The 100 Greatest Songs of 2002: Staff Picks (2024)

Paul Oakenfold feat. Shifty Shellshock, "Starry Eyed Surprise"

While music from clubland had a major top 40 run in the early ’90s via acts like Black Box and C&C Music Factory, by 2002, dance’s mainstream presence had largely been supplanted by bubblegum and nu-metal. (The “EDM crossover” still wouldn’t be a thing for roughly ten years.) But British trance pioneer Paul Oakenfold thrust a shimmery bit of pop-filtered U.K. rave onto U.S. radio via “Starry Eyed Surprise” a buoyant earworm that borrows fromboth Harry Nilsson’s “Everybody’s Talkin” and Ol’ Dirty Bastard’s “Got Your Money” and features vocals from the most 2002 of collaborators, Shifty Shellshock of Crazytown. While Oakenfold subsequently called “Starry Eyed Surprise” “an annoying song,” it did help introduce a generation to a genre that would take over the charts a decadelater. — KATIE BAIN

Big Tymers, "Still Fly"

While many of us wish “Bling Bling” was the most applicable Cash Money song to our lives, in *this* economic climate, it’s most probably “Still Fly.” With the sing-songy hook, CMR founder Birdman and producer Mannie Fresh encourage us to embrace our brokeness, bad credit and unemployment status with a chant that pervaded every generation: “Can’t pay my rent, ’cause all my money’s spent/ But that’s okay, ’cause I’m still fly.” —NEENA ROUHANI

David Bisbal, "Ave María"

How could anyone forget the summer of 2002, when David Bisbal captivated America with his charming voice, unmatched energy, and unique blond curls that twirl the same way he twists every time he sang “Ave María”? It translates into English to “Hail Mary,” and is an exclamation word that represents frustration; in the song’s lyrics, he asks a girl, “Ave María, when will you be mine?” He may or may not have gotten her — but he did get a No. 1 album, as “Maria” helped Corazón Latino become his first chart-topper onBillboard‘s Top Latin Albums listing the following March. —INGRID FAJARDO

The Chemical Brothers, "Star Guitar"

The sun had long set on the Chemical Brothers’ moment as game-changing genre-crashers by 2002, but their now-decades-long run of irresistible club singles was still in its early stages. “Star Guitar” proved the duo would remain essential into the 21st century, thanks to the euphoria of its trebly Balaeric groove and brain-thumping beat — both receiving brilliant visual approximation via Michel Gondry’s train-set video, in which passing countryside scenery zooms by in coordination with the music. You didn’t have to be on the floor to appreciate the song’s hypnotic pull, zoning out by the window was equally appropriate. — ANDREW UNTERBERGER

Nappy Roots feat. Anthony Hamilton, "Po' Folks"

After Kentucky collective Nappy Roots broke through with the raucous rap anthem “Awnaw,” follow-up single “Po’ Folks” was both a bigger and more affecting hit (peaking just outside the top 20 of the Hot 100), a powerful account of humble beginnings and not allowing poverty to topple personal strength. Anthony Hamilton contributes to the soulfulness, anchoring “Folks” with a deeper tone in the vocal harmonies. — JASON LIPSHUTZ

Tom Petty and the Heartbreakers, "The Last DJ"

Despite boasting Tom Petty and the Heartbreakers’ classic chiming guitars and a shout-along chorus, “The Last DJ” was only a modest hit in 2002, reaching No. 12 on Billboard‘s Adult Alternative Airplay chart and No. 22 on Mainstream Rock Airplay. But Petty’s tribute to the DJ who refuses to bow to “the top brass” and “boys upstairs” and “plays what he wants to play” endures as a parable of independence — and a celebration, as Pettydrawls, of “your freedom of choice” and “the last human voice.”— THOM DUFFY

*NSYNC feat. Nelly, "Girlfriend" (Remix)

In 2002, the *NSYNC boys knew that girls across the country would still do anything to be their girlfriends. Enter the alluring Nelly collaboration, “Girlfriend,” complete with a swoon-worthy chorus promising to “treat you good” and “be your shining star,” plus an accompanying music video oozing sex appeal, with all five members turning the flirt on with the lucky ladies at the car track. They knew what they were doing — and with a shuffling Neptunes beat to help them transition their sound to the 21st century, you can imagine that the song shot straight to the top five on the Billboard Hot 100. — RANIA ANIFTOS

Tim McGraw, "The Cowboy in Me"

Tim McGraw had already had plenty of hits by the time he took this mid-tempo anthem to No. 1 on Hot Country Singles & Tracks, but “The Cowboy in Me” was one of the first to show the emotional depths he could reach as he sings — with a sense of prideful resignation — about his deep flaws, which can leave a wake of hurt in his trail. It served as the perfect one-two punch to its equally anguished predecessor “Angry All the Time.” Darkness serves McGraw well. — MELINDA NEWMAN

Bright Eyes, "Lover I Don't Have to Love"

Bright Eyes made an unapologetically cynical meditation on a meaningless post-gig hookup all the more harrowing in “Lover I Don’t Have to Love” by setting it to the spooky music box melody of its opening keyboard riff. As with many one-night stands, though, the subtlety here doesn’t last, with the song swelling into a s–tstorm of bashed drums and urgent strings that create a darkly hectic cacophony. Conor Oberst spits out lyrics over the discord about wanting “a girl who’s too drunk to give a f–k,” with a passionate disdain that landed differently in the pre-MeToo era. — KATIE BAIN

Ladytron, "Seventeen"

Beanie Sigel and Freeway, "Roc the Mic"

None of Jay-Z’s pre-Ye Roc-a-Fella signees ever quite became solo superstars in their own right, but they were always able to find to strength in numbers — particularly when the Philly-based duo of Beanie Sigel and Freeway linked up. “Roc the Mic,” from the soundtrack to the Sigel-starringState Property, was arguably their joint signature hit: While a jabbing Just Blaze beat works the body like Rocky Balboa for four and a half minutes, the duo deliver the knockout punches up top, with Sigel spitting, “I firebomb cribs like Left Eye did/ (Notorious!) like that Bed-Stuy kid.” —A.U.

Red Hot Chili Peppers, "By the Way"

The title track of Red Hot Chili Peppers’ eighth studio album still remains a staple in their catalog because of its wild-yet-honeyed vibes that kick off with a plaintive 33-second guitar intro, before transitioning into the band’s signature funk-metal sound. What’s even more enticing is vocalist Anthony Kiedis’ sweet, melodious vocals amid the musical ruckus — combined with pitch-perfect backing harmonies from guitarist John Frusciante — making “By the Way” a forever fan favorite. — JESSICA ROIZ

Dntel feat. Ben Gibbard, "(This Is) The Dream of Evan and Chan"

Before they officially became one of the feel-good success stories of the ’00s as laptop-pop duo The Postal Service, Death Cab For Cutie singer Ben Gibbard and Dntel producer Jimmy Tamborello linked up for this mini-masterpiece of bedroom emo. An elliptical (and possibly imaginary) love story with glitchy beats and fuzzy synth moans filling in the gaps, the song is an almost overpoweringly beautiful dream — until it’s finally interrupted by Gibbard testifying, “And it was perfect/ Until the telephone started ringing, ringing, ringing, ringing off….” No surprise it didn’t have the commercial potential of those Postal Service hits, but that climax is still echoing in our brains 20 years later. —A.U.

Thalia, "No Me Ensenaste"

Mexican star Thalía scored her second No. 1 on Billboard’s Hot Latin Songs thanks to this ultimate breakup anthem. Hailing from her self-titled 2002 set, “No Me Enseñaste” showed fans another side of the singer, who was generally known for her more up-tempo pop songs (“Arrasando,” “Tu Y Yo”), allowing her to shine as a vocalist delivering a head-turning performance, with such pathos to make you really feel for her. Twenty years later, Thalía’s heartfelt rendition of the ballad still inspires goosebumps. —GRISELDA FLORES

No Doubt, "Hella Good"

From the “Billie Jean”-evoking beat to the “keep on dancing” mantra, this was the feel-hella-good song of the year in 2002. “Hella Good” marked the first musical meeting of Gwen Stefani and Pharrell Williams (The Neptunes co-wrote the Rock Steady single with the group), foretelling the Hollaback Girl’s eventual solo sound and dragging No Doubt out on the dance floor for its most club-ready song yet — with a Roger Sanchez remix even bringing the pop-rock band its first (and so far only) No. 1 hit on Billboard‘sDance Club Songschart. –KATIE ATKINSON

The Sugababes, "Freak Like Me"

A true marvel of modern pop: The beguiling “Freak Like Me” initially existed as “We Don’t Give a Damn About Our Friends,” a mashup by U.K. producer Richard X that blended the vocals of Adina Howard’s 1995 R(-rated)&B classic “Freak Like Me” with the shimmering lurch of Tubeway Army’s 1979 synth-pop standard-bearer “Are ‘Friends’ Electric?” The mix proved too potent to exist solely as a bootleg underground favorite — and with Howard reluctant to clear her original vocals, Richard X enlisted U.K. girl group hitmakers the Sugababes to re-record them, landing them their first No. 1 single across the pond in the process. Despite its component parts hailing from the ’70s and ’90s, “Freak Like Me” couldn’t have felt more 2002 if Brian Dunkleman starred in the video. – A.U.

Blink-182, "First Date"

Ah, first dates: There’s nothing more exciting or nerve-wracking. Blink-182 captures the awkwardness of spending one-on-one time with a love interest — from debating going for the hand hold to second guessing the outfit and hair choice — all while hoping to sweetly savor the moment for as long as possible. Top that off with Tom DeLonge’s unmistakable pop-punk vocals and Travis Barker’s headbang-inducing drum beat, and it’s no surprise that Blink fans have a relationship with “First Date” that’s proven built to last. —R.A.

Ludacris feat. Mystikal & I-20, "Move B--ch"

Ludacris has had more nuanced hits over the course of his decades-long run behind the mic, but none with quite the brute force of “Move B–ch.” The song’s honking beat and scream-along chorus had listeners seeing red everywhere except stop signs and traffic lights — and just in case the message escaped you, Luda reinforces it with a hearty “I’m DUI, hardly ever caught sober/ And you about to get RRRRAN THE F–K OVER!” bellow. Hardly surprising that it’s soundtracked countless road rage episodes, though the number of social justice protests it’s also accompanied might’ve been harder to predict 20 years ago. —A.U.

Musiq Soulchild, "Halfcrazy"

First grabbing attention with debut albumAijuswanaseingand hit single “Love” in 2000, Musiq Soulchild returned triumphant with “Halfcrazy” fromJuslisen. Sampling Francis Lai’s “Vivre Pour Vivre,” this languid ballad about love lost epitomizes Musiq’s skill set as an emotive singer and insightful writer: “My mind’s gone half crazy ‘cause I can’t leave you alone.” Musiq’s biggest hit to date — No. 16 on the Hot 100 — still resonates 20 years later, as demonstrated by next-gen R&B artist Lucky Daye lifting the song for his recent “Over.” — GAIL MITCHELL

Kylie Minogue, "Love at First Sight"

Only on an album stacked with millennium-defining earworms like Kylie Minogue’s Fever would “Love at First Sight” be relegated to the third single. But what the track lacks inla la las andna na nas it makes up for in clever production details — like when the music drops down to a murmuring thump during a second verse, as if Minogue just locked eyes with a stranger across the dancefloor and everything between them melted away. Plenty of great pop songs get played out and lose their magic, but twists like that help every listen of “Love at First Sight” feel like the first time. — NOLAN FEENEY

Dave Matthews Band, "Where Are You Going"

Most of the songs from Dave Matthews Band’s 2002 album Busted Stuff were re-recorded from The Lillywhite Sessions, an abandoned project from 2000 with Steve Lillywhite; “Where Are You Going” was one of two songs newly created for Busted Stuff, and proved to be a gorgeous, understated entry in DMB’s singles discography. “I do know one thing / Where you are, is where I belong,” Matthews sings, his voice sturdy and supported by a melancholy guitar lick. —J.L.

Enrique Iglesias, "Escape"

Who knew that Enrique Iglesias was singing the bouncy chorus of this top 20 Hot 100 hit – “you can run, you can hide, but you can’t escape my love” – to the eventual mother of his three children? The Spanish singer/songwriter met tennis superstar Anna Kournikova when she played his love interest in this song’s friskymusic video, and the two are still together two decades later. It turns out Enrique’s overly earnest lyrics were actually quite prescient: “In the end, our love mattered.” –K.A.

Elvis Presley vs. JXL, "A Little Less Conversation"

This electronic remix of Presley’s 1968 single proved that, even 25 years after his death, Elvis had still not left the building. Mac Davis and Billy Strange co-wrote the song, which Elvis originally sang in his forgettable 1968 film Live a Little, Love a Little. Following its use in the more memorable 2001 filmOcean’s Eleven, Dutch DJ and producer Junkie XL masterminded this funkier, punchier redo. The track reached No. 50 on the Billboard Hot 100, which is 19 spots higher than the original managed to climb. – PAUL GREIN

Shakira, "Underneath Your Clothes"

As part of Shakira’s English-language debut album Laundry Service, this track specifically connected fans with Shak’s new persona. While she was achieving her crossover with the Andean-inspired Latin track “Whenever, Wherever,” “Underneath Your Clothes” was rooted in the power ballads Shakira was known for in the late ‘90s. The romantic song, which peaked at No. 9 on the Billboard Hot 100 and echoes The Bangles’ chart-topping “Eternal Flame,” is about pure unconditional love. —J.R.

Diddy & Ginuwine feat. Loon, Mario Winans & Tammy Ruggieri, "I Need a Girl" (Part Two)

There are very few times in life when the sequel is better than the original, but this is one. While Part One of “I Need a Girl” was a warm and fuzzy confessional, with R&B superstar Usher passionately singing the earworm chorus, Part Two marks a drastic vibe switch — as Diddy proclaims in his opening adlibs, it’s “time to move on, time to be strong.” The track’s classic guitar loop and percussive bounce make it a BBQ favorite, as Diddy and Ginuwine crip-walk to the beat in Timbs and silver Jesus pieces, making the video essential Y2K viewing material. “Part Two” is wholly quotable one-liners (“And what I need is simple, five foot five with dimples”) and belt-worthy adlibs from Ginuwine and Loon, dipped in Y2K swagger, further proving Diddy’s hold on the turn of the century. —N.R.

Phantom Planet, "California"

A turn-of-the-millennium companion piece to America’s “Ventura Highway,” the biggest hit from Los Angeles’ Phantom Planet lodged itself into public consciousness through its use as the soundtrack toThe O.C. upon the show’s launch the following year. Featuring actor Jason Schwartzman on drums, “California” gave young people coast-to-coast a daydreaming road-tripper that explodes into a potent scream-along rock anthem — which they could find catharsis in even if they’d never crossed the state line. — K.B.

The Flaming Lips, "Do You Realize??"

The bell tolls for us all at the start of theFlamingLips’ first single from their not-a-concept albumYoshimi Battles the Pink Robots, a sweeping celebration of our fleeting existence. “Do yourealize/ That everyone you know someday will die?” asks frontman Wayne Coyne, letting the question hang in the air before offering some comfort — and a reminder that life, though temporary, is well worth the ride through space. If you’ve been lucky enough to see the band play this song live, you’ll know that a crowd of people singing in unison about mortality still has an indelibly powerful effect. —CHRISTINE WERTHMAN

Busta Rhymes feat. Diddy & Pharrell, "Pass the Courvoisier" (Pt. II)

While Busta and Diddy established which is the superior cognac brand on the first part of “Pass the Courvoisier,” the song’s second act remains the more memorable one. Pharrell joins the bootylicious party with his “looks like they asses is swollen” hook and The Neptunes’ Midas touch, and Puff doesn’t pass up a shot for his smooth talking. But Busta brings a timeless, high-octane energy to the forefront of “Pass the CourvoisierPart II” that could still shut down clubs 20 years later. —HERAN MAMO

311, "Amber"

The opening guitar riff sounds like it’s melting, and by the time singer Nick Hexum enters with his opening “Brainstorm…,” you will be too. Alt-metal funkers 311 were better known for hits as thrashy as they were groovy, but 2002 single “Amber” proved they could do music for make-out sessions as well as mosh pits: “Amber is the color of your energy” doesn’t seem like a particularly romantic sentiment to hang a chorus on, but delivered over this sweetly liquid dub groove, it may as well be a Donne poem. Bonus ’00s points: The song was inspired by puss*cat Dolls leader Nicole Scherzinger, then Hexum’s fiancée. — A.U.

Cam'Ron feat. Juelz Santana, "Oh Boy"

Rising horns and strings borrowed from Rose Royce, puncturing shoutouts of “JUST BLAZE!” and a pitched-up “Oh baby!,” and a repeating faux-xylophone motif: Five seconds in and “Oh Boy” is already a certified classic. The song really just needs to maintain from there, and Dipset stars Cam’Ron and Juelz Santana are up for the task, rocking kicks and evading cops and shopping for lobsters (?), while always remembering to get out of the way of the vocal hook when it comes back around. They never get jammed up, of course — and if they did, they could always call another “SQUALIE!” audible. —A.U.

Sin Bandera, "Entra en Mi Vida"

Songs such as “Entra En Mi Vida,” off their debut album, solidified Mexican-Argentine duo Sin Bandera as not only two of the greatest songwriters of the new millennium but also as the quintessential hopeless romantics of the period, making us swoon with every lyric they sang. “Entra En Mi Vida,” which peaked at No. 3 on Hot Latin Songs, is pure poetry: “There’s no logic or reason in my heart,” Noel and Leonel sing. “Enter my life, the door is open.” — G.F.

Fat Joe feat. Ashanti, "What's Luv"

“What’s Luv?” was peak Murder Inc. domination, with Fat Joe and Ashanti inviting men and women alike to the party for the playful he said/she said duet. The irresistibly upbeat Irv Gotti/Chink Santana production flips Tina Turner’s classic “What’s Love Got to Do With It” (even crediting the song’s lyricist), as Joe tries to keep things casual and leave the L-word out of it. Ashanti, however, is over here talking about “us” and “trust” with her syrupy-sweet vocals, so these two clearly needed to get on the same page. – K.A.

Wilco, "Heavy Metal Drummer"

Wilco’s much-hyped and rapturously acclaimed Yankee Hotel Foxtrot album arrived in April 2002 in the shadow of a bitter label dispute, the departure of co-founder Jay Bennett, and a whole lot of real-world turmoil. But you wouldn’t guess any of that from the impossibly satisfying album centerpiece “Heavy Metal Drummer,” a purely sentimental and heart-swelling look back on the simpler youth of singer Jeff Tweedy, “playing Kiss covers, beautiful and stoned.” Of course, as with all things nostalgic, there’s an inevitable hint of regret and bitterness darkening all the rosiness — not least because of that damn titular timekeeper, forever sweeping Tweedy’s girl away. — A.U.

Dashboard Confessional, "Screaming Infidelities"

A landmark single in popular emo music, “Screaming Infidelities” introduced Chris Carrabba’s open-hearted songwriting to the masses, as the Dashboard Confessional mastermind scooped up the shards of his heartbreak and dialed up the drama to outrageous levels. Carrabba whispers, then rambles, then screams — sinking deep into his feelings, and in the process encouraging a new generation of alternative rock fans to do the same. —J.L.

Maxwell, "This Woman's Work"

Maxwell first took British singer-songwriter Kate Bush’s 1989 pop ballad out for a neo-soul spin during an MTV Unplugged performance in 1997. After formally recording “This Woman’s Work” for his 2001 albumNow and releasing the cover as the set’s third single, the powerful ballad has since become a concert staple for the crooner. Listening to Maxwell’s mesmerizing falsetto as it searingly underscores the pain of taking a loved one for granted, it’s not difficult to understand why. —G.M.

Mana, "Angel de Amor"

Five years after their prior studio album, Maná combined their iconic sounds to deliver a powerful alternative rock sound with their sixth LP Revolución de Amor. “Angel de Ámor” was released by the Latin pop-rock band as the set’s first single, and with lyrics representing the psychological violence that a person can experience within a relationship, combined with the band’s pure rock sound, it became another major hit for the group, reaching No. 6 onBillboard‘s Hot Latin Songs listing. —I.F.

Jack Johnson, "Flake"

Jack Johnson’s “Flake” dreamily slips the listener into Johnson’s world on the shores of Hawaii, as he tries to fight his lazy tendencies. Johnson’s low baritone is cushioned by the honeyed melody, while he longs to be forgiven for letting his loved one down yet again. The song helped Johnson break into the early-’00s era of soft rock and set the tone of acoustic campfire singalongs for years to come. —TAYLOR MIMS

Jimmy Eat World, "Sweetness"

Perhaps more than any other song from 2002, “Sweetness” is an instant dopamine rush. By the time you’re ready to belt woah-oh-oh-oh-ohhh back at Jim Adkins, you’re already well into the stratosphere. (The fact that its music video makes you wait nearly 30 seconds to do so is, frankly speaking, a travesty.) And Jimmy Eat World will be damned if it doesn’t keep you up there for another three minutes and change. Spin free! Let every brief wave of thrashing guitar wash over you just long enough to carry you onward before the next one comes crashing in. Sink into sweet uncertainty, my friends. —JOSH GLICKSMAN

Frou Frou, "Let Go"

Nobody’s lives changed more with the Garden State soundtrack in 2004 than The Shins (thanks, Natalie Portman!), but the second-biggest boost surely went to Frou Frou — the duo of producer Guy Sigsworth (Björk, Madonna) and then-little-known singer-songwriter Imogen Heap — due to its featuring of the then-overlooked 2002 gem “Let Go.” Their sole studio album’s glistening alt-pop tunes fell in line with a lot of guitar-based top 40 fodder at the time, but this electro-pop standout offered a preview of Heap’s singular solo career and all her songwriting hallmarks: ethereal vocals, drums that pitter-patter like rainfall on a window, and a mastery of drama and catharsis on par with a seasoned hitmaker. —N.F.

Nirvana, "You Know You're Right"

From the opening guitar harmonics, an ominous tone prevails, as if foreshadowing what was to come. “You Know You’re Right” was the final song Nirvana recorded — months before Kurt Cobain died by suicide in April 1994 — and was finally released in 2002 as part of the group’s self-titled greatest hits set. The lyrics seemingly reflect the frontman’s defeated state of mind — “I will crawl away for good/ I will move away from here … Always knew it would come to this” — and the final lyric is especially timeless: a haunting, drawn-out cry of anguish in Cobain’s signature gritty vocals — “Pain.” Chill-inducing, every time. —ANNA CHAN

Dirty Vegas, "Days Go By"

The 2002 version of a viral hit. “Days Go By” was a deep house groove from a relatively anonymous U.K. outfit that likely wouldn’t have made much chart noise stateside if not for a pair of cultural boosters: a placement in a high-energy Mitsubishi Eclipse commercial, and a clever video featuring a lovelorn breakdancer trying to bring back his ex with his popping and locking, both of which captured the public imagination enough to earn Dave Chappelle and Jimmy Fallon parodies. Good thing it did, though: “Days” worked in these spots because it was one of the year’s stickiest singles, the combination of its entrancing pulse and echoing filtered vocals giving the song a feeling of heartbreak that is once very distant and still exceedingly urgent. —A.U.

Andrew W.K., "Party Hard"

There were songs more innovative, more layered and more ambitious than “Party Hard” in 2002, but none that delivered on its deliberately stated (and brickwall-guitared) promise more effectively: “When it’s time to party, we will always party hard.” As anyone can attest who’s listened to Andrew W.K.’s signature anthem at any point in the past 20 years — and found the six-pack, streamers and bloody nose instantly materialize around them — it’s a guarantee you can take to the bank. — A.U.

Britney Spears feat. Pharrell Williams, "Boys" (The Co-Ed Remix)

She’s not trying to sound conceited, but Britney Spears and Pharell Williams really were meant to be. The up-tempo R&B beat of “Boys” made it a shoo-in for club dance floors in 2002 with production from The Neptunes (Williams and Chad Hugo), but throwing in a verse from Williams on the Co-Ed Remix “made all the girls stare.” Add the song’s appearance — and Spears’ cameo as a Fembot — in third Austin Powers film Goldmember, and it is a delectable fast-passed time capsule of 2002 pop culture. — T.M.

Nas, "Made You Look"

As the man says, let’s get it all in perspective: Nas began 2002 on somewhat shaky ground, after a long run of crossover attempts that met with mixed results, and a high-profile feud with Jay-Z that ended at best as a net split decision for God’s Son. But that year put Mr. Jones back on the right track, thanks to a couple of return-to-form singles — the best of which was the menacing “Made You Look,” a Salaam Remi-produced rumbler that harnessed hip-hop’s early-days energy (“Like we bringin’ ’88 back”) without sounding like a throwback. “King of the town? Yeah, I been that,” Nas snarls, recognizing his days at the very top were likely over, but once again secure enough in his own badness to not give a s–t. — A.U.

Keith Urban, "Somebody Like You"

Keith Urban has always embraced myriad musical styles with great fluidity. It certainly paid off for him on “Somebody Like You,” with its driving rock percussion, searing guitar solos, effortlessly sunny pop melody, and more banjo than any radio hit sinceDeliverance. The infectious tune, delivered with an inspired upbeat vocal from Urban, became the country superstar’s second No. 1 on Billboard‘s Hot Country Songs listing and spent a sizzling six weeks at No. 1, making it one of Urban’s biggest hits. —M.N.

System of a Down, "Toxicity"

The title track from the album that topped the Billboard 200 in the immediate aftermath of the 9/11 attacks in 2001, System of a Down’s “Toxicity” and its chorus howls of “DISORDER! DISORDER!” were still plenty resonant by the time it was released as an official single in January 2002. In truth, though, it would’ve cut through at any point in American history: frontman Serj Tankian’s alternating croons and yawps are that visceral, John Dolmayan’s drums that jackhammering, Daron Malakian’s guitars that gorgeously unsettling. And as 2022’s culture can attest, the overall toxicity never really recedes anyway. — A.U.

Johnny Cash, "Personal Jesus"

It was as inspired a marketing decision as it was a creative one: Have the Man in Black, a full five decades into his career, cover a couple of the darkest-sounding (and darkest-dressing) modern rock outlaws. The most resonant of Cash’s black-on-black covers would come in 2003, but in 2002 his American Recordings IV set was led by his nearly-as-effective cover of synth-rock stalwarts Depeche Mode’s “Personal Jesus,” his weathered warble of the song’s false-prophet testifying making him sound increasingly impatient to meet the real deal. No other performer could give the song’s “Reach out and touch faith” chorus command such high stakes. — A.U.

Interpol, "PDA"

If you’re trying to understand why Interpol became one of the most-hyped rock bands coming out of New York City in the early 2000s, the final two minutes of “PDA” — in which three guitars circle around each other, then lock into place to form a sensational groove — still makes for a potent Exhibit A. More than the band’s post-punk production, quick-trigger hooks or Paul Bank’s slithery voice, Interpol’s best moments have been highlighted by the band’s six-string interplay, which has never been more towering than it is here. — J.L.

Ashanti, "Foolish"

Unassuming for a 10-week Hot 100 No. 1: Ashanti’s breakthrough solo hit is a big ballad, sure, but not in the towering sense of her ’90s predecessors — if anything, she gets smaller, more fragile as the song goes. In that sense, “Foolish” is actually closer to the R&B of today, where a song’s emotional heft is conveyed just as often through intimacy and nuance as through raw power — and Ashanti certainly has plenty of the former as she delivers a tear-soaked account (over a cheat-code sample of DeBarge’s “Stay With Me”) of a relationship that’s somewhere between toxic and abusive. She doesn’t even need to use the title in the lyrics; its humiliation and self-questioning is evident in every note of the performance. — A.U.

Kelly Clarkson, "A Moment Like This"

It’s the song that launched two juggernauts: “A Moment Like This” was Clarkson’s debut single after winning American Idol season one, kicking off not only her chart-topping, award-winning music career, but also marking the beginning of Idol’s TV domination – runs that continue for both parties to this day. The song itself – though bordering on treacly with lyrics such as “Some people wait a lifetime for a moment like this/ Some people search forever for that one special kiss/ Oh I can’t believe it’s happening to me” — has heft enough to support its stature and stand the test of time, making it an enduring and emotional staple at weddings. — A.C.

LCD Soundsystem, "Losing My Edge"

While many of James Murphy’s made-up laments in the A-side of his debut single are laugh out loud funny — “I was there when Captain Beefheart started up his first band/I told him, ‘Don’t do it that way. You’ll never make a dime” — the LCD Soundsystem frontman called this rumination on aging, and the generational divide happening in the rock/electronic scene around 2002 as “serious as a heart attack.” Over a percolating electro-punk shuffle that gets more aggravated as the song progresses, the 30-something Murphy runs down his hipster bonafides, but knows he cannot name drop his way past the “better-looking people with better ideas and more talent” who, worst of all, are “actually really, really nice.” — K.B.

Ricardo Arjona, "El Problema"

With his unique way of composing, Ricardo Arjona gifted his fans with one of his most storied compositions in 2002: “El Problema,” a devastating pop-rock ballad with profound lyrics about the reality of finding “true love.” With dolorous piano and guitars providing support, Arjona laments how forgetting someone could be more challenging than the actual relationship was, feeling vulnerable to a person’s existence even after they’re no longer around. —I.F.

The Strokes, "Someday"

Even at the time it was released in 2002, this Is This It single sounded like nostalgia, with frontman Julian Casablancas reminiscing about the good old days and youthful ebullience in its opening verse. Twenty years later, that feeling has only compounded — even if the only bits of Casablancas’ unmistakable garage rock vocals that you’re keeping up with is a “sometimes” here or a “someday” there. The buoyant guitar line and steady drum beat are still immersed in rose-tinted goodness all the same. —J.G.

Michelle Branch, "All You Wanted"

It’s supposed to be a sweet song, in theory: “I feel like everybody wants to find someone who you feel understood by and will be there to catch you when you fall,”Branchsaid on the occasion ofThe Spirit Room‘s 20th anniversary. Yet she doles out every other line of “All You Wanted” like it’s curdling in her mouth, turning the whole thing into a love story defined by its bitter edge. (Try hearing the final line of the chorus as anything other than dripping in disdain.) With a pleading hook and lyrics that would fill up any angsty teen’s coming-of-age bingo card, Branch earned her highest Hot 100 showing as a lead artist with the song’s No. 6 peak — a smash that somehow went more places than a song called “Everywhere.” — N.F.

Angie Stone, "Wish I Didn't Miss You"

Angie leaves no stone unturned on this jewel of a breakup song, which superbly captures the emotional angst of heartbreak. The magic starts with a pulsating sample from the 1972 O’Jays classic “Back Stabbers.” Then Stone’s honeyed vocals glide alongside as she seamlessly threads her way from shade (“All you wanna do is smoke chronic”) to pain (“I can’t eat, I can’t sleep anymore”) to hope (“Wish you’d bring back the man I knew”) and back to the quandary posed by the song’s title — all sounding just as vibrant 20 years later. —G.M.

Justin Timberlake feat. Clipse, "Like I Love You"

From the premiere performance of “Like I Love You” at the 2002 VMAs, things really could’ve gone either way for the solo career of *NSYNC’s biggest heartthrob: He showed up dressed like a pop-punk Michael Jackson, looking equally uncomfortable in his persona and his moves, with the Clipse appearance offering more chaos than support. But the song was there: a snaking acoustic jam with equal slither and bite, and a near free-form structure — choruses give way to bridges to guest verses to breakdowns to who even knows what to call it — that showed a mutual trust between performer and producers (The Neptunes, who else?) to allow both parties to reach new heights. Soon enough, the rest of JT, Solo Pop Star would be there too. — A.U.

The White Stripes, "Dead Leaves and the Dirty Ground"

Detroit’s finest color-coded duo opened their third album with this searing guitar track that marches with a lead foot to the lagging beat of Meg White’s drum kit. “Deadleaves and the dirty ground/When I know you’re not around,” Jack White mopes, setting up the garage-rock version of emo lament. “I didn’t feel so bad till the sun went down,” he warbles on the bridge. “Then I come home/No one to wrap my arms around.” This isn’t the White Stripes song that’s going to get sports stadium play, but it does speak to the universal truth that everybody could use a hug sometimes, even standoffish rock stars. —C.W.

Brandy, "What About Us?"

After years of being branded as a sweet teen sensation,Brandy was ready to show the world how grown and sexy she was by the time of 2002’s Full Moon album. So she tapped Darkchild to produce a slinky yet offbeat, futuristic electro-R&B jam that showcased her renowned textured lower register. “What About Us?” asks post-breakup questions about promises never delivered, while delivering a top 10 Hot 100 hit Brandyknewwas more complex than what the industry was putting out two decades ago. —H.M.

Aaliyah, "More Than a Woman"

Aaliyah promises to meet her partner’s needs and then some in this glitchy, Timbaland-produced wriggler from her self-titled 2001 album, which peaked at No. 25 on the Hot 100, even though it wasn’t commercially released in the U.S. The song took on a new bittersweet meaning in the wake of the promising performer’s August 2001 death, given that she’s remembered as far more than just a woman – she was an R&B/hip-hop oracle, a fashion icon, and a beloved global superstar, taken from this world way too soon. How much more could she have become? – K.A.

Juanes, "Es Por Ti"

An honest love letter and soft rock melodies bring to life “Es Por Ti,” a jewel that still shines on radio and amongst love birds today. Following “A Dios Le Pido,” which ultimately put the Colombian artist on the international radar, “Es Por Ti” showcased the romantic side of Juanes’ songwriting. “It’s because of you that my heart beats/It’s because of you that I talk about love/It’s because of you that my eyes shine today/It’s because of you that my pain is calm,” he chants in the song’s chorus, a beautiful and accessible sentiment that helped the song take home song and record of the year at the 2003 Latin Grammys. — J.R.

Jay-Z feat. Beyoncé, "03 Bonnie & Clyde"

Long beforeLemonade, beforeThe Carters, even before “Crazy In Love,” there was “03′Bonnie&Clyde.” The first official collaboration between the now-powerhouse couple, “03′” saw Jay-Z & Beyoncé taking a 1996 2Pac classic (“Me and My Girlfriend”) and bringing it to its semi-literal conclusion. Along with introducing the world to Beyoncé as the standalone artist she is today, the strikingly cinematic “Bonnie&Clyde” cemented this dynamic duo as a musical force to be reckoned with — and one that would go on to define a decade of pop culture together. —S.D.

No Doubt feat. Lady Saw, "Underneath It All"

No Doubt teamed with Jamaican artist Lady Saw for the highly fluid “Underneath It All,” which seamlessly blended elements of pop, reggae and hip-hop. Gwen Stefani co-wrote the intoxicating (if not always particularly flattering) love song with David Stewart of Eurythmics fame. It reached No. 3 on the Hot 100 — No Doubt’s best mark on the chart to date — and won a Grammy for best pop performance by a duo or group with vocal, before being featured to great effect in the 2004 rom-com 50 First Dates. – P.G.

Missy Elliott feat. Ludacris, "Gossip Folks"

No two rappers stretched hip-hop in as many weird and wonderful directions in the early 21st century as Missy Elliott and Ludacris, so it was only natural that they — along with shared producer Timbaland — would link up for a brain-scrambling radio killer. The anti-rumormongering “Gossip Folks” blends Missy’s not-quite rapped, not quite sung, not quite rapped-sung verses with Ludacris’ scene-stealing guest turn and a truly alien-sounding chorus swiped from Frankie Smith’s “Double Dutch Bus,” in a way that’s hardly seamless, but sees its many unexpected creative choices tied together by its funky-worm Timbaland beat. From any other combo but Timbo, Missy and Luda, it would’ve been a career-defining smash, for the left-field superstar bizarro trio, it was just another early ’00s top 10 hit. —A.U.

The Hives, "Hate to Say I Told You So"

Barging in the garage door to join their American counterparts The Strokes and The White Stripes, Sweden’s The Hives delivered blunt-force rock with “Hate to Say I Told You So,” a bruiser as stylish as the band’s tailored-suit getups. So much of the magic comes from the combination of that simple yet slicing guitar riff and the bellowing of the titular phrase; both have performed spectacularly in hockey arenas and open-window car rides over the past two decades. —J.L.

Ja Rule feat. Ashanti, "Always on Time"

The 2000s wereJaRuleandAshanti’s time to collectively shine and deliver “nothing but the hits,” but it was “Always on Time” that first gave the then-21-year-old latter R&B singer her big break. While Brandy was originally supposed to take over the hook, Ashanti’s blameless, sugar-coated vocals shone on the track about being areliable lover. Interspersed withJa’s iconic growling about a love standing the tests of time, the two-week Hot 100 No. 1 hit has demonstrated that it can do the same. —H.M.

Basem*nt Jaxx, "Where's Your Head At"

British electronic duo Basem*ntJaxx never lets listeners get comfortable enough to answer the song’s titular question: After a menacing intro, complete with what sounds like machine-induced whirring, the track gives way to its gleefully ominous Gary Numan-sampling backdrop, pinballing around the same walls that lyrics caution to be wary of. Keep that head on a swivel — a faint siren here, a quick, spine-tingling yelp there. That’s all part of the magic though, right? It’s the sort of troubled joy we derive from great horror films, leaving just enough room through cracked fingers (and accelerated heartbeats) to keep watching. —J.G.

The Rapture, "House of Jealous Lovers"

Back when it was still a big deal to get Pitchfork readers to embrace a song built largely on cowbell, NYC noise-funk peddlers The Rapture made dancefloor participation compulsory with the cold-sweat boogie of breakthrough single “House of Jealous Lovers.” The song’s jagged production, shrieked vocals and raw garage-band energy were just as much Gang of Four as Studio 54, but the physical intentions of a song with this much clanging and clapping were unmistakable — the kind your body responds to before your mind even has a chance to catch up to what’s going on. It was the beginning of discopunk’s couple years in the underground spotlight, but “House” still slashes through any such x-meets-y retroness with a this is happening excitement befitting of their co-producer and label boss. —A.U.

P!nk, "Just Like a Pill"

Love-as-a-druganthemsareagenre unto themselves,and P!nk set herselfapart by leaning into the grit — what happens when not getting enough of someone stops lifting you up and starts driving you right into the ground (or, in this case, the hospital bed ofa nurse with questionable bedside manner) — on Hot 100 top 10 hit “Just Like a Pill.” Amid her own transformation from ’90s hip-hop/R&B also-ran to rock’n’roll pop diva with 2001’sMissundaztoodLP, she sang of breaking freeand going her own way — with the ferocity of anartist who was,at last, getting the chance to finally do it herself.— N.F.

Eminem, "Without Me"

We as a listening public do need a little controversy, and Em always delivers. In The Eminem Show’s lead single, the rapper reminds listeners how much fodder he’s given to critics, from Lynne Cheney’s 2000 Senate testimony about his violent lyrics, to Moby’s diss of him at the 2001 Grammys. No detractor’s safe from Rap Boy, and he proves it with cutting rhymes such about his haters’ flailing careers and failing health. Meanwhile, the song’s infectious beat (and accompanying Dr. Dre-co-starring video spoofing superheroes) is so enduring, SNL even parodied it to explain NFTs in 2021. —A.C.

Bruce Springsteen, "The Rising"

Springsteen turned our collective grief over the Sept. 11 terrorist attacks into this stirring benediction that denies none of the horror of that terrible day, but heralds the first responders and those whose souls ascended. The gospel feel, bolstered by the bridge which intersperses his singing of the sky of “blackness,” “tears” and “shadows” with the repeating refrain “a dream of life,” propels this track to a communal outpouring. Springsteen couldn’t make sense of the tragedy either, but he made us all feel less alone with this ultimately uplifting ode to the human spirit. —M.N.

Sheryl Crow, "Soak Up the Sun"

It seemed to be a song about taking the easy way out, in which ’90s rocker Sheryl Crow — a solid half-decade removed from taking on Walmart over their gun sales — decided to “tell everyone to lighten up” and catch some UV rays with and unmistakably poppy chorus and uncharacteristically bright production. But the hook covered up what was also maybe Crow’s most defiant lyric yet, with her examinations of the soul-crushing pitfalls of capitalism (“It’s not having what you want/ It’s wanting what you’ve got”) sneaking their way into morning-drive carpool singalongs across the country. It’s a cheery but ultimately nerve-wracking song, reminding that you can only soak up the sun for so long before it gives you skin cancer. — A.U.

Britney Spears, "Overprotected"

Britney Spears was inescapable in the pop world and in tabloids throughout 2002, having released three Billboard 200 chart-topping albums as she was in the midst of a highly publicized relationship (and split) from fellow pop star Justin Timberlake. The hard-hitting “Overprotected“ served as the beginning stages of Brit’s rebellion against media scrutiny, the TRL icon rocking midriff-bearing tops and busting out suggestive choreography as she memorably — and sadly, prophetically — announced to the world, “I don’t wanna be so damn protected.” —R.A.

The Chicks, "Long Time Gone"

By 2002, The Chicks were taking over country music and doing it their way. “LongTimeGone” was the first single off their third albumHome, and while it maintained the twang and storytelling of their country roots, “Gone” was a certified cross-genre hit — even without any kind of drums — landing The Chicks their first top 10 hit on the Billboard Hot 100. The song makes light of how modern country music doesn’t sound like Merle Haggard, Johnny Cash or Hank Williams — and for better or worse, they were right to attest that those days were a “long time gone.” — T.M.

Usher, "U Don't Have to Call"

Already riding a hit-making streak with Hot 100 No. 1s “Nice & Slow,” “U Remind Me” and “U Got It Bad,”Usher polished his swagger as a suave man about town with the post-breakup kiss-off and pleasure-seeking concoction “U Don’t Have to Call,” written and produced by fellow hot risers The Neptunes. Ascending to No. 3 on the Hot 100, and assisted by a playful video starring Usher’s sexy tenor, physique and supple dance moves, this Grammy winner for best male R&B vocal sealed the foundation for a much bigger impact: 2004’s Diamond-certified Confessions. —G.M.

Nelly feat. Kelly Rowland, "Dilemma"

Is there really that much of a “Dilemma“ here? It’s clear from this sweet duet that Nelly and Kelly are meant to be together, even if the song tells us “she got a man” and that Nelly’s “never been the type to break up a happy home.” With this pitch-perfect pairing, Kelly Rowland carved out a solo spot for herself outside Destiny’s Child and brought out Nelly’s soft side in the process – and the ballad also provided a whiplash moment, going from the rapper’s raunchy previous Hot 100 No. 1,Nellyvillelead single “Hot in Herre,” to this romantic plea that replaced it atop the chart (and spent 10 nonconsecutive weeks in the penthouse). Nelly has layers. –K.A.

John Mayer, "No Such Thing"

This breezy, jazz-influenced acoustic rabble-rouser was Mayer’s first hit and it remains one of his best. Sung from the vantage point of a recent high school graduate, “No Such Thing” encourages listeners to follow their own path, and not “stay inside the lines.” High school principals and guidance counselors probably didn’t appreciate the message, but their students sure did: The track reached No. 13 on the Hot 100 and sent Mayer on his way to stardom. — P.G.

Avril Lavigne, "Complicated"

At the beginning of her breakthrough, attitude-fueled pop hit, Avril Lavigne — young though she was, still only 17 at the time — offered listeners some vaguely sagacious real talk between strums of electric and acoustic guitars: “Uh huh, life’s like this... that’s the way it is.” The Canadian soon-to-be pop-punk queen sang earnestly on her debut about someone who was overly concerned with self-image, a classic early 2000s-style battle between the kids who shopped at the Gap (“take off all your preppy clothes”) and those who chose Hot Topic and beat up people in hot dog costumes at the mall (See: “Complicated” video). Though there were those who wanted to bully the teenager and write her off for a perceived lack of skate skills, there were others who appreciated Lavigne and her No. 2-peaking Hot 100 song for its catchy chorus, its chip-on-your-shoulder delivery and its recognition that growing up and sorting through friendships is, indeed, complicated. —C.W.

Alanis Morissette, "Hands Clean"

“Hands Clean” remains Alanis Morissette’s final top 40 entry on the Hot 100, and its parent album, 2002’s Under Rug Swept, her last No. 1 on the Billboard 200; nearly seven years removed from the explosion of Jagged Little Pill when they were released, Morissette was entering a different phase as a commercial artist. Yet “Hands Clean,” one of the finest singles of her career, proved that she hadn’t lost any luster as a songwriter or performer, capable of skewering an older man who beguiles a young woman and then convinces her to keep their romance to herself. Supremely incisive and confidently arranged, with a point of view that switches but never lags, “Hands Clean” is still a crucial part of Morissette’s pop-rock lore. — J.L.

Christina Aguilera feat. Redman, "Dirrty"

A pop star taking control of her image is a tale as old as the industry itself — but few have done it quite like Christina Aguilera in 2002. Looking to shed her image as yet another teenybopper Disney transplant, Aguilera released “Dirrty,” a hip-hop ode to sexual freedom, bringing New Jersey rapper Redman along for the ride as she redefined herself as her now-iconic de facto persona, Xtina. Years later, “Dirrty” stands as a blueprint to reinvention in the pop game, with Aguilera’s post-chorus declaration still ringing in our ears: “It’s about time for my arrival.” —S.D.

Foo Fighters, "All My Life"

With its relentless chainsaw grind and intense off-balance song structure, “All My Life” isn’t so much a song as a freight train of pent-up frustration as Dave Grohl sings — then screams — “Done, done and I’m on to the next one” with growing ferocity. “I love it, but I hate the taste” is supposedly a reference to Grohl’s fondness for giving oral sex, but that’s unlikely why it won the Grammy for best hard rock performance or spent 10 consecutive weeks at No. 1 on Billboard’s Alternative Songs chart; that would be because it is the Foos at their unleashed, feral best. —M.N.

Santana feat. Michelle Branch, "The Game of Love"

This zesty collab followed the formulaSantana had perfected with their 1999 smash “Smooth”: Take a hot young singer (Branch here, Rob Thomas there) and put them together with the legendary guitarist, who plays just enough in between the sweet pop vocals to make sure listeners know whose album the track is on. The catchy “it just takes a little bit of this, a little bit of that” hook, penned by Gregg Alexander of the New Radicals, put it over the top. The single made the top five on the Hot 100 in November 2002, and won a Grammy for best pop collaboration with vocals three months later. – P.G.

Clipse, "Grindin'"

“Grindin'” may have only peaked at a modest No. 30 on the Hot 100, but that chart run wildly undersells the hold the song had on the summer of 2002, where its slam-along beat was so ubiquitous that it became as much a part of the sonic ether of daily urban life as construction work and traffic noise. It was the perfect showcase opportunity for rappers Pusha T and No Malice to give the world “something that they never felt before,” with star-making levels of chemistry and brio as they traded instantly quotable patty-cake-man rhymes, punctuated by cartoonishly falsetto’d exhortations of the title phrase, before clearing out for Pharrell to “talk his music s–t” with the song’s eerie space-invader synth hook. They’re just grindin’, man, y’all never mind ’em. — A.U.

Tweet, "Oops (Oh My)"

Tell you what Tweet did 20 years ago: She turned a late-night feeling-herself (perhaps in more ways than one) session into one of the most unshakeable R&B hits of the century. Slinking over an understated but still growlingly funky Timbaland production, the singer-songwriter born Charlene Keys sang of catching a glimpse of herself in the mirror and becoming so overcome at the sight she has to strip off her clothes and feel her own skin. Co-writer Missy Elliott swears it was never about literal masturbation — fair enough — but it’s definitely about some kind of raw and pure expression of self-love, intoxicating and empowering enough that it’s still soundtracking Euphoria cheerleading routines two decades later. —A.U.

Shakira, "Objection (Tango)"

Shakira began her English market crossover by delivering an unorthodox banger. “Objection,” a tango-infused pop track — which opened Shakira’s first-ever English-language album Laundry Service — is an attitude-heavy anthem that, along with “Whenever, Wherever” and “Underneath Your Clothes” catapulted the Colombian star into mainstream success. “Objection” has stood the test of time thanks to the raw emotions of its I-choose-me lyrics, and also because fans were blessed with both an English and Spanish version (“Te Aviso, Te Anuncio”). For those who straddle both worlds, it’s a win-win situation. — G.F.

Kylie Minogue, "Can't Get You Out of My Head"

Two decades later, andKylieMinogue’sFever lead single remains as close to future disco-fueled pop perfection as ever, with her mystical, gentle coos of “won’t you stay?” and “set me free” wrapping themselves tightly around the listener’s brain forever and ever and ever and ever. It demands an immediate search for the nearest dance floor on each listen, while each “la” glides effortlessly on top of the song’s thumping production. —J.G.

Jennifer Lopez feat. Jadakiss & Styles P, "Jenny From the Block"

By 2002, Jennifer Lopez was a superstar, nominated for two Grammys and starring in hit films like The Wedding Planner,Out of Sightand, of course,Selena. But don’t be fooled by the rocks that she got — as she testified in 2002, she was still “JennyFrom theBlock.” Her hit ode to her hometown of The Bronx made waves thanks to its sticky-on-first-listen catchiness,J.Lo’s sworn commitment to staying “grounded as the amounts roll in” and the unforgettable Bennifer paparazzi shots in the music video — which feel extra sweet today given Lopez and Affleck’s rekindling their romance in 2021. —R.A.

The Knife, "Heartbeats"

You probably didn’t hear it until at least a couple years later in the States — after it was included on full-length debut Deep Cuts and started to make waves in critics’ circles and the underground — but 2002 was the year that Swedish electro-pop duo The Knife released their enchanting breakout single “Heartbeats.” On a bed of synths that pulse and hum like blood-pumping capillaries, singer Karin Dreijer rhapsodizes indelibly about “one night to be confused,” a memory of a “promise made,” an encounter so romantic that prayer can’t possibly hope to deliver the same kind of fulfillment. Even among one year of perfect tunes like ’02, the euphoric slow-rush of “Heartbeats” remains uniquely resounding. — A.U.

Queens of the Stone Age, "No One Knows"

Hit “play” and try to resist bopping your head along to the immediately insistent riff and beat — we guarantee you will fail. Penned by QOTSA frontman Josh Homme and the late, great Screaming Trees leader Mark Lanegan, the modern rock megahit – featuring Dave Grohl on drums – is timeless not only in its catchiness, but also its mysterious lyrics: “We get these pills to swallow/ How they stick in your throat …. And I realize you’re mine/ Indeed a fool am I.” Is it about drugs? Love? Something else? The trippy video’s no help, with a dead deer coming back to life to smack QotSA in the face. It may remain a question for the ages, as Homme once told MTV: “It’s a mystery what that song’s about. No one knows.” — A.C.

Norah Jones, "Don't Know Why"

“Don’t Know Why” was the breakout single that launched the powerfully soft voice of Norah Jones into the mainstream. Between Jones’ soothing vocals, a tender piano melody and gently brushed drums, “Don’t Know Why” gorgeously encapsulated the early-’00s cultural obsession with silky, gentle, alternative-leaning pop music. The daughter of legendary sitarist Ravi Shankar, Jones put her own stamp on the musical world with her debut studio album Come Away With Me that bridged the gap between jazz and popular music in a way that has yet to be replicated – snagging five Grammys, including wins for album of the year and record of the year, in the process. —T.M.

Jimmy Eat World, "The Middle"

Hard to believe now that Jimmy Eat World led 2001 breakthrough effort Bleed American with the gritty title track as its first radio dispatch; it just took some time for them to find the single that was going to catapult them into the pop-rock stratosphere. They certainly got there with “The Middle,” a relentlessly motivational and remorselessly catchy pop-punk singalong about believing in yourself that had just enough lyrical backbone and guitar muscle to keep from turning the NJ quartet into emo’s Up With People. Honestly, though, it was that Youth Group-like total lack of cynicism that made “The Middle” so notable at the time; there wasn’t a ton of call for such positivity in the early ’00s, but the song’s sense of uplift was so powerful and unwavering that you could actually believe for three whole minutes that “everything, everything will be all right” — particularly with the extra sauce that singer Jim Adkins put on each “eehhhverything.” —A.U.

Cam'Ron feat. Juelz Santana and Freaky Zekey, "Hey Ma"

The opening sample of The Commodores’ “Easy,” one of pop music’s great Sunday Morning songs, almost serves as a spoiler, letting you know right away how successful the Dipset crew were in their pickup efforts the night before. Not that there would’ve been much doubt anyway: The breezy bantering energy of “Hey Ma” has a wry smile from the first words of its opening chorus, a foregone conclusion that all involved were “gon’ get it on tonight.” Cam’ron and Juelz Santana don’t even have to present much of a sales pitch with their respective verses, but the latter still comes through with an all-timer: “I’m 18 and live a crazy life/ Plus I’ll show you what the ’80s like/ And I know what the ladies like.” It all adds up to the best tell-your-friends-to-get-with-my-friends anthem since “Big Poppa.” —A.U.

Sean Paul, "Gimme the Light"

Kicking off Sean Paul’sDutty Rock era was the shimmying “Gimme the Light,” with the Jamaican singer-rapper spitting rapid-fire verses over Troyton Rami & Roger Mackenzie’s ping-ponging beat. It could’ve been too busy to work with American audiences, but Paul’s multi-tracked vocal on the chorus “Just gimme the lii-iiiight and pass the dro-o-oooo!” request was just too winning to be denied. He was asking for more of a literal torch than a metaphorical one, of course, but the latter was nonetheless passed to him — following the success of “Gimme the Light,” Sean Paul became the biggest star of dancehall’s then-incoming global wave, which would only grow wider and mightier over the next couple years. — A.U.

The White Stripes, "Fell in Love With a Girl"

The White Stripes ushered in a mainstream garage-rock moment with this under-two-minute whirlwind of a single, managing to perfectly channel The Ramones while still sounding wholly new. A lot was made of the artistic trappings surrounding Jack & Meg when they arrived — the red-and-white starlight-mint outfits, the Michel Gondry-directed animated-LEGO video, the siblings-or-exes mystery — but the simplicity of this undeniably enjoyable rock trifle foretold their longevity. This was no fluke: “Fell in Love” set the stage for a decade of raucous rock from the Detroit duo. – K.A.

Vanessa Carlton, "A Thousand Miles"

Vanessa Carlton originally wanted to call it “Untitled,” an unconscionably inconspicuous title for an immediately unforgettable song; “A Thousand Miles” was much more appropriate, with the appropriate sense of scale and longing to match the mini-epic’s lovesick majesty. Given its torchy lyrics, sweeping strings and planet-sized piano riff, it’s tempting to refer to “Miles” as a ballad, but that would undercut the importance of the song’s impressive forward momentum, courtesy of a driving drum shuffle from longtime Paul McCartney stick man Abe Laboriel Jr., and those persistent recurring keys, pounding their way into your skull until you’re dreaming in diamond commercials. The result is quite simply the best song that Billy Joel never wrote, from a not-as-angry young woman who briefly caught the world’s attention by capturing a lifetime’s worth of emotional distance traveled without ever having to leave her piano bench. — A.U.

Justin Timberlake, "Cry Me a River"

Justin Timberlake followed up his debut solo single “Like I Love You” with the drama-fueled “Cry Me a River” — which featured a Britney Spears lookalike in the accompanying music video, following the former couple’s split earlier that year. Lyrics like the pre-chorus taunt “You don’t have to say, what you did/ I already know, I found out from him” got the rumor mill churning around what happened between pop’s royal couple — but the song’s pop success (reaching No. 3 on the Hot 100) and staying power 20 years later comes from its soaring falsetto and R&B-tinged sultriness, which became a staple for JT and lifted his solo career to the next level. — R.A.

Eminem, "Lose Yourself"

By 2002 we’d been introduced to the demented Slim Shady ofThe Slim ShadyLP and the also deranged and intermittently homicidal Marshall Mathers of that namesake album. With the urgently anthemic “Lose Yourself,” we got closer to what felt like the actual soul of Eminem, albeit via B-Rabbit, the character Em played in his 2002 biopic, 8 Mile.Written for the movie’s soundtrack, “Lose Yourself” spent 12 weeks at No. 1 on the Hot 100 and has soundtracked countless training montages and sporting events every year since — but it remains most memorable for offering insight into the real-life struggles, focus and bravado that transformed Mathers into Eminem, and Eminem into a global superstar. —K.B.

Nelly, "Hot in Herre"

The commercial pinnacle of both Nelly’s superstardom and The Neptunes’ imperial period, “Hot in Herre” was the dam bursting on hip-hop’s blitz of ’00s pop, leading the Hot 100 from June to August and only giving way when the artist born Cornell Hayes passed the baton to himself. You knew it from the first listen, the first line: Nelly was like, “Good gracious, ass is bodacious,” and it was instantly obvious that every radio station, dance club and outdoor gathering the rest of the year would be powerless against it. Not that the takeover was all that hostile: “Hot in Herre” mixed just the right amount of sweet, salty and sweaty, with enough D.C. go-go energy to necessitate a Chuck Brown hat-tip, and enough Neptunes strum-and-clang stank to make James Brown proud. Even if you could muster up the willpower to resist the literal instructions of the refrain (“It’s getting hot in herre/ So take off all your clothes”), there was still no telling how your body would choose to respond instead. — A.U.

Avril Lavigne, "Sk8er Boi"

Some say that subtlety is an art. Others, like Avril Lavigne, would argue that being brash is just more fun. That’s the ethos that fueled “Sk8er Boi” — a loud and decidedly uncomplicated pop-punk story song that would go on to help shape the rising star’s career. After the release of her more straight-faced breakthrough debut hit, it would have been easy for the world to see only the serious side of Lavigne. But because of the guitar-shredding, sing-song irreverence of “Sk8er Boi” and its knockout chorus, everyone got to be in on the fun. Not only did the single help confirm Lavigne as one the musical icons of her era, but it helped diversify the male-dominated subculture of pop-punk for the much wider audiences who keep it vital to this day. “Sk8er Boi” simply changed the game — what more can we say? — S.D.

Christina Aguilera, "Beautiful"

Missy Elliott, "Work It"