Top 50 Alternative Songs

Alternative genre gave the world some of the most influential and beloved songs of all time. In our list below, we’ve compiled 50 classic alternative songs from the late 1970s up through the 2000s. They’re of different eras and sub-genres – the post-punk and the new wave, the grunge movement, the Britpop, and the indie rock sounds. Some were massive crossover successes and chart-toppers, and some were cult classics whose influence was experienced by dozens, if not hundreds, of bands. Each one below comes with a bit of background and, where it is available, the significant chart performance of the song. They together reflect alternative music’s evolution and the indelible mark it left worldwide on people’s lives.

Smells Like Teen Spirit by Nirvana

Nirvana’s 1991 grunge anthem detonated into the mainstream and became the voice of a generation. Smells Like Teen Spirit went to #1 on Billboard’s Alternative chart and even cracked the Top 10 of the Hot 100 – an honor only a few hard-rock songs experienced back in the day. Propelled by the soft-hard dynamics and gritty vocals of Kurt Cobain, the song became an overnight sensation and still thrills masses with its rebellious atmosphere.

Love Will Tear Us Apart by Joy Division

In 1980, the post-punk classic became Joy Division’s signature song and the sad hymn of breakup. Love Will Tear Us Apart peaked at #13 for the UK chart, but the unsettling melody and Ian Curtis’s plaintive baritone imbued it with lasting power beyond the chart itself.

Radio Free Europe by R.E.M.

R.E.M.’s initial single of 1981 gave the college rock its initial significant boost into the mainstream population. Radio Free Europe was a mumbled, strummed call-to-action that enjoyed heavy rotation on college radio. A re-issue in 1983 even gained R.E.M. their first Billboard chart appearance (at or around #78 Peak Hot 100), but the lasting impact of the song eclipsed its chart appearance.

Blue Monday by New Order

New Order’s Blue Monday, released in 1983, was a first-of-its-kind synthesis of post-punk and electronic dance music. The single became the all-time top-selling 12-inch single and lit up the world’s clubs with its driving synth bass and drum machine beats. The song peaked in the UK Top 10 and became an alternative dance anthem, bridging the gap between new wave rock and club culture.

How Soon Is Now? by The Smiths

With Johnny Marr’s hypnotic tremolo guitar riff, How Soon Is Now? (1984) is one of The Smiths’ classic songs. Reluctantly released as a single, it peaked up to #24 on the UK chart. Though it never became a commercial hit in the United States, its dark soundtrack and Morrissey’s lamenting lyrics for isolation became an underground anthem for misfits.

Once in a Lifetime by Talking Heads

Talking Heads created an offbeat classic with 1980’s Once in a Lifetime. Half-spoken vocals by David Byrne over an existential quandary over a funky groove created a unique song. It didn’t make it very far in America (just one week at #91) but peaked at #14 in the UK and went on to become a classic via MTV.

Teen Age Riot by Sonic Youth

Teen Age Riot (1988) by Sonic Youth framed the late ’80s indie-rock consciousness. As an album opener for Daydream Nation, it starts euphorically and erupts into distortion and adolescent adrenaline. Although it barely dented the lower rungs of Billboard’s Modern Rock chart, the song was a breakthrough for the noise-rock pioneers. In its shout-along chorus and gritty guitar, Teen Age Riot became an underground anthem of alternative’s impending revolution.

Blister In The Sun by Violent Femmes

Never a big chart single, Blister in the Sun (1983) became an epic folk-punk classic through the virtue of word-of-mouth alone. Its acoustic riff and Gordon Gano’s yelping vocals are instantly recognizable. The raw, off-kilter energy of the song transformed Violent Femmes’ debut album into a cult classic despite the absence of full-fledged radio support.

Jeremy by Pearl Jam

Pearl Jam’s Jeremy single for the year 1992 dealt with the tragic story of a problematic teen and left a lasting impact. Although Jeremy wasn’t chart-eligible for the Hot 100 (no single was released within the United States), it peaked at #5 on Alternative Airplay and the UK’s Top 20. In the grand buildup and Eddie Vedder’s passionate vocals, the track became one of the Pearl Jam standards, remembered for its powerful social message of adolescent alienation.

Monkey Gone to Heaven by Pixies

Their debut album under their own label, Monkey Gone to Heaven, followed in 1989 and unveiled the Pixies at their most environmentally lyrical and loud-quiet-loud movement both verbally and musically. The single produced the first US chart success for the group – reaching #5 on Billboard’s Modern Rock Tracks (although reaching only #60 UK). In dark atmosphere and the oft-cited “this monkey’s gone to heaven” sentiment, the single became an alternative rock milestone.

Under the Bridge by Red Hot Chili Peppers

This beautiful ballad in 1992 catapulted the Red Hot Chili Peppers from their funk-rock cult status to international superstars. Under the Bridge is a haunting tribute to solitude and LA, previewed by John Frusciante’s guitar chiming introduction. It got up to #2 on the Billboard Hot 100 – a huge crossover smash – and became a worldwide chart-topper single. Even decades on from its original issue, the song’s raw integrity and shout-along finale still brings massive sing-alongs at the RHCP concerts.

Black Hole Sun by Soundgarden

In 1994, the group released the psychedelic-grunge ballad Black Hole Sun, their largest single. Ethereal vocals by Chris Cornell and an alien music video sent it to the top of rock radio – it spent weeks at #1 on the Mainstream Rock chart and peaked at #2 on the Alternative chart. Though only reaching the pop Top 40, Black Hole Sun took home a Grammy and left ’90s alternative rock with one of its most durable anthems.

Closer by Nine Inch Nails

Trent Reznor’s 1994 Industrial epic Closer brought a pulsing beat and innuendo-laced lyrics as far as the mainstream perimeters would permit. Impressively enough, an edited-to-oblivion version garnered enough clears on the radios to reach #41 on the Hot 100 (and #25 across the Atlantic). Hypnotic beat and horror-movie hooks notwithstanding, Closer became an alternative club staple and an unexpected proof that industrial rock could cross over into mainstream culture.

Losing My Religion by R.E.M.

R.E.M.’s 1991 chart-topper Losing My Religion proved an unexpected smash single driven by a mandolin riff could top the charts worldwide. It reached #4 on the Billboard Hot 100 (the group’s career-high for America) and took home multiple Grammy Awards, launching alternative rock into the mainstream conscience. Its introspective and timeless vocals grabbed the masses, and it topped the Modern Rock chart as well, solidifying R.E.M.’s status as alt-rock icons.

Wonderwall by Oasis

If there was one absolute Britpop anthem, it was Oasis’s Wonderwall (1995), whose acoustic guitar riff and drawled delivery by singer Liam Gallagher brought the world into thrall. The single peaked at #2 on the UK chart and reached #8 on the U.S. Hot 100 – an odd accomplishment for a ’90s British rock single. It also spent a few weeks atop the Billboard Modern Rock chart. In pubs and stadia, Wonderwall became the sound of a generation and enshrined Oasis’s name indelibly into the record books of ’90s rock history.

Just Like Heaven by The Cure

This 1987 classic showcases The Cure at their most lovingly effervescent. Just Like Heaven is an ethereal, dreamy pop-rock ballad that finally yielded the band their breakthrough in America — their first US Top 40 single, reaching #40 on the Hot 100 (and #29 in the UK). The vertiginous melody of the track and Robert Smith’s heartbreaking lyrics conjure the heady thrill of love at first sight.

Cannonball by The Breeders

Breeders’ Cannonball (1993) was the unexpected alternative anthem that still possesses ‘90s cool factor. Driven by Kim Deal’s quirky bassline and unconventional vocals, the song’s offbeat charm and hard-soft contrasts brought MTV and the radio ablaze. Cannonball shot up to #2 on the Billboard Modern Rock chart and even grazed the Hot 100. Its lo-fi vibe and ear-grabbing opening count-off proved Kim Deal, the Pixies’ bassist, could deliver one of the decade’s catchiest rock songs on her own merits.

Come As You Are by Nirvana

Teen Spirit’s follow-up, Nirvana’s Come As You Are (1992), maintained the grunge tidal wave via mainstream radios. Its signature watery guitar riff and relaxed groove introduced the band’s mellower character. The single peaked at #32 on the Hot 100 (Nirvana’s second top 40 single) and became a top 10 single on rock charts. Come As You Are remains a staple on rock playlists – a lasting proof of Nirvana’s depth beyond their mega single.

Loser by Beck

With its cheeky chorus I’m a loser baby, so why don’t you kill me, Beck’s breakthrough single of 1994, Loser, converted slacker disillusionment into a chart smash. Blending folk, hip-hop beats, and crazy lyrics, the song encapsulated the genre-mash sound of alternative ‘90s soundtracks. Peaking at #10 on the Billboard Hot 100 and #1 on the Modern Rock chart, the single catapulted Beck from obscurity to stardom. Its easy, lo-fi cool is still cool and contrarian decades on.

Creep by Radiohead

Creep (1992) was the song that launched Radiohead into the worldwide mainstream. This ballad of self-loathing angsty introspection caught nerves with whispering verses and screaming guitar detonations on the choruses. It flopped initially throughout the UK, but it was an unexpected transatlantic smash overseas, reaching #34 on the U.S. Hot 100 and #2 on the Alternative chart (and eventually the UK Top 10 upon re-issue). Though Radiohead went on to leave such sound light-years behind them, Creep remains a classic ’90s alt-rock landmark.

Bela Lugosi’s Dead by Bauhaus

Bauhaus released nearly nine-minute-long goth dirge Bela Lugosi’s Dead in 1979, launching an entire subculture. Never charting within the pop mainstream, the record became the classic anthem for gothic rock via club rotation and underground buzz. The eerie bassline, wailing echoes on the drum kit, and spectral vocals created a vampire-film atmosphere that captivated alternative loyalists. Bela Lugosi’s Dead crowned Bauhaus dark visionaries and cast a gigantic shadow of inspiration over the post-punk and goth scenes.

Personal Jesus by Depeche Mode

Personal Jesus (1989) gave synth-pop a bluesy weight and became one of the biggest crossover hits for Depeche Mode. Driven by a twangy guitar riff and pulsing beat, it reached the top of the U.S. Top 40 and #3 on the Modern Rock chart. Personal Jesus proved that dark and crowd-pleasing could be done with electronic rock and is one of the most iconic songs of Depeche Mode.

Song 2 by Blur

Short, noisy, and wonderfully ridiculous, Blur’s Song 2 (1997) became a global alternative anthem. Its backbeat guitars and “woo-hoo!” yips of dubious fame were initially an ironic grunge send-up, but the song took on a life of its own. Blowing up the UK chart to #2 and the Billboard Modern Rock chart to #6, Song 2 is an alt-rock blast of adrenaline played everywhere from football stadia (that’s soccer, for you Americans!) to movie soundtracks.

The Killing Moon by Echo & the Bunnymen

In 1984, the single The Killing Moon was released by Echo & the Bunnymen and is broadly celebrated for its epic, atmospheric soundscapes. With mysterious lyrics and Ian McCulloch’s operatic croon, the single is cinematic and spectral. It was one of the band’s highest-charting UK singles (peaking at #9), and though it went relatively unseen in the States, it’s now celebrated as the Bunnymen’s gem of the ‘80s alternative genre.

Sunday Bloody Sunday by U2

Politically aggressive and musically powerful, Sunday Bloody Sunday (1983) became the first evidence of U2 using rock music as social commentary. Its military beat and The Edge’s biting guitar riff dominate the listener’s ear instantly. Never a United States commercial single, it became a live staple and was played heavily on album-rock radios nonetheless. The plaintive wail (the repeated interrogation throughout the song: “How long must we sing this song?”), combined with its intense performance, invested it with one of the group’s classic songs.

Common People Pulp

Pulp’s Common People (1995) is a genre-defining Britpop classic that combines sharp social commentary and an inevitable melody. Jarvis Cocker sneers and warbles about class atop an anthemic synth-rock riff that builds into an enormous sing-along. The single shot up to #2 on the UK chart, becoming the largest Pulp hit and an icon of ‘90s British pop culture. (It didn’t make the American chart, but became an alt-rock cult classic.) Its witty storytelling and effervescent vibe remains one of the highlights of the Britpop era.

There Is a Light That Never Goes Out by The Smiths

Melancholy and romantic simultaneously, There Is a Light That Never Goes Out reveals The Smiths’ mastery of mixing beauty and sorrow. Never a single for the band, it became one of their most loved songs nonetheless. In the lamenting voice of Morrissey and Johnny Marr’s expressive guitar playing, the song is the anthem for the lovesickness and the loners. Its effect far outweighs any charting – and that truly is a light that never goes out.

Running Up That Hill (A Deal With God) by Kate Bush

Kate Bush’s classic of 1985 Running Up That Hill brought art-pop sensibilities into the alternative mainstream. Driven by beats and Bush’s angelic voice leading the instrumentals, the single reached #3 on the UK Singles Chart and even the top of the U.S. Top 30 – an astounding accomplishment for such an unexpected record. Moody and tense, Running Up That Hill is one of alternative pop’s great victory moments, and its raw emotion remains unbridled by the passing decade.

It’s the End of the World As We Know It (And I Feel Fine) by R.E.M.

R.E.M.’s manic 1987 anthem It’s the End of the World As We Know It turns doomsday anxiety into an unlikely party standard. Although the single only peaked at #69 on the Hot 100, it became a cult classic on college radio. Even now, fans love bellowing along, and the song is an indelible part of the ’80s alternative repertoire. 1979 by The Smashing Pumpkins Glittering and nostalgic, 1979 brought an alternative version of The Smashing Pumpkins when it emerged in 1996. In place of their signature wall-of-guitar sound, the band took on a funkier, new-wave-flavored sound and produced a nostalgic teen tribute that spoke for all ages. The song reached #12 on the Hot 100 and the Modern Rock chart’s number one and became one of the band’s biggest singles. Nostalgic and introspective, 1979 effortlessly transports one back to teen memories and remains an ethereal ‘90s classic.

Waiting Room by Fugazi

Few songs can rouse a punk crowd like Fugazi’s Waiting Room. It was recorded back in 1988 on their first EP and starts with the instantly recognized bass riff and breaks off into a stop-start hardcore beat. Fugazi never chased the charts – and Waiting Room didn’t reach the charts – but its influence can never be calculated. The raw energy and defiant attitudes of the track were the conscience of the DIY underground ethic.

Lovesong by The Cure

When Lovesong emerged from The Cure in 1989, the band scored an unexpected mainstream success. The beautiful ballad of unshakeable devotion reached #2 on the U.S. Hot 100 (the Cure’s largest U.S. single) and topped the UK Top 20 as well. Its ethereal simplicity — a minimal keyboard riff, a steady pulse, and Robert Smith’s sensitive vocals — shone through amidst the era’s high-gloss pop, demonstrating that the Previously-dark Cure could produce an unblemished love ballad without sacrificing their mystique.

Alive Pearl Jam

Alive introduced Pearl Jam into the mainstream consciousness back in 1991 as a powerful declaration of survival. In its screaming guitar leads and raw, wailing vocals by Eddie Vedder, the song became an early ’90s classic of hard rock. Though initially not qualified for the Hot 100 (no commercial single release), repeated hard rotation on hard rock and a top 20 appearance for the UK brought “Alive” into the mainstream consciousness. The song endures as an inspirational anthem proclaiming the arrival of one of the alt-rock era’s giant bands.

Radio, Radio by Elvis Costello & The Attractions

Elvis Costello’s Radio, Radio (1978) is a biting critique of the record industry delivered with bristling new-wave exuberance. When Costello famously crashed an invitation to perform on the NBC program Saturday Night Live by refusing the honor, he underlined the song’s rebellious stance against corporate-driven broadcasting. The single didn’t sell big (just missing the UK Top 30), but its impact was outsized. With a snarl of organ riff and venom-tongued lyrics excoriating the state of the radio, Radio, Radio became an anthem of artistic freedom.

All Apologies by Nirvana

In 1993, All Apologies revealed Nirvana’s introspective face with otherworldly elegance. This bittersweet ballad, complete with melancholic cello melody, reached number one on the Billboard Modern Rock chart despite the fact it wasn’t a huge commercial pop single. It netted Nirvana a Grammy nomination and, through their acoustic version for their MTV Unplugged appearance, became one of their most poignant recordings. As one of the last singles from Nirvana, All Apologies is valued as an introspective moment from a group infamous for raw energy.

Atmosphere by Joy Division

Atmosphere (1980), by Joy Division, is a dark, beautiful piece of music that shows the extent of the group’s emotions. First released sparingly, it became more widely available after Ian Curtis’s death and is now considered one of the top songs of the post-punk movement. Atmosphere never charted as a single, but it indelibly impressed itself through its melancholic synths and wailing vocals by Curtis. Widely used in films and tribute bands, it is still a beautiful elegy and tribute to the lasting effect of Joy Division on alternative culture.

Here Comes Your Man by Pixies

The Pixies blindsided their listeners with effortless pop euphoria with the help of 1989’s Here Comes Your Man. With its chime-guitar sound and catch-la-la-la refrains, it became one of the band’s most sing-alongable tunes. MTV played the song into heavy rotation and even peaked at number 5 on the United States Modern Rock chart, introducing thePixies to plenty of brand-new ears. Although it did not chart the Hot 100, Here Comes Your Man remains a fan favorite within their canon.

Paranoid Android by Radiohead

Paranoid Android (1997) by Radiohead is an epic six-minute single that defied single logic and still captivated a mass crowd. The song — actually a mini rock opera with movements –stunningly reached #3 on the UK Singles Chart and became an ’90s alt-rock benchmark. Its shifts from calm acoustic form to pounding riffs to angelic choruses were the result of the band’s aspirations on OK Computer. Even lacking a normal-length chorus or commercial-radio-long length, Paranoid Android captivated listeners and demonstrated mainstream listeners would tolerate the experimental.

There She Goes by The La’s

There She Goes by The La’s is a shimmering jangle-pop classic that’s been holding the hearts of ears for decades. When it emerged initially in 1988, it didn’t quite make an impact, but a re-issue in 1990 catapulted it all the way up the UK chart to #13 and into the pantheon of indie legend. Its light, effortless melody and indelible guitar riff make There She Goes timeless – a cheerful song that’s been a mainstay of hundreds of films and playlists.

Everlong by Foo Fighters

Everlong (1997) is the Foo Fighters’ epic — a song that starts small and builds into a raw, heart-on-sleeve explosion of an anthem. Never a Hot 100 chartbuster, it spread through rock radio and word of mouth and became a ’90s classic. The slow build toward an anthemic chorus and Dave Grohl’s heartfelt lead vocals turn Everlong into an emotionally charged one-two-punch. Often the show-closing catharsis for Foo Fighters shows, it’s now one of the era’s most-loved rock anthems.

Buddy Holly by Weezer

Weezer’s Buddy Holly (1994) is a piece of nostalgic power pop with geekiness, crunchy guitar, and an embarrassingly catchy melody. Although it never reached the Hot 100, the song’s retro flavor (enhanced by a classic Happy Days-congratulatory video ) made it a MTV and hard-rock-radio staple of the ‘90s. Almost 30 years on, the song remains a smile-inducer – a tribute to Weezer’s ability to merge hard-rock riffs and pop wackiness.

Plush by Stone Temple Pilots

Stone Temple Pilots fractured bigtime with Plush in 1993 – a grunge-period behemoth of a track. Scott Weiland’s soulful vocals and Dean DeLeo’s churning guitar riff brought this song instantly to mind. Plush ruled rock radio, reaching #1 on Billboard’s Mainstream Rock chart. Moody verses and detonating chorus summed up the decade’s fury. To this day, Plush is recalled as one of the classic rock anthems of the early ’90s.

Enjoy the Silence by Depeche Mode

In 1990, Depeche Mode produced Enjoy the Silence – a darkly beautiful synth-rock single that would become one of their largest global successes. Centered around a driving groove and ambient keyboards, the song went #8 on the United States’Hot 100 and #6 in the UK and topped the Billboard Modern Rock chart. Its sorrowful but danceable quality instantly made it unforgettable. Enjoy the Silence is a highlight of the catalog for Depeche Mode and a landmark of the ’90s alternative sound.

This Charming Man by The Smiths

Full of Johnny Marr’s fizzy guitar and Morrissey’s sassy vocals, This Charming Man (1983) brought The Smiths’ distinctive sound into the mainstream. The single reached #25 on the UK chart and spent an awful lot of time at the top of the indies chart, establishing the template for indie pop. The catchy tune and clever diction brought it instantly into classic category.

Would? by Alice in Chain

Would? brought a dark, bluesy edge to the sound of grunge when it was released by Alice in Chains in 1992. The track is a tribute to late member Andrew Wood and boasts eerie vocals by Layne Staley over a rhythmic, sludgy riff. It wasn’t a large pop single, but heavy rotation on MTV propelled it to an album signature song. In dark moods and poignant chorus, Would? is an exemplary ’90s rock moment that still brings the hairs up on the back of the neck standing up.

The One I Love by R.E.M.

A chiming three-chord riff and supposedly sappy choruses gave 1987’s The One I Love its first Top 10 single (peaking at #9 on the Hot 100). Most assumed it was just a normal love song, but within its single verse is a dark purpose. The marriage of the song’s hook and venomous bite (from the sneering vocals and angry guitar riffing) caught the ear of a vast population. The One I Love still resides within the playlists of rock radio – a tribute to the time the underground conquered the mainstream.

Touch Me, I’m Sick by Mudhoney

Raw, unbridled, and downright primitive — Mudhoney’s 1988 single Touch Me, I’m Sick was an anthem of the Seattle underground. Never charting, the fuzz-laden single nonetheless left an indelible mark upon the burgeoning grunge movement. With sneering attitude and distorted guitar lines, it perfected the anti-sheen vibe of late-’80s indie rock. Referenced more than once as an inspiration for those grunge bands who followed them, Touch Me, I’m Sick is an unpolished diamond that changed the world of rock upon its release.

Head Like a Hole by Nine Inch Nails

In 1990, Nine Inch Nails’ “Head Like a Hole” brought industrial rock ferocity into the alternative mainstream. Blending electronic beats and metal riffs, the song got heavy MTV rotation and reached #28 on the Modern Rock chart. Its raw-hewn chorus ( “bow down before the one you serve!” ) and renegade vibe made it a fan favorite. “Head Like a Hole” showed hard, genre-busting music could bring a lot of fans and became an industrial rock anthem.

Bastards of Young by The Replacements

The Replacements boiled adolescent rage into a gritty, cathartic song with 1985’s Bastards of Young. Paul Westerberg’s bare-line vocals and the band’s nuts-and-bolts crunch appealed to a generation of outsiders, although the single never charted. Its shoestring video — one speaker blowing — was the visual manifestation of the band’s anti-establishment position. Bastards of Young became the underdog anthem and the essence of The Replacements’ raw genius.

Burning Down the House by Talking Heads

When Talking Heads cut Burning Down the House (1983), theysuccessfully produced their largest American single without sacrificing their oddball character. This party-funk New Wave anthem of repetition-heavy hooks and irrepressible groove peaked at #9 on the Hot 100 and imported into the mainstream the art-school wackiness of the group. It became a party crowd anthem, demonstrating that smart musicians could still get the crowd on its feet. Even today, Burning Down the House still gets crowds moving, unveiling the cheerful, funky alternative rock sound.