100 greatest Rock & Roll Hall of Fame songs of all time, ranked (2024)

CLEVELAND, Ohio – Compiling a list of the greatest songs of all time is a monumental task.

The number of essential recordings to choose from is seemingly endless. The subjective importance or quality of a song can shift from day to day, era to era. No one on this planet is going to think your list is 100% correct.

Yet, that didn’t stop us from trying.

First, the rules. Since we live in Cleveland, these are the “100 Greatest Rock & Roll Hall of Fame songs of all-time,” meaning they must come from Rock Hall inductees who were voted into the museum as performers (including the Class of 2022).

That takes iconic tunes like The Kingsmen’s “Louie Louie,” Derek and the Dominos’ “Layla” and Don McClean’s “American Pie” out of contention. Same goes for artists who aren’t yet eligible for the Rock & Roll Hall of Fame (Sorry, Beyonce, Kanye West and Taylor Swift fans).

We also decided to limit it to ONE song per artist. Without such a rule, The Beatles would dominate. But we didn’t want this to become a showcase for the Fab Four, Bob Dylan, Prince, Madonna or Led Zeppelin (Plus, choosing just one song from those artists was a fun challenge).

That still left a lot of great artists and songs off the list. No “Hotel California?” Let the hate emails come in. Where’s “Smoke on the Water?” Not here. No AC/DC, Van Halen, Billy Joel or Janis Joplin? Trust us, it wasn’t easy.

As always, this is just one take on the greatest songs that’s sure to be declared wrong. But hey, It’s only rock ‘n roll.

100. The Shirelles - “Will You Love Me Tomorrow” (1960)

The list of artists who have covered the Gerry Goffin and Carole King penned “Will You Love Me Tomorrow” is a who’s who of great singers, from Smokey Robinson to Dionne Warwick to Roberta Flack (and Carole King herself on “Tapestry”). But none of them managed to top the original, which feels like the perfect girl-group song. In fact, history suggests The Shirelles’ launched the girl-group genre with a blueprint that hasn’t changed all that much since their version of “Will You Love Me Tomorrow,” a gorgeous mix of doo-wop and soul, became the first song by a black all-girl group to hit No. 1.

99. Cheap Trick - “Surrender” (1978)

There aren’t many teenage angst anthems as awkward as “Surrender.” There aren’t many that are better either. “Surrender” is all about a culture clash, specifically the World War II generation versus the kinds of kids you see in the movie “Dazed and Confused.” But Cheap Trick’s anthem might as well be timeless both for its message and energy. It’s about as fun a rock and roll song you’ll ever hear that must be played at high volumes. It’s impossible not to sing along.

98. Roy Orbison - “Crying” (1961)

From the start, Roy Orbison was different from his fellow rock and roll pioneers. Whether it was his voice or the use of orchestral backing in some of his biggest hits, Orbison’s pop music was able to tap into different and deeper emotions. On “Crying,” Orbison goes for broke with one of the rawest and most emotive songs of its era. Orbison’s style allowed him to pack on the drama in short bursts. “Crying” clocks in at less than three minutes, but it takes everything out of you.

97. Jackie Wilson - “(Your Love Keeps Lifting Me) Higher and Higher” (1967)

Jackie Wilson kicked off his solo career after the Dominoes with pretty straightforward love songs that would establish him as a signature voice and performer of the late 1950s. But it was 10 years after his solo debut that he finally hit pay dirt. If “(Your Love Keeps Lifting Me) Higher and Higher,” released on Brunswick Records, has a decidedly Motown feel to it, it should. Wilson hired several members of Motown Records’ house band The Funk Brothers who were looking for extra money. Wilson originally approached the song as a ballad. But producer Carl Davis pushed him to follow the Funk Brothers’ upbeat percussion. Wilson obliged, creating one of the great feel-good songs of all time.

96. The Doors - “Light My Fire” (1967)

There aren’t many songs that come to mind faster when thinking of psychedelic rock than The Doors’ “Light My Fire.” It’s all about the trippy vibes and Jim Morrison singing about the intersection between love, life and death. In album form, “Light My Fire,” is everything The Doors were about. Robby Krieger wrote the core part of the song, allowing his bandmates to build upon it and unleash their inner crazy. Morrison was always unhinged, but organist Ray Manzarek matches with his inner psychedelic beast, giving “Light My Fire” its hypnotic backbone.

95. Pearl Jam - “Jeremy” (1991)

Pearl Jam’s rise to fame was a slow build. The band toured on the strength of its first two singles from “Ten” -- “Alive” and “Even Flow” -- for a while. However, once “Jeremy” hit, all bets were off. Much of that had to do with the music video, whose popularity would scare Pearl Jam away from the spotlight. But as a song, “Jeremy” is an astonishing force of nature that rises above grunge. Eddie Vedder didn’t just become the signature voice of grunge music but for all of alternative rock. “Jeremy” and Vedder’s dark vocal performance would spawn hundreds of bands people would come to hate well into the 21st century. Whether they were good or not (most weren’t), they simply were never going to live up to what Vedder and his bandmates accomplished.

94. ABBA - “Dancing Queen” (1976)

ABBA was always smarter than many people gave the pop sensation credit for. The group’s mega-hit “Dancing Queen” coasts on its disco vibe. But it is the injection of Europop sound that makes it timeless. There’s a reason “Dancing Queen” outlasted the disco fad (and not just because of “Mamma Mia!”). It’s a perfect song about “having the time of your life” that foreshadows the lush dance-pop that’s dominated radio ever since.

93. Jerry Lee Lewis - “Great Balls of Fire” (1958)

Jerry Lee Lewis helped set the standard for high-energy rock and roll with 1957′s “There’s a Whole Lotta Shakin’ Going On.” But it was the song’s follow-up, “Great Balls of Fire,” that would prove a defining declaration of a genre that was still coming into its own. Lewis had a way of making other people’s compositions – in this case, that of Otis Blackwell and Jack Hammer – and making them all his own. “Great Balls of Fire” builds to its stunning conclusion where Lewis and his piano playing border on unhinged. As a performance record, “Great Balls of Fire” is breathtaking.

92. Eminem - “Stan” (2000)

“Stan” felt like an outlier for Eminem when it was released in 2000. Established as the biggest rapper in the world, Eminem was dominating MTV and the charts with pop-savvy rap songs like “My Name Is” and “The Real Slim Shady.” But his brilliant lyrical showcase about an obsessed fan would prove to be his most enduring song. Musically, “Stan” makes great use of British singer Dido’s song “Thank You,” giving chilling vibes to Eminem rapping from his fan’s perspective as things turn tragic with Phil Collins “In the Air Tonight” references. “Stan” was so impactful it remains the go-to term when describing extreme fandom.

91. Muddy Waters - “Got My Mojo Working” (1957)

Muddy Waters had been making his mark on music history for the better part of a decade and a half. But “Got My Mojo Working” was the moment Waters’ inspired a generation of rock and roll stars. By merging a traditional blues rhythm with a simple chord progression, Waters’ rendition of “Got My Mojo Working” created the ultimate bridge from blues to rock and roll. It’s impossible to listen to and not hear the impact it would have on the likes of Eric Clapton, Jeff Beck, Keith Richards, Jimmy Page, Brian May, Angus Young and countless others.

90. Metallica - “Master of Puppets” (1986)

An opening riff that knocks your head off. Four stunning movements that keep you on the edge of your seat for eight and a half minutes. This is heavy metal at its rapid peak with a level of sophistication that the best artists in any genre could appreciate. Written by all four members of Metallica’s classic lineup, “Master of Puppets” marks a raising of the bar moment, not just for thrash metal but for hard rock in general. Metallica would go on to have bigger hits. But “Master of Puppets” is the song at the forefront of the band’s amazing legacy.

89. The Mamas & The Papas - “California Dreamin’” (1965)

After singing backup on Barry McGuire’s original version of “California Dreamin,’” The Mamas & Papas crafted their own version of the song that was far more euphoric. No song has come to embody the sound of the counterculture era and, perhaps more poignantly, the longing for it ever since. The way the group’s harmonies cascade across the song makes you feel swept up in a dream. It’s escapism music that represents a dreamlike place.

88. Foo Fighters - “Everlong” (1997)

“Everlong” was the second single from Foo Fighters’ second album. Upon immediate hearing it, you could tell it was a defining moment for the band. “Everlong” is a magnum opus of post-grunge, written by Dave Grohl as he was coming out of a divorce. He wasn’t sure about the future of his personal life or that of his band. “Everlong” is about holding onto something so tight that it can pull you out of the darkness. You feel every note Grohl sings, every cymbal crash and every guitar riff. It’s the most heartfelt and brilliant thing Foo Fighters have ever done.

87. Bob Marley and the Wailers - “Concrete Jungle” (1973)

“Concrete Jungle” isn’t as immediately appealing as Bob Marley’s later career anthems. You have to pay closer attention to the opening track from 1973′s immaculate “Catch a Fire.” But, eventually, the themes, message and ideas sink in and overwhelm you. Marley and the Wailers paint a stunning picture of society that could translate across the globe. And while Marley’s lyrics are at the forefront: “No chains around my feet, but I’m not free. I know I am bounded in captivity...” the song’s musicality (especially the guitar solo) is equally as mesmerizing. “Concrete Jungle” is the sound of a voice of the generation coming into his own.

86. Eurythmics - “Sweet Dreams (Are Made of This)” (1983)

When it comes to the peak of synth-pop and new wave, few things feel as towering as Eurythmics’ signature hit. With a growing interest in electronic music, Dave Stewart produced the song on new synthesizers. After hearing it, Annie Lennox wanted in. That dueling synth sound is the song’s bread and butter, shaping “Sweet Dreams” as a haunting portrait. The song also visually made its mark with Annie Lennox becoming a pop star with a look that differentiated her from any other artist out there. A monster single, “Sweet Dreams” put Eurythmics on the map and pushed electronic music to new heights.

85. Ike & Tina Turner - “River Deep – Mountain High” (1966)

“River Deep – Mountain High” is the sound of Tina Turner being set free musically. For the first time, Ike Turner had nothing to do with one of her songs, having been paid off by producer Phil Spector to step aside. It was Spector who viewed Tina as the ideal void for his Wall of Sound production style backed by the Wrecking Crew. Upon initial release, Spector seemed to be wrong. “River Deep – Mountain High” was not a hit, allowing Ike to say I told you so. In retrospect, the song is recognized as the glorious masterwork it is, from one of the greatest producers of all time and a singer who finally got her moment to shine.

84. Bo Diddley - “Bo Diddley” (1955)

Bo Diddley didn’t invent the rock and roll’s signature rhythm. But he sure as heck perfected it to the point where it was named after him. On the surface, there isn’t much to the legendary rock and roll song Bo Diddley named after himself. The lyrics couldn’t be more simplistic, based on the lullaby “Hush Little Baby.” But the magic lies in the sound Diddley creates with his guitar. “Bo Diddley” hops right into its core part, immediately hooking you. Taking cues from Afro-Cuban music, Diddley delivered a syncopated musical rhythm that would give rock and roll its backbone.

83. Martha and the Vandellas - “Dancing in the Street” (1964)

On its surface, “Dancing in the Street” is a song driven by unbridled joy, written brilliantly as a ballad in draft form by William “Mickey” Stevenson. At the urging of Marvin Gaye, the song was transformed into a dance tune, where it reached magical levels. Martha Reeves powerful focal performance backed by Motown’s Funk Brothers would take on a life of its own as a civil rights anthem, calling America to come together, regardless of race, during a tumultuous time that could, perhaps, be healed by great music.

82. Dusty Springfield - “Son of a Preacher Man” (1968)

With her career seemingly dying down, Dusty Springfield joined Atlantic Records with the hopes of working with Jerry Wexler, the man who helped Aretha Franklin reach her full potential. Wexler, along with writers John Hurley and Ronnie Wilkins gave Dusty a group of songs like “Son of a Preacher Man” that scared Springfield. Merger her traditional pop with powerful soul music wasn’t Springfield’s comfort zone. But at the urging of Wexler, she threw herself into it. “Son of a Preacher Man” would come to define the sound of blue-eyed soul, its influence felt through the 21st century in the careers of chart-toppers like Amy Winehouse, Adele, Sam Smith and others.

81. Buddy Holly and the Crickets – “That’ll Be the Day” (1957)

Buddy Holly first recorded “That’ll Be the Day” in 1956 at a time when his career, still in its infancy, appeared destined to go nowhere. What a difference a year makes. The version released on a different record label and under the name the Crickets would prove much more refined, not only with its instrumentation (highlighted by Holly’s lead guitar playing) but with the signature hiccup singing style that would inspire an endless number of rock and roll singers moving forward. Holly released several legendary singles during his short time on this planet. But it all starts with his first No. 1, “That’ll Be the Day.”

80. Guns N’ Roses - “Welcome to the Jungle” (1987)

Grunge gets all the credit for killing hair metal. But Guns N’ Roses should catch some of that flack (or credit) as well. Sure, they had long hair too. But GN’R wasn’t caught up in glam. From the opening sounds of “Welcome to the Jungle,” it was clear Guns N’ Roses was different. Emerging from the gritty side of Los Angeles’ hard rock scene, it had been a while since the world had seen a band that embodied sex, drugs and rock & roll quite like Guns N’ Roses while also sounding like one of the greatest rock bands of all time. “Welcome to the Jungle” feels like something ripped out of the 1970s in the best way imaginable.

79. Lou Reed - “Walk on the Wild Side” (1972)

Like many of Lou Reed’s signature songs, “Walk on the Wild Side” would become an anthem for outsiders. Yet, it’s still unlike anything else he recorded, merging luscious glam-rock with a doo-wop aesthetic. The track is autobiographical, with each verse referencing someone in Reed’s circle during his days hanging out at Andy Warhol’s The Factory in New York. Even though most of us weren’t there, “Walk on the Wild Side” makes us feel a part of something special.

78. Beastie Boys - “Sabotage” (1994)

Rap-rock doesn’t have the best reputation. But when done well, it can be a force of nature. In 1994, the Beastie Boys would create a fuzzed-out, unrelenting sound on “Sabotage” that would find the perfect middle ground between punk and rap. The key is the Beasties ability to break each genre down to their most primal before crashing them together. Everything about “Sabotage” feels iconic, from the incredible bass line to Ad Rock’s thrilling vocal performance to the video directed by Spike Jonze. “Sabotage” came at a time when the Beastie Boys were supposedly in their “maturing” phase. But you can’t make something like this without a playful love of music that never goes away.

77. Dolly Parton - “Jolene” (1973)

Rock and roll history is full of songs where men beg their women not to leave them and vice versa. As you might expect, Dolly Parton’s most covered song, “Jolene,” is a different story of heartbreak. It requires Parton to be at her most vulnerable as a narrator, crafting a story about one woman begging another to not steal her husband. The track is only made more heartbreaking by Chip Young’s haunting thumb-picked guitar sound.

76. Simon & Garfunkel - “The Sound of Silence” (1965)

If “Bridge Over Troubled Water” is Simon & Garfunkel’s “Yesterday” -- the song everyone knows that’s been used to score millions of sappy life events – then “The Sound of Silence” is the duo’s “Eleanor Rigby” -- something darker, haunting and far more relatable. Whether you think that makes “The Sound of Silence” Simon & Garfunkel’s best song depends on your taste. But Paul Simon’s ode to loneliness stays with you as much as any folk-rock song can. “Hello darkness, my old friend...” No wonder metal bands are attracted to this thing.

75. Janet Jackson - “Miss You Much” (1989)

“Get the point? Good. Let’s dance.” To fully grasp the awesomeness of “Miss You Much,” the lead single from Janet Jackson’s blockbuster album “Rhythm Nation 1814,” you need to hear the interlude that comes beforehand. “Let’s Dance”/”Miss You Much” marks the moment “Rhythm Nation 1814″ breaks from the high-concept art Jackson was putting forth alongside production duo Jimmy Jam and Terry Lewis. More than any song on the album, “Miss You Much” stands alone as a monumental pop effort. Call it new jack swing or dance-pop, “Miss You Much” is a party starter that marked Janet Jackson’s ascension as a sex symbol and megastar on par with her brother or anyone else.

74. Otis Redding - “Try a Little Tenderness” (1966)

When Kanye West chopped up a sample of Otis Redding’s voice for Watch the Throne’s single “Otis” in 2011, West was simply reaffirming what people have known since the 1960s. There’s more power in a snippet of Redding’s voice than most five-piece rock bands can muster. That sample comes from Redding’s monster soul anthem “Try a Little Tenderness.” Redding, backed by Booker T. & the M.G.’s and Stax producer Isaac Hayes, reworked Ray Noble Orchestra’s original version into a record that builds to Redding’s vocal explosion.

73. Etta James - “At Last” (1961)

“At Last” was originally written and recorded as an orchestral tune for the 1941 musical film “Sun Valley Serenade.” Etta James’ version works off a similar melody (courtesy of Riley Hampton), but her voice blows it out of the water. James sings the song in a way that makes its ode to romance universal. But the song is distinctly hers. No one has ever come close to this even in cover form (Sorry, Beyonce, Celine Dion and others). Few love songs are more iconic.

72. Jay-Z - “99 Problems” (2004)

Heading into what was supposed to be his final project, “The Black Album,” Jay-Z wanted to work with a who’s who of hip hop production royalty. Perhaps the oddest choice was Rick Rubin. Jay rarely dabbled in old-school, pre-1990s hip hop. And yet, it was a match made in heaven. Rubin brought the heavy guitar riffs and pounding drums he used to help put Beastie Boys and LL Cool J on the map. Jay brought his lyrical genius, weaving a tale about the problems and jealousy that come with being Black while switching up his voice and flow to play multiple parts on the track. Even as he was calling it quits (in theory), Jay-Z was still proving he was capable of surprises.

71. Bill Withers - “Ain’t No Sunshine” (1971)

“Ain’t No Sunshine” finds the blues radiating with soul. The first 30 seconds or so are stripped down with the tone of Bill Withers’ voice conjuring up devastating emotion. The instrumentation provided by Donald “Duck” Dunn on bass, Al Jackson Jr. on drums, Stephen Stills on guitar and Booker T. Jones arranging strings make the darkness seem even more epic. Withers’ amazing vocal breakdown (“I know, I know, I know, I know, I know”) creates a sense of paranoia in a song that breaks your heart. And it all happens in just over two minutes.

70. Whitney Houston - “I Wanna Dance with Somebody (Who Loves Me)” (1987)

The first chapter of Whitney Houston’s career was built on ballads. But after the release of “How Will I Know” as the final single from Houston’s self-titled debut album, the team at Arista quickly learned the singer’s voice could pack a wallop on the dancefloor. Enter “I Wanna Dance with Somebody” as the second single from 1988′s “Whitney,” an explosion of dance-pop with Houston’s impeccable voice as the driving force. The song was played on radio non-stop with the video putting Houston’s charisma on full display. Houston had already scored three No. 1 singles prior to “I Wanna Dance with Somebody” being released. But the track, produced by Narada Michael Walden, made everything that came before it feel small.

69. Nine Inch Nails - “Hurt” (1994)

“I hurt myself today, to see if I still feel...” Very few songs in the history of popular music get this dark right from the onset. And rarely are they as powerful. “Hurt” closes out Nine Inch Nails’ epic album “The Downward Spiral,” ending the project’s documentation of one man’s emotional demise. It’s a song about self-harm and addiction that Trent Reznor dresses up with his usual sonic forces. But nothing can take away from the pain in his voice, which lent itself to one of the greatest covers of all time by Johnny Cash. You can debate all day about which version is best. Cash’s cover strips things down, putting the idea of a man meeting his end to the forefront. But the song’s brilliance goes back to Reznor’s original vision, something so dark while also being impossible to turn away from.

68. The Supremes - “You Keep Me Hangin’ On” (1966)

The Supremes spent a long time trying to climb the Motown mountain, eventually scoring their first No. 1 with 1964′s “Where Did Our Love Go.” From there on, it was hit after hit. But the group never stopped innovating. “You Keep Me Hangin’ On” was part of The Supreme’s second wave of chart-toppers. As always, the harmonies are top-notch. But the song sets itself apart thanks to the production work of Holland–Dozier–Holland, which would prove influential in the development of funk music over the next few years.

67. Elton John - “Tiny Dancer” (1972)

“Rocket Man,” “Levon,” “Bennie and the Jets.” Many of Elton John’s most popular songs are performance pieces designed to send a crowd into a frenzy. But none of them have the power of “Tiny Dancer.” Right from the start of his career, there was something immediately timeless about the ballads John and Bernie Taupin produced (See: “Your Song”). And “Tiny Dancer” is their masterpiece. The piano-driven song is the ultimate singalong track. And while other contenders wait until the chorus to hook you, “Tiny Dancer” will have you belting out every word right from the start, inviting your friends to join in.

66. Sex Pistols - “Anarchy in the U.K.” (1976)

Ramones’ first album preceded the Sex Pistols’ UK debut by a few months. But you could make the case the latter was more influential. The title tells you all you need to know about the Sex Pistols’ aggression and anti-establishment stance. But Johnny Rotten was sure going to drive that point home with his fiery lyrics ”I am the Antichrist, I am an anarchist.” Aside from Rotten’s performance, what stands out most about the song “Anarchy in the U.K.” is the guitar attack unleashed by Steve Jones and refined by producer Chris Thomas. It was an invitation to anyone, anywhere who had lacked experience (and talent) to pick up the instrument. Puck rock was off and running.

65. The Temptations - “Papa Was a Rolling Stone” (1972)

“Papa Was a Rolling Stone” began as a track for producer Norman Whitfield’s pet project The Undisputed Truth in May 1972. The song didn’t go far on the charts. Feeling more comfortable with his psychedelic soul production techniques, Whitfield would transform the song into an epic 12-minute version less than five months later for The Temptations. The group -- featuring the finest vocal performers of their era -- hated it. “Papa Was a Rolling Stone” was more a showcase for Whitfield than them. But there’s no denying how awesome it is. Whitfield pulls out every trick, throwing in all the bells and whistles he could come up with. The Temptations deliver yet another stellar performance, even if Whitfield’s layers of instrumentation steal the show.

64. Tom Waits - “Downtown Train” (1985)

Tom Waits’ style can be challenging. That’s not to say there isn’t something majestic and compelling about even his most unusual songs (“What’s He Building” grips you at the throat). But it makes sense that his greatest song is his most universal. And it almost happens by accident. Waits’ vocal performance on “Downtown Train” is one soaked in his signature rasp. But it’s the bright guitar sound contrasted with Waits’ voice that elevates it to a bluesy anthem ripe with Waits’ amazing lyricism that paints a captivating picture of New York at nighttime. You get lost in it.

63. Jefferson Airplane - “White Rabbit” (1967)

“White Rabbit” is an acid trip that builds and builds and builds. Inspired by the literary works of Lewis Carroll, Grace Slick wrote “White Rabbit” as take down of naïve fairytales. But the song also mirrors the loss of innocence that was beginning to take shape during the second half of the 1960s. The song’s vibe has only grown darker in a modern sense, taking on a blue-or-red-pill symbolism. But hidden beneath the references to drugs and hallucinations is a musicality Slick drew from Miles Davis’s “Sketches of Spain.” “White Rabbit” lures you in only for Slick to wallop you in the gut with her performance during the song’s final stretch.

62. The Band - “The Weight” (1968)

Gram Parsons (along with The Byrds) may be the most important artist in the history of country rock. But the first song you think of when it comes to the genre may be The Band’s “The Weight.” It’s a vivid song that conjures up the idea of classic America. Much of the lyrical content – a traveler, the frontier, religious imagery and peculiar beings – is open to interpretation. Close your eyes and let it all set in. “The Weight” is a slow-moving classic that’s just waiting for a toast to be made at your favorite bar.

61. U2 - “Where the Streets Have No Name” (1987)

The opening track from “The Joshua Tree” is the moment where U2 reaches for the stars and finally touches one. There’s so much spirituality radiating from “Where the Streets Have No Name,” it’s easy to overlook how musically amazing it is, from its driving drums and The Edge’s signature guitar riffs to Bono accepting his role as a rock god. It’s enough to make U2 haters roll their eyes twice over. But for those willing to embrace its power, “Where the Streets Have No Name” can become more than a rock anthem, especially in a live setting where it morphs into a full-on religious experience.

60. Pink Floyd - “Wish You Were Here” (1975)

Even though Syd Barrett left Pink Floyd in the middle of the recording process for the band’s sophom*ore album, his spirit remained with the band. “Dark Side of the Moon” touched on his absence. But “Wish You Were Here” was a full album’s dedication to his made genius. The album’s title track was, perhaps, the most straightforward rock song Pink Floyd had crafted up until that point and, arguably, the band’s most moving. As much as David Gilmour’s guitar notes could soar and the band’s weirdness could captivate, “Wish You Were Here” makes it clear that great songwriting was always Floyd’s backbone, both with Barrett and afterward.

59. N.W.A. - “Straight Outta Compton” (1988)

Revolutionary songs only come around so often. N.W.A.’s 1988 single came with a declaration: “You are now about to witness the strength of street knowledge.” In some ways, “Straight Outta Compton” was rap’s version of shock rock. Only the shocking part was that it was very much rooted in reality. That “crazy motherf*****” named Ice Cube and his crew were bringing the struggles of Black America in the 1980s to your living room. Dr. Dre and DJ Yella’s winding beat made all it so easy for mainstream America to digest that N.W.A.’s debut album reached the top 10 on the Billboard 200 chart. Hip hop (and pop music in general) would never be the same.

58. Miles Davis - “So What” (1959)

“Kind of Blue,” widely considered the greatest jazz album of all time, wasn’t one of Miles Davis’ “rock” records. Those would come later. But it remains the jazz legend’s greatest triumph in a career of triumphs and reinventions. “Kind of Blue’s” signature composition, “So What,” would become the peak of the modal jazz movement of the 1950s and 1960s. But its impact would be felt decades on. Part of that is the amazing array of players, including Bill Evans, whose innovative piano playing was a game-changer, and tenor saxophonist John Coltrane, who would put greater emphasis on modal jazz with his own future landmark recordings. Because “Kind of Blue,” and specifically “So What,” developed and took on a life of its own in the recording process, it would inspire improvisation and jamming in all forms of music.

57. Depeche Mode - “Enjoy the Silence” (1990)

Depeche Mode’s ode to cherishing what you have began simple enough. After recording a demo, guitarist Martin Gore and the band intended the song to be a ballad. Transforming it into a dance-pop song seemed daunting until producer Flood began working with his new Roland modular synth. The result is Depeche Mode’s best-known and most appealing song, which is saying something. “Enjoy the Silence” is a love song that benefits from Dave Gahan’s delivery. But sonically it creates a sense of euphoria that mirrors the song’s theme. What at first seems like Depeche Mode toning down its experimental tendencies winds up being the band its most inventive pop masterpiece.

56. Al Green - “Let’s Stay Together” (1971)

Right from its opening, you know “Let’s Stay Together.” Your parents know “Let’s Stay Together.” Your grandparents know “Let’s Stay Together.” Al Green’s signature song has been a mood-setter for 50 years. On paper, “Let’s Stay Together” is a plea for a woman to stay by his side. Yet, there was no way for Green to avoid sounding sexual, to the song’s benefit. His vocal inflections are masterful. Even when Green sounds like he’s begging, he’s irresistible.

55. Creedence Clearwater Revival - “Fortunate Son” (1969)

Due mostly to its title, “Fortunate Son” has long been misunderstood by some to be a patriotic anthem. On the contrary, it is a brilliant takedown of classism that John Fogerty wrote in less than a half-hour. One could imagine such songwriting prowess being fueled by frustration and anger at what was going on in America. Fogerty’s forceful vocal performance and guitar playing drive that home along with Doug Clifford’s tension-building drumming. “Fortunate Son” is the centerpiece of a shockingly fruitful period for CCR that saw the band releasing album after album -- all of it top-notch.

54. The Notorious B.I.G. - “Juicy” (1994)

“Super Nintendo, Sega Genesis/When I was dead broke, man, I couldn’t picture this...” The Notorious B.I.G. might be the most naturally gifted emcee hip hop has ever seen. He has more complex and intricate rhyme schemes than those heard on “Juicy.” But no song, by any rapper, better encapsulates the aspirations that come with being a rapper. As Biggie said, “I made the change from a common thief/To up close and personal with Robin Leach.” “Juicy” is hip hop’s ultimate underdog story (over a magical sample of Mtume’s 1983 “Juicy Fruit”) about going from nothing to something with a mic in your hand. If you ever need to explain hip hop to someone, play them this song.

53. Leonard Cohen - “Hallelujah” (1984)

Leonard Cohen’s “Hallelujah” has been covered to the point of exhaustion, allowing fans to overlook the cataclysmic power of Cohen’s hymn. Even when praised, “Hallelujah” is often defined by its amazing cover versions, most notably those of Jeff Buckley and John Cale. But it’s Cohen who laid the groundwork with his poetry. The original’s combination of rock and roll and gospel is as moving as it gets with Cohen’s tone providing a balance between the song’s light and darkness. In the end, it proves uplifting. Like the best songs of Joni Mitchell and Bob Dylan, Cohen’s “Hallelujah” is structured perfectly for mesmerizing covers to arrive for decades to come.

52. Neil Young - “Hey Hey, My My (Into the Black)” (1979)

“Hey Hey, My My (Into the Black)” gets a lot of credit as an essential proto-grunge song and rightfully so (what grunge band didn’t hijack that guitar sound?). But the song’s inspiration is rooted in the artsiest of late 1970s punk bands, Devo. Neil Young’s collaborations with the band’s frontman Mark Mothersbaugh coincided with Young’s increasing fondness for the emerging punk rock scene. Young always played rough enough to veer into hard rock whenever he wanted. But “Hey Hey, My My (Into the Black)” takes that to the next level sonically, matching themes of mortality and carrying the torch for rock and roll.

51. Smokey Robinson and the Miracles - “The Tracks of My Tears” (1965)

No one in the 1960s (or maybe any other era) wrote songs that painted such a vivid picture in your mind as Smokey Robinson. “The Tracks of My Tears,” written with fellow Miracles members Pete Moore and Marv Tarplin, is a devastating song about the sadness that comes with longing for love. It’s Robinson the songwriter at his most vivid. But his singing doesn’t always get enough credit. Robinson’s falsetto is pure bliss, only matched by the subtle, yet fantastic instrumentation from The Funk Brothers and the Detroit Symphony Orchestra. “Tracks of My Tears” is one of a handful of songs that can make its case as Motown’s greatest.

50. The Kinks - “Waterloo Sunset” (1967)

On “Waterloo Sunset,” Terry and Julie meet at Waterloo Station every Friday night, while the song’s narrator looks on at mundane London life. Most great love songs are about a specific person. Yet, on The Kinks greatest song, Ray Davies finds himself overcome by the love between two other people. It’s so powerful and uplifting as a noble story that becomes transcendent thanks to a glorious arrangement. Whether you’re in a relationship or simply looking out at a city getting lost in its nothingness, “Waterloo Sunset” puts a smile on your face. You can’t ask much more of a song.

49. Led Zeppelin - “Kashmir” (1975)

It’s telling that Led Zeppelin’s two most popular songs are the ones that find them most openly trying to create rock and roll epics. One of those tracks is, of course, “Stairway to Heaven.” The other is “Kashmir.” Never released as a single, “Kashmir” is the sound of Led Zeppelin at its peak, opening with a thunderous drum beat that threatens to scorch the Earth. There is a myriad of Zeppelin tunes that try to incorporate everything the band could think of (Think: “Over the Hills and Far Away”). Some of those songs wear out their welcome. But “Kashmir” sustains its awe-factoring for eight-and-a-half mesmerizing minutes.

48. Madonna - “Into the Groove” (1985)

Madonna spent her career pushing boundaries. But perhaps the most impressive thing she did was create the most inviting dance song of the 1980s with “Into the Groove.” Lyrically, it’s one of Madonna’s simplest compositions. But the production is fantastic, merging synths and drums with clever vocal effects that make it feel like Madonna is armed with an army of backup singers. If there were a picture next to the word “bop” in the dictionary, the single cover of “Into the Groove” would surely be it.

47. Curtis Mayfield - “Move on Up” (1971)

“Move on Up” wasn’t just the standout song from Curtis Mayfield’s debut album as a solo artist. It’s a full-on mission statement about perseverance during a time of struggle that would become the backbone of his label Curtom Records. Mayfield had already made a tremendous impact on music during his time with The Impressions. But he was constantly searching for something more. Much of his solo material would prove much darker. But “Move on Up” is the song where Mayfield opens things up for his incredible collection of studio musicians to deliver an overwhelming slice of progressive soul.

46. Run-D.M.C. - “Sucker M.C.’s” (1983)

“Sucker M.C.’s” is the sound of new-school hip-hop being born, painting the picture of what the genre would be moving forward from a sonic, attitude and style standpoint. And yet, it all sounds so primal. Thanks to Larry Smith’s hard-hitting DMX drums along with Jam Master Jay’s scratching, Run-D.M.C. fit right in with the edgy rock of the 1980s. Joseph “Run” Simmons and Darryl “D.M.C.” McDaniels would handle the rest, dripping with swagger on hip hop’s first diss record. They were bonafide the duo as rock stars.

45. Black Sabbath - “Paranoid” (1970)

Black Sabbath accomplished some groundbreaking things on its first album, giving birth to heavy metal through blues mixed with doom and gloom. But it was “Paranoid,” the song the band reluctantly recorded for its sophom*ore album that brought heavy metal to the masses. Tony Iommi’s drop-tuned guitar sound is still the backbone. But with things sped up, “Paranoid” established a groove that could rival anything that came out in the 1970s. It helps when you have a vocalist like Ozzy Osbourne whose wail gives the song a sense of urgency that few bands in hard rock could ever match.

44. Ramones - “Blitzkrieg Bop” (1976)

Ramones had played more than 100 live shows in New York in the two years leading up to the release of the band’s debut album. The punk scene was still functioning in the underground. But the Ramones’ desire to have an anthem it could call its own made all the difference. “Blitzkrieg Bop” pulled from the band’s classic pop influences (specifically the Bay City Rollers’ “Saturday Night”) while holding to punk’s street-edge battiness. In just over two minutes, Ramones proved punk rock was a viable art form that could endure.

43. Sly & The Family Stone - “I Want to Take You Higher” (1969)

When Sly Stone proclaimed “I Want to Take You Higher,” he wasn’t kidding. The song isn’t a message anthem, but rather a declaration about getting high off music. “I Want to Take You Higher” remains the most compelling single Sly and the Family Stone ever released with a level of intensity that would make it a hallmark of the psychedelic soul and funk genres. Not surprisingly, the song would serve as a centerpiece for the group’s legendary performances at Woodstock and on “Soul Train.”

42. Queen - “Bohemian Rhapsody” (1975)

“Bohemian Rhapsody” was never a critical darling. It was too over the top as an obvious stab at rock immortality that high-brow music fans couldn’t help but resent. Queen had to fight for it to be made the initial single from the band’s greatest album “A Night at the Opera.” However, once unleashed on the world, it became a generational anthem not just in 1975, but again for Gen-X when it was featured in “Wayne’s World.” “Bohemian Rhapsody” took on new life again when the 2018 film of the same name became a blockbuster hit. Detractors have been trying to brush off “Bohemian Rhapsody” as a gimmick for decades (Maybe the number of Galileo’s warrants that). Yet, there’s a moving human element to the song provided by Freddie Mercury in every note he sings.

41. The Byrds - “Eight Miles High” (1966)

The Beatles dabbled in the foundational elements of psychedelic rock, while The Yardbirds brought it more into focus. But it was The Byrds’ “Eight Miles High” that established the blueprint for the most influential music of the counterculture era. Prior to 1966, The Byrds’ biggest songs had been stellar covers. But “Eight Miles” was the band’s own hypnotic beast – parts John Coltrane, Ravi Shankar and The Fab Four. The song’s impact is the main reason The Byrds are one of the few artists whose influence even comes close to that of The Beatles or Bob Dylan.

40. Grandmaster Flash and the Furious Five - “The Message” (1982)

The Sugarhill Gang first put hip hop on the mainstream map with 1979′s “Rapper’s Delight.” But the song, which rode the bass line to Chic’s “Good Times,” was more an extension of disco than it was pointing towards a new genre’s dominance. That finally happened three years later when Grandmaster Flash and the Furious Five delivered “The Message.” As the third single from the group’s album of the same name, “The Message” took rap behind the New York party scene and turned into a socially conscious art form that could articulately express the struggles of Black America. No song ever impacted the genre of hip hop more.

39. James Brown - “Get Up (I Feel Like Being) a Sex Machine” (1970)

Of all the massive funk anthems James Brown produced, this is the one. Nothing has ever sounded funkier. Brown laid the groundwork for funk with 1960s tracks like “Cold Sweat” and “Papa’s Got a Brand New Bag.” However, by the 1970s, he brilliantly knew when to yield the spotlight to his band. “Get Up I Feel Like Being a Sex Machine” often comes with the tagline “featuring the Original J.B.’s.” As it should. Phelps “Catfish” Collins’ filthy guitar part is the definition of funky. On “Get Up (I Feel Like Being) a Sex Machine,” Brown transitions from frontman to band leader during the song’s second half, directing every essential instrumental part. And the J.B.’s put on a flawless show for nearly 11 minutes, made only more astonishing by the fact it was recorded live.

38. Patti Smith - “Gloria” (1975)

To call Patti Smith’s “Gloria” a cover is slightly misleading. Smith’s version of the song, written by Van Morrison and originally recorded by his band Them, only holds onto Morrison’s chorus. Smith is responsible for the track’s most iconic parts, including the jaw-dropping spoken word intro: “Jesus died for somebody’s sins, but not mine.” “Gloria” certainly follows Them’s proto-punk ideology. But it’s Smith who turns into an anthem worthy of the emerging punk scene. Years before Prince and Madonna started merging themes of religion and sex on record, Smith was turning such controversy into fiery, high-end art.

37. Funkadelic - “Maggot Brain” (1971)

If someone told you to play music as if your mom had just died, how would you react? Somehow, guitarist Eddie Hazel knew how to respond when a stoned George Clinton made such a request for the opening track to Funkadelic’s third studio album. “Maggot Brain” is a 10-plus minute instrumental (save for a short, spoken word intro) that focuses on Hazel’s blistering guitar work with minimal support from the rest of Clinton’s band. Hazel channels his idol Jimi Hendrix for a performance that’s hard to describe other than it features what may very well be the most amazing guitar playing this side of Hendrix that rock and roll has seen.

36. Isaac Hayes - “Walk on By” (1969)

Dionne Warwick’s original version of “Walk on By” is a simple, beautiful soul song. What Isaac Haye did with it is a testament to his genius as a composer. A few years before Marvin Gaye released “What’s Going On” and Stevie Wonder began his amazing 1970s creative run, Hayes took soul to a new progressive peak with “Walk on By.” He turns the song into a 12-minute, funk-leaning powerhouse. Not only would it become one of Hayes’ signature songs. But his version of “Walk on By” is as a slow-burner of epic proportions and the first true showcase of auteurism in the soul genre.

35. The Jackson 5 - “I Want You Back” (1969)

The greatest bass line in pop music history kicks off one of the most amazing instrumental openings to any song. And it all happens before the true star of “I Want You Back” arrives. Michael Jackson was just 10 years old when he recorded “I Want You Back.” And yet, he delivers a vocal better than most adult men could muster. Motown’s The Corporation (led by Berry Gordy) was known for giving its best acts proper backing from a production standpoint. But even they outdid themselves with “I Want You Back,” a song that would raise the ceiling on how high a Motown act’s star could rise.

34. The Who - “Baba O’Riley” (1972)

Pete Townshend had witnessed the teenage wasteland firsthand. He saw it during Woodstock in 1969 when young people were strung out on acid. He saw it again that same year in the trash that covered the field at the Isle of Wight Festival. That gave Townshend all the lyrical inspiration he needed for another classic anthem about teenage disillusionment. What made “Baba O’Riley” different from, say, “My Generation,” was that the former originated in an abandoned rock opera that was to follow up “Tommy.” Those origins give “Baba O’Riley” its cinematic feel as something more than just a song about teenage angst. It’s a rock and roll powerhouse that’s stood the test of time.

33. Johnny Cash - “Folsom Prison Blues (Live)” (1968)

Despite being a live recording, the 1968 version of Johnny Cash’s “Folsom Prison Blues” (performed at Folsom Prison) benefits from a few studio enhancements, most notably the prisoner cheers added during certain portions of the track. It all adds to the energy of Cash’s stunning performance, which takes the original version of “Folsom Prison Blues” on Sun Records in 1995 and kicks the tempo up a notch. You can almost hear the train “a-comin’” thanks to Cash and his band’s signature tempo. In a live setting, Cash’s voice sounds like it came from up above (or below) to deliver a story for the ages that only Cash could put the appropriate emphasis on.

32. Public Enemy - “Fight the Power” (1989)

Much has been made in recent years about Spike Lee’s “Do the Right Thing” being as poignant as it was when released in 1989, which is both an acknowledgment of Lee’s ability as a filmmaker and a condemnation of modern society. Yet, that’s nothing compared to how the movie’s theme song still packs a massive wallop today. “Fight the Power” is the musical form of taking the gloves off. Just read the one-liners: “Our freedom of speech is freedom or death,” “Elvis was a hero to most but he never meant s*** to me…” Chuck D is a lyrical master with Flavor Flav providing the knockout punch (“Motherf*** him and John Wayne!”). Meanwhile, The Bomb Squad’s production finds a balance between brilliant sampling and a drum beat that hits you like a machine gun. “Fight the Power” isn’t just the modern blueprint for Black protest music. It’s still the modern blueprint for a great rap song.

31. Bruce Springsteen - “Born to Run” (1975)

While several great rock acts in the 1970s were making darker songs about what it was like to live in the post-hippie era of the 1960s, Bruce Springsteen was celebrating life. “Born to Run” was the first track to prove Springsteen had mainstream staying power thanks to its emotionally charged summary of the youthful unrest that drives you to get out there and pursue the American dream. Springsteen was still chasing his blissful “Be My Baby” moment, and “Born to Run” contained a sentiment anyone could latch onto. The song combines the magical pop of the 1960s with the fist-pumping of the 1970s like no other tune could.

30. Blondie - “Heart of Glass” (1979)

Blondie came up as regulars at New York’s CBGB, aka the epicenter of punk’s formation in the mid-1970s. Members Debbie Harry and Chris Stein had worked on “Heart of Glass” prior to Blondie coming into its own. During the recording sessions for the album “Parallel Lines,” producer Mike Chapman discovered the song which he saw as a perfect addition given disco’s rise to the top of the charts. Blondie was about as New York as you could get and noticed the changing musical landscape as dance music took hold committing to making a go-to anthem. “Heart of Glass” would become a defining moment in synth-pop and new wave, and Blondie was at the forefront of popular music heading into the 1980s.

29. Ray Charles - “What’d I Say” (1959)

Everything Ray Charles had been working on in the 1950s set the stage for him to establish soul music as a defining sub-genre of R&B. Prior to the release of “What’d I Say,” a catchy R&B tune was typically a slow burner that set you up for pop supremacy. But even though Charles made music while sitting at a piano, he wanted to make people move. “What’d I Say” combines elements of gospel, soul and jazz with the added touch of rhumba. It made all the difference as the first mainstream soul song that was guaranteed to consume the dance floor.

28. R.E.M. - “Radio Free Europe” (1981)

It wasn’t just that R.E.M. was a no-name band only popular on college radio stations before “Radio Free Europe.” It’s that alternative and indie rock as a whole wasn’t visible in the mainstream at all. That all began to change with “Radio Free Europe,” the song that earned R.E.M. its record deal and first position on the charts. “Radio Free Europe” might seem like one of the more mild entries on this list to spark the boom of a genre that would become much more aggressive in the 1990s. But there’s an urgency to “Radio Free Europe” to go along with its signature notes that would lay the groundwork for the bulk of indie rock that’s dominated music blogs for the past 40 years.

27. Little Richard - “Tutti-Frutti” (1955)

The origins of rock and roll date back to the 1940s. But no one had put it all together from a performance standpoint – the energy, massive vocal, beat and rhythm – quite like Little Richard on “Tutti Frutti.” Right from the start, it’s a bop: “Whop bop b-luma b-lop bam bom!” “Tutti Frutti” is as influential a performance record as you’ll find. Richard so emphatically embodies the spirit of rock and roll that even his fellow pioneers who covered the track – from Elvis and Jerry Lee Lewis to The Beatles – couldn’t touch him.

26. Aretha Franklin - “Respect” (1967)

Aretha Franklin’s signature song has been praised as the ultimate anthem of female empowerment and was even ranked as the greatest song of all time by Rolling Stone in 2021. And yet, “Respect” still doesn’t get enough...well, respect. It’s more than just a stunning vocal performance. Franklin rewrote the book on interpreting someone else’s song. Her version of Otis Redding’s “Respect” isn’t as much a cover as it is a mind-blowing transformation. Knowing that Redding’s original reinforced the archetypal view of an American marriage, Franklin flipped the gender of the lyrics, gave the rhythm section a new direction, played piano and even came up with (along with her sisters Erma and Carolyn) the iconic “sock it to me” lines and spelling out of “R-E-S-P-E-C-T.” It’s a lesson in how you make someone else’s song your own.

25. The Clash - “London Calling” (1979)

What made The Clash a different kind of punk rock band wasn’t just its eclectic sound. It was that Joe Strummer was such a news junkie. “London Calling,” the title track from The Clash’s landmark album, goes beyond bratty, punk subject matter. It turns the Sex Pistols’ call for a revolution into something more sophisticated and visceral, as Strummer lays out how the world could end in multiple ways, from an ice age to a nuclear war. It’s the sound of The Clash fully realized as something powerful that also veers into classic rock territory with just how accessible it is.

24. Marvin Gaye - “What’s Going On” (1971)

Soul music had established a winning formula during the 1960s. So, when Marvin Gaye approached Berry Gordy about doing something socially conscious and political, the Motown founder was perplexed. Gaye had a reason for his change in direction. He was depressed following the death of his friend/singing partner Tammi Terrell and the failure of his marriage, which led to drug addiction and financial troubles. The rest of the world wasn’t a joy to look at either. “What’s Going On,” both the song and album, was conceived while Gaye was on tour and witnessed police brutality against Vietnam War protesters. In crafting his new album’s title track, Gaye was summing up the state of a country in turmoil, something no soul singer before him had done so eloquently. But the song’s magnetism wasn’t just the subject matter. “What’s Going on” – with its layered vocal and instrumentation work – reshaped R&B.

23. The Cure - “Just Like Heaven” (1987)

The Cure had merged elements of alternative rock and pop on its previous album “The Head on the Door.” But “Kiss Me, Kiss Me, Kiss Me” marked a true breakthrough in terms of Robert Smith coming up with the melody and sound that would define the band’s greatest song. “Just Like Heaven” isn’t just a perfect pop song. It stands as one of the greatest love songs ever made. Smith sings about a love so overpowering that it leaves you incapacitated. Smith and his bandmates deliver every aspect of “Just Like Heaven” in mesmerizing form, the individual introduction of each instrument to the descending guitar line to those awesome keyboards. It’s pure bliss.

22. Sam Cooke - “A Change Is Gonna Come” (1964)

Sam Cooke knew how to play the music industry game. He began his career as a gospel and soul singer. Eventually, he morphed his elegant voice into something mainstream white audiences could digest, giving him a sense of power and independence few Black artists experienced in the early 1960s. Amidst all of it, Cooke was very much involved in the Civil Rights Movement throughout his career. And, in 1964, he gave the cause its most poignant anthem. Cooke was inspired to write “A Change Is Gonna Come” after being turned away from a whites-only motel in Louisiana. Simply put, he’d had enough. But “A Change Is Gonna Come” isn’t packed with anger. It’s a song backed with brilliant orchestration that tackles the trials and tribulations of Black people. Cooke’s amazing vocal performance delivers the message that there is something better out there, whether in this life or the next.

21. The Stooges - “I Wanna Be Your Dog” (1969)

Iggy Pop was a blues kid at heart. Only, upon forming his own band, did Pop’s version of the blues become a tumbling force of despair in the form of The Stooge’s garage rock that would foreshadow punk and heavy metal. “I Wanna Be Your Dog” was The Stooges’ first jaw-dropping example of this. Pop’s vocals along with Ron Asheton’s guitar, Dave Alexander’s bass and Scott Asheton’s drums created a muddy and sinister texture highlighted by producer John Cale’s piano and sleigh bells. Cale was the appropriate guy to produce “I Wanna Be Your Dog,” considering the song picks up where The Velvet Underground’s “Venus in Furs” left off. But Iggy and The Stooges were cracking the whip much harder on “I Wanna Be Your Dog.”

20. Stevie Wonder - “Superstition” (1972)

The greatest creative period for any artist in popular music history begins with “Superstition.” As the story goes, Stevie Wonder was in the studio working with Jeff Beck on the former’s now-iconic “Talking Book” album. Beck came up with the drum beat for “Superstition,” a song that was intended to go on Beck’s next album. But the always wise Berry Gordy wanted Wonder to record it. Wonder then went into virtuoso mode with a Hohner Clavinet model C and Moog synthesizer bass (Trevor Lawrence and Steve Madaio would provide saxophone and trumpet work, respectively). The result was Wonder’s first No. 1 hit as an adult on the pop charts, kick-starting a barrage of chart-toppers and classic albums that would cement him as the artist of the decade.

19. Talking Heads - “Psycho Killer” (1978)

At the time of releasing their breakthrough song “Psycho Killer,” Talking Heads were still rooted in the New York punk scene. But the members’ art school influences were starting to show. David Byrne, Chris Frantz and Tina Weymouth had been tinkering with “Psycho Killer” for a few years before its release. The final product is a precise new wave masterpiece unlike other songs in its genre. Byrne taps into the mind of a serial killer and the creepy energy that comes with it. After all these years, it’s still his most thrilling vocal performance, which comes over one of the great bass lines in music history. Talking Heads would go on to record more expansive material, but the anxious energy of “Psycho Killer,” powered by the synergy of a group coming into its own, remains unmatched.

18. Nirvana - “Smells Like Teen Spirit” (1991)

In the late 1990s and 2000s, the legacy of grunge morphed into something that inspired some of the most loathed rock bands of the time. Yet, that hasn’t done anything to diminish Nirvana’s legendary status. The genre peaked with Kurt Cobain and company’s ascension and the success of “Smells Like Teen Spirit” as a generational anthem and game-changing music video. But it went beyond that. Cobain remains an icon whose influence feels even more present today in artists outside of the rock genre, from Jay-Z and Lil Wayne to Lana Del Ray and Lil Nas X. No matter how deep their knowledge of Nirvana’s catalog runs, it all starts with “Smells Like Teen Spirit.” As famously noted, the tune was Cobain’s attempt to write the “ultimate pop song” and rip off the Pixies. The fact that he did that so brilliantly is worthy of all the praise. “Smells Like Teen Spirit’s” impact was immediate. Grunge took over the word, kicking classic rock and hair bands to the side, and Cobain became rock’s biggest icon, even if it only lasted a few years.

17. Radiohead - “Paranoid Android” (1997)

“Paranoid Android” was originally written to be a 14-minute epic, which, judging by just how great it is in 6-and-a-half-minute form, would have probably worked. It was the first single from Radiohead’s “OK Computer.” The band that had made “Creep” before redefining its sound on “The Bends.” But with its third album, Radiohead had seemingly gone nuts. What opens as a typical indie-rocker quickly jettisons into a 4/4-time signature that threatens to combust the further you get in. “Paranoid Android” has since been viewed as indie rock’s “Bohemian Rhapsody.” But it’s modeled after The Beatles’ “Happiness Is a Warm Gun” in how it is divided into multiple parts. As for the subject matter, Thom Yorke was inspired by a group of cocaine-using people he encountered at a Los Angeles bar he’d come to view as inhuman and boring. Out of that came the most interesting song of the 1990s.

16. Donna Summer - “I Feel Love” (1977)

“I Feel Love” didn’t invent electronic music. But after its release, the dance floor (and pop charts) would never be the same. Donna Summer and producer Giorgio Moroder had already unleashed an epic dance hit with 1975′s sex-driven, Euro-disco anthem “Love to Love You Baby.” But “I Feel Love” was even more astonishing. It went beyond disco thanks to Moroder’s Moog synthesizer and Summer’s hypnotic vocals, which became the bridge between the groundbreaking work Kraftwerk was doing in the late 1970s to modern electronic music. In a pop music universe where electronic music’s presence looms larger and larger each day, so does the radiating impact of Summer’s signature statement.

15. Elvis Presley - “Hound Dog” (1956)

Elvis Presley wasn’t creating anything new with “Hound Dog.” The original Big Mama Thornton recording had been covered close to a dozen times. However, Presley and producer Stephen H. Soles insisted on speeding it up, something writers Jerry Leiber and Mike Stoller weren’t fans of. But Presley had the swagger, alongside Scotty Moore’s pioneering guitar work, to pull it off. Word of Presley’s thrilling performances of the song had already spread in the lead-up to his 1956 appearance on Elvis on “The Milton Berle Show.” Once the rest of the country saw his hips move and heard that voice, the rock and roll revolution had officially begun.

14. The Velvet Underground - “Heroin” (1967)

Its intent was bold -- A song designed to encapsulate what it felt to be on heroin. The Velvet Underground’s “Heroin” isn’t advocating for the use of drugs, but rather serves as a documentation of history with a subject that remains somewhat taboo to this day. Broken down musically, “Heroin” is brilliant. Over slow-building percussion, Lou Reed and Sterling Morrison trade guitar riffs before John Cale comes in with a hypnotizing viola sound. Keeping it all from exploding are Reed’s lyrics paired with a controlled vocal performance that never succumbs to the pressure. “Heroin, be the death of me” at once feels like a euphoric release while also a cry for help. Fittingly, it all ends with the sonic equivalent of a car crash.

13. The Ronettes - “Be My Baby” (1963)

Producer Phil Spector had released several great recordings before hooking up with Jeff Barry and Ellie Greenwich to craft The Ronettes’ “Be My Baby.” But the song was the first time he reached perfection. It’s considered by many to be the archetypal example of his Wall of Sound recording technique. Spector’s genius has been well documented. But he also had the voice he needed to make it all work. Veronica Bennett, who the world would come to know as Ronnie Spector, walks a tightrope between gorgeous vocal tone and emotional logging that consumes you. Her voice paired with the fullness of Phil Spector’s sound gives “Be My Baby” the added oomph to make it incendiary.

12. The Jimi Hendrix Experience - “Purple Haze” (1967)

Blues on steroids, filtered through a combustible acid trip. That’s Jimi Hendrix’s “Purple Haze.” Hendrix did many exceptional things in the 1960s, including transforming Bob Dylan’s “All Along the Watchtower” and giving the decade, perhaps, its heaviest anthem in “Manic Depression.” But “Purple Haze” remains his quintessential track both for its influence and thunderous nature. Hendrix’s guitar sounds like it could annihilate anything in its path, while his amped-up version of the blues would set a new standard for any music that was hard or heavy. There’s a reason why Hendrix singing “Excuse me while I kiss the sky” is so awesome. Because only gods can do that.

11. Bob Dylan - “Like a Rolling Stone” (1965)

The opening snare drum kick at the start of “Like a Rolling Stone” marks the start of something special. Prior to the song’s release and the famous 1965 Newport Folk Festival, Dylan was a folk music star. Heck, he was the folk music star who few could ever imagine dabbling in a fad like rock and roll. But “Like a Rolling Stone” changed everyone’s mind. Its heavier rock sound came out of necessity. Dylan wasn’t a fan of early sessions that gave the song a softer feel. But it all came together when Dylan and Mike Bloomfield’s guitar work was paired with Al Kooper’s improvised Hammond B2 organ riff. The stirring instrumentation combined with Dylan’s voice was unlike anything the world had heard, helping validate rock and roll and kickstart its greatest artistic period.

10. Michael Jackson - “Billie Jean” (1982)

Pop songs and, more specifically, No. 1 hits can be judged by what came before “Billie Jean” and what came after. The second single from Michael Jackson’s blockbuster album “Thriller” was all about conquering the music industry. Jackson had done the child star thing. He’d redefined disco on “Off the Wall.” The only thing left was world domination. And Jackson knew his mix of post-disco, R&B, funk and dance-pop would be a hit with its slick groove and captivating hook. Just how big? Well, few could have anticipated that. “Billie Jean” put Jackson on the path to becoming the biggest pop star of all time and upped the ante for any musician wanting to claim supremacy thereafter.

9. Chuck Berry - “Johnny B. Goode” (1958)

Rock & Roll had already been established by 1958. Yet, no one had fully established the blueprint for rock and roll’s modern sound, taking everything that came before and packaging it into something people would follow for decades on end. Enter Chuck Berry’s “Johnny B. Goode,” a song that wasn’t completely original in structure. The opening single-note solo ripped off guitarist Carl Hogan’s work on Louis Jordan’s “Ain’t That Just Like a Woman” which came out in 1946. But Berry certainly took it to the next level in both loudness and quality. All these years later – even with the arrival of Jimi Hendrix, Eric Clapton, Jimmy Page, Jeff Beck and so many others – nothing has ever proven quite so earth-shattering, catchy and fun. Keith Richards once said he stole everything he ever did from Berry. Him and everyone else.

8. Fleetwood Mac - “Dreams” (1977)

Everyone who has ever listened to Fleetwood Mac’s “Rumours” has a favorite track. What makes “Dreams” the best of the bunch is that it’s the song people who don’t listen to “Rumours” can fall in love with. From the opening drum roll to Stevie Nicks’ lyrics, “Dreams” feels both comfortable and unsettling. It’s one of Fleetwood Mac’s simplest songs and an ultimate showcase for Nicks’ voice and impeccable songwriting. For all the drama the members of Fleetwood Mac were going through during the making of “Rumours,” it was Nicks delivering the lyrics “Thunder only happens when it’s raining...” that became the most affecting. Who doesn’t hate to love, or love to hate a stormy day?

7. The Rolling Stones - “Gimme Shelter” (1969)

With “Gimme Shelter,” Mick Jagger and Keith Richards wanted to write an apocalyptic masterpiece. To say they achieved that is obvious. But it’s also interesting how the song plays out. Richards’ calming guitar riffs open the track that slow-plays its cataclysmic feel. Jagger’s voice morphs into a force of nature. But even Jagger takes a backseat to Merry Clayton’s guest vocal part. The lyrics “Rape, murder/It’s just a shot away...” is enough to shake you. But the way she sings them gives you chills every time. “Gimme Shelter” is beautiful and haunting at the same time, all the while being the coolest thing you’ve ever listened to in your life.

6. Prince - “Purple Rain” (1984)

Prince’s artistry included elements of R&B, soul, gospel, pop, rock and even country music. What makes “Purple Rain” his quintessential song is that it has it all. Despite being a ballad, everything about “Purple Rain” feels exaggerated. Much of that has to do with the fact that Prince recorded it live, giving it an energy few pop songs can equal. There’s also Prince’s ability to keep raising the bar for just how his voice and guitar can go. Prince has said “Purple Rain” is about blood in the sky and being with your lover as the world is about to end. Fittingly, the closing of “Purple Rain” is as goosebump educing as any pop song in history. It would be a heck of a way for the world to end.

5. The Beach Boys - “Good Vibrations” (1966)

As much as “Pet Sounds” and The Beatles’ “Revolver” turned the recording studio into a scientific lab, “Good Vibrations” took it to the next level, pushing the boundaries of experimentation and progressive pop. What’s most impressive about The Beach Boys’ groundbreaking song is that it somehow all sounds easily put together. Despite not making the cut for “Pet Sounds,” “Good Vibrations” proved to be the most complex and expensive single ever created up until that point, and it took its toll. Brian Wilson would never be the same again after The Beach Boys’ peak creative stretch and countless hours in the studio. But hey, no one said creating life-altering art would be easy.

4. Nina Simone - “Sinnerman” (1968)

“Sinnerman” is a very old Black spiritual song whose recording history dates back to the 1950s and carries a tremendous amount of emotional weight. Perhaps only Nina Simone could take its power to the next level. “Sinnerman” is about the arrival of judgment day. What makes Simone’s version so stunning is just how urgent and distressed it feels. The instrumentation is nothing short of thrilling with haunting handclaps and Simone’s piano playing as highlights. Yet, it’s the turmoil booming from her voice that gives you chills. Simone’s version of “Sinnerman” features one of the great arrangements of any song in history, as well as one of the most emotive vocal performances (especially the mind-blowing end part) ever delivered.

3. The Beatles - “Tomorrow Never Knows” (1966)

It seems like every musical fad since the 1960s (Yes, even hip hop) can, in some way, be traced back to The Beatles. “Tomorrow Never Knows” has been called the first example of psychedelic rock. It also influenced the future developments of electronic music, avant-pop, kraut, raga and acid rock. To put that into perspective, everything from The Doors’ “The End” and Jefferson Airplane’s “White Rabbit” to Kraftwerk’s “Trans-Europe-Express” and The Chemical Brothers’ “Block Rockin’ Beats” owes “Tomorrow Never Knows” a debt of gratitude. It marks the moment The Beatles stopped being obsessed with what they could do with a pop song and started changing the idea of what a pop song truly was.

2. Joni Mitchell - “A Case of You” (1971)

There probably hasn’t ever been a singer-songwriter more honest and unfiltered than Joni Mitchell on “Blue.” And the song that has hooked people more than any other for 50 years is “A Case of You,” the greatest love song ever written. It opens with a reveal about a relationship: “Just before our love got lost...” This isn’t a fairytale. By the time Mitchell is finished singing, “Oh, you’re in my blood like holy wine...” for the first time, you’re a complete wreck. Love is never perfect. The good and the bad that come with the relationship is what “A Case of You” is all about. And it is truly a songwriter’s song, as proven by the diverse range of covers that exist.

1. David Bowie - “Life on Mars?” (1973)

“Life on Mars?” wasn’t released as a single until nearly two years after it was recorded and a year and a half after first appearing on “Hunky Dory.” But you can’t blame RCA Records for being late to the party. Bowie’s music took art-pop to strange new heights. “Life on Mars?” had to sound like the most bewildering thing in the world at that point. Which was, of course, its main appeal. It’s a track put together perfectly with all the right players, including Mark Ronson on guitar and Rick Wakeman on piano. And Bowie is at his weirdest and most relatable, singing about the escapism while becoming an engaging voice for angst and disenfranchisem*nt. “Life on Mars?” wouldn’t be the last time Bowie redefined pop music. But it was the landmark moment he laid the groundwork for becoming a voice for multiple generations.