These Songs Are Turning 20 Years Old This Year 90’s Throwback

Get ready to start feeling old. These songs are turning 20 this year

Aerosmith, “I Don’t Want to Miss a Thing” 
After 28 years and 12 studio albums, it took a power ballad made for the Armageddon soundtrack to finally bring Aerosmith its first No. 1 on the Hot 100. Written by Diane Warren, “I Don’t Wanna Miss a Thing” stayed atop the chart for four weeks and continued the band’s improbable run of success into the new millennium.

Barenaked Ladies, “One Week”
Is there such a thing as too catchy? The Barenaked Ladies threw caution to the wind on their biggest hit, along with similarly reckless abandon for pop culture references that probably wouldn’t age too well. In the end, they wound up with a happy-go-lucky bubblegum jingle of a song — technically rap-rock, but for the nerdy Canadian set, minus the distortion, turntables and angst. It reached the top of the Hot 100 and stayed there for, alas, one week.

Cake, “Never There” 
The Sacramento band’s first and only Alternative Songs No. 1 is classic Cake, a slice of groovy, jittery minimalism, highlighted by John McCrea’s speak-singing and Cince DiFiore’s slick trumpet interludes. Released two years after “The Distance” and three years before “Short Skirt/Long Jacket,” it stands smack-dab in the middle of Cake’s alt-rock heyday.

Dave Matthews Band, ”Don’t Drink the Water” 
The banjo-laced lead single from 1998’s Before These Crowded Streets was a heavy one, with Matthews’ lyrics calling out colonial injustices against both Native Americans and victims of apartheid in his birthplace of South Africa: “There’s blood in the water/ Don’t drink the water,” it concludes ominously. Thank banjo virtuoso Béla Fleck for a poignant guest performance, as well as Alanis Morissette, who appears on backing vocals. On the lighter side, don’t forget the image of a Native American man holding up Matthews’ severed-yet-still-singing head in the music video.

Eve 6, “Inside Out” 
Eve 6 had a handful of hits, but none peaked higher on the Hot 100 than their debut single (it went all the way to No. 28). “Inside Out” is nothing if not catchy, and bassist-vocalist Max Collins’ proclivity for tongue-tied wordplay (“SoCal is where my mind states/ but it’s not my state of mind”) hammers home the rubbery hook to the nth degree.

Fastball, “The Way” 
The first single from the Austin, Texas, band’s breakthrough album was a crossover smash, driving all the way to No. 1 at Alternative Songs and to No. 2 at Adult Top 40. Successful as it was, it came from sinister source material; “Where were they going without ever knowing the way?” refers to an elderly couple found dead in a ravine after getting lost en route to a faraway Texas festival.

Garbage, “I Think I’m Paranoid” 
Garbage proved its staying power with 1998’s Version 2.0, a stylish, confident sophomore album to follow up 1995’s self-titled debut. You definitely remember Shirley Manson sneering the titular line over that big, brazen guitar riff, but don’t forget how seamlessly Butch Vig and company injected a little Dust Brothers-y record scratching into this song’s sonic structure. Alongside lead single “Push It,” “I Think I’m Paranoid” kept Version 2.0 all over rock radio to close out the 20th century.

Goo Goo Dolls, “Iris”  
Fans got to hear it early, on the City of Angels soundtrack, released six months ahead of the Goo Goo Dolls’ ballad-packed powerhouse LP Dizzy Up the Girl. By the time the year was over, “Iris” was inescapable. Frontman Johnny Rzeznik took a mandolin riff, an odd time signature, equally strange tuning and turned song that doesn’t even include its title in the lyrics — a Goo Goo Dolls rarity — into the band’s signature track. Safe to say, “Iris” is one of the greatest rock ballads of all-time.

Hole, “Celebrity Skin”
The scorching opener from Hole’s third album of the same name, “Celebrity Skin” sets the tone for the whole LP: brash, hooky, laced with sneering observations from frontwoman Courtney Love on sex and celebrity. Fun fact: It was co-written by Billy Corgan.

Kid Rock, “Bawitdaba” 

After starting the song by absolutely, 100 percent making sure we know what his name is, Kid Rock maps out his rap-metal world by shouting out a barrage of working-class bad boys and their vices across this song’s verses. And the chorus, that’s just pure, near-wordless karaoke gold.

Korn, “Freak on a Leash”
This was the final single from Korn’s breakthrough album Follow the Leader, but it was probably the biggest. “Freak on a Leash” proved to the masses what the indomitable doom-rockers could do once they got a groove going. Its video got played on TRL so much, it wound up getting retired.

Lenny Kravitz, “Fly Away” 
Before he reinvented the way we think about scarf sizes, Lenny Kravitz reached the stratosphere with this Who-esque rocker. “Fly Away” arrived during the thick of Kravitz’s hitmaking days and lingered on radio for years after; ultimately, it topped Alternative Songs and Mainstream Rock Songs, in addition to going to No. 12 on the Hot 100.

Manic Street Preachers, “If You Tolerate This Your Children Will Be Next” 
Manic Street Preachers were never more than a college radio presence in America, but they were absolutely massive in their native U.K., especially in the mid-’90s Britpop heyday of bands like Oasis and Blur. This single went to No. 1 on the UK Singles Chart and showed off their two greatest calling cards: epic, string-laced arena rock arrangements and political fervor focused on the struggle of the working class.

Marilyn Manson, “The Dope Show” 

The period around 1996’s Antichrist Superstar and 1998’s Mechanical Animals was peak Marilyn Manson, marked by the band’s biggest chart success, its provocative presence on MTV’s airwaves, and the ability of its shock-rocking frontman to vex liberal politicians and religious conservatives alike. Mechanical Animals’ lead single put Marilyn Manson’s love of David Bowie glam on full display and earned the band its biggest Alternative Songs hit yet (it’s only been bested by 2004’s “Personal Jesus” cover since).

Neutral Milk Hotel, “In the Aeroplane Over the Sea” 
The most enduring indie rock album of 1998 is Neutral Milk Hotel’s In the Aeroplane Over the Sea, a bizarre, experimental folk record partially inspired by the idea of traveling back in time and rescuing Anne Frank. Its most accessible — and enduring — moment is the title track, a hazy, breezy singalong that’s been covered by the likes of Phish, the Avett Brothers and Rilo Kiley.

New Radicals, “You Get What You Give” 
What if Oasis was from L.A., got woke, and wrote an earnest love letter to the world on the eve of Y2K? People would have still paid more attention to the name-droopy diss couplet in the outro (“Courtney Love and Marilyn Manson/ You’re all fakes, run to your mansions”), but New Radicals managed to combine anti-capitalist credos and existential pep-talking across five minutes of the greatest ’90s Britpop hit Britpop never made.

The Offspring, “Pretty Fly (For a White Guy)”
Four years after the Cali punk rockers delivered their breakout LP Smash, the Offspring returned to the hitmaking stratosphere with 1998’s Americana. We could’ve shouted out “The Kids Aren’t Alright,” but couldn’t pass up the chance to revisit frontman Dexter Holland’s sneering takedown of Huntington Beach Vanilla Ice wannabes. “Pretty Fly” is one of nine Offspring tracks to go top five at Alternative Songs and their highest-charting track on the Hot 100 (it peaked at No. 53).

Orgy, “Blue Monday” 
Be it rock or dance, New Order’s “Blue Monday” is part of the bedrock of alternative music, so it’s no surprise it’s been covered many, many times. Orgy is only known for a handful of singles, but they absolutely nailed it with their “Blue Monday” version — so much so, it’s really not that crazy to consider theirs the superior. The way Orgy dialed up the original’s aggro side and turned it industrial was a stroke of genius.

R.E.M., “Daysleeper”
1998’s Up was the legendary alt rockers’ first studio album without longtime drummer Bill Berry. This opened R.E.M. up to all sorts of experimentation on its 11th studio album (particularly in the percussion realm), though Up’s biggest single still reflected the band’s iconic early ’90s sound. Like a wayward cousin to ballads like “Everybody Hurts” and “Man on the Moon,” “Daysleeper” uses a tantalizing blend of acoustic and electric guitar to tell a nightshift worker’s dreary tale.

Semisonic, “Closing Time” 
Long before he was penning songs for Adele and Taylor Swift, songwriter Dan Wilson fronted the Minneapolis-based rock band Semisonic, whose lasting gift to the world is this sentimental ode to a bar’s last call. Next time you’re searching for the perfect song to close off a karaoke night, thank Mr. Wilson.

 

Eagle-Eye Cherry – ‘Save Tonight’

If nothing else that was good had happened in 1998 – if the world had endured a mass famine ending in a giant nuclear war which wiped out all life on Earth – then when the aliens arrive many millennia from now, they would have searched through the wreckage, pieced together a timeline, put this song on the only stereo which still worked and declared that 1998 must have been the greatest year in the history of the human race, for it saw the general worldwide release of ‘Save Tonight’. It does not need words to explain why this song is amazing, for words will not do it justice. Put a log, on the fi-yah and give it a spin and marvel at its majesty.

Beastie Boys – ‘Intergalactic’

I’ve played this one at a wedding or two over the years and every time it’s the same: before that robot voice has chance to even finish the first ‘In-ter-ga-lact-tic plan-e-tary’ every single lad in the building has already put the sausage rolls and quiche to one side and is striding to the dancefloor, getting ready to transfer their ties from neck to head before assuming their place on the dancefloor to trade rhymes with Ad Rock, MCA and Mike D. Best bit? Of course, it’s the bit where the Beastie Boys let the beat…….

….drop.

Less Than Jake – ‘All My Best Friends are Metalheads’

Ah, Less Than Jake, forever destined to be on at 2:30pm on the main stage of Reading and Leeds for the rest of eternity. But fair play to them, carving out a 25+ year career as an absolutely bloody brilliantly fun ska punk band. Weirdly, this song first appeared on their 1998 album Hello Rockview, but wasn’t released as a single until nearly two years later. What were they playing at? Too busy having larks probably. Big larks mate.

Lauryn Hill – “Doo Wop (That Thing)”

While JAY-Z and DMX were scorching the hip-hop circuit with their high-octane raps, 1998 was also the year of Lauryn Hill. Hill steamrolled past her naysayers with her magnum opus The Miseducation of Lauryn Hill, which birthed “Ex-Factor,” “Everything Is Everything, “Lost Ones,” and her ubiquitous song “Doo Wop (That Thing),” which landed No. 1 on the Hot 100.

The bouncy single found Hill flawlessly stretching her creativity over the hypnotic bass-line. Not only does Hill spew icy raps aimed deadbeat dads and pretentious ballers who live in the club 24/7, she delivers a dulcet hook warning her fellow women not to fall prey to the next loser hanging out at the nearest street corner. – CARL LAMARRE

Juvenile – “Back That Azz Up”

In ’98, Juvenile had the world dancing feverishly to his booty-shaking anthem “Back That Azz Up.” Entranced by the thunderous hook, women couldn’t help but follow Juve’s commands when urged to “Back That Azz Up” on their partners whenever they touched down on the dance floor. With “Back That Azz Up” and “Ha” both in tow, Juvenile had a banner year in 1998 with 400 Degreez going 4x platinum. – C.L. 

N.O.R.E. – “Superthug” 

With its gruff verses, brain-battering hook and uncontainable energy, “Superthug” confirmed N.O.R.E. — previously best known as half of the Capone-N-Noreaga duo — as a formidable solo talent. But of course, the real breakout star from the ’98 banger was producer duo The Neptunes, who established their early formula of knocking drums and otherworldly synth hooks (and in this case, no bass needed whatsoever) with a beat so blazing it made them the most in-demand producers for essentially the whole decade to follow. – ANDREW UNTERBERGER

Will Smith – “Gettin’ Jiggy Wit It”

Even after he segued into the world of acting – especially after starring in Bad Boys and Independence Day — Will Smith’s power on the charts remained strong. Yes, Big Willie Style dropped in 1997, but “Gettin’ Jiggy Wit It” flourished in 1998. Not jilted by the new landscape of hip-hop, Smith deftly crafted a dance-centric single, which also showcased his pristine lyricism and unblemished confidence. – C.L.

Lord Tariq & Peter Gunz – “Deja Vu (Uptown Baby)” 

One of two ’98 smashes to ride Steely Dan’s “Black Cow” groove to the penthouse, Lord Tariq & Peter Gunz earned themselves Big Apple immortality with this crowd-pleasing shoutout to the five boroughs — but one in particular above all (“If it wasn’t for the Bronx, this rap shit probably never would be goin’ on…”). An appropriate soundtrack to an MLB season where the Bronx Bombers won 114 games and swept the World Series. – A.U. 

Big Pun – “Still Not a Player” Featuring Joe

For his debut album Capital Punishment, Big Pun proved he was an indomitable lyricist despite being a rookie. Besides drubbing the competition on tracks like “Twinz” or his Black Thought-assisted “Super Lyrical,” the Bronx titan possessed a certain charm that captivated women. On “Still a Player,” it’s Pun’s impenetrable swagger that serves as the icing on this sweet-sounding track.

“Who want to ride it? Won’t cost you a dollar/ Whether soft or harder, of course you still gonna holla / Mama, I’m big, huh? I’ll rip my prick through your hooters /I’m sick, you couldn’t measure my dick with six rulers,” Pun spits. With Joe peppering silvery ad-libs throughout Pun’s meaty verses, “Still Not a Player” was a smooth ear-worm that peaked at No. 24 on the Hot 100. – C.L.

The LOX – “Money, Power & Respect” Feat. Lil Kim & DMX 

The LOX went for the crossover first with their Rod Stewart-aping “If You Think I’m Jiggy,” but it was the Hitmen-produced scorcher “Money, Power & Respect” that still stands as an East Coast classic 20 years later. Over sweeping strings borrowed from Dexter Wansel, the New York trio kicks rhymes like Shoguns, while Lil Kim quotes Max Weber and DMX makes his introductory bark a permanent part of pop culture lore. – A.U. 

JAY-Z – “Hard Knock Life (Ghetto Anthem)”

After JAY-Z’s 1996 debut album Reasonable Doubt, everyone took notice. But Hov still needed a song to propel him into superstar territory. Drawing on the 1977 musical Annie and producer The 45 King — who sampled the play’s “It’s the Hard Knock Life” — JAY-Z sculpted his first top 15 hit on the Hot 100 with “Hard Knock Life.” With his bravado in tow, the Brooklyn MC soars over the playground-themed beat while paying homage to his late brother Biggie. “Flow infinitely like the memory of my n—a Biggie, baby!”

Hov’s blistering run in ’98 also included records such as “Can I Get A” and “Money Cash Hoes.” – C.L. 

A Tribe Called Quest – “Find a Way” 

The legendary Queens trio’s final Hot 100 hit for 18 years, “Find a Way” was one of the most enigmatic songs on rap radio in ’98, an alternately hypnotic and jarring head-nodder. “Now you caught my eye for the evening/ Kissed my cheek, moved in, you confused things” may not be as immediately compelling as “Bonita Applebum, you gotta put me on,” but with Q-Tip rhyming and J Dilla joining him behind the decks, it’s ultimately just as rewarding. – A.U. 

Canibus – “Second Round K.O.” feat. Mike Tyson 

An enraged Canibus sent a barrage of haymakers aimed at LL Cool J after the Queens MC took swipes at him on their 1997 collaboration “4, 3, 2, 1.”

Feeling duped by LL’s plea to throw away his original line which said “L, is that a mic on your arm? Let me borrow that,” Canibus watched the veteran MC skewer him on the same record, despite his decision to follow command and change his verse.

In hopes of seeking retribution, Canibus penned “Second Round K.O.” and with callous disregard, pummeled the Any Given Sunday actor. “You walk around showing off your body ‘cause it sells/ Plus to avoid the fact that you ain’t got skills/ Mad at me ‘cause I kick that shit real n—as feel/ While 99% of your fans wear high heels,” he spewed. To punctuate his effort, Canibus enlisted Mike Tyson to thrash LL Cool J as a trainer/hype-man for the record/video. – C.L. 

Master P – “Make ‘Em Say Uhh!”

“N—a, I’m the colonel of the motherfuckin tank/ Y’all after big thangs, we after big bank.” These two lines from “Make Em Say Uhh!” succinctly encapsulate Master P’s career. The man was the leader of the No Limit ship and was always actively sniffing around for the next dollar.

Besides the record’s inescapable hook, the video featured a gaudy gold tank sitting in the middle of a basketball court, a mascot doing SportsCenter worthy dunks and a cameo by NBA legend Shaquille O’Neal. The record earned platinum status and peaked at No. 16 on the Hot 100. – C.L.

Silkk the Shocker feat. Mystikal – “It Ain’t My Fault” 

The second breakout star produced by Master P’s No Limit empire after the man himself, Silkk the Shocker crashed the top 20 of the Hot 100 with this pounding anthem with a sing-along chorus. And in case you didn’t believe him when he said it on P’s “Make ‘Em Say Ugh,” organizational lieutenant Mystikal shows up to reiterate, “We true soldiers/ We don’t die” — despite both he and Silkk getting put in the electric chair in the music video. – A.U. 

DMX – “Ruff Ryders’ Anthem”

In ’98, the rap world fell in love with DMX’s aggressive aura and ear-splitting bark. His gruff, unapologetic candor was on full display with his debut album It’s Dark and Hell Is Hot, which spawned a slew of singles including “Get at Me Dog,” “Stop Being Greedy” “How It’s Going Down” and “Ruff Ryders’ Anthem.”

With Swizz Beatz on the production front, X gnawed away at the militant-sounding track. “Is y’all ni–as crazy? I’ll bust you and be Swayze/ Stop actin’ like a baby; mind your business, lady!/ Nosy people get it too, when you see me spit at you/ You know I’m tryin’ to get rid of you, yeah I know, it’s pitiful,” he raps.

This was only the beginning for The Darkman. Seven months later, he released his second album, Flesh of My Blood, Blood of my Blood, which earned him his second No. 1 spot on the Billboard 200 in 1998. – C.L. 

2Pac – “Changes” feat. Talent 

Though many tried to muzzle 2Pac, the enigmatic MC always found a way to speak his mind on issues plaguing the world. Despite his 1996 murder, Pac had a stash of unreleased records that came out after his death, including his 1998 song “Changes.”

Sampling Bruce Hornsby and the Range’s 1986 track “The Way It Is,” Pac unabashedly raps about race, politics and class structure. True to the song’s title, Pac’s visceral takes on those subjects are still prevalent issues in America today. Fortunately, he was wrong about one thing: the country saw a black president after Barack Obama was elected in 2008. – C.L.

Pras – “Ghetto Superstar” feat. Mya & ODB​

Though Wyclef Jean and Lauryn Hill were able to fortify their solo legacies outside of The Fugees, Pras Michel also made damage in his own right when he carved the melodious single “Ghetto Superstar” based on Kenny Rogers & Dolly Parton’s Hot 100 No. 1 duet “Islands In the Stream” (written by the Bee Gees).

With Mya delivering a sugary hook, Pras flexing his lyrical muscles and ODB crashing the party in style, “Ghetto Superstar” became a top 20 record on the Hot 100. It also was later covered by both Taylor Swift and Vanessa Hudgens. – C.L. 

Jermaine Dupri – “Money Ain’t a Thing” feat. JAY-Z

JD and JAY-Z had no issue bragging about their bankrolls on their ’98 collaboration “Money Ain’t a Thing.” Their chemistry was in sync, as they rapped the hook together and went back and forth on the track’s final verse.

The video was truly analogous to the song’s message considering you have JAY-Z and JD betting thousands of dollars on horseback riding competitions, speeding away against cops in flashy sports cars and of course, rocking swanky suits at the end. – C.L.

Cam’ron – “House & Carriage” feat. Ma$e

There’s a reason why Biggie wanted to sign Cam’ron before his death: he knew Killa was a budding prospect with unbreakable confidence. The Harlem-bred star displayed his innate skill set on the addictive club record “House and Carriage” featuring Ma$e. His ability to stay in pocket combined with his brash delivery impressed hip-hop heads. Despite his Harlem cohort failing to show up for the video — which caused a strain to their relationship — Killa had no issue reeling in some of hip-hop’s who’s who like Wyclef Jean and Styles P for cameos. – C.L.

OutKast – “Rosa Parks”

Big Boi and Andre 3000 made sure Atlanta was not an afterthought with their riveting release Aquemini. They made a resounding statement with their head nodding track “Rosa Parks” and showed why they were ready to be enshrined in rap immortality. Packed with punchy bars, the electric tandem shined on the five-minute record. Civil Rights activist Rosa Parks wasn’t thrilled with the record and sued LaFace Records; in 2005, a settlement was reached between both parties. – C.L.

Black Star – “Respiration” feat. Common

“Respiration” was simply lyrical gymnastics at its finest. With Hi-Tek creating the soundscape, Black Star — comprised of Mos Def and Talib Kweli – enlisted Common for this epic boom-bap track. All three men came fully equipped with monstrous bars on deck. They even extended their verses beyond the typical 16-bar length, making “Respiration” a breath of fresh air for rap purists who relish A-1 wordplay. – C.L. 

Public Enemy – “He Got Game”

Spike Lee did a masterful job when he paired Denzel Washington and NBA star Ray Allen for his 1998 film He Got Game. Not only did the movie score well with basketball fanatics and hip-hop, but the soundtrack was equally impressive. One standout song from the soundtrack came courtesy of Public Enemy’s “He Got Game.”

Rather than center the song around hoops, PE — as they usually do — took a political stance and spoke on a series of issues harming the U.S., such as racial inequality, corruption and more. – C.L.

Britney Spears, “…Baby One More Time”
There are few, if any, debut singles as legendary as this in pop music. And unlike a number of songs from 1998, this one doesn’t rely on nostalgia to move the crowd or inspire a sing-along. That winking, dirty piano riff and Britney’s defiant, aching delivery ensure that “…Baby One More Time” is an ageless pop classic along the lines of ABBA’s “Dancing Queen” — when it comes on, you’re gonna dance. No questions asked.

Cher, “Believe”
Before T-Pain took Auto-Tune to grade school, Cher invited the world to its baptism with “Believe,” a mashup of dance-pop and European club music that didn’t sound like anything else on the radio in 1998, which is probably why everyone — from adults who thought of her as a throwback to children who had no idea what a Sonny Bono was — couldn’t get enough of it. It hit No. 1 on the Billboard Hot 100, making Cher the oldest woman to ever top that chart at age 52 — a record that sadly still holds.

*NSYNC, “Tearin’ Up My Heart”
German pop fans knew this song by heart in 1997, but its U.S. introduction came a year later, when it peaked at No. 6 on Billboard‘s Pop Songs chart, topped the TRLcountdown, and coronated *NSYNC as the true rival of the already-established Backstreet Boys, not just another wannabe (of which there were plenty). Speaking of BSB…

Backstreet Boys, “Everybody (Backstreet’s Back)”
Backstreet’s back — wait, back from what, you might ask? This oddly titled song was included on the reissue of Backstreet’s debut U.S. album, but it was announcing their return to European fans, who had been onboard with the Florida fivesome since 1996. But American fans didn’t care: The song went top five on the Hot 100 and girls everywhere positively lost their minds when Nick Carter asked, “Am I sexual?” Yes, apparently you are, Nick.

Madonna, “Ray of Light”
As with “Like a Prayer” a decade prior, “Ray of Light” is as close as dance music gets to religious ecstasy. From the boundless, elastic energy of William Orbit’s unstoppable synths to Madonna’s orgiastic-yet-Zen vocal climax at the end, “Ray of Light” sounds as fresh now as it did when it helped bring the sounds of the techno underground to the top 40. For bonus transcendence, check out a few of the 10-minute-plus remixes, custom-made for early a.m. jogging.

Brandy & Monica, “The Boy Is Mine”
As the lead single from both Brandy and Monica’s second albums and a quasi-sequel to Michael Jackson and Paul McCartney’s “The Girl Is Mine,” the stakes were high for “The Boy Is Mine.” Miraculously, this duet from two nascent talents easily one-upped the original from the two pop titans. From clubs to playgrounds to weddings, “The Boy Is Mine” was an instant classic and inescapable pop culture phenomenon. Credit the divas, who showed simmering restraint always resonates more with listeners than an all-out vocal belt-fest. And the song itself is a brilliant study in contrast, with heavenly harp plucking, a swampy bass line and Rodney Jerkins’ James Bond-esque string arrangement demonstrating that disparate sounds are sometimes the best bedfellows.

Fatboy Slim, “The Rockafeller Skank”
On paper, a song that combines countrified guitar twang (via Duane Eddy), old-school hip-hop (via that Lord Finesse vocal sample) and ’60s minimalism (think Steve Reich’s “It’s Gonna Rain”) should not equal a pop hit. And yet, the big beat DJ/producer managed to get “The Rockafeller Skank” on the Hot 100. Sure, it peaked at No. 76, but that was enough for pop culture to take notice. From movie trailer commercials to video games to She’s All That, the song has never quite gone away.

Ricky Martin, “The Cup of Life”
Of course, 1999’s “La Vida Loca” was Ricky Martin’s true breakthrough hit, but 1998’s frantically paced “The Cup of Life” helped kick-start the late ’90s Latin music craze as the official song of the 1998 FIFA World Cup. After that introduction on the world stage, Martin brought the bilingual hit to the 1999 Grammys stage for a hip-shaking performance, and the rest is historia.

Edwin McCain, “I’ll Be”
Today, this song is best known as a favorite cover choice on singing competition shows. But back in 1998, the song perfectly soundtracked Joey Potter (Katie Holmes) furiously rowing her way to her one true love in the season 1 Dawson’s Creek finale — only to find Dawson (James Van Der Beek) in bed with Jen (Michelle Williams). Edwin’s pleading lyrics (“Tell me that we belong together!”) let us feel the pain behind Joey’s crooked smile. A simpler time in Capeside.

The Brian Setzer Orchestra, “Jump Jive an’ Wail”
This is a 1998 song that feels very long ago indeed. Who would think that after spending the ’80s mining rockabilly with the Stray Cats, Brian Setzer would reach even further back in time and successfully revive an even more forgotten subgenre? And yet, the Brian Setzer Orchestra managed to pump life back into swing and jump blues in the ’90s, and captured a huge cross-generational fan base in the process. How did it happen? Look no further than the Brian Setzer Orchestra’s restless cover of Louis Prima’s 1956 classic “Jump Jive an’ Wail.” The dexterous bass, the bouncing horns and the rapid-fire vocals are enough to wake the dead — or, in this case, a dead genre — and make ’em boogie.