Top 50 Debut Singles of All Time

Debut singles are the very introduction an artist makes, and some have erupted onto the music radar in unforgettable ways. This list documents the best 50 all-time top debut singles across all decades and genres. All these tracks represented the emergence of the new star or sound – from the beginnings of rock ‘n’ roll in the 1950s through the 2010s viral hits. We considered the effect on the charts and the cultural effect, marking songs that hit number one on the charts or became storied in the long term. Let’s start at number 50 and wind down through the number one all-time top debut single, celebrating the songs where artists hit the mark on the very first go.

My Sharona by The Knack

The Knack’s “My Sharona” (1979) erupted out of Los Angeles as an irresistible new wave rocker with an earworm guitar riff. Go-goosed by Doug Fieger’s mischievous energy, the debut single reached No. 1 on the Billboard Hot 100 for six weeks during the summer of 1979. Written as a love letter to Fieger’s teen sweetheart Sharona, the song’s driving beat and stammering “m-m-m-my Sharona” hook rendered it an instant hit. Even decades on, it’s a one-hit-wonder standard that immediately summons rock radio imagery for the late ‘70s.

I Need a Beat by LL Cool J

Seventeen-year-old LL Cool J came on the radar of the hip-hop world with “I Need a Beat” in 1984. His initial single was released by Rick Rubin and was one of the initial few releases by Def Jam, demonstrating LL’s self-assured rhymes and booming voice. Though not a pop hit on the charts, it was an underground hit assisting in the launch of Def Jam Recordings and propelling LL Cool J as the next emerging star in rap. With its sparse beat and LL’s lyrical boasts, “I Need a Beat” demonstrated the ability for a teenager growing up in Queens to hold the mic down and set the stage for his multi-platinum future.

Hey Joe / Piss Factory by Patti Smith

Patti Smith’s initial single was the 1974 double A-side pairing of the cover version “Hey Joe” with the spoken word punk “Piss Factory.” Then-poet and rock critic for New York’s bohemian circles, Smith turned over with this initial record to becoming a pioneering punk rock icon. “Hey Joe” was rediscovered by Smith as an excoriating diatribe (even invoking the story of Patty Hearst), whilst “Piss Factory” was her raw autobiographical tirade on working at the hate-filled terminally dull factory. Though the single did not chart, its raw power and poetic rage heralded the beginning of one of rock’s most influential women’s voices, foreshadowing thepunk explosion in the mid-’70s.

Eric B Is President by Eric B. & Rakim

Eric B. & Rakim revolutionized the game with the 1986 self-titled debut single “Eric B Is President.” This song delivered Rakim’s smooth yet potent lyrical flow and Eric B’s sample-infused layered production to the world of hip-hop. This song was said by Questlove to mark the moment when hip-hop entered the postmodern era. Constructed over funky James Brown samples, with the effortless complex rhymes by Rakim, “Eric B Is President” was not exactly a Top 40 pop crossover hit but an instant hip-hop classic. With “Eric B Is President,” the music world saw a whole new level of lyrical sophistication and cool factor, which would influence hundreds of MCs to follow, propelling Rakim to one of the most respected rappers from the moment he debuted.

Oh Bondage! Up Yours! by X-Ray Spex

Poly Styrene led X-Ray Spex on the release of Oh Bondage! Up Yours! in 1977, a spirited debut that would attain cult status as the feminist punk manifesto. She prefacing it with her casual deconstruction of the “seen and not heard” dictum, before the song breaks out into manic guitars and snarling sax. Though unsuccessful on the charts, its anti-consumerist, anti-sexist yell became an anthem, influencing riot grrrl, inspiring future generations of punk bands.

Losing My Edge by LCD Soundsystem

In 2002, LCD Soundsystem’s debut single Losing My Edge nailed early-2000s hipster anxiety and dance-punk wit. Over a pulsing beat, James Murphy deadpans about being outpaced by cooler kids, name-checking his record-nerd heroes. The sly humor and rubbery bassline made it an underground staple in indie clubs. Not a pop hit, it instantly cemented the band’s cult status—melding punk attitude and electronics and paving the way for their later mainstream breakout.

I’m in Trouble / If Only You Were Lonely by The Replacements

In 1981, The Replacements arrived with I’m in Trouble, a scrappy power-pop punk blast backed by the twangy ballad If Only You Were Lonely. Fast guitars, a shout-along hook, and Paul Westerberg’s gritty vocal bottled teen frustration. It didn’t chart, but it was their first great song, proving Westerberg’s knack for melodic punch. Flip the single and you hear surprising depth. Modest at release, it fueled the band’s legend and shaped countless alternative acts.

Everybody by Madonna

In 1982, Madonna’s initial single Everybody previewed the dance-pop phenomenon she would become. A synth-infused club invitation with an unstoppable summons to dance and sing, it flirted with the edges of the Hot 100 but shot to the Top Five on the Billboard dance charts. Its word-of-mouth buzz on New York clubs booked her Sire Records contract and paved the way for her self-titled debut. From downtown upstart to pop icon, the ascension began with this feel-good floor-filler.

Hey Joe by The Jimi Hendrix Experience

In the autumn of 1966, the Jimi Hendrix Experience emerged with the simmering folk-blues cover transformed by Hendrix’s emotive vocal and epochal guitar. The single hit in the UK, making the young man an overnight star by early 1967. Its narrative of an outlaw on the lam and Hendrix’s vocals took hold by the ear, the solo finishing it. Never a huge U.S. hit, Hey Joe, however, brought the world rock guitar’s next icon.

Digital by Joy Division

Released in 1978 on a Factory Records sampler, Digital was many listeners’ first taste of Joy Division’s stark post-punk mood. Ian Curtis’s urgent baritone rides Peter Hook’s melodic bass and Stephen Morris’s clipped drums, shaped by Martin Hannett’s early digital delays. Though not a commercial single, it became a cult favorite. Its dark intensity and experimental production set the template for post-punk and foreshadowed Unknown Pleasures.

X Offender by Blondie

Released in 1976, Blondie’s first single X Offender combined punk edge with 60s pop sheen. Debbie Harry’s flirtatious vocal narrates the story of the girl falling for the cop who booked her; the title was toned down from Sex Offender. Surf-organ riffing and girl-group harmonies establish their retro-rebel sound. It didn’t chart but became part of the CBGB repertoire, garnering an underground followingand previewing the new wave hits to come for Blondie.

Nervous Breakdown by Black Flag

In 1978, Black Flag’s first single Nervous Breakdown inflicted a two-minute jolt on American punk, virtually blueprinting hardcore. Keith Morris rhymes on rage and coming apart, peaking with an exonerating scream, as frenetic guitars and hammering drums sound set to explode. A self-released non-chartbuster, its impact was titanic: it established the scene’s raw, no-hard-feelings ethic, cleared the way for L.A. hardcore, and yet sound ferociously unbridled many decades on.

What Makes You Beautiful by One Direction

One Direction broke out in 2011 with What Makes You Beautiful, an energetic pop-rock explosion of vocals assuring an apprehensive girl she’s gorgeous. On its initial release, it landed at No. 1 on the UK Singles Chart and went Top 5 in the United States, immediately recognizable by its introductory power chord. With loads of na-na-na refrains and an gigantic chorus, it began the X Factor act’s record-breaking stint and remains an upbeat anthem the former boy banders still adore performing.

Protect Ya Neck by Wu-Tang Clan

In 1993, Wu-Tang Clan emerged with Protect Ya Neck, a shoestring, self-distributed posse record that reanimated East Coast hardcore. Across RZA’s raw instrumental and kung-fu sampled beat, eight members exchanged gritty rhymes, each personality bursting forth—from Method Man’s natural flow to ODB’s anarchy. Not radio friendly, it hit underground stardom, its self-made video and mouthpiece securing the group the eventual major label deal that also defined the group-as-family paradigm that transformed 90s hip-hop.

Take It Easy by Eagles

In 1972, the Eagles broke in with Take It Easy, a laid-back country-rock song co-written by Glenn Frey and Jackson Browne. Rattly acoustics, crisp harmonies, and an aftertaste of banjo established SoCal road-trip spirit. Climbing just below the Hot 100 Top 10, it paved the way for chill ’70s rock. With the sing-along Winslow, Arizona line, it established the band’s sound and still sounds like windows-down desert-highway music.

Novacane by Frank Ocean

In 2011, Frank Ocean released an otherworldly hypnotic R&B voice with Novacane. Through spaced-out beats and somnolent synths, he sings and raps through emotional numbing, comparing novocaine to detachment over the course of a Coachella weekend. Although not an especially strong chart artist, the song’s hypnotic melody and vulnerable performance rendered it an impressive debut, placing him among alternative R&B stalwarts and foreshadowing the introspective genius of his future releases.

Brown Sugar by D’Angelo

In 1995, Brown Sugar broke Brown Sugar with the introduction of neo-soul icon D’Angelo. A slow-grooving, sultry tribute to the addict’s high, the song mixes old-school R&B heat with hip-hop heartbeat, emphasizing his multi-tracked vocals. The single reached Top 5 on the R&B charts, its funky calm nostalgic but new. His introductory outing, it established D’Angelo as the natural heir to 70s soul titans and influenced peers such as Erykah Badu and Maxwell, demonstrating timeless soul could be reinvented.

Alive by Pearl Jam

In 1991, Pearl Jam introduced Eddie Vedder’s voice and their passionate rock with Alive, opening on a memorable descending riff that swells into an anthem. The semi-autobiographical lyric is dark yet defiant, carried by Vedder’s raw delivery. Not a major pop hit at first, it grew through rock radio into a grunge signature and a live staple, with cathartic solos and a chorus built for fists in the air. As the debut single, it helped push Ten to multi-platinum and has stayed a guaranteed jolt of emotion ever since.

Our Lips Are Sealed by The Go-Go’s

Our Lips Are Sealed, released in 1981, greeted the Go-Go’s with shiny new wave sheen: jangly guitars, percussion-driven groove, and Belinda Carlisle warbling about not ratting on an illicit love. Co-written by Jane Wiedlin and Terry Hall from a real-life affair, the song has wistful overtones beneath the zip. A Top 20 U.S. single with its timeless fountain video, it set the all-female, self-sufficient band MTV icons and the influential first album that still needs to be sung along.

Soft and Wet by Prince

In 1978, Prince announced himself with Soft and Wet, a daring, funky debut that hinted at the superstar to come. At 20, he wrote, produced, and played most parts, fusing disco snap with a sultry R&B groove. The unabashedly sensual lyrics and cheeky falsetto turned heads. Though it only grazed the Hot 100, it nailed his Minneapolis funk and erotic edge. That synth-bass hook proved his knack for blending soul, pop, and funk—sparking a boundary-pushing career.

Dance, Dance, Dance (Yowsah, Yowsah, Yowsah) by Chic

In 1977, Chic arrived with Dance, Dance, Dance (Yowsah, Yowsah, Yowsah), a sleek disco debut built on Nile Rodgers’s crisp guitar and lush strings. Its playful yowsah chant and irresistible groove lit up clubs and radio, sending the single into the U.S. Top 10. The track instantly established Chic as disco hitmakers and launched the Chic Organization’s wider influence as writers and producers. Sophisticated and stylish, its bassline and violin flourishes became lasting signatures of late-70s dance music.

Royals by Lorde

In 2013, 16-year-old New Zealander Lorde broke through with Royals, a minimalist, beat-driven debut and a cool, confident vocal that mocked pop’s luxury clichés. The single spent nine weeks at No. 1 on the Billboard Hot 100, hit No. 1 in multiple countries, and made her the youngest solo artist to top the U.S. chart in decades. Its stripped-down sound and relatable message won two Grammys, including Song of the Year, and reshaped mainstream pop.

Break On Through (To the Other Side) by The Doors

In 1967, The Doors introduced themselves with Break On Through, a two-and-a-half-minute jolt of dark psychedelia. Ray Manzarek’s jazzy organ and Robby Krieger’s driving riff propel it while Jim Morrison’s baritone urges listeners to break through to the other side. It barely grazed the Hot 100 but soon became a classic-rock staple. Daring for its era—the single even trimmed a drug reference—it bottled the band’s raw energy and poetic mystique and remains a vibrant, rebellious debut.

Supersonic by Oasis

In 1994, Oasis burst onto Britpop with Supersonic, a snarly debut constructed on Noel Gallagher’s riff with all the grit-streaked feedback and snarl-tipped sneer by brother Liam. Surreal scenes—Alka-Seltzer Elsa—imprint with complete conviction, and the chorus challenges you to covet it all. Though it reached No. 31 in the UK, it caused rock fans to take notice. With its arrogance and hook-laden punch, it became a road-warp staple and the ideal launch, capturing the band’s Beatles-meets-punk attitude on the dash to 90s rock stardom.

Ceremony by New Order

Ceremony (1981) was an uncommon debut: recorded by Joy Division, issued by New Order following the death of Ian Curtis. New Order reassembled and edited the song, with Bernard Sumner delivering Curtis’s vocals in a somber key. Melancholy but insistent, its ringing guitars and pulsating bass connected the two bands. Unassuming on the charts but a foundation, Ceremony brought the curtain down on one chapter and raised it on the next, synonymous with its emotional impact on the post-punk canon.

Suzie Q by Creedence Clearwater Revival

In 1968, Creedence Clearwater Revival came out with Suzie Q, the swampy blues-rock song expanded to over eight minutes on the album and edited down for single release. Rather than opening with an original composition, CCR branded Dale Hawkins’s song with John Fogerty’s snarling riffs and raw vocals, making a dark bayou jam. It reached No. 11 on the Billboard Hot 100, demonstrated that an all-California band could sound Southern, established their chooglin groove, initiated an originals streak, and is still a raw, fan-favorite jam.

The Rain (Supa Dupa Fly) by Missy “Misdemeanor” Elliott

“Misdemeanor” Elliott In 1997, came the arrival of Missy Elliott with The Rain (Supa Dupa Fly), a futuristic hip-hop, R&B, and surrealist fusion. Sliding between fun and smooth over Timbaland’s drip-drip beat and Ann Peebles sample, she transforms the sticky hook into instant shorthand. Eventually becoming a Top 5 R&B hit, it came with an unshakable video featuring an inflatable patent-suit-wearing Missy that re-set pop’s visual standard. Indicative of the debut alone, it broke genre boundaries, anointed her as the visionary she is, and yet sounds well ahead of its time.

That’ll Be the Day by Buddy Holly and the Crickets

In 1957, Buddy Holly and the Crickets scored an early rock classic with That’ll Be the Day. Titled after John Wayne’s catchphrase in The Searchers, the song’s rockabilly strum and Holly’s hiccuping vocal gave it country-tinged sparkle. It raced to No. 1 on the Billboard chart that September, turning the bespectacled Texan into an overnight star. More than a hit, it set the template for self-contained guitar bands that would inspire The Beatles. Holly’s life was brief, but this debut sealed a lasting legend.

These Arms of Mine by Otis Redding

Recorded in 1962, These Arms of Mine launched Otis Redding with vulnerability. Over warm organ and a slow Stax groove, he pours out longing, and the performance was compelling enough for Stax to offer him a contract. A modest R&B hit in 1963, it introduced his remarkable voice and set the template for deep soul ballads. As debuts go, it was a calling card signaling talent bound for greatness.

Love Me Do by The Beatles

On October 5, 1962, four young men from Liverpool put out Love Me Do, the initial Beatles single. Softer, bluesy toe-tapping with harmonica, tambourine, and minimal entreaties, it reached No. 17 in the UK. Paul McCartney’s lead—nervous but innocuous—and John Lennon’s harmonica hook caught teens quickly. When Beatlemania broke, it was reissued in the US and went to No. 1 in 1964. Relatively uncomplicated by comparison with the rest, it’s an excellent introduction—demonstrating the group’s harmonies and zip, and sowing the seed for the pop revolution to follow.

Wuthering Heights by Kate Bush

In 1978, Wuthering Heights released by Kate Bush was a theatrical art-pop song transplanted from Emily Brontë. At age 19, Bush penned it and sang in an ethereal soprano voice, where she becomes Catherine Earnshaw beckoning Heathcliff. Rare for pop radio, it spent four weeks at No. 1 on the UK charts, the initial self-written No.1 song by a female artist in the UK. With its grand piano, elegantly soaring emotion, and red-dress video, the song becomes an instant phenomenon and Bush’s signature.

Dreaming of Me by Depeche Mode

Released in 1981, the band’s initial Dreaming of Me is an upbeat synth-pop song by Vince Clarke. Vocally, Dave Gahan croons with bittersweet inflection over drum machines and analogue synths, an innocuous, witty sound by comparison with the band’s future darkness. In the UK charts, the song reached its peak at No. 57; it afforded the band an initial New Wave foothold. Clarke departed shortly after, Martin Gore ascended to the throne, and the song, an early example, is an affectionate fanship perennial.

The Letter by The Box Tops

In 1967, The Box Tops skyrocketed to No. 1 with The Letter, an explosion of sub-two blue-eyed soul that propelled 16-year-old Alex Chilton to stardom overnight. Grit vocals, snappy horns, and airy airplane effects envelop Wayne Carson’s mini-story of longing. Four weeks at No. 1 for it on the Billboard Hot 100. As a single, it was lightnin’ in a bottle—hook front, no filler—and it launched Chilton, whose future collaborations with Big Star would deeply influence rock and indie.

Player’s Ball by Outkast

In 1993, Outkast broke through with Players Ball, first issued on a LaFace Christmas set—sleigh bells and all—then remixed minus the holiday lines for 1994’s Southernplayalisticadillacmuzik. Over Organized Noize’s laid-back funk, André 3000 and Big Boi trade smooth verses about Southern life. It hit No. 1 on Hot Rap Songs and cracked the Hot 100 Top 40, announcing Atlanta’s voice and inaugurating the duo’s ATL funk that would reshape hip-hop.

Creep by Radiohead

In 1992, Radiohead’s Creep thrust the band onto the world map despite its conflicted sentiments. A melancholic verse yields to explosions of twisted guitar and Thom Yorke’s desolate yowl, transforming self-doubt into release. Overlooked in the UK at first, it took off overseas, re-charting in 1993 and hitting Top 40 in many nations with heavy MTV rotation. Though they quickly transcended its grunge toughness, Creep remains their most popular song and an permanent misfit anthem.

Rock Lobster by The B-52’s

In 1978, the B-52’s established their eccentric new-wave sound with Rock Lobster, the six-plus-minute surf-rock epic of twangy guitar and Farfisa. Fred Schneider name-drops marine animals while Cindy Wilson and Kate Pierson interject with screams, whale noises, and nonchalant downstrokes. Though it fell short of the Top 40, the song became an underground club hit; according to John Lennon, it reminded him to get back to music. With its debut performance, it capped the band’s kitschy, art-school goofiness—strange, flashy, and impossible to resist on the dance floor.

Through the Wire by Kanye West

In 2003, Through the Wire released Kanye West after he had written the song after a near-fatal car accident with his jaw wired for surgery. Rapping through pain over a pitch-scrunched sampled version of Chaka Khan’s Through the Fire, he turned recuperation into an anthem of willpower and endurance. With heavy-single airplay, the song went to the UK Top 15, shifted U.S. urban charts, and established him as an act and as a producer. Raw, soulful fortitude earned the album its sophomore follow-up, The College Dropout, as well as his superstar career.

White Riot by The Clash

In 1977, White Riot by The Clash erupted with a two-minute buzzsaw drum-sprinting guitar-shock. In the Notting Hill Carnival rioting spirit, Joe Strummer urged white working-lads to put the same passion into revolting against un-fairness. Top 38 in the UK, but its impact dwarfed the statistics: raw, political yell that epitomized punk’s revolutionary spirit and the herald for The Clash—ramshackle, precipitate, unstoppable.

Old Town Road by Lil Nas X

In 2019, Lil Nas X exploded with Old Town Road, a trap-meets-country smash born on TikTok. Billboard dropped it from the country chart, fueling debate and attention; the Billy Ray Cyrus remix supercharged its rise. It spent a record 19 straight weeks at No. 1 on the Hot 100. Short, meme-ready, and genre-fluid, it became a cross-generational anthem and a blueprint for internet-era stardom, breaking molds and launching Lil Nas X as a pop-culture force.

Tim McGraw by Taylor Swift

In 2006, 16-year-old Taylor Swift came with Tim McGraw, a sweet country ballad on how music relates to memory. Written in high school, it conjures up a boyfriend thinking of her when that artist comes on. Soaring acoustic guitar and fiddle surround her diary-like lyrics and ear for melody, prefacing the storytelling tradition that would characterize her. The single went Top 10 on Hot Country Songs and lingered on the Hot 100 for weeks. Modest and sincere, it paved the way for Swift’s growth from Nashville newcomer to international star.

Hand in Glove by The Smiths

In 1983, The Smiths debuted with Hand in Glove, a song that stood apart in post-punk. Johnny Marr’s harmonica and jangly guitar lead before Morrissey’s baritone enters, singing of streets and outsider pride. It missed the charts but became an indie anthem, moody yet melodic with a hint of 50s rock. The recording revealed Marr and Morrissey’s chemistry and themes they’d pursue, giving alienated listeners a voice and launching an influential band.

Blitzkrieg Bop by Ramones

In 1976, the Ramones blew up with Blitzkrieg Bop, punk reduced to essence. Two minutes of buzz-saw guitars, pulsating drums, and rallying-count-off transmute chaos to release-fest sing-along. Joey Ramone’s mischievous vocal employs wartime imagery to whip rock-and-roll frenzy. It didn’t make the charts and baffled the mainstream but became the defining anthem for punk, demonstrating raw, hook-laced economy would do in place of overblown 70s rock. Based on bubblegum chants, its simplicity is its strength. Now it’s ubiquitous—stadiums, movie trailers, any moment when teenage adrenaline boost is needed.

That’s All Right by Elvis Presley

In July 1954, Elvis Presley cut That’s All Right at Sun Studio and unknowingly sparked rockabilly. Backed by Scotty Moore and Bill Black, he turned an old blues into something neither strictly country nor blues—fresh, fast, and full of swagger. His twangy, youthful vocal and slap-back rhythm leapt off the tape. DJ Dewey Phillips blasted it on Memphis radio and the phones lit up, making it a regional hit that launched Elvis overnight. A spontaneous jam turned landmark debut, it sent popular music in a new direction.

Good Times Bad Times by Led Zeppelin

In 1969, Led Zeppelin made their introduction with Good Times Bad Times, the opening song and initial single on the first album. In less than three minutes it highlights all four: John Bonham’s triple-throw thunder footwork, John Paul Jones’s driving bass, Jimmy Page’s snappy riff and wah-wah solo, and Robert Plant’s yowling vocal about hard-earned lessons. While peaking at No. 80 in the U.S., it functioned, however, as an electric calling card—bluesy hard rock with virtuoso bite. Longtime fan favorite and often concert opener, it demonstrated Zeppelin could punchy—and radio-ready—yet even as they soon became epic.

Radio Free Europe by R.E.M.

In 1981, R.E.M. issued Radio Free Europe on a tiny local label, and its jangly guitars and low-mixed, cryptic vocal felt like fresh Athens air. Skirting mainstream formulas but brimming with melody, it became a college radio staple and drew early acclaim. The title nods to the broadcaster that sent rock across borders—apt for music that sounded subversive and new. Re-recorded for Murmur in 1983, it solidified the band’s voice, became a cornerstone of college rock, and inspired countless indie acts.

Maybellene by Chuck Berry

In 1955, Chuck Berry revved rock and roll with Maybellene, refitting the country song Ida Red as a high-octane race on the power chassis of a hammering backbeat and one of the original iconoclastic guitar riffs. With its car-racing plot—V8 Ford vs. Cadillac, unfaithful Maybellene—teenagers and cars became the focus of rock. It reached No. 5 pop and No. 1 R&B, breaking to new crowds. Berry’s vivid tale-telling, swaggering voice, and ground-pounding solos broke down boundaries and established the format: country structure, R&B pulse, blues phrasing—big bang for guitar rock.

Sucker M.C.’s / It’s Like That by Run-D.M.C.

In 1983, Run-D.M.C. came with Sucker M.C.’s / It’s Like That and re-wired hip-hop. Goodbye disco sheen; hello abrupt drum-machine pound, DJ scratching, and two emcees spitting raw rhymes. It’s Like That deals with daily struggle, but Sucker M.C.’s is all battle brash. The single rocked streets and radio before charts conformed, established the new-school template, and—Adidases and all—shifted rap from clubs to boomboxes. Its raw, booming sound predates hip-hop’s explosion through the late-80s.

Anarchy in the U.K. by The Sex Pistols

In November 1976, the Sex Pistols erupted with Anarchy in the UK, a single that shook like a cultural aftershock. Johnny Rotten growls through the wall of guitars by Steve Jones and the thump by Paul Cook, spitting lyrics on doing nothing and taking it anyway. Banned on certain radio stations but topping out at No. 38 in the UK, it caused indignation and adoration. Catchy but wild, it defined the mission statement for punk, fomenting the revolution that transformed music, youth culture, and the establishment’s nerves in the UK.

I Want You Back by The Jackson 5

No record debuts are as enjoyable or true as I Want You Back by The Jackson 5. Released late 1969 on Motown, written by The Corporation, it introduced 11-year-old Michael Jackson to the world with an instantly recallable piano glissando, funky bottom, whirling strings calculated to bring crowds to their feet, and an unshakeable hook. It reached No. 1 on the Billboard Hot 100 in Jan. 1970, the start of four successive leaders. Michael’s buoyant vocal and the brothers tight harmonies—backed by their illustrative choreography—achieved pop-soul perfection that still lights up the dance floor and sets the gold standard for record debuts.

…Baby One More Time by Britney Spears

In the fall of 1998, Britney Spears arrived with …Baby One More Time, the album that would establish the guidelines for turn-of-the-millennium pop. It opens with the three-note piano hook and the breathy opening line before exploding with a Max Martin chorus crafted to stick in the listener’s head. The single went to No. 1 internationally, lingered on the Hot 100 for 32 weeks, and the school-uniform video crowned her teen-pop queen. More hit single than the hit single it was, it sparked an epochal new wave and branded Britney superstar with an perfectly constructed pop song.