Listing Dangerously: The 100 Greatest Singles of All Time

With the passing of the years I have undoubtedly become more pop. Time was, generally as a serious minded student who fancied he saw profound meaning in everything, that I proclaimed all the art in rock music (definitely not popular music) lay in the slow burning treasures of the long player. Albums were an entire world in themselves, painstakingly constructed by the visionary artiste(s) to flow together as a unified aural experience. To excise one track to listen to separately was like lopping a single chapter out of ‘War and Peace’ and expecting the whole intricate plot to make sense on the basis of thirty pages.

It’s not so much that I now disagree with that assessment as that I realise I’d been employing the wrong metaphor. Singles, good singles, are not individual chapters of a larger work but perfectly formed short stories that have a satisfying beginning, middle and end in their own right. And, quite often, they are a lot more fun. A weighty artistic statement can be very rewarding but it can also just as often be a tedious slog; a single is usually done and dusted in about three minutes so even if you don’t much care for it it’s not like you’ve wasted a significant amount of your life indulging its mediocrity. These days I am far more likely to listen to a playlist of great songs (admittedly not necessarily all singles) than I am to wade through an hour long album.

This list attempts to collate what are generally accepted to be the greatest examples of the single form and rank them according to both importance and pure quality. To qualify, a song has to have been released as a single in either the United Kingdom or the United States or preferably both; so no limited edition Japanese promo releases – that way madness lies. It is not a personal list of my favourite 45s although I do absolutely love the majority of the songs contained within. There have been numerous polls of greatest songs but, oddly, not all that many of great singles. The template for this one is the Mojo 100 Greatest Singles list from 1997 which, although typically well researched and written, does have some rather bizarre selections (Robert Palmer’s ‘Addicted to Love’ at no.67? And ‘Stupid Girl’ by Garbage ten places beneath that?) I am not saying that this list is anywhere near fool-proof but I would like to think it makes a little bit more sense.

A great song does not always make a great single. Indeed, in some cases it never even gets the chance. The Beatles’ ‘A Day In The Life’ is frequently cited as the best song of all time yet was never released as a 45 nor was, notoriously, anything by Led Zeppelin. The mid-70s was a popular music civil war between singles and albums with many of the rock aristocracy seeing the shorter format as only fit for novelty acts or dire light entertainment crooners. Fortunately the twin pronged attack of punk and disco then came along to reassert the primal rush of ‘the song’ rather than ‘the grandiose statement’ and that reassertion is still with us today. Although arguably with the 21^st century’s obsession with downloads and streaming the situation may have gone too far the other way.

There are also some classic songs that WERE released as singles that just don’t really work in that form. ‘Hotel California’ by the Eagles, say, or Pink Floyd’s ‘Comfortably Numb’ with their show-off epic guitar solos are undoubtedly impressive pieces of work but best heard within the context of the unified aural experience that I unfairly lambasted at the start of this piece.

As a final caveat I should do the traditional thing of trotting out the many and varied great singles that there was simply no room to include. There is no James Brown, Rod Stewart, Bob Marley or Elvis Costello. No ‘I Got You Babe,’ ‘Up the Junction,’ ‘When A Man Loves A Woman’ or ‘Hey Ya.’ Suffice it to say that there would be even less diversity had I not imposed some kind of limit on the number of songs a single artist could accrue. In the vast majority of cases it is one track per artist but there are a handful of special cases where the obvious stature of the act and quality of their canon made multiple entries imperative. Even so there is only one act with four entries in the list

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CRAZY - GNARLS BARKLEY (2006)

The first track to top the UK charts solely on downloads, Cee-Lo Green and Danger Mouse’s melding of classic soul with 21^st century pop savvy proved one of the decade’s most irresistible singles

LIKE A PRAYER – MADONNA (1989)

‘Like a Prayer’ was a world away from the straightforward dance pop that Madge had unleashed in her bid for world domination. Mature, emotional and symphonic it is still her finest five minutes

YOU DON’T HAVE TO SAY YOU LOVE ME – DUSTY SPRINGFIELD (1966)

Dusty’s treacle tones transformed this melodramatic Italian ballad into an aching, passionate love song that became her biggest hit

EVER FALLEN IN LOVE (WITH SOMEONE YOU SHOULDN’T’VE) – BUZZCOCKS (1978)

Always the most melodically minded of the first generation punk bands Buzzcocks’ signature song typifies their winning combination of angsty charm and choppy sonic attack

FRIDAY I’M IN LOVE – THE CURE (1992)

The mid-80s may have been the Cure’s heyday but for all the skewed brilliance of ‘The Lovecats’ and ‘In Between Days’ this effervescent early 90s offering is their jangling indie pop masterpiece

YOU CAN’T HURRY LOVE – THE SUPREMES (1966)

So good even a Phil Collins cover version can’t ruin its memory ‘You Can’t Hurry Love’s sugar sweet vocals and, especially, its driving, iconic bassline have inspired countless imitators (see no.79)

SUBTERRANEAN HOMESICK BLUES – BOB DYLAN (1965)

Dylan’s stream of consciousness classic has been analysed from every conceivable angle but its lasting legacy is the way it brought greater lyrical experimentation into the burgeoning rock scene

NOTHING COMPARES 2 U – SINEAD O’CONNOR (1990)

In Sinead O’Connor’s intense, emotive hands this already fine Prince song found whole new layers of pain, loss and rage that ensured it became a worldwide hit

OUR HOUSE – MADNESS (1982)

Only Suggs and co. can get away with chirpy Cockney ska singalongs and ‘Our House’ marries an irrepressible, feelgood tune with lyrics that are both witty and quietly touching

SUPERSTITION – STEVIE WONDER (1972)

With its distinctive clavinet hook ‘Superstition’ is an iconic slice of early 70s funk and the sound of a creative genius at the peak of his powers

ACE OF SPADES – MOTORHEAD (1980)

A little like being hit full on by a freight train Lemmy’s ode to the thrill of gambling proved that metal could be fast and visceral rather than laboured and ponderous

ITCHYCOO PARK – THE SMALL FACES (1967)

As flower power swept all before it even the toughest mods were advised to discover their trippier side. The Small Faces accomplished this better than most, crucially by keeping Steve Marriott’s spectacular soul voice centre stage

LIVE FOREVER – OASIS (1994)

However much they descended into self-parody afterwards, this sky-scraping anthem to youthful arrogance and taking on the world reinvigorated British rock in the mid-90s

RELAX – FRANKIE GOES TO HOLLYWOOD (1983)

It may have been marketed as subversive pop art by their record label ZTT but this monster hit’s transgressive appeal was the promise of sexual decadence and libertinism lashed to a beat that sounded every bit as filthy

JOLENE – DOLLY PARTON (1973)

One of John Lennon’s favourite songs this country classic’s infectious tune masks bittersweet lyrics of lovelorn desperation and is delivered with suitable vulnerability by the inimitable Dolly

EVERY BREATH YOU TAKE – THE POLICE (1983)

Mercifully free from the band's customary cod-Jamaican accents everybody’s favourite misunderstood love song is a marvellously chilly affair that manages to make stalking sound stylish

PARANOID – BLACK SABBATH (1970)

Tony Iommi’s monolithic riff reflected the heavy machinery of industrial Birmingham, the band’s home town, and it also invented the heavy metal genre. Yet the single is a deceptively supple beast; pacy and clipped it doesn’t outstay its welcome by a second

TRUE FAITH – NEW ORDER (1987)

Whilst ‘Blue Monday’ may be more significant to veteran clubbers ‘True Faith’ is the better pop song. With lyrics vague enough to be meaningful, some wonderful bass from Peter Hook and one of the band’s catchiest choruses it is also not half bad to dance to

LIGHT MY FIRE – THE DOORS (1967)

A great song can withstand a little butchering and whilst the single version of the Doors seven minute counterculture opus does away with nearly all the instrumental break, crucially it retains that timeless organ riff that is one of rock’s most recognisable hooks

UNFINISHED SYMPATHY – MASSIVE ATTACK (1991)

The hypnotic charms of trip-hop are seen here to their greatest effect. The dense musical background of beats, samples and orchestration is complimented perfectly by Shara Nelson’s soulful vocal

SUSPICIOUS MINDS – ELVIS PRESLEY (1969)

Elvis’s ’68 Comeback Special’ was arguably the greatest resurrection in rock and the following year’s ‘Suspicious Minds’ showcased a more mature, theatrical side to the King that cemented his legendary reputation

A TOWN CALLED MALICE – THE JAM (1982)

Ok, so the bassline may not be wholly original (see no.95) but Paul Weller and co.’s genius was overlaying the slinky soul groove with lyrics redolent of the United Kingdom in the early 80s. A hundred lonely housewives clutch empty milkbottles to their hearts, indeed

SHEENA IS A PUNK ROCKER – THE RAMONES (1977)

Never was the New York City punks love of 50s rock n roll and 60s girl groups more in evidence than on this canny and cute adrenalin rush of guitar; a gonzo manifesto for the vibrant new scene

THE MODEL – KRAFTWERK (1978)

As if to counter accusations of Teutonic humourlessness and endless synthesized noodling the German electro pioneers provided this wry satire on the superficiality of fame (a British chart topper in 1981 at the third time of asking), a triumph of melody and concision

DANCING IN THE STREET – MARTHA REEVES AND THE VANDELLAS (1964)

One of Motown’s most joyous records (and that’s saying something!) this irrepressible appeal to party hard caught Berry Gordy’s iconic label on the cusp of seducing the world

CREEP – RADIOHEAD (1992)

Although famously disowned by the band when they became Britpop darlings and lacking the layered sophistication of some of their later work ‘Creep’ remains a staggeringly visceral achievement and landmark indie anthem

LONDON CALLING – THE CLASH (1980)

A dark, brooding state of the nation address from Joe Strummer’s troops, the title track from their career best double album demonstrated a new maturity for the capital’s punk rockers, both musically and lyrically

TELSTAR – THE TORNADOS (1962)

The record sleeve may say the Tornados but ‘Telstar’ is all maverick producer Joe Meek’s creation. A futuristic instrumental racket that chimed perfectly with the 60s’ fascination for space and the ‘white heat’ of technology, it rocketed to number one

METAL GURU – T-REX (1972)

Marc Bolan’s elfin allure ensured T-Rex’s stratospheric popularity but they more than had the tunes to back it up. ‘Metal Guru’ is a high octane singalong which proved simply irresistible to the British public

WHAT’D I SAY – RAY CHARLES (1959)

It wasn’t just the fact that ‘What’d I Say’ was split over both sides of the single release that made it revolutionary. The wild, improvisatory nature of Charles’ keyboard playing and call and response vocals mark it out as arguably the first modern soul record

YOU REALLY GOT ME – THE KINKS (1964)

Before the arch observations on the English way of life the Kinks were among the most muscular British Invasion acts and this brutal slice of buzzsaw guitar and untrammelled lust was their signature song

FAMILY AFFAIR – SLY AND THE FAMILY STONE (1971)

Before ‘Family Affair’ Sly Stone was best known for feel-good, pseudo-hippy funk anthems. This bleak tale of disaffected family life was delivered in a sombre drawl with a sparse programmed rhythm track. Weirdly it became the biggest hit of his career

CUM ON FEEL THE NOIZE – SLADE (1973)

While Marc Bolan held the teenyboppers entranced Noddy Holder was leading their dads in beery terrace chants. This unashamedly primal powerhouse singalong is the pick of their many memorable 45s

ANOTHER GIRL, ANOTHER PLANET – THE ONLY ONES (1978)

If you’re going to be a one hit wonder then you best make sure your one hit is a stone cold classic. This thinly disguised drug song builds to a delirious crescendo of spiralling guitar as singer Peter Perrett channels his inner Mick Jagger

CAN’T GET YOU OUT OF MY HEAD – KYLIE MINOGUE (2001)

The track that successfully reinvented Ms Minogue as an ice cool dance pop diva this meticulously produced modern classic is relentless in its sleek, motorik beats

BRIDGE OVER TROUBLED WATER – SIMON AND GARFUNKEL (1970)

This uber-commercial sweeping ballad angered those who preferred their S&G a trifle more folky and intellectual but it is an anthemic avowal of love and support that only the hardest heart can remain unmoved by

BROWN EYED GIRL – VAN MORRISON (1967)

Changed at the last minute from ‘Brown Skinned Girl’ this piece of blue eyed soul from the mean streets of Belfast is lighter and jauntier than most of Van the Man’s output, an exception that ensured its place as a karaoke staple

‘HEROES’ – DAVID BOWIE (1977)

Producer Tony Visconti’s studio trickery contrived to make this dramatic Bowie ballad at once both coldly angular and impossibly romantic – a fair summation of Bowie’s entire Berlin period. A significantly edited version of the album track was not a big hit on release but its status has grown and grown ever since

WHAT’S GOING ON – MARVIN GAYE (1971)

In the early 70s every soul star of note was getting heavy and politicised and Marvin Gaye was no exception. Fortunately for his listeners he tempered the social message with the smooth honeyed tones of his vocal delivery on this, the title track from his seminal album

LOUIE LOUIE – THE KINGSMEN (1963)

The one true classic of the American garage rock scene this gloriously ramshackle take on a 50s rhythm and blues standard is a progenitor of punk. The FBI investigated the song’s lyrical content only to be stumped by its sheer incomprehensibility

GOODBYE YELLOW BRICK ROAD – ELTON JOHN (1973)

It’s hard these days to remember the time when the former Reg Dwight was a potent musical force. This haunting, psychedelic reimagining of ‘The Wizard of Oz’ is proof that, back in his 70s pomp, he was capable of some magical stuff

WALK ON BY – DIONNE WARWICK (1964)

Burt Bacharach and Hal David made easy listening cool in the mid-60s and this beautiful ballad, sung with crisp delicacy by Dionne Warwick, is a gossamer light slice of sophisticated pop

THAT’LL BE THE DAY – BUDDY HOLLY AND THE CRICKETS (1957)

Holly was the stuttering, geeky everyman of the first wave of rock n roll; although as the sprightly, insistent ‘That’ll Be The Day’ demonstrates, he understood pop songcraft better than any of his contemporaries

LOSING MY RELIGION – REM (1991)

Replacing ‘Maggie May’ as the most famous mandolin powered 45 ‘Losing My Religion’ was more commercial and accessible than the jangle pop specialists’ previous work and set them on the path to global stardom

THERE SHE GOES – THE LAS (1988)

The Las’ Lee Mavers was a notorious perfectionist who never felt that his band’s sole album was ready for release. Everybody else considered it a modern classic and its lead single, a sly ode to heroin, the greatest piece of Byrdsian guitar jangle in years

ALWAYS ON MY MIND – PET SHOP BOYS (1987)

If the point of a cover version is to put your own unique stamp on somebody else’s original then it is no wonder that the PSBs’ ‘Always On My Mind’ is routinely trotted out as the greatest cover version of all time. In Tennant and Lowe’s hands Elvis’ melodramatic ballad became a stomping disco powerhouse

DAYDREAM BELIEVER – THE MONKEES (1967)

It really shouldn’t have worked. Four cute guys put together by opportunistic moguls as an ersatz Beatles. But when they had material as gorgeous as this dreamy (sorry) ballad high minded resistance was futile

THIS CHARMING MAN – THE SMITHS (1983)

The second single from the most significant band of their generation has it all; Johnny Marr’s twinkling guitar lines, Morrissey’s louche, literate delivery and possibly the greatest opening couplet in pop history

MY GIRL – THE TEMPTATIONS (1965)

As delicious and comforting as sinking into a freshly made bed ‘My Girl’ epitomises the lush, feel-good majesty of the motor city sound and confirms the songwriting genius of Smokey Robinson

WICHITA LINEMAN – GLEN CAMPBELL (1968)

Centred around an almost mythic American image – the isolated telephone lineman stranded in the barren Kansas landscape – Jimmy Webb’s country tinged ballad is a masterpiece of understated emotion and quiet desperation

SUMMERTIME BLUES – EDDIE COCHRAN (1958)

Much like his peer Buddy Holly there was something ordinary and boy-next-door about Eddie Cochran. This witty, endearing rockabilly number perfectly captures the frustrations and righteous injustice of being a teenager in 1950s America

DON’T YOU WANT ME – THE HUMAN LEAGUE (1981)

Every so often you come across a chart topping single that was hated by the band that recorded it. Phil Oakey begged Virgin not to release this fabulous synth-pop duet documenting a crumbling relationship. The record company refused to back down and the rest is pop history

REACH OUT, I’LL BE THERE – THE FOUR TOPS (1966)

A more soulful concoction than Motown was reknowned for ‘Reach Out…’ was inspired equally by gospel and Bob Dylan and featured one of the most powerful vocals from the Tops’ frontman Levi Stubbs

SHE LOVES YOU – THE BEATLES (1963)

‘She Loves You’ is the first of a clutch of Beatles’ songs on this list and is the quintessential example of the melodic exuberance of the early period Fab Four. If any one song is most associated with the phenomenon of Beatlemania it is this

HEART OF GLASS – BLONDIE (1978)

NYC’s Blondie started life as an, admittedly poppy, gang of Bowery punks before rapidly morphing into new wave and then, on ‘Heart of Glass,’ disco. Debbie Harry’s frail yet sassy voice is perfect for the catchy, insistent beat and within a couple of years the band would be tackling rap and hip hop

JUMPIN’ JACK FLASH – THE ROLLING STONES (1968)

Following a misguided attempt at psychedelia on ‘Their Satanic Majesties Request’ the Stones went back to basics and recorded this brutal, bruising swagger of a rock n roll song. Tapping into a widespread return to a bluesier aesthetic the single soon hit the top of the British charts

WHEN DOVES CRY – PRINCE (1984)

‘When Doves Cry’ is not your standard funky, danceable Prince track. Built around spare keyboard and drums the lyrics (whatever exactly they are about) feel claustrophobic and faintly sinister whilst the Purple One’s intense delivery sets it apart from his usual licentious entreaties

THE TRACKS OF MY TEARS – SMOKEY ROBINSON AND THE MIRACLES (1965)

Lauded by both Lennon and Dylan Smokey Robinson is one of the true songwriting geniuses in the history of pop music and, with its keening melody and heartbreaking lyrics, ‘The Tracks Of My Tears’ is his crowning glory

CALIFORNIA DREAMIN’ – THE MAMAS AND THE PAPAS (1965)

The great ode to the sun-kissed charms of LA, ‘California Dreamin’’ has become synonymous with the mid-60s hippy ideal and the eternal promise of a bucolic utopia lurking a few miles down the track

BILLIE JEAN – MICHAEL JACKSON (1983)

Courtesy of a live performance of the track which premiered the moonwalk ‘Billie Jean’ propelled Michael Jackson into global superstardom. As slick a production as any from his former label Motown, the pulsating bassline and groove have secured its reputation as one of the defining songs of the 1980s

ONE – U2 (1991)

For all Bono’s bombast and the assault of the band’s rhythm section it is often U2’s ballads and more tender numbers that stick in the mind and the heart. None more so than ‘One,’ a hugely affecting record that builds to an almost unbearably beautiful climax

COMMON PEOPLE – PULP (1995)

Oasis and Blur may have garnered more column inches but the defining single of the Britpop movement was this drily witty yet acerbic and scabrous story of a rich girl wanting to slum it. Narrowly missing out on the number one spot ‘Common People’ recast frontman Jarvis Cocker as Cool Britannia’s poet laureate

CRAZY IN LOVE – BEYONCE (2003)

If the greatest achievement of 21^st century music has been the revitalisation of the polished dance pop single then Beyonce’s (and then boyfriend Jay-Z’s) sexy, hyperactive confection is the landmark recording of the new millennium so far

STAYIN’ ALIVE – THE BEE GEES (1977)

The Bee Gees have never been cool but nobody can deny the effectiveness of their craft. Jumping onto the disco bandwagon with the ‘Saturday Night Fever’ soundtrack they produced the shimmering peacock strut of ‘Stayin’ Alive.’ There is no finer song to saunter down the street to and you don’t get much more of a ringing endorsement for a single than that

WUTHERING HEIGHTS – KATE BUSH (1978)

When ‘Wuthering Heights’ hit number one at the start of 1978 nobody had ever heard anything quite like it; warbling, ethereal, climbing and swooping in all the most unexpected places. Kate Bush has gone on to produce numerous remarkable records in her career but none quite as exhilarating as this

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JOHNNY B GOODE – CHUCK BERRY (1958)

If any first generation rock n roller appreciated the value of narrative as a compliment to a track’s instrumentation it was Chuck Berry. Allied to a monumental riff and driving rhythm his tale of the titular guitarist is detailed, colourful and absolutely compelling

VIRGINIA PLAIN – ROXY MUSIC (1972)

Those who write glam rock off as sequinned, glitterball campery clearly didn’t listen closely enough to ‘Virginia Plain.’ Combining the dandified intellectualism of Bryan Ferry with the magpie experimentalism of Brian Eno here was a 45 that fizzed and bleeped with futuristic zeal. Not since the days of ‘Telstar’ (see no.73) had a pop song sounded so technologically ‘other’

DANCING QUEEN – ABBA (1976)

Gloriously uncool but with a knack for a killer melody the Swedish sensations carried all before them in the mid to late 70s. Despite the kitsch earworm that is ‘Waterloo’ it is ‘Dancing Queen’ that is their high water mark. Buoyant piano, shimmering strings and a lyric that celebrates the joys of a great night out - what’s not to love?

BORN TO RUN – BRUCE SPRINGSTEEN (1975)

Equal parts Elvis and Dylan Bruce Springsteen was the great white hope of US rock in the mid-70s. He came good with this delirious hymn to breaking free from smalltown life, a record so wildly intense that it frequently threatens to slip into self-parody. That it doesn’t is down to the Boss’ impassioned delivery and a song structure that plays brilliantly on the dynamics of tension and release

IMAGINE – JOHN LENNON (1971)

‘Imagine’ tends to divide people. Heartfelt plea for unity and world peace or the sentimental hypocrisy of a millionaire hippy? Whichever side of the argument you come down on there is no denying the power of its stark piano chords and the alluring simplicity of its message

STAND BY ME – BEN E KING (1961)

Following a risky decision to quit the Drifters King answered the doubters emphatically by recording and releasing ‘Spanish Harlem’ and ‘Stand By Me’ in quick succession. Despite the obvious merits of the former record it is ‘Stand By Me’s subtle power and poignancy that has proved the more enduring

MR TAMBOURINE MAN – THE BYRDS (1965)

Making Dylan’s acoustic number definitively their own the Byrds not only invented folk rock but, with Roger McGuinn’s chiming Rickenbacker, brought an almost pastoral, jangling guitar sound to rock that would influence the next two generations of musicians

A CHANGE IS GONNA COME – SAM COOKE (1964)

Touched by the politicisation of Bob Dylan (him again) silver tongued gospel star Cooke penned his own, intensely personal and moving account of the civil rights struggle. Backed by aching strings his voice reached new levels of clarity and yearning. Tragically he never saw it released, having been shot dead just three days earlier

BOHEMIAN RHAPSODY – QUEEN (1975)

Hugely expensive and time consuming to record and perpetually sniffed at by serious minded rock critics ‘Bo-Rhap’ is a fabulously ludicrous car crash of heavy rock, light opera and pompous prog that somehow works. It is probably pointless to analyse how its multiplicity of parts hangs together but it remains by far and away the best thing that Freddie Mercury et al have ever done

I WANT YOU BACK – THE JACKSON 5 (1969)

The debut single from the generously gifted Jackson clan is officially the most feelgood song ever recorded (according to some scientists who worked it out with equations). They may have a point though; from the spine-tingling piano glissando intro to little Michael’s life-affirming screams of ‘baby’ at the fade it is pure rapturous glee in sonic form

PURPLE HAZE – THE JIMI HENDRIX EXPERIENCE (1967)

A guitar showcase single that was lean and economic yet had experimentation in bucketloads, ‘Purple Haze’ was inspired by Hopi Indian creation myths and employed all manner of studio trickery to achieve just the right woozy atmosphere – from filtering the music through rotating headphones into the studio to the use of a weird and wonderful ‘octavia’ on the guitar overdub

MY GENERATION – THE WHO (1965)

A rallying call for the mod subculture ‘My Generation’ is a vitriolic cry of rebellion against the reactionary views of the British establishment. Built around a call and response framework Roger Daltrey stutters out such notorious lines as ‘Hope I die before I get old’ to a frenzied, staccato beat and one of the first (and best) bass solos courtesy of John Entwhistle

HEY JUDE – THE BEATLES (1968)

A pub singalong around the old Joanna elevated to legendary status by Paul McCartney’s uncanny gift for a great melody. Written for and about Lennon’s son Julian following his parents’ split it builds into a joyful handclapping, na-na-na-na-ing frenzy which belies the tension and fragile egos amongst the group at the time

(SITTIN’ ON) THE DOCK OF THE BAY – OTIS REDDING (1968)

Much like Sam Cooke four years earlier Otis Redding never got to see his masterpiece released. He was killed in a plane crash as the finishing touches were being put to the record, a record whose more melodic, melancholic qualities represented a change of direction for the Southern hollerer. ‘Dock Of The Bay’ still had plenty of soul though, and was a more than fitting epitaph for one of THE great voices

RESPECT – ARETHA FRANKLIN (1967)

It takes a special kind of talent to make people forget about Otis Redding but when it comes to vocal soul authority nobody betters the amazing Ms Franklin. She took her Atlantic stablemate’s song by the scruff of the neck, imbuing it with fire and sass, laying down some killer piano and creating an anthem to female empowerment in the process. All hail the Queen of Soul

RIVER DEEP, MOUNTAIN HIGH – IKE AND TINA TURNER (1968)

Was the recording session for ‘River Deep…’ the most complex and elaborate of any single? Phil Spector doesn’t do things by halves and here his wall of sound became a palace. Tina Turner (Ike was present in name only) struggled to be heard until she ripped off her clothes and unleashed hell. The result was an overpowering sonic experience and the apex of the Spector sound

A WHITER SHADE OF PALE – PROCOL HARUM (1967)

This classically inspired soundtrack to the Summer of Love was (supposedly) nothing to do with the ingestion of chemical substances yet its surreal narrative of ceilings flying away and vestal virgins leaving for the coast echoed the lysergic, swinging times to a tee. A prime example of what rock music can achieve when it aspires to something more

GHOST TOWN – THE SPECIALS (1981)

Urban decay and political disaffection set to a reggae beat doesn’t sound like a recipe for a number one hit but in the febrile atmosphere of 1981 ‘Ghost Town’ reflected the mood of the British nation. Brilliantly structured around an eerie fairground hook and pointedly anti-Thatcherite lyrics the track possesses a funereal gloominess that is oddly thrilling

I FEEL LOVE – DONNA SUMMER (1977)

‘I Feel Love’ is truly revolutionary. Up until Donna Summer’s monster hit disco records had traditionally been recorded with full orchestral backing. But producer Giorgio Moroder had other ideas. By putting a purely electronic backing track behind the star it marked disco out as a cool, futuristic form of music rather than just a set of cheesy dance moves. And la Summer’s orgasmic exhortations didn’t hurt much either

YOU’VE LOST THAT LOVIN’ FEELIN’ – THE RIGHTEOUS BROTHERS (1964)

A textbook model of song construction Barry Mann and Cynthia Weil’s gothic masterpiece is also a triumph (once more) of Phil Spector’s production genius. The matching of Bill Medley’s sonorous baritone with Bobby Hatfield’s tremulous soprano never worked so well as it does here and the song's many and varied shifts in mood and tempo merge seamlessly into a captivating whole

GOD ONLY KNOWS – THE BEACH BOYS (1966)

Brian Wilson’s intention was to create something timelessly beautiful and, boy, did he succeed. A complex, layered recording session made stunning use of clarinet, cello and French horn (not to mention the group’s legendary harmonies) whilst both lyrics and melody broke new ground in their ambiguity and unconventionality. Concerns over allegations of blasphemy led to the band flipping the track onto the B-side in the States (upgrading ‘Wouldn’t It Be Nice’ to the A) but it was the lead single everywhere else

LOVE WILL TEAR US APART – JOY DIVISION (1980)

It is difficult, of course, to separate Joy Division’s only hit single from the suicide of their lead singer Ian Curtis, but this posthumous release demands attention on its own terms. Over bass and keyboards that were among the poppiest of the band’s brief career Curtis delivers a razor sharp dissection of a dysfunctional relationship, wrapped in his stentorian tones. Exactly how much of ‘Love Will Tear Us Apart’ is autobiographical we will probably never know but it remains an incredibly powerful piece of music

LIFE ON MARS? – DAVID BOWIE (1973)

Although originally recorded for the 1971 album ‘Hunky Dory’ ‘Life on Mars?’ was not released as a single until two years later when the phenomenon of Ziggy Stardust had transformed the eccentric troubadour into a generation-defining superstar. Loosely concerning the evils of consumerism and the media on impressionable young minds it floats along on a wave of sparkling piano, strings and the sheer enigmatic genius of its lyrics

WATERLOO SUNSET –THE KINKS (1967)

THE seminal song about our capital city ‘Waterloo Sunset' is the apex of Ray Davies’ wistful, elegiac reflections on England and English society. The lyric describes Terry and Julie (probably Terence Stamp and Julie Christie, two icons of the moment) meeting at the titular station prior to diving into the heady possibilities of Swinging London. The beauty of the melody and evocativeness of the imagery make you desperate to be there with them

YESTERDAY –THE BEATLES (1965)

Amazingly, the most covered song in music history was not released as a single in the UK at the time; McCartney’s fragile ballad apparently at odds with the perky, upbeat image of Beatlemania. This idea was soon kiboshed when it raced to number one in America. The delicacy of the melody and simplicity of the arrangement lend the song an air of an old school standard; so much so, in fact, that Macca himself almost dismissed ‘Yesterday’ at the time because he felt he must have subconsciously pinched the melody

BE MY BABY – THE RONETTES (1963)

Should any young upstart ever ask you who Phil Spector is, play them this. The perfect example of his trademark Wall of Sound – where his Wrecking Crew of session musicians layered more and more sonic texture over the skeleton of the track – ‘Be My Baby’ is also the girl group pop song par excellence. Crucially Veronica Bennett’s (who would later, for her sins, become Ronnie Spector) vocals were not a technical marvel but redolent of every normal teenage girl who was the target audience for Spector’s mini-operas

HOW SOON IS NOW? – THE SMITHS (1985)

The Mancunian mavericks at their most atypical ‘How Soon Is Now?’ was originally tucked away as a B-side until it became apparent that the thrillingly ominous guitar licks of Johnny Marr were what people were buying the single for. When it did make it onto the A-side the seven minutes of juddering, squalling guitar had been trimmed to just under four but nothing could temper the visceral impact of the piece nor Morrissey’s famous lyrics; among the very best on alienation, frustration and self-obsession

I HEARD IT THROUGH THE GRAPEVINE – MARVIN GAYE (1968)

It was only through bloody minded determination and a whole heap of luck that ‘Grapevine’ was ever released as a single at all. Berry Gordy’s legendary nouse for spotting a hit temporarily deserted him; this dark, spectral slice of romantic paranoia was hardly ‘My Girl’ and he declared that it didn’t fit the Motown mould. Writer Norman Whitfield pushed and pushed until the track wound up on an album where repeated radio play finally made calls for a single release impossible to ignore. It is Gaye’s finest four minutes. His voice always sounded delightful but here he acts out the tormented lyric with incredible veracity. It might just be the greatest vocal performance in pop

SMELLS LIKE TEEN SPIRIT – NIRVANA (1991)

By 1991 mainstream American rock was in a desperate state, hair metal ruled the roost and any material with an ounce of flair or originality (Pixies, Dinosaur Jr., Sonic Youth) got filtered into the margins. Then ‘Smells Like Teen Spirit’ happened and the dirty, scuzzy sound of grunge went overground. The opening riff coupled with Dave Grohl’s unstoppable drums was like the initial salvo of a military operation and things didn’t let up until Kurt Cobain’s throat splitting howls of ‘a denial’ at the song’s close. The band thought they had just ripped off the Pixies, everybody else saw the saviours of rock

GOD SAVE THE QUEEN – THE SEX PISTOLS (1977)

Even almost 40 years on it still sounds deliriously thrilling and dangerous. Punk rock was the biggest British moral panic since the mods and rockers traded blows on Brighton beach and its coming to fruition in the Queen’s jubilee year set it on a collision course with the establishment. Pistols’ svengali Malcolm McClaren was never going to pass up the opportunity to cause the maximum possible controversy and offence and the result was this electrifying explosion of anger, outrage and nihilism which necessitated a temporary change in the rules of the chart to keep it off the number one spot. Johnny Rotten’s wonderfully arrogant, sneering delivery has never been bettered

(I CAN’T GET NO) SATISFACTION – THE ROLLING STONES (1965)

The Stones’ signature song is all about Keith Richards. The human riff awoke on the floor of a hotel room after a typically debauched night with, arguably, the most famous riff in rock history floating around his head. He quickly recorded it, lobbed in the word ‘satisfaction’ and promptly passed out again. Richards had always intended horns to take the place of the fuzzbox guitar but it never came to pass and thank God as the record would have lost the grime and power that make it such a classic. Yet despite having the guitarist’s fingerprints all over it we should not overlook Jagger’s clever lyrics which associate frustration at the machinations of the commercial world with his own frustration at not getting laid

HEARTBREAK HOTEL – ELVIS PRESLEY (1956)

Some may argue that it is the King’s first single release ‘That’s All Right’ that is the touchstone of rock n roll but it was ‘Heartbreak Hotel’ that broke him to an affluent white audience and allowed him to transform a raw, outsider music into the dominant cultural form of the 20^th century. It is all the more surprising given both the song’s lyrical content and sonic tone. The words were inspired by a newspaper cutting detailing a recent suicide and the track’s bleak, cavernous feel was down to improvising an echo chamber in the studio hallway. This was the record that demonstrated Elvis could do whatever he turned his voice to; the downbeat, stripped back delivery a world away from the hip-swinging sexual threat he posed elsewhere

LIKE A ROLLING STONE – BOB DYLAN (1965)

Back in 1965 you simply didn’t record a single that ran to over six minutes in length. But then if you were Bob Dylan you didn’t generally pay much attention to the accepted way of doing things. Coalescing with Dylan’s notorious decision to go electric this record felt revolutionary on a number of levels, not least lyrically with lines plucked from a Dylan-penned short story that were more self-consciously poetic and abstract than the girl-meets-boy format of the time. Legends abound about both the identity of the song’s subject (possibly socialite Edie Sedgwick but then again possibly not) and the live recording session where producer Tom Wilson frantically tried to preserve the best bits from the cacophony taking place around him and Al Kooper sneaked in to lay down the iconic Hammond organ riff. The track surprised everyone (except possibly Dylan himself) by becoming a hit on both sides of the Atlantic, thus proving that a single can be as long as a piece of string – always assuming that it is a work of towering genius

STRAWBERRY FIELDS FOREVER/PENNY LANE – THE BEATLES (1967)

By the end of 1966 rock music was moving like an express train through popular culture. The Beatles’ ‘Rubber Soul' had been answered by the Beach Boys’ ‘Pet Sounds’ which, in turn, had been countered by the Fab Four’s ‘Revolver.’ The gauntlet had been thrown down to any self-respecting group to produce ever more elaborate and unexpected compositions. Lennon’s ‘Strawberry Fields Forever’ is the pinnacle of that kitchen sink philosophy. A technical miracle, it incorporates tape loops and overdubs as well as mellotron and the Indian swarmandel. It sounds warped and dislocated yet wistfully nostalgic and warm and – with apologies to the similarly groundbreaking ‘A Day In The Life’ – is the group’s artistic peak. Instead of trying to compete, McCartney’s ‘Penny Lane’ provides a perfect counterpoint with a charming depiction of colourful suburban life set to a melody so upbeat it almost sounds like a nursery rhyme. Ironically considering the esteem in which this disc is now held split airplay of the two tracks meant that it did the unthinkable and only reached number two in the charts, behind Englebert Humperdinck’s grandiose ballad ‘Release Me.’ Posterity has decided which is the real winner

GOOD VIBRATIONS – THE BEACH BOYS (1966)

In 1966 Brian Wilson and Bob Dylan were the only real rivals to the hallowed Lennon-McCartney partnership and it was this record more than any other that cemented the damaged Californian’s reputation as symphonic pop auteur par excellence. ‘Pet Sounds,’ with its stunningly orchestrated and harmonic meditations on love and loss, had more than matched the Beatles’ ‘Rubber Soul’ and Wilson was scratching around obsessively for the follow up; something more spectacular, profound and emotive, the piece of music that would place him on a higher plain to his scouse counterparts. Amazingly, it was a feat that he achieved. The recording of ‘Good Vibrations’ was breathtakingly complex for the time; separate sections were recorded at different studios and various rough mixes and seemingly random effects edited together afterwards. Had this happened a year later when Wilson’s mental state was so fractious and warped the result would have been an unfocussed mess. But at this moment in time Wilson was so driven by being the best that the perfectionism reaped enormous rewards. Everything about the track is inspired, from the spooky theremin of the chorus to the chugging rhythm of the cello and the sheer audacity of packing so many musical sections and moods into one song. It truly is, as Wilson’s publicist Derek Taylor asserted, ‘a pocket symphony.’

Listing Dangerously

Saturday 9 May 2015

The 100 Greatest Singles of All Time

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