60. Alice in Chains, “Grind”

Alice in Chains would’ve made incredible rappers; they hated journalists for talking about exactly what they openly discussed in song. (It’s not like “Junkhead” left room for interpretation.) Still, this diss track found layers of Layne Staley lurching “You’d be well-advised / Not to plan my funeral ‘fore the body dies,” over one of the fugliest riffs to ever stain the airwaves. Why does it still feel like Staley had the last laugh? Maybe it’s that triumphant beam of guitar light that shines on the chorus. —D.W.

59. Live, “All Over You”

A one-verse, one-chorus song is one of the great joys of pop songwriting, and somewhat of a lost art. So this one is where Live’s heavy-handedness was so welcome it took a capsule of arena sugar that could’ve been too simple, and tricked it up. Ed Kowalczyk’s outrageous “yeah yeah yeah,” some nice minor key shifts, and over-emoted verses — all were welcome add-ons for stirring straight into that immaculately harmonized hook. Keep it complex, stupid. — D.W.

58. Face to Face, “Disconnected”

Like no other song from its era, the pop-punk anthem “Disconnected” captures the angst and allure of the big leap. Originally recorded for the band’s 1992 debut on Alta Loma’s Dr. Strange Records, the song was issued as a seven-inch by Fat Wreck Chords in 1993, then remixed for an EP after the band signed to JVC subsidiary Victory. The local response was huge, and Victory requested they re-do the song a second time for 1994’s Big Choice LP. Which they did: as a hidden track, with an intro featuring the band arguing against the song’s inclusion. A&M reissued Big Choice in ‘95, finally giving the ragged, yearning tune a suitable audience. —B.S.

57. The Muffs, “Kids in America”

Even though it didn’t officially soundtrack a Noxzema commercial, the Muffs’ most commercially recognizable single — a cover of Kim Wilde’s synth-silly ’81 original — has lived a long life post-inclusion on the Clueless soundtrack, so much so that Kim Shattuck & Co. are a little sick of hearing about it. But who could blame you for staying hooked? Permeating the otherwise flannel-wrapped mid-’90s with a shock of bratty pop-punk, the scratchy vocals and the band’s Dookie-era guitar chunks offer a peppy — but no less irresponsible — counterpoint to the era’s more obvious strain of Gen-X ennui. —R.B.

56. Jill Sobule, “I Kissed a Girl”

After a couple LPs that went nowhere commercially, folk-rock singer/songwriter Jill Sobule scuffed up her sound, recruited power-pop maestro Brad Jones, and immediately hit with “I Kissed a Girl,” a sneaky-influential ditty about same-sex attraction. The title is a chorus unto itself; Sobule delivers the line with quiet satisfaction, then gets giddy on a whammy-filled guitar solo. —B.S.

55. Sonic Youth, “The Diamond Sea”

A Sonic Youth ballad! Played for 20 minutes, as if to make up for all that lost time they could have been spending on effects-juiced, space-folk ditties like this one rather than sticking screwdrivers into their six-strings and climbing the stacks. Except by the feedbacking end of the song, there’s a few power tools thrown into the mix even on this plaintive tune. And thus begun the most autumnal and beautiful phase of their career, by sending one of their most accessible songs off into a sunset that overheats like a surge protector. — D.W.

54. Silverchair, “Tomorrow”

Australia got in the post-grunge game with Silverchair, a trio of longhairs young enough to still find the profundity in a lyric like “You say that money isn’t everything / Well I’d like to see you live without it!” The youthful exuberance was certainly appreciated, and those full-band hits that lead in the final chorus make for one of the most stupidly thrilling moments in ’95 rock. —A.U.

53. That Dog, “He’s Kissing Christian”

Speaking of “Could’ve been as big as Weezer”