Music is a constantly evolving art form, and what resonates with audiences changes over time. Recognizing this dynamic nature, Rolling Stone, a leading voice in music journalism, has revisited and updated its definitive list: the 500 Greatest Songs of All Time. This refresh, conducted in early 2024, builds upon the extensive 2021 revamp, ensuring the list remains relevant and reflective of the ever-changing landscape of popular music. While the 2021 list was the result of a comprehensive poll involving over 300 artists, writers, producers, and industry insiders and covered many decades of music history, this update focuses on the impactful tracks released in the few years since, from 2021 to early 2024. This ensures that contemporary classics from artists like Beyonce, Lana Del Rey, and Taylor Swift are rightfully acknowledged alongside timeless favorites.
The original 500 Greatest Songs of All Time list, published in 2004, became one of Rolling Stone‘s most-read features, attracting hundreds of millions of views. However, the music world of 2004 was vastly different. The digital music revolution was still in its early stages, and the sounds dominating the charts have shifted significantly. To capture this evolution, Rolling Stone undertook a significant reboot of the list. For this updated version, a diverse group of over 250 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 – alongside key figures from the music industry, esteemed critics, and journalists, participated in the voting process. Each voter submitted a ranked list of their top 50 songs, and these individual lists were meticulously compiled to create the new ranking.
The sheer volume of music considered highlights the breadth of popular song. Nearly 4,000 songs received votes in this extensive process. One of the most notable shifts from the 2004 list is a greater representation of genres that have risen to prominence in recent years. While the earlier list was heavily influenced by classic rock and soul, this updated edition showcases a wider spectrum of musical styles, including more hip-hop, contemporary country, indie rock, Latin pop, reggae, and R&B. This evolution underscores the diversifying tastes of music lovers and the expanding definition of what constitutes popular music. Significantly, over half of the songs featured in the new list were not present in the 2004 version, with a third of the Top 100 being entirely new entries. This substantial change reflects a conscious effort to create a more inclusive and expansive vision of popular music, one that acknowledges music’s constant reinvention with every new song released.
Explore the Methodology and Contributors Behind the List
Contributors: Jonathan Bernstein, Jon Blistein, David Browne, Jayson Buford, Nick Catucci, Mankaprr Conteh, Bill Crandall, Jon Dolan, Gavin Edwards, Jenny Eliscu, Brenna Ehrlich, Jon Freeman, David Fricke, Andy Greene, Joe Gross, Kory Grow, Keith Harris, Will Hermes, Brian Hiatt, Christian Hoard, Joseph Hudak, Jeff Ihaza, Maura Johnston, Rob Kemp, Greg Kot, Elias Leight, Rob Levine, Alan Light, Julyssa Lopez, Angie Martoccio, Michaelangelo Matos, Tom Moon, Tom Nawrocki, Jon Pareles, Parke Puterbaugh, Mosi Reeves, Jody Rosen, Robert Santelli, Austin Scaggs, Claire Shaffer, Bud Scoppa, Rob Sheffield, Hank Shteamer, LC Smith, Brittany Spanos, Rob Tannenbaum, Simon Vozick-Levinson, Barry Walters, Alison Weinflash, Douglas Wolk
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Harry Styles, ‘As It Was’
Harry Styles in a red outfit, performing on stage, with a microphone in hand.
The lead single from Harry Styles’ third album, “As It Was,” masterfully blends introspective lyrics with an upbeat synth-pop sound. The song delves into the complexities of a relationship in flux, contrasting Styles’ internal turmoil with the shimmering, almost carefree, musical backdrop. From its charming opening featuring Styles’ goddaughter Ruby’s giggle and a playful goodnight message, to the catchy, rapid-fire bridge depicting the whirlwind of thoughts in his mind, “As It Was” creates a vivid and multifaceted sonic landscape. Beneath the initial impression of lightheartedness, the song subtly reveals deeper anxieties and uncertainties within the lyrics, prompting listeners to consider the underlying complexities with each listen.
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Townes Van Zandt, ‘Pancho and Lefty’
Townes Van Zandt with a mustache, wearing a hat and a jacket, holding a guitar in a dimly lit setting.
“Pancho and Lefty” stands as a storytelling masterpiece, chronicling the intertwined destinies of a bandit and his betrayer. While Willie Nelson and Merle Haggard’s popular 1983 duet brought the song mainstream country success, it’s Townes Van Zandt’s own rendition, found on his 1972 album The Late Great Townes Van Zandt, that most poignantly captures the tragic weight of the narrative. The song opens with a verse of striking imagery, immediately setting a tone of hardship and weariness, describing a life on the road and the toll it takes. Van Zandt himself expressed a sense of being a conduit for the song, stating in 1984 that the writing felt divinely inspired, “because it came from out of the blue.”
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Lizzo, ‘Truth Hurts’
Lizzo with curly hair and hoop earrings, wearing a black top, singing into a microphone with a confident expression.
Lizzo declared “Truth Hurts” as a deeply personal and authentic expression, stating, “That song is my life and its words are my truth.” While a writing credit was added for Mina Lioness due to the song’s iconic line originating from a tweet, the undeniable force of this empowering breakup anthem is purely Lizzo. It’s a celebration of self-love and resilience, delivered with Lizzo’s signature blend of confidence, humor, and soulful vocal prowess. Though initially released in 2017, “Truth Hurts” gained significant momentum in 2019 after being featured in the Netflix show Someone Great, ultimately becoming Lizzo’s defining song and a cultural phenomenon.
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Harry Nilsson, ‘Without You’
Harry Nilsson with blond hair, wearing a patterned shirt, singing into a microphone with a passionate expression.
Harry Nilsson openly acknowledged the commercial motivations behind his cover of Badfinger’s ballad, “Without You,” stating, “We did it because my career was on the wane and we wanted something to make a hit.” He recounts searching extensively through Beatles albums, mistakenly believing it to be one of their songs, before deciding to record it. Producer Richard Perry amplified the song’s emotional impact by adding lush string arrangements to complement Nilsson’s raw and desperate vocal delivery. Their strategy proved successful, as “Without You” reached Number One and garnered a Grammy nomination for Record of the Year, revitalizing Nilsson’s career.
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Carly Simon, ‘You’re So Vain’
Carly Simon with long brown hair and a fur coat, holding a microphone and singing with a knowing smile.
“You’re So Vain” is the quintessential diss track, shrouded in one of popular music’s most enduring mysteries: the identity of the song’s subject. Carly Simon has revealed that actor Warren Beatty inspired the second verse, but the enigma surrounding the other verses continues to fuel speculation and fan theories. Regardless of the muse, the song is a masterpiece of soft-rock sophistication, enhanced by Paul Buckmaster’s opulent orchestration and the unexpected addition of Mick Jagger’s background vocals. Its enduring appeal lies not only in its catchy melody but also in the intrigue of its veiled target.
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Cyndi Lauper, ‘Time After Time’
Cyndi Lauper with bright orange hair and colorful makeup, wearing a lace glove, singing with emotional intensity.
Cyndi Lauper initially harbored reservations about “Time After Time,” the tender ballad she co-wrote with Rob Hyman during the creation of her debut album, She’s So Unusual. Lauper expressed concern that releasing a ballad as her first single would hinder her image as a rocker. However, her instincts were proven wrong. Following the exuberant success of “Girls Just Want to Have Fun,” “Time After Time” was released as a single and became her first Number One hit, demonstrating her versatility and the broad appeal of her music.
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The Pixies, ‘Where Is My Mind?’
The Pixies band members with guitars and drums, performing on stage with a raw and energetic presence.
“Where Is My Mind?” perfectly encapsulates the Pixies’ unique fusion of unconventional pop sensibilities and raw energy that distinguished them within the alternative music scene of the Reagan era. Joey Santiago’s lead guitar riff is instantly memorable and rivals many mainstream pop hooks in catchiness. The song gained further iconic status a decade after its release through its prominent use in the film Fight Club, solidifying its place in popular culture. Black Francis, when questioned about his songwriting talent in 1988, offered a characteristically enigmatic response, “It’s nice to have space. How much can one brain deal with?”, hinting at the creative process behind their distinctive sound.
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Kanye West, ‘Stronger’
Kanye West wearing sunglasses and a suit, performing on stage with energetic movements and a microphone.
Kanye West described his approach to his third album, Graduation, as aiming for songs with stadium-rocking power, drawing inspiration from his touring experiences with U2 and the Rolling Stones in 2006. “Stronger” embodies this ambition, becoming his most anthemic track to date. The song’s foundation is built upon a sample of Daft Punk’s “Harder, Better, Faster, Stronger,” which West masterfully reimagined and amplified. West has expressed admiration for Daft Punk’s artistic discipline and anonymity, recognizing their “martial-arts status” dedication to their craft.
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Miles Davis, ‘So What’
Miles Davis playing the trumpet with intensity, surrounded by band members in a classic jazz setting.
“So What,” the opening track from Miles Davis’ groundbreaking album Kind of Blue, is a jazz standard that has likely provided the soundtrack to countless gatherings. At the time of its release, it represented a significant departure from bebop’s complex chord progressions, embracing a more open and modal approach. Pianist Bill Evans noted Davis’s improvisational working style, developing material shortly before recording sessions. Despite this, the ensemble performance on “So What” sounds seamless and deeply ingrained. The solos by saxophonists John Coltrane and Cannonball Adderley have become as legendary as any in jazz, and the rhythm section’s interplay is both effortless and captivating.
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Bad Bunny, ‘Titi Me Pregunto’
Bad Bunny in a white tank top and sunglasses, standing in front of a colorful backdrop, with a playful and charismatic expression.
“Tití Me Preguntó” exemplifies Bad Bunny’s boundless creativity and eccentric pop genius, seamlessly blending diverse musical elements. The track merges high-energy dembow rhythms, a sophisticated sample from bachata icon Anthony Santos, and a touch of Latin psychedelia in its outro, appealing to a global audience. Bad Bunny infuses the song with both charisma and humor, using the relatable scenario of concerned relatives inquiring about a nephew’s love life as a launching point for playful puns and unexpected moments of introspection, all within a vibrant party atmosphere.
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Lil Nas X, ‘Old Town Road’
Lil Nas X wearing a cowboy hat and vest, standing in a stylized western setting, with a confident and playful demeanor.
Montero Hill, then a college dropout seeking a music career, crafted “Old Town Road” while staying at his sister’s home. He discovered a beat by YoungKio, built around a banjo sample from a Nine Inch Nails track, and envisioned a “loner cowboy runaway” narrative. Within a year, “Old Town Road” achieved record-breaking success, becoming the longest-running Number One song in history. Its fusion of country and hip-hop elements resonated widely, capturing a unique blend of American cultural influences in under two minutes.
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The Breeders, ‘Cannonball’
The Breeders band members with guitars and bass, performing with a cool and nonchalant attitude in a black and white photo.
Following her departure from the Pixies, Kim Deal formed the Breeders and invited her twin sister Kelley, despite her lack of guitar experience, to join the band. “Cannonball” became a surprise MTV hit in 1993, proving the Breeders’ staying power. Kelley playfully remarked on the Pixies’ status as a “side project” in comparison to the Breeders’ burgeoning success. While the Breeders themselves later went on hiatus, “Cannonball” remains an enduring alternative rock anthem, celebrated for its infectious energy and carefree spirit.
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The Weeknd, ‘House of Balloons’
The Weeknd in a dimly lit setting, wearing a jacket with fur collar, looking mysterious and introspective.
In his early career, Abel Tesfaye, known as The Weeknd, intentionally cultivated an enigmatic persona, releasing his debut album House of Balloons without promotional photos or interviews. He embraced the “enigmatic artist” image, drawing inspiration from villainous figures. The title track “House of Balloons” established The Weeknd’s signature sound and thematic direction, exploring themes of drug use, sexuality, and underlying depression. The song’s musical innovation included a sample of Siouxsie and the Banshees’ “Happy House,” signaling a new wave in R&B.
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Solange, ‘Cranes in the Sky’
Solange with braided hair and a white outfit, on the cover of her album "A Seat At The Table", looking serene and thoughtful.
Solange Knowles explained in an interview with Beyoncé that “Cranes in the Sky” was inspired by observations of rapid real estate development in Miami. She saw the “excessive building” as a metaphor for societal avoidance of deeper issues. Solange channeled this metaphor into an introspective exploration of personal change, self-doubt, and ambition. Years after its initial conception, she collaborated with Raphael Saadiq to complete the song, creating a rich neo-soul piece characterized by lavish instrumentation and profound introspection.
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Lil Wayne, ‘A Milli’
Lil Wayne with tattoos and braids, wearing a red bandana, rapping intensely into a microphone.
Producer Bangladesh crafted the beat for “A Milli” by looping the opening chords of Gladys Knight and the Pips’ “Don’t Burn Down the Bridge” and adding heavy trap drums. Initially intended for a collaborative project featuring various Young Money artists, “A Milli” ultimately became a solo showcase for Lil Wayne’s lyrical prowess. Wayne’s verses on the track are a masterclass in rap technique, demonstrating his ability to command attention and captivate listeners with sheer skill.
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Azealia Banks, ‘212’
Azealia Banks with dark hair and bold makeup, wearing a black top, rapping with fierce energy and attitude.
In 2011, Azealia Banks, a young rapper-singer, gained attention with “212.” Producer Jacques Greene recalled a “Dutch house-sounding” track that stood out from Banks’ demos. Over Lazy Jay’s “Float My Boat” beat, Banks delivered ferocious rhymes celebrating her New York City roots and showcasing her uninhibited lyrical style. Initially a viral sensation, “212” became a hip-house anthem, leading to a major label deal and establishing Banks as a provocative and boundary-pushing artist.
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Weezer, ‘Buddy Holly’
Weezer band members in a retro diner setting, performing with instruments, in a scene reminiscent of the Buddy Holly era.
“Buddy Holly,” Weezer’s 1994 breakthrough single, transformed geekiness into coolness. Written for Rivers Cuomo’s girlfriend, this upbeat ode to nerdy romance almost didn’t make it onto their debut album, the Blue Album, due to concerns about its novelty appeal. However, producer Ric Ocasek recognized its hit potential after hearing the studio receptionist humming the tune, insisting on its inclusion. “Buddy Holly” became a defining song for Weezer and the 90s alternative scene.
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The Four Tops, ‘I Can’t Help Myself (Sugar Pie, Honey Bunch)’
The Four Tops in suits, singing harmoniously into microphones with coordinated movements and classic Motown style.
“I Can’t Help Myself” is a quintessential Motown anthem, inspired by songwriter Lamont Dozier’s grandfather’s endearing nicknames for women. During the recording session, the song’s infectious energy was palpable, with people outside the studio door reacting enthusiastically. Despite the immediate success of the first take, Levi Stubbs sought to re-record the vocals. However, Brian Holland assured him the initial recording was perfect, and Stubbs’ first performance became a Number One hit.
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Lady Gaga, ‘Bad Romance’
Lady Gaga in a futuristic white outfit and bold makeup, performing with dramatic poses and intense stage presence.
Following her initial rise to stardom, Lady Gaga solidified her position as a pop innovator with “Bad Romance.” Inspired by European electronic music, the Nadir “RedOne” Khayat production pushed Gaga’s sound to a new level of artistic eccentricity. The song explores themes of intense and unconventional love, which Gaga summarized as wanting “the deepest, darkest, sickest parts of you.” Fittingly, she debuted “Bad Romance” at Alexander McQueen’s Paris Fashion Week show, aligning the song with high fashion and avant-garde aesthetics.
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Robert Johnson, ‘Cross Road Blues’
Robert Johnson playing a resonator guitar with intense emotion, in a vintage black and white photo.
Robert Johnson’s “Cross Road Blues” is a foundational blues recording, captivating generations of musicians. Eric Clapton described the song’s intensity as almost overwhelming. Recorded in 1936, just two years before Johnson’s untimely death, the song is steeped in myth and legend, particularly the apocryphal tale of Johnson selling his soul to the devil for guitar mastery. “Cross Road Blues” embodies themes of spiritual desolation and betrayal, conveyed through Johnson’s haunting vocals and virtuosic slide guitar playing.
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Biz Markie, ‘Just a Friend’
Biz Markie wearing a baseball cap and a gold chain, beatboxing and rapping with a fun-loving and charismatic smile.
Biz Markie, known for his good-natured personality and diverse talents, achieved mainstream success with “Just a Friend.” Built around a catchy beat, piano melody, and Markie’s intentionally off-key singing, the song humorously explores the friend zone. It interpolates Freddie Scott’s “(You) Got What I Need” and is based on Markie’s real-life experience with a woman who consistently referred to another man as “just a friend.” This relatable scenario, combined with Markie’s unique delivery, made “Just a Friend” a beloved hip-hop classic.
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Santana, ‘Oye Como Va’
Carlos Santana playing a red electric guitar with passion, in front of a band with congas and other Latin instruments.
Carlos Santana’s musical journey was profoundly shaped by San Francisco’s psychedelic culture. He credited LSD with helping him find his artistic voice. While rooted in blues traditions, Santana revolutionized music with his Latin-rock rendition of Tito Puente’s “Oye Como Va.” Santana maintained the original cha-cha rhythm but replaced horns with organ and his signature guitar style, creating a crossover hit that introduced Latin rock to a global audience. Puente himself acknowledged Santana’s role in popularizing Latin music worldwide.
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Juvenile feat. Lil Wayne and Mannie Fresh, ‘Back That Azz Up’
Juvenile, Lil Wayne, and Mannie Fresh in a music video scene, with energetic dance moves and Cash Money Records style.
Mannie Fresh’s production for Cash Money Records in the late 1990s brought New Orleans hip-hop to the forefront. “Back That Azz Up,” with its suggestive title and bounce rhythm, became a defining track of the era. While its title was reminiscent of DJ Jubilee’s “Back That Thang Up,” the song’s energy and Juvenile’s distinctive rhymes, along with Lil Wayne’s memorable hook, solidified its place as a New Orleans bounce classic. Mannie Fresh recognized Lil Wayne’s immediate grasp of the song’s potential and his integral contribution to its success.
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The Go-Gos, ‘Our Lips Are Sealed’
The Go-Gos band members in a colorful and playful photo, with new wave fashion and a fun, energetic group dynamic.
The Go-Go’s debut hit, “Our Lips Are Sealed,” drew inspiration from both Buzzcocks and 1960s girl-group sounds. Jane Wiedlin, one of the writers, revealed the song was inspired by a secret relationship with Terry Hall of the Specials. Hall received co-writing credit as the lyrics were based on his poetry written in a letter to Wiedlin. The song captures the excitement and secrecy of a clandestine romance, reflecting Wiedlin’s youthful perspective at the time.
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Kris Kristofferson, ‘Sunday Mornin’ Comin’ Down’
Kris Kristofferson with a beard and long hair, wearing a denim shirt, singing with raw emotion and a melancholic expression.
Kris Kristofferson’s “Sunday Mornin’ Comin’ Down” is a raw and poignant portrayal of despair and isolation. Johnny Cash recognized the song’s emotional depth and performed it on his TV show in 1
