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500 Greatest Songs of All Time

Rolling Stone’s definitive list of the 500 greatest songs of all time.

By Jay-Z

A great song doesn’t attempt to be anything — it just is.

When you hear a great song, you can think of where you were when you first heard it, the sounds, the smells. It takes the emotions of a moment and holds it for years to come. It transcends time. A great song has all the key elements — melody; emotion; a strong statement that becomes part of the lexicon; and great production. Think of “Bohemian Rhapsody,” by Queen. That song had everything — different melodies, opera, R&B, rock — and it explored all of those different genres in an authentic way, where it felt natural.

When I’m writing a song that I know is going to work, it’s a feeling of euphoria. It’s how a basketball player must feel when he starts hitting every shot, when you’re in that zone. As soon as you start, you get that magic feeling, an extra feeling. Songs like that come out in five minutes; if I work on them more than, say, 20 minutes, they’re probably not going to work.

Read Jay-Z’s full essay here.

78

James Brown, ‘I Got You (I Feel Good)’

Writer: Brown
Producer: Brown
Released: Nov. '65, King
12 weeks; No. 3

The same year he hit with "Papa's Got a Brand New Bag," Soul Brother Number One scored his biggest pop success with "I Got You." It was a sped-up, hyped-up new version of a song called "I Found You" that Brown had written a few years previous for one of his early proteges, James Brown Revue singer Yvonne Fair. "I Got You" received some help on the pop charts from a most unlikely source; a few months before the single was released, Brown performed the song in the Frankie Avalon teen flick Ski Party.

Appears on: James Brown 50th Anniversary Collection (UTV/Polydor) 

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James Brown, 1933-2006

77

Elvis Presley, ‘Mystery Train’

Writer: Junior Parker, Sam Phillips
Producer: Phillips
Released: Sept. '55, Sun
Did not chart

"Mystery Train" is one of Presley's most haunting songs, a stark blues number that sounds ancient but was actually first cut only two years before by Memphis blues singer Junior Parker. Presley recorded it with the groove from the flip side of the same Parker single, "Love My Baby," and Sun producer Phillips' taut, rubbery echo effect made guitarist Scotty Moore's every note sound doubled. Presley added a final verse — "Train . . . took my baby, but it never will again" — capped by a celebratory falsetto whoop that transformed a pastoral about death into a song about the power to overcome it.

Appears on: Sunrise (RCA) 

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76

The Beatles, ‘Strawberry Fields Forever’

Writers: John Lennon, Paul McCartney
Producer: George Martin
Released: Feb. '67, Capitol
9 weeks; No. 8

Lennon often considered "Strawberry Fields Forever" his greatest accomplishment with the Beatles. The song, a surreal kaleidoscope of sound, was the first track recorded for Sgt. Pepper's Lonely Hearts Club Band (although it was released as a single instead). The lyrics are a nostalgic look at Lennon's Liverpool childhood and an expression of his own pride. Said Lennon, "The second line goes, 'No one I think is in my tree.' Well, what I was trying to say in that line is, 'Nobody seems to be as hip as me, therefore I must be crazy or a genius.'"

Appears on: Magical Mystery Tour (Capitol)  

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75

Led Zeppelin, ‘Whole Lotta Love’

Writers: Willie Dixon, Led Zeppelin
Producer: Jimmy Page
Released: Oct. '69, Atlantic
15 weeks; No. 4

The members of Led Zeppelin first got their sound together by jamming on blues standards, stretching them out into psychedelic orgies. "Whole Lotta Love" was a tribute to Chicago blues songwriter Willie Dixon, based on his "You Need Love," a Muddy Waters single from 1962 (though Robert Plant also threw in quotes from songs Dixon wrote for Howlin' Wolf). The copyright issues weren't sorted out until 1985, when Dixon brought legal action and got his rightful share of the credit for "Whole Lotta Love." "Page's riff was Page's riff," Plant said. "I just thought, 'Well, what am I going to sing?' That was it, a nick. Now happily paid for." Said Page, "Usually my riffs are pretty damn original. What can I say?"

Appears on: Led Zeppelin II (Atlantic) 

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74

Eddie Cochran, ‘Summertime Blues’

Writers: Cochran, Jerry Capehart
Producer: Capehart
Released: July '58, Liberty
16 weeks; No. 8

Cochran's label tried molding him into a crooning teen idol, but he made his mark with a string of rockabilly ravers written with partner Capehart. Explaining the inspiration for this classic, Capehart said, "There had been a lot of songs about summer, but none about the hardships of summer." With that idea and a guitar lick from Cochran, they knocked out the song in 45 minutes.

Appears on: Somethin' Else (Razor and Tie) 

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73

Stevie Wonder, ‘Superstition’

Writer: Wonder
Producers: Wonder, Malcolm Cecil, Robert Margouleff
Released: Nov. '72, Tamla
16 weeks; No. 1

Wonder debuted this hard blast of funk live while opening for the Rolling Stones in the summer of 1972, intent on expanding his audience. The 22-year-old former child star had written it at the drum set, humming the other parts to himself. Wonder had initially intended for Jeff Beck to record the song, but Berry Gordy wouldn't let him give it away. It became the first single from Talking Book — and Wonder's first Number One hit in nearly a decade.

Appears on: Talking Book (Motown)

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72

The Beach Boys, ‘California Girls’

Writers: Brian Wilson, Mike Love
Producer: Wilson
Released: July '65, Capitol
11 weeks; No. 3

The first time Wilson took acid, he sat at the piano and wrote the brooding, beautiful opening bars to "California Girls." It was a breakthrough moment, Wilson has said, that led him to begin creating more complex, emotional music. The lyrics, written by Love, were inspired by Wilson's assertion that "everybody loves girls." And despite the teen-fantasy theme, the singing is tougher than earlier Beach Boys hits, with tightly wound harmonies and an aggressive lead vocal. "I taught Mike to sing with attitude," said Wilson. "I was trying to create a new Beach Boys sound."

Appears on: Sounds of Summer: The Very Best of the Beach Boys (Capitol)

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71

James Brown, ‘Papa’s Got A Brand New Bag’

Writer: Brown
Producer: Brown
Released: July '66, King

13 weeks; No. 8

In mid-1965, Brown was locked in a contract struggle with King Records, but when he learned King was nearly bankrupt, he threw the label a bone: a song he'd recorded a few months earlier, yelling, "This is a hit!" as the tape rolled. Arguably the first funk record, it's driven by the empty space between beats as much as by Brown's bellow and guitarist Jimmy Nolen's ice-chipper scratch. In a stroke of postproduction genius (you can hear the original recording on the Grammy-winning Star Time box set), Brown sliced off the intro to have the song start with a face-smashing horn blast, and sped it up just enough so it sounded like an urgent bulletin from the future.

Appears on: 50th Anniversary Collection (UTV/Polydor) 

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70

Dionne Warwick, ‘Walk On By’

Writers: Burt Bacharach, Hal David
Producers: Bacharach, David
Released: April '64, Scepter
13 weeks, No. 6

Early in her career, Warwick was a back-up singer who also cut demos for Brill Building songwriters Bacharach and David. This forlorn classic solidified her stardom, capping a series of singles in which she played the pleading lover. A downcast ballad set to a bossa nova beat, it was originally relegated to the B side of "Any Old Time of the Day," until New York DJ Murray the K asked listeners to vote on the single's two sides. The winning cut scaled the charts during the heady exuberance of Beatlemania, which provided an unwitting foil for the understated perseverance of "Walk On By." "I didn't get the guy very often in those days," Warwick said.

Appears on: The Dionne Warwick Collection: Her All-Time Greatest Hits 

69

Roy Orbison, ‘Crying’

Writers: Joe Melson, Orbison
Producer: Fred Foster
Released: Aug. '61, Monument
16 weeks; No. 2

Orbison said he wrote this lush, dreamy ballad after an encounter with an old flame: "Whether I was physically crying or just crying inside is the same thing." His near-operatic performance culminated in a high, wailing note, which Orbison never lost the capacity to hit until his death in 1988. "He sounded like he was singing from an Olympian mountaintop and he meant business," Bob Dylan wrote in Chronicles. "He was now singing his compositions in three or four octaves that made you want to drive your car over a cliff. He sang like a professional criminal."

Appears on: For the Lonely: 18 Greatest Hits (Rhino)

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68

Bob Dylan, ‘Tangled Up in Blue’

Writer: Dylan
Producer: Dylan
Released: Jan. '75, Columbia
7 weeks, No. 31

When Dylan introduced "Tangled Up in Blue" onstage in 1978, he described it as a song that took him "10 years to live and two years to write." It's still one of his most frequently performed live staples. It was the six-minute opener from Blood on the Tracks, written as his first marriage was falling apart. Dylan takes inspiration from classic country singers like Hank Williams and Lefty Frizzell, in a tale of a drifting heart on the road through the Sixties and Seventies. Dylan kept revising the song heavily through the years; on his 1984 Real Live, he plays with the chords and lyrics to tell a whole new story.

Appears on: Blood on the Tracks (Columbia) 

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67

Elvis Presley, ‘Jailhouse Rock’

Writers: Jerry Leiber, Mike Stoller
Producer: Steve Sholes
Released: Oct. '57, RCA 
27 weeks, No. 1

Songwriters Leiber and Stoller had already penned a couple of Presley hits — most notably "Hound Dog," picked up from blues belter Big Mama Thornton — but the theme song for Presley's third movie was the duo's first studio collaboration with the young superstar. "Jailhouse Rock" was decidedly silly, the kind of tongue-in-cheek narrative goof they had been coming up with for the Coasters. The King, however, sang it as straight rock & roll, overlooking the humor in the lyrics (like the suggestion of gay romance when inmate Number 47 tells Number 3, "You're the cutest jailbird I ever did see") and introducing Scotty Moore's guitar solo with a cry so intense that the take almost collapses.

Appears on: Elvis 30 #1 Hits (RCA) 

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66

Bob Marley and the Wailers, ‘Redemption Song’

Writer: Marley
Producer: Chris Blackwell
Released: June '80, Island
Did not chart

Marley had already recorded a version of this freedom hymn with his band when Island Records' chief Blackwell suggested he try it as an acoustic-style folk tune. Inspired by the writings of Marcus Garvey, Marley's lyrics offer up music as an antidote to slavery, both mental and physical. "I would love to do more like that," Marley said a few months before his death, from cancer, at age 36 in 1981. As the final track on his final album, "Redemption Song" stands as his epitaph.

Appears on: Uprising (Island) 

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65

Cream, ‘Sunshine of Your Love’

Writers: Jack Bruce, Pete Brown, Eric Clapton
Producer: Felix Pappalardi
Released: Jan. '68, Atco
26 weeks; No. 5 

Bassist Bruce and lyricist-poet Brown came up with "Sunshine" toward the end of an all-night session, which inspired the opening line: "It's getting near dawn/When lights close their tired eyes." The killer riff was inspired by Jimi Hendrix and based on a bass ostinato from Bruce; Clapton added the chorus hook, and drummer Ginger Baker laid down a mammoth, tom-tom-heavy beat. Bruce knew "Sunshine" would do well, but Atlantic Records nearly rejected it until some of the label's biggest acts started championing the record. "Both Booker T. Jones and Otis Redding heard it and told me it was going to be a smash," he recalled.

Appears on: Disraeli Gears (Polydor) 

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64

The Beatles, ‘She Loves You’

Writers: John Lennon, Paul McCartney 
Producer: George Martin 
Released: Sept. '63, Swan 
15 weeks; No. 1

Lennon and McCartney began writing this song on a tour van, and George Harrison dreamed up the harmonies, which Martin found "corny." The band overruled Martin on the harmonies, but they took his suggestion to kick off the song with the jubilant chorus. When McCartney's father heard the song, he said, "Son, there are enough Americanisms around. Couldn't you sing, 'Yes, yes, yes,' just for once?" McCartney said, "You don't understand, Dad. It wouldn't work."

Appears on: The Beatles 1 (Capitol/Apple) 

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63

Buffalo Springfield, ‘For What It’s Worth’

Writer: Stephen Stills
Producers: Charles Greene, Brian Stone
Released: Feb. '67, Atco
15 weeks, No. 7

As police and teens clashed on L.A.'s Sunset Strip, Neil Young's guitar tolled like a funeral bell; the Summer of Love was unraveling before it even began. "It turned out to be indicative of what was about to happen," said Stills.

Appears on: Buffalo Springfield (Elektra) 

62

Bo Diddley, ‘Bo Diddley’

Writer: Ellas McDaniel
Producers: Phil and Leonard Chess
Released: June '55, Checker 
Did not chart

Didley's first single went to Number One on the R&B charts and immortalized the bedrock beat that would power everything from Buddy Holly's "Not Fade Away" to the Smiths' "How Soon Is Now." The song originated as a sexually suggestive ditty titled "Uncle John," but the Chess brothers asked Diddley to clean up its lyrics and give it a more memorable title to match its otherworldly sound. Diddley, who studied violin as a child and built his own instruments, wrote songs that were deceptively simple, driven by interplay between the bass, drums and his tremolo guitar. But you can't copyright a beat, and Diddley never reaped the rewards for his greatest innovation.

Appears on: His Best: The Chess 50th Anniversary Collection (Chess) 

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61

Jerry Lee Lewis, ‘Whole Lotta Shakin’ Going On’

Writers: Dave Williams, Roy Hall
Producer: Jack Clement
Released: June '57, Sun
29 weeks; No. 3

When Lewis decided to record what would be his breakthrough hit, it had already been cut four times and gone nowhere. Lewis filled it with frantic piano and filthy instructions ("All you got to do, honey, is kinda stand in one spot/Wiggle around just a little bit"). But what really made "Whole Lotta Shakin' Going On" work was producer Cowboy Jack Clement's decision to turn the session over to the manic energy of Lewis' live shows. "I just simply turned on the machine, mixed it on the fly," he said. After Lewis played a fiery version of "Shakin'" on Steve Allen's TV show, the song went on to sell more than 6 million copies.

Appears on: Original Sun Greatest Hits (Rhino) 

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60

Al Green, ‘Let’s Stay Together’

Writers: Al Green, Al Jackson Jr., Willie Mitchell
Producer: Mitchell
Released: Dec. '71, Hi
16 weeks; No. 1

After Mitchell gave Green a rough mix of a tune he and drummer Jackson had worked out, Green wrote the lyrics in five minutes. Still, Green didn't want to record the song and fought with Mitchell for two days before finally agreeing to cut it. The recording was finished late on a Friday night in the fall of 1971; Mitchell pressed the single on Monday, and by Thursday Green was told that "Let's Stay Together" would be entering the charts at Number Eight. Within two weeks, it had reached Number One on the R&B charts, and in February 1972, the warm, buoyant love song gave Green his only Number One pop hit.

Appears on: Let's Stay Together (The Right Stuff)

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59

Bob Dylan, ‘The Times They Are A-Changin’

Writer: Dylan
Producer: Bob Johnston
Released: Jan. '64, Columbia
Did not chart 

"I wanted to write a big song, some kind of theme song, with short, concise verses that piled up on each other in a hypnotic way," said Dylan. "This is definitely a song with a purpose." Inspired by Scottish and Irish folk ballads and released less than two months after the assassination of John F. Kennedy, "The Times They Are A-Changin'" became an immediate Sixties anthem and was covered by artists ranging from the Byrds to Cher to Eddie Vedder. Said Dylan, "I knew exactly what I wanted to say and who I wanted to say it to."

Appears on: The Times They Are A-Changin' (Columbia)

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58

Michael Jackson, ‘Billie Jean’

Writer: Jackson
Producers: Jackson, Quincy Jones
Released: Jan. '83, Epic
7 weeks; No. 1

Sinuous, paranoid and omnipresent: The single that made Jackson the biggest star since Elvis was a denial of a paternity suit, and it spent seven weeks at Number One on the pop charts. Jackson came up with the irresistible rhythm track on his home drum machine and he nailed the vocals in one take. "I knew the song was going to be big," Jackson said. "I was really absorbed in writing it." How absorbed? Jackson said he was thinking about "Billie Jean" while riding in his Rolls-Royce down the Ventura Freeway in California — and didn't notice the car was on fire.

Appears on: Thriller (Sony)

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57

Procol Harum, ‘Whiter Shade of Pale’

Writers: Keith Reid, Gary Brooker
Producer: Denny Cordell
Released: June '67, A&M
12 weeks; No. 5

A somber hymn supported by an organ theme straight out of Bach ("Air on the G String," from the "Suite No. 3 in D Major"), Procol Harum's "Whiter Shade of Pale" was unlike anything else on the radio in 1967. Reid got the idea for the song when he overheard someone at a party tell a woman, "You've gone a whiter shade of pale." The track was also the only one recorded by the initial lineup of Procol Harum, which started as a British band, the Paramounts, in 1963. A worldwide smash that sold more than 6 million copies and quickly found its way into wedding ceremonies (and, later, the Big Chill soundtrack), "Pale" helped kick-start the classical-rock boomlet that gave the world the Moody Blues.

Appears on: Greatest Hits (A&M)

56

The Sex Pistols, ‘Anarchy in the U.K.’

Writers: Paul Cook, Steve Jones, Glen Matlock, Johnny Rotten
Producers: Chris Thomas, Bill Price
Released: Nov. '77, Warner Bros.
Non-single

This is what the beginning of a revolution sounds like: an explosion of punk-rock guitar noise and Johnny Rotten's evil cackle. The Sex Pistols set out to become a national scandal in the U.K., and they succeeded with their debut single. Jones made his guitar sound like a pub brawl, while Rotten snarled, spat and snickered, declaring himself an antichrist and ending the song by urging his fans, "Get pissed/Destroy!" EMI, the Sex Pistols' record label, pulled "Anarchy in the U.K." and dropped them, which just made them more notorious. "I don't understand it," Rotten said in 1977. "All we're trying to do is destroy everything."

Appears on: Never Mind the Bollocks, Here's the Sex Pistols (Warner Bros.) 

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55

Little Richard, ‘Long Tall Sally’

Writers: Robert "Bumps" Blackwell, Enotris Johnson, Little Richard
Producer: Blackwell
Released: March '56, Specialty
19 weeks; No. 6 

Half of a double-sided hit (the flip was "Slippin' and Slidin' [Peepin' and Hidin']"), "Long Tall Sally" was aimed squarely at pop singer Pat Boone. "The white radio stations wouldn't play Richard's version of 'Tutti-Frutti' and made Boone's cover Number One," recalled Blackwell. "So we decided to up the tempo on the follow-up and get the lyrics going so fast that Boone wouldn't be able to get his mouth together to do it!" "Long Tall Sally" proved to be Little Richard's biggest hit. Unfazed, Boone also recorded the song, taking it to Number Eight.

Appears on: The Georgia Peach (Specialty)

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54

The Kingsmen, ‘Louie Louie’

Writer: Richard Berry
Producer: Ken Chase
Released: June '63, Jerden
16 weeks; No. 2 

A blast of raw guitars and half-intelligible shouting recorded for $52, the Kingsmen's cover of Richard Berry's R&B song hit Number Two in 1963 — thanks in part to supposedly pornographic lyrics that drew the attention of the FBI. The Portland, Oregon, group accidentally rendered the decidedly noncontroversial lyrics (about a sailor trying to get home to see his lady) indecipherable by crowding around a single microphone. "I was yelling at a mike far away," singer Jack Ely told Rolling Stone. "I always thought the controversy was record-company hype."

Appears on: The Best of the Kingsmen (Rhino) 

53

Percy Sledge, ‘When a Man Loves a Woman’

Writers: Calvin Lewis, Andrew Wright
Producers: Marlin Greene, Quin Ivy
Released: March '66, Atlantic
13 weeks; No. 1 

Sledge was touring the South with an R&B combo called the Esquires when producer Ivy heard him belt out an intense, pleading ballad at the local Elks Club. Sledge had recently lost both his construction job and his girl, who'd taken off for L.A. to pursue a modeling career. "I didn't have any money to go after her, so there was nothing I could do to try and get her back," he later recalled. Ivy had the lyrics rewritten, and Sledge quit the Esquires to cut his first solo side, the immortal "When a Man Loves a Woman." When Atlantic's Jerry Wexler heard the song, he told partner Ahmet Ertegun, "Our billing for the summer is in the bag."

Appears on: It Tears Me Up: The Best of Percy Sledge (Rhino)

52

Prince, ‘When Doves Cry’

Writer: Prince
Producer: Prince
Released: June '84, Warner Bros.
21 weeks; No. 1 

The Purple Rain soundtrack album was completed, and so was the movie. But Prince just couldn't stop making music. And at the very last minute, he added a brand-new song: "When Doves Cry." Even by Prince standards, it's eccentric; after single-handedly recording the stark, broken-hearted song in the studio, he decided to erase the bass track from the final mix. According to the engineer, Prince said, "Nobody would have the balls to do this. You just wait — they'll be freaking." He was right. Prince made it the soundtrack's first single — and 1984's most avant-garde pop record became his first American Number One hit, keeping Bruce Springsteen's "Dancing in the Dark" out of the top spot.

Appears on: Purple Rain (Warner Bros.) 

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51

Grandmaster Flash and the Furious Five, ‘The Message’

Writers: Duke Bootee, Melle Mel
Producer: Sylvia Robinson
Released: May '82, Sugar Hill
7 weeks; No. 62 

"The Message" was a breakthrough in hip-hop, taking the music from party anthems to street-level ghetto blues. It began as a poem by schoolteacher Bootee; Sugar Hill boss Robinson decided to make it a rap record with Melle Mel of the Furious Five. Said Flash in 1997, "I hated the fact that it was advertised as Grandmaster Flash and the Furious Five, because the only people on the record were Mel and Duke Bootee." But the song, driven by its signature future-shock synth riff and grim lyrics about urban decay, became an instant sensation on New York's hip-hop radio. "It played all day, every day," Flash said. "It put us on a whole new level."

Appears on: The Best of Sugar Hill Records (Rhino) 

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