Rolling Stone's 500 Greatest Songs

Anyone who’s heard The Killers' "Mr. Brightside" has an almost Pavlovian response to the song's opening lines. It's hard to go anywhere in the world without watching a room or crowd immediately sing along to the synth-rock classic. First released in 2003, the group's unique sound mixed with Brandon Flowers' New Wave vocal delivery helped make this song about jealousy, deception and calling a cab one of the most irresistibly catchy hits in pop history.

On this week’s episode, hosts Brittany Spanos and Rob Sheffield discuss the story of “Mr. Brightside,” breaking down the song’s gargantuan global success. From the Eighties pastiche of Hot Fuss to the song's entry into the pantheon of wedding DJ must-plays, the hosts unpack what it is about this single that has kept it charting in the UK for over 400 weeks.

Later in the episode Rob and Brittany are joined by mixing engineer Mark Needham, who was working with members of Fleetwood Mac when he got the call to work with this burgeoning Las Vegas band. Needham was instrumental in developing the band and shares technical details about the recording process, the song's distinctive sound, and anecdotes about working with The Killers during their early days.

On this week’s episode of Rolling Stone’s 500 Greatest Songs, hosts Brittany Spanos and Rob Sheffield discuss the story of “Be My Baby,” breaking down the song’s massive impact on pop history. The song comes in at #22 on Rolling Stone’s list and is as universal as a pop song can be. It’s the song that made Ronnie Spector a timeless rock & roll legend, a teenage girl from Spanish Harlem who packed a lifetime of raw power into three minutes.

Ever since Ronnie belted “Be My Baby” in 1963, it’s been the classic that sums up the whole Sixties girl-group era, with Phil Spector’s lavish Wall of Sound production – but it’s never left the airwaves. It’s been the foundation for artists from Brian Wilson to Bruce Springsteen to Lana Del Rey. You hear it everywhere, from Scorsese movies to goth clubs to hair metal, from the Ramones to Beyoncé.

This week Rob and Brittany are joined by a true legend: Jeff Barry, who co-wrote “Be My Baby.” The Barry/Greenwich team cranked out a host of Sixties girl-group smashes for stars like the Crystals (“Then He Kissed Me”), the Dixie Cups (“Chapel of Love”), the Chiffons (“I Have a Boyfriend”), and the Shangri-Las (“Leader of the Pack”). Barry discusses the making of “Be My Baby,” the early Brill Building songwriting days, and his long career from pop to soul to country.

Even before Beyoncé kicked off her solo career, it was clear that she was a legend-in-the-making. As the de facto leader of Destiny's Child, she was a guiding light for the girl group and helped shepherd them to stardom in both the pop and R&B spaces. The group was at their height (and still very much together) as she launched her solo career, first with "Work It Out" for the Austin Powers in Goldmember soundtrack but with more gusto on "Crazy in Love.

"Crazy in Love" served as the lead single for Beyoncé's debut solo album Dangerously in Love. The song was written in two hours and became a Number One hit the same week Dangerously in Love topped the albums chart. Beyoncé has developed significantly as an artist since then with her last two albums, Renaissance and Cowboy Carter, being prime examples of how she’s still growing and finding new ways to master her artistry even two decades after the world first got a taste of who Beyoncé was on her own.

On this week’s episode hosts Rob Sheffield and Brittany Spanos discuss Beyoncé's career trajectory and how the superstar ended up being the youngest artist with the most entries on the 500 Greatest Songs of All Time List. Later in the episode, they are joined by their Rolling Stone colleague Mankaprr Conteh to dig into the star's artistry and appreciation for Black music history, which she continues to embed in all her work.

Kate Bush has always been a fiercely original art-pop icon. But with “Running Up That Hill,” she achieved a new kind of feat. “Running Up That Hill” was a massive Top Ten hit, dominating U.S. radio all over the summer of 2022—even though it was a song she released back in 1985. Her classic synth-goth anthem sounded ahead of its time in the Eighties, but only Kate Bush could make it a song that STILL sounds ahead of its time nearly 40 years later.

In this week’s episode of Rolling Stone’s 500 Greatest Songs, hosts Brittany Spanos and Rob Sheffield discuss the long, incredible legacy of Kate Bush and “Running Up That Hill.” They’re joined by their brilliant Rolling Stone colleague Julyssa Lopez, a Kate Bush expert and longtime hardcore fan, to discuss why “Running Up That Hill” speaks to our moment.

Taylor Swift knows a thing or two about swerving when her listeners and detractors least expect it, but nothing could prepare anyone for her total abandonment of country music on her 2014 album 1989. Sure, she had teased some Max Martin-assisted pop hits on her previous album Red, but 1989 was a total 180 from the country starlet's past, trading her teardrop-soaked guitar for sassier synths instead.

On this week's episode of Rolling Stone's 500 Greatest Songs, hosts Rob Sheffield and Brittany Spanos discuss the crown jewel of the 1989 album, "Blank Space".  While lead single "Shake It Off" was an empowering kiss-off to the haters, its follow up was an unexpected satirization of Swift's public image at the time as a "maneater" for her romances with famous men and ensuing songs about their times spent together.

Swift fits back against sexist criticism of her writing "too many break-up songs" and her dating habits with this ferociously catchy track that highlights her sense of humor and wit, all while helping break free a bit more from her "girl next door" image. Later in this episode our hosts are joined by their colleague and Rolling Stone Music Now host Brian Hiatt to dig into just how big of a risk her pop pivot had been, as well as explore what makes this song so great and how it shifted Swift's sound and lyricism for the better.