The 100 greatest （テニスなどの）シングルス of all time: Our critic 階級s the classics, from 1960s chart-toppers to new pop bangers... so does YOUR favourite song make the 削減（する）?
Pop classics, soulful ballads and 80s 粉砕する 攻撃する，衝突するs all feature in pop critic Tim de Lisle's 選ぶ of the 100 greatest （テニスなどの）シングルス.
Our music 専門家 has chosen all the best songs to listen to over the 復活祭 週末, 精査するing through thousands of 選択s so you don't have to.
From the likes of George Michael, Whitney Houston, David Bowie and Billie Eilish to The Beatles, he's 階級d them all.?
Read on to find out what to listen to this 週末 and which song takes 最高の，を越す 位置／汚点／見つけ出す...
100
Lust For Life - Iggy Pop
1977, did not chart; 1996, No 26
Some songs are just made to get the party started ? even if it takes them nearly 20 years. Lust For Life, co-written by Iggy’s good friend David Bowie, was always a pulsating 激しく揺する song, but it only became a classic when Danny Boyle?used it to 始める，決める the トン in Trainspotting.?
It takes a feel-good rhythm from Tamla Motown and 追加するs some feel-bad imagery from the 小説家 William Burroughs. It radiates lovable menace and an invincible vitality, which was needed when it was dragged into a TV 商業の for 王室の Caribbean 巡航するs.
99
Running Up That Hill - Kate Bush
1985, No 3; 2012, No 6; 2022, No 1
Kate Bush has it all: a glorious 発言する／表明する, a 独特の 見通し, the 信用／信任 to 令状 a song without forming a 委員会 and the ability to 解釈する／通訳する her own work with proper dance moves. Running Up That Hill is a typically singular 選び出す／独身, arguing that men and women should be able to walk a mile in each other’s shoes.?
With its galloping rhythm and beguiling hook, it would have made a memorable No 1, but its path was 封鎖するd by another budding classic (Madonna’s Into The Groove) and a remake of an old chestnut (UB40 and Chrissie Hynde’s 見解／翻訳／版 of I Got You Babe). Running Up That Hill finally topped the chart 37 years later, after featuring in a big Netflix series. Stranger Things have happened, but not many.
98
That'll Be The Day -?Buddy Holly & The Crickets
1957, No 1
The 設立するing fathers of 激しく揺する ’n’ roll don’t sell many 記録，記録的な／記録するs these days, but we are still 深い in their 負債. The youngest of them, Buddy Holly, died in a 計画（する） 衝突，墜落 at the age of 22, but he had already 覆うd the way from 激しく揺する to pop with his swinging succinctness.?
His 発言する／表明する was both genial and dynamic, 激しく揺するing like a rhythm guitar. His many fans 含むd a few 巨大（な）s: （頭が）ひょいと動く Dylan saw Holly in concert two days before he died, and Paul McCartney liked him so much he bought the 権利s to his songs.
97
Don't Let The Sun Go 負かす／撃墜する On Me -?George Michael and Elton John
1991, No 1
Two beloved balladeers for the price of one. A pop 星／主役にする can be a lost soul, and Bernie Taupin 逮捕（する）d it in one of his はっきりした lines ? ‘although I search myself, it’s always someone else I see’. This duet, 記録，記録的な／記録するd live at Wembley 円形競技場, took a 広大な／多数の／重要な song and made it even better.< /p>
96
…Baby One More Time -?Britney Spears
1998, No 1
These days the words masked by those dots (‘攻撃する，衝突する me’) wouldn’t get past the censors, but a pop song, like a 風刺漫画, should have some licence. And in every other way Britney’s first 攻撃する，衝突する, made in Sweden by Max ツバメ, is a classic, crackling with electricity.
95
Another Brick In The 塀で囲む Pt.2 -?Pink Floyd
1979, No 1
Lugubrious middle-class prog-rockers having a 割れ目 at disco: it should have been a 災害. But then （機の）カム that bassline… and a choir of schoolchildren cheerfully singing ‘We don’t need no education’. In a vintage year for （テニスなどの）シングルス, this was the Christmas No 1.
94?
Bad Guy -?Billie Eilish
2019, No 2
Many of today’s 攻撃する，衝突するs are 高度に calculated ? written by 委員会 and 的d at algorithms. Bad Guy is the opposite: the sound of a 十代の少年少女 and her brother playing around on their laptops and coming up with something 緊急の, messy and utterly alive. Its 全世界の sales were greater than any other 選び出す／独身 of 2019, which 示唆するs there’s hope for us yet.
93
Yes -?McAlmont & Butler
1995, No 8
David McAlmont is one of the 広大な／多数の／重要な underrated singers, an emotional powerh ouse in the same league as Dusty Springfield. Bernard Butler is the guitarist from Suede who has become everybody’s favourite 協力者. Together they conjured up four minutes of sheer exhilaration.
92
Stronger -?Kanye West
2007, No 1
When Kanye was good, he was very good. And he didn’t always realise it: he was so 自信のない that he’d nailed this hip-hop-disco hybrid that he is said to have mixed it 75 times. The 見解／翻訳／版 he 解放（する）d as a 選び出す／独身 took Daft Punk’s Harder, Better, Faster, Stronger and made it slower, bolder, 詐欺師, warmer.
91
Total 支配（する）／統制する -?The Motels
1979, did not chart
A song so little-known that, until 2022, it didn’t even have a Wikipedia page. But it’s a piece of 魔法, conjuring fragility and 力／強力にする at the same time, beautifully 配達するd by Martha Davis. The sax 単独の is Marmite - if you can’t stand it, try the cover by Angel Olsen.
90
The King Of 激しく揺する 'N' Roll -?Prefab Sprout
1988, No 7
米，稲 McAloon’s tale of a washed-up one-攻撃する，衝突する wonder was ーするつもりであるd as satire, but he did it too 井戸／弁護士席. He gave the song-within-a-song the silliest chorus imaginable ? ‘Hot dog, jumping frog, Albuquerque’ ? and it became his best-loved line.
89
You're The First, The Last, My Everything -?Barry White
1974, No 1
In the 戦う／戦い of the Barries, I was leaning に向かって Barry Manilow and Copacabana. Then, walking through 船体 one Saturday night, I went past a pub and heard Barry White’s bass-baritone にわか景気ing out. If a soul ballad is still the sound of Saturday night after 50 years, that’s good enough for this 名簿（に載せる）／表（にあげる） ? even though the pub was the 船体 Cheese.
88
Why -?Annie Lennox
1992, No 5
‘All the best songs,’ a 記録，記録的な／記録する 生産者 once told me, ‘are slow’. That was Stephen Lipson, who produced this glorious 事例／患者 in point. Lennox wrote the lyrics from the heart, setting herself a 実験（する） with some long pensive lines about a love gone wrong. She passed with 飛行機で行くing colours by going through all the gears.
87
Don't Look 支援する In 怒り／怒る -?Oasis
1996, No 1
The story of Oasis boils 負かす／撃墜する to two 反目，不和ing brothers and two 広大な／多数の／重要な songs. Wonderwall is formidable, but Don’t Look 支援する In 怒り／怒る, which could be 演説（する）／住所d to th e Gallaghers themselves, is better. Once a beery 国家, sung by Noel not Liam, it 設立する a nobler 運命 when it became the balm Manchester needed after the 円形競技場 爆破 in 2017.?
It had already 奮起させるd another 広大な／多数の／重要な 選び出す／独身: wandering through his home town, Las Vegas, Brandon Flowers of The 殺し屋s was once 手渡すd a 解放する／自由な ticket to see Oasis. He was so impressed with Don’t Look 支援する In 怒り／怒る that he wrote Mr Brightside (see No 7).
86
Walk This Way -?Run-DMC
1986, No 8
There’s no better matchmaker in music than Rick Rubin, the 生産者 who paired Johnny Cash with Nine インチ Nails (see No 23). In 1984 Rubin played an old Aerosmith 攻撃する，衝突する to the rappers Run-DMC, who ended up 招待するing its authors, Steven Tyler and Joe Perry, to join this remake. The result was 激しい-metal hip-hop ? one hell of a 爆破.
85
I Will Always Love You -?Whitney Houston
1992, No 1
The synthesiser is gloopy, the saxophone even worse. But this is a belter of a ballad, written by Dolly Parton with her knock-out directness. Whitney made it her own in the first 45 seconds, singing so mightily and so musically that you wonder why anyone bothered 追加するing 器具s.
84
Bohemian Rhapsody -?Queen
1975, No 1; 1991, No 1
Pop that is preposterous tends not to age 井戸／弁護士席 ? just look at Macarthur Park, or the 完全にする 作品 of Meat Loaf. But somehow Bohemian Rhapsody gets away with it. It’s about six songs in one and there’s something for everyone, as long as they can stand the absurdity. Not for nothing has it been the Christmas No 1 twice.
83
Take On Me -?a-ha
1984, No 2
It was always lovely, with its gleaming hooks and cascading 声のs. And now, late in life, it has had children. Two of the biggest 攻撃する，衝突するs of the 2020s, Blinding Lights by The Weeknd and As It Was by Harry Styles, draw their inspiration from the elegant synth-pop of Take On Me and Roxy Music’s More Than This.
82
Blueberry Hill -?Fats 支配
1956, No 6
Two-and-a-４半期/4分の1 minutes of fabulous 簡単. It wasn’t written by Fats 支配, but it became his 署名. The author, Vincent Rose, was born in 1880, and didn’t live to hear 支配’s 見解／翻訳／版 ? or to receive a resounding compliment from another songwriter. ‘The moon stood still on Blueberry Hill,’ Leonard Cohen once said. ‘I would be happy to have written that line.’
81
God Save The Queen -?Sex ピストルs
1977, No 2
The ピストルs had made a memorable 入り口 with Anarchy In The UK, but it was only a minor 攻撃する，衝突する. The follow-up was the game-changer: just as 爆発性の and far more popular, にもかかわらず (and because of) 存在 banned by the BBC. God Save The Queen 逮捕（する）d a very British bolshiness, which resurfaced １０年間s later in a different form ? as the angry young people of the 1970s became the older 世代 who 投票（する）d for Brexit.
80
Slave To Love -?Bryan フェリー（で運ぶ）
1985, No 10
With Rox y Music, フェリー（で運ぶ） went all the way from the pop-art pizazz of Virginia Plain to the watercolour wistfulness of Avalon. And then he made Slave To Love ? silky yet 深く心に感じた, and, in a 魔法 moment at the end of the middle eight, just sublime.
79
収穫 Moon -?Neil Young
1992, No 36
Any old singer can tell us about wanting their love to last forever, but precious few have 報告（する）／憶測d 支援する from the reality of a long 関係. Neil Young rose to the challenge, 18 years after marrying Pegi Morton, with an 入り口ing melody and some crystalline singing. The marriage, 式のs, broke up in 2014.
78
甘い Dreams (Are Made Of This) -?Eurythmics
1983, No 2
A million songs are bittersweet, but Eurythmics’ first 攻撃する，衝突する goes a step その上の. Written when Annie Lennox was feeling low, Dave Stewart was on a high and they’d just had a 列／漕ぐ／騒動, it’s half unnerving and half uplifting. Forty years on, it has made an 予期しない move into comedy. ‘甘い dreams are made of cheese,’ goes one meme. ‘Who am I to diss a brie?’
77
Redemption Song -?（頭が）ひょいと動く Marley & The Wailers
1980, did not chart
This was a new song, written as Marley 直面するd up to the 癌 that would kill him, but it could be as old as the hills ? just one man and his acoustic guitar, making you feel the 苦痛 of slavery, both actual and mental. A cover by Johnny Cash, featuring Joe Strummer of The 衝突／不一致, was 解放（する）d in 2003, and it was a collector’s item: two 出発／死d legends, singing the words of a third.
76
Shotgun -?George Ezra
2018, No 1
Remember the days when a song would stick around all summer, 向こうずねing like the sun? They 港／避難所’t やめる gone. Shotgun, the sound of the summer of 2018, was still radiating warmth a year later.?
Arriving at Glastonbury to see Stormzy headline the Friday night, I just had time to find a food 立ち往生させる. On the Pyramid 行う／開催する／段階, George Ezra was singing Shotgun, with about 50,000 支援 vocalists. Standing still was not an 選択, which is how I ended up dancing with a carton of macaroni cheese.
75
Don't Give Up -?Peter Gabriel & Kate Bush
1986, No 9
Solsbury Hill, Games Without Frontiers, Sledgehammer: for a singer who grew up in Genesis, very much an album 禁止（する）d, Gabriel has a rare gift for （テニスなどの）シングルス. This gospel-tinged ballad is social comment in the form of a 国内の 演劇, starring Gabriel as a man who has lost his 職業 and Kate Bush as the partner who stops him 落ちるing apart. Gabriel’s first choice, 明らかに, was Dolly Parton, who couldn’t have done it better.
74
Help! -?The Beatles
1965, No 1
All The Beatles’ 早期に 攻撃する，衝突するs were love songs, or thinly 隠すd lust songs ? until this one, which is about losing your 信用／信任. By singing ‘I feel so insecure’, John Lennon changed the course of pop. The music he wrote, with a little help from Paul McCartney, 表明するd the very thing he felt he was 行方不明の.
73
Last Christmas/Everything She Wants -?Wham!
1984-85 & 2017, No 2; 2019-20, No 3; 2021-23, No 1
George Michael had a genius for two things: ballads and dance music. Here you get both, each as effortless as the other. Up to 2020, no 選び出す／独身 had sold so many copies without reaching No 1. Since then, Last Christmas has topped the chart three times, and in 2023 ? 39 years after 存在 beaten by 禁止（する）d 援助（する） in 1984, and seven years after George’s untimely death on Christmas Day 2016 ? it was, at last, the Christmas No 1.
72
Oliver's Army -?Elvis Costello And The At tractions
1979, No 2
When he started out in the maelstrom of punk, Costello’s sound was as spiky as he was. After a couple of years he worked out that his アイロンをかける 握りこぶし needed a velvet glove. This withering look at English history, from Cromwell to Churchill, is also a piece of piano pop that sparkles like Abba.
71
Make Me Smile (Come Up And See Me) -?Steve Harley & Cockney 反逆者／反逆する
1975, No 1
A break-up song with a difference. Harley, who had just 分裂（する） from three of his bandmates, saw the lyrics as ‘a piece of vengeful poetry’. But the music he wrote could not have been more affable, with a honeyed melody and some of the best pauses in pop. Its charms have even 生き残るd 存在 used as the soundtrack for a Viagra 商業の.
70
Someone Like You -?Adele
2011, No 1
The moments that are remembered from the Brit Awards tend to be gaffes, 列／漕ぐ／騒動s or 抗議するs. In 2011, against all 半端物s, the big talking point was a piece of music: a bluesy ballad, played on the piano, sung with 力／強力にする and passion. To be there at the O2 円形競技場 in London was to see an up-and-coming singer turn into a superstar.
69
Imagine -?John Lennon
1971, album 跡をつける; 1975, No 6; 1981, No 1
You may be a bit bored of it, you may be 免疫の to its hippy idealism ? but then you hear it 突然に, on the 無線で通信する or at the school concert, and you can’t argue with its gleaming clarity. Like a good poem, Imagine takes a feeling and makes it 急に上がる.
68
One Day Like This -?肘
2008, No 35; 2012, No 4
Guy Garvey is the most genial of lead singers and DJs, but if there’s one song he can’t stand, it’s My Way ? ‘such a horrible 感情’. Garvey once 始める，決める himself a 仕事 in his diary: ‘令状 something to 取って代わる My Way.’ Many years later he more or いっそう少なく managed it with One Day Like This, a string-driven ballad that 泡s up to become a beery 国家. 十分な of yearning yet 堅固に grounded, it’s so heartwarming that, as 肘’s string quartet 報告（する）／憶測d 支援する to Garvey, it has become a favourite at weddings.
67
Dancing In The Dark - Bruce Springsteen
1984, No 4
Ever since he sat 負かす／撃墜する to 令状 his memoirs in the 中央の-2010s, the Boss has been 自白するing to some 複雑にするd stuff. But it hadn’t always been hidden: やめる a few of his demons are in this, his first UK 最高の，を越す-ten 攻撃する，衝突する, which took his self-loathing and turned it into a controlled 幸福感.
66
The Whole Of The Moon -?The Waterboys
1985, No 26; 1991, No 3
Music, like Jupiter, has many moons, from Moon River to The 殺人，大当り Moon and Bad Moon Rising. But the moon with the most 継続している glow is this folk-激しく揺する 国家 by マイク Scott. Rousing as a football 詠唱する, it’s also romantic enough to have been sung in church by the protagonists in a rom-com (Let It Snow, 2019). Its interpreters have 含むd Fiona Apple, who 追加するd some sauce for the TV series The 事件／事情／状勢, and Prince, who flipped the pronouns, so the romance was with himself.
65
Don't Stop ’Til You Get Enough -?Michael Jackson
1979, No 3
Jackson’s 遺産／遺物 has lost some of its lustre in the light of the 文書の Finding Neverland. But the church welcomes sinners and so does the chart ? rare is the week when there is no Jackson collection in the 最高の，を越す 50. This 選び出す／独身, 操るd by Quincy Jones, 開始する，打ち上げるd a cascade of dance-pop classics.
64
Tainted Love -?Soft 独房
1981, No 1
A good cover 見解／翻訳／版 takes an old song and makes something new. A 広大な／多数の／重要な cover 見解／翻訳／版 makes the song famous, which is what happened when Marc Almond and Dave Ball got 持つ／拘留する of Gloria Jones’s half-forgotten Northern Soul 床に打ち倒す-filler and turned it into a piece of charming sleaze.
63
Dancing Queen -?Abba
1976, No 1
It’s not the most danceable of disco 跡をつけるs, and it features some of Bjorn Ulvaeus’s least polished lyrics (‘with a bit of 激しく揺する music, everything’s 罰金’). But Benny Andersson had come up with a gorgeous melody and the sound has a special warmth, even by Abba’s 非常に高い 基準s.?
If you put this song on at a party, it lights up the room ? whether the guests are in their 70s or, like the dancing queen herself, only 17.
62
It's A Sin?- Pet Shop Boys
1987, No 1
In the 早期に 1980s I was a junior writer for 粉砕する 攻撃する，衝突するs, the pop magazine that sold a million copies a fortnight and （機の）カム to sum up its 時代. When I wrote an alb um review ? £7.50 for 100 words ? the （売買）手数料，委託（する）／委員会／権限ing editor was a nice man called Neil Tennant. The 残り／休憩（する） of us knew he had a 禁止（する）d of his own but never imagined it would take off.?
By 1985 he and his friend Chris Lowe were 最高の，を越す of the charts with the classic West End Girls. It’s A Sin was even better: a melodramatic stomper (Tennant に例えるd it to 激しい metal) that took a light-hearted look at growing up with カトリック教徒 犯罪. It acquired a 層 of gravitas in 2021, when Russell T. Davies borrowed its 指名する for his harrowing TV 演劇 about the 援助（する）s 世代 of the 1980s.
61
In Dreams - Roy Orbison
1963, No 6
‘A candy-coloured clown they call The Sandman,’ it begins, and you wonder where he’s going with this. But he knows 正確に／まさに where he’s going ? step by step, to the most 決定的な word in the songwriter’s vocabulary, ‘you’. And because he’s Roy Orbison, every 公式文書，認める is resplendent.
60
Fairytale Of New York -?The Pogues featuring Kirsty MacColl
1987, No 2; 2005-07 and 2017-21, 最高の，を越す five; 2022-23, 最高の，を越す ten
The Christmas song with everything. It’s an Irish jig, a portrait of a marriage, a bone of 論争 (for 含む／封じ込めるing the word ‘faggot’, which is sung in character, and thus surely permissible), and now a 記念の to two 独特の singers.?
Like most Christmas songs, it’s made for a singalong, but unlike them it 逮捕（する）s the real Christmas spirit, that woozy mix of nostalgia, over-株ing, romance and recrimination. ‘I could have been someone,’ moans Shane MacGowan’s character, unaware that he’s just setting up Kirsty MacColl’s retort: ‘井戸／弁護士席, so could anyone.’
59
甘い Caroline -Neil Diamond
1971, No 8
An effortless （人が）群がる-pleaser, 甘い Caroline pleases a sports （人が）群がる so much that it has become part of the furniture everywhere from 兵器庫 to the Boston Red Sox. In December 2022, four years after 存在 軍隊d to leave the 行う／開催する／段階 by Parkinson’s 病気, Neil Diamond returned to sing it on Broadway. Touching me, touching you, it’s not so much a song, more a wave of togetherness.
58
Only You -?Yazoo
1982, No 2
The challenge for electro-pop 行為／法令／行動するs is always to squeeze some feeling out of their 機械／機構. In the 1980s nobody did it better than Vince Clarke, who （機の）カム up with Just Can’t Get Enough for Depeche 方式, A Little 尊敬（する）・点 for Erasure, and, in between, this peach of a love song, served up with heart and soul by Alison Moyet.
57
Mr Blue Sky -?Electric Light Orchestra
1978, No 6
Many of Jeff Lynne’s 攻撃する，衝突するs are like 急速な／放蕩な food, delicious at first, then suddenly unsatisfying. But somehow Mr Blue Sky feels like a proper meal. Instead of borrowing from one Beatles song, Lynne 注ぐd about 12 of them into a blender, from Penny 小道／航路 to A Day In The Life, and produced something so uplifting that not even his fondness for the vocoder could 廃虚 it.
56
Once In A Lifetime -?Talking 長，率いるs
1981, No 14
And you may ask yourself: is it art 激しく揺する? Is it Afrobeat? Is it a skit on televangelists? Whatever it is, it’s a classic. Like Bowie’s ‘Heroes’ (See No 3), it was co-written by Brian Eno, who, a ccording to Talking 長，率いるs’ bass player Tina Weymouth, was the only man in the studio helping with the washing-up.
55
American Pie - Don McLean
1971, No 2
A history of pop in eight minutes. The story begins with McLean working as a paper boy in 1959, reading about the 計画（する） 衝突，墜落 that killed Buddy Holly, and swells into an epic tale of lost innocence, packed with playful 手がかり（を与える）s and pinpoint rhymes (‘drove a Chevy to the levee’). It even 奮起させるd a cover 見解／翻訳／版 by Madonna, for which McLean should not be held responsible.
54
Crazy In Love -?Beyonc? featuring Jay-Z
2003, No 1
A song that really 逮捕（する）s its 支配する: you feel as if you’re 落ちるing, in a good way. Beyonc?’s majestic 初めの has attracted cover 見解／翻訳／版s by two 巨大（な）s of art 激しく揺する ? a Twenties jazz 見解／翻訳／版 by Bryan フェリー（で運ぶ） (not singing, but 主要な his orchestra), a nd a samba by David Byrne.
53
You've Got A Friend In Me -?Randy Newman
1995, did not chart; 2010, No 119
Randy Newman’s gigs are mostly just him and his piano, but there are two moments of 集まり 参加. In I’m Dead (But I Don’t Know It), Newman, playing a past-it 激しく揺する 星／主役にする, gets the audience to sing ‘you’re dead, you’re dead’. Then, with You’ve Got A Friend In Me, satire melts away and everybody sings their heart out, because the 主題 from Toy Story ? so simple, so 安心させるing ? is the sound of their childhood, or their children’s.
52
Hot Love -?T. Rex
1971, No 1
When he reached the 最高の，を越す, after a struggle, Marc Bolan had an enviable 頭痛: how to follow a pop song as polished as Ride A White Swan. He （機の）カム up with something even 詐欺師, a nonchalant blues that 含む／封じ込めるs one of the 広大な／多数の／重要な couplets ? ‘井戸／弁護士席 she’s faster than most / And she lives on the coast.’
51
I Will 生き残る -?Gloria Gaynor
1979, No 1
Pop in the golden age, from Like a Rolling 石／投石する to Under My Thumb, was いつかs （名声などを）汚すd by the dismal sound of powerful men sneering at women. I Will 生き残る is the retort they richly deserved. It was written by two male songwriters, but Gaynor made it her own by finding the fun in the fury.
50
50 Ways To Leave Your Lover -?Paul Simon
1976, No 23
From American Tune to The Obvious Child, Simon’s 単独の （テニスなどの）シングルス are every bit as rewarding as his 攻撃する，衝突するs with Garfunkel, and usually more innovative. This song, a US No 1, coolly 連合させるs a chorus like a nursery rhyme with 詩（を作る）s 十分な of nuance, a rueful 派手に宣伝する roll and an audacious brevity ? there may be 50 ways, but only five are について言及するd.
49?
Nothing Compares 2 U - Sinead O’Connor
1990, no.1
Written by Prince, but made by Sinead. She took a 従来の 激しく揺する ballad and made it her own with two 広大な／多数の／重要な 業績／成果s. First, in the studio, she threw her heart into it; then, in the ビデオ, she grabbed us with her gaze and 床に打ち倒すd us with her 涙／ほころびs. Now that she’s gone, it’s all the more powerful.
48
Our House -?Madness
1982, No 5
Almost all of Madness’s 早期に 攻撃する，衝突するs are a 扱う／治療する and 非，不，無 better than this 手渡す 手りゅう弾 of happiness. It is the solemn 義務 of every parent to sing it with the kids in the car.
47
Ever Fallen In Love -?Buzzcocks
1978, No 12
One night in 1977, the Buzzcocks were in an Edinburgh guest house, drinking beer and ‘half-watching’ Guys & Dolls on the telly. ‘Have you ever fallen in love,’ Marlon Brando was 存在 asked, ‘with someone you shouldn’t have?’ Pete Shelley (RIP) thought that would make a song. It made a classic, 連合させるing the pace of punk and the grace of pop.
46
Every Breath You Take -?The Police
1983, No 1
Most songwriters, it’s said, have one song that out-earns all the 残り／休憩（する） of their work. For Sting, although he has had umpteen 攻撃する，衝突するs, it’s surely this one. It’s reckoned to be the most played song ever on American 無線で通信する, 追いつくing You’ve Lost That Lovin’ Feelin’ (See No 40). It feels like the 製品 of a dare: what’s the creepiest lyric you can come up with and still 令状 a song that people love?
45
A Whiter Shade Of Pale -?Procol Harum
1967, No 1
Some 禁止（する）d go from the sublime to the ridiculous, and others just mix the two. The 組織／臓器 here has the gravity and grace of Bach, from whom it was borrowed, while the words lurch from classical allusions to hippie 長，率いる-scratchers.?
It’s all held together by Gary Brooker’s 声の, a model of soulful elegance. In Memory, an 異常に intimate new film starring Jessica Chastain and Peter Sarsgaard, this is the only song you hear, and the only one you need.
44
You Can't Hurry Love - The 最高のs
1966, No 3
If there were any 司法（官） in the charts, the 編集s that keep selling forever ? by Queen, Abba, Elton et al ? would be joined by the best of Diana Ross and the 最高のs. The 攻撃する，衝突するs Holland-Dozier-Holland wrote for them have a swing that never grows old.
43
Waterloo Sunset -?The Kinks
1967, No 2
If John Lennon had not gone to a church 祝日，祝う in 1957 and met Paul McCartney, Ray Davies might be seen as Britain’s greatest pop songwriter. He （機の）カム up with classics as diverse as You Really Got Me, All Day And All Of The Night, Sunny Afternoon, Days, Lola ? and Waterloo Sunset, a song about not feeling afraid that was 述べるd by Pete Townshend as ‘divine’.
42
Stayin' Alive -?Bee Gees
1978, No 4
Ah, ha, ha, ha... A velvet hook, a snaky bass, a （警官の）巡回区域，受持ち区域 that throbs like your heart (the song is now used in CPR training), a ぱたぱたするing falsetto, a 渦巻く of brotherly harmonies ? and a story of desperation ends up 陳列する，発揮するing the unbeatable lightness of Bee-Gee-ing.
41
No Particular Place To Go -?Chuck Berry
1964, No 3
The wittiest 攻撃する，衝突する from one of pop’s はっきりした pens. Berry was a nightmare, but he was also the godfather of the golden age, 形態／調整ing the sound of The Beatles, the Rolling 石／投石するs and the Beach Boys. ‘If you tried to give 激しく揺する ’n’ roll another 指名する,’ John Lennon said, ‘you might call it Chuck Berry.’
40
You've Lost That Lovin' Feelin' -?The Righteous Brothers
1965, No 1
All political careers, they say, end in 失敗. And so do nearly all romances, but love, unlike 政治家 itics, brings a なぐさみ prize: the special solace of the sad song. This 跡をつける, with its 磁石の melancholy, was the most-played piece of music on American 無線で通信する in the 20th Century.
39
Heart Of Glass -?Blondie
1979, No 1
The 攻撃する，衝突する 選び出す／独身 with everything: it’s a pop 記録，記録的な／記録する, a new-wave 国家 and a disco 床に打ち倒す-filler. It’s succinct, bittersweet, 即時に endearing, yet you don’t tire of it. And Debbie Harry and Chris Stein wrote it themselves.
38
The 跡をつけるs Of My 涙／ほころびs -?Smokey Robinson And The 奇蹟s
1969, No 9
When Smokey sings, we hear more than violins ? we hear soul and pop melting into o ne. This classic, covered by everyone from Linda Ronstadt to Avicii, was 投票（する）d the fifth best song of all time in 2000 by a パネル盤 that 含むd two of Robinson’s greatest peers, Paul McCartney and Brian Wilson.
37
Crazy -?Patsy Cline
1961, did not chart; 1987, No 79
When she died in a 計画（する） 衝突，墜落 老年の 30, Patsy Cline left behind a stash of country songs that are more like guided ミサイルs, primed to travel from the depths of her soul to the depths of yours. Crazy was composed by the then-unknown Willie Nelson, whose crystalline words ? ‘Worry/ Why do I let myself worry?/ Wondering/ What in the world did I do’ ? could have been written today. Cline took some 説得するing (by her second husband) to 記録，記録的な／記録する it, then made it utterly her own.
36
Superstition -?Stevie Wonder
1973, No 11
The lyrics are a lecture, solemnly 知らせるing us t hat 存在 superstitious makes little sense. Try turning that into a good song ? but the music is 魔法. Playing everything 妨げる／法廷，弁護士業 the 厚かましさ／高級将校連, Stevie conjures up a pair of wonders: かもしれない the greatest riff not played on a guitar (it’s a Clavinet), and かもしれない the greatest bassline not played on the bass (it’s a Moog synthesiser).
35
Love Will 涙／ほころび Us Apart -?Joy 分割
1980, No 13; 1983, No 19
The （テニスなどの）シングルス chart prefers to keep things sunny, which makes the dark stuff, when it comes along, all the more powerful. Ian Curtis’s masterpiece has a 広大な／多数の／重要な 肩書を与える, a 広大な／多数の／重要な hook and, 式のs, a stark truth. By the time it （機の）カム out, it had become his 記念の.
34
The Girl From Ipanema -?Stan Getz and Joao Gilberto
1964, No 29
The singer, Astrud Gilberto, received no credit, and only took part because she was the best English-（衆議院の）議長 on 手渡す when her husband, Joao, was translating his Brazilian-Portuguese song. But what a 職業 she did, 追加するing 冷静な／正味の understatement and 正確な phrasing (‘tall… and tan… and young… and lovely’) to a sumptuous vibe. The song was 投票（する）d the 27th best Brazilian song of all time by Rolling 石／投石する. If there are 26 better ones, I’d like to hear them.
33
A Chance Is Gonna Come -?Sam Cooke
1964, did not chart
It took only one person, Cooke himself, to 令状 this epic 嘆願 for human dignity. But it took 30 to 成し遂げる it, with an orchestra 追加するing luscious strings and a different lead 器具 for each 詩（を作る）, 含むing an exquisite French horn. It reached a wider audience through Spike 物陰／風下’s film Malcolm X (1992), which spends three hours working up to the moment when Cooke’s 発言する／表明する （犯罪の）一味s out and Denzel Washington, as Malcolm, walks into the ballroom where his 暗殺者 is waiting.
32
Hotel California -?The Eagles
1977, No 8
It begins as a folk-激しく揺する instrumental ? running for 50 seconds before the 派手に宣伝するs kick in, let alone the 声のs ? and ends up as an epic reggae-tinged 国家 about the loss of innocence. It has ぐずぐず残るd in our minds so long that its best line has entered the language. We can check out an y time we like, but we can never leave.
31
殺人，大当り Me Softly With His Song -?Roberta Flack
1973, No 6
Songs about singing, from I 令状 The Songs to Thank You For The Music, can be a little queasy ? but not this one, the most graceful of soul ballads. It topped the charts 23 years later as a hip-hop 攻撃する，衝突する by The Fugees, with Lauryn Hill seconding Flack’s emotion.
30
Heartbreak Hotel -?Elvis Presley
1956, No 2
In your 関係 with pop, the トン is 始める，決める in your teens. If you’re really lucky, the 殺到するing hormones 同時に起こる／一致する with a youthquake. Oh to have been a 十代の少年少女 in 1956, when 激しく揺する ’n’ roll went off like a whoopee cushion in a world that was as prim as a 前線 parlour. The man of the moment was Elvis, who had the looks, the hips, the quiff and above all the 発言する／表明する, 表明するing everything from testosterone to tenderness.
29
The Sound Of Silence -?Simon & Garfunkel
1965, did not chart
Of all the lines from all the 攻撃する，衝突するs in the golden age of pop, the one that speaks to us most 明確に today, nearly 60 years later, may be the first few words of this modest marvel: ‘Hello 不明瞭, my old friend.’
28
Ashes To Ashes?-?David Bowie
1980, No 1
Bowie did love an alter ego. Before Ziggy Stardust there was Major Tom in Space Oddity, the 攻撃する，衝突する that made Bowie’s 指名する. Long afterwards Major Tom 再現するd in a sequel which, like The Godfather Part II, somehow より勝るs the 初めの. The major has been 廃虚d by success, as if he were a 激しく揺する 星／主役にする. Bowie makes you feel his 苦痛 while also 配達するing a funk-pop gem.
27
Seven Nation Army -?The White （土地などの）細長い一片s
2003, No 7
If a 投票 were 行為／行うd to 選ぶ the greatest riff in history, the 勝利者 would probably be the five 公式文書，認めるs Keith Richards plays at the start of Satisfaction (See No 21) ? but they might now be run の近くに by the seven 公式文書，認めるs Jack White plays at the start of Seven Nation Army.?
Fraught with 緊張 and 解放（する）, the riff has become a chorus too, celebrating everything from, Oh, Jeremy Corbyn to the Italian football team, whose fans have their own 指名する for Seven Nation Army: Po Po Po Po Po Po Po.
26
I Just Don't Know What To Do With Myself -?Dusty Springfield?
1964, No 3
A conversational 肩書を与える, a 劇の シナリオ, a melody from Burt Bacharach, a lyric by Hal David, and a 発言する／表明する of the 肉親，親類d you can 推定する／予想する to hear when you get to heaven.
25
I Wish I Knew How It Would Feel To Be 解放する／自由な -?Nina Simone
1967, did not chart
Feeling Good is an old friend and My Baby Just Cares For Me oozes charm, but this lesser-known Simone song has extra depth, as a 最高の 発言する／表明する comes 増強するd with righteous indignation. For listeners of a 確かな age, there’s a その上の frisson when they recognise the perfectly paced piano that used to introduce Film 78 With Barry Norman.
24
ありふれた People -?低俗雑誌
1995, No 2
When Britpop met glam 激しく揺する. The kinetic energy alone would have made it memorable, but the story Jarvis Cocker told made it a classic.
23
傷つける/Personal Jesus -?Johnny Cash
2003, No 39
If you were 令状ing the recipe for a 広大な／多数の／重要な 選び出す／独身, you might not go for ‘荒涼とした song about self-害（を与える）, sung by dying man’. But it worked a 扱う／治療する as Cash, 説得するd by his 生産者 Rick Rubin, took a sad song ? Nine インチ Nails’ masterpiece ? and made it better by giving it the stamp of mortality.?
On the other 味方する Cash covered a Depeche 方式 攻撃する，衝突する that had been 奮起させるd by Priscilla Presley’s 調書をとる／予約する about Elvis. He called it ‘probably the most evangelical gospel song I ever 記録，記録的な／記録するd’.
22
Stand By Me -?Ben E. King
1961, No 27; 1987, No 1
A 広大な／多数の／重要な soul 発言する／表明する, a classic chord progression, and (from King’s co-writers, Leiber and Stoller) immaculate craftsmanship. It took a Levi’s 商業の to make Stand By Me a big 攻撃する，衝突する, but other singers ? from John Lennon to Florence Welch ? have always known how good it was.
21
(I Can't Get No) Satisfaction -?Rolling 石／投石するs
1965, No 1
It may be a little too familiar now, but you can hardly 持つ／拘留する that against a pop 記録，記録的な／記録する. This was the moment when the 石／投石するs 設立する themselves ? Keith Richards with the most expressive of his 広大な／多数の／重要な riffs, Mick Jagger with a 声の that’s 最高の，を越す of the strops.
20
Blue Monday - New Order
1983, No 9; 1988, No 3; 1995, No 17
In three years, the 生き残るing members of Joy 分割 went from 存在 eloquently 哀れな to pumping out seven minutes of elation. The consequence was that Blue Monday became the bestselling 12in 選び出す／独身 of all time.?
And it has yet to fade away. By 2012 it was 存在 remade by a male-発言する／表明する choir from Blaenau Ffestiniog, and in 2020 it was on the trailer for Wonder Woman 1984, with the tagline ‘Welcome to the 未来’.
19
Fever -?Peggy 物陰／風下
1958, No 5
Dozens of singers have succumbed to Otis Blackwell’s Fever, but it was Peggy 物陰／風下 who nailed it. She slowed it 負かす／撃墜する, stripped it 負かす／撃墜する and 静めるd it 負かす／撃墜する, rewriting the words and 取って代わるing most of the 器具s with finger clicks. By making it いっそう少なく feverish, she made it unforgettable.
18
Good Vibrations -?Beach Boys
1966, No 1
A song in six sections, 記録，記録的な／記録するd over seven months, on 90 hours of tape, with countless 器具s, Good Vibrations could 井戸／弁護士席 have been a fiasco. Its saving grace was that for all its intricacy, Brian Wilson’s pocket symphony still had the sweetness of the Beach Boys’ 早期に 攻撃する，衝突するs.
17
Dancing In The Street -?Martha And The Vandellas
1964, No 28; 1969, No 4
‘Calling out around the world. Are you ready for a brand new （警官の）巡回区域，受持ち区域?’ Every 時代 needs a clarion call, and Martha Reeves 供給（する）d it with a little help from Marvin Gaye, who co-wrote this ode to joy. It finally reached No 1 in 1985, as a larky fundraiser for Live 援助（する） from David Bowie and Mick Jagger.
16
Don't Dream It's Over -?（人が）群がるd House
1987, No 27
So many 広大な／多数の／重要な songs tell you what not to do: Don’t Think Twice, Don’t Stop Believin’, Don’t Let Me Be Misunderstood. And the best of the lot is Neil Finn’s gentle 嘆願 for hope. When he joined Fleetwood Mac’s world 小旅行する in 2018, Finn’s acoustic 見解／翻訳／版 of Don’t Dream It’s Over was there partly to give his 上級の 同僚s a breather ? but it ended up stealing the show.
15
Penny 小道／航路/Strawberry Fields Forever -?The Beatles
1967, No 2
Two young superstars, two places in Liverpool, two 始める，決めるs of childhood memories ? and two やめる different songs. With Strawberry Fields, John Lennon looked inwards in the lyrics and 今後s in the music, blending psychedelia with psychodrama.?
With Penny 小道／航路, his instant riposte to Strawberry Fields, Paul McCartney looked outwards ? at the barber, the 銀行業者, the 消防士 ? and harked 支援する to music hall. Two classic songs, which have now turned two ordinary places into two world-famous tourist attractions.
14
Life On 火星 -?David Bowie
1971, album 跡をつける; 1973, No 3
Want to 令状 a classic ballad? Just come up with a 返答 to My Way. Much as 肘 were to do １０年間s later with One Day Like This (See No 68), Bowie used a naff song as the catalyst for a 広大な／多数の／重要な one.?
The melody is an aria and the lyrics are a parade of vivid images from the sailors fighting in the dancehall to the lawman （警官の）巡回区域，受持ち区域ing up the wrong guy. With his 声の and Rick Wakeman’s piano, Bowie gave melodrama a good 指名する.
13
Kiss -?Prince And The 革命
1986, No 6
At his 頂点（に達する）, Prince could rub two sticks together and make a 攻撃する，衝突する. With Kiss he turned the simplest of 構成要素s ? a strum, a （警官の）巡回区域，受持ち区域, a yelp ? into a 炎 of 願望（する）. It has been remade by singers from Tom Jones, who had a laugh with The Art Of Noise, to Joan As Police Woman, who 設立する the sadness lurking inside the sensuality.
12
Blowin' In The 勝利，勝つd -?（頭が）ひょいと動く Dylan
1963, did not chart
The Dylan 攻撃する，衝突する that does best in the かつてない 名簿（に載せる）／表（にあげる）s is Like A Rolling 石／投石する, a classic that now leaves a sour taste with its vindictiveness. This, his first civil-権利s 国家, has far more to say and says it with 素晴らしい 簡単, while also 存在 oblique enough to get played on the 無線で通信する in middle America.
11
Hallelujah -?Leonard Cohen
1984, did not chart; 2008, No 36
A biblical ballad that has slowly become the most famous song by the most lyrical of lyricists. It took 24 years to find its moment, but what a moment that was. Hallelujah was the Christmas No 1 in 2008, belted out by Alexandra Burke, who had just won The X Factor on ITV. It was also the Christmas No 2, crooned by Jeff Buckley, who had died in 1997 and had based his 見解／翻訳／版 on the first cover of the song, 記録，記録的な／記録するd by John Cale of the Velvet 地下組織の for the film Shrek. (You couldn’t make it up.)?
That same Christmas, Cohen himself 捨てるd into the 最高の，を越す 40 for his one and only 外見 in the UK （テニスなどの）シングルス chart. Buckley had a beautiful 発言する／表明する, but Cohen’s 見解／翻訳／版 is the clearest of them all, the sound of a man who had spent five years honing the lyrics.
10
(You Make Me Feel Like) A Natural Woman -?Aretha Franklin
1967, did not chart; 2018, No 79
If you were putting together a dream team to make a 記録，記録的な／記録する, you might 井戸／弁護士席 have Aretha as the singer and Carole King and Gerry Goffin as the songwriters. In 2015, at the Kennedy 中心 栄誉（を受ける）s in Washington, King was one of the honorees, Aretha sang this song to her, and Barack Obama wasn’t the only one in 涙／ほころびs.
9
Will You Love Me Tomorrow -?The Shirelles
1961, No 4
Carole King has written 118 攻撃する，衝突するs, 非，不，無 better than this ode to the insecurities of the heart ? so good that, when her jukebox musical Beautiful was 行う／開催する／段階d, it appeared four times. The Shirelles, the first 広大な／多数の／重要な girl group, 記録，記録的な／記録するd the 初めの, which Bryan フェリー（で運ぶ） once 述べるd as ‘a little bit uptown, a little bit downtown’. フェリー（で運ぶ）’s own 見解／翻訳／版, flipping the genders and を強調するing the sadness, is just as touching.
8
Got To Give It Up (PT1) -?Marvin Gaye
1977, No 7
It’s late. You’re at the office party. You may have said the wrong thing to the boss. You’re 避けるing the dancefloor. And then you hear a groove… A sound so irresistible that you just have to go for it, even if you’re British. That groove 再現するd 36 years later on another big 攻撃する，衝突する, コマドリ 厚い’s Blurred Lines, for which, に引き続いて a 目印 判決，裁定, Gaye’s 広い地所 now receives 王族s.
7
Mr Brightside -?The 殺し屋s
2003, did not chart; 2004, No 10
For about 40 years from 1963, the （テニスなどの）シングルス chart did what music せねばならない do: it 部隊d us. It was a 幅の広い church. Then a few factors ? the rise of 無線で通信する narrowcasting and internet 泡s, the 落ちる of 最高の，を越す Of The Pops ? conspired to turn it into a teenage ghetto. But every so often a song breaks through and brings us together again.?
Mr Brightside, with its 殺到するing 緊急, has become the sound of Saturday night, the singalong that sends people home on a high. A 選び出す／独身 that flopped at first has now spent over 220 weeks on the chart, an かつてない 記録，記録的な／記録する.
6
Wicked Game -?Chris Isaak
1989, did not chart; 1990, No 10
奮起させるd by a woman he didn’t like but couldn’t resist, Isaak wrote a late-night ballad that is like a 炎上 ? flickering, mesmerising, raising the 気温. In 2019 he sang it with Lana Del Rey, who called it ‘the sexiest song of all time’.
5
Hey Jude/革命 -?The Beatles
1968, No 1
It started life as a cosy piano ballad, 演説（する）／住所d to a small boy whose parents had 分裂（する） up (Julian Lennon, 老年の five). Then Paul McCartney 追加するd an epic fade-out, which led to its becoming the 原型 for the stadium-激しく揺する singalong.?
And now it is rivalling 甘い Caroline as the song most likely to be sung by a sports （人が）群がる. Hey Jude was 率d the greatest of all McCartney’s songs by John Lennon ? who was on 最高の，を越す form himself on the flipside with 革命, a hard-激しく揺する 国家 that’s also a きびきびした critique of hippy thinking.
4
橋（渡しをする） Over Troubled Water -?Simon & Garfunkel
1970, No 1
いつかs a 署名 song 耐えるs little resemblance to an 行為／法令／行動する’s 署名. Simon & Garfunkel, the masters of melancholy middle-class folk-pop, should have been no good at gospel.?
These days their 記録，記録的な／記録する company might 井戸／弁護士席 have talked them out of it. But Paul Simon showed, as he would later with Latin and African music, that his creativity knew no bounds, and Art Garfunkel rose to the occasion with a stupendous 声の. Aretha Franklin and Elvis Presley soon 解放（する）d covers, neither an 改良 on the 初めの.
3
‘Heroes’ -?David Bowie
1977, no.24; 2016, no.12
‘A classic,’ said the writer Italo Calvino, ‘is a 調書をとる／予約する that has never finished 説 what it has to say.’ As with 調書をとる／予約するs, so with songs. Even の中で Bowie’s greatest 攻撃する，衝突するs, ‘Heroes’ stands out on this 得点する／非難する／２０. The music is gripping, with its plush sound, crisp hook and groggy guitar (原因（となる）d by jet lag, によれば Bowie’s co-writer Brian Eno: the guitarist, Robert Fripp, had just joined them in Berlin by taking a red-注目する，もくろむ from New York).?
The lyrics are touching ? the イルカs, the doomed love, the 影をつくる／尾行する of the 塀で囲む. The meaning is elusive ? those inverted commas. The 声の is 伴う／関わるing ? the yearning, the 反抗, the way Bowie goes from a murmur to a scree ch. More than a 広大な／多数の／重要な song, this is a 演劇 in three-and-a-half minutes. It’s even glorious in German.
2
I Feel Love -?Donna Summer
1977, No 1
The 記録，記録的な／記録する-buying public of 1977 may have underestimated ‘Heroes’, but they were 位置／汚点／見つけ出す-on with this, the most sensual piece of dance music ever made. Summer’s 生産者, Giorgio Moroder, was trying to imagine the sound of the 未来, and he 後継するd, conjuring up a shimmering ecstasy that 心配するd the whole genre of EDM. I Feel Love is still the dance 跡をつける most dance 跡をつけるs aspire to be. In 2019 it was covered by Sam Smith, who stayed の近くに to the 初めの. What else can you do?
1
Something/Come Together -?The Beatles
1969, No 4
By The Beatles’ 基準s this was a flop ? their first 選び出す／独身 in six years not to reach the 最高の，を越す two. But it’s a phenomenal 記録，記録的な／記録する. Come Together, 大部分は written by John Lennon, is bluesy, funky and jokey, the sound of four young superstars having fun. ‘If I had to 選ぶ one song that showed the four disparate talents of the boys and the ways they 連合させるd to make a 広大な／多数の／重要な sound,’ said their 生産者 George ツバメ, ‘I would choose Come Together.’ The 肩書を与える ended up tinged with irony: The Beatles were coming apart, and this was the last 記録，記録的な／記録するing on which they all played at the same time.
Something is even better ? a timeless love song that drew rave reviews from The Beatles’ peers. Paul Simon called it ‘a masterpiece’, while Elton John once said it was ‘the song I’ve been chasing for the last 35 years’. Frank Sinatra considered it ‘the greatest Lennon-McCartney song,’ which was ぎこちない because it was written by George Harrison.
He may have been only the third-best songwriter in the 禁止（する）d, but with Something George joined John and Paul at the very 最高の，を越す of the pyramid of pop. He pinched the most famous line from his friend James Taylor’s Something In The Way She Moves and made it his own by setting it to a more mem orable melody. He put Taylor’s scansion to better use with a magical line: ‘Somewhere in her smile, she knows.’ And he played a guitar 単独の that was very George Harrison ? gentle, soulful and a complement to the words, not an 試みる／企てる to show off.
Something is a love song that glows like someone who’s in love. But it wasn’t always so romantic: before he （機の）カム up with ‘attracts me like no other lover’, George sang ‘attracts me like a cauliflower’.
Tim de Lisle is the pop critic of The Mail on Sunday and the editor of Lives Of The 広大な／多数の／重要な Songs (Penguin, 1995). He 選ぶd his 100 favourite albums for The Mail on Sunday in 2019.
