1998 was a watershed moment in the landscape of 1990s music, a year where the seeds sown in the preceding years blossomed into full bloom. If 1997 signaled a shift in musical paradigms, 1998 witnessed the complete realization of a vibrant new pop era. This was the year when pop ascended to its zenith, coexisting dynamically with the burgeoning sounds of nu-metal, a resurgent hip-hop scene, and a fascinating array of genre-bending hits.
Boy bands, the heartthrobs of the era, reached stratospheric levels of fame. Backstreet Boys and *NSYNC spearheaded this movement, achieving diamond-certified sales and becoming ubiquitous cultural phenomena. Nu-metal emerged as the dominant force in rock, with bands like KoRn and Limp Bizkit injecting raw energy into an alternative genre that had, arguably, become somewhat predictable. Meanwhile, the groundwork laid by Puff Daddy and The Notorious B.I.G.’s success in the previous year paved the way for a powerful resurgence of New York hip-hop, with JAY-Z, DMX, and Big Punisher solidifying their places as major stars. The launch of MTV’s Total Request Live (TRL) further fueled this dynamic ecosystem, becoming essential viewing for young music fans and creating a platform where these diverse genres could not only coexist but also propel each other to unprecedented commercial heights.
But beyond these dominant forces, 1998 was truly defined by the eclectic mix of hits that populated the charts. Established artists like Aerosmith achieved their first Hot 100 No. 1 single decades into their careers, while members of the Fugees, then on hiatus, each carved out solo success. Movie soundtracks became unlikely sources of major hits, from films as diverse as Rush Hour, City of Angels, and Dr. Dolittle. The year also brought iconic collaborations like Brandy & Monica and Whitney Houston & Mariah Carey. Novelty hits like “Pretty Fly (For a White Guy)” coexisted with international sensations like “Du Hast,” and even a swing revival briefly captured the zeitgeist. The 1990s were roaring on the Billboard charts, a pre-millennial boom period where no one could have foreseen the imminent disruption that teenage internet entrepreneurs, just a year away with Napster, would bring to the entire music industry.
Celebrating this pivotal year, we delve into a curated list of 98 top songs of 1998. These are the tracks that not only defined the year but have also resonated through the decades, shaping our memories of a truly remarkable period in music history. Eligibility for this list includes songs released as singles in 1998 or those that first charted on Billboard in 1998. Tracks that gained momentum in late ’98 but didn’t hit the Hot 100 until 1999, such as “Ruff Ryders’ Anthem” or “Ex Factor,” or those that debuted in 1998 but reached No. 1 in 1999, like “Baby One More Time” or “Believe,” are considered songs of 1999.
Join us as we revisit these 98 unforgettable songs, and immerse ourselves in the sounds of 1998, a year brimming with iconic music moments.
98. Donny Osmond & Chorus – “I’ll Make a Man Out of You”
This dynamic track from Disney’s Mulan stands out as one of the greatest Disney songs ever created. While acknowledging the problematic racial and gender stereotypes inherent in the lyrics – Osmond voicing a Chinese character and the song dealing in broad gender generalizations – the sheer fun and energy of the song are undeniable. Osmond’s smooth, commanding delivery of insults and orders, coupled with the enthusiastic “BE A MAN!” backing vocals, makes this a captivating and memorable performance. Despite not charting on the Hot 100, its cultural impact within Disney’s canon is significant.
97. Jewel – “Hands”
Jewel successfully navigated the challenging sophomore album phase with “Hands,” the lead single from her second album, Spirit. The song, reaching No. 6 on the Hot 100, was accompanied by a memorable, if somewhat surreal, music video. The video depicted Jewel wandering emotionlessly through a disaster zone while rescuers assisted victims amidst rubble. Though perhaps susceptible to meme culture today, the song’s heartfelt and powerful lyrics endure. Its themes of resilience and empathy resonate with contemporary anthems like Pink’s “What About Us,” demonstrating the song’s lasting influence.
96. Nicole Wray feat. Missy Elliott & Mocha – “Make It Hot”
Nicole Wray’s “Make It Hot,” a No. 5 Hot 100 hit, from her debut album of the same name, owes much of its success to its sonic resemblance to Missy Elliott’s groundbreaking Supa Dupa Fly. This is no coincidence; Missy Elliott wrote the song, Timbaland produced it, and their signature futuristic beats and cool delivery are prominent throughout. Missy’s rap feature further amplified the track’s appeal, providing the 17-year-old newcomer with the necessary boost to propel her debut single into the Hot 100’s top 5.
95. Cherry Poppin’ Daddies – “Zoot Suit Riot”
Amidst the numerous genre revivals of the 1990s, Cherry Poppin’ Daddies and their hit “Zoot Suit Riot” stand as perhaps the most enduring artifact of the swing revival. Led by Steve Perry (not that Steve Perry), the band experienced a brief but impactful period on the Billboard charts from 1998 to 1999. “Zoot Suit Riot,” while reaching No. 41 on Radio Songs, became a cultural touchstone, prompting pre-Google era listeners to ponder the historical context of the Zoot Suit Riots and even the definition of a zoot suit itself. The song’s infectious energy and retro vibe captured a fleeting but significant moment in 90s music.
94. Deftones – “Be Quiet and Drive (Far Away)”
Often considered the “There Is a Light That Never Goes Out” of the nu-metal era, Deftones’ “Be Quiet and Drive (Far Away)” is a thrashgaze masterpiece. This track, reaching No. 29 on Mainstream Rock charts, encapsulates a generation’s angst within a minimalist framework of two chords and sparse lyrics. While their contemporaries often pursued increasingly aggressive and explicit expressions of angst, Deftones demonstrated the power of restraint and suggestion. Chino Moreno’s guttural howl of “*I don’t care where just FAR!!”” perfectly encapsulates a universal desire for escape and catharsis.
93. Jo Dee Messina – “I’m Alright”
While female empowerment was a common theme among country artists in the late 90s, Jo Dee Messina’s “I’m Alright,” reaching No. 43 on the Hot 100, also served as an uplifting and broadly appealing anthem. The lyric “It’s a beautiful day, not a cloud in sight/ So I guess I’m doing alright” is a timeless mood booster, enhanced by Messina’s confident vocals and the song’s breezy tempo. This combination of country and pop sensibilities made “I’m Alright” a crossover hit, appealing to fans of both genres in a period where those worlds were increasingly converging.
92. Puff Daddy feat. The Notorious B.I.G. & Busta Rhymes – “Victory”
Released just over a year after the passing of Christopher Wallace, “Victory” served as the final single from Puff Daddy’s blockbuster album No Way Out. The song, reaching No. 19 on the Hot 100, functions as a powerful opening statement on the album, a grand and cinematic track that could equally serve as a closing anthem. The Rocky sample, combined with dramatic strings and a ringing bell, builds palpable tension. Puff Daddy’s boasts over Biggie’s ad-libs create a sense of anticipation, culminating in Biggie’s verse, delivered with the poise and menace of a champion boxer entering the ring: “In the Commission, you ask for permission to hit ’em.”
91. JYP – “Honey”
J.Y. Park’s “Honey,” though not charting on the Hot 100, is a quintessential K-pop classic, renowned for its iconic, whining intro. The song exudes confidence with its funky brass riff and explosive horn sections. “Honey” became an instant hit in 1998, solidifying Park’s status as a K-pop icon. While he is now more widely recognized as the founder of JYP Entertainment, home to groups like TWICE and GOT7, the legacy of “Honey” endures through countless covers by popular K-pop acts, highlighting its lasting influence on the genre.
90. Rob Zombie – “Dragula”
For PlayStation owners in the late 90s, Rob Zombie’s “Dragula,” reaching No. 6 on Mainstream Rock charts, was synonymous with high-octane racing games. Aside from perhaps Molly Hatchet’s “Flirtin’ with Disaster,” “Dragula” is arguably the definitive soundtrack for racing games of that era and beyond. The song’s title itself, referencing a drag-racing car from The Munsters, further cements this association. Fueled by a quintessential nu-metal chorus and powerful riffs, “Dragula” is an adrenaline rush in musical form, perfectly suited for the gaming world.
89. Shakira – “Ciega, Sordomuda”
Shakira, already a Latin American star, achieved international breakthrough with Dónde Están los Ladrones? and its lead single, “Ciega, Sordomuda.” This pop-rock anthem, equating total love to being blind, deaf, and mute, marked a departure from conventional Latin pop music of the time. Reaching No. 1 on Billboard’s Hot Latin Songs chart, “Ciega, Sordomuda” paved the way for Shakira’s groundbreaking crossover success into the English-speaking market, establishing her as a global music icon.
88. Blink-182 – “Josie”
In the late 90s, Blink-182 crafted pop-punk anthems for a generation too young for Dookie but attuned to a more edgy alternative rock sound than mainstream acts like Sugar Ray and Eve 6. Following the success of “Dammit” in 1997, “Josie,” though not charting on the Hot 100, from their major-label debut Dude Ranch, solidified the Blink-182 brand. The song features their signature elements: playful vocal interplay between Mark Hoppus and Tom DeLonge, rapid-fire drumming (by Scott Raynor), and lyrics centered around longing for a cool, independent girlfriend (reportedly imaginary). References to local spots like Sombrero and fellow pop-punk band Unwritten Law ground the song in the San Diego scene of 1998.
87. Beenie Man – “Who Am I”
Beenie Man had already garnered respect in Jamaica through his role in Dancehall Queen and party anthems like “Wickedest Slam” and “Romie.” However, “Who Am I,” reaching No. 40 on the Hot 100, introduced his distinctive “Woieee nah nah!” wails to a global audience. This track is a dancehall masterpiece, cheekily referencing Luther Vandross’ “Never Too Much” and Missy Elliott’s “The Rain (Supa Dupa Fly)” over a powerful bassline. “Who Am I” was so beloved that Beenie Man later reimagined it as “Girls Dem Sugar” in 2000, a sensual duet with Mya, further solidifying the original’s enduring appeal.
86. Alanis Morissette – “Uninvited”
Alanis Morissette’s Jagged Little Pill (1995) remains her defining work, but “Uninvited,” the haunting single from the City of Angels soundtrack, built upon that album’s intensity and acclaim. Despite only reaching No. 4 on Radio Songs chart, the song earned her Grammy Awards for Best Rock Song and Best Female Rock Vocal Performance. “Uninvited” served as a powerful standalone hit, bridging the gap for fans until the release of Supposed Former Infatuation Junkie later that year. It also topped the Adult Mainstream Chart, marking her third single to achieve this after “Ironic” and “Head Over Feet.”
85. Monica – “The First Night”
Producer Jermaine Dupri’s brilliant use of Diana Ross’s 1976 disco classic “Love Hangover” as the foundation for Monica’s “The First Night,” a No. 1 Hot 100 hit, immediately signaled its potential for success. While R&B artists often addressed abstinence through emotional ballads, Monica adopted a cool and confident stance on the topic over a driving bassline. Her sassiness and self-assuredness in “The First Night” resonated deeply, earning her a Hot 100 No. 1 and setting a precedent for future female artists to assert themselves in relationships.
84. A Tribe Called Quest – “Find a Way”
As a new wave of New York rappers gained prominence, A Tribe Called Quest, with “Find a Way,” seemed somewhat out of sync with mainstream radio in 1998. This single from The Love Movement, reaching No. 71 on the Hot 100, is arguably their most enigmatic. Produced by J Dilla, the track is a curious, hypnotic banger with ambiguous lyrics exploring love and lust and an unconventional, densely layered chorus. Despite not achieving massive chart success, “Find a Way” remains a memorable and intriguing track, capturing the complexity of human emotions.
83. Everclear – “Father of Mine”
Art Alexakis, the frontman of Everclear, was known for his raw and honest songwriting, often addressing his struggles with addiction, as seen in “Heroin Girl.” “Father of Mine,” reaching No. 70 on the Hot 100, from the band’s second major-label album, continued this trend but with a more melodic approach. Set against the band’s signature bouncy bubblegrunge sound, Alexakis openly expressed his lingering anger and resentment towards his absent father, who left when he was ten. The poignant lyric, “Daddy gave me a name/ Then he walked away,” resonated deeply with listeners.
82. Wyclef Jean – “Gone Till November”
Following the immense success of the Fugees’ The Score (1996), each member embarked on solo ventures. Wyclef Jean’s The Carnival (1997) showcased his versatility as a rapper, singer, and musician. “Gone Till November,” reaching No. 7 on the Hot 100, from the album, represents his most striking stylistic departure. This orchestral ballad offers solace to the loved ones of those leading a hustler lifestyle. Lyrically rich with poignant twists, the song adds a layer of tenderness to the Fugees’ characteristic raw honesty, providing comfort to those experiencing long-distance relationships.
81. Edwin McCain – “I’ll Be”
Long before Ed Sheeran’s “Perfect,” Edwin McCain crafted “I’ll Be,” reaching No. 5 on the Hot 100, one of the most enduring and romantic love songs of the 90s. The dynamic chorus essentially functions as wedding vows, with lyrics like “I’ll be better when I’m older/ I’ll be the greatest fan of your life.” McCain’s passionate delivery, accompanied by a jazzy saxophone, makes this declaration of love perfect for both sing-alongs and wedding dance floors, remaining timelessly relevant.
80. Air – “Sexy Boy”
“Sexy Boy,” reaching No. 22 on the Dance Single Sales chart, the lead single and standout track from Air’s influential debut album, Moon Safari, showcases the French electronic duo at their crossover peak. Featured in the film 10 Things I Hate About You (1999) and the British TV series Queer as Folk, this dreamy downtempo track contributed significantly to launching Air to international acclaim and critical recognition.
79. Tamia – “So Into You”
After establishing herself with hit ballads, Tamia shifted gears with “So Into You,” reaching No. 30 on the Hot 100, sampling The Commodores. The song’s hook is particularly captivating, featuring a smooth vocal delivery that complements the drum pattern before ascending into a honeyed high note. The chorus proved so irresistible that Fabolous sampled it for his hit “Into You” (2003), and it was notably highlighted in Childish Gambino’s BBC Live 1 Lounge set in 2015, demonstrating its lasting appeal and influence.
78. Sheryl Crow – “My Favorite Mistake”
On her debut album Tuesday Night Music Club (1993), Sheryl Crow established herself as a guitar-driven rocker. This style evolved through her self-titled 1996 album and reached a peak with The Globe Sessions (1998). “My Favorite Mistake,” reaching No. 20 on the Hot 100, from The Globe Sessions, exemplifies this skill set. Her distinctive vocals, combined with bluesy guitar licks and powerful chords, solidify her position as a true pop star in rocker’s clothing.
77. Cake – “Never There”
While “The Distance” (1996) was Cake’s breakthrough hit, “Never There,” reaching No. 78 on the Hot 100, has arguably surpassed it in pop culture endurance due to its relatable lyrics. The song captures the experience of loving someone emotionally unavailable, a timeless theme that Cake successfully tapped into, resonating with listeners who have experienced similar emotional disconnects.
76. Will Smith – “Miami”
Big Willie Style was Will Smith’s debut solo album, but with his Fresh Prince legacy and blockbuster film roles, he was already a major star by 1997. “Miami,” reaching No. 17 on the Hot 100, despite being the album’s fifth single, dominated 1998. The song’s irresistible funk beat and iconic “Bienvenidos a Miami” backup vocals contributed to its enduring appeal and status as a feel-good party anthem.
75. Moby – “Honey”
While Moby’s Play is best known for hits like “Porcelain” and “Natural Blues,” “Honey,” reaching No. 49 on Dance Single Sales chart, the album’s opener and lead single, deserves recognition. Featuring looped vocal samples from Bessie Jones’ “Sometimes” over driving piano and slide guitar, “Honey” launched the best-selling electronic album of all time in unforgettable fashion, showcasing Moby’s innovative sampling techniques and electronic music production.
74. Seo Taiji – “Take Five”
Seo Taiji, South Korea’s “Culture President,” is known for pioneering genre diversity in K-pop. “Take Five,” though not charting on the Hot 100, marked another sonic shift, moving away from the rap-rock of his previous group, Seo Taiji and Boys. While his self-titled album leaned into heavy metal, “Take Five” adopted a sunnier, late-90s college rock vibe. The song served as a message to fans that he would return to music after his 1996 retirement, signaling a new chapter in his career.
73. Boards of Canada – “ROYGBIV”
“ROYGBIV,” not charting on the Hot 100, would be a fitting title for many Boards of Canada songs, given their signature effervescent downtempo sound. This instrumental track is particularly prismatic, even by their standards. Simple, stunning, and meticulously crafted, “ROYGBIV” is a concise and evocative piece that exemplifies Boards of Canada’s unique ability to create atmospheric and emotionally resonant electronic music in a short timeframe.
72. Usher – “My Way”
Usher’s My Way album introduced him as a multifaceted R&B artist. While “You Make Me Wanna…” presented him as coy and “Nice & Slow” as overtly sensual, “My Way,” reaching No. 2 on the Hot 100, transformed him into a freaky philanderer persona. The song’s thrusting beat and Jermaine Dupri’s interjections amplify Usher’s boastful attitude. Though the music video, featuring Usher in a Clockwork Orange-inspired outfit squaring off against Tyrese, might be dated, the song’s confident and assertive energy remains timeless.
71. Janet Jackson – “Go Deep”
Janet Jackson’s “Go Deep,” reaching No. 28 on Radio Songs chart, is designed to ignite any party. The song itself feels like a party, from the opening crowd murmurs to the group sing-along chorus. Its loose, danceable vibe, characterized by an irresistible snare intro and playful sound effects, perfectly complements the music video’s house party setting. “Go Deep” is a testament to Janet Jackson’s mastery of creating infectious and high-energy dance tracks.
70. Missy Elliott feat. Lil’ Kim & Mocha – “Hit ‘Em Wit da Hee” (Remix)
This remix of “Hit ‘Em Wit da Hee,” reaching No. 61 on R&B/Hip-Hop Airplay chart, from the Can’t Hardly Wait soundtrack, softened the original’s menacing instrumental but compensated with new verses from Missy Elliott, a Björk-sampling outro by Timbaland, and Lil’ Kim’s standout guest verse. Kim’s verse, filled with quirky pop culture references (Finnegan’s Wake, Sarafina!) and tongue-twisting lines, remains a highlight of her guest appearances, demonstrating her unique and playful style.
69. Elvis Crespo – “Suavemente”
Elvis Crespo’s “Suavemeeeente!” became an instantly recognizable and unforgettable cry. This hyper-kinetic merengue track, reaching No. 84 on the Hot 100, topped Billboard’s Hot Latin Songs chart and crossed over into mainstream pop. Suavemente, Crespo’s debut solo album, sold nearly a million copies in the U.S., an unprecedented feat for a Spanish-language, and especially a merengue album. The song’s infectious energy and evergreen party vibe have made it a global staple, even reaching outer space as the only Spanish-language song chosen for the 2006 Discovery mission.
68. Brian McKnight – “Anytime”
Brian McKnight’s “Anytime,” reaching No. 6 on Radio Songs chart, stands in stark contrast to contemporary music. This nocturnal ballad possesses a delicate stillness, feeling almost antithetical to the fast-paced streaming era. McKnight’s soft chorus cry, “Do I ever cross your mind… anytime?” is more understated than dramatic, while a Bruce Hornsby-esque piano loop creates a soothing backdrop. The bridge reveals deeper emotions, but ultimately, the song’s power lies in its simple, devastating sentiment: “I miss you.”
67. Sarah McLachlan – “Angel”
Despite its widespread use in TV specials and infomercials, Sarah McLachlan’s “Angel,” reaching No. 4 on the Hot 100, has a hauntingly real origin. McLachlan wrote the song in response to the heroin overdose death of Smashing Pumpkins’ touring keyboardist Jonathan Melvoin and the broader issue of musicians turning to drugs to cope with industry pressures. This specificity adds depth and poignancy to the song, preventing it from becoming a generic ballad and enhancing its emotional impact.
66. Elliott Smith – “Waltz No. 2”
In contrast to Elliott Smith’s typically hushed and downtempo singles, “Waltz No. 2,” not charting on the Hot 100, from his fourth album, XO, embraces a lusher, fuller sound. The jangly production and Smith’s quivering vocals create a well-crafted and more accessible track from the indie-rock icon. The lyric “I’m never gonna know you now/ But I’m gonna love you anyhow” resonates deeply, capturing the complexities of love and loss.
65. K-Ci & JoJo – “All My Life”
While the sentiment of K-Ci & JoJo’s “All My Life,” a No. 1 Hot 100 hit, might seem cheesy – comparing a lover to family members – the duo’s sincere delivery and top-notch songcraft made it a massive hit. Their yearning chorus and vocal harmonies demonstrated that K-Ci and JoJo were more than just a side project from Jodeci. The song’s timeless quality is evident in its continued influence, with elements of “All My Life” appearing in contemporary hits.
64. Rammstein – “Du Hast”
Rammstein’s “Du Hast,” reaching No. 20 on Mainstream Rock chart, became 1998’s unlikely German industrial-metal breakthrough hit in the US. This metal sextet from Berlin surprisingly found airplay on TRL and American charts with a chugging industrial track incorporating elements of 90s house and operetta. The German wordplay, “duhast mich” (you have me) and “du hasst mich” (you hate me), was lost on most American listeners, but the song’s powerful guitar riff transcended language barriers.
63. Whitney Houston & Mariah Carey – “When You Believe”
The collaboration of Whitney Houston and Mariah Carey for “When You Believe,” reaching No. 15 on the Hot 100, from The Prince of Egypt soundtrack, resulted in a traditional power ballad. While perhaps not groundbreaking, the song showcased the exceptional vocal talents of both divas, with excellent verse trading and flawless harmonies. Despite modest Hot 100 performance, the song earned an Academy Award for Best Original Song, solidifying its legacy.
62. All Saints – “Never Ever”
Despite the Spice Girls’ global dominance, many UK girl groups remained under the radar in the US during the late 90s. All Saints’ “Never Ever,” reaching No. 4 on the Hot 100, managed to break through on American radio. Its catchy chorus and earnest spoken-word intro contributed to its success. While some lyrics might be clunky, the song served to introduce American audiences to the proper British pronunciation of “Z,” alongside its catchy pop sensibilities.
61. Goo Goo Dolls – “Slide”
Following their soundtrack-driven smash “Name,” Goo Goo Dolls proved their staying power with “Slide,” reaching No. 8 on the Hot 100. This track solidified their ability to bridge adult rock and adult contemporary genres. Johnny Rzeznik’s heartfelt vocals and the song’s blend of urgency and sentimentality resonated with listeners. “Slide” demonstrated that Goo Goo Dolls were not one-hit wonders, but artists with enduring appeal.
60. N.O.R.E. – “SuperThug (What What)”
“SuperThug (What What),” reaching No. 36 on the Hot 100, marks the arrival of The Neptunes, the production duo that would shape pop music in the early 2000s. While N.O.R.E., formerly known as Noreaga, delivered a classic single, the true star was The Neptunes’ innovative beat. Mixing old-school hardness with electro-funk futurism and New Jack Swing hooks, “SuperThug” became a potent hip-hop single and a harbinger of The Neptunes’ future dominance.
59. Radiohead – “No Surprises”
Before Radiohead’s dystopian electronic phase, they crafted melancholic and visionary rock. “No Surprises,” not charting on the Hot 100, pairs bleak lyrics about mundane fatalism with the visual of Thom Yorke’s unflinching face submerged in water in the music video. The song’s existential dread permeates through its deceptively pleasant guitar melody, culminating in a moment of release that comes just in time.
58. Massive Attack – “Teardrop”
While its US legacy is tied to House, “Teardrop,” not charting on the Hot 100 in the US but a top 10 hit in the UK, was Massive Attack’s breakthrough. Its accessible hook, Liz Fraser’s delicate vocals, stormy piano chords, and haunting harpsichord riff contribute to its atmospheric dejection. “Teardrop” exemplifies trip-hop perfection, making it a favorite for music supervisors and enduringly popular.
57. Faith Hill – “This Kiss”
Faith Hill’s “This Kiss,” reaching No. 7 on the Hot 100, perfectly captures the joyous, out-of-body experience of falling in love and kissing someone special. Hill’s smooth vocals embody universal emotions, making the infectious refrain easy to sing along to. Still a radio staple, “This Kiss” solidified Hill’s path to country icon status and earned her first top 10 hits on both the Hot 100 and AC charts.
56. Barenaked Ladies – “One Week”
“One Week,” a No. 1 Hot 100 hit, is a unique song that could only have emerged in the late 90s. A catchy, guitar-driven confessional with tongue-in-cheek lyrics and rap-influenced verses, it epitomizes the melting pot of late 90s mainstream music. Even Weird Al Yankovic parodied it, arguably creating a version even better than the original, further cementing its cultural impact.
55. Garbage – “I Think I’m Paranoid”
Garbage’s “I Think I’m Paranoid,” reaching No. 6 on Alternative Songs chart, from their platinum-certified Version 2.0 album, became a top 10 hit on the Alternative Songs chart. Fueled by a driving electric bassline, a clever 60s pop interpolation, and Shirley Manson’s distorted vocals, the song is a standout track. Its inclusion in the Rock Band video game introduced Garbage to a new generation of fans, extending its reach.
54. Backstreet Boys – “As Long As You Love Me”
While Backstreet Boys had international success before 1998, “As Long As You Love Me,” reaching No. 4 on Radio Songs chart, showcased their sentimental side. This track demonstrated their ability to be emotionally resonant without sacrificing their signature pop sound. The song’s strong harmonies further solidified their status as more than just a group of heartthrobs with catchy tunes.
53. Eve 6 – “Inside Out”
Eve 6’s “Inside Out,” reaching No. 28 on the Hot 100, is a quintessential example of inoffensive, radio-ready rock that dominated the 90s. With instantly catchy hooks and densely packed lyrics, the song challenges even skilled karaoke singers. Despite nonsensical lyrics, “Inside Out” is undeniably catchy and representative of its era’s pop-rock sound.
52. Lord Tariq & Peter Gunz – “Deja Vu (Uptown Baby)”
Lord Tariq & Peter Gunz’s “Deja Vu (Uptown Baby),” reaching No. 9 on the Hot 100, samples Steely Dan’s “Black Cow.” Peter Gunz’s nimble delivery of the line “cuz I’m quick to slide off and slide this dick up in your wife” over the sampled bassline and guitar lick is both triumphant and controversial. The song, an ode to the Bronx, highlights hip-hop’s ability to transform the past into the present, even through unorthodox publishing arrangements and sampling.
51. Lenny Kravitz – “Fly Away”
Lenny Kravitz, after breaking out with “Are You Gonna Go My Way” in 1993, returned to prominence with “Fly Away,” reaching No. 12 on the Hot 100, from his album 5. This simple, guitar-heavy track with an electric hook about escaping resonated widely. It earned him his second top 10 radio hit and his first Grammy for Best Male Rock Vocal Performance, a category he would win again in subsequent years.
50. Third Eye Blind – “Jumper”
In an era where angst was mainstream, Third Eye Blind’s “Jumper,” reaching No. 5 on the Hot 100, was king. This acoustic power-pop ballad with a wah-wah guitar solo and empathetic lyrics about desperation continues to resonate. Often called the band’s “suicide song,” it’s more accurately a prayer for connection, hope, and second chances, capturing the essence of teen angst.
49. Uhm Jung Hwa – “Invitation”
Uhm Jung Hwa’s “Invitation,” not charting on the Hot 100, is alluring with its breathy vocals and sleek synths. Written by J.Y. Park, the song features his signature smooth grooves. With a dreamy sensuality and angsty raps from g.o.d’s Joon Park and Danny Ahn, “Invitation” remains a memorable Korean song from the 90s, and Uhm continues to perform it regularly, showcasing its enduring popularity.
48. The LOX feat. Lil Kim & DMX – “Money, Power & Respect”
The LOX’s “Money, Power & Respect,” reaching No. 17 on the Hot 100, featuring Lil’ Kim and DMX, epitomizes the gritty New York rap scene of 1998. The Yonkers trio and guest DMX deliver hard-hitting verses over an East Coast beat, while Lil’ Kim provides the essential hook. Twenty years later, “Money, Power & Respect” remains an unwritten law in hip-hop, capturing the era’s raw energy and street ethos.
47. Marilyn Manson – “The Dope Show”
Marilyn Manson’s “The Dope Show,” reaching No. 15 on Alternative Songs chart, marked a pop-oriented shift for the artist. The song’s glam-rock stomp and Manson’s androgynous Hollywood alien aesthetic in the music video were equally shocking. More electronic and slinky than his previous work, it retained the dark, rock power chords of tracks like “The Beautiful People” while incorporating societal criticism. “The Dope Show” proved more melodic and accessible, hinting at Manson’s inclination towards covering pop hits.
46. Deborah Cox – “Nobody’s Supposed to Be Here”
In the era of Mary J. Blige, Mariah Carey, and Whitney Houston, Deborah Cox’s “Nobody’s Supposed to Be Here,” reaching No. 2 on the Hot 100, broke through as a major ballad. Co-written by Montell Jordan, the song set a record for the longest stay atop Hot R&B/Hip-Hop Songs chart at the time, with 14 weeks. A textbook example of R&B-gospel fusion, the song showcases Cox’s powerful vocals and melismatic runs, culminating in an extended high note that has become a benchmark for vocal performances.
45. Neutral Milk Hotel – “Holland 1945”
Neutral Milk Hotel’s “Holland 1945,” not charting on the Hot 100, initially sounds like fuzz rock but delves into a uniquely sincere ode to Anne Frank. This track from In The Aeroplane Over The Sea is more than just indie rock; it’s an early example of bookish indie rock that distorts past and present to create a unique and unrestrained imaginative world.
44. Ricky Martin – “The Cup of Life”
Ricky Martin’s “The Cup of Life,” reaching No. 45 on the Hot 100, propelled him into mainstream consciousness. His Grammy Awards performance in 1999 and the song’s infectious energy sparked the “Latin Explosion” in English-language pop. While not a chart-topper initially, “The Cup of Life” became the emblematic World Cup anthem, setting the stage for future World Cup songs and solidifying 1998 as a seminal year for Latin music’s crossover into the mainstream.
43. Faith Evans – “Love Like This”
Faith Evans’ “Love Like This,” reaching No. 7 on the Hot 100, is instantly captivating with its mesmerizing opening beats. A party and club mainstay, the song’s video, set in a skating rink, perfectly complements its mellow groove and Evans’ smooth vocals. A precursor to the R&B and hip-hop fusion that would dominate Top 40, “Love Like This” celebrates Evans’ romance with Notorious B.I.G., adding a layer of personal significance.
42. D’Angelo – “Devil’s Pie”
D’Angelo’s “Devil’s Pie,” reaching No. 69 on Hip-Hop/R&B Airplay chart, is loose and low-key yet pointed in its themes. Interpreted as an attack on materialism or capitalism, D’Angelo himself likened its feel to chain gang chants. With biblical and apocalyptic themes, the song subtly critiques the trials people endure for perceived benefits, even when those perpetuate cycles of repression. D’Angelo’s improvisational undertow and understated delivery make the song both thought-provoking and sonically immersive.
41. Master P feat. Fiend, Silkk the Shocker, Mia X & Mystikal – “Make ‘Em Say Uhh!”
Master P’s “Make ‘Em Say Uhh!,” reaching No. 16 on the Hot 100, featuring Fiend, Silkk the Shocker, Mia X, and Mystikal, transformed No Limit Records from a regional label to a national phenomenon. This breakthrough hit featured No Limit’s heavy hitters, all contributing to the song’s bleating horns and sing-along chorus. “Make ‘Em Say Uhh!” became a defining track for No Limit’s rise to prominence in late 90s hip-hop.
40. Shania Twain – “You’re Still the One”
Shania Twain, already a country star, achieved mainstream superstardom with “You’re Still the One,” reaching No. 2 on the Hot 100. This heartfelt ballad crossed over from country to pop, proving her broad appeal. Twain’s breathy vocals and the song’s powerful build-up resonated deeply, making it a wedding song staple and solidifying her status as an all-around superstar.
39. Usher – “Nice & Slow”
Usher’s “Nice & Slow,” a No. 1 Hot 100 hit, crafted with Jermaine Dupri and Jagged Edge, is a quintessential freaky R&B slow jam. Responsible for the conception of a generation, the ballad oozes sex appeal. Usher’s confident and tender vocals, spelling out his name and intentions, made “Nice & Slow” his first Hot 100 No. 1 and a timeless addition to “let’s get it on” playlists.
38. The Offspring – “Pretty Fly (For a White Guy)”
The Offspring’s “Pretty Fly (For a White Guy),” reaching No. 53 on the Hot 100, satirized wannabe posers in the 90s. This O.C. punk anthem sampled Def Leppard, referenced Ricki Lake, and mocked those who embraced hip-hop superficially. Sonically of its era, the song’s delivery, more smirk than fury, ensures a degree of timelessness.
37. Aerosmith – “I Don’t Want to Miss a Thing”
Aerosmith’s “I Don’t Want to Miss a Thing,” a No. 1 Hot 100 hit, from the Armageddon soundtrack, was their first chart-topping single after decades of classic rock hits. Penned by Diane Warren and performed for the film starring Steven Tyler’s daughter Liv, this platinum-certified ballad became a slow-dance anthem. It earned Aerosmith an MTV Moonman, a Grammy nomination, and their first Oscar nod, marking a new peak in their legendary career.
36. Fastball – “The Way”
Fastball’s “The Way,” reaching No. 5 on Radio Songs chart, is a deceptively upbeat song inspired by a tragic story. Based on an elderly couple’s ill-fated road trip, the song’s jangly guitars and catchy melody contrast with its somber narrative. The song’s trick is its ability to draw listeners in with its cheerful sound before revealing the poignant story behind the lyrics.
35. JAY-Z feat. Amil & Ja Rule – “Can I Get A…”
JAY-Z’s “Can I Get A…,” not charting on the Hot 100, from Vol. 2…Hard Knock Life, featured Amil and Ja Rule. While JAY-Z’s verse resonated in clubs, Amil’s swagger and Ja Rule’s rugged style stole the show. The song’s infectious hook remains popular, solidifying JAY-Z’s rise to rap titan status and showcasing the talents of Amil and Ja Rule.
34. KoRn – “Got the Life”
KoRn’s “Got the Life,” reaching No. 15 on Mainstream Rock chart, proved nu-metal’s mainstream appeal. A juggernaut with a ripping guitar riff, a chugging bass groove, and Jonathan Davis’s powerful vocals, the song questioned God and life’s struggles. “Got the Life” became a defining track for nu-metal’s late 90s dominance.
33. Next – “Too Close”
Next’s “Too Close,” a No. 1 Hot 100 hit, is a sexy nod to physical proximity. Combining a melodic mid-tempo track with a suggestive hook, the song’s explicit content was often overlooked due to its catchy nature. Propelled by smooth harmonies, the R&B trio achieved platinum certification and topped both the Hot 100 and R&B charts, showcasing their smooth and sensual sound.
32. Spice Girls – “Stop”
Spice Girls’ “Stop,” reaching No. 16 on the Hot 100, embraced kitsch. From Spiceworld, this track showcased their willingness to experiment, blending pomp, circumstance, and bleating horns. “Stop” perfectly soundtracked movie montages and exemplified Spice Girls’ playful and theatrical pop style.
31. Madonna – “Frozen”
Madonna’s “Frozen,” reaching No. 2 on the Hot 100, from Ray of Light, is a William Orbit-produced electro-pop masterpiece. Released shortly before her 40th birthday, the song reflects a wiser, more mature Madonna. Spare lyrics, lush synthesizers, strings, and Eastern percussion create a cool and enveloping soundscape. With “Frozen,” Madonna demonstrated her continued creative peak and ability to reinvent herself.
30. Eagle-Eye Cherry – “Save Tonight”
Eagle-Eye Cherry’s “Save Tonight,” reaching No. 5 on the Hot 100, with driving acoustics and an insistent chorus, was a Top 40 radio hit. Despite being labeled a one-hit wonder, “Save Tonight” became a massive success, a teary-eyed one-night stand sing-along that remains a 90s night staple.
29. Dixie Chicks – “Wide Open Spaces”
Dixie Chicks’ “Wide Open Spaces,” reaching No. 41 on the Hot 100, the title track from their album with Natalie Maines, showcases their signature elements: harmonies, angsty-hopeful lyrics, and a twangy violin break. This breakthrough hit, leading a diamond-certified album, proved the space for women in country music and established Dixie Chicks as major artists.
28. Stardust – “Music Sounds Better With You”
Stardust’s “Music Sounds Better With You,” reaching No. 62 on the Hot 100, is a 1998 dance-club gem often mistaken for Daft Punk. Featuring Thomas Bangalter of Daft Punk, the track topped Dance Club Songs chart. Its filtered funk guitar licks became a stylistic hallmark, inspiring copycat releases. A beloved one-hit wonder of dance music, “Music Sounds Better With You” remains an infectious and influential track.
27. Jennifer Paige – “Crush”
Jennifer Paige’s “Crush,” reaching No. 3 on the Hot 100, played a key role in shaping the sound of Y2K pop. Her effortless debut single showcased a “not that serious” attitude and soulful vocals. “Crush” became a transatlantic hit, and while Paige has evolved musically, “Crush” remains her signature sha-la-la-la’ing hit.
26. Mariah Carey feat. Bone Thugs n Harmony – “Breakdown”
Mariah Carey’s “Breakdown,” reaching No. 53 on Radio Songs chart, featuring Bone Thugs-n-Harmony, is a soul ballad that explodes with heartbreak. Carey’s lyrics and vocal performance perfectly capture the arc of emotional devastation. Bone Thugs-n-Harmony’s verses and harmonies complement Carey’s vocals, creating a powerful and emotionally resonant track.
25. Janet Jackson – “I Get Lonely”
Janet Jackson’s “I Get Lonely,” reaching No. 3 on the Hot 100, from The Velvet Rope, makes desperation sound sexy. Over a Jimmy Jam and Terry Lewis beat, Jackson’s vocals convey loneliness and vulnerability without sounding pathetic. The song’s extended length and repetitive chorus create a hypnotic and cathartic experience, showcasing Jackson’s ability to blend vulnerability with sensuality.
24. Goo Goo Dolls – “Iris”
Goo Goo Dolls’ “Iris,” reaching No. 9 on the Hot 100, from the City of Angels soundtrack, is an eternal hit. A blockbuster doe-eyed drama distilled into a rock ballad, Rzeznik’s lyrics reflect the lovelorn angel in the film. The song spent 18 weeks atop Radio Songs chart and 4 weeks atop Mainstream Top 40, only missing the Hot 100 top spot due to chart rules at the time. “Iris” remains a ballad masterpiece, with its interwoven acoustic guitar, mandolin, bass, strings, and electric guitar solo.
23. DMX feat. Sheek – “Get at Me Dog”
DMX’s “Get at Me Dog,” reaching No. 39 on the Hot 100, launched him to stardom. The song, featuring Sheek, and parent album It’s Dark and Hell Is Hot topped the Billboard 200, marking the start of his chart dominance. “Get at Me Dog” is ferocious, focused, and nasty, credited to DMX’s raw energy and Dame Grease’s production, signaling a shift from the “shiny suit era” to a grittier street sound in hip-hop.
22. Marcy Playground – “Sex & Candy”
Marcy Playground’s “Sex & Candy,” reaching No. 8 on the Hot 100, set a record with 15 weeks atop Alternative Songs chart, despite its nonsensical lyrics. Inspired by a comment about post-coital smells, the song’s quirky downtempo vibe and cryptic lyrics became alt-rock anthems. “Sex & Candy” marks the end of an era where grunge remnants and teen-pop revolution coexisted.
21. Will Smith – “Gettin’ Jiggy Wit It”
Will Smith’s “Gettin’ Jiggy Wit It,” a No. 1 Hot 100 hit, is quintessential dad rap. Smith brags about his dance moves over a Sister Sledge sample, pretending to smoke cigars, and charming women. A G-rated counterpart to “Miami,” the song is both eye-rollingly funny and undeniably danceable. The MTV VMA-winning video further enhances its entertainment value, solidifying its place as a fun-loving 90s anthem.
20. Harvey Danger – “Flagpole Sitta”
Harvey Danger’s “Flagpole Sitta,” reaching No. 38 on Radio Songs chart, is a memorable alt-rock radio hit. An ode to 90s hipsters and “raging against machines,” the song embodies its era. Through “bah bahs,” Sean Nelson critiques television and the tech boom, preferring zines and tongue piercings. Ironic and self-aware, “Flagpole Sitta” became a mainstream hit despite its anti-anthem stance, reaching No. 3 on Alternative Songs chart.
19. Big Punisher – “Still Not a Player”
Big Punisher’s “Still Not a Player,” reaching No. 24 on the Hot 100, featuring Joe, was ahead of its time. A remix-sequel to “I’m Not a Player,” it integrated Spanish lyrics and R&B seamlessly. “Still Not a Player” connected with listeners, propelling Pun’s debut album, Capital Punishment, to No. 5 on the Billboard 200 and becoming the first Latin hip-hop album to go platinum.
18. Fatboy Slim – “The Rockefeller Skank”
Fatboy Slim’s “The Rockefeller Skank,” reaching No. 76 on the Hot 100, melded surf guitar, hip-hop, funk, and process music. Stretching out a Lord Finesse vocal, it became an exhilarating dance track. While endless TV and trailer appearances have diluted its musical impact, its initial emergence was unprecedented in mainstream music, pushing dance music boundaries.
17. Pras feat. Mya & Ol’ Dirty Bastard – “Ghetto Supastar (That Is What You Are)”
Pras’ “Ghetto Supastar (That Is What You Are),” reaching No. 15 on the Hot 100, featuring Mya and Ol’ Dirty Bastard, is a deliriously irresistible summer anthem. Repurposing Dolly Parton and Kenny Rogers’ “Islands in the Stream,” the song’s incongruities are part of its charm. From the Bulworth soundtrack, this hip-pop confection alternates between Mya’s sweet vocals and Pras and ODB’s rhymes. The music is a dance mix sounding like Lalo Schifrin’s Mission: Impossible theme meets Queen’s “Another One Bites the Dust,” filled with sonic gifts that still resonate today.
16. New Radicals – “You Get What You Give”
New Radicals’ “You Get What You Give,” reaching No. 36 on the Hot 100, remains a great pop song for many reasons. Clever lyrics, including “frienemies,” and sincere platitudes encourage young fans to rage against the machine. The song directly names the “machine” as health insurance, FDA, and bankers, highlighting enduring societal issues. Despite lyrical density, the song is infectious, thanks to Gregg Alexander’s songwriting and production, showcasing his lasting impact on pop music.
15. 2Pac – “Changes”
2Pac’s “Changes,” reaching No. 32 on the Hot 100, from his Greatest Hits set, has become a cultural touchstone. Critiquing racial injustices from police brutality to packed penitentiaries, the song remains relevant today. 2Pac’s lyric, “We ain’t ready to see a black president,” foreshadowed post-Obama era racial dynamics. While pleading for change over Bruce Hornsby-borrowed keys, the song’s hardest-hitting line is the resigned “That’s just the way it is,” reflecting ongoing societal realities.
14. Celine Dion – “My Heart Will Go On”
Celine Dion’s “My Heart Will Go On,” a No. 1 Hot 100 hit, from Titanic, redefined talent shows. Topping her previous vocal powerhouses, this single marries everything loved (or hated) about Dion’s vocals, building to an erupting crescendo. The song debuted at No. 1 on the Hot 100, earned an Oscar for Best Original Song and Grammys for Record and Song of the Year. “My Heart Will Go On” remains a timeless ballad, appreciated even 20 years later.
13. Hole – “Celebrity Skin”
Hole’s “Celebrity Skin,” reaching No. 85 on the Hot 100, propelled them from alt-rock heroes to TRL contenders. Co-written by Billy Corgan, the song critiques fame and beauty standards over a grunge-y sound. Its power, sarcasm, and scream-along chorus hooked listeners, reaching No. 1 on Alternative Songs chart and breaking into the Billboard 200 top ten.
12. Beastie Boys – “Intergalactic”
Beastie Boys’ “Intergalactic,” reaching No. 28 on the Hot 100, predated EDM vocal trends. Using a vocoder and minimal lyrics, the song’s beat and goofy rhymes are irresistible. “Intergalactic” charted on pop, rhythmic, alternative, and mainstream rock charts, demonstrating its broad appeal and iconic status.
11. Semisonic – “Closing Time”
Semisonic’s “Closing Time,” reaching No. 11 on Radio Songs chart, turned a bartender’s phrase into a timeless hook. Dan Wilson’s homage to last call spent 25 weeks on Adult Alternative Song charts. More than just a bar anthem, Wilson wrote it about impending fatherhood. The song’s warm guitar, triumphant refrain, and poignant final line, “Every new beginning comes form some other beginning’s end,” resonate deeply.
10. JAY-Z – “Hard Knock Life (Ghetto Anthem)”
JAY-Z’s “Hard Knock Life (Ghetto Anthem),” reaching No. 15 on the Hot 100, from Vol. 2…Hard Knock Life, is a ghetto anthem for a reason. Co-opting “Hard Knock Life” from Annie, Jay flipped the narrative to his story, displaying confidence and braggadocio. The song established Hov as a dominant force in hip-hop, reaching No. 15 and making the album his first of 14 No. 1 albums, the most for a solo artist.
9. Madonna – “Ray of Light”
Madonna’s “Ray of Light,” reaching No. 5 on the Hot 100, revitalized her career in the late 90s. Working with William Orbit and sampling a 1971 folk song, Madonna delivered a joyous dance banger. At 39, she cracked open the top 40 for electronica’s pop takeover, proving her trendsetting influence and creative resurgence.
8. Backstreet Boys – “Everybody (Backstreet’s Back)”
Backstreet Boys’ “Everybody (Backstreet’s Back),” reaching No. 4 on the Hot 100, solidified their boy band dominance. With *NSYNC rising, “Everybody” showcased Backstreet Boys’ originality and sex appeal. Soda-sticky synth bass, Scandi-pop production, and stadium-rock choruses defined Cheiron Studios’ iconic sound. Despite label concerns about lyrics confusing US listeners, the song became a perfect introduction, fusing European pop, American R&B, and stadium rock.
7. OutKast – “Rosa Parks”
OutKast’s “Rosa Parks,” reaching No. 55 on the Hot 100, cemented Atlanta’s hip-hop hub status. Big Boi and Andre’s Aquemini album was a funky, spaced-out triumph, with “Rosa Parks” as its biggest hit. Big Boi’s hook, Andre’s verse, and Rev. Robert Hodo’s harmonica solo created a unique and iconic track. Despite initial controversy, even Rosa Parks eventually approved, recognizing its cultural impact.
6. The Verve – “Bitter Sweet Symphony”
The Verve’s “Bitter Sweet Symphony,” reaching No. 12 on the Hot 100, feels like slow motion. Sharp strings and Richard Ashcroft’s melancholy voice create an immersive experience. The music video and its use in Cruel Intentions further solidified its iconic status. Sampling an orchestral version of Rolling Stones’ “The Last Time,” the song became The Verve’s signature hit, even if costly.
5. Brandy & Monica – “The Boy Is Mine”
Brandy & Monica’s “The Boy Is Mine,” a No. 1 Hot 100 hit, was a career-defining collaboration. Each artist already successful, their duet about a two-timing man reached new heights. Rodney “Darkchild” Jenkins’ production, their mint vocals, and shared attitude created a perfect storm. Spending 13 weeks at No. 1, “The Boy Is Mine” became one of the most revered songs in both singers’ catalogs, despite rumored rivalry.
4. *NSYNC – “Tearin’ Up My Heart”
*NSYNC’s “Tearin’ Up My Heart,” reaching No. 59 on the Hot 100, propelled them to boy band superstardom. From their US debut album, this track and “I Want You Back” had the world dancing and singing along. “Tearin’ Up My Heart” is an undeniable bop, capturing the agonizing game of love with blissful dance-pop and iconic 90s fashion in the music video.
3. Natalie Imbruglia – “Torn”
Natalie Imbruglia’s “Torn,” reaching No. 42 on the Hot 100, is famously a cover song. Originally written by Ednaswap, Imbruglia’s version became an international hit. Despite being a cover, Imbruglia’s rendition is definitive. Her pacing, panic, and distress in the vocals feel deeply lived-in. “Torn” remains her signature song, even though she couldn’t replicate its success, highlighting the magic of her interpretation.
2. Lauryn Hill – “Doo Wop (That Thing!)”
Lauryn Hill’s “Doo Wop (That Thing!),” a No. 1 Hot 100 hit, was ubiquitous in late 1998. Warning listeners about being used, the song’s bouncy beat, triumphant horns, and crisp piano hook were infectious. Hill, already known from The Fugees, achieved solo superstardom with this track from The Miseducation of Lauryn Hill. Sampling 5th Dimension’s “Together Let’s Find Love,” “Doo Wop” earned Hill Grammys and MTV VMAs, including Video of the Year. Its egalitarian message, advising both sexes on self-respect, remains striking and ahead of its time, proving rap’s power to unite and empower.
1. Aaliyah – “Are You That Somebody?”
Aaliyah’s “Are You That Somebody?,” reaching No. 21 on the Hot 100, is currently unavailable on streaming platforms due to rights issues, adding to its mystique. Produced by Timbaland and written with Static Major, the song sounds both past and future. Recorded in a 4 a.m. session for the Dr. Dolittle soundtrack, it’s a dreamlike creation. The staccato bassline, drum sounds, and human mouth percussion create a unique beat. Aaliyah’s vocals and lyrics describe love as a secret. The unexpected baby coo sample, from a 1969 field recording, adds to its uniqueness. Bryan-Michael Cox called it unprecedented, and its influence is seen in Drake’s “BedRock” and James Blake’s “CMYK.” “Are You That Somebody?” persists in cultural imagination despite its inaccessibility, remaining sacred territory hidden in plain sight, accessible only to Aaliyah and Timbaland’s creative genius.
Nat King Cole
