The 50 Best Songs of the ’90s
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Pity the Best-of List and the poor fool (Hi! Nice to meet you!) who agrees to make one. Especially one about the ’90s—one of popular music’s most prolific and diverse decades. The ’90s were the twilight of music’s analog era. It was a time of unparalleled musical diversity and creativity, buoyed by consumers who saved their allowances and paychecks to buy CDs and cassettes.
Angsty teens powered a reluctant grunge scene to the top of Billboard charts; popular female singer-songwriters helped Lilith Fair beat out the Warped Tour and Lollapalooza to become the highest-grossing touring festival in 1997; a sketchy music manager in Florida found the answer to tween girls’ prayers in the Backstreet Boys; a bunch of people did the “Macarena”; Whitney Houston held on to the R&B torch then passed it to Mariah Carey, while rap, which had been gaining in popularity throughout the late ’80s, exploded into a half-dozen subgenres, each with its own string of monster hits. “Nuthin’ But a ‘G’ Thang” introduced the world to gangsta rap, the Notorious B.I.G.’s “Juicy” put Brooklyn on the map, and “Rosa Parks” and “Supa Dupa Fly” previewed the South’s impending domination of hip-hop in the early ’00s.
Every genre got its moment in the sun in the ’90s, but hip-hop was in its golden era. Toward the tail end of the decade—June 1999, to be exact—Napster crashed through the music industry like a wrecking ball, changing it in ways that artists and executives are still reconciling with today. No one really saw it coming. We were too fixated on the radio, waiting for our favorite song to play so we could record it and create a bootleg mixtape.
Maybe that’s a good way to think about this list. It’s a mixtape—a sampling of songs from one of the most inspiring decades in music. There are record-smashing hits, underrated gems, wacky one-hit wonders, and influential indie tracks. There’s a little bit of everything and something for everyone, except die-hard Harvey Danger fans. Sorry, but “Flapole Sitta” sucks.
Madonna, “Ray of Light”
Remember when Madonna got really into kabbalah? This is what it sounded like.
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Sheryl Crow, “Strong Enough”
Every song on Sheryl Crow’s 1993 debut album Tuesday Night Music Club is fantastic, including “Strong Enough.” If “All I Wanna Do” is Crow’s major commercial success, “Strong Enough” is her sleeper hit, as new generations of artists like Haim add the tender ballad to their rotation of covers.
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Britney Spears, “…Baby One More Time”
“…Baby One More Time” is one of many incoherent bops on this list that still slap.
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The Cranberries, “Dreams”
Who knew a song featuring an Irish woman yodeling at the top of her lungs could be so damn delightful?
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Selena, “Bidi Bidi Boom Boom”
Straight from the Queen of Tejano music comes this cumbia pop track named after the sound a racing heart makes. On “Bidi Bidi Boom Boom,” Selena is young and in love. She bottles up her joy so we can feel it, too.
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The Verve, “Bitter Sweet Symphony”
Just when you thought the ’90s couldn’t possibly deliver another song about disaffected youths and the woes of a jilted generation, the Verve released “Bitter Sweet Symphony” in 1997. Is it just me or is “Tryna make ends meet, tryna find somebody, then you die” the perfect slogan for Gen X?
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Rage Against the Machine, “Killing in the Name”
“Killing in the Name” is the quintessential Rage Against the Machine track. Everything they excel at is evident in their debut single: Tom Morello’s precise guitar playing, Zack de la Rocha’s pissed-off poetry, and the band’s signature hip-hop-meets-metal sound. The song’s strong stance against police brutality and systemic racism made it a target for censorship in Tipper Gore’s America. Looking back, “Fuck you, I won’t do what you tell me, motherfucker!” seems like a completely reasonable reaction to the LAPD’s treatment of Rodney King.
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Hole, “Violet”
Hole’s 1994 album, Live Through This, is a primal scream that detailed the final months of Love’s marriage to Kurt Cobain, who died one week before Live Through This was released. But the album’s ferocious opening track, “Violet,” has nothing to do with Cobain. Instead, it’s a giant middle finger to Billy Corgan. No one sounds better mad than Courtney Love firing on all cylinders.
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Tracy Chapman, “Give Me One Reason”
“Give Me One Reason” is the standout track from Chapman’s second album, New Beginning, and her biggest song to date. Yes, bigger than “Fast Car,” which was given a new lease on life in 2023 thanks to a cover from country star Luke Combs. “Give Me One Reason” is the perfect song to play if you’re pissed at your partner but not in the mood to talk about it. It’s the sonic equivalent of silently seething.
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Built to Spill, “Carry the Zero”
A perfect rock song.
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Radiohead, “Paranoid Android”
Thom Yorke wouldn’t be a genius from the UK if he didn’t create an over-the-top, indulgent rock odyssey a la the Beatles’ “A Day in the Life” or Queen’s “Bohemian Rhapsody.” This six-minute lead single from OK Computer is as ambitious as it is absurd. But it’s also brilliant and, assuming you have the stamina for it, an exhilarating ride through prog rock, choral arrangements, key changes, and Yorke’s never-ending sense of existential dread. Buckle up!
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Mazzy Star, “Fade Into You”
The ultimate ’90s alt-rock make-out jam. Put it on and picture yourself kissing a dejected Ethan Hawke.
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Wu-Tang Clan, “C.R.E.A.M.”
You try picking which Wu-Tang Clan song to include on this list.
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Janet Jackson, “Together Again”
“Together Again” is more than an optimistic chart-topper. The song’s disco-house beat helped transform Jackson’s grief over friends she’d lost to AIDS into a communal dance-floor catharsis for millions of queer people across the country.
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The Cardigans, “Lovefool”
There were so many god-awful one-hit wonders in the ’90s. “Macarena,” “Here Comes the Hotstepper,” “Barbie Girl,” “Mambo No. 5” … I could do this all night. However, one major exception is “Lovefool” by the Cardigans. This infectious crying-on-the-dance-floor disco bop by the Swedish group became a massive hit in the U.S. thanks to its prominent placement on the Romeo and Juliet and Cruel Intentions soundtracks.
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Aaliyah, “Are You That Somebody”
Missy Elliott and Timbaland understood Aaliyah in ways that R. Kelly never did. The sounds they gave her to sing on top of on “Are You that Somebody” were noisy and disjointed, a perfect contrast to her soft and calm vocals. The track also helped solidify Aaliyah’s mysterious streetwise persona. Gen Zers take note. This is what rizz looked like in the ’90s. And also today.
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Pulp, “Common People”
Alexa, play a ’90s anthem about disillusioned youth, but this time make it British and also more about sex! True story: Once, at a dive bar in New Zealand, I told a bunch of Brits that I knew every word to this song, which is kind of like a British person claiming to know every word to “It’s the End of the World as We Know It” by R.E.M. Anyway, the bartender let me perform “Common People” for karaoke and, long story short, my microphone was unplugged. All in all, a great 25th birthday.
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Whitney Houston, “I Will Always Love You”
Not every massively popular song from the ’90s sucked. Need proof? Here’s Whitney Houston’s blockbuster cover of Dolly Parton’s “I Will Always Love You.”
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Cher, “Believe”
Long before T-Pain and “Bartender,” there was Cher and “Believe,” the first track to unabashedly use Auto-Tune like an instrument. “Believe” was a Bat-Signal for gays in the ’90s, summoning us to the dance floor so we could make out with strangers amid strobe lights and fog machines.
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Portishead, “Glory Box”
Portishead discovered sample gold in an old Isaac Hayes track that, when combined with Beth Gibbons’s seductive vocals, created one hell of an ode to horniness.
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Beck, “Loser”
Rarely has a song so perfectly captured the cultural zeitgeist as “Loser” did when it topped the charts in 1994. Beck’s alt-rock testament to mediocrity gave stoned slackers everywhere a song to sing along to.
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Weezer, “Say It Ain’t So”
On “Say It Ain’t So,” Rivers Cuomo proves that screamo is a perfectly suitable genre for discussing your daddy issues.
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Blackstreet, “No Diggity”
Singer-songwriter and producer Teddy Riley had already lived an entire life as the pioneer of the ’80s new-jack-swing movement by the time he released “No Diggity” with his group Blackstreet. The song sampled a soulful Bill Withers ditty and became a massive hit in the summer of ’96. Play on, playette.
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Pearl Jam, “Jeremy”
It’s the opening bass line for us.
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R.E.M., “Losing My Religion”
It’s a miracle that R.E.M. found mainstream success in the ’90s given how different Michael Stipe was from the decade’s other dominant stars. Introspective when it was cool to be indifferent, Stipe poured his heart into “Losing My Religion.” He crafted a song that, despite its cryptic lyrics, resonated with millions of people who found solace in Stipe’s soul-searching.
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A Tribe Called Quest, “Can I Kick It?”
And the award for the best use of Lou Reed’s “Walk on the Wild Side” goes to Q-Tip for “Can I Kick It?” It’s a joyful track with an infectious hook that asserts one’s right to laugh at the mainstream.
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Smashing Pumpkins, “1979”
“1979” is Billy Corgan’s poignant reflection on suburban adolescence. It’s instantly catchy and immaculately produced, as if the polarizing lead singer went in trying to write the perfect sentimental pop song. Well, congrats, Corgan. You did it.
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Alanis Morissette, “You Oughta Know”
On “You Oughta Know,” Alanis Morissette took an ex to task for breezily moving on in a new relationship. Why should he know peace when she was still pissed off? The question echoed throughout her breakout album, Jagged Little Pill, which produced not one, not two, but three hit singles for Morissette and hopefully allowed her to forget once and for all about Dave Coulier.
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Brandy/Monica, “The Boy Is Mine”
Talk about lore. Brandy and Monica hated each other so much they recorded the vocals to “The Boy is Mine” separately. Monica laid down her verses in Atlanta, and Brandy cooed out her part in Los Angeles. Then, on the night they performed it live, Monica punched Brandy in the face. No wonder this song about two women fighting over the same man sounds so great. It just goes to show—you don’t have to like each other to nail a duet.
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Outkast, “Rosa Parks”
Outkast wasn’t about to kowtow to the demands of industry dweebs and their lame vision of southern hip-hop. (They were ATLien, after all.) To prove it, they released “Rosa Parks,” a song that dares to ask, “What if we put a giant harmonica solo in the middle of this funky-as-hell rap track?”
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George Michael, “Freedom! ’90”
George Michael started off the ’90s with a goodbye. On “Freedom! ’90!” He laid to rest the bubblegum-pop-star persona he adopted as one half of Wham! Plus, in the song’s iconic music video, he set fire to the leather jacket that defined his “Faith” era. On “Freedom! ’90!” Michael makes a promise to himself to live authentically, whatever that means.
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Destiny’s Child, “Say My Name”
Beyoncé changed R&B for good with the vocal performance she turned in on “Say My Name”—so much that R&B and pop artists have spent the past two decades mimicking her staccato delivery and soaring range. But nobody can do it like Beyoncé. She is unflinching in her vulnerability. She commands respect by rightfully demanding it.
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U2, “One”
U2’s “One,” from the 1991 album Achtung Baby, emerged during a tumultuous period for the band. The highs of the ’80s were over, and the Irishmen weren’t sure what to do next. They enlisted Brian Eno to produce Achtung Baby—now considered the band’s masterpiece—and “One” became its next hit single. The song’s plea for unity is pure Bono in ballad mode. Who else could write a line like “We’re one, but we’re not the same”? It’s “With or Without You” in a different font.
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D’Angelo, “Brown Sugar”
There is so much artistry at work on “Brown Sugar.” The only reason it sounds so smooth and effortless is because D’Angelo is just that good. A musical prodigy like Prince, D’Angelo melded Marvin Gaye’s Motown sound with modern-day hip-hop to create neo-soul—and “Brown Sugar” is the lush epitome of the genre.
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No Doubt, “Just a Girl”
A ska-pop indictment of institutional sexism delivered by a sneering, sarcastic Gwen Stefani and her loyal band of dudes.
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Oasis, “Wonderwall”
Do I know what a “Wonderwall” is? Absolutely not. And neither does Noel Gallagher, because of course he doesn’t. It doesn’t matter, though. I still know every single word to this blitzed karaoke anthem, and you probably do, too.
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Pavement, “Gold Soundz”
Pavement loved making music it thought no one wanted to listen to. Each track on Crooked Rain, Crooked Rain sounds a little off. That’s why people adore the album. But on “Gold Soundz,” everything elegantly clicks into place. It’s two minutes and 39 seconds of sincerity from a band that pretended not to care.
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TLC, “No Scrubs”
TLC closed out its domination of the ’90s with the megahit “No Scrubs,” an anthem for self-respect in which the Atlanta trio cooly rejects the advances of men who don’t own their own cars. Oh yes, son—they’re talking to you.
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Fiona Apple, “Criminal”
“Criminal,” a single from Fiona Apple’s debut album, Tidal, sounded like nothing else on the radio when it came out in 1996. Its jazzy undertones and dark, introspective lyrics about desire spiked with shame make for an arresting listening experience. We’re under the song’s spell from the moment Fiona admits she’s “been a bad, bad girl.”
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Notorious B.I.G., “Juicy”
On “Juicy,” the Notorious B.I.G.’s first hit single, the rapper (born Christopher Wallace) details his rag-to-riches story, telling us that in the beginning “it was all a dream” before proceeding to color in his childhood with specific details. It’s a strangely relatable lyric, despite the details that follow. Who among us hasn’t hoped that all their wildest dreams from childhood come true?
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My Bloody Valentine, “Only Shallow”
“Only Shallow” is often cited as the quintessential shoegaze song on account of all the reverb and distortion present. Also because of Bilinda Butcher’s ethereal vocals. Don’t forget Kevin Shields’s “glide guitar,” which, okay, sure, changed guitar rock forever. But listen to any old shoegaze track and what you’ll immediately notice is different about “Only Shallow” is the melody. The track is downright catchy. Name another catchy shoegaze song. I’ll wait.
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Beastie Boys, “Sabotage”
Toward the end of the recording sessions for the Beastie Boys’ era-defining album Ill Communication, everybody was pissed off. The album’s coproducer, Mario Caldato Jr., was fed up with the trio’s antics, and the guys were sick of Caldato pushing them around. So the group channeled this indignation into “Sabotage,” an old-school, kick-the-door-in rock song that teenagers could blast when they wanted to piss off their parents.
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swimsuit Kill, “Rebel Girl”
Thank you, Kathleen Hanna, for laying bare the love that exists at the core of great punk rock. Now excuse me while I go kiss my most tattooed bestie.
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Missy Elliott, “Supa Dupa Fly”
Beep beep. Who got the keys to Missy’s Jeep? She and Timbaland somehow managed to make Anne Peeble’s “I Cant Stand the Rain” even funkier.
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The Breeders, “Cannonball”
This bass-heavy song has never lost its swagger, thanks to Kim Deal’s timeless cool. In fact, it’s current it-girl Olivia Rodrigo’s favorite song. How’s that for legacy?
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Daft Punk, “Around the World”
How funny is it that a pair of DJs dressed like intergalactic robots released a song called “Around the World” and made it sound like it was being excavated from the earth’s core? The song’s signature high hat, the Chicago house production, that unforgettable bass line—they are all muffled by a low-pass filter in the beginning before eventually emerging as a unified sound that leaves you entranced on the dance floor.
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Liz Phair, “Fuck and Run”
Liz Phair let it all hang out on her seminal 1993 album Exile in Guyville. On the album’s critically acclaimed track “Fuck and Run,” she gives voice to the shitty, racing thoughts that wake her up after a one-night stand. It’s messy and polished, defiant and vulnerable, all at once. It’s a postcard from a woman who couldn’t give two shits what you think.
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Dr. Dre and Snoop Dogg, “Nuthin’ but a ‘G’ Thang”
The song that introduced the world to West Coast rap and taught everyone how to spell Snoop Dogg’s name.
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Mariah Carey, “Fantasy (Remix)”
Only Mariah Carey, with her acrobatic vocals and coy, girl-next-door vibes, could make a song about the dizzying highs of a new crush sound exactly like the dizzying highs of a new crush. “Fantasy” perfectly captures the exhilarating rush of infatuation, but so do a dozen other Mariah Carey songs. So what sets this one apart? In a word, spontaneity. Legend has it Carey wrote, produced, and recorded “Fantasy” in less than 48 hours. She worked fast to capture the butterflies of new love before they fluttered away. That’s why no matter how old you are or how many times you’ve heard it, “Fantasy” always reminds you of that one crush who knocked you sideways. Released in 1995, the original version of “Fantasy” brilliantly samples Tom Tom Club’s “Genius of Love” to create a timeless, genre-defying dance track with universal appeal. But in terms of legacy, it doesn’t hold a candle to the remix. Anchored by Ol’ Dirty Bastard and an unforgettable intro, “Fantasy (Remix)” seamlessly blended pop with hip-hop, creating a blueprint for Billboard success that artists today still faithfully follow. People didn’t really see Mariah Carey as an innovator in the ’90s, but with “Fantasy “(Remix),” she single-handedly remade pop music in her image and cemented her legacy as one of the genre’s greatest, most enduring architects.
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Nirvana, “Smells Like Teen Spirit”
Imagine if I had picked “MMMBop” instead.
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