its era and signaled the arrival of a unique and uncompromising artistic force.
Weezer, ‘Buddy Holly’
Weezer’s “Buddy Holly” is a quintessential geek-rock anthem, a celebration of nerdy romance wrapped in infectious pop-rock hooks. Written for frontman Rivers Cuomo’s girlfriend, the song almost didn’t make it onto Weezer’s self-titled debut, the Blue Album, due to concerns from Cuomo and then-member Matt Sharp. They worried it might be perceived as a novelty song, undermining the album’s overall seriousness. However, producer Ric Ocasek recognized the song’s undeniable appeal. After hearing the recording studio receptionist humming it, he insisted on its inclusion. “Buddy Holly” became Weezer’s breakout single, proving the band’s ability to fuse intelligent songwriting with irresistible melodies. The song’s retro vibe, catchy chorus, and celebration of “geek chic” resonated widely, solidifying Weezer’s place in 90s alternative rock and demonstrating the enduring power of earnest, well-crafted pop songs.
The Four Tops, ‘I Can’t Help Myself (Sugar Pie, Honey Bunch)’
The Four Tops’ “I Can’t Help Myself (Sugar Pie, Honey Bunch)” is a Motown classic, a rousing anthem of infatuation fueled by infectious energy and Levi Stubbs’s powerful vocals. The song’s playful title originated from songwriter Lamont Dozier’s grandfather, who used “sugar pie” and “honey bunch” as terms of endearment. During the recording session, engineer Harold Taylor recalled an almost frantic excitement, with people “banging on the door of the studio; they were so ecstatic about what they heard.” Despite this immediate enthusiasm, lead singer Levi Stubbs, ever the perfectionist, requested another take. Brian Holland, however, assured him they would soon, but Stubbs’s initial performance was undeniably magical. “I Can’t Help Myself” hit Number One, becoming one of Motown’s most enduring and beloved anthems. Its driving beat, catchy melody, and Stubbs’s passionate delivery combine to create a song that is both irresistibly fun and deeply emotionally resonant.
Lady Gaga, ‘Bad Romance’
Lady Gaga’s “Bad Romance” marked a significant escalation of her artistic persona, propelling her into a new realm of theatricality and sonic innovation. Following her initial pop stardom, Gaga collaborated with producer Nadir “RedOne” Khayat, drawing inspiration from the European electronic music scene she encountered while touring. The song’s core concept, as Gaga described it, is a desire for the deepest, darkest, and most vulnerable aspects of love, a willingness to embrace the unconventional and even the “sickest parts” of a relationship. Fittingly, she debuted “Bad Romance” at Alexander McQueen’s show during Paris Fashion Week, aligning the song’s avant-garde spirit with high fashion. “Bad Romance” is a bold and theatrical pop statement, fusing electronic beats with operatic vocals and a dark, romantic sensibility. It solidified Gaga’s status as a pop innovator, unafraid to push boundaries and explore the darker corners of love and desire.
Robert Johnson, ‘Cross Road Blues’
Robert Johnson’s “Cross Road Blues” is a foundational blues track, imbued with primal emotion and legendary mystique, deeply influential on generations of musicians. Recorded in a San Antonio hotel room in 1936, just two years before Johnson’s untimely death at age 27, the song is steeped in both musical and mythical weight. Eric Clapton described the intensity of Johnson’s music, stating, “I could take the music only in very small measures because it was so intense.” Johnson’s voice is raw and filled with terror, perfectly complementing his virtuosic and mystifying slide guitar playing. “Cross Road Blues” is a mythmaking statement of spiritual desolation and betrayal, even if the famous legend of Johnson selling his soul to the devil at a crossroads for guitar prowess remains apocryphal. Regardless of its factual basis, the myth enhances the song’s aura of mystery and deep emotional resonance. “Cross Road Blues” is a cornerstone of blues music, embodying its raw emotion, technical brilliance, and enduring power.
Biz Markie, ‘Just a Friend’
Biz Markie’s “Just a Friend” is a hip-hop classic, an endearingly goofy ode to the friend zone built on humor, infectious beats, and charmingly off-key vocals. Biz Markie, known for his good-natured personality and multifaceted talents as a DJ, rapper, producer, and beatboxer, achieved mainstream success with this track from his second album. Built on a fat beat, plinking piano, and his signature, intentionally off-key singing, “Just a Friend” interpolates Freddie Scott’s 1968 song “(You) Got What I Need.” The song’s narrative, based on a real-life experience, recounts Biz’s frustration with a woman who repeatedly insists a romantic rival is “just a friend.” As Biz explained, “I was talking to this girl from L.A., and every time I called her, this dude was at her house, and she’d say, ‘Oh, he’s just a friend.’ I hated that.” This relatable scenario, combined with Biz Markie’s unique delivery and the song’s infectious charm, made “Just a Friend” a crossover hit and a lasting testament to his unique artistry.
Santana, ‘Oye Como Va’
Santana’s “Oye Como Va” is a Latin-rock fusion masterpiece, a transformative reimagining of a salsa classic that brought Latin music to a global audience. Carlos Santana’s musical upbringing in San Francisco during the psychedelic era profoundly shaped his sound. He famously claimed, “You cannot take LSD and not find your voice, because there is nowhere to hide,” emphasizing the influence of psychedelic experiences on his artistic development. While his early influences were blues-based, Santana made history by transforming Tito Puente’s 1962 salsa tune “Oye Como Va.” He retained the original cha-cha pulse but replaced the horns with Greg Rolie’s organ and his own signature lysergic guitar flares, creating a groundbreaking fusion of Latin rhythms and rock instrumentation. Tito Puente himself acknowledged Santana’s impact, stating years later, “He put our music, Latin rock, around the world, man.” “Oye Como Va” is a landmark track, bridging genres and cultures and solidifying Santana’s legacy as a musical innovator.
Juvenile feat. Lil Wayne and Mannie Fresh, ‘Back That Azz Up’
Juvenile’s “Back That Azz Up” is a New Orleans bounce anthem, a defining track of late 1990s hip-hop that put the city firmly on the musical map. Mannie Fresh’s sharp, diamond-cut productions for Cash Money Records were instrumental in this rise, and “Back That Azz Up” is a prime example of their collaborative success. The song’s title, reminiscent of DJ Jubilee’s “Back That Thang Up,” led to a (unsuccessful) lawsuit, underscoring the track’s direct lineage to New Orleans bounce music. Built on the foundational “Triggerman” rhythm of bounce, Juvenile delivered his signature shit-talking rhymes, while Lil Wayne added a memorable “drop it like it’s hot” hook. Mannie Fresh’s production is both minimalist and infectious, creating the perfect backdrop for Juvenile and Lil Wayne’s performances. As Mannie Fresh himself noted about Lil Wayne’s contribution, “[He] immediately was just like, ‘Shit, I’m getting a piece of this.’” “Back That Azz Up” is a quintessential bounce track, capturing the energy and spirit of New Orleans hip-hop and its impact on the wider music landscape.
The Go-Gos, ‘Our Lips Are Sealed’
The Go-Go’s “Our Lips Are Sealed” is a radiant new wave hit, inspired by both punk energy and classic girl-group charm, born from a clandestine romance. According to writer Jane Wiedlin, the song’s sound was influenced by “the Buzzcocks and Sixties girl-group stuff,” blending punk’s raw energy with pop’s melodic sensibility. The lyrics were inspired by a secret relationship Wiedlin had with Terry Hall of the Specials. Hall received a co-writing credit, as Wiedlin based the lyrics on poetry he had written to her in a letter. “It was pretty personal,” Wiedlin recalled, referencing the sensitivity of the situation, as Hall was engaged at the time. “Our Lips Are Sealed” captures the excitement and secrecy of young love, set against a backdrop of catchy new wave pop. The song’s breezy energy and relatable theme resonated widely, making it The Go-Go’s first hit and a lasting anthem of youthful romance and whispered secrets.
Kris Kristofferson, ‘Sunday Mornin’ Comin’ Down’
Kris Kristofferson’s “Sunday Mornin’ Comin’ Down” is a stark and emotionally raw portrayal of desolation and hangover blues, its heavy atmosphere making it both compelling and almost painful to hear. The song’s profound sense of despair resonated deeply with Johnny Cash, who famously performed it on his TV variety show in 1970, bringing it to a wider audience. Kristofferson himself recorded a stunning studio version for his debut album that same year. While Cash’s interpretation is more shuffling and accessible, Kristofferson’s original recording is arguably even more emotionally devastating. Listening to both versions back-to-back reveals the nuances of Kristofferson’s songwriting and the song’s powerful impact. His lyrics about loneliness, regret, and the lingering effects of a night of excess are unflinchingly honest, shaking the listener’s soul with their raw vulnerability. “Sunday Mornin’ Comin’ Down” is a masterpiece of lyrical and emotional depth, capturing the darker side of the human experience with unflinching honesty.
Janet Jackson, ‘Rhythm Nation’
Janet Jackson’s “Rhythm Nation” is a socially conscious dance anthem, seamlessly blending infectious beats with a powerful message of unity and social awareness. The song emerged late in the sessions for her blockbuster album Rhythm Nation 1814. Co-producer Jimmy Jam recalled the song’s genesis, describing being in the studio and “switching between MTV and CNN. Watching music videos on one side and watching atrocities on the other. Somehow they all merged together. The idea for ‘Rhythm Nation’ was you can dance, but we can also do something more intelligent.” This duality – danceable and intelligent – is at the heart of “Rhythm Nation”‘s success. Jam’s sampling of Sly and the Family Stone’s “Thank You (Falettinme Be Mice Elf Agin)” further solidified the song’s rhythmic foundation. “Rhythm Nation” became a Number Two hit, demonstrating Jackson’s ability to create music that was both commercially successful and socially meaningful, inspiring listeners to dance while also engaging with important social issues.
Curtis Mayfield, ‘Move On Up’
Curtis Mayfield’s “Move On Up” is an anthem of empowerment and resilience, a politically charged and musically irresistible track that transcends genres. Powered by swinging horns and vibrant congas, the nine-minute LP version, with its iconic drum break, laid a foundation for both disco and hip-hop. Mayfield’s message of pride and dignity for Black America is central to the song’s power. However, he emphasized inclusivity and open interpretation, stating, “I’m not trying to say anything to make you think, ‘Well, this is the way, this is the only way.’ I’m trying to cover the whole subject.” “Move On Up” is both a call to action and a celebration of Black identity and perseverance. Its infectious rhythm, uplifting message, and Mayfield’s soulful delivery have made it a timeless classic, resonating with audiences across generations and musical tastes.
Tammy Wynette, ‘Stand by Your Man’
Tammy Wynette’s “Stand by Your Man” is a country classic and a cultural lightning rod, sparking debate and strong reactions since its release. The song, Wynette’s first co-writing effort, is a pledge of unwavering wifely devotion. From its inception, it drew controversy. Feminists in the 1970s criticized its message of unquestioning fidelity. Decades later, Hillary Clinton famously distanced herself from the song during Bill Clinton’s first presidential campaign. However, the recording itself transcends ideological debates. Wynette’s vocal performance, marked by a catch in her voice that builds to a powerful swell, combined with Billy Sherrill’s epic production, creates a song of undeniable emotional force. “Stand by Your Man” is a complex and enduring work, sparking conversations about gender roles and relationships while remaining a powerful example of country songwriting and vocal delivery.
Peter Gabriel, ‘Solsbury Hill’
Peter Gabriel’s “Solsbury Hill” is a song of personal transformation and artistic liberation, marking his departure from Genesis and the beginning of his solo career. Shortly after leaving Genesis in 1975, Gabriel climbed Little Solsbury Hill in Somerset, England, seeking reflection on his life-altering decision. This experience inspired “Solsbury Hill,” a song explaining his need to forge his own path. Musically, it was a deliberate departure from Genesis’s prog-rock sound, embracing a more pastoral and acoustic style, featuring a distinctive 12-string guitar lead. The song’s universal themes of change and self-discovery have made it ubiquitous in movies and film trailers. Gabriel himself has acknowledged its widespread use, admitting, “Maybe I’ve let it go too much.” “Solsbury Hill” is a song of personal and artistic rebirth, its uplifting melody and relatable lyrics ensuring its continued resonance.
The Animals, ‘The House of the Rising Sun’
The Animals’ “The House of the Rising Sun” is a transatlantic folk-rock transformation, turning an American ballad into a British Invasion anthem. Singer Eric Burdon explained their search for a song that would “grab people’s attention,” and they found it in the traditional folk ballad “The House of the Rising Sun.” Bob Dylan had previously recorded a version in 1962, telling the grim tale from a female perspective. The Animals, from Newcastle, England, shifted the gender in the lyrics and keyboardist Alan Price created a new arrangement, adding a signature organ solo inspired by Jimmy Smith’s “Walk on the Wild Side.” Price also controversially claimed composer credit for the arrangement. The Animals’ version transformed the folk ballad into a powerful rock song, driven by Burdon’s raw vocals and Price’s haunting organ melody, becoming a defining track of the British Invasion and a lasting testament to cross-cultural musical exchange.
Gladys Knight and the Pips, ‘Midnight Train to Georgia’
Gladys Knight and the Pips’ “Midnight Train to Georgia” is a soul classic, a song of dreams, loss, and the changing landscape of American migration. Songwriter Jim Weatherly originally wrote it as “Midnight Plane to Houston” for Cissy Houston. However, he changed the destination to Georgia to make it “more R&B… in order to get it onto Black radio.” Weatherly had already penned “Neither One of Us” for Gladys Knight and the Pips, and they recognized the hit potential of “Midnight Train.” The song’s narrative resonated with the times, reflecting the 1970s shift in African American migration patterns, with more people moving to the South than leaving for the first time since World War I. Despite Weatherly’s initial perception of writing country songs, “Midnight Train to Georgia” became a soul anthem, propelled by Gladys Knight’s emotive vocals and the Pips’ signature harmonies, capturing a specific moment in American social and musical history.
Dixie Chicks, ‘Goodbye Earl’
Dixie Chicks’ “Goodbye Earl” is a murder ballad with a modern feminist twist, a jaunty and darkly humorous song that provoked both controversy and acclaim. The song tells the story of two friends who poison an abusive husband, Earl. Its subject matter sparked disparate reactions, with some radio stations banning it due to concerns about inciting violence, while others provided domestic abuse hotline information, acknowledging the song’s serious undertones. Despite the controversial lyrics, record label executives were initially more concerned about another song on the Fly album, “Sin Wagon,” with its suggestive “mattress dancing” lyric. Natalie Maines recalled the relayed message from executives: “You can’t say [that], but they love the song about premeditated first-degree murder.” “Goodbye Earl” is a complex and provocative song, using dark humor to address serious issues of domestic violence and female empowerment, sparking dialogue and solidifying the Dixie Chicks’ reputation for bold and boundary-pushing country music.
Mazzy Star, ‘Fade Into You’
Mazzy Star’s “Fade Into You” is dream pop perfection, a hazy and ethereal ballad of longing and desire, defining the genre’s signature sound. Singer Hope Sandoval and guitarist David Roback, the core of Mazzy Star, emerged from the 1980s Paisley Underground scene in Los Angeles. After Sandoval replaced Kendra Smith in Roback’s band Opal, they reformed as Mazzy Star. Their second album yielded “Fade Into You,” a spaced-out and hypnotic track that became dream pop’s quintessential expression of blurry, melancholic yearning. Roback described their insular creative process, stating, “We’re not so concerned about the outside world. [Each song] is its own world unto itself.” “Fade Into You” is a sonic world unto itself, its languid pace, Sandoval’s breathy vocals, and Roback’s shimmering guitar creating an atmosphere of dreamy introspection and timeless beauty.
Nirvana, ‘Come as You Are’
Nirvana’s “Come as You Are” is a grunge anthem of acceptance and contradiction, its deceptively simple riff and Kurt Cobain’s enigmatic lyrics resonating deeply with a generation. Cobain described the song’s themes as relating to “people and what they’re expected to act like,” emphasizing the societal pressures to conform. He further noted the lyrical contradictions within the song, stating, “The lines in the song are really contradictory. They’re kind of a rebuttal to each other.” The song’s iconic riff, while seemingly simple, is made distinctive by Butch Vig’s production, adding a flanged, subaquatic guitar effect. Cobain reportedly borrowed the riff from a 1984 Killing Joke song, a debt Dave Grohl later acknowledged by drumming on Killing Joke’s 2003 album. In the tragic aftermath of Cobain’s suicide, the lyric “And I swear that I don’t have a gun” took on a haunting and prophetic weight. “Come as You Are” is a complex and layered song, embodying the spirit of grunge and the contradictions of fame and personal struggle.
Luther Vandross, ‘Never Too Much’
Luther Vandross’s “Never Too Much” is a buoyant and joyous R&B love song, marking the solo debut of one of the 1980s’ greatest balladeers. Financed in part by his earnings from jingles for KFC and 7UP, Vandross’s solo career was encouraged by Roberta Flack, for whom he had sung background vocals. As Vandross recounted, “She said, ‘Luther, you’re too comfortable sitting on that stool singing “ooh and aaah.”’ Roberta was single-handedly responsible for me starting my own career.” Flack’s encouragement stemmed from hearing the demo of “Never Too Much,” recognizing its hit potential. The song is an explosion of upbeat romance, driven by its infectious groove and Vandross’s soaring vocals, reaching delicate high notes. “Never Too Much” is a testament to Vandross’s vocal prowess and songwriting talent, launching his successful solo career and becoming a defining love song of the 1980s.
Daft Punk feat. Pharrell Williams, ‘Get Lucky’
Daft Punk’s “Get Lucky,” featuring Pharrell Williams, is a disco-infused phenomenon, a song that defined its year and resurrected disco for a new generation. When Pharrell Williams offered to collaborate on Daft Punk’s fourth album, he mentioned his musical admiration for Chic legend Nile Rodgers. Fortuitously, Daft Punk had a track in progress with Rodgers himself, leading to the creation of “Get Lucky.” Released as the lead single from their album Random Access Memories, the song became an instant sensation, dominating airwaves and dance floors worldwide. Williams himself acknowledged Daft Punk’s leading role in the collaboration, stating, “I think the robots are leading. Daft Punk, they’re definitely leading.” “Get Lucky” is a perfect blend of Daft Punk’s electronic innovation, Pharrell Williams’s smooth vocals, and Nile Rodgers’s signature guitar riffs, creating a timeless disco-pop anthem that transcended genres and generations.
Joni Mitchell, ‘Help Me’
Joni Mitchell’s “Help Me” is a sophisticated and sultry track from her commercially successful album Court and Spark, showcasing her increasing musical control and jazz-infused sound. Court and Spark was Mitchell’s best-selling album, and she asserted significant artistic control over its creation. “I guided everything into place on Court and Spark — even though I didn’t play it, I sang it, and then they played it from that, and it was pretty much as writ,” she explained, highlighting her meticulous approach to songwriting and arrangement. Recorded with the jazz group Tom Scott’s L.A. Express, “Help Me” features one of Mitchell’s most alluring vocals and intricately crafted arrangements. The song’s sophisticated jazz-pop sound and Mitchell’s evocative lyrics inspired Prince to pay lyrical tribute in his song “Ballad of Dorothy Parker” 13 years later. “Help Me” is a testament to Mitchell’s artistic evolution, her fusion of folk, pop, and jazz, and her ability to create songs that are both musically complex and emotionally resonant.
John Lee Hooker, ‘Boom Boom’
John Lee Hooker’s “Boom Boom” is a blues boogie classic, a swinging and swaggering track that embodies his signature primal thump and rhythmic innovation. Hooker explained that the song’s inspiration stemmed from his chronic lateness to gigs and a bartender named Luilla at Detroit’s Apex Bar. “There was a young lady named Luilla,” Hooker recounted. “She was a bartender [at the Apex Bar in Detroit]. I’d always be late, and whenever I’d come in she’d point at me and say, ‘Boom Boom, you’re late again.’ One night she said, ‘Boom boom, I’m gonna shoot you down.’ She gave me a song, but she didn’t know it.” Keith Richards aptly described Hooker’s unique style, stating, “Even Muddy Waters was sophisticated next to him,” highlighting Hooker’s raw and elemental approach to the blues. “Boom Boom” is a quintessential John Lee Hooker track, its hypnotic rhythm, minimalist arrangement, and Hooker’s distinctive vocals creating a blues classic that has influenced generations of musicians.
Van Morrison, ‘Into the Mystic’
Van Morrison’s “Into the Mystic” is a transcendent and beautifully arranged song, possibly his definitive track, evoking a sense of timeless romance and spiritual yearning. The highlight of his classic 1970 album Moondance, “Into the Mystic” benefited from a more organic recording process. “It was more like working with an actual band rather than a bunch of session guys,” Morrison explained, emphasizing the collaborative and improvisational nature of the recording sessions. Regarding the song’s lyrical meaning, Morrison admitted, “So many of my songs from that Seventies period, I haven’t a clue what they’re about. A lot of the time, I was just picking up on a vibe.” “Into the Mystic” captures a feeling more than a concrete narrative, its lush arrangement, Morrison’s transportive vocals, and its overall mystical atmosphere creating a song that feels both deeply personal and universally resonant.
Roy Orbison, ‘Crying’
Roy Orbison’s “Crying” is a lush and operatic ballad, a showcase of his unparalleled vocal range and emotional depth, capturing the intense pain of lost love. Orbison explained that the song was inspired by an encounter with a former love, stating, “Whether I was physically crying or just crying inside is the same thing.” His performance is legendary, culminating in a soaring, wailing high note that became his signature vocal flourish, a feat he maintained throughout his career. Bob Dylan described Orbison’s vocal power in Chronicles, writing, “He sounded like he was singing from an Olympian mountaintop and he meant business. He was now singing his compositions in three or four octaves that made you want to drive your car over a cliff. He sang like a professional criminal.” “Crying” is a vocal tour-de-force, its dramatic intensity and Orbison’s emotionally charged performance making it a timeless ballad of heartbreak and enduring love.
Steel Pulse, ‘Ku Klux Klan’
Steel Pulse’s “Ku Klux Klan” is a powerful and incendiary reggae track, directly addressing racial violence and social injustice in late 1970s Britain. As the first major British reggae band, Steel Pulse made their Island Records debut with this politically charged song, confronting the rising tide of racism with unflinching lyrics: “The Ku Klux Klan/Here to stamp out Black man.” To amplify the song’s message, they famously performed it live, including a memorable BBC appearance, wearing white Klan hoods. Vocalist Michael Riley explained the intent behind this provocative imagery: “The hoods seemed extreme at the time, but that’s what we are in a way. When we wore them, people started questioning what the song was about instead of just dancing to it.” “Ku Klux Klan” is a bold and confrontational song, using reggae rhythms to deliver a powerful message against racism and social injustice, prompting reflection and dialogue beyond mere entertainment.
Sade, ‘No Ordinary Love’
Sade’s “No Ordinary Love” is a sophisticated and subtly powerful ballad, showcasing Helen Adu’s distinctive vocal style and the band’s understated musicality. Adu’s vocal approach is characterized by her limited but deeply expressive range. “I decided that if I was gonna sing, I would sing how I speak, because it’s important to be yourself,” she explained, emphasizing authenticity in her performance. In “No Ordinary Love,” her voice cracks with emotion even before the first chorus, underscoring the lyrical drama. Stuart Matthewman’s guitar work further enhances the song’s mood, adding a low-key noisy element that provides a welcome edge to the otherwise mellow groove. “No Ordinary Love” is a masterclass in understated elegance, its subtle musicality and Adu’s emotionally resonant vocals creating a song that is both sophisticated and deeply moving. It highlights the band’s collective strength, proving that Sade is more than just its lead singer.
Beck, ‘Loser’
Beck’s “Loser” is a slacker anthem turned ironic masterpiece, a lo-fi track that unexpectedly catapulted him to fame and defined a generation’s sound. In 1992, Beck Hansen was a struggling video store clerk performing quirky folk songs in Los Angeles coffeehouses. “Loser” was recorded in his producer’s kitchen and became the centerpiece of his album Mellow Gold. Initially perceived as a novelty hit, “Loser” proved to be much more. Beck himself resisted the “slacker generation” label, stating, “You’d have to be a total idiot to say, ‘I’m the slacker-generation guy. This is my generation.… we’re not gonna fuckin’ show up.’ I’d be laughed out of the room in an instant.” “Loser” is a genre-bending track, blending folk, hip-hop, and alternative rock with a deliberately lo-fi aesthetic. Its ironic lyrics, catchy chorus, and unconventional sound resonated widely, making Beck a musical icon of the 90s and “Loser” a lasting anthem of ironic detachment and unexpected success.
Bon Jovi, ‘Livin’ on a Prayer’
Bon Jovi’s “Livin’ on a Prayer” is a working-class anthem of hope and resilience, transforming everyday struggles into stadium-sized grandeur. Like his New Jersey predecessor Bruce Springsteen, Bon Jovi focuses on the lives of working-class individuals. “Livin’ on a Prayer,” co-written with guitarist Richie Sambora, elevates the ordinary lives of Tommy and Gina, imbuing their struggles with epic proportions. The song’s use of guitar-pick slides, dramatic pauses, and the inevitable key change all contribute to its anthemic quality. Decades later, “Livin’ on a Prayer” continues to resonate with audiences worldwide. Bon Jovi reflected on the song’s enduring appeal in 2005, stating, “It’s great that we wrote songs so long ago that people can still relate to. When I hear ‘Livin’ on a Prayer,’ I think to myself, ‘We wrote that. That song has really made its mark. I guess that works.’” “Livin’ on a Prayer” is a testament to the power of anthemic rock, its themes of hope and perseverance striking a chord with listeners across generations.
Lana Del Rey, ‘A&W’
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Image Credit: Chuck Grant*
Lana Del Rey’s “A&W” is a sprawling and ambitious epic, a seven-minute journey through Americana, vulnerability, and sonic reinvention. “A&W” is maximum Lana Del Rey, seamlessly transitioning from the sun-drenched SoCal folk-rock of her recent albums to the hip-hop-infused pop of her earlier work. This musical scope is matched by an equally ambitious narrative, exploring themes of vulnerability, luridness, nostalgia, hopelessness, and dark humor. The song’s title, “A&W,” a classic root beer brand, is repurposed as shorthand for “American Whore,” demonstrating Del Rey’s signature ability to bend American iconography to her artistic will. “A&W” is a complex and multifaceted work, showcasing Del Rey’s evolution as a songwriter and her continued exploration of American identity, desire, and disillusionment. It’s a bold and uncompromising artistic statement, solidifying her place as a unique voice in contemporary music.
Jefferson Airplane, ‘White Rabbit’
Jefferson Airplane’s “White Rabbit” is a psychedelic rock anthem, bringing acid-rock to mainstream America with its hypnotic bolero rhythm and Alice in Wonderland-inspired lyrics. Written by vocalist Grace Slick, reportedly after an LSD experience and listening to Miles Davis’ Sketches of Spain, the song is a musical and lyrical exploration of altered states of consciousness. Slick had previously recorded it with her band The Great Society before re-recording it with Jefferson Airplane, giving it a wider audience. The lyrics draw parallels between psychedelic drug use and children’s literature, as Slick explained: “Our parents read us stories like Peter Pan, Alice in Wonderland, and The Wizard of Oz. They all have a place where children get drugs, and are able to fly or see an Emerald City or experience extraordinary animals and people.… And our parents are suddenly saying, ‘Why are you taking drugs?’ Well, hello!” “White Rabbit” is a cultural touchstone of the psychedelic era, its hypnotic rhythm, surreal lyrics, and Grace Slick’s commanding vocals capturing the spirit of the 1960s counterculture.
Sister Nancy, ‘Bam Bam’
Sister Nancy’s “Bam Bam” is a foundational dancehall anthem, a booming and bright track that established her as a pioneering female voice in reggae. Nancy, also known as Ophlin Russell, was a DJ for Kingston’s Stereophonic sound system when she met reggae producer Winston Riley in the late 1970s. She admired Riley’s serious approach to recording, stating, “I really admired how he took recording serious. You couldn’t go into his studio and do any foolishness.” “Bam Bam” is their peak collaboration, a dancehall classic that is both tough and playful, boasting a booming yet bright sound. The track has been extensively sampled by artists across genres, from Lauryn Hill to Kanye West, underscoring its enduring influence. Sister Nancy’s commanding presence and the song’s infectious energy have solidified “Bam Bam” as a cornerstone of dancehall and a testament to her pioneering role in reggae music.
Missy Elliot, ‘The Rain (Supa Dupa Fly)’
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Missy Elliott’s “The Rain (Supa Dupa Fly)” is a groundbreaking hip-hop track, showcasing her innovative rhythmic style and solidifying her and Timbaland as production powerhouses. Prior to her first single, Elliott and Timbaland had already made significant rhythmic contributions to hip-hop and R&B as producers. While high-profile features had introduced Elliott’s distinctive rap style, “The Rain” was a true revelation. With its ghostly sample of Ann Peebles’ “I Can’t Stand the Rain,” memorable Beenie Man misquote (“Who got the keys to the jeep?”), and twitchy yet sleek beat, the song was unlike anything heard before. “The Rain (Supa Dupa Fly)” catapulted Missy Elliott to stardom and established her and Timbaland as the producers to beat, ushering in a new era of rhythmic innovation in hip-hop and R&B.
Toto, ‘Africa’
Toto’s “Africa” is an unlikely pop phenomenon, a yacht-rock touchstone with a calming synth riff and soaring chorus that defies lyrical logic. Drummer Jeff Porcaro himself acknowledged the song’s lyrical ambiguity, stating in 1985, “It’s funny. We thought ‘Africa’ was bold, and it did pretty good, but lyrically it didn’t make a dime of sense.” However, the song’s appeal lies beyond its lyrical content. The instantly recognizable synthesizer riff, created on a Yamaha GS-1 to emulate kalimba and marimba sounds, and the soaring chorus are the true drivers of its popularity. “Africa” hit Number One and has since become a yacht-rock staple, experiencing a resurgence in popularity in 2019 with Weezer’s affectionate cover. Toto returned the favor by covering Weezer’s “Hash Pipe,” highlighting the song’s enduring and cross-generational appeal, proving that sometimes, musical feel trumps lyrical sense.
Migos feat. Lil Uzi Vert, ‘Bad and Boujee’
Migos’ “Bad and Boujee,” featuring Lil Uzi Vert, is a meme-rap anthem, a track that captured the social media zeitgeist and became a defining sound of its era. If ringtone rap was born from cellphones, “Bad and Boujee” is the epitome of meme rap, its “Raindrop, drop-top” hook inspiring countless Twitter memes, Vine clips, and even appearances at the 2017 Women’s March on Washington, D.C. Offset, one-third of Migos, wrote the song’s iconic hook during a period of personal turmoil, explaining to Rolling Stone, “I had some little situations going on with life, family stuff going down, so I went downstairs to record. Sometimes that’s the best time to get music off — you might be mad, make some crazy shit.” “Bad and Boujee” is a testament to the power of social media in shaping musical trends and the ability of a catchy hook to transcend traditional musical boundaries, becoming a cultural phenomenon in the digital age.
