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The 100 Greatest Songs of 2004: Staff Picks

April 24, 2024
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The 100 Greatest Songs of 2004: Staff Picks
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Our favourite songs from a yr that redefined rock, rap, pop and R&B for the 2000s.

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Katie Atkinson, Katie Bain, Eric Renner Brown, Anna Chan, Hannah Dailey, Stephen Daw, Kyle Denis, Angel Diaz, James Dinh, Chris Eggertsen, Thom Duffy, Griselda Flores, Rylee Johnston, Jason Lipshutz, Joe Lynch, Heran Mamo, Rebecca Milzoff, Taylor Mims, Gail Mitchell, Melinda Newman, Isabela Raygoza, Jessica Roiz, Dan Rys, Michael Saponara, Damien Scott, Andrew Unterberger, Christine Werthman

Usher, Britney Spears, Karen O, Jay-Z, Ciara, Gwen Stefani, Green Day & Daddy Yankee

Usher, Britney Spears, Karen O, Jay-Z, Ciara, Gwen Stefani, Inexperienced Day & Daddy Yankee

Getty Photos

By the point the 2000s reached 2004, the last decade was hitting its stride, with an identification completely its personal. Newly crossed over sub-genres like crunk, emo and reggaetón had discovered their solution to the middle of the mainstream, whereas dancehall and indie rock have been reaching the charts and MTV in methods they not often had beforehand. Neither the sunshine pop of TRL‘s peak or the post-grunge rock nonetheless dominant within the late ’90s have been almost as ubiquitous as a half-decade earlier, however they’d discovered a form of midpoint within the guitar-based pop-rock blanketing prime 40 and Sizzling AC radio. And rap was in all places: significantly on the prime of the Sizzling 100, the place even the R&B chart-toppers had extra of a hip-hop edge than ever earlier than.

The way in which 2004 redefined well-liked music for the ’00s could be greatest seen in maybe the 2 greatest albums of the yr, each by artists whose stardom was beforehand established within the ’90s. Usher’s Confessions raised the stakes on the pop and R&B that had made him a teen heartthrob on the flip of the century, with newly heavy and distinctly grownup subject material, and turbo-charged beats courtesy of producers of the second like Lil Jon and Simply Blaze. And Inexperienced Day’s American Fool redefined the one-time couch-dwelling pop-punkers as stadium-rocking, machine-raging theater children, utilizing their Who-worthy full-length rock opera to protest each suburban teenage alienation and the Iraq Battle.

These have been simply two of the numerous large albums and singles that helped the ’00s attain their halfway peak in 2004: It was additionally a yr for brand-new artists like Gretchen Wilson, Los Lonely Boys and Ashlee Simpson, in addition to a comeback yr for long-established legends like U2, the Beastie Boys and even Loretta Lynn. And naturally, on the center of all of it was the person then often called Kanye West, an artist and character the likes of which neither pop nor hip-hop had by no means seen earlier than, whose inextricable place in the course of music and tradition — for higher and infrequently for worse — was sealed for the following 20 years with the discharge of his game-changing debut album The School Dropout.

Relive all of this and a lot extra as we 1, 2 step again in time to revisit our 100 favourite singles from the large yr that was 2004 — together with songs that reached or topped the Sizzling 100 for the primary time in 2004, however not ones that waited till future years to make or prime the chart. We expect you’re prepared now.

  • John Mayer, “Daughters”

    John Mayer, "Daughters"
    Picture Credit score: Courtesy Picture

    The third single from Mayer’s second album Heavier Issues was a tune he might have very nicely referred to as “Daddy Points,” however extra politely titled “Daughters.” A young acoustic enchantment for fathers to deal with their daughters nicely, as “ladies turn into lovers who flip into moms,” the tune was a No. 1 Grownup High 40 hit — if not Mayer’s desire for a single, a degree he emphasised whereas accepting the 2005 tune of the yr Grammy when “Daughters” gained. “It’s nonetheless not the best alternative of the one, however that is good to have,” he mentioned, dedicating the award to his grandma, “who had an superior daughter named ‘my mother.’” — KATIE BAIN

  • Interpol, “Gradual Fingers”

    If, as frontman Paul Banks informed NME in 2004, “each tune is nearly as good as ‘Gradual Fingers‘” on Antics, Interpol’s second album, then that set would nonetheless be mentioned at the moment as certainly one of indie rock’s greatest ever. That’s not an indictment of Interpol or their sophomore set – most bands are fortunate in the event that they produce one tune as robust as this lead single, which fortifies its sharp guitar riffs and wounded lyricism with muscular drums and bass that cement Interpol within the dance-punk canon. — ERIC RENNER BROWN

  • Beenie Man, “King of the Dancehall”

    From the thumping drums to the militant chants of the hook, “King of the Dancehall” instantly publicizes itself because the aptly titled theme tune for Beenie Man, arguably the dancehall star with probably the most declare to the title of King. Peaking at No. 80 on the Sizzling 100, “King” is maybe the most effective showcase of all of the parts that make Beenie’s catalog some of the constant in all of dancehall: slick, flirtatious couplets within the verses, a sultry melodic edge within the hook, and a vocal rhythm discovered proper within the pocket of Tony “CD” Kelly’s irresistible manufacturing. Whereas the title will all the time be up for grabs, do any of Beenie’s challengers for the crown have a 20-year-old smash hit that also feels this recent? — KYLE DENIS

  • Christina Milian, “Dip It Low”

    With its slinky vocals, thumping bass and a extremely choreographed video to pair, “Dip It Low” noticed Christina Milan churn out a foul lady anthem for all the great ladies on the market. On the three-minute observe, the star made a run for the title of R&B “It” Woman, singing about making her man wait till he returns house to get spicy. Whereas its success arrived solely after manufacturing revisions, “Dip It Low” nonetheless hits — even when longtime millennial followers might not have the ability to adjust to the bodily calls for of its title. — JAMES DINH

  • Keith City, “Days Go By”

    In a catalog stuffed with addictive songs, “Days Go By” counts as certainly one of City’s absolute catchiest. The exuberant tune, which spent 4 weeks atop Sizzling Nation Songs, captures the push of actually rushing down the freeway, whereas realizing that life goes by as rapidly because the white traces on the street, and also you higher embrace it or danger lacking it at your individual peril. City is certainly one of nation music’s greatest mixologists, and right here he comes up with the right mix of nation, jangly pop and rock, with banjo and mandolin thrown in for good measure. — MELINDA NEWMAN

  • The Walkmen, “The Rat”

    The Walkmen was among the many most composed, subtle and poetic of the numerous buzz bands to emerge from New York within the early ’00s — however on the uncommon events when the band determined to kick out the jams, it is also an absolute pressure of nature. “The Rat” sees the group conjuring the weather in a manner that few of its friends might even think about, with downpours of guitar, thunderous drums, and a singular electrical-storm vocal from Hamilton Leithauser that makes a quarter-life disaster of romantic craving and social alienation sound prefer it would possibly actually break up the earth’s core in two beneath him. — ANDREW UNTERBERGER

  • Ghostface feat. Jadakiss, “Run”

    You wish to discuss a Large 3? The Almighty GFK and Manteca Jada with the Ruler Zig Zag Zig Allah behind the boards makes for a basic rap tune with Fairly Toney Album spotlight “Run.” The observe begins off sounding like a chase is about to go down — humorous sufficient it’s a pattern RZA lifted from a Flintstones film the place Fred steps in for a spy as a lookalike — whereas Ghost and Jada take us on an audio mission as they run from soiled cops. Essentially the most memorable moments are nonetheless extremely quotable all these years later, particularly Jada’s intro chuckle and “I would gotta take my shirt off” declare, together with “My Timbs startin’ to really feel like they Nike Airs on me.” — ANGEL DIAZ

  • Linkin Park, “Breaking the Behavior”

    As Linkin Park obtained deeper and deeper into their run of Meteora singles, it appeared like we should always have been stepping into apparent leftovers territory. However “Breaking the Behavior” was the nu-metal hitmakers’ most stunningly fresh-sounding single but, with drum-and-bass-filtered manufacturing, Nirvana-worthy verse-chorus-bridge dynamics — with no Mike Shinoda rap wanted to up the depth, regardless of him being the tune’s main author — and maybe frontman Chester Bennington’s most resonant vocal in a catalog stuffed with them. When his voice glitches and dissolves on the ultimate “Tonight!,” the hole between them and their then-commercial friends feels positively oceanic. — A.U.

  • Anthony Hamilton, “Charlene”

    Following a string of varied report label dalliances, Charlotte singer-songwriter Anthony Hamilton hit his stride collaborating with songwriter-producer Mark Batson (Eminem, Alicia Keys) on this Grammy-nominated second single from his ensuing RIAA platinum-certified So So Def album Comin’ From The place I’m From. His heat but aching vocals breathe actual life into the tune’s ageless theme about selecting between love and profession. And one lyric line says all of it: “However I forgot about loving her.” Listening to Anthony Hamilton’s breakthrough single is definitive proof that pure soul by no means will get previous. — GAIL MITCHELL

  • Tim McGraw, “Reside Like You Have been Dying”

    Songwriters Craig Wiseman (a co-founder of Large Loud Information) and Tim McNichols penned this all-too-believable story of a singer’s encounter with a person “in my early 40s/with plenty of life earlier than me” who will get a analysis of a terminal sickness. Delicate piano and strings give solution to McGraw’s plaintive voice and hovering harmonies as the person describes his response. However his adventures — ”skydiving… Rocky Mountaineering” — pale beside his self-discovery: “I liked deeper/ And I spoke sweeter/ And I gave forgiveness I’d been denying.” What different Sizzling Nation Songs chart-topper affords such a permanent mantra? — THOM DUFFY

  • Velvet Revolver, “Slither”

    Velvet Revolver, "Slither"
    Picture Credit score: Courtesy Picture

    Yeah, right here comes the supergroup! Stone Temple Pilots’ Scott Weiland, Weapons N’ Roses’ Duff McKagan, Slash and Matt Sorum, together with David Kushner, shot onto the scene as Velvet Revolver with this lead single off debut album Contraband. It was the right melding of grunge and steel and a contact of glam, of STP and GN’R, with the hit reaching No. 56 on the Sizzling 100 and nabbing a Grammy. Whereas Weiland has shuffled off this mortal coil, the band’s GN’R contingent has since reunited with Axl Rose, performing “Slither” on their 2023 world tour. — ANNA CHAN

  • John Legend, “Used to Love U”

    Though the art work for John Legend’s debut single options the younger singer-songwriter sitting solemnly in entrance of a piano, “Used to Love U” is far more playful than the ballads which have helped energy Legend’s profession: the neo-soul manufacturing, helmed by Legend and an ascendant Kanye West, mixes gospel-choir chants and rap-anthem hollering, and a mid-twenties Legend approaches the breakup observe like a seasoned crooner. — JASON LIPSHUTZ

  • Los Temerarios, “Qué De Raro Tiene”

    Los Temerarios — comprised of siblings Gustavo and Adolfo Ángel, the latter writing all of the duo’s songs for his brother to sing — took a departure by recording a covers album, which included the basic “Qué de Raro Tiene.” Initially penned by Martin Urieta Solano, Gustavo and Adolfo gave the tune — about dying over the love of a lady — their very own ranchera/grupero twist. In case you didn’t know any higher, you’d suppose Adolfo had written this tune, because it completely matches into his model of romantic songwriting, and shot to No. 1 on the Sizzling Latin Songs chart in July 2004. — GRISELDA FLORES

  • Annie, “Heartbeat”

    After her bratty, goofy electro-pop single “Chewing Gum,” Annie delivered a sonic and thematic 180 with “Heartbeat.” Attractive, melancholy and earnest, “Heartbeat” snaps alongside due to an indie-disco drum beat whereas the Norwegian singer-songwriter’s breathy, candy coo spins a bittersweet story a couple of dancefloor romance that’s no extra. “I gained’t neglect/ The best instances I’ve had once I was dancing with you,” Annie declares as Röyksopp’s crisp but pillowy manufacturing floats alongside beneath. Probably her best second – and arguably stickier than “Gum.” — JOE LYNCH

  • Phoenix, “All the pieces Is All the pieces”

    In just below three minutes, Phoenix distills an directly existential and pragmatic life philosophy into an ideal pop-rock bundle: Cease hand-wringing over issues you’ll be able to’t change (“the extra I discuss it, the much less I do management,” as Thomas Mars sings) and simply roll with the punches. Positive, you may learn a few of the lyrics as nihilistic, however possibly the true that means of life is simply to loosen your grip and dance alongside to some blissful French indie pop. – KATIE ATKINSON

  • Nelly feat. Tim McGraw, “Over and Over”

    Lengthy earlier than acts like Florida Georgia Line and Jason Aldean have been incorporating R&B and rap parts of their songs and Morgan Wallen and Lil Durk teamed up for “Broadway Ladies,” Nelly and Tim McGraw collaborated on this slinky, sultry R&B ode to a failed romance. All the pieces that went unsuitable within the romance performs like a highlights (lowlights?) reel repeatedly as the 2 commerce traces about misplaced love over an insinuating, 808 beat. Odd because it sounds now, it was a dangerous transfer for each artists that paid off large time: the tune appeared on seven Billboard charts (none of them nation), together with topping Mainstream High 40 and Rhythmic Airplay. — M.N.

  • Sean Paul feat. Sasha, “I am Nonetheless in Love With You”

    Twenty years in the past, Sean Paul, the affable Kingston-born deejay, was main the cost on dancehall’s popular culture takeover. His sophomore album, Dutty Rock, birthed a string of hits — however the album’s actual sleeper was his final single, “I’m Nonetheless In Love With You.” A contemporary interpretation of Alton Ellis’s lovelorn basic of the identical identify, Paul’s model finds him gently explaining that whereas a girl should still be in love with him, he’s a “hustler and participant” not a lover and stayer. The riddim isn’t as upbeat as his earlier singles, however it nonetheless grew to become a membership staple and hit No. 14 on the Sizzling 100. That’s that dutty dutty love. — DAMIEN SCOTT  

  • Bowling for Soup, “1985”

    Thanks initially to “Proper Now” hitmakers SR-71, we got the tune “1985,” which climbed to No. 23 on the Billboard Sizzling 100 when it was lined by pop-punk friends Bowling for Soup the identical yr, and continues to be a head-bopping fixture on playlists of 2000s necessities. Even at the moment, the guitar hits are arduous to withstand shaking your hips to, whereas lyrics like “She hates time, make it cease” evoke a nostalgic feeling of easier instances — just like the tune’s protagonist as she goals of what might have been. — RYLEE JOHNSTON

  • Sia, “Breathe Me”

    Assist: The truth that this tune by no means even cracked the Sizzling 100 is against the law! Whereas the haunting “Breathe Me” didn’t discover a lot preliminary success on the charts, it will definitely helped U.S. audiences uncover the Australian singer-songwriter when it soundtracked Six Ft Underneath’s good 2005 collection finale. Since then, the heart-stopping observe — with lyrics that make listeners ache to their bones — has helped emotionally amplify numerous further movie and TV moments, from Demi Lovato’s 2012 documentary Keep Sturdy to a season 29 episode of The Simpsons, as Sia has turn into a Sizzling 100-topping pop mainstay. — A.C.

  • Trilville feat. Cutty, “Some Minimize”

    Atlanta hip-hop trio Trillville fantasize a couple of freaky evening with a shorty from the mall on the crunk staple “Some Minimize.” Lil Jon rocking backwards and forwards in his chair at Stankonia Studios laid the inspiration for the tune’s sexually charged manufacturing, whereas Soiled Mouth, Lil LA, Don P and Cutty commerce specific verses about what’s going to go down as soon as a lady comes house with them. Whereas the Sizzling 100 prime 20 observe stays the group’s greatest hit single, its salacious squeaking mattress pattern has been revived a long time later in songs like Drake’s “Currents,” Ty Dolla $ign’s “Or Nah,” Doechii’s “What It Is (Block Boy)” and Tinashe’s “Ooh La La,” amongst many others. — HERAN MAMO

  • Missy Elliott, “I am Actually Sizzling”

    Missy Elliott, "I'm Really Hot"
    Picture Credit score: Courtesy Picture

    “I’m Actually Sizzling” didn’t attain the chart heights of a few of Missy’s different singles (it peaked at No. 59 on the Billboard Sizzling 100), however it’s a timeless bop simply the identical, with Timbaland’s trademark syncopated beats and horror-movie synths throughout the refrain melding seamlessly with Missy’s understated supply. It’s a horny tune that’s not about intercourse (“Straight to the lodge/ I’m celibate, so boy, you will get no tail”) however moderately the seductive energy of a observe completely engineered to get bootays transferring on a Friday evening. — CHRIS EGGERTSEN

  • J-Kwon, “Tipsy”

    Yet another yr and “Tipsy” will lastly have the ability to legally get wasted. The primary line of J-Kwon’s party-starting anthem mocking consuming legal guidelines completely captured the eye of rebellious faculty college students throughout the nation. Even these too younger to sip on booze turned as much as the lunchtable-shaking observe whereas getting crunk off apple juice. Again in 2013, Kanye West paid J-Kwon’s breakout hit the final word praise: “‘Tipsy,’ individuals would suppose that’s like a lower-quality, much less mental type of hip-hop, however that’s all the time my No. 1.” In a testomony to its lasting impression, Cowboy Carter contributor Shaboozey put a rustic twist on “Tipsy” whereas interpolating J-Kwon’s counting movement for his drunken “A Bar Track (Tipsy)” single, serving to the tune turn into his prime 40 solo breakout hit. — MICHAEL SAPONARA

  • Loretta Lynn feat. Jack White, “Portland Oregon”

    Speedy, keening guitar from Jack White resounds for almost a full minute right here earlier than resolving right into a full-band jam and Loretta Lynn’s twanging opening vocal: “Effectively, Portland, Oregon and sloe gin fizz/ If that ain’t love, nicely, inform me what’s.” White, then in his late 20s, and Lynn, then in her early 70s, have been a match made in honky-tonk heaven on this rave-up (which Lynn had composed a long time earlier). “Hey bartender, earlier than you go, pour us another drink,” they sing collectively, as within the tune’s video, White leans over to provide Lynn a kiss. — THOM DUFFY

  • Alejandro Fernandez, “Me Dediqué a Perderte”

    Whereas a ranchera/mariachi singer at his core, Alejandro Fernandez has absolutely embraced pop greater than as soon as over the course of his enduring profession. This tune particularly is among the greatest pop ballads in his catalog due to its hanging lyrics — penned by the good singer-songwriter Leonel García (of Sin Bandera) — and Fernández’s evocative supply. “I devoted myself to dropping you,” he sings with pathos. The observe peaked at No. 1 on Sizzling Latin Songs for 2 weeks. — G.F.

  • Madvillain, “All Caps”

    Years earlier than self-importance capitalizations grew to become de rigueur for artist names and tune titles, Madvillain unleashed “All Caps” as a single from its groundbreaking Madvillainy LP to remind individuals the best way to render MF DOOM, one half of the duo alongside Madlib, when spelling it out on these backpack rap message boards. Madlib supplies a cleverly looped instrumental rating lifted from the ‘60s cop drama Ironside as DOOM polices how individuals sort his identify and peacocks on the mic: “He gained’t cease until he obtained the lots/ And present ’em what they know now by means of flows of scorching molasses.” — J. Lynch

  • Gavin DeGraw, “I Do not Need to Be”

    Gavin DeGraw had a meteoric rise within the early 2000s together with his Vanessa Carlton-adjacent mix of light rock with sweeping piano pop. Along with his floppy hair hanging out of a beanie or early ’00s (tragic) staple trucker hat, DeGraw was destined to steal the hearts of teenagers together with his righteous lead single “I Don’t Need to Be,” the place the delicate heartthrob encourages children to be themselves. The chugging singalong’s reputation was solely bolstered by its use because the opening theme tune for CW teen drama One Tree Hill. — TAYLOR MIMS

  • Los Lonely Boys, “Heaven”

    With its soulful mix of bluesy rock and pan-Latin fusion, “Heaven” catapulted Los Lonely Boys into the highlight. Constructed round an infectious groove and heartfelt lyrics, the tune resonates with a way of longing and redemption. Because the Texas trio — composed of brothers Henry, Jojo, and Ringo Garza — grapple with their very own struggles and search solace in religion, the common query echoes: “How far is heaven?” The bilingual hit reached No. 1 on the Grownup Up to date chart and entered the highest 20 on the Sizzling 100. The soul-stirring ballad stays a timeless anthem that speaks to the human expertise of hope within the face of adversity. — ISABELA RODRIGUEZ

  • Josh Groban, “You Elevate Me Up”

    There’s an oft-quoted interview by which the late Whitney Houston describes certainly one of her songs as match for “weddings, graduations [and] funerals.” That description additionally applies to Josh Groban’s rousing “You Elevate Me Up.” Frivolously sprinkled with typical early-’00s prime 40 proclivity for Christian-adjacent lyricism, “Elevate” infuses Groban’s conventional pop roots with the enduring idea of an ever-dependent assist that arrives within the eleventh hour. A canopy of a 2001 Secret Backyard observe, Groban’s Grammy-nominated rendition not solely finds a house for David Foster’s grandiose ’90s-defined manufacturing, however it’s additionally a successful vocal showcase that captures what innocence the world had left in 2004. — Ok.D.

  • The Black Eyed Peas, “Let’s Get It Began”

    The clear model of the now not-super-easy-to-find, decidedly non-PC unique, “Let’s Get It Began” was the fourth single from the group’s endlessly hit-spinning third album, Elephunk. The sonic equal of a 4 Loko, the observe is pure, punchy, adrenalized enjoyable, with the group taking activates verses about partying your solution to giddy incoherence. The observe spent 20 weeks on the Sizzling 100, gained the 2005 Grammy for greatest rap efficiency by a duo or group and might nonetheless encourage a sure wild-eyed glee among the many millennials who have been there for it. — Ok.B.

  • Jesse McCartney, “Stunning Soul”

    In an age the place youngster actors looking for success as solo artists was the norm, Jesse McCartney stood out as a hit story. After incomes some mainstream consideration due to his short-lived stint within the boy band Dream Road, McCartney broke large with “Stunning Soul.” It’s simple to see why; this blissful teen pop observe effortlessly mixes in loads of ‘90s R&B affect to nail that individual feeling of adolescent infatuation McCartney aimed for. In a sea of lovestruck pop songs from the mid-2000s, “Stunning Soul” stands out as far more than one other fairly face. — STEPHEN DAW

  • U2, “Vertigo”

    U2, "Vertigo"
    Picture Credit score: Courtesy Picture

    Sparse, uncooked, growling opening guitars — and naturally, Bono shouting “Unos, dos, tres, catorce”— give solution to certainly one of U2’s greatest stadium-ready, chant-along choruses on “Vertigo.” The tune, on which The Edge’s guitar duels continually with Bono’s vocals, topped Billboard’s Grownup Various Songs chart, earned the band three Grammy Awards together with greatest rock tune, gave its identify to the band’s globe-spanning Vertigo Tour of 2005-2006 and served because the backing observe for an Apple iPod advert. A U2 basic. — T.D.

  • LCD Soundsystem, “Yeah”

    How “Yeah” pertains to the sound of the yr 2004 is irrelevant — that was by no means its intent. Actually, it’s not meant to exist in any yr in any respect, and when it first was launched was primarily outlined because the end result of underground dance music as much as that time — an amalgamation of influences, artists, sounds and scenes, all tied along with such a brainless, repetitive “yeah yeah yeah” that it concurrently brings any dance ground collectively and but retains the main target strictly the place it was all the time meant: on the music. On reflection, it helped to herald greatness. On the time, it simply was. — DAN RYS

  • My Chemical Romance, “I am Not Okay (I Promise)”

    Earlier than The Black Parade marched into the automobile audio system of normies and emo children alike in 2006, My Chemical Romance broke out as a band of self-appointed weirdos seeking to make music for different outsiders. With the heart-racing guitar traces and melodramatic vocals of “I’m Not Okay (I Promise),” the boys of MCR cemented themselves on the forefront of the mainstream emo motion, incomes their first placement on the Sizzling 100. Completely straddling the nebulous line between the rollicking, rebellious punk and danceable, catchy pop-rock of the mid-2000s, “I’m Not Okay” is far more than okay — it’s the optimum gateway observe to a style that’s emphatically returned to the mainstream consciousness a long time later. — S.D.

  • Avril Lavigne, “My Joyful Ending”

    Co-written with radio-friendly rock savant Butch Walker, “My Joyful Ending” appeared like a less-upbeat (although no much less catchy) sequel to 2002’s “Sk8er Boi.” Its relatable unhappy lady vibes have been very 2004 — a yr when singer-songwriters like Vanessa Carlton and Michelle Department additionally thrived — and with its crunchy guitars, anthemic choruses and standard-setting emo-pop bridge, it peaked at No. 9 on the Sizzling 100. Twenty years later, the signature Lavigne mix of angst and earworms epitomized on “Ending’ remains to be echoing in well-liked music. — REBECCA MILZOFF

  • 50 Cent, “Disco Inferno”

    There haven’t been many – if any – rappers hotter than 50 Cent was coming off his Get Wealthy or Die Tryin’ debut album. With expectations larger than the Empire State Constructing, the G-Unit boss knew he needed to ship together with his first single heading into The Bloodbath whereas adversaries like Nas, Fats Joe and Ja Rule waited for him to slide up. Enter the bouncy, club-friendly “Disco Inferno” to proceed 50’s successful streak. He shrewdly balanced having bars road sufficient to fulfill the hustlers, paired with a catchy refrain spotlighting the women. That components led Fif to industrial dominance time and time once more — and to today, “Disco Inferno” is a fan-favorite when the Queens icon touches the stage. — M.S.

  • Kevin Lyttle feat. Spragga Benz, “Flip Me On”

    Whether or not it’s a school social gathering within the South or a summer time kickback in Flatbush, you’re nonetheless virtually assured to listen to “Flip Me On”; in truth, not listening to “Flip Me On” is an indication that the operate was a dud, even twenty years later. Initially a soca ballad, the most well-liked model of this observe options anthemic further lyrics from Spragga Benz, which give a gruff complement to the smoothness of Kevin Lyttle’s buttery tone. A smash hit world wide – together with a No. 4 peak on the Sizzling 100 — not solely was this a definitive inflection level for 2000s Caribbean music, however it additionally captured the pure essence of a celebration observe: sweaty sensuality framed by a wistful reminder of the how fleeting the evening is. — Ok.D.

  • N.O.R.E. feat. Daddy Yankee, Nina Sky, Gem Star & Large Mato, ‘Oye Mi Canto’

    “You see? That is what they need. They need reggaetón.” So proclaims N.O.R.E., certainly one of New York’s greatest rappers of Puerto Rican descent, at the start of his opening “Oye Mi Canto” verse — and by the top of the tune, his level was already confirmed. The only featured an an excellent supporting solid of hitmakers — together with Daddy Yankee, on his solution to changing into the style’s defining star for the last decade, within the video model — and was tied collectively by a narcotic Nina Sky hook, with the sisters’ hypnotic harmonies turning the banger into an anthem. “Oye” reached the highest 25 on each Sizzling Latin Songs and Sizzling Rap Songs, and hit No. 12 on the Sizzling 100 — the primary actually simple proof that there could be no stopping reggaetón’s world takeover. — A.U.

  • Marco Antonio Solis, “Más Que Tu Amigo”

    With some of the infectious and joyous rhythms in Latin pop historical past, “Más Que Tu Amigo” stands as a pinnacle of the style, exuding euphoria with each beat. Along with his unmatched vocal prowess, Marco Antonio Solís effortlessly traverses tender lows and exhilarating highs, sufficient to set hearts aflutter. “Me gustas tanto me enloqueces,” he passionately declares, igniting a flame of ardour throughout the listener. The tune dazzles with its riveting instrumentation and knowledgeable association, courtesy of El Buki. From the fascinating brass to the gripping accordion riffs, every aspect ornaments the tune completely, culminating in a Mexican cumbia masterpiece for the ages. — I.R.

  • Gwen Stefani, “What You Ready For?”

    When Gwen Stefani dipped from No Doubt for a solo album that unabashedly embraced pop, she knew the “sellout” accusations have been incoming — and took them head-on with the opening observe to Love. Angel. Music. Child. “What You Ready For?” concurrently sends up business pressures to money in as a pop star whereas she’s “nonetheless a super-hot feminine,” concurrently she explores her personal anxieties about making music with out the band she’d been part of since her teenagers. It’s a lyrically hilarious, sonically ridiculous new wave rocker with a nervous propulsion and pissed-off crunch that make it price repeated listens (and karaoke sing-alongs) all these years later. — J. Lynch

  • Ludacris, “Get Again”

    Ludacris was inescapable within the mid-’00s — and whereas he courted that fame, popular culture ubiquity takes a toll. Enter “Get Again,” the Atlanta rapper’s ode to hangers-on who simply gained’t stop. However what might’ve been one other tiresome dispatch from an out-of-touch star is saved by its humor and relatability. Regardless of his roid-rage muscular tissues within the video, Ludacris isn’t out for blood right here — he simply needs to “take pleasure in my Jack/ Sit again and watch the ladies get drunk as hell/ So I can get up within the morning with a narrative to inform.” — E.R.B.

  • Jay-Z/Linkin Park, “Numb/Encore”

    Linkin Park & Jay-Z, "Numb/Encore"
    Picture Credit score: Courtesy Picture

    Jay-Z teaming up with Linkin Park for his or her Collision Course EP was such a pure extension of the large reputation of nu-metal within the ’00s that you would be able to virtually neglect how daring it nonetheless felt on the time. Positive, Mike Shinoda was already rapping on LP’s greatest hits, however Jay-Z reaching throughout then-much-more-pronounced style traces to convey collectively mainstream hip-hop with mainstream rock blazed a path for prime 40 hybridization and collaboration that’s nonetheless felt at the moment. The seamless “Numb/Encore” mash-up, with its sighing LP synth-pad hook chopped up till it feels Black Album-appropriate, is the EP’s most profitable instance of what an excellent match this pairing was. – Ok.A.

  • Jill Scott, “Golden”

    There’s a cause GloRilla referenced “Golden” in an interview by which she skirted round answering explicitly political questions in regards to the impending 2024 U.S. presidential election. Scott’s sunny, soulful tune epitomizes “good vibes.” The reverence she holds for all times coats each observe she croons over the breezy amalgamation of plucky bass, shimmering synths and regular percussion. Simply the twang of “I’m taking my freedom” is transformative, and it’s precisely that universality that makes “Golden” such a basic. — Ok.D.

  • Crime Mob feat. Lil Scrappy

    You gotta know what time it’s when “Knuck if You Buck” comes on: You higher be able to mosh and throw some bows or get out of the best way. Even the quietest and most reserved individuals completely lose it when this observe — virtually a steel tune — drops on the membership. Every verse hits tougher than the following and Lil Jay’s manufacturing will get nasty as soon as these 808s awaken issues in your soul you didn’t know existed. A complete 20 years later and “Knuck” can nonetheless simply begin a riot. — A.D.

  • Audioslave, “I Am the Freeway”

    A hallowed hymn for anybody who’s ever emerged from a foul relationship with emotional bruising and a hard-earned sense of defiance, this tune was the fourth single from the rock supergroup’s self-titled debut. Chris Cornell is in peak type as he lists the explanations he’s a lot larger and extra necessary than the state of affairs at hand, declaring that “I’m not your rolling wheels, I’m the freeway” — the final line of which was the title of the memorial held for the singer after his 2019 loss of life. — Ok.B.

  • Petey Pablo, “Freek-a-Leek”

    Petey Pablo kicks off “Freek-a-Leek” as a radio DJ enjoying his personal single by listener request — a self-fulfilling prophecy, as earlier than lengthy, nearly each different hip-hop DJ in America was spinning the Sizzling 100 prime 10 hit too. Spectacular when you think about what a, nicely, freaky tune that is: the NC MC not solely promising to meet all sexual needs (aside from that one factor you’ll want a pal to assist with, not less than till he will get a pair drinks in), however then itemizing all the women he swears to fulfill by identify. Then once more, no Lil Jon-helmed jam might presumably be too X-rated for the airwaves in 2004, because the producer’s mixture of menacing synths and stylish guitar wah-wahs ensured it could be FM catnip even with Pablo studying off the gadgets on his grocery listing. — A.U.

  • Scissor Sisters, “Take Your Mama”

    “Take Your Mama” appeared like nothing else launched in 2004, and instantly obtained singer Jake Shears a slew of Elton John comparisons for good cause. He shared John’s penchant for humor and theatricality — and appeared like a vocal doppelganger — however their commonalities additionally went deeper. Like his predecessor’s prime early ‘70s hits, “Take Your Mama” blended deeply private songwriting (impressed by the precise story of how Shears got here out to his mother) with a piano-driven, stomping pulse, a dancefloor party-starter on the homosexual golf equipment Shears was singing about and manner past. — R.M.

  • Hoobastank, “The Motive”

    Rocking? Test! Craving? Yep! Earworm? Completely! And that’s why we’d like you to know that Hoobastank’s signature smash ought to’ve gotten all the best way to the Sizzling 100’s summit — however a No. 2 peak is one thing we should dwell with day-after-day. Nonetheless, “The Motive” stays a present, its refrain good for belting with gusto (“I’ve discovered a cause for meeeeeeeeee! To vary who I used to beeeeeeee!”) throughout drunken karaoke classes. And it’s a permanent cowl favourite, as guitarist Dan Estrin informed us final yr, in addition to a popular culture staple, as its memorable synch within the 2023 hit Netflix collection Beef reveals. — A.C.

  • Prince, “Musicology”

    Prince by no means actually stopped recording or releasing music throughout his extremely prolific profession — but when something ever represented a real comeback for him, it was Musicology and its title observe lead single. His first launch below his personal identify on a serious label in a decade — after his highly-publicized feud with Warner Bros, he glided by an unpronounceable image for years — “Musicology” is a pure, boisterous funk report, as tight a efficiency as he had put out for the reason that Nineteen Nineties. It put his stamp again on the mainstream, asserting as soon as extra that Prince was probably the greatest performers, singers and songwriters of his, or any, technology. — D.R.

  • Counting Crows, “By chance in Love”

    Counting Crows’ “By chance in Love” might need had probably the most impactful music sync of 2004. A really good tune of the summer time, “By chance” was initially launched in Could 2004, simply weeks earlier than it was featured within the opening scene of blockbuster film Shrek 2, which went on to gross almost a billion {dollars}. From its toe-tapping beat to the irresistible come on, come on refrain, it’s a two-thumbs-up, enjoyable for the entire household hit, whether or not within the theaters or on the minivan radio. — T.M.

  • Terror Squad, “Lean Again”

    When Scott Storch’s memorable drums and strings hit to introduce “Lean Again,” it’s primarily legislation in New York Metropolis to maneuver your shoulders accordingly. Fats Joe and Remy Ma’s duet ran the summer time of 2004 with a membership banger that Terror Squad rode from the streets of The Bronx to the highest of the Sizzling 100. Twenty years after first hitting the Rockaway, Fats Joe hosted a 20 Years of “Lean Again” live performance on the famed Apollo Theater, the place the spirit was so transportive it even felt like Joey Crack’s 7 7/8ths fitted Yankee cap half hanging off his head was lastly again in model. — M.S.

  • Maroon 5, “She Will Be Beloved”

    Maroon 5, "She Will Be Loved"
    Picture Credit score: Courtesy Picture

    Adam Levine’s golden voice completely soars on this mid-tempo ballad that’s equal components catchy and emotional, proving the band’s versatility past their boppier smashes. Written by Levine and guitarist James Valentine in lower than an hour, “She Will Be Beloved” solidified the group’s place as frontier pop-rock hitmakers with a knack for endurance, and have become their second straight Songs About Jane single to achieve No. 5 on the Sizzling 100. — HANNAH DAILEY

  • Gretchen Wilson, “Redneck Girl”

    Gretchen Wilson introduced that she was Right here for the Social gathering along with her debut studio album, and the most important throwdown on the tracklist was her daring and brash celebration of self, “Redneck Girl.” The rollicking report embraced all issues “trashy”: swilling beer as an alternative of champagne, forgoing Victoria’s Secret for Walmart, recognizing that Christmas lights don’t must be seasonal. Hilarious because it was, Wilson’s tune grew to become a common-ground anthem for a lot of who proudly embraced its love of the lowbrow with a convincing “Hell yeah!” — C.W.

  • The Recreation feat. 50 Cent, “How We Do”

    Recent off the success of fifty Cent’s gargantuan Get Wealthy or Die Tryin’ album, Dr. Dre determined to do one thing for the house group and signed a younger Compton rapper with average mixtape success named The Recreation. The plan was easy: Put The Recreation within the studio with the man who simply took over the world and get out of the best way. It labored like a allure — and there’s maybe no higher instance of that than the album’s Dre-produced second single. With probably the greatest hooks 50’s ever penned and equally sharp visitor verses, “How We Do” was so nice, Dre mentioned “f–ok it” and put The Recreation on G-Unit. Everyone knows how that turned out, however not less than we obtained The Documentary and this unimaginable tune. — D.S.

  • Bloc Social gathering, “Banquet”

    “And in case you really feel just a little left behind/ We’ll look ahead to you on the opposite aspect.” Was the “Banquet” bridge a press release of empathy and compassion or of light-years-ahead braggadocio? Each have been believable from Bloc Social gathering in 2004, because the U.Ok. post-punk revivalists got here roaring out of the gate with this breakthrough hit that expressed each the tender lyrical verve of frontman Kele Okereke and the good ferocity of the band’s four-way sonic assault. Different indie bands would have larger hits in 2004, however none matched sensitivity with swagger fairly so strikingly. — A.U.

  • Usher & Alicia Keys, “My Boo”

    Identify a extra 2004-coded artist pairing than Usher and Alicia Keys; we’ll wait. “My Boo” noticed each Usher and Keys on the zenith of their cultural impression, and as soon as they fused their voices collectively to create a love tune this syrupy and immediately relatable, the general public had just about no alternative however to ship it to No. 1. The pair’s vocal chemistry bought the world on the tune’s friends-to-lovers-to-exes storyline, climaxing in a potent post-chorus that also echoes all through the crowded halls of timeless romantic duets. — S.D.

  • Evanescence, “My Immortal”

    In case you’re going to write down an influence ballad referred to as “My Immortal,” you higher make rattling certain you write and carry out it robust sufficient for it to be everlasting. Fortunately, Evanescence frontwoman Amy Lee (with assist from co-writer and guitarist Ben Moody) was as much as the duty, imbuing the Fallen smash with all of the real-time melodrama and lingering ghostliness you’d anticipate from a tune of its title. The only model offers the facility ballad the full-band kick in it deserves, however there’s additionally one thing to be mentioned for the purity of the album model — simply Lee, her piano, and a few equally weeping synth strings for sympathy. — A.U.

  • OutKast, “Roses”

    The last word diss observe for an ex — how can “Roses” not endure 20 years later? Heartbroken however stuffed with swaggy and intelligent verses, OutKast doesn’t maintain again singing about these superficial girls who will not be price it, personified particularly as “Caroline.” Andre 3000’s clean, funk-based observe was launched because the third single off the hip-hop duo’s Speakerboxxx/The Love Beneath album, and have become the set’s third prime 10 hit, peaking at No. 9 on the Sizzling 100. — J.R.

  • Beastie Boys, “Ch-Test It Out”

    Greater than 20 years after their debut, the Beastie Boys harnessed their basic sound for a modern-day hit, ushering the legendary trio again to the Sizzling 100 for the primary time this century, and changing into their lone Various Airplay chart-topper. Ch-check out why this one labored: Identical to their greatest catalog cuts, it’s simple to shout alongside to, it spotlights every member’s distinct cadence, it sprinkles in goofy pop-culture references, and it has a thumping manufacturing you’ll be able to transfer to. It’s principally a greatest-hits comp for the veteran group rolled into one tune. – Ok.A.

  • Nina Sky feat. Jabba, “Transfer Ya Physique”

    “Transfer Ya Physique” continues to age like effective wine. With virtually 200 million streams to its identify, mashup placement on Beyoncé’s Renaissance World Tour and a current religious shoutout from Kehlani’s newest single through its utilization of the identical coolie riddim, the sister act’s debut single surged into dancehall social gathering tradition in 2004, and has seemingly by no means stopped since. Whereas the tune pulsates courtesy of a number of lifts — together with certainly one of Lisa Lisa and Cult Jam’s ’80s freestyle gem “Can You Really feel the Beat?” — the duo earned their very own twenty first century pop basic with “Transfer.” — J.D.

  • Kanye West feat. Syleena Johnson, “All Falls Down”

    In an interview with Billboard, producer No ID defined how the artist previously often called Kanye West arrived on the concept for his seminal debut album The School Dropout. “He was like, ‘I figured it out…I’m going to rap about this accident… I’m going aware with my music.” From there, he mentioned, Ye “let go of the gangsta persona.” The clearest distillation of his new method was School Dropout’s third single. First premiered a cappella on HBO’s Def Poetry Jam, “All Falls Down” sees Ye wrestling together with his insatiable have to stunt and floss, whereas acknowledging simply how dangerous that mindset could be. It’s the most effective instance of the Roc-A-Fella-meets-Rawkus paragon he constructed as his rap persona, and it’s a disgrace all of it fell down years later.  — D.S.

  • Juvenile feat. Soulja Slim, “Gradual Movement”

    Juvenile feat. Soulja Slim, "Slow Motion"
    Picture Credit score: Courtesy Picture

    When Soulja Slim begins singing “Gradual movement for me” you higher make sure that to get your ass on that dancefloor. It’s fairly wild that Juvenile was capable of do it once more after 1999’s “Again That Azz Up”: There aren’t too many rappers that may say they’ve two songs that can eternally make individuals instinctively dry hump. Sadly, Soulja Slim didn’t get an opportunity to benefit from the smash hit this grew to become, as he was murdered earlier than the tune was launched. The video ended up being a tribute to him — one other rap legend gone too quickly. — A.D.

  • Kelly Clarkson, “Breakaway”

    The primary season of American Idol made Kelly Clarkson a family identify, however  – regardless of having the voice of an angel – she might have pale into obscurity after her debut album, along with her quarter-hour of fame absolutely up. As an alternative, Clarkson’s sophomore set was probably the greatest pop albums of the final quarter century, and the beautiful title observe (co-written by Avril Lavigne) was the primary of 5 smash hits from it to show that she was right here to remain. “Breakaway” is each an ethereal pop-folk tune and a top-of-your-lungs singalong anthem, whereas additionally being an ideal showcase for Clarkson’s huge expertise. — T.M. 

  • Blink-182, “I Miss You”

    Blink-182 might have preceded their demonstrably extra mature 2003 self-titled album with the wistful tone and dueling harmonies of lead single “Feeling This,” however follow-up single “I Miss You” was actually the second that the trio transcended their penis jokes of yore. Proudly emo and deceptively advanced in its instrumentation, “I Miss You” locations forlorn verses from Mark Hoppus and Tom DeLonge side-by-side earlier than unveiling a refrain that might be screamed throughout numerous late-night drives away from heartbreak: “Don’t waste! Your time! On me! You’re already! The voice inside my head.” — J. Lipshutz

  • The Strokes, “Reptilia”

    A defining observe by a now-iconic New York rock band, “Reptilia” pulses with the gritty and raucous power that reshaped the panorama of early 2000s indie. With its electrifying mix of storage rock and post-punk, the tune’s sonic depth grips from the primary riff to the final chord. From the frenetic guitar and regular drum interaction that kicks issues off to Julian Casanova’s bloody, punishing, but nonetheless swoon-worthy vocals, each member of The Strokes delivers unparalleled conviction and depth. Because the driving rhythm propels ahead, “Reptilia” turns into a relentless anthem of city angst and uncooked emotion that captures the essence of New York Metropolis’s underground music scene, with its unyielding power and simple charisma. — I.R.

  • Rascal Flatts, “Bless the Damaged Highway”

    Shakespeare might have been first when he wrote “the course of real love by no means did run clean,” however Rascal Flatts mentioned it greatest on this highly effective piano ballad, which gained the Grammy for greatest nation tune and spent 5 weeks at No 1 on Sizzling Nation Singles & Tracks. Recorded initially in 1994 by Nitty Gritty Filth Band, whose Jeff Hanna co-wrote the observe, the unique model went nowhere. Clearly, it wanted the light, emotional supply of Rascal Flatts’ lead vocalist Gary LeVox to ship its message about how all of the unsuitable turns and damaged hearts led to precisely the best particular person, though there have been instances when it didn’t appear like a contented ending was within the playing cards. — M.N.

  • M.I.A., “Galang”

    “Galang” was already in circulation in 2003, however a MySpace add the following yr helped prolong its attain nicely earlier than M.I.A.’s debut LP Arular got here out in 2005. Each sound the genre-defying artist integrated into her dancehall-inspired, London street-surviving breakout observe was in service of the rhythm, whether or not it swished, bubbled or bounced, leading to a cool, beat-driven tune that labored as nicely on catwalks because it did at downtown New York dance events. Effectively forward of its time, “Galang” served because the introduction to M.I.A.’s boundary-pushing cool, which might proceed to affect the route of well-liked music for years to return. — C.W.

  • Ciara feat. Petey Pablo, “Goodies”

    An 18-year-old Ciara confidently stepped onto the Atlanta crunk scene along with her grown-and-sexy debut single “Goodies.” Recorded as a response to Petey Pablo’s earlier-in-2004 hit “Freak-a-Leek” — and good-naturedly inviting Pablo himself to supply a visitor verse — the tune dangles Ciara’s symbolic “goodies” in any man’s face as a part of her playful tease, replete along with her come-hither vocals and Lil Jon’s spacey, whistling beat that immediately set off the golf equipment. The tune earned Ciara the “Princess of Crunk&B” title and her first No. 1 on the Sizzling 100, the place it remained for seven consecutive weeks, launching her into the forefront of an city music panorama that she continued to dominate for years. — H.M.

  • T.I., “Rubber Band Man”

    After his first album bricked, T.I. got down to hone his sound and take management of his profession. He began Grand Hustle together with his enterprise accomplice Jason Geter, signed a three way partnership with Atlantic Information, and recorded Lure Muzik, to behave as a rebirth and reset. Gone have been the bubbly Neptunes beats and as a substitute have been extra songs with the searing synths of longtime collaborator DJ Toomp. However it wasn’t till he launched the David Banner-helmed “Rubber Band Man” that the whole lot modified for the Bankhead legend. As bouncy as it’s catchy, the tune serves as the right encapsulation of simply who Clifford Harris was on the time: a very exacting rapper with a drawl that would flip to a chew in a second’s discover, who additionally occurred to be a seven-time felon. It hit No. 30 on the Sizzling 100 and set the stage for the soon-to-be King of the South’s reign. — D.S.

  • Beyoncé, “Naughty Woman”

    Beyonce made an excellent alternative of interpolating Donna Summer season’s 1976 disco hit “Like to Love You Child,” as a result of that’s precisely the way it felt and continues to really feel listening to “Naughty Woman.” It’s a seductive single that flexes Bey’s vocal vary and (with discreet-enough lyrics) was performed continuous in all places from radio to nightclubs to center college dances. As a part of her debut solo album, the tune – with influences from dancehall, funk, reggae and Arabic music – is an ideal instance of the sheer depth Beyoncé would convey to pop music for the following twenty years. — T.M.

  • Grupo Climax, “”El Za Za Za (Mesa Que Más Aplauda)”

    Twenty years in the past, Mexican-based Grupo Climax (in collaboration with DJ Mailo) dropped its greatest hit to this point: “El Za Za Za (Mesa Que Más Aplauda).” With its repetitive catchy refrain, backed by a fast-paced merengue beat laced with an digital cumbia sound and a pattern of Fulanito’s “El Cepillo,” the observe — about seeing which desk (or group of mates) is probably the most hyped on the membership — has turn into a staple for any Latin social gathering. The observe is a part of Climax’s album Za Za Za, which reached No. 1 on the Billboard High Latin Albums chart for 5 consecutive weeks and nabbed a pair of awards on the 2005 Billboard Latin Music Awards. — J.R.

  • Hilary Duff, “Come Clear”

    Hilary Duff, "Come Clean"
    Picture Credit score: Courtesy Picture

    In her teen queen transition from Disney Channel to MTV, Duff introduced on the rain along with her first Sizzling 100 prime 40 hit single, pairing parts of pop/rock and smooth electronica for the Kara DioGuardi- and John Shanks-penned observe. Duff has grown reluctant to embrace her musical contributions to the ’00s, however “Come Clear” stays the top of her discography, and the nostalgic rush it supplies — immediately propelling you again to the beachside actuality TV of 20 years in the past and soothing your now-grown, still-angsty teen coronary heart — is with out peer. — J.D.

  • Gwen Stefani feat. Eve, “Wealthy Woman”

    Gwen Stefani aspired to be richer and extra well-known than she already was on “Wealthy Woman.” After being featured on Eve’s 2001 Grammy-winning “Let Me Blow Ya Thoughts” collaboration, the No Doubt frontwoman enlisted her for the Dr. Dre-produced remake of Louchie Lou & Michie One’s 1993 dancehall favourite “Wealthy Woman,” which interpolates the basic Fiddler on the Roof showtune “If I Have been a Wealthy Man.” Stefani’s happy-go-lucky perspective about having all of the wealth on the planet and playful Na-na-na-na-na chorus, paired with the chirpy pop, reggae and hip-hop-blended manufacturing, makes the aspirational anthem really feel achievable. The Sizzling 100 No. 7 hit helped Stefani step out into the highlight outdoors of her ‘90s ska punk band and enter pop stardom, along with her controversial city and Japanese aesthetics. — H.M.

  • Yellowcard, “Ocean Avenue”

    Just like the “Hey Jealousy” of the emo period, “Ocean Avenue” captures the one most intense second of a younger couple’s historical past — one the place the previous, current and future crash collectively in a determined blur of ardour, ache and urgency — over three beautiful minutes of jaw-dropping pop-rock perfection. Not a second is wasted in “Ocean Avenue” with the stakes so excessive, however probably the most indelible part is definitely the bridge, the place frontman Ryan Key’s idealized visions of what had been and what might nonetheless be are chastened by the fact of what really was (“I bear in mind the look in your eyes, once I informed you that this was goodbye”). However with racing guitar, drums and sure, fiddle urging him on, Key can’t assist however depart room for hope: “We’ll be collectively for another evening, someplace, in some way.” You actually hope he’s proper. — A.U.

  • Britney Spears, “Everytime”

    Lengthy earlier than we have been conscious of the extent of Britney’s private struggles, we had “Everytime,” a gut-wrenching ballad that got here on the heels of her breakup with Justin Timberlake. Uncommon within the scheme of her discography, the observe boasts only one different songwriter, Annet Artani, whereas Britney composed the stirring piano melody herself. It supplies a uncommon, pre-Girl in Me window into the famous person’s true emotions whereas additionally providing an enchanting peek into what she was able to when given freer rein to precise herself. — C.E.

  • Inexperienced Day, “Boulevard of Damaged Goals”

    If “American Fool” broke open the door to a brand new period of Inexperienced Day after their uncooked pop-punk ’90s, “Boulevard of Damaged Goals” crystalized them as a band that also spoke for his or her unique viewers, simply in a more moderen, extra mature (if not any much less disaffected) period. However the tune’s enchantment went even broader, capturing the disillusionment of the post-9/11 Bush years, and 2004 generally, when it appeared like American leaders have been throwing its youth away in countless wars with none regard to outdoors opinion — an concept that was then capped by a No. 2 Sizzling 100 hit and a Grammy for report of the yr. — D.R.

  • Twista feat. Kanye West & Jamie Foxx, “Gradual Jamz”

    The pattern of Luther’s model of the Bacharach/David composition “A Home Is Not A Dwelling” helped popularize the chipmunk soul sound, and put Twista’s rapid-fire supply on the radar of the informal rap fan. Each have been particularly necessary contributions to the style throughout a time when hip-hop was changing into the industrial monster it’s at the moment. The Sizzling 100-topping “Gradual Jamz” was such a banger, Ye recycled it as his second single on his personal The School Dropout debut album, solidifying him as a star each as a rapper and a producer. — A.D.

  • Large & Wealthy, “Save a Horse (Experience a Cowboy)”

    We dare you to search out somebody who was there for this tune’s launch who can’t nonetheless recite each phrase of the tune’s “I’m a thoroughbred, that’s what she mentioned…” religious middle of a rap verse. Certainly, you didn’t must be a rustic fan to listen to and luxuriate in this ubiquitous barnburner from Nashville duo Large & Wealthy, with the lusty, unapologetically foolish, completely simple nation/rock hybrid spending 9 weeks on the Sizzling 100, rocking the nation institution, and soundtracking many an evening out for members of a sure technology. — Ok.B.

  • Future’s Baby, “Lose My Breath”

    As Beyoncé was already nicely on her solution to being the most important solo famous person within the identified galaxy, she reunited with Kelly Rowland and Michelle Williams for another go together with unique R&B group Future’s Baby. The trio’s return for final-to-date full-length effort Future Fulfilled was correctly introduced by the marching-band drums of this teasing, demanding lead single, which proved the absolutely grown Youngsters might nonetheless depart the highest 40 world breathless when assembled. Better part: the harmonies that creep out on the bridge beneath the ultimate phrase of Williams’ questioning, “Why you ask for some?/ You ain’t really need noooone.” — A.U.

  • Jay-Z, “Filth Off Your Shoulder”

    Amongst different issues, The Black Album was a snapshot of hip-hop’s greatest producers circa 2003, and “Filth Off Your Shoulder” – the album’s greatest chart smash, reaching No. 5 in April ’04 – was Timbaland’s contribution. Like the most effective Timbo beats, it in some way nonetheless seems like the long run, even 20 years later. However it’s Jay’s braggadocious verses and shout-along hook that elevate it to all-time standing, and prompted then-candidate Barack Obama to “brush the filth” off his shoulders when responding to marketing campaign assaults from his 2008 main rival Hillary Clinton. — E.R.B.

  • Arcade Hearth, “Neighborhood #1 (Tunnels)”

    With “Neighborhood #1 (Tunnels),” Arcade Hearth achieved the uncommon feat of crafting a tune equally fitted to each bedrooms and arenas, marrying the specificity of its seemingly post-apocalyptic lyrics (“Then we tried to call our infants/However we forgot all/ The names we used to know”) to a cinematic momentum that sweeps you away in a bracing crescendo of twinkling piano, skybound guitar, Regine Chassagne’s ghostly backing vocals and, puncturing all of it, Win Butler’s pressing wail. Twenty years later, the tune retains a timeless energy. — C.E.

  • Usher, “Confessions Pt. II”

    Usher, "Confessions, Pt. II"
    Picture Credit score: Courtesy Picture

    Usher carried out a whopping seven tracks from his Diamond-certified Confessions album throughout his 2024 Tremendous Bowl Halftime headlining efficiency, however solely certainly one of them offered your entire framework for his video asserting the gig. Confessional in a manner that was virtually predictive of the reigniting actuality tv industrial advanced, the Sizzling 100-topping mid-tempo ballad effortlessly combines the timeless attract of movie star, the emotionally revelatory nature of R&B lyricism and Usher’s silky vocals for a ballad that understands the true enchantment of drama: utilizing it as a mirrored image in your personal life. (Though the story of “Confessions” was actually that of his longtime writer-producer J.D., not Ush’s personal.) — Ok.D.

  • Ashlee Simpson, “Items of Me”

    With pop-rock performers like Avril Lavigne, P!nk and Kelly Clarkson carving out their audiences within the early 2000s, Ashlee Simpson might have simply been ignored from the soar. However when you have got a debut tune as singularly feel-good as “Items of Me,” consideration is warranted. From the opening lyrics detailing every week’s price of longing to a belt-along refrain that’s been filling karaoke bars for the final twenty years, “Items of Me” is the unquestioned anthem for each particular person skipping down the road whereas dwelling out a real-life rom-com. In case you’re seeking to relaxation your head on one thing actual, you’ll positively like the best way this tune feels. — S.D.

  • JoJo, “Go away (Get Out)”

    Joanna Levesque had formally been a youngster for all of two months when her debut single was launched, however “Go away (Get Out)” didn’t sound like an offended missive from a center schooler: The rhythmic pop cast-off, which alternates between its two titular instructions in its refrain, is seething with damage, as JoJo sings about dashed goals (“Hope that when it’s late at evening/ I maintain on to my pillow tight / And consider the way you promised me eternally”) and surprising betrayal (“How might you ever be so chilly?”). Even when the ache scans as melodramatic coming from a 13-year-old, “Go away (Get Out)” stays a sleekly efficient banger, balling up its feelings throughout its verses and throwing them in your face throughout the hook. — J. Lipshutz

  • OutKast feat. Sleepy Brown, “The Method You Transfer”

    You may’t assist however begin smiling and gliding throughout the ground everytime you hear the opening notes — or watch the video — of this enjoyable and soulful paean to girls. One other testomony to OutKast’s skillful genre-melding, “Transfer” mesmerizes with its vibrant mix of southern hip-hop, bass music and R&B/soul plus dwell horns. After factoring in Large Boi’s suave movement and Sleepy Brown’s attractive crooning, it’s no shock the observe reached No. 1 on the Sizzling 100 because the second “lead” single — after André 3000’s personal chart-topping “Hey Ya!” — from OutKast’s bifurcated album of the yr Grammy-winning double LP Speakerboxxx/The Love Beneath. — G.M.

  • Alicia Keys, “If I Ain’t Received You”

    This instant-classic love tune boils true romance down to at least one easy phrase: “All the pieces means nothing if I ain’t obtained you.” We’ve heard plenty of songs that prioritize love over fame and fortune, which is what makes it so outstanding that Alicia Keys was capable of craft successful that feels so timeless and lived-in that was additionally an ideal hit for contemporary pop and R&B. Credit score is because of her signature piano enjoying and craving vocal for promoting simply how a lot she will’t dwell with out her love. – Ok.A.

  • Maroon 5, “This Love”

    Maroon 5 grew to become America’s No. 1 purveyor of extremely accessible, markedly inoffensive prime 40 pop-rock so rapidly (and for thus lengthy) that it may be just a little jarring to return and bear in mind what a nasty edge — comparatively talking, in fact — the group’s first-ever Sizzling 100 prime 5 hit had. “This Love” is pissed off, funky and virtually dangerously attractive, with frontman Adam Levine lending maybe his most impassioned vocal to its story of a poisonous relationship that also leaves his thoughts electrified, however his coronary heart (and the remainder of his physique) bruised and damaged. It didn’t actually sound like the rest on the radio on the time, although it spawned sufficient imitators that it could principally be the final time that was true for the band. — A.U.

  • Beyoncé, “Dangerously in Love 2”

    What number of songs have the respect of being each probably the greatest ballads of the 2000s and the opener for the highest-grossing feminine tour in Billboard Boxscore historical past? Only one: Whether or not it’s the riff-tastic Beyoncé Expertise model, the OG Future’s Baby rendition or the soulfully nostalgic Renaissance World Tour version, “Dangerously in Love” reigns as not only a quintessential Queen Bey tune, however some of the seminal songs from the early ’00s. The title observe to the icon’s basic debut solo album presents the ethos of her catalog: fearlessly baptizing your self within the rocky, however in the end rewarding, waves of affection in its deepest manifestations. Between the evocative fingerpicked guitar and Beyoncé’s impassioned vocal efficiency, solely “Dangerously” could make love concurrently sound like probably the most terrifying and sacred factor on the planet. — Ok.D.

  • The Killers, “Someone Advised Me”

    As statements of grand ambition go, it doesn’t get a lot larger than the primary two singles from the Vegas rockers’ debut studio album Sizzling Fuss. Earlier than the runaway practice that was “Mr. Brightside,” this wall-of-sound blast of guitars and synths obtained the band off and working, with a refrain pushed by one of many extra glorious scroll-down one-liners (“Someone informed me that you simply had a boyfriend who regarded like a girlfriend that I had in February of final yr”). However it’s Brandon Flowers’ strutting vocal supply that sells the tune — and the concept of The Killers as enviornment rock’s heirs obvious. — R.M.

  • Ye, “Jesus Walks”

    Ye rammed his head in opposition to the 3XL jerseys and road hustler raps dominating hip-hop within the mid-’00s, whereas shouting to the lots that his pink polo and chopped-up soul samples have been about to provide the style a cultural reset. Nonetheless, he had his doubts about whether or not debut LP The School Dropout‘s Christianity-themed third single might cross over: “If I discuss God, my report gained’t get performed,” Kanye West testified close to the top of “Jesus Walks.” However with the relatability of the tune’s inside religious battle and the rousing manufacturing and efficiency by means of which he delivered his message, the tune grew to become maybe the album’s most acclaimed, and Ye in the end proved himself unsuitable with the Sizzling 100 No. 11 hit. Even those that have understandably hopped off the West bandwagon in recent times can’t deny the breath of recent air he delivered to hundreds of thousands of lungs with The School Dropout and “Jesus Walks.” — M.S.

  • Modest Mouse, “Float On”

    In case you’d been following alongside since Modest Mouse’s first album in 1996, you have been both shocked that this as soon as lo-fi, weirdo, considerably depressive alt-rock band was abruptly getting common radio play, otherwise you knew that it was solely a matter of time earlier than Issac Brock’s evocative songwriting linked in an enormous manner with the lots — he simply needed to put a constructive spin on issues. On every other Modest Mouse tune, if Brock had backed his automobile right into a cop automobile, he would’ve been on the hood in seconds — however this time, “Effectively, he simply drove off, typically life’s OK.” Whether or not dropping a job or getting scammed, Brock shrugs it off, dreamily repeating, “We’ll all float on, OK,” on the refrain. It served as an sudden shiny spot on the airwaves, at a time when radio was additionally crammed with information about George W. Bush and the struggle in Iraq. In fact, the tune was by no means meant to convey peace within the Center East — however it did minimize by means of the noise, providing a momentary escape at a time when it felt just like the partitions have been closing in. — C.W.

  • Ciara feat. Missy Elliott, “1, 2 Step”

    Ciara, "1, 2 Step"
    Picture Credit score: Courtesy Picture

    “Women and gentleman, it is a Jazze Phizzle productshizzle,” publicizes producer Jazze Pha on the outset of “1, 2 Step” – however you may be forgiven for not remembering that, contemplating Ciara steals the highlight the second she hits the mic. Even at 19, her voice was steeped in a soulful purity and unshakable self-confidence. Hell, even with Missy Elliott – one of many biggest rappers of all time — delivering a killer visitor verse with attribute panache, Ciara is the “Step” grasp. With “Goodies” going No. 1 for seven weeks and this one hitting No. 2, the tune was virtually prophetic in its title – and positively proved that Ciara was on this for the lengthy haul. — J. Lynch

  • Yeah Yeah Yeahs, “Maps”

    Yeah Yeah Yeahs, "Maps"
    Picture Credit score: Courtesy Picture

    By the point Yeah Yeah Yeahs’ debut album Fever to Inform dropped in 2003, frontwoman Karen O had already turn into well-known for her unhinged, beer-spitting stage presence. So it was sudden when “Maps,” the album’s heart-wrenching third single and emotional centerpiece, grew to become the band’s breakthrough hit the next yr. And but the tune’s success additionally made good sense, tapping right into a common vein of romantic desperation with that straightforward refrain, delivered by Karen O in a manner that makes you’re feeling such as you’re witnessing the anguished final gasp of a relationship in real-time (“Wait/They don’t love you want I like you”). Yeah Yeah Yeahs have continued to place out compelling work since, however “Maps” stays the band’s enduring assertion for distilling romantic agony into its most primal type. — C.E.

  • Daddy Yankee, “Gasolina”

    Daddy Yankee, "Gasolina"
    Picture Credit score: Courtesy Picture

    A straightforward-yet-memorable phrase — translated as “She likes gasolina, give her extra gasoline” — single-handedly modified the way forward for reggaetón music twenty years in the past. Impressed by the housing mission the place he lived in Puerto Rico, the place he noticed the prettiest ladies within the barrio settle for rides from the fellows with the flashiest vehicles, Daddy Yankee unleashed “Gasolina.” With a hard-hitting beat helmed by Luny Tunes and Eddie Dee, and rapid-fire verses from Yankee, “Gasolina” not solely helped convey reggaetón music to the worldwide stage in 2004, however it additionally altered the enterprise and sound of Latin music for years to return. “Gasolina” marked the primary single off of Yankee’s Barrio Fino, which debuted at No. 1 on Billboard’s High Latin Albums chart and have become the primary reggaetón album to hit that spot. In 2023, the tune additionally grew to become the primary reggaetón recording to be inducted into the Nationwide Recording Registry. — J.R.

  • Franz Ferdinand, “Take Me Out”

    Franz Ferdinand, "Take Me Out"
    Picture Credit score: Courtesy Picture

    Franz Ferdinand frontman Alex Kapranos has instructed that each Giorgio Moroder and Howlin’ Wolf influenced the band’s culture-shifting single “Take Me Out.” And given the tune’s relentless beat and craving lyrics, the connection isn’t as far-fetched because it appears on its face. Loads of songs within the early ’00s rock revival went arduous – however few, if any, additionally grooved like “Take Me Out,” among the many greatest guitars-on-the-dancefloor tracks ever. As nice DJs do, simply when the observe appears to be dying down, Franz Ferdinand brings the refrain again – a last, 40-second victory lap for a brand new band already on the prime of its sport. — E.R.B.

  • Inexperienced Day, “American Fool”

    Green Day, "American Idiot"
    Picture Credit score: Courtesy Picture

    This propulsive, thrashing title observe to Inexperienced Day’s 2004 punk-rock opera, which checked out a rustic fueled by misinformation and mired in its personal post-9/11 ignorance and disillusionment, by no means takes its foot off the gasoline for its full three minutes. American Fool revived the pop-punk trio, who have been coming off 2000’s disappointing Warning, by hanging across the Billboard 200’s prime 10 for a full yr, and later being became successful Broadway musical. “Fool” went on to turn into some of the vital songs in Inexperienced Day’s canon — opening up a complete new chapter for the group with its spiky, unrelenting beat and pointed, cynical lyrics, that are as related at the moment as they have been 20 years in the past, if not sadly extra so. — M.N.

  • Jay-Z, “99 Issues”

    Jay-Z, "99 Problems"
    Picture Credit score: Courtesy Picture

    By 2004, Jay-Z had conquered all of it: a handful of No. 1 albums, bought out excursions world wide, the acclaim of the rap sport and Beyoncé by his aspect. But when something, “99 Issues” proved he nonetheless had limits to push. His first-ever musical collaboration with Rick Rubin — the Def Jam co-founder whose label he would subsequently retire from rapping to run — the tune is the primary pure rock-heavy tune of Jay’s profession, foreshadowing his rock-rap collab with Linkin Park later that yr. However greater than its sonic impression, the “99 Issues” lyrics would turn into embedded within the public consciousness, from its bombastic, Ice T-borrowed hook to its brash, indignant verses, every taking over a distinct goal: the primary, his haters and critics within the rap sport; the second, a BS police visitors cease that illustrated the Black expertise with legislation enforcement that also characterizes the nation; the third, movie star itself and its penalties. It’s a triumph, and 20 years later it feels as recent (and hits as arduous) because the day it got here out. — D.R.

  • Snoop Dogg feat. Pharrell, “Drop It Like It is Sizzling”

    Snoop Dogg feat. Pharrell Williams, "Drop It Like It's Hot"
    Picture Credit score: Courtesy Picture

    A half decade into The Neptunes’ reign as hip-hop and pop’s go-to beatsmiths — and a full decade into Snoop presiding over West Coast hip-hop because the Doggfather — you won’t have thought both artist or producers had any new methods up their sleeves. However inside 30 jaw-dropping seconds of “Drop It Like It’s Sizzling,” it was clear nobody concerned had ever accomplished something prefer it earlier than: The beat hissed like a dwell wire and popped like a firecracker, whereas Snoop sounded concurrently seductive and menacing on the hook, threatening violence however promising the most effective weed and champagne. And in case you wanted any additional proof we have been in unprecedented territory, Pharrell even emerged from behind the decks for a surprisingly good visitor verse, together with probably the most unforgettably filthy couplet you’d hear (most of) on the radio in ’04: “Eligible bachelor, million greenback boat/ That’s whiter than what’s spillin’ down your throat.” — A.U.

  • Usher feat. Lil Jon & Ludacris, “Yeah!”

    Usher feat. Lil Jon & Ludacris, "Yeah!"
    Picture Credit score: Courtesy Picture

    Who knew such a easy phrase might maintain a lot energy in well-liked music? Launched because the lead single from Usher’s magnus opus Confessions, “Yeah!” is an uproarious membership anthem centered round Lil Jon’s titular chant, backed by a recurring ring of synths and a booming bass sample that seems like a turnt alarm clock, that’ll usher (pun meant) anybody onto the dancefloor. However Ush, whose seductive R&B vocals give the crunk smash a smoother edge, remains to be caught up by who he introduced again with him to the bed room (“Her and my lady was once the most effective of homies,” he reveals within the refrain). In the meantime, Ludacris brags about getting girls of their birthday fits and the way his movement, Lil Jon’s beat and Usher’s voice all can “make ya booty go” *clap.*  

    “Yeah!” unsurprisingly racked up the accomplishments and accolades, spending 12 consecutive weeks at No. 1 on the Sizzling 100 (and ending up the Yr-Finish Sizzling 100’s No. 1 single for 2004), whereas additionally successful the 2005 Grammy Award for greatest rap/sung collaboration and getting nominated for report of the yr. And it’s nonetheless doing it: “Yeah!” additionally earned 13-times platinum standing within the U.S. simply two days earlier than Usher, Ludacris and Lil Jon carried out it because the climax to the previous’s Tremendous Bowl LVIII Halftime Present final February – proving it will possibly nonetheless make booties go *clap* on the world’s greatest phases, even 20 years after its launch. — H.M.

  • Kelly Clarkson, “Since U Been Gone”

    Kelly Clarkson, "Since U Been Gone"
    Picture Credit score: Courtesy Picture

    Within the second, “Since U Been Gone” achieved lots. Kelly Clarkson, then identified greatest because the winner of American Idol’s first season, had scored hits earlier than, however nothing with the brash character and guitar-rock enamel of the second single to her Breakaway album, and he or she strode away from adult-pop singles like “A Second Like This” in the direction of true pop stardom. In the meantime, Max Martin used “Since U Been Gone” to catapult out of the turn-of-the-century teenybopper period and right into a profitable new manufacturing part — whereas additionally launching the profession of studio collaborator Lukas “Dr. Luke” Gottwald.

    Skilled successes apart, although, “Since U Been Gone” endures twenty years later as a flamethrower of a pop-rock tune, setting hearth to the whole lot in its path with pristine manufacturing, enthralling soft-loud dynamics and a dynamite vocal throwdown by a breakup-healed Clarkson. There are moments by which Clarkson harmonizes with herself, and her larger octave makes it sound like she’s levitating — that’s how “Since U Been Gone” co-exists with lesser hits, figuring out the requirements of contemporary prime 40 and floating above them. — J. Lipshutz

  • Britney Spears, “Poisonous”

    Britney Spears, "Toxic"
    Picture Credit score: Courtesy Picture

    The addictive love that Britney Spears describes in “Poisonous” might simply translate to the habit-forming tune itself. “There’s no escape, I can’t wait/ I want successful, child, give me it”: To listen to “Poisonous” as soon as is to wish to listen to it once more — instantly.

    Is it the high-pitched strings from Bloodshy & Avant? Or the venomous lyrics from the Swedish manufacturing duo alongside Cathy Dennis and Henrik Jonback? Or possibly the cheeky superspy-spoofing music video? (It’s unimaginable to listen to this tune with out instantly picturing Spears in a futuristic blue flight-attendant uniform.)

    No matter it’s, the Within the Zone earworm contaminated everybody inside its attain, because it topped Billboard’s Pop Airplay and Dance Membership Songs charts (in addition to our employees’s personal Greatest Britney Spears Songs listing). It earned Spears her first, and to this point solely, Grammy (for greatest dance recording). And even Jay-Z selected it as his favourite Britney tune in a random 2013 Twitter Q&A (“jamming my G”). The tune’s most enduring legacy, although, is likely to be its whiplash-inducing vary of covers, from Native H’s rocker, to The Chapin Sisters’ people model, to Mark Ronson’s ODB-featuring hip-hop spin, to, naturally, a cappella takes from each the Pitch Excellent franchise and Glee (twice).

    What all of the above endorsements add as much as is that “Poisonous” has seemingly turn into Spears’ most universally beloved tune, utilizing her already-established superpowers (the unmistakable breathy vocals, her magnetic onscreen presence and flawless choreography) and including an digital pop sound that put a legend who might have been eternally linked to the ’90s as an alternative on the forefront of prime 40’s new frontier. The outcomes have been something however poisonous, however they have been nonetheless positively deadly. – Ok.A.

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