40. Moby, “All That I Need Is to Be Loved”

A precipitous plummet on the roller-coaster ride that is Moby’s SPIN Album of the Year Everything Is Wrong, the acid-thrash-metal seizure “All That I Need Is To Be Loved” foreshadowed 1996’s Animal Rights — for better or worse — with its barked, echoing repetition of the title and aggressively slung electric guitar riffs, proving Moby’s hyperactivity could be infectious in just about any genre. —H.B.

39. Fugazi, “Bed for the Scraping”

Hooks weren’t particularly paramount on Fugazi’s palette-expanding Red Medicine LP, but nearly all of the album’s best can be found on “Bed for the Scraping” — the “Longview”-worthy bass saunter, the squalling guitar chorus, and of course, one of the band’s most breathless maniacal chants (“IDONTWANNABEDEFEATED!“). One of the closest things the D.C. foursome had to a radio single, even if the airwaves were too cluttered with So-Cal pop-punk at the time to notice. —A.U.

38. The Cardigans, “Carnival”

Though it would understandably be overshadowed historically by the band’s true crossover hit, the Cardigans’ lilting lounge-pop throwback “Carnival” remains a peerless mid-decade delight, as gauzy and wistful as its soft-filtered music video. Groovy enough to be featured in Austin Powers a couple years later, without even feeling like a punchline. —A.U.

37. Sponge, “Molly (16 Candles)”

Possibly about a teenage suicide and possibly about a drunken night spent watching classic Brat Pack flicks on basic cable — or both — “Molly” does that thing that so many of the best post-grunge radio perennials do, translating the urgency of a moment of overinflated emotional importance into four minutes of screaming riffs and easily misinterpreted chorus yawps. Don’t ask why. —A.U.

36. Blues Traveler, “Run-Around”

Just for the record, there’s every reason to give John Popper the run-around. He blows into that harp like he doesn’t have an off-switch and screeches like he can rotate his head 270 degrees. He utilizes conga drums that should never be sold to anyone wearing a vest with that many harmonica pockets. And yet the hook brings us back. — D.W.

35. Ash, “Girl From Mars”

A charming pop-punk blast from overseas, frisky and surging enough to make our homegrown garage-rock scrappers seem bloated and tired by comparison. 20 years later, it still sounds as dreamy and transportive as ever, even if we never did figure out what the hell Henri Winterman cigars have to do with interplanetary young romance. —A.U.

34. Filter, “Hey Man Nice Shot”

How bizarre was this decade? Well, Trent Reznor’s touring guitarist went platinum off a streamlined industrial song about Budd Dwyer (the original viral-video star), waited four years for the follow-up, then scored a top-20 pop hit. Oh Butt Trumpet, what could have been? —B.S.

33. The Verve, “On Your Own”

The Verve reached peak morosity on the acoustic-driven “On Your Own,” a midtempo meditation about searching for The One to make the time between life and death more palatable. The song avoids total sappiness (or parody) thanks to frontman Richard Ashcroft, who gives one of his most vulnerable, open vocal performances. —A.Z.

32. Björk, “Army of Me”