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The 500 Greatest Songs of All Time

For the first time in 17 years, we’ve completely remade our list of the best songs ever. More than 250 artists, writers, and industry figures helped us choose a brand-new list full of historic favourites, world-changing anthems, and new classics

Photo Illustration by Sean McCabe. Photographs used within illustration by Jack Robinson/Hulton Archive/Getty Images; Michael Ochs Archives/Getty Images, 3; Paul Natkin/WireImage; Val Wilmer/Redferns/Getty Images; Theo Wargo/Getty Images; Jack Mitchell/Getty Images; C Flanigan/Getty Images; Scott Dudelson/Getty Images; Gie Knaeps/Getty Images; Emma McIntyre/Getty Images; Steven Nunez; STILLZ

In 2004, Rolling Stone published its list of the 500 Greatest Songs of All Time. It’s one of the most widely read stories in our history, viewed hundreds of millions of times on this site. But a lot has changed since 2004; back then the iPod was relatively new, and Billie Eilish was three years old. So we’ve decided to give the list a total reboot. To create the new version of the RS 500 we convened a poll of more than 250 artists, musicians, and producers — from Angelique Kidjo to Zedd, Sam Smith to Megan Thee Stallion, M. Ward to Bill Ward — as well as figures from the music industry and leading critics and journalists. They each sent in a ranked list of their top 50 songs, and we tabulated the results.

How We Made the List and Who Voted

Nearly 4,000 songs received votes. Where the 2004 version of the list was dominated by early rock and soul, the new edition contains more hip-hop, modern country, indie rock, Latin pop, reggae, and R&B. More than half the songs here — 254 in all — weren’t present on the old list, including a third of the Top 100. The result is a more expansive, inclusive vision of pop, music that keeps rewriting its history with every beat.

From Rolling Stone US

10

Outkast, ‘Hey Ya!’

About as radical as fun can get, “Hey Ya!” is funk, pop, rap, and rock spun into something otherworldly yet immediately lovable via Outkast’s one of a kind Stankonian vision. André 3000 began writing the song on acoustic guitar, bashing out some chords that he wanted to sound like the Smiths and the Buzzcocks. “He had the bulk of it already conceptualized in his head,” said recording engineer John Frye. “It all happened quite fast. We recorded the skeleton part, with the intro and the first verse and hook, all in one night.”The song would end up going through numerous permutations; one key assist came from former Cameo member Kevin Kendricks, who laid down the synth part and bass. At one point it was called “Thank God for Mom and Dad,” a title that makes plain its complicated lyrics about the challenges of keeping a romantic relationship afloat.On Twitter, in 2021, Outkast even called it “the saddest song ever written.” In 2003, however, most of that was lost on a world that simply wanted to dance, party, and shake it like a Polaroid picture. “Hey Ya!” was the most universal pop smash of the early 2000s, the first song to be downloaded 1 million times on iTunes.

9

Fleetwood Mac, ‘Dreams’

In the face of a lover telling her to go her own way, Stevie Nicks penned the ethereal “Dreams.” During the Rumours sessions in Sausalito, California, Nicks spent an off day in another room of the Record Plant that was supposedly used by Sly and the Family Stone. “It was a black-and-red room, with a sunken pit in the middle where there was a piano, and a big black-velvet bed with Victorian drapes,” she told Blender.There she reflected on the thunder and rain of her relationship with Lindsey Buckingham, whose guitar parts slice through the song’s mystical beat. “I sat down on the bed with my keyboard in front of me, found a drum pattern, switched my little cassette player on, and wrote ‘Dreams’ in about 10 minutes,” she continued. “Right away I liked the fact that I was doing something with a dance beat, because that made it a little unusual for me.”The second single on Fleetwood Mac’s blockbuster album Rumours, “Dreams” would become the band’s only U.S. chart topper, and it would continue to enchant new generations — and even return to the charts — for decades to come.

8

Missy Elliott, ‘Get Ur Freak On’

“Oh yeah, man, we was on some futuristic stuff for sure,” Missy Elliott told Rolling Stone in 2020, on her musical chemistry with Timbaland. “It was something hypnotic about those records.” Missy and Tim took over the radio in the late Nineties, just two kids out of Portsmouth, Virginia, blowing minds with their own unique space-funk sound.She didn’t obey any of the rules for female stars at the time. And her music didn’t obey rules either — nobody could duplicate the Missy-Tim mojo. “Get Ur Freak On” is the peak of their long-running collaboration — a massively weird avant-garde experiment that also blew up into a global pop hit. Even by their standards, “Get Ur Freak On” was a crazed challenge to the audience, with Missy yelling “Hollaaaa!” over a warped bhangra loop. As she once recalled, “I was like, ‘Tim, you sure this isn’t too far left that people won’t get it? It sounds like some Japanese stuff mixed with a hip-hop beat.’”But everybody who heard it was hooked — the whole world wanted to holla along with Miss E. “Get Ur Freak On” remains an anthem for freaks everywhere. And even after 20 years, it still sounds like the future.

7

The Beatles, ‘Strawberry Fields Forever’

John Lennon was one of the world’s most visible people in 1966 — but he wrote his most exquisitely lonely song with “Strawberry Fields Forever.” It opened up a whole new psychedelic era for the Beatles, changing the way pop music was heard and made.But it began with Lennon alone on a Spanish beach, with an acoustic guitar, writing a song about his painful childhood memories. Strawberry Field was the name of a Liverpool orphanage where he used to play — and hide from the world — as a boy. “I have visions of Strawberry Fields,” he told Rolling Stone in 1968. “Because Strawberry Fields is anywhere you want to go.” Lennon bared himself so vulnerably in this song that he was nervous about playing it for the other Beatles. There was a moment of silence — until Paul McCartney said, “That is absolutely brilliant.” They turned it into a groundbreaking sonic collage, thanks to George Martin’s studio wizardry.It was the first song cut at the Sgt. Pepper sessions, though it got left off the album so it could come out as a February 1967 single, with McCartney’s “Penny Lane” on the flip side. “Strawberry Fields” is a song full of raw pain — yet the Beatles made it feel like an irresistible invitation.

6

Marvin Gaye, ‘What’s Going On’

“What’s Going On” is an exquisite plea for peace on Earth, sung by a man at the height of crisis. In 1970, Marvin Gaye was Motown’s top male vocal star, yet he was frustrated by the assembly-line role he played on his own hits. Devastated by the loss of duet partner Tammi Terrell, who died that March after a three-year battle with a brain tumor, Gaye was also trapped in a turbulent marriage to Anna Gordy, Motown boss Berry Gordy’s sister. Gaye was tormented, too, by his relationship with his puritanical father, Marvin Sr.“If I was arguing for peace,” Gaye told biographer David Ritz, “I knew I’d have to find peace in my heart.” Not long after Terrell’s passing, Renaldo Benson of the Four Tops presented Gaye with a song he had written with Motown staffer Al Cleveland. But Gaye made the song his own, overseeing the arrangement and investing the topical references to war and racial strife with private anguish. Motown session crew the Funk Brothers cut the stunning, jazz-inflected rhythm track (Gaye joined in with cardboard-box percussion). Then Gaye invoked his own family in moving prayer: singing to his younger brother Frankie, a Vietnam veteran (“Brother, brother, brother/There’s far too many of you dying”), and appealing for calm closer to home (“Father, father, father/We don’t need to escalate”).Initially rejected as uncommercial, “What’s Going On” (with background vocals by two players from the Detroit Lions) was Gaye’s finest studio achievement, a timeless gift of healing.

5

Nirvana, ‘Smells Like Teen Spirit’

Producer Butch Vig first heard “Smells Like Teen Spirit” in early 1991, on a boombox cassette recorded by bassist Krist Novoselic, drummer Dave Grohl, and singer-guitarist-songwriter Kurt Cobain in a barn in Tacoma, Washington. The fidelity was abysmal. Vig — about to work with Nirvana on their major-label debut, Nevermind — could not tell that the song would soon make underground Seattle rock the new mainstream and catapult Cobain, a troubled young man with strict indie-culture ethics, into mega-celebrity.“I could sort of hear the ‘Hello, hello’ part and the chords,” Vig said years later. “But it was so indecipherable that I had no idea what to expect.” “Teen Spirit” was Cobain’s attempt to “write the ultimate pop song,” he said, using the soft-loud dynamic of his favorite band, the Pixies. The insidious hooks also showed his admiration for John Lennon. Cobain “had that dichotomy of punk rage and alienation,” Vig said, “but also this vulnerable pop sensibility. In ‘Teen Spirit,’ a lot of that vulnerability is in the tone of his voice.”Sadly, by the time of Nirvana’s last U.S. tour, in late 1993, Cobain was tortured by the obligation to play “Teen Spirit” every night. “There are many other songs that I have written that are as good, if not better,” he claimed. But few songs by any artist have reshaped rock and roll so immediately, and permanently.

4

Bob Dylan, ‘Like a Rolling Stone’

“I wrote it. I didn’t fail. It was straight,” Bob Dylan said of his greatest song shortly after he recorded it in June 1965. There is no better description of “Like a Rolling Stone” — of its revolutionary design and execution — or of the young man, just turned 24, who created it.Dylan began writing an extended piece of verse — 20 pages long by one account, six in another — that was, he said, “just a rhythm thing on paper all about my steady hatred, directed at some point that was honest.” Back home in Woodstock, New York, over three days in early June, Dylan sharpened the sprawl down to that confrontational chorus and four taut verses bursting with piercing metaphor and concise truth.Before going into Columbia Records’ New York studios to cut it, Dylan summoned Mike Bloomfield, the guitarist in the Paul Butterfield Blues Band, to Woodstock to learn the song. “He said, ‘I don’t want you to play any of that B.B. King shit, none of that fucking blues,’” recalled Bloomfield (who died in 1981). “‘I want you to play something else.’”Just as Dylan bent folk music’s roots and forms to his own will, he transformed popular song with the content and ambition of “Like a Rolling Stone.” And in his electrifying vocal performance, his best on record, Dylan proved that everything he did was, first and always, rock & roll. “‘Rolling Stone’ is the best song I wrote,” he said flatly at the end of 1965. It still is.

3

Sam Cooke, ‘A Change Is Gonna Come’

In 1963, Sam Cooke — America’s first great soul singer and one of the most successful pop acts in the nation, with 18 Top 30 hits since 1957 — heard a song that profoundly inspired and disturbed him: Bob Dylan’s “Blowin’ in the Wind.” What struck Cooke was the challenge implicit in Dylan’s anthem. “Jeez,” Cooke mused, “a white boy writing a song like that?”Cooke’s response, “A Change Is Gonna Come,” recorded on January 30th, 1964, with a sumptuous orchestral arrangement by Rene Hall, was more personal — in its first-person language and the experiences that preceded its creation. On October 8th, 1963, while on tour, Cooke and members of his entourage were arrested in Shreveport, Louisiana, for disturbing the peace after they tried to register at a white motel — an incident reflected in the song’s third verse. And Cooke’s mourning for his 18-month-old son, Vincent, who drowned that June, resonates in the last verse: “There have been times that I thought/I couldn’t last for long.”On December 11th, 1964, almost a year after he recorded it, Cooke was fatally shot at an L.A. motel. Two weeks later, “A Change Is Gonna Come” was released, becoming Cooke’s farewell address and an anthem of the civil rights movement.

2

Public Enemy, ‘Fight the Power’

Chuck D once likened “Fight the Power” to Pete Seeger singing “We Shall Overcome.” “‘Fight the Power,’” he said, “points to the legacy of the strengths of standing up in music.” Filmmaker Spike Lee had originally asked Public Enemy to write an anthem for Do the Right Thing — a movie about confronting white supremacy — so Chuck and the group’s producers, the Bomb Squad, took inspiration from the Isley Brothers’ funky “Fight the Power” and used the title as a blueprint for a whole new war cry.In just under five minutes of scuzzy breakbeats and clarion-call horn samples, Chuck D and his foil, Flavor Flav, present a manifesto for racial revolution and Black pride with koans like “Our freedom of speech is freedom of death,” and rallying cries to rethink the basics of American life itself in lines like “Most of my heroes don’t appear on no stamps.” The song was exactly what Lee’s movie needed, so it was played over and over again, anytime the character Radio Raheem showed up with his boombox, making it an instant classic.“I think it was Public Enemy’s and Spike Lee’s defining moment because it had awoken the Black community to a revolution that was akin to the Sixties revolution, where you had Martin Luther King or Malcolm X,” the Bomb Squad’s Hank Shocklee once said. “It made the entire hip-hop community recognize its power. Then the real revolution began.”

1

Aretha Franklin, ‘Respect’

When Aretha Franklin left Columbia Records for Atlantic in 1966, the label’s vice president, Jerry Wexler, came to the singer with some suggestions for songs she might cover, like Sam Cooke’s “A Change Is Gonna Come” and Ray Charles’ “Drown in My Own Tears.” She liked those ideas, but she had one of her own: “Respect,” a song she’d been performing live. “Long as she changes it up,” Wexler told Franklin’s manager Ted White in an exchange recounted by Franklin’s biographer David Ritz. “You don’t gotta worry about that,” White responded. “She changes it up all right.”Otis Redding wrote “Respect” and recorded it for the Stax/Volt label in 1965. But Franklin took possession of the song for all time with her definitive cover, cut at Atlantic’s New York studio on Valentine’s Day 1967. “Respect” was her first Number One hit and the single that established her as the Queen of Soul.In Redding’s reading, a brawny march, he called for equal favor with volcanic force. Franklin wasn’t asking for anything. She sang from higher ground: a woman calling for an end to the exhaustion and sacrifice of a raw deal with scorching sexual authority. In short: If you want some, you will earn it. “For Otis, ‘respect’ had the traditional connotation, the more abstract meaning of esteem,” Wexler said in his autobiography, Rhythm and the Blues: A Life in American Music. “The fervor in Aretha’s magnificent voice demanded that respect and more: Respect also involved sexual attention of the highest order. What else could ‘Sock it to me’ mean?”He was referring to the knockout sound of Franklin’s backup singers — her sisters, Carolyn and Erma — chanting “Sock it to me” at high speed, which Aretha and Carolyn cooked up for the session. The late Tom Dowd, who engineered the date, credited Carolyn with the saucy breakdown in which Aretha spelled out the title: “I fell off my chair when I heard that!” And since Redding’s version had no bridge, Wexler had the band — the legendary studio crew from Muscle Shoals, Alabama — play the chord changes from Sam and Dave’s “When Something Is Wrong With My Baby” under King Curtis’ tenor-sax solo.There is no mistaking the passion inside the discipline of Franklin’s delivery; she was surely drawing on her own tumultuous marriage at the time for inspiration. “If she didn’t live it,” Wexler said, “she couldn’t give it.” But, he added, “Aretha would never play the part of the scorned woman.… Her middle name was Respect.”Leading off her Atlantic debut, I Never Loved a Man the Way I Love You, “Respect” catalyzed rock & roll, gospel, and blues to create the model for soul music that artists still look to today (Mariah Carey called Franklin “my mentor”). Just as important, the song’s unapologetic demands resonated powerfully with the civil rights movement and emergent feminist revolution, fitting for an artist who donated to the Black Panther Party and sang at the funeral of Martin Luther King Jr. In her 1999 memoir, Franklin wrote that the song reflected “the need of the average man and woman in the street, the businessman, the mother, the fireman, the teacher — everyone wanted respect.” We still do.