The 100 Best Songs of 2001

Weezer went heavy with "Hash Pipe," a hard rock headbanger that landed nicely in between the chugging angst of post-grunge and the razor-sharp hooks of power pop. — P. Ragusa

A prime example of the post-grunge boom, this song took Staind's love of Alice in Chains and packaged it into a radio-friendly tune that spent 20 weeks atop the mainstream rock chart. — Spencer Kaufman

The eerie riff, the roomy drums, the hazy production beneath it all — sounds like October to me. — Jonah Krueger

The eternally-relevant "Where the Party At" sees Jagged Edge asking the pertinent questions over production that feels like summer all year long. — Kiana Fitzgerald

On "I'm Gonna Miss Her," Brad Paisley offers a profound, defining fable that details the conflict between the passion of love and the passion one finds within themselves through seemingly inane aspects of life. — J. Krueger

Woo-WOO! — J. Krueger

Originally set to feature Brandy, Beyoncé, or Alicia Keys, "Always on Time" instead glimmers with Ja Rule's Murder Inc. colleague Ashanti's voice while he raps in his trademark rasp about the romantic life that he prefers. — K. Fitzgerald

An eventual source of inspiration for Kendrick Lamar's "man at the garden," "One Mic" is hip-hop storytelling at its finest, with Nas spitting vivid verses that peak and plummet energetically alongside the at times calm, at times surging production. — K. Fitzgerald

Stretching over 12 minutes, this expansive piece of progressive death metal is presented in crystal clear fidelity via the sonic treatments of Steven Wilson, who would go on to produce three landmark albums for Opeth — a stretch that is widely considered their artistic peak. — Jon Hadusek

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The Vespertine track submerges trip-hop rhythms with Björk's idiosyncratic vocals into an ambient haze. — S. Noor

112's blippy, electronic "Peaches and Cream" was one of the most carnal songs of 2001 — and maybe ever? — but the group members did their best to disguise their lustful desires with a food reference that is somehow just as sensual. — K. Fitzgerald

This track perfectly encapsulates the essence of the oughts with the King of Pop pulling influences from his various eras to craft a standout pop-R&B anthem with an insanely catchy chorus.  — S. Noor 

Thursday's knotty debut single isn't just a signature track for the band, but screamo writ large across thousands of high school notebooks. — Ben Kaye

There's an assuredness to Jenny Lewis' narration on this indie rock odyssey, juxtaposing the casual with the profound in a way that makes heartbreak feel light as a feather. — P. Ragusa

Bridging the gap between their screamo roots and the post-metal/post-rock they'd lean into on subsequent releases, Envy's "Your Shoes and the World to Come" is a dynamic, winding journey of intensity and catharsis. — J. Krueger

"Sonne" was originally written as an intro song for boxer Vitali Klitschko and likewise pairs adrenaline-pumping metal riffage and a triumphant chorus, fit for a fighter about to step into the ring. — J. Hadusek

The melodies on "In Too Deep" fit like perfect puzzle pieces, making the track a true staple of pop-punk's imperial era. — P. Ragusa

This sweeping elegy to a late friend is another fine example of The Cure’s proficiency for pop arrangements, soaring every bit as high as their better known hits from the '80s and '90s. — Tyler Franklin

"What Would You Do?" asks a harrowing question during its oft-repeated chorus, which floats over a deceptively cheery hip-hop beat — more than enough memorable elements to stick in our minds decades later. — K. Fitzgerald

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Deploying sunshine-streaked jangle to skew the very concept of pop artifice is so very R.E.M. — B. Kaye

Considering Radiohead dropped "2+2=5" just one album later, yeah, Thom, I'd say you might be wrong. — J. Krueger

The opening salvo from Yeah Yeah Yeahs' debut EP defines "garage" rock revival, introducing NYC icon Karen O over the raunchiest, crunchiest, sexiest sonics money could barely afford. — B. Kaye

Who knew those robots could sound so soulful? — P. Ragusa

The lyrics are knotty enough to sprain your tongue and dense enough to addle your brain, making “Daylight” an instant backpack rap classic. — Wren Graves

"The Kill" is Fugazi at their strangest, most patient, and, perhaps, most poignant (and, no, it's not the Jared Leto song). — J. Krueger

"Lady Marmalade" has lived multiple lives, none of them more flashy and flamboyant than the Labelle original — but  the Moulin Rouge version came pretty damn close, thanks to its vibrant contributions from pop, R&B, and hip-hop's leading ladies of 2001. — K. Fitzgerald

Jadakiss' aspirational bars over a coveted Alchemist string instrumental made "We Gonna Make It" an ideal vehicle for his solo breakout. — E. Fu

Major tragedy, let the bodies hit the floor; minor inconvenience, let the bodies hit the floor; any time the excrement hits the air conditioning, let the bodies hit the [tss, tss] FLOOOOOR! — W. Graves

Matthew Bellamy could not sound more empowered or desperate on "Bliss," practically blowing down the recording studio walls. — P. Ragusa

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“Dead Leaves and the Dirty Ground” is hardly the first great Jack White riff, but it’s arguably the first Jack White riff that made his ascension to Guitar Godhood feel inevitable. — W. Graves

System of a Down's first-ever No. 1 rock song is absolutely hypnotic, with a captivating Middle Eastern-inspired guitar riff and Serj Tankian's soaring vocals. — S. Kaufman

On "Homewrecker," Converge's pioneering metalcore wears the cape of classic hardcore punk, nasty and unhinged, barreling ahead for four minutes without respite. — J. Hadusek

The Dismemberment Plan’s Emergency & I is a cult classic, but it’s followup, Changes, is far too slept on, as is this stellar cut from the 2001 project. — J. Krueger

Interlocking guitar filigree and atmospheric drumming lend Ben Gibbard's hyper-specific Pacific Northwest imagery a panoramic scope while maintaining Death Cab's trademark intimacy. — B. Kaye

Iconic for many reasons, including its guitar sample from Stevie Nicks' "Edge of Seventeen," "Bootylicious" remains an irresistible earworm. — S. Noor

Jason Pierce has crafted his fair share of majestic tunes throughout his career, and the '60s-esque, gospel-heavy "Stop Your Crying" is a radiant example. — P. Ragusa

Low is deservingly hailed as a seminal figure of slowcore and underground indie rock, and it's beautifully effective songs like "Dinosaur Act" that prove why. — J. Krueger

There's something dark and delicious about the electroclash group's breakout single, which seduces you layer by layer until dancing is the only escape. — Liz Shannon Miller

Lots of MCs fought to be the King of New York after Notorious B.I.G. died, but with “Takeover,” Hov stomped on his rivals, took the crown, and never gave it back. — W. Graves

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"QKThr" is the soundtrack to simultaneously re-experiencing every moment of sublime and despair you've ever felt. — J. Krueger

Released in Dylan’s fourth decade of songwriting, “Mississippi” is an old man’s masterpiece: a heroic exploration of regret and longing. — W. Graves

Mary J. Blige has been known as an emotive soul-bearer since she entered the industry, but "Family Affair" promised no more drama — instead, Blige encourages a night of unabashed revelry and celebration. — K. Fitzgerald

The heaviest song on a landmark album of adolescent anthems, “Bleed American” proved that emo music could appeal to the mainstream while still rocking just as hard as the alternative. — T. Franklin

A masterpiece of both plastic soul and vocoder-assisted self-dueting, the lead single from the Furries' major label debut solidified their ability to subvert pop convention without losing their psychedelic roots. — B. Kaye

This song did to 2000s guitar rock what “Smells Like Teen Spirit” did to the ’90s, and the only way it would have been more beloved is if Julian Casablancas had [redacted]. — W. Graves

One of the all-time great karaoke night bangers about the man who done you wrong, powered by an addictive R&B bassline and Cantrell's empathic vocal performance. — L.S. Miller

It helps that "Everywhere" has an enormous, shout-along chorus, but the whole package is a powerful slice of pop-rock; against the currents of hard rock and bubblegum pop, Michelle Branch confidently settled into her sweet spot. — P. Ragusa

The rich fabric of this found-sound masterpiece, which includes numerous quotable lines and the best parrot solo in recorded music, makes this a song every human deserves to hear. — T. Franklin

It might not be the greatest song in the world, but it’s pretty close. — W. Graves

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"Jesus, Etc." might just be the finest offering from Mr. Jeff Tweedy, and that dude has quite a few good tunes! — J. Krueger

A  beautifully melancholic ballad that strikes the perfect balance between intense emotion and fragility. — S. Noor

Slipknot go nearly full-on death metal on this staple cut from the band's seminal Iowa LP, a track that takes a dig at the record labels that passed on the band before its commercial ascent. — J. Hadusek

To doubt that Janet Jackson's hip-shaking "All for You" owns the dance floor is to doubt the laws of science. — L.S. Miller

Two years before Zach Braff declared that The Shins would "change your life," their breakthrough single reached out like a gentle, understanding hug from a friend. — L.S. Miller

Medically-inadvisable head-banging is almost guaranteed.  — W. Graves

Incubus carved out more space for serenity and dynamic shifts on Morning View, and lead single "Wish You Were Here" remains as restorative as a perfect beach day. — P. Ragusa

Despite the inauspicious timing of a band called Saves the Day releasing a single titled "At Your Funeral" literally days before 9/11, this hooky meditation on ego death took hold and became an emo classic. — B. Kaye

Shakira's breakthrough single was a global sensation and an effervescent introduction to the Colombian superstar; plus, how many top 40 hits boast a killer pan flute solo? — P. Ragusa

The R&B singer's ode to radical self-love sent out such an important message during an era overwhelmed by toxic beauty standards.— S. Noor

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Train will never write a better song than "Drops of Jupiter," but that's okay, because this one is just so skyscraping and passionate that we'll savor it for years to come. — P. Ragusa

Driven by the proven formula of a bouncy Irv Gotti beat, a Ja Rule-penned hook, and Ashanti’s golden vocals, Fat Joe’s "What’s Luv?" would have topped the Hot 100 if not for Ashanti’s own hit, "Foolish." — E. Fu

The Neptunes were a white-hot production and songwriting duo in the late '90s and early aughts, and Britney Spears wanted to be lit ablaze with her own hit; "I'm a Slave 4 U" sounded vastly unlike Spears' usual output, and that's what made it such an undeniable smash. — K. Fitzgerald

The propulsive pop of Ben Folds' first solo endeavor is captured on this silly-yet-sharp, syncopated ditty about psychedelic suburban boredom — creative lightning in a bottle for both the characters and the songwriter. — B. Kaye

With its infectious beat, the track remains an essential Y2K club staple.  — S. Noor

All Mogwai and Steve Albini need to astonish is one main riff and about 20 minutes of your time. — J. Krueger

Perhaps the most sexually-liberated single of Aaliyah's career, "Rock the Boat" was also the singer's last living opportunity to share her ethereal vocals and singular understanding of life's myriad experiences. — K. Fitzgerald

Definitively the greatest Southern rock song of 2001, and I'll fight anyone who says otherwise (but maybe that's the whiskey talkin'). — J. Krueger

This is rap-rock at its best, with lyrics that beautifully capture the struggles of kids in America, and a huge anthemic chorus that begs you to scream along. — S. Kaufman

The "pitbull in a skirt" Eve brushes off the haters over top-shelf Dr. Dre and Scott Storch production on "Let Me Blow Ya Mind," anchored by Gwen Stefani's effortlessly cool chorus. — E. Fu

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I want a song with a funky rhythm and a vibraslap rattle. I want a song with smooth lyrical callbacks and alluring trumpet lines. I want Cake at their deadpan, catchy best. — B. Kaye

The Canadian band's breakthrough single has anthemic hooks and a whole lot of drama ("I've been wrong! I've been down!"); certainly one of the best post-grunge songs of all time. — P. Ragusa

Between the earworm acoustic guitar riff, softly sung vocals, spellbindingly creative production, and dynamic structure, "I Want Wind to Blow" offers just about everything that's wonderful about The Microphones in a mere five and a half minutes. — J. Krueger

Maybe it's the way Tom DeLonge earnestly sneers the word "honest," or it's Travis Barker's hall of fame-level opening drum fill, or it's the euphoria coming from their major chords and adolescent butterflies — no matter the detail, "First Date" is about as pure and satisfying as Blink-182 songs come. — P. Ragusa

With Pink's signature rasp and a terrific, cards-on-the-table pre-chorus, "Just Like a Pill" makes agitation feel liberating. — P. Ragusa

Usher's breakthrough moment came in the form of this slow-burning ballad, which teems with regret, longing, and an unshakeable desire to yearn like the great R&B singers who came before him. — K. Fitzgerald

There's a real chance that "(This Is) the Dream of Evan and Chan" is a top three Postal Service song, and it's not even technically a Postal Service song. — J. Krueger

The Scottish band's second album opened with this almost ethereal blend of electronica and rock, a track that sweeps you away from the jump. — L.S. Miller

With an energetic blitz of rave, acid rock, and new wave — not to mention an A+ music video — Basement Jaxx landed on an all-time earworm and a classic slice of early aughts dance music. — P. Ragusa

Jesus, what a fucking mesmerizing, heart-shattering chord progression. — J. Krueger

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While it received a whole new burst of popularity following 2023's Saltburn, "Murder on the Dance Floor" was never not a club banger for the ages. — L.S. Miller

Whether you need motivation for a workout or hitting the dance floor, "Move Bitch" will get your feet moving thanks to its booming beat and chant-along chorus. — E. Fu

Perhaps no song has ever so wholly captured the essence of an artist the way "Party Hard" distills the character of Andrew W.K. into three minutes of blaring guitars, slammed piano notes, and righteous shouts. — J. Krueger

Snagged from Royce da 5'9", JAY-Z's storied collaboration with Eminem features the two MCs spitting unguarded verses about their hard-won positions in life and within the vanguard of hip-hop. — K. Fitzgerald

This song's numerous repeated refrains reverberate like a haunting, painful prophecy 25 years later. The bridge echoes with the song's title like the stark silence after gunfire, while the lines "It ain't no secret!" and "You can get killed just for living in..." recur as wretched incantations. Written following the 1999 killing of Amadou Diallo by four members of the NYPD Street Crime Unit, this live recording was captured during Springsteen's 10-show 2000 residency at Madison Square Garden — despite then-Mayor Rudy Giuliani publicly condemning the song's very existence. The reunited E Street Band pulse with solemn emotion, and Springsteen's gritty vocals ache with the weight of the brutality he's documenting. A studio recording would come on 2014's High Hopes, but the rawness of this particular performance in this particular city at that particular moment makes it the definitive version. — B. Kaye

"The Whole World" provided the perfect bridge between OutKast's stellar albums Stankonia and Speakerboxxx/The Love Below, appearing as a new track on the hits compilation Big Boi and Dre Present... Outkast. André 3000 kicks off this Grammy-winning song with a bouncy, sing-along chorus that immediately gets stuck in your head. From there, Dre spits out a rapid verse, giving way to a then-young guest rapper Killer Mike, whose distinct rhyme-slinging on the track helped launch his career. Big Boi then takes it home with his velvety-smooth final verse, leading back to that infectious chorus. When new track packs in that much and becomes a standout amidst a compilation, it can't be anything but a classic. — S. Kaufman

If this list was based on the most fun songs of 2001, Sum 41's "Fat Lip" would have a strong argument for No. 1. From the rapped intro to the monster guitar riff to the infectious pop-punk chorus, this tune has something for everyone. It's an anthem for rebellious skate punks in suburbia, with the four-piece band trading lines (led by frontman Deryck Whibley's snarky delivery) as they provide the narrative for troublemakers everywhere. The song put the Canadian punk band on the map — and will live on as a karaoke classic — helping propel them for the next quarter century until they decided to call it quits in 2025. — S. Kaufman

Much of The White Stripes’ allure lies in their electrifying yet minimalistic moments, making "Fell in Love with a Girl" a standout cut from their catalogue. The sheer brilliance of the tune stems from its simplistic guitar and percussion structure, which pairs perfectly with Jack White’s gritty vocals. By recording exclusively on analog equipment, Jack and Meg White created a sound that evoked '70s rock while anchoring the 2000s garage-rock revival that launched them into the mainstream. At its core, “Fell in Love With a Girl” is one of those songs that just never gets old. — S. Noor

"Everything is Free" is a modern folk classic — covered by the likes of Father John Misty, Courtney Barnett, Phoebe Bridgers, Madison Cunningham, and Sylvan Esso, just to name a few — and for good reason. Beyond its beautifully simple chords and delicate guitar work, Welch's verses of the devaluation of art, exploitation of workers under unchecked capitalism, the intrinsic drive to keep creating anyway, and the intersection of all three of those forces have only become devastatingly more relevant in the 25 years since the tune's release. (Remarkably, "Everything is Free" pre-dates Spotify's launch by just under seven years.) Did Welch have some sort of gloomy, scarily accurate premonition of the streaming age to come? More likely, she merely made like many great folk artists before her and put words to a phenomenon that's as old as humanity itself. — J. Krueger

Destiny's Child was/is a dramatic group. Let's just get that out of the way. The collective of pop&B singers went from four original members to two fewer members, plus two new members, to actually, we're only keeping one new member, now we're a trio. The most famous iteration of the band consists of Beyoncé, Kelly Rowland, and Michelle Williams, and that's the version that released the string-driven, theatrical "Survivor." With animosity exchanged between past and present members in the media, it became a running gag that Destiny's Child was voting each other off an island a la the TV show Survivor. Beyoncé, forever motivated by spite, seized the moment as her opportunity to co-write and co-produce a single that would go on to define the group. "Survivor" became the trio's ultimate answer to anyone wondering if they could weather the storm. — K. Fitzgerald

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Any high school outsider who encountered this unavoidable slice of emo-pop likely turned it into their personal pep talk with multiple repeat spins or TRL votes. Yet, it's earned its place as Jimmy Eat World's signature song for more than its unmistakable opening riff and indelible hook. Having been dropped by Capitol following the release of future classic Clarity, the band self-financed their Bleed American followup. That underdog determination thumps throughout this miracle of power pop architecture, in every palm-muted thrum of the verses and cymbal crash of the chorus. The songwriting is so focused and the earnestness so self-actualized that the "just do your best" gusto bypasses cliché to reach truly timeless catharsis. "The Middle" is the sound of a band manifesting with such ferocity that it reverberates through a whole damn generation. — B. Kaye

The title serves as a promise: “Harder, Better, Faster, Stronger” did exactly that in transforming both Daft Punk’s career and electronic music generally. This song is so good it made people who weren’t even in the studio serious money, from the 78 million views of the viral “Daft Hands” YouTube video, to one of Kanye West’s most naked samples on the No. 1 hit “Stronger.” The wild vocoder vocals and deliriously irresistible beat earn it a place as one of the greatest dance songs of all time, and arguably the finest track on our favorite album of 2001. Daft Punk may have broken up, but their work is never over. — W. Graves

“Schism” is the ultimate Tool song, showcasing everything the band is best known for — especially their use of unusual rhythmic cadences and ever-changing time signatures. On top of that, there's that hypnotic bass line that's arguably the single most recognizable phrase of music in the band’s catalog; play it for anyone who claims to have never heard a Tool song and see what they say. Add it all together and it’s clear to see why this was Tool’s highest charting song until 2019. The mainstream exposure converted many soon-to-be fans, and remains one of the peaks of their 2001 album Lateralus. — J. Hadusek

"Someday" is The Strokes at their breeziest, sounding almost like they had just stumbled into a song and made it a classic. It's one of the more earnest, outwardly sweet contributions to their outstanding debut, with Julian Casablancas sounding unashamedly romantic as he croons and bellows across the band's warm arrangement. Everyone in the band understood the assignment, delivering just enough restlessness and restraint to make what would grow to become a signature Strokes moment. But more so than the rest of their tunes, "Someday" feels like home; it's comfortable but it yearns and dreams and never quite settles. Ah, youth. — P. Ragusa

Kylie brought the world to her feet with "Can't Get You Out of My Head," her biggest international hit to date. Just like its title predicted, the song remains an enduring earworm. Against a mid-tempo beat — fast enough to get the blood rushing but slow enough to luxuriate in — Minogue throbs and aches on the dance floor as she describes the unshakeable psychic command of her crush. The hook certainly leaves an impression, but it's the song's blissed-out chorus that reigns supreme. In depicting this intoxicated loop of desire, Minogue created a pop monument that's just as hypnotic as the feeling it describes. — P. Ragusa

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Written with the vocal stylings and lyrical content of Jackson 5-era Michael Jackson in mind, "Fallin'" is simple on its surface. It opens with a raw, almost strained delivery from Alicia Keys, who builds out the song with straight-forward lyrics and evocative piano, a foundation that could have easily lent itself well to an adolescent Jackson. But Keys' take on her own song is all stormy waters, as she agonizes over the unpredictability of love. The combination of Keys' soaring vocals and the rising and falling melody transforms the experience from standard love song to wholly relatable and distinct. Still one of Keys' most enduring songs, "Fallin'" takes its power from its willingness to sit and stew in naked vulnerability. — K. Fitzgerald

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Mainstream rock radio listeners didn't know what hit 'em when System of a Down's "Chop Suey!" crashed the airwaves in August 2001. The song is a sonic whirlwind of frenetic metal that complements Serj Tankian's rapid-fire verses and operatic chorus, complete with lyrics that speak of "self-righteous suicide" — not your typical radio fare by any means. Yet, the innovative track is one of the most recognizable heavy rock songs of all time, and a signature tune in SOAD's acclaimed discography. Moreover, the single served as the first taste of the band's iconic sophomore album, Toxicity, one of the greatest albums of the 21st century. — S. Kaufman

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How many times did you hear this track before you learned it was named “Clint Eastwood” because the melodica line resembles the theme song from The Good, The Bad, and The Ugly? Did you just find out now? Twenty-five years later, the debut single from Gorillaz is still able to surprise us. Damon Albarn’s second band would always be big on collaboration, and fans heard that from the jump, when Del tha Funkee Homosapien was allowed to run roughshod over the cracked beat. It was a statement piece from a project built on unrivaled creativity that has still yet to be drained. And unlike “sunshine in a bag,” hits of “Clint Eastwood” never run out either. — W. Graves

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Two-and-a-half decades later, "Get Ur Freak On" still feels like a sonic anomaly that no other artist will ever approach in terms of creativity or everlasting wow factor. Each listen feels like a novel experience: the Japanese-language intro commands the listener to get ready to dance just before Timbaland's bhangra-influenced tumbi riff adds an avant-garde flair to his signature syncopated drums.

Throughout the track, a nimble-tongued Missy Elliott sounds downright modest when boasting about leaving the radio airwaves "shook" and chiding copycats for "sloppily" attempting to duplicate her chemistry with Timbaland. After all, given the duo's history and their latest innovative track, it was apparent that their only true competition came from their future selves. — E. Fu

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