The 100 Greatest Songs of 2000: Staff Picks – Billboard

If you entered 2000 thinking that the year would bring a totally different sound befitting the turn of a new millennium... well, you were mostly right.

Not that the artists that defined popular music at the end of the '90s were suddenly spirited away and replaced with an entirely new vanguard: Most of the biggest artists of 1999 -- the boy bands and girl groups, the breakout rappers and rock best-sellers -- were the biggest artists of 2000, too. But they seemed energized by the changeover of millennia, and motivated to push things appropriately forward.

Having some of the era's greatest super-producers on the front lines certainly helped. Timbaland and Rodney "Darkchild" Jerkins amped up the dramatic tension of R&B until it sounded like something that would play at a futuristic opera. The Neptunes and Swizz Beatz brought the proverbial (and sometimes literal) bells and whistles to hip-hop, setting it on its path to top 40 domination and definition. And of course, Max Martin raised the stakes onTRL pop, maturing his sound and proving that the genre and its greatest practitioners would not be left in the '90s with Trapper Keepers and Tamagotchis.

But the year wasn't just about returning '90s stars getting 2.0 updates. Hip-hop's geographical axis was thrown off by a brand new rap icon emerging from the country's center. R&B was modernized not only at its poppiest but also at its rootsiest, as the growing neo-soul movement experienced its greatest year of commercial and critical success. And a couple '80s stars returned with dramatically overhauled sounds that demonstrated they would be staying relevant well into their third decades.

With *NSYNC'sNo Strings Attached, a standard-setting 2000 pop release both in its cutting-edge production and its record-breaking commercial performance, celebrating its 20th anniversary -- and most of us needing no excuse to take a vacation from the world in 2020 --Billboard decided the time was right for a week's celebration of the year 2000. We're starting today with a list of our 100 favorite songs from the historically rich year, and will continue all week with a series of essays, interviews, lists and other flashbacks to the beginning of the new millennium.

First, though, a note about eligibility:Songs were counted as eligible if they were released as singles in '00, if they debuted on the Billboard charts in '00, or if they hit No. 1 in '00. But if they didn't hit the Hot 100 until the next year,or if they debuted in '00 but didn't hit No. 1 until the year after,we're counting 'em for '01. So apologies to "Ms. Jackson," "It Wasn't Me," "Yellow," "One Step Closer" and "One More Time" -- we'll probably see them on this list next year.

Read our list below, find a Spotify playlist of all songs at the bottom, and check back to Billboard.com all week for more about the stories behind the most interesting songs and albums of 2000. It's been a long time since they left you -- so begin the journey back with us below, with 100 dope jams to step to.

100. Zombie Nation, "Kernkraft 400" (Sport Chant Stadium Remix) (No. 99, Hot 100)

By the end of the '90s, music for video games and music for sporting events had starting overlapping to the point of being interchangeable -- so it made sense that one of the ultimate mind-numbing dance anthems at the turn of the millennium should be a remix of a video game theme with a soccer chant stapled on top of it. Call it "Seven-Bit Nation Army," with fewer distracting verses. --ANDREW UNTERBERGER

99. P!nk, "There You Go" (No. 7, Hot 100)

Long before we knew her as the acrobatic performance-loving pop star, P!nk was introduced to the world as the next R&B artist to watch with breakout single There You Go. Due to its swagger-heavy production and soulful vocals, many thought the singer was actually a light-skinned black girl. That wasnt the case, of course, but P!nk made it clear that shed never fit into the bubblegum-pop mold of Y2K and beyond. --BIANCA GRACIE

98. O-Town, "Liquid Dreams" (No. 10, Hot 100)

If you need a reminder of who was hot in 2000, press play on O-Towns LiquidDreams. Destinys Child, Madonna, Janet Jackson, Angelina Jolie, Cindy Crawford, Tyra Banks and Salma Hayek all get shout-outs in the zeitgeist-y hit (as well as a mysterious reference to Jennifer in the chorus -- Lopez? Aniston? Love Hewitt?). Its snapping beat and rolling melody made for a dynamic debut from O-Town, the first product of Diddys artist-scouting seriesMaking the Band,reaching the Hot 100's top 10. Perhaps the most ingenious part of LiquidDreams, though? Its so catchy, you forget they're singing about a wet dream. --TAYLOR WEATHERBY

97. The White Stripes, "Hello Operator" (Did not chart)

In a year when rock leaned into "nu" strains by bands like Limp Bizkit and Linkin Park, The White Stripes sounded refreshingly, well, old. On their sophomore LPDe Stijl, the Detroit duo extended the garage rock blues of their eponymous 1999 debut, and whileDe Stijlwas stacked with eventual classics, none were as raucously, righteouslydirtyas "HelloOperator." Here Jack's guitar sounds hot to the touch, while Meg's drums deliver a skeletal interlude to the otherwise headbanging track -- which in just 2:36 demonstrated that 20th century-style rock was alive and thrashing in the numillennium. --KATIE BAIN

96. Toby Keith, "How Do You Like Me Now?!" (No. 31, Hot 100)

Seven years after "Should've Been a Cowboy,"TobyKeithrebounded from a stretch of stalled singles and reclaimed his mid '90s dominance with a honky tonk send-off to the it-girl valedictorian who never gave him the time of day. High schoolToby's tactics were sure questionable ("Broke into the stadium and I wrote your number on the 50-yard line") but his hooks are anything but; when the chorus hits, it sails through the goalposts. --CHRIS PAYNE

95. Mandy Moore, "I Wanna Be With You" (No. 24, Hot 100)

Mandy Moore was only 16 when she released the single that would become her biggest Hot 100 hit, and in many ways it sounds like it: a wispy ballad of teenage longing, not all that far removed from Jessica Simpson's contemporaneous "I Wanna Love You Forever." But there's both a tenderness and a yearning to "I Wanna Be With You" that hints at a maturity that would manifest in Moore's later singer-songwriter work; with its sighing and soft-hearted lustfulness, it's something like aTRL-era "Wouldn't It Be Nice." --A.U.

94. Black Rob, "Whoa!" (No. 43, Hot 100)

Though The Notorious B.I.G. and Ma$e were considered pillars for Diddy's Bad Boy conglomerate in the '90s, Puff bolstered his decorated lineup when he recruited Harlem lyricistBlackRobin 1997. In 2000,RobMarciano returned the favor and swung for the fences with his war-ready single "Whoa!" Teeming with grit and swagger, "Whoa!" was a pure New York banger, which spoke to the high degrees of flexing. --CARL LAMARRE

93. The Dandy Warhols, "Bohemian Like You" (No. 28, Alternative Songs)

Theres something deeply self-referential about an alternative band like The Dandy Warhols penning an unforgettable (and popular) track about the hypocrisy of hipster culture. Getting used in popular commercials of the day and becoming their biggest hit to date, Bohemian Like You paints a crystal-clear picture of the pseudo-counter-culturalism that came to define the later decade, and made minor stars out of the alt-rockers behind it. --STEPHEN DAW

92. Miss Kittin & The Hacker, "Frank Sinatra" (Did not chart)

With the blas ennui of Marlene Dietrich, French electroclash pioneer Miss Kittin recounts the salacious late-night deeds of the late Rat Packer over a frangible beat as icy cold as his remains. The blunt, brazen humor of "FrankSinatra" ensures its cult longevity; even if the genre in question would soon become a stranger in the nightlife scene, its fetishized repurposing of synth-pop and '90s house would continue as a trend in dance until, well, now. --JOE LYNCH

91. Hanson, "This Time Around" (No. 20, Hot 100)

Better known asHansons Were adults now! single, the title track to the brothers 2000 album had the unenviable task of following up their mega-selling 1997 LP Middle of Nowhere, as well as convincing pop listeners that the precocious voices behind MMMBop could credibly mature. This Time Around wasnt a huge hit, but endures as first-rate pop-rock, with a piano line and a sing-along chorus that previewedHansons fate as underrated adult songwriters, never to return to their early radio heights. --JASON LIPSHUTZ

90. PJ Harvey, "Good Fortune" (Did not chart)

GoodFortune marked a sea change for PJ Harvey. The lead single offStories from the City, Stories from the Searolls along with a quick tempo, lovelorn lyrics, and a sticky melody throughout, separating itself from the darkness ofIs This Desire?and the knotty arrangements ofTo Bring You My Love. "GoodFortune pre-dates fellow '90s alt sensation Liz Phairs brazen 2003 crossover hit Why Cant I? but Harveys unabashed daydream struck a balance that only she can, still unrecognizable to radio programmers and so individually PJ Harvey. --ERIC FRANKENBERG

89. 2Gether, "The Hardest Part About Breaking Up (Is Getting Back Your Stuff)" (No. 87, Hot 100)

An impossibly on-point fauxTRL jam -- down to the fake fans raving about their favs in the video's corner -- "Hardest Part" so nailed the boy-band breakup banger that you'd expect Max Martin and Rami Yacoub's names to pop up in the CD single liner notes. (Co-writers Brian Kierulf and Joshua M. Schwartzdid end up on a number of songs on Britney Spears' 2001Britney album.) The lyrics are inspired, of course,but the real highlights are the ad libs -- like the strangled "meow!" that follows the chorus'"You got my sweaters, my hat/ I can't find my cat!"--A.U.

88. Deleriumfeat. Sarah McLachlan, "Silence" (No. 6, Dance Club Songs)

Before Sarah McLachlan made TV viewers scramble for the remote whenever the ASPCA's heart-wrenching ad with her "Angel" aired, she was tugging at heartstrings not only as a successful solo artist, but as a guest vocalist for new age/electronic outfit Delerium. The side project of Front Line Assemblys Bill Leeb and Rhys Fulber reached new heights with McLachlans pipes on Silence, combining her dreamy vocals with Gregorian chants and a catchy beat. It's endured over the years with club-slaying remixes -- most notably Tiesto's epic In Search of Sunrise edit -- and today, echoes of the singles dark and ethereal influence can be heard on Grimes recent Miss Anthropocene LP. --ANNA CHAN

87. Hoku, "Another Dumb Blonde" (No. 27, Hot 100)

At a time when fresh-faced female pop stars were luring suitors with sexed-up schoolgirl outfits and genie metaphors, Hawaiian 18-year-old Hokushook things up with her debut single, serving a get lost declaration to the players of the world. Another DumbBlonde is feisty from start to finish, calling out a shallow jerk for being, well, just that (Lately Ive come to find/ That you're not really interested in my heart or mind, proclaims the first pre-chorus). The spirited tune turned theblondestereotype into an empowering anthem to brokenhearted tweens and teens everywhere -- no matter their hair color. --T.W.

86. Jagged Edge, "Let's Get Married" (No. 11, Hot 100)

Since its release in February 2000, Lets Get Married has been claimed by fans as a wedding anthem.JaggedEdges enduring ballad pushes all of R&Bs hot buttons: Silky harmonies. Smooth, body-rockin rhythms. Urgent heartfelt lyrics about true love. During its heyday, Married" reached No. 1 on Hot R&B/Hip-Hop Songs and No. 11 on the Hot 100 -- aided by a popular Run-D.M.C.-sampling remix that also featured the group's Reverend Run. At a time when romantic love has increasingly become supplanted by records focusing solely on sex, people still desire songs that go all the way -- to lifelong commitment. --GAIL MITCHELL

85. Ricky Martin, "She Bangs" (No. 12, Hot 100)

By the time "SheBangs" was released as the lead single to sophomore English-language LP Sound Loadedin October 2000, Ricky Martin was a bonafide hitmaker, with seven Hot 100 hits already to his credit. The danceable track meshed a salsa flare with heavy rock guitar and an irresistible pop beat for universal appeal, sending it to the top 20 on the Hot 100and the top five in eight countries outside of the U.S. -- though its most memorable impact, for better or worse, may have come via futureAmerican Idol contestant William Hung. --TAYLOR MIMS

84. Beenie Man feat. Mya, "Girls Dem Sugar" (No. 54, Hot 100)

Beenie Man already broke through the American market two years prior with the rugged dancehall crossover "Who Am I (Sim Simma). But as he got more comfortable stateside, he decided to expand his sonic boundaries. And who better to help execute than The Neptunes? Dissecting a portion of Who Am I, the experimental duo transformed the original into a glossy, scratch-heavy club anthem that was elevated by Mas dreamy "If I could be your girl...." coos. --B.G.

83. Carlos Vives, "Fruta Fresca" (No. 1, Latin Songs)

Vives' lead single offEl Amor de Mi Tierra (1999) shook traditionalists as it topped Latin Songs early in the new millennium. The Emilio Estefan- and Juan Vicente Zambrano-produced tune of swirling vallenato and pop pulsations revolutionized Latin music, without compromising Vives artistic integrity. Cannily structured, Fruta opens with enigmatic electro-acoustic guitar chords, followed by Vives' vigorous vocals and flanked by sturdy bass and percussion; reflecting the turn of a genre that slinked smoothly into its own space. Vives deftly weaved Colombias popular folk music with Latin pop -- belted by bouncy accordion, along withcajaandguacharaca -- and became a leading figure in the mainstream tropical sphere. --PAMELA BUSTIOS

82. Limp Bizkit, "Break Stuff" (No. 14, Alternative Songs)

For those of us who lived through the turn-of-the-century nu-metal heyday, all it takes is that chunky two-chord riff from Wes Borland that opens Limp Bizkits BreakStuff to get us nice and furious. The Significant Other single is designed for mosh pits -- after all, it climaxes with Fred Durst screaming Give me something tobreak! -- and captures a relic of the era at its biggest, dumbest and best. --J. Lipshutz

81. Carl Thomas, "I Wish" (No. 20, Hot 100)

Plenty of great R&B torch songs have dealt with unrequited love over the years, but few besides Bad Boy belter Carl Thomas' "I Wish" have so lamented a love thatwas requited: "I love her so, she's got love for me/ But she still belongs to someone else." The unusual heartbreak ballad was saved from maudlinism by a breezy, piano-led Mike City production and a crescendoing vocal performance from Thomas that was absolutely superlative -- though that didn't stop Jay-Z and the rest of us from our own off-key imitations: "And I wish... I neeever... met herrrr... at alll..." --A.U.

80. 3LW, "No More (Baby I'ma Do Right)" (No. 23, Hot 100)

These 3 Little Women had some big boy problems, given all those mysterious numbers lighting up their boo's pager. But the trio of ladies -- with the youngest member only 14 years old (hence the reference to "last year, boy, in the eighth grade") -- aren't putting up with any more, and they make it super clear with this exasperated-but-catchy musical kiss-off. --KATIE ATKINSON

79. Sting feat. Cheb Mami, "Desert Rose" (No. 17, Hot 100)

Fifteen years into his lucrative post-Police solo career, Sting had the freedom to do pretty much whatever he wanted. So when his globetrotting dreams had him pining for love's eternal salvation amongst "gardens in thedesertsand," well, that's exactly where he went. With the bombast of a Disney musical and allPure Moodseditions combined, "DesertRose" was a portal for every minivan in America to some enchanted sonic oasis. Or if you were Sting in the track's product-placement-addled video, a chauffeured journey in a 2001 Jaguar S-Type through the MojaveDesert, to meet Algerian wailer Cheb Mami at a top-secret disco rendezvous. --C.P.

78. Kylie Minogue, "Spinning Around" (Did not chart)

While some saw a new millennium as an opportunity to create music unlike anything anyone had ever heard before, Australian superstar Kylie Minogue took a different approach. With Spinning Around, the songstress nailed the classic, disco-inspired Europop sound that would carry her into the 21st century, and went on to see massive success just about everywhere (except America, which sadly would take a couple more years to catch on). The tracks danceable melodies and irresistible beat proved that all spinning aside, you dont have to reinvent the wheel to show people a good time. --S.D.

77. Samantha Mumba, "Gotta Tell You" (No. 4, Hot 100)

That Samantha Mumba has released, to date, one album remains one of pops biggest recent-ish tragedies. Thats becauseGottaTellYouis a debut LP armed to the teeth with bubblegum pop bangers -- and the title track in particular, her debut single, exudes a soulful confidence well beyond Mumbas then-17 years, and boasts a whopper of a minor-key chorus. Bonus points always and forever given to the front flip off a store awning into a choreographed dance Mumba pulls off (OK, OK, through the magic of editing) in the video. --KEVIN RUTHERFORD

76. The Baha Men, "Who Let the Dogs Out?" (No. 40, Hot 100)

In life, there are a handful of questions that humanity has struggled to definitively answer: did the chicken or the egg come first? How many licks does it take to get to the center of a Tootsie Pop? And who, indeed, let the dogs out? But some mysteries are better left unsolved, and though we still havent found the culprit two decades later, that shouldnt stop us from queueing back up the cant-miss, Grammy-winning (?) stadium anthem and letting out a yippie, yi, yo! or two. While remaining vigilant. --JOSH GLICKSMAN

75. Erykah Badu, "Bag Lady" (No. 6, Hot 100)

Badus soulful classic about letting go of emotional baggage is basically a mini-therapy session, thanks to its soothing, tonic-like beat and timeless wisdom (All you must hold onto is you, she advises in effortless croon). Meanwhile, a twangy sample from Dr. Dres Xxplosive adds a subtle flourish to the otherwise minimal sound. The song picked up two Grammy nominations and peaked at No. 6 on the Hot 100, making it Badus highest-charting track to this day. --TATIANA CIRISANO

74. Air, "Playground Love" (No. 28, Dance Singles Sales)

With its dream-pop melodies and soothing vocals, Air's "PlaygroundLove" may have been released in 2000, but it can easily transport fans back to the '70s. "I'm a high school lover and you're my favorite flavor," the lyrics begin, a hopeless romantic penning their deepest feelings. As part of the Me Decade-set soundtrack to Sofia Coppola's lovelorn and ultimately tragicThe Virgin Suicides, there's no doubt that "PlaygroundLove" continued to mold a new generation of sentimental high school sweethearts -- as well as those to follow. --JESSICA ROIZ

73. Janet Jackson, "Doesn't Really Matter" (No. 1, Hot 100)

Theres something lovely about watching an outwardly beautiful Janet Jackson sing about inner beauty. While playing the romantic interest of a fat suit-wearing Eddie Murphy in the Nutty Professor II: The Klumps, the pop icon co-penned the breathy single for the rom-com's soundtrack (with longtime producers Jimmy Jam and Terry Lewis) about a love that's blind and strong enough to withstand the haters. Set in futuristic Tokyo, the video for the sultry, sighing dance track is the songs final punctuation mark -- featuring sparkly gadgets, a robot dog and a dance break on a levitating platform -- helping the song become her first Hot 100-topper of the 2000s. Clearly, it Doesnt Really Matter the decade, Ms. Jackson is timeless. --DANICA DANIEL

72. Deftones, "Change (In the House of Flies)" (No. 3, Alternative Songs)

Taking place over various stages of a seedy Hollywood party that always seems on the precipice of something truly terrible happening, the video for the Deftones' biggest hit captures its feeling perfectly: mysterious, beautiful, seductive and imminently perilous. Croaked by frontman Chino Moreno as if from the bottom of the house's swimming pool, "Change" was a version of nu-metal horror that eschewed jump scares for unnerving suggestion; it had onlya fraction the pop impact of Limp Bizkit, but remains exponentially more unshakeable 20 years later. --A.U.

71. Savage Garden, "I Knew I Loved You" (No. 1, Hot 100)

Savage Garden was one of those bands that seemed disproportionately popular in Southeast Asia (see also: Westlife). In the Philippines, people love ballads and karaoke, so the sentimental I Knew I Loved You was an irresistible choice for radio DJs, weddings, and any instance in which Filipinos can sing with feelings. "Loved" was also universal enough to become the duo's second No. 1 hit on the Hot 100 -- and the music video was just as good, featuring vocalist Darren Hayes reaching for Kirsten Dunst to hold hands on a subway. --MIA NAZARENO

70. Fuel, "Hemorrhage(In My Hands)" (No. 30, Hot 100)

Two decades years after its heyday, it's crazy to think that Fuel's "Hemorrhage" could have been a massive hit on pop radio (reaching No. 22) at any point this century, even making the top 40 of the Hot 100, as pop and hip-hop flood today's charts. But Fuel did just that with their crossover post-grunge ballad "Hemorrhage (In My Hands)," in which frontman Carl Bell sings about his grandmother's cancer diagnosis and eventual passing. Of course, the powerful singalong with a massive chorus -- whether you knew what it was about or not -- was also massive staple on rock radio, spending a staggering 12 weeks at No. 1 onBillboard'sAlternative Songs chart. --XANDER ZELLNER

69. Incubus, "Stellar" (No. 2, Alternative Songs)

The only way to understand Incubus within the nu-metal rock world of 2000 is to follow singer Brandon Boyds guidance at the opening of their celestial single Stellar: Meet me in outer space. The enigmatic five-piece presented a new, surrealist vision for the exploding genre, with the songs serpentine melody disguising math-rock as metal and its distortion-heavy chorus belying the cuddly love song at its core. Stellar proved to have a lasting impact as the mainstream rock renaissance began to wane, partially thanks to its embrace by the younger Guitar Hero generation. --BRYAN KRESS

68. Marc Anthony, "You Sang to Me" (No. 2, Hot 100)

Twenty years later, this song should still come with a warning about listening when you're feeling vulnerable. There's just no pretense with "You Sang to Me," a breathtaking vista of a ballad that sounds gorgeous and heartbreaking. The song was patently massive -- it peaked at No. 2 on the Hot 100 and topped the Adult Contemporary chart for seven weeks -- but its heart and soul lies in its subtle sentimental brushstrokes: the weeping acoustic guitars, the stately accordion solo, Anthony's stirring a cappella coda: "OHHHH BUT I FEEL IT." The feeling's mutual. --C.P.

67. Toni Braxton, "He Wasn't Man Enough" (No. 2, Hot 100)

After steamrolling through the 1990s with a barrage of top 40 and adult contemporary mainstays, Toni Braxton returned in March of 2000 with He Wasnt Man Enough. Its an upbeat Darkchild production that was right at home on pop and R&B radio in the aftermath of similar-themed hits by TLC (No Scrubs) and Destinys Child (pretty much everything theyd released to that point). And while the song begins with Braxton looking down on her exs new boo, her condescension turns to thoughtful protectiveness. This femme-forward approach is highlighted by the finale of the music video -- which, from the styling to the Y2K-futurist lighting and set design, could not be more 2000. --E.F.

66. David Gray, "Babylon" (No. 57, Hot 100)

Let go of your heart, let go of your head and feel it now commands the chorus of David Grays Babylon. The warm and melancholic folk song (andsecond single from Gray's breakout album White Ladder)became the singer-songwriter's signature track at the turn of the millennium. Laden with harmonious flurries, Grays vocals dance over the melody and hit your ears with force. There is a general feeling of surrender, of letting loose to pick up the mess of a relationship that is vanishing in Gray's native London-- considered a modern-dayBabylonin Victorian times -- that ricochet between the subtly tech-aided melody and the shrewd wit of his lyrics. --P.B.

65. BBMak, "Back Here" (No. 13, Hot 100)

British trioBBMakarrived at the height of the boy band bonanza as a slight bit of counter programming -- sure, they were pretty and harmonized, but they played instruments, too! Yet the perception of authenticity is irrelevant to the quality of Back Here, a soft, gorgeous pop track with one of the most delicate bridges of the teen-pop era; it peaked at No. 13 on the Hot 100 chart, but has remained a charming staple of adult contemporary radio for decades. --J. Lipshutz

64. Madonna, "Don't Tell Me" (No. 4, Hot 100)

Throughout her career, Madonna has often followed her flashy lead single from a new album with something more curious and subtle, yet no less rewarding as the follow-up. Such was the case for her Music era, in which the title track offered electro-pop euphoria, before second single Dont Tell Me served as an act of twangy defiance -- with clipped vocals, guitar loops, strings and a mainstream take on folktronica that still holds up today. --J. Lipshutz

63. Peaches, "F--k the Pain Away" (Did not chart)

Before Cupcakke, before My Neck, My Back, and before the advent of iTunes and streaming services made FCC radio standards more or less obsolete, there was F--k the Pain Away, a song so proudly explicit that it became something of a proto-meme. But its also just an excellent song, frank and minimalistic, anchored by buzzing bass and percussive claps. Its a testament to Peaches vision that, 20 years on, her breathless enjoinder feels so distinctly of the moment. --WILL GOTTSEGEN

62. SR-71, "Right Now" (No. 2, Alternative Songs)

The debut single from SR-71, Right Now embodies the classic pop-punk sound that exploded at the dawn of the 21st century. It quickly cemented itself in pop culture, being used in the trailer and soundtrack for Dude, Where's My Car?and goingon to become something of a stoner movie staple, later also being featured in the 2004 trailer for Harold & Kumar Go to White Castle. From the unforgettable opening riff to the solid mid-song guitar solo to the Bohemian Rhapsody nod in the video, it's a song that will exude nostalgia forever. --BECKY KAMINSKY

61. Aaron Carter, "Aaron's Party (Come Get It)" (No. 35, Hot 100)

Before life was unkind to Aaron Carter, we had his party, and it was glorious. Here's a little bit of old school for ya: Its the year 2000, and Nick Carters little bro is making a name for himself through funky, guitar-driven pop-rap. Its a simpler time, when the worst possible punishment a kid can get is to be grounded -- and thats just what Aaron's in for once his parents find out about the house party he threw when they were out. (Dont worry, attendees were only served juice.) As the title track of Carter's 3x platinum second studio album, Aaron's Party was released when he was just 12 years old, and its witty lyrics, charming video and equally adorable star ensure itll be a tale for the ages. --GAB GINSBERG

60. Enrique Iglesias, "Be With You" (No. 1, Hot 100)

Enrique Iglesias BeWithYou became his second No. 1 onBillboards Hot 100, after Bailamos, and ruled the chart for three weeks. This timeless song, which has a heartbroken Enrique yearning to get backwithhis girl, has become a classic because it was part of the Spanish singers eponymous 1999 bilingual album his formal introduction to mainstream America, withwhich he won over hearts singing in English and thanks to his soaring Now that you're gone/ I just wannabewithyou hook. --GRISELDA FLORES

59. At the Drive-In, "One Armed Scissor" (No. 26, Alternative Songs)

OneArmedScissor is full of dissonance -- whether its Cedric Bixler-Zavalas sometimes-barked vocals and its juxtaposition against Jim Wards Warped Tour-ready chorus howl, its jarring time signature changes, Ward and Omar Rodriguez-Lopezs snaking guitar riffs, or its hair-raising refrain of Get away! Get away! Perhaps the songs multiple moving parts, somehow joining together in a cohesive package amid its 4:20 run time, were a harbinger of At the Drive-Ins demise less than a year later, then at the height of its popularity. --K.R.

58. No Doubt, "Simple Kind of Life" (No. 38, Hot 100)

After the take-no-prisoners confidence ofTragic Kingdom's "Just a Girl" made Gwen Stefani a star, the exquisite second single from No Doubt's sophomore LPReturn of Saturn revealed the second-guessing she'd undergone in the years since -- wondering if despite the magazine covers and diamond-certified sales, she was more suited the titular existence. It's a heartbreak song where the she's the victim not of a bad boyfriend (she had recently started seeing Bush's Gavin Rossdale), but of a successful career, one that leaves her hoping for an accidental pregnancy to take the decision out of her hands. "You seem like you'd be a good dad" never sounded so devastating. --A.U.

57. Ja Rule feat. Lil Mo & Vita, "Put It on Me" (No. 8, Hot 100)

ThoughJaRule and Vita left their handprints on theRule 3:36album version for "PutIt on Me,"itwas Lil Mo's soaring ad-libs that drove the song's remix towards mainstream notoriety. A quintessential ride-or-die anthem, "PutIt on Me" (Remix) not only madeJaRule's howling croons a much-needed staple in hip-hop, but gave him credibility as a promising hitmaker in the 2000s. --C.L.

56. Mya, "Case of the Ex (Whatcha Gonna Do)" (No. 2, Hot 100)

Ma was always good for masking petty digs in sweet tunes (see 1998s Movin On), but she entered her final form with the sharp-tongued Case of the Ex. Our R&B darling was completely fed up with her man communicating with a past fling -- There's no need to reminisce 'bout the past/ Obviously, cause that s--t did not last -- and Tricky Stewarts spiny production drove her frustration over the edge. And the ladies related: by Y2Ks end, Case of the Ex leaped to No. 2 on the Billboard Hot 100. --B.G.

55. Common, "The Light" (No. 44, Hot 100)

In the bleak, aggressively macho hip-hop landscape of the early '00s, Common followed his own luminescence. Taken from his breakthrough major label debut Like Water For Chocolate, The Light feels transported from the conscious rap heyday of the '90s with chivalrous rhymes that read like stanzas in a love poem -- appropriate for the song's written-letter framing. Inspired by then-flame Erykah Badu, produced by J Dilla (sampling Bobby Caldwell deep cuts), and influenced by the nascent neo-soul sound of the Soulquarians, The Light presents the brighter side to a rap scene in flux. --B. Kress

54. SoulDecision feat. Thrust, "Faded" (No. 22, Hot 100)

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The 100 Greatest Songs of 2000: Staff Picks - Billboard