100 Must-listen-to Songs

As a follow-up to what is my most popular post of all time—100 Must-listen-to Albums—I decided I’d do 100 Must-listen-to Songs. This, surprisingly, was much harder to do, as I feel most of these projects are less important than the albums they’re on. I did my best to steer away from projects I mentioned earlier. That being said, it’s a little more tailored to my music taste (there is so much rock, I’m so sorry), skewing most of them towards the 90s-2010s (reminder: this isn’t 100 Best Songs), and including multiple songs from the same artist, but hopefully it’s still fun and informative nonetheless! If you’d like, follow along with my Spotify playlist!

P.S. This is a little less “serious” than many other posts, but I’m still trying here!

P.P.S. Trigger warning—language and mentions of sexual abuse

1. Bob Dylan – “The Times They Are A-Changin'” (1964)

One of the most important and fundamental lessons in life is the simple fact that time moves on and things change (yes, even if you’re a conservative). And Bob Dylan pulls no punches while making that point very clear. But he does so through a variety of perspectives, calling out “writers,” “critics,” “senators,” “mothers,” “fathers,”—the whole nine yards. Outside of the poetic-but-aggressive wisdom of Dylan, his pain-stricken voice, soothing guitar, and gorgeous, wailing harmonica all make the track as fun to listen to as it is important.

2. The Beatles – “A Day In The Life” (1967)

“A Day In The Life” is, many people have argued, potentially the best/most important rock and roll track of all time. And for that reason, I don’t know if I can do the track enough justice. The silky, slow, hazy pop of John Lennon’s parts sounds like the normal Beatles. His discussion of different daily events is calming and almost like a personal conversation after work. Yet, some of the content is shocking—with someone dying in a car crash. Following the then-cacophonous strings, McCartney enters with the sound of an alarm clock and contagious morning positivity before going back to Lennon, drowning in more suffocating instruments, and eventually ending with a looping record. Obviously, song structure wise, this is pretty “out there,” but when you look to the reality of their time (musically), it becomes even more impressive. I can’t imagine many of the future, genius, conceptual songs coming later if it weren’t for this. Plus the track as a whole emits a weird, harrowing positivity surrounded by chaos. There isn’t anything like it.

3. The Jackson 5 – “I Want You Back” (1969)

When we’re talking about all-time best pop songs, “I Want You Back” has to be in the top five. Not only was it a big piece in launching Michael Jackson’s career, but its instrumental (for everyone I know of) just inspires dancing, positivity, and emotion! The funky bass, gorgeous strings, subtle drums—it’s all perfect. And if Michael’s career wasn’t made decades later, I think he could hang his hat on this singular performance and be happy. The range, the attitude, the wails; few vocal performances can compare, and he was ten…

4. King Crimson – “21st Century Schizoid Man” (1969)

I don’t know if I’ve ever paid noticeable attention to the lyrics in this song, and I don’t know if I ever will. But that’s not the point. The compositional epic that is “21st Century Schizoid Man” (arguably/in my opinion) helped create prog rock (which would rule the 70s), inspire math rock (ruling the underground of the 90s), and level up rock as a whole. The jazz-infused, car chase-worthy, cacophony of rock rarely lets up; the muffled, static-y voice is almost like something from a Lightning Bolt album, and it has solos for days. And if it wasn’t already immortalized in music history, Kanye West helped cement it even more with the sample on “Power.”

5. Velvet Underground – “Pale Blue Eyes” (1969)

Is most of my emotional connection to this track also tied to my love of the movie Adventureland (2009)? Yes. But is this still one of the biggest songwriting achievements of Loud Reed’s career? Also yes. If I had to assign one song to the term “melancholy,” this might be it. The unacceptable but unbelievable relationship Reed describes in this song makes your heart ache at least a little, even past the fact that the person he’s describing is “married.”

6. Black Sabbath – “War Pigs / Luke’s Wall” (1970)

A lot of the lyrical genius and political critique of Paranoid (1970) is often lost on people in favor of their more influential sonic achievements. To be fair, this is maybe the quintessential heavy metal record, but the nuanced take on British (and overall) governmental control, the discussion of war and its consequences—it’s honestly pretty similar to a Dead Kennedys song, and a damn good one. Of course, the doom-and-gloom guitars and classic Ozzy vocals don’t hurt.

7. Led Zeppelin – “Stairway to Heaven” (1971)

Let’s see. The guitar intro is one of the most legendary in rock and roll history, the guitar solo is the most well known in rock and roll history, and it is the most well-known song by one of the most well-known bands in rock and roll history. Led Zeppelin did everything right here, and I think in large part due to their prior records. It has the soft, subtle folk of Zeppelin III, the high octane of Zeppelin I, and some of the mysticism from II and III as well.

8. The Who – “Baba O’Riley” (1971)

The hypnotic synths that open The Who’s Who’s Next (1971) will never not excite me. Its rock opera background (yes, it was written for Townshend’s scrapped rock opera, Tommy) doesn’t surprise, as the emphatic screams from the band usher the world-shaking guitars to the lonely, chilling, “teenage wasteland” in an epic that, in many ways, shadows over the rest of the record. “Baba O’Riley” is easily a top five album opener, and for me, it’s maybe number one.

9. Yes – “Roundabout” (1971)

Sometimes memes uncover awful, awful places of the internet. And sometimes memes open up people to the world of classic progressive rock. The beginning of Yes’s “Roundabout” is only the tip of the iceberg. But I’ll give it to you, the rocking bass line is one of the best parts. My taste, though, favors the intense keyboard solo (mentioned by the one and only, Jack Black in School of Rock (2003)). In many ways, “Roundabout” is just another good prog rock track, but rarely are they this fun and engaging.

10. Lynyrd Skynyrd – “Free Bird” (1972)

“Hey ______! Play ‘Free Bird’!”—a phrase shouted by borderline millions at this point. To disclose my personal biases, this was my favorite song for about three years, but I wouldn’t know every note to just any 4-minute-long guitar solo. “Free Bird” is a tale of two songs: a decent-but-catchy soft rock ballad about a man leaving, and a kick-ass display of the guitar as an instrument. But the latter half makes up for any faults the former may have had.

11. The Stooges – “Search and Destroy” (1973)

The Ramones may hold onto the first punk record, but among some of the first punk songs from Iggy and the Stooges is the lo-fi, raging “Search and Destroy.” The chugging guitars, high voltage solos, and Iggy’s impromptu “heys” come bring the track to the final calamity where Iggy and loses his mind amongst the cluttered, catastrophic instruments. It’s some of the craziest rock and roll—how I imagine the Sex Pistols acted on stage—but it’s a damn good time.

12. Joni Mitchell – “Help Me” (1974)

“Help Me” begins and ends with a flowing grace of a Fleetwood Mac song, but with the even more engaging lyricism of the genius Joni Mitchell. And somehow, the jazz sensibilities of someone much more sophisticated than they seem. But unlike instrumental-heavy jazz, it tells the story of someone falling victim to love once again, fearing the worst to come. The soft rock blends perfectly with Mitchell’s melancholy, begging, pleading voice in a story that’s equally as beautiful as it is sad.

13. Queen – “Brighton Rock” (1974)

Like another track on this list, the moment I hear this song, I think Baby Driver (2017). Is that a testament to the movie, the song, or both? I think both. The beginning of Queen’s Sheer Heart Attack is as powerful as anything else on the record, and that’s more impressive than it may seem. The rapidity of these guitars is borderline thrash metal, and not the pop-friendly Queen many people know. The delirious faces of the band on the cover of this record accurately represents the exhaustion my body goes through just listening to it.

14. Bruce Springsteen – “Thunder Road” (1975)

I’m sorry, but if your favorite song on Born to Run (1975) is “Born to Run,” you’re wrong. By the time it’s finished, the album opener (I’m sensing a pattern) “Thunder Road” puts it to shame. The humble beginning of just a piano and Springsteen harkens back to his less volatile, singer-songwriter self, before the release of this album. But the grandiose composition that fades out in the final seconds of the song ushers him into the new, explosive, and successful era of his career. “Thunder Road” isn’t just a song. It’s an entrance into the world of Bruce.

15. Pink Floyd – “Wish You Were Here” (1975)

Pink Floyd have always been good at manipulating emotions with their psychedelic prog rock, but rarely do they strike a strong chord with their words. Yet, “Wish You Were Here” (as an album as well) takes that barrier and shatters it. The relatively one-dimensional (for a Pink Floyd song) folksy guitars put a highlight on David Gilmour’s voice as his yearning, airy voice says perhaps my favorite quote of theirs: “We’re just two lost souls swimming in a fish bowl year after year.”

16. Rush – “Fly By Night” (1975)

My selection process for this list went something like this: identify important band, think of great songs, think less popular, something that exemplifies what the band is about, and (if possible) make it accessible (there are some future exceptions). Rush’s “Fly By Night” helped me establish this list of duties because, in my pursuit of selecting a Rush song outside of Moving Pictures (1981), I realized it’s the most Rush song ever written (that’s still digestible). The drums are tight, the guitars fly out of the speakers, and Geddy Lee’s voice soars further than they do. If you’re looking for the Rush experience in less than five minutes, this should be your pick.

17. Richard Hell – “Blank Generation” (1977)

Another early punk staple that, at least in the mainstream, is rarely mentioned, is Richard Hell and 1977’s “Blank Generation.” While the trouncing guitar rhythms may shout “blues” more than “punk,” and the lyrics echo sentiments from the Who’s “My Generation,” the disenfranchised Hell shouts his troubled past in his barely-understandable voice, enforced by a wall of attitude. Sometimes you don’t have to sound punk to be punk.

18. Judas Priest – “Beyond the Realms of Death” (1978)

Anyone who is only familiar with the high-octane Judas Priest of the 1980s (see Screaming for Vengeance (1982) and everything after it) may be unaware of some of their best material. “Beyond the Realms of Death” approaches metal with the subtlety of Zeppelin and early Sabbath, entering with some spacey, mid-70s soft rock, but evolves into a mind-numbing guitar solo experience. And if you were somehow unaware of the high-octane Priest I mentioned earlier, the last sixty seconds will tell you all you need to know. It’s a well-balanced track with insane instrumental heights.

19. Michael Jackson – “Don’t Stop ‘Til You Get Enough” (1979)

Those first bass notes on “Don’t Stop ‘Til You Get Enough” (which I believe are played on a synth…) started the journey that would make Michael Jackson the eventual king of pop. And it’s no surprise. It turns out, the record was actually the first time Michael had been given complete creative control in his own solo career, and he didn’t disappoint. His unrelenting and unblemished falsetto, backed by yet another fun and energetic instrumental (whoever produced the Jackson 5 and Michael Jackson gave them a little help) was enough to carry it to the top of the charts, and the top of my list for disco songs.

20. Pink Floyd – “Comfortably Numb” (1979)

If you want the audible sensation of being high (not that I would know) without any potential real world consequences, my suggestion would be to listen to “Comfortably Numb.” Waters wrote the song based on his own experience playing a concert while on tranquilizers, and it does the job very well (okay, but I actually haven’t done anything of that magnitude), with an additional kick of sadness. It’s easily one of the group’s greatest tracks, and has the most 80s-esque guitar solo you will ever hear from them.

21. Black Flag – “Rise Above” (1981)

Black Flag’s sound became a driving force for the hardcore punk scene very quickly, and in my opinion, off the back of Henry Rollins’ (lead singer) attitude and voice. We’ve covered some of the greatest album primers thus far, but “Rise Above” has to be among one of the most aggressive. Exemplifying the punk spirit, the track lashes out against abusers everywhere, telling them to F off and ruin someone else’s life. It’s one of the most important punk songs ever because it’s punk rock in a nutshell (and very catchy).

22. Descendents – “Myage” (1982)

The Descendents fit in so well with the punk community despite not seeming punk at all, because they’re one thing: outsiders. And in the debut song on their debut record, they describe the feeling of falling in love with someone you know is way out of your league; something most people have probably experienced before. Self-awareness is the driving force behind much of their music, and the same is true for “Myage.” The song provides another perfect example of young, frustrating suburban life.

23. Dio – “Holy Diver” (1982)

It’s sad to say, but without “Holy Diver,” Dio’s solo career wouldn’t have much to write home about. But the legendary metal frontman stamped his name into music history with this album and this song. The dark, ominous tone is set from the start with chilling winds, and only pushes further with the doom-bringing guitars. To be honest, the effectiveness of this song is still a bit of a mystery to me, but when I hear that man scream “Holy Dive-a,” I always get pumped as hell.

24. Iron Maiden – “Hallowed Be Thy Name” (1982)

“Hallowed Be Thy Name” is somehow both the “Fly By Night” and “Beyond the Realms of Death” of Iron Maiden. That is to say, it’s both as Iron Maiden as Iron Maiden gets, and I often hear it forgotten among more uninformed lists of Maiden songs. The speed and intensity of the last three-to-four minutes of the track are Judas Priest-esque in their speed and complexity of guitar riffs, and the first half is as solid as any other Maiden track. Maybe I have an obsession with guitar solos, but I don’t care anymore.

25. Talking Heads – “Burning Down the House” (1983)

“Burning Down the House” isn’t my favorite Talking Heads song, nor is it the best, but it’s the best and most accessible example of David Byrnes dorkiness, and that’s all that matters. Unlike the overbearing, layered compositions from Remain In Light (1980), “Burning Down the House” is more scattered and centered around percussion and synths. But it slaps just as hard, and Byrne’s screamed vocals are just as legendary as the world-famous “Burnin’ down the house!”

26. Prince – “When Doves Cry” (1984)

Prince’s musical genius was glaring throughout the extent of his luxurious career, but I can’t think of a more well-executed instrumental from him and his production team than the one from “When Doves Cry.” The various synth melodies, the whipping drums, the syncopated rhythms; it’s chaotic, but a beautiful and measured chaos. Also, there’s no bass guitar! Plus, add on a genuinely touching story (that was written to fit the movie, but still), and you have one kick-ass 80s pop song!

27. Metallica – “Master of Puppets” (1986)

Whenever I’m asked to give a description of thrash metal (which has maybe happened twice), I just say the guitars sound like violins and other orchestral instrumentation. What I should say is “just listen to ‘Master of Puppets’ by Metallica,” because the pounding, shredding guitars are the essence of that genre. I’m genuinely curious the maximum amount of time that goes by in the first three-and-a-half minutes without a guitar chord. My guess is less than .1 seconds. Anyways, it’s a cornerstone of the genre and one of the metal band’s best songs.

28. New Order – “Blue Monday” (1986)

Generally speaking, I hate traditional club music. But if every club song sounded like “Blue Monday,” I would be there every weekend. The weird, post-punk, techno, electronica, that’s somehow pop can only be compared to one other band in my head, and that’s Daft Punk. The glitching synths in that surround the vocals, the deep bass riffs that echo into the aether—it sounds like a rave in an endless void. And if that’s what makes clubbing enjoyable, so be it.

29. Operation Ivy – “Knowledge” (1988)

The importance of “Knowledge” is twofold. First, Operation Ivy played a quiet but active role in the development of the Western punk scene (ending in bands like Green Day and Rancid). Second, like “The Times They Are A-Changin’,” sometimes it’s good to recognize you’re not perfect. The idea that “all I know is that I don’t know nothin'” has been echoed across a variety of media, but no one said punk had to be full of nuance. The straightforward, high-energy rock gets the message across well enough.

30. Pixies – “Where Is My Mind?” (1988)

Is Surfer Rosa (1988) better than Doolittle (1989)… NO. I will stop that debate right now. But is “Where Is My Mind?” the Pixies’ best song? Maybe. The alternating guitar notes and fading “oohs” best known for their placement in the finale of Fight Club (1999) create a trance unlike anything I’ve ever heard. And the strained eccentricities of Black Francis’s voice blast right through it. It emits a similar feeling as “Comfortably Numb,” but with a much more unique sound.

31. Slick Rick – “Children’s Story” (1988)

Yes, sometimes the subject material of modern hip-hop can get less PG than some people want. But at the same time, old hip-hop can get cheesy, and I mean real cheesy. Luckily, in spite of that cheese, Slick Rick’s “Children’s Story” illustrates a telling story of a kid getting in trouble with the law. With his playful, bedtime reading cadence, Slick Rick details a young kid’s car chase and arrest. It’s lyricism is surprisingly craft at points, and it’s a rap song I might genuinely play for my kids (though some wording is sketchy for today).

32. Sonic Youth – “Teen Age Riot” (1988)

“Teen Age Riot” is Sonic Youth at their most melodic and accessible, but that isn’t always a bad thing. Still fully of hefty guitars and beginning with a hypnotic, shoegazy section, it maintains most of the pieces that make Sonic Youth so creative and so great—overly-ambitious sections, harsh guitars, and angst. It’s a poppy rendition of their typical over-the-top, experimental antics, making it the perfect introduction to the band.

33. Young MC – “Bust A Move” (1988)

Like several other underrated movies, books, and songs, most people tend to remember “Bust A Move” as soon as it starts playing, but no sooner than that. Yet it’s one of the most high energy, happy-go-lucky hip-hop songs (honestly, songs) I’ve ever heard! The background “hey” and “ha” that line up in between the beats, the rocking bass, the demanding “just bust a move”—if you need more inspiration to feel good about yourself and dance, I don’t know if you can get it. To some it may not have aged as well, but to me it’s one of the best late-80s songs ever.

34. Public Enemy – “Fight the Power” (1990)

The lasting memory of Public Enemy in 2021 is often diluted to their creation of this song. And though their influence was less one-dimensional than that, the song is their most famous multiple reasons: the basic, universal message, and the well-executed splicing of Black culture inside of it. Whether it’s Black church services, civil rights speeches, or just James Brown music samples, the song is a collection of Black themes and ideas to back up the immortal echoes of “Fight the Power.”

35. Nirvana – “Polly” (1991)

For some reason there are two sides to grunge—the chaotic, fun, satirical side (see Mudhoney and a lot of Soundgarden), and the insanely fucked up side (see Nirvana and specific Pearl Jam). And it’s songs like “Polly” (and “Rape Me”) that push Nirvana over there. Written about an actual kidnapping of a 14-year-old girl, the song details the thoughts of the kidnapper himself, while torturing this young girl. The stripped back instrumentation (especially for a Nirvana track) only serves to make the message clearer and the feeling worse. But it’s emotionally brilliant.

36. R.E.M. – “Losing My Religion” (1991)

If you don’t know, 80s R.E.M. is the superior R.E.M. So if you haven’t explored them before (especially if you like this song), please go do that. But that doesn’t stop “Losing My Religion” from being one of their greatest songs—easily. Their wispy guitars flutter along Michael Stipe’s voice as he spills his heart out (ironically, not about religion) in an emotionally-charged, international rock hit. And the understated orchestral backing adds a subtle charm to it that I hadn’t picked up on until writing this paragraph right here.

37. Slint – “Good Morning, Captain” (1991)

Honestly, for as legendary as Spiderland (1991) is, the record doesn’t even sound like math rock at times. Instead, it devolves into this post-rock poetry slam club with minimal rock instrumentation just trailing along with the lyrics. That’s all “Good Morning, Captain” is, but when the story gets to the “I’m sorry / And I miss you,” the hushed tone of Brian McMahan’s voice gets chilling, and suddenly the song feels a bit like 2019’s Lighthouse—lonely, desperate, hopeless, and lost at sea.

38. A Tribe Called Quest – “Excursions” (1991)

At this point I’ve learned to accept that each and every song from A Tribe Called Quest will begin with either a genius beat sample or sick acoustic percussion. “Excursions” is no different, with the funky, rolling bass and percussion loop that—while simple—rides along for the whole song. From there, ATCQ’s lyrical skills just kick in and we hear a condensed version of what this whole album (and group) is about: the ties between jazz, African music, and hip-hop, and how they tie into black (or afrocentric) culture.

39. Dr. Dre – “Fuck Wit Dre Day (And Everybody’s Celebratin’)” (1992)

Along with having one of the most famous and iconic hip-hop beats of all time, Dr. Dre’s “Fuck Wit Dre” catalogues the rap beef between many of the industry leaders in the mid-90s. Calling out Eazy-E specifically, Dre and Snoop Dogg team up against the rest of the rap world (with one of the best rap features ever)—not unlike Dre’s near future with Eminem. But instead of hardcore, inappropriate tracks, Snoop brings an inherent funk that smooths everything out.

40. Snoop Dogg – “The Shiznit” (1992)

Speaking of Snoop Dogg—1992 was definitely his year, releasing the consensus best Snoop Dogg record, Doggystyle and being featured on a majority of tracks from The Chronic. “Tha Shiznit,” to me, is the most underrated cut on this record. While “Gin and Juice” is as good as it is memorable, “Tha Shiznit” layers a gorgeous, airy flute solo with a harsh, intense bass that is unrelenting. It’s one of the more crafty hip-hop creations I’ve heard, even for Dr. Dre, and the high-pitched synths only make it sweeter.

41. Built to Spill – “Some” (1994)

Would you like to hear the chunkiest, grimiest, slowest lo-fi guitars in the world? Well do I have a song for you! Doug Martsch, today, is known for his insane guitar work on records like Perfect From Now On (1997), but this is where it all began. And of course, as we’ve seen thus far, songs with great messages are favored by me—this one being “don’t judge a book by its cover.” The lyrical performance is underwhelming, but it makes the instrumentation pop even more. The emotion is just channeled in the guitars instead.

42. The Jon Spencer Blues Explosion – “Bellbottoms” (1994)

I recently found out that Edgar Wright immediately imagined a car chase the first time he heard this song in the 90s. This imagery would eventually coalesce about twenty years later, and create one of my favorite movies: Baby Driver (2017). Well as fun as that is for me, this song is certainly epic on its own. The melding of crushing, intense rock and tight, cutting strings creates some disgusting rhythms in here, and when Jon Spencer finally comes in to discuss his obsession with bellbottoms, it gets even more energetic.

43. Korn – “Blind” (1994)

A huge piece of the nu metal wave began with just a few sharp guitar chords on the opening of “Blind” (followed up by some not-so-sharp, much… scarier guitars). But while the genre is inaccessible, often deals with some disturbing material, and even in the case of this record—is just a little too aggressive—this song stays relatively melodic and fun. It wouldn’t be a Korn song without unnecessary amounts of bass and a screaming lead singer, but as far as nu metal goes, it’s one of its poster children.

44. Nine Inch Nails – “Hurt” (1994)

I, among many others I hope, hadn’t realized “Hurt” was originally by Nine Inch Nails until fairly recently. The Johnny Cash version was engrained in my head, probably due to when I was born, as the original version. But oh lord, my eyes have been opened. I’ll admit that I’m a sucker for weird production quirks, but the white noise cutting in and out of the left ear, the cicada-like humming… it really is produced masterfully. And the lyricism—as we know from Cash’s rendition—can carry a song on its own. Only in this context, it’s much darker… in a good way.

45. Pavement – “Fillmore Jive” (1994)

Pavement’s album-ender for Crooked Rain, Crooked Rain (1994) is an emotional, symbolic moment in rock history. Singing the rock genre to its death, it discusses the realities of mid-90s rock and the music industry and how the genre has been destroyed by corporate greed and posers (arguably to this day). Its song structure is also one of the more unique and ballsy of their discography, not really fitting into a rhythm or tempo for more than sixty seconds. Malkmus’s songwriting is at its best and most depressing.

46. 2Pac – “So Many Tears” (1995)

2Pac’s Me Against the World (1995) is an emotional, lyrical creation only 2Pac could create. One of these introspective and poetic songs is “So Many Tears,” discussing his internal demons, personal experiences, and overall misery—all since childhood. The deep bass makes the track calmer than you’d think, giving Pac a safe space to vent his misery and even some of his mistakes. It’s not much more than that, but that doesn’t matter for an emcee as talented as him.

47. Autechre – “Clipper” (1995)

I had to get a couple IDM hits on here, and “Clipper” is the first of those select few. Autechre have pushed music further than almost anybody, and while it may not sound like it today, twenty-five years ago, this was pretty high-brow. But when you listen to it and analyze it, it’s not far from standard techno or club music (which is definitely why I picked this track). The synths fading in and out, the periodic sections of quick, scattered, but melodic notes. It might take a bit more effort, but I have no doubt you could dance to it.

48. No Doubt – “Spiderwebs” (1995)

The battle for most famous ska band has to be between Sublime and No Doubt, and without a Doubt (ha ha), “Spiderwebs” is their best song. From the rapid drums and echoing trumpets of the intro to the guitar solo; everything is pristine. I also think it’s in the top tier of Gwen Stefani’s vocal performances. The impromptu wailing, attitude, and pure range are all impressive. And anyone who owned Guitar Hero World Tour (2008) knowns damn well how good it is.

49. The Suicide Machines – “New Girl” (1995)

The ska train continues with “New Girl”—a simple, Reel Big Fish-esque (but earlier) example of the genre that also intersects a little with hardcore punk (if the band name didn’t tell you that). But it’s incredibly easygoing, drifting by with a keyboard solo and everything. Its simplicity, and juxtaposition of soft and hard make it a fun and energetic listen, if the bright ska vibe didn’t already make it so.

50. Fishmans – “LONG SEASON” (1996)

There are two songs on this list that are way longer than any song needs to be. Fishmans’ “LONG SEASON” is the first of those, and though its thirty-five minute runtime may dissuade some from listening to it, don’t let that be you. They take their sweet time doing it, but the Japanese dream pop group takes you on one of the weirdest and most satisfying sonic journeys ever thought of. It’s equal parts classical music, jazz, pop, shoegaze, and more, and the twinkling piano chords will never leave your head.

51. Modest Mouse – “Dramamine” (1996)

Nothing embodies the loneliness and boredom of a dull road trip better than Modest Mouse’s “Dramamine.” The record itself is supposed to represent and comment on the phenomenon, but this track specifically does it the best. The lyrics deal with the weird mental state created by the car, unable to focus on anything, trapped with only thoughts and experiences (and probably not the best ones). The person in this song is helpless, and though it’s sad, it couldn’t be portrayed more beautifully.

52. Outkast – “ATLiens” (1996)

Trippy beats, comic and cartoon references—all things MF Doom would later explore to their limits—come in full force on Outkast’s striking sophomore release. The almost silent wubs and scorching flames sound effects mark the entrance to this specific song in a weirdly pleasing fashion. Then, the funky but ethereal sonic environment created by the mix of deep bass and haunting hums is a one-of-a-kind experience.

53. Daft Punk – “Around the World” (1997)

Three words… Three words were all Daft Punk needed to create the most legendary french house song of all time. From the first thump of the bass, “Around the World” is a gorgeous, danceable, borderline psychedelic journey full of energy and attitude. It doesn’t use anything all other Daft Punk songs don’t already use, but it’s a much simpler rendition, unlike anything on Discovery (2001). And as a counter to what you’d expect, each “Around the World” gets even sweeter.

54. Elliott Smith – “Say Yes” (1997)

It should be expected from Elliott Smith at this point, but “Say Yes” is one of the best examples of nuanced and poetic lyricism I’ve ever had the privilege of hearing. Dealing with the emotions of a recent breakup, his heart is broken, but he begins the struggle optimistically, as he’s looking “Through the eyes of a girl / Who’s still around the morning after.” All he wants is her back, begging her to “Say yes,” and do just that. It’s sad but it’s real, just like everything else Smith created.

55. The Mighty Mighty Bosstones – “The Impression That I Get” (1997)

If No Doubt is one of the most famous ska bands of all time, The Mighty Mighty Bosstones have to be one of the most fun. Rarely do I get to live from the perspective of blind optimism, but each and every time I listen to this song, I get to live a little slice of that life. The quick, bright strums of classic ska guitars compliment that blasting horns, and the emphatic vocal performance (particularly at the start of every chorus) almost forces you to sing along. I wish I never had to knock on wood.

56. Radiohead – “Karma Police” (1997)

Out of the weird, dystopian OK Computer (1997), “Karma Police” is by far the most uncomfortable (and this is including the robotic speak following this song on “Fitter Happier). The harrowing “this is what you get,” is standoffish and threatening. And while the song is in part just about the existence of a theoretical “karma police,” instructed to punish those who have done bad deeds, it doubles as a critique of groups just like this. From Nazi sympathizers to anti-communist America, these actively-hostile groups often get out of control.

57. Blink-182 – “Adam’s Song” (1999)

For a group with nine studio records now, it’s surprising to see a singular song stick out in Blink182’s discography this much. But “Adam’s Song” is nowhere near any other track by the band—not necessarily in quality, but in its approach to the music itself. While you could compare it to the just-as-depressing, slow-moving “I Miss You,” it doesn’t deal with the cliche of failed romance. Instead, it’s just a farewell note from someone determined to commit suicide. It doesn’t shy away from the reality of depression, which is incredibly important, and it becomes even more emotional when you learn the person has gotten out of the situation, and is in a better, more optimistic place. And the victorious background vocals within the chorus’s instrumentation aren’t like the typical, braindead “nanas” you hear from the band elsewhere.

58. Pavement – “…And Carrot Rope” (1999)

“…And Carrot Rope” is nothing but nonsensical fun. But instead of the off-putting version of that (looking at you, Death Grips), it’s a bouncy, fun example of a happy-go-lucky song with no meaning. As a middle-finger to those just like me, critiquing the music and the lyrics. Malkmus wanted to create something that had no meaning whatsoever. And he did just that. The band’s last song of all time brings all the joy you would ever need with some joyful guitar distortion, and vocals from band members not really heard anywhere else in their discography.

59. Rage Against the Machine – “Guerrilla Radio” (1999)

For anyone unfamiliar with the Tony Hawk Pro Skater games, I’m sorry, but until you watch the opening of the new Pro Skater 1 + 2 pack (featuring “Guerrilla Radio”) you have no idea what pure joy is. The hard-hitting, speaker-destroying guitars that rev up the beginning of the track provide the high-octane action to your ears while your eyes are witnessing some gorgeous skating. It’s truly wonderful. Outside of that singular experience, it’s still a great song led by Zack de la Rocha’s emceeing and Tom Morello’s guitar work.

60. The Avalanches – “Frontier Psychiatrist” (2000)

Sometimes songs need to be listened to just because they’re so unique. Like it or not, the Avalanches’ “Frontier Psychiatrist” took almost all of its samples from stand-up comedy specials and random talk-based records, and by itself became a certified banger. How they craft melodies out of hysterical dialogue and weird horse neighing, I will never understand, but I challenge you to find a more impressive and stylish take on creating music.

61. Outkast – “B.O.B. – Bombs Over Baghdad” (2000)

We already got the laid back “ATLiens,” so the second Outkast song had to be something a bit more up-tempo and heavy. “Bombs Over Baghdad” is the fastest track of their career (yes including “Hey Ya” (and I didn’t look up the exact bpm so don’t fact check me)). The scattered drumming, the distant but consistent (either synths or) guitars in the background; nothing comes close. And the fact that both emcees could keep up with the beat during their verses is impressive. Plus, they’re easily some of the group’s best verses even without the technical aspect.

62. Radiohead – “Idioteque” (2000)

“Idioteque” is Radiohead going full intellectual (this doesn’t make it their smartest track, but it definitely takes from IDM (intellectual dance music)). It feels almost like a precursor to something from the Postal Service (to be mentioned later), where they take glitchy, post-apocalyptic, unsettling electronics and somehow make a pop song out of it. But the distressed vocals from Yorke push it a little further towards the unsettling side. Fun fact: it was ranked 8th on Pitchfork’s best songs of the 2000’s, and 33rd on Rolling Stone’s best songs of the century, so far.

63. Gorillaz – “Rock the House” (2001)

Similar to “The Impression That I Get,” “Rock the House” pumps an insane amount of happiness into my brain from the moment it starts to the moment it ends. And though they both get there using similar tools (a heck of a lot of horns), they’re vastly different from each other. “Rock the House” is a bit funkier, bouncier, and rich in hip-hop influence (it kind of is a hip-hop song). And once again, the FLUTE! I mean, how many tracks can pull off a flute solo this naturally?

64. The Strokes – “Someday” (2001)

It’s not my favorite song of the Strokes, nor is it the most famous (I think both of those awards go to “Last Nite”), but “Someday” is the literal embodiment of the band—and I know the bass tab because it’s super simple. It’s as simplistic as any Beatles song—one of the band’s staples, at least on their debut record. It’s introspective and constantly harkening back to the past, incredibly sentimental and positive, but at the same time, recognizes the positives associated with the future. All of these are themes later explored by the band ad nauseam, but they all find together on “Someday.”

65. The White Stripes – “We’re Going to Be Friends” (2001)

Is it possible for another song to be so childish and full of wonder? I’m not quite sure, but until I am, I’m going to name “We’re Going to Be Friends” king of that domain. The light strumming of the guitar brings a bright and unthreatening world to the forefront of White’s narrative here, allowing him to spout his perspective as a child, reliving the little things that made being a kid so wonderful. Back before any real prejudices are developed and you’re just happy to be around your friends, “We’re Going to Be Friends” is a reminder of a simpler time in your life.

66. Boards of Canada – “Music Is Math” (2002)

Unlike their prior record, Boards of Canada do not mess around on Geogaddi (2002), making it a dark and uncertain record, riddled with… well, riddles. The record is purposefully meditative and up to interpretation, but every track is darker than anything on Music Has the Right to Children (1998), and you can see it in “Music Is Math.” The disembodied, indescribable voices fading in and out, the ghastly, distorted moans all coalesce into a chaotic middle-end despite starting so gleefully.

67. Amy Winehouse – “You Sent Me Flying / Cherry” (2003)

Time has allowed me to realize that Back to Black (2006) is indeed superior to Frank, but I still enjoy the raw intimacy of her debut record, because it puts the focus on what’s best: her voice and lyrics. “You Sent Me Flying / Cherry” shows off both of these better than any other track. Her storytelling hits highs through individual details like the “Marlboro Reds” and the simplistic (but gorgeous) instrumentation lets you sit back, relax, and listen to one of the best voices in music history.

68. The Postal Service – “Brand New Colony” (2003)

More bands need to utilize chip tunes in their instrumentation/music—or other video game-related sound effects—because it (to me at least) is an instant attention-grabber. Postal Service’s “Brand New Colony” doesn’t just begin the track this way, but it carries it to the end alongside some skittering, electronic drums and very atmospheric, spacy synths and orchestral passages. It’s a gorgeous electro-pop/IDM track that showcases how much you can do with just a computer.

69. Sweet Trip – “International” (2003)

Another track you’ll have to exercise some patience on, the ten-minute “International” is a lot of what gives Sweet Trip the “IDM” label, despite not showing the side as often as they do their others. It feels like a journey through the internet, or some other vast realm of interconnected dimensions, beginning with a slow, pulsating hum, quickly visiting a natury, folk-inspired jam that is soon hijacked by a glitchy remix of bedroom pop, and ending with more calming strings and piano. It’s a long journey, but one not easily replicable.

70. Kanye West – “Family Business” (2004)

I, as much as anyone, love my family, but I never considered myself a “family person,” mainly due to how small my family is. Well, every time I listen to “Family Business,” that changes. There’s something about the looping piano track that just inspires sentiment and reliving memories. Then there’s Kanye’s beautiful portrayal of family relationships, from the best parts to the worst parts—mostly the worst parts. Whether it’s getting family out of jail, living with cousins and sleeping in the same bed, family does everything for each other. And this song is the king of pointing that out.

71. MF DOOM – “Beef Rap” (2004)

MF Doom isn’t reliant on samples, samples are reliant on MF DOOM. His utilization of random cartoon and superhero clips to create this persona of “Doom” is unbelievable, and it starts at the intro of “Beef Rap.” Then he takes a villain theme and remixes it into a beat? Simply genius. DOOM was always one of the most creative emcees in the industry, and it shows here.

72. Burial – “Archangel” (2006)

Out of the man landmark EDM albums of the 2000s and 2010s, Untrue (2007) is easily one of the most influential. It’s a weird crossroads between the current (back then) popular EDM, ambient house music, and dubstep before it was popularized by Skrillex. And thus, nothing like it existed at the time. Some of the best IDM/EDM albums to this day sound like they’re copying it and it’s 2021 (Nicolas Jaar’s work as Against All Logic is reminiscent of it).

73. Bomb the Music Industry! – “Get Warmer” (2007)

Jeff Rosenstock is one of the best lyricists of contemporary punk, and apparently he’s been that way for at least fifteen years. The exploration of self on “Get Warmer” vocalizes a lot of his frustrations with the world and with himself (admittedly getting bored of himself). Things aren’t getting better and never seem to get better, and he’s tired of that. And once he’s concluded his rant on life, a cacophony of electronics, filtered voices, pianos, synths, and more explode into reality in one of the most clustered by satisfying instrumentals I’ve ever heard in a punk song.

74. LCD Soundsystem – “45:33” (2007)

The other way-too-long track has finally come, and yep, you guessed it, it’s forty-five minutes long! LCD Soundsystem’s “45:33” was actually commissioned by NIKE as a song to be played in their stores. Supposedly tailored toward morning jogs, the song goes on quite a long journey; and one surprisingly trippy. One of the individual sections of the song (it’s divided into informal sections so at times it listens more like an album) is actually just the instrumental for “Someone Great,” which he later revisited and made lyrics for.

75. Anamanaguchi – “My Skateboard Will Go On” (2010)

Have you ever wanted to hear a banger of a rock and roll track, but filtered with video game-esque effects? Because that’s really all “My Skateboard Will Go On” is, but that doesn’t make it any less good. If you couldn’t tell from the sound itself, Anamanaguchi actually created the soundtrack to the Scott Pilgrim vs. the World video game, and this track is proof they were the perfect fit. Melding hard-hitting garage rock with bright, victorious, bit-centered music is something no other band does—at least this consistently and effectively.

76. Death Grips – “Hacker” (2012)

Possibly my pick for greatest song of all time, and at the very least the best Death Grips song, “Hacker” is an insanely-produced industrial hip-hop banger with both the lyrics and instrumental to go the distance. If the group’s music itself wasn’t already an excuse for MC Ride to go insane (and he does, quite frequently), “Hacker” is when the chaos within The Money Store (2012) gets let loose. It makes reference to many pop culture stars, including Lady Gaga, as the group tries to prove how impactful and iconic they are (which at the time was more of an empty flex, but today is an emphatic statement). The song is really the embodiment of the group—bragging, chaos, schizophrenic instrumentals, and unnecessary amounts of yelling.

77. Frank Ocean – “Pyramids” (2012)

Frank Ocean’s social commentary on his ten-minute song, “Pyramids,” is almost impossible to go over in this short time, but I’ll do my best. Referencing the great Cleopatra, he compares the once glorious history of black people and the Pyramids to what they’ve become now; abused, looked-down-upon in the form of dancers and clubs in Vegas. He portrays a lot of this with real world parallels told through his personal relationship with him and a mysterious Cleopatra. On top of the over-the-top poeticism and metaphors are some of the most glittering synths you will ever hear, and Frank Ocean’s unmistakable voice.

78. Beach Fossils – “Clash the Truth” (2013)

Dustin Payseur wrote Clash the Truth as a response to a lot of the feelings he was having as a young-adult; uncertainty, pessimism, failure, ennui, etc., and he lays all of these issues out off the bat. The goal was to push past these during the course of the project, and he certainly did his best. “Clash the Truth” services as an introduction to these themes of the record, but in a catchy and almost bouncy post-punk style. Entering with the very true “Life can be so vicious / That we can’t even appreciate its purities,” the song understands all of these harsh feelings and that—believe it or not—we can escape them.

79. Jack White – “Lazaretto” (2013)

The latter half of the White Stripes’ discography is full of flashy, experimental guitar work from Jack White, and while he’s a great guitarist, that band wasn’t the time or place. Once he got out on his own, though, he could make it shine, and he does on “Lazaretto.” I mean, that’s basically all it is. His masterclass in guitar work mixed with some clever inclusion of a violin/fiddle solo make this a hard-rockin’, boot-knockin’ good time.

80. Porter Robinson – “Sad Machine” (2014)

One of the downsides to using vocaloids is you often lack the vocal inflections necessary to portray emotion. The whole thing with robots is they can’t love, right? But Porter Robinson can somehow make it past this inherent barrier and make them sound inherently depressed. I still don’t know how he does it. Thus, “Sad Machine,” is one of the best EDM songs of the decade; blending this seemingly-impossible, melancholy “robot” with some of the highest quality EDM/dubstep of the era.

81. Kendrick Lamar – “Mortal Man” (2015)

Granted, it won’t hit the same if you haven’t listened to the rest of the album for context (so please do), but even without the added impact, its message is insanely complex, and the execution is unbelievable. After asking his fan base if they’ll continue to support him through the rough times, saying “When shit hit the fan, is you still a fan” he literally interviews 2Pac, despite his death, by splicing in his own questions with an old 2Pac interview. It’s… amazing, jaw dropping, chilling, perfect.

82. Toby Fox – “Undertale” (2015)

Undertale’s soundtrack will forever be one of the most impressive feats in music, let alone video game music! Toby Fox created the original soundtrack strictly using free software, yet the theme of the game is as complex as a complete symphony. The humble beginnings are simplistic, with just vivid guitar plucking, but by the center of the track, it’s an inspiring composition full of tens of instruments. And when all of the instruments cut out but the flute/ocarina? Even better than Zelda music!

83. Toby Fox – “MEGALOVANIA” (2015)

It’s a meme. It’s a banger. And it’s a genuinely good song. Though repetitive, “MEGALOVANIA” is what every boss theme wants to be: a mood-raiser, an experience-heightener, a piece of media that will just pump you full of energy and adrenaline! Well, if you aren’t enticed and excited by about halfway through, I don’t understand your music listening experience. Do you have to be obsessed with it? No. But you have to acknowledge one thing: the shit slaps.

84. Anamanaguchi – “Miku” (2016)

It seems fitting for a video game sountrack-making, digital-sounding band to end up in the arms of Hatsune Miku, but even then, how does it sound this good? The global pop sensation introduces herself with this danceable bit of bubblegum pop, backed by some great electronic work done by Anamanaguchi. It’s glittery and bright, fun and energetic, and a perfect track to brighten a mood. Disclaimer: I did listen to this before it was a TikTok trend.

85. The Avalanches – “Because I’m Me” (2016)

Speaking of something that brightens moods: I’ve gone on record saying the two most infectiously positive things in the world are everything from Kero Kero Bonito and “Because I’m Me” by the Avalanches. And it’s true, I swear on it. With soulful, 60s, Michael Jackson-esque lyrical samples and a bit of late 70s disco, your whole world view explodes into an array of colors. Or at least it feels as if that’s what’s happening. Then the newly-inserted verse from Sonny Cheeba, it gets groovy and exciting!

86. Car Seat Headrest – “(Joe Gets Kicked Out of School for Using) Drugs With Friends” (2016)

The award for world’s longest title goes to… actually, probably something by Fall Out Boy now that I think about it… but I digress. This song is clever, hilarious, and (I think) full of important lessons. Though he glorifies it earlier on “Hippie Powers,” Will Toledo explains the horrors of drug use; specifically overuse of psychedelics when you’re already not in a good mental state. Though he uses his patented monotone voice, Toledo’s storytelling and one-liners (like trying not to pee his pants) make this song outstanding and even fun to listen to, despite the serious material.

87. Denzel Curry – “Me Now” (2016)

Denzel Curry goes back and forth from cartoony lyricism and topic-selection, to serious, down-to-earth, poetic genius. And while both are fun to listen to, “Me Now” is really dark, and really important to Curry as a person and artist. He’s lost in a void, not even in pain (“Even pain couldn’t hurt me now”), just in a lonely existence (“Even my love has deserted me now”). He often projects this facade of invincibility—I don’t even know if on purpose, but he seems very strong—but he lets himself go. And his genuine emotion only strengthens his musicianship.

88. Kanye West – “Ultralight Beam” (2016)

I’m not religious. I’m not black. But almost every time I listen to “Ultralight Beam,” I cry, or at least tear up. Why? The raw emotion in the gospel verses and background vocals is something that will actually make you believe in God. Chance the Rapper gives an insane verse (what??). Kanye’s (I think) autotuned voice sounds brilliant, unlike most of his other vocal performances. And it all comes together into an iconic composition of music I couldn’t do justice with words.

89. Kero Kero Bonito – “Trampoline” (2016)

Sometimes we all need a break; and although there is a song on Bonito Generation (2016) that’s called “Break,” “Trampoline” is a more iconic—and simply better—song. The track is all about understanding you will fall, but come back up in life. “Find your rhythm, momentum is the key” Sarah says, which really is true from what I’ve learned. It’s optimism that recognizes the pessimism, realism that’s still optimistic. And that delicious synthetic instrumentation from KKB is simply divine.

90. Weezer – “Endless Bummer” (2016)

Somehow, with all the doubters (including myself), in the face of everything they’d released since the 1990s, Weezer forged one of their best songs ever in 2016. “Endless Bummer” is a stripped-back, hushed story of an awful summer. Detailing a broken relationship, it’s a beautiful example of how something so precious and loved (summer) can be ruined simply due to a horrible event they associate with it. The seagull calls that end it just add that slight environmental touch so you’re guaranteed to contemplate what you just heard.


Most BROCKHAMPTON tracks feature a fire verse from a couple of the members, but “JUNKY” is as consistent as it gets. Over the top of a fire instrumental, with an Eastern-inspired beat and some background shrieks, every single verse here is tight technically, and disgusting lyrically. It discusses the reality of the gay community and its ties (or lack thereof) to the rap community; it’s intense, it’s attention-grabbing, and as always, it bangs.

92. Car Seat Headrest – “Bodys” (2018)

Car Seat Headrest’s 2011 version of Twin Fantasy was good enough. They really didn’t have to update it. But thank God they did. The vibrant, luscious guitar chords are overwhelming to the ears and create a synth-sounding disco beat. It’s suffocating, but in that weird, claustrophobic space is a fun, self-aware club. Will Toledo’s dorkiness is at its highest point here, but in a super endearing way, as he very honestly tells his partner exactly what he wants. It’s everything you wish you could say to your crush in a danceable, harsh rocking jam.

93. Earl Sweatshirt – “Shattered Dreams” (2018)

Earl Sweatshirt is maybe the best person at using vocal samples as beats. The only person that might overshadow him there is JPEGMAFIA, but until I see a formal battle, I’ll leave it up to debate. Anyways; the gospel sample he turns into the beat gives an optimistic outlook amidst his consistently-depressing lyrical content. Like everything else on Some Rap Songs (2018), it’s sports a pretty quick runtime, but each and every line is made its best by Earl Sweatshirt.

94. Kanye West – “I Thought About Killing You” (2018)

There’s brutal honesty. And then there’s admitting you have consistent homicidal thoughts about somebody. Kanye West opts for the latter apparently, and although it sounds graphic, disgusting, and off-putting, in reality, it’s gorgeous. The way he explains the ties from hate to love, his suicidal thoughts and how that by extension means he’d kill someone else. It’s a great self-psychological analysis from Kanye, ironically. And the pace at which he describes it makes it a little journey, rather than a simple and quick track.

95. KIDS SEE GHOSTS – “Reborn” (2018)

KIDS SEE GHOSTS (2018) as a whole is the positive opposition to ye‘s (2018) negativity, but “Reborn” specifically is the most uplifting. Realizing (not unlike KKB) that life has its downfalls, and you can always recover, Kid Cudi’s hums become meditative, hypnotic, almost inspiring by themselves. It fuses simplistic hip-hop, with shoegaze’s amount of luscious layers, and lyrics way more effective at inspiring greatness than any religious music I’ve ever heard.

96. Playboi Carti – “Shoota” (2018)

Die Lit (2018) is a production of genius… well… production, and “Shoota” is its crown jewel. Like a majority of the songs found elsewhere on this album, Pi’erre Bourne utilizes Carti’s voice and Uzi’s voice almost as instruments in his overbearing production style. It then turns this “trap banger” into a pseudo-shoegaze track. Then note the juxtaposition between the glistening horns and piano and the insanely deep bass, and it’s a track full of every piece of sonic variety.

97. SOPHIE – “Immaterial” (2018)

A lot of SOPHIE’s music features Death Grips’ level of experimentation, inaccessibility, and overall weirdness. But “Immaterial” is, instead, one of the greatest hyper-pop songs to this day. The shiny echoes of “Immaterial” blast through your brain and a synth-pop beat from what sounds like the early 2010s comes in to drive the track. It’s a wonderful pop banger that could also be played at the club; and shows that sometimes experimentation can be accessible.

98. clipping. – “Nothing is Safe” (2019)

If you want to be unsettled by music, listen to the last two clipping. records. The “horrorcore” as it’s called is unsettling, but their version is always shrouded in an underappreciated amount of realism. “Nothing is Safe” discusses the realities of life in a poor neighborhood, full of crime, etc. But it doesn’t demonize the people; just instead, instill a realistic amount of fear in you, because this isn’t a fantasy horror film. This is what life is all about.

99. Little Simz – “Sherbet Sunset” (2019)

Trippy beats fade in and out of Little Simz’ “Sherbet Sunset” while she lets all of her demons out. Either expecting no judgment or not caring about the potential judgment she’d face, she’s completely honest to her audience, narrating a recent even that happened in her life. And it has after-effects, not believing in love, and potentially not trusting others. What makes it even more involving and touching is the length of each verse being over thirty lines long. It goes hard. And it goes deep.

100. Black Dresses – “CREEP U” (2020)

Another production feat, I will not stop talking about “CREEP U” until everyone I know has heard it. The grungy, bass-driven beginning of the track is still laced with electronics, but opens the door to a whole new world of explosive production. Later on the instrumentation goes shrill as the voices do, the (purposeful) creepiness turns into rage, and whatever speakers you’re playing it on go into panic mode. But at the same time, it’s telling a genuinely touching story about someone’s internal struggle with how those perceive them.

Thanks again for reading! Hope you enjoyed! If you made it this far, please follow me on all of my socials linked at the bottom of every blog page, just click the icons!

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