Top 30 Punk Rock Songs

Since initially emerging in the late ‘60s and early ‘70s, punk has been rock’s rebellious, loud and proudly defiant genre.

Though its roots were doggedly anti-commercial, punk has birthed an impressive array of mainstream successes. From groundbreaking legends like Sex Pistols, the Clash and the Ramones, to modern favorites like Green Day and Blink-182, punk has continued to resonate with generations of fans.

We combed through decades worth of material to find the 30 Greatest Songs in Punk Rock History.

30. Green Day, “Welcome to Paradise” (From Dookie, 1994)

While the ‘90s punk revival was spearheaded by a number of acts, none were bigger than Green Day. Armed with power chords and a brash attitude, the Northern California trio burst to mainstream success on the back of the back of their 1994 album Dookie. One of the standout tracks was “Welcome to Paradise,” a coming of age tune about moving out of your parents home and into a run down apartment (which is exactly what Green Day did). The track had originally been released on 1991’s Kerplunk, but was re-recorded for the group’s major label debut.

 

29. X, “Los Angeles” (From Los Angeles, 1980)

For much of the ‘70s and ‘80s, punk became regional, with distinctive scenes cropping up in cities like New York, Chicago and Los Angeles. The band X was one of the acts helping shape the LA sound, led by dual singers John Doe and Exene Cervenka. Their 1980 debut album was named Los Angeles, and its title track captured the dark elements of their hometown. Inspired by a woman determined to get away from the city, “Los Angeles” painted LA in a very un-angelic fashion. Over a chugging, aggressive guitar line, Doe touches on racism, antisemitism and bigotry. Despite such weighty topics, the track was undeniably catchy, particularly the refrain of “Get out.”

 

28. Black Flag, “Rise Above” (From Damaged, 1981)

One of the most influential acts in hardcore punk, Black Flag hit their ground running with their debut album, Damaged. The 1981 LP got off with an emphatic start thanks to opening track “Rise Above.” The defiant song was proudly anti-authoritarian, declaring it was time to escape “society’s arms of control.” This was loud, fist-in-the-air punk at its finest, with dynamic frontman Henry Rollins leading the charge.

 

27. Bikini Kill, “Rebel Girl” (From Yeah Yeah Yeah Yeah, 1993)

The defining song of the ‘90s riot grrrl movement, “Rebel Girl” offered a musical middle finger to heterosexual norms. Its lyrics were written from the perspective of a lesbian, offering her borderline obsessive observations of a “rebel girl” who she adored. “The power of ‘Rebel Girl’ is that it’s about being a feminist pirate, being an adventurer,” Bikini Kill frontwoman Kathleen Hanna later explained. “It’s not about standing at the back and not participating. It’s about loving and defending your friends and the confusion between friendship and sexuality.”

 

26. Social Distortion, “Story of My Life” (From Social Distortion, 1990)

It’s rare for punk to get nostalgic, yet that’s exactly what Social Distortion did to perfection on their 1990 tune “Story of My Life.” Throughout the song, frontman Mike Ness waxes poetic about his formative years, dreaming of a “rock n’ roll weekend” and fantasizing about his “silly schoolboy crush.” Later, he returns to his old neighborhood, only to see how much it has changed. “Story of My Life” is loaded with the kind of sentimentality usually reserved for pop songs, but Social Distortion’s punk package makes the tune an unabashed rocker.

 

25. Blink-182, “Dammit” (From Dude Ranch, 1997)

The opening guitar riff of “Dammit” was the sound of punk’s next evolution. Once contained to house parties and sweaty clubs, the genre was gleefully adopted by exactly what it used to rebel against: the mainstream. Blink-182 didn’t invent pop punk – the blending of punk’s bratty DIY ethos with catchy, universally appealing song structures – but they may have perfected it. “Dammit” was the band’s breakout single, a cautionary tale of seeing your ex out with someone else. The tune’s “this is growing up” chorus resonated with a new generation of fans, who quickly elevated Blink-182 among rock’s most popular acts. “Dammit” also holds the distinction of being the trio’s lone major hit with its early lineup, featuring Scott Raynor on drums. Travis Barker arrived in 1998 and solidified what would become the group’s classic lineup.

 

24. Violent Femmes, “Add It Up” (From Violent Femmes, 1983)

With the release of their self-titled 1983 debut album, Violent Femmes created a sub-genre all their own. Dubbed “folk punk,” the band’s style blended angst and aggression with organic and acoustic sounds. “Add It Up” was an amalgam of all this and more, a frenzied track bubbling over with lust, frustration and hostility.

 

23. X-Ray Spex, “Oh Bondage! Up Yours!” (Single, 1997)

“Some people think little girls should be seen and not heard / But I think ‘Oh bondage, up yours!’” X-Ray Spex frontwoman Poly Styrene declares at the beginning of this 1977 track. The spoken-word open serves as a defiant rallying cry before the U.K. group launches into the unbridled tune. With Poly Styrene’s raw vocal delivery leading the way – plus some surprisingly effective saxophone – “Oh Bondage! Up Yours!” served as both a feminist declaration and a sharp rebuttal of materialism.

 

22. Black Flag, “TV Party” (From Damaged, 1981)

Before Americans were obsessed with staring at their phones, they were staring at their televisions. Black Flag skewered the couch potato phenomenon with their 1981 single “TV Party.” With lines like, “We’ve got nothing better to do / Than watch TV and have a couple of brews,” the lyrics took aim at people who were glued to the boob tube. “It’s about people who stay inside their house and live in a TV kinda world,” Henry Rollins once explained. “It’s basically a satire of people watching TV and partying at home,” echoed guitarist Greg Ginn, “which is a sickness which is very prevalent in LA.” Interestingly, the satire was lost on some listeners. “TV Party” became one of Black Flag’s more popular songs, with many fans interpreting it as a straight-forward party tune.

 

21. Bad Religion, “Infected” (From Stranger than Fiction, 1994)

As the owner of Epitaph Records, Brett Gurewitz has played an instrumental role in the careers of many famous punk acts, including the Offspring, NOFX, Pennywise and Rancid. He’s also had a pretty impressive career of his own as lead guitarist and co-founder of the band Bad Religion. Known for tackling such varied topics as religion and politics, the group forged a passionate fan base since emerging from Southern California in the early ‘80s. Gurewitz penned many of Bad Religion’s most popular songs, including 1994’s “Infected,” a driving, mid-tempo tune about a toxic and obsessive relationship.

 

20. Suicidal Tendencies, “Institutionalized” (From Suicidal Tendencies, 1983)

Even on a list of punk classics, Suicidal Tendencies’ “Institutionalized” stands out as especially unhinged. The song – originally released in 1983 – is told from the first person perspective of singer Mike Muir as he argues with his family over mental health issues, drug use and accusations that he needs psychiatric help. The lyrics aren’t sung so much as yelled, while the music behind Muir changes at various points from simmering tension to all out assault.

 

19. Rancid, “Ruby SoHo” (From …And Out Came the Wolves, 1995)

Like fellow NorCal punks Green Day, Rancid emerged in the early ‘90s as punk enjoyed renewed popularity. Led by frontman Tim Armstrong’s distinctively grizzled voice, the band mixed ska and punk influences to perfection. Rancid’s mainstream breakthrough came with their third album, 1995’s …And Out Come the Wolves. One of the LP’s biggest hits was “Ruby Soho,” a buoyant tune about a punk who leaves his girlfriend behind to chase rock n’ roll dreams.

 

18. Clash, “Complete Control” (From The Clash, 1977)

Punk history is littered with instances of bands and record labels butting heads — only natural, considering the differing perspectives of corporate record companies and anti-authoritarian musicians. Arguably the greatest example is the Clash taking on their label, CBS Records, via the song “Complete Control.” The band was infuriated after the label released the song “Remote Control” as a single without their consent. Thus, Mick Jones and Joe Strummer wrote a rebuttal, issuing their new song with the following statement: “’Complete Control’ tells the story of conflict between two opposing camps. One side sees change as an opportunity to channel the enthusiasm of a raw and dangerous culture in a direction where energy is made safe and predictable. The other is dealing with change as a freedom to be experienced so as to understand one’s true capabilities, allowing a creative social situation to emerge.” Released in September 1977, “Complete Control” overflowed with rebellious energy. It peaked at No. 28 on the U.K. chart, 24 spots higher than “Remote Control.”

 

17. Dead Kennedys, “Holiday in Cambodia” (From Fresh Fruit for Rotting Vegetables, 1980) 

Common hallmarks of great punk songs include: a working class point of view, political undertones and disdain for elites. All of these elements can be found in the Dead Kennedys’ 1980 single “Holiday in Cambodia.” The song addresses rich American college students, unaware of their privileged position in life. The band suggests the students may benefit from a “Holiday in Cambodia,” which at the time was torn apart by the Khmer Rouge, resulting in millions of deaths. Dead Kennedys also used the song as a way to criticize the U.S. government’s response to Cambodia’s genocide, led by dictator Pol Pot.

 

16. Patti Smith, “Gloria” (From Horses, 1975)

Patti Smith is a singular voice in rock history, a powerful and relentless soul who never conformed to expectations. In 1970 she wrote a poem called “Oath,” which featured the memorable line “Jesus died for somebody’s sins, but not mine.” The poem served as a harsh rejection of Smith’s Jehovah’s Witness upbringing, and organized religion overall. Years later, Smith made Them’s classic “Gloria” a regular part of her set, but the singer would improvise various lyrics over its familiar garage rock. During a gig in 1974, she suddenly launched into the words of “Oath” while her band played “Gloria.” The two works fit together so well that it evolved into its own song. Smith’s powerful, new interpretation of “Gloria” would become the opening track to her 1975 debut album, Horses.

 

15. Misfits, “Die, Die My Darling” (Single, 1984)

In the subgenre of horror punk, no act is more exalted than the Misfits. Led by the distinctive growl of frontman Glenn Danzig, the group carved a dedicated following among generations of rock fans. In 1981, the Misfits recorded “Die, Die My Darling,” a menacing track powered by an onslaught of guitar riffs. Still, the track wouldn’t be released until May of 1984 – nine months after the Misfits’ breakup. The song’s brutal energy captured the attention of listeners everywhere, eventually making it one of the band’s most recognized tunes. Metallica memorably covered “Die, Die My Darling” on 1998’s Garage Inc. and have made it a semi-regular part of their set lists ever since.

 

14. Ramones, “Sheena Is a Punk Rocker” (From Rocket to Russia, 1977)

The Ramones fused some surf rock influence into their punk sound for their 1977 single “Sheena Is a Punk Rocker.” The track, penned by singer Joey Ramone, got its distinctive name from the comic book Sheena, Queen of the Jungle. “To me ‘Sheena’ was the first surf/punk rock/teenage rebellion song,” Joey later recalled. “I combined Sheena, Queen of the Jungle with the primality of punk rock. Then Sheena is brought into the modern day: ‘But she just couldn’t stay/she had to break away/well New York City really has it all.’ It was funny because all the girls in New York seemed to change their name to Sheena after that. Everybody was a Sheena.”

 

13. Jam, “In the City” (From In the City, 1977)

In 1977, the world was introduced to the Jam. The Paul Weller-led group released their debut single, “In the City,” a hyperactive coming of age tune that quickly clicked with audiences. In a 2011 conversation with Q Magazine, Weller described the track as “a song about trying to break out of suburbia. As far as we were concerned, the city was where it was all happening; the clubs, the gigs, the music, the music. I was probably 18, so it was a young man’s song, a suburbanite dreaming of the delights of London and the excitement of the city. It was an exciting time to be alive. London was coming out of its post-hippy days and there was a new generation taking over. The song captured that wide-eyed innocence of coming out of a very small community and entering a wider world, seeing all the bands, meeting people, going to the clubs, and the freedom that it held.”

 

12. Green Day, “Basket Case” (From Dookie, 1994)

For Green Day’s 1994 single “Basket Case,” frontman Billie Joe Armstrong drew inspiration from his personal mental health struggles. “I’ve had panic attacks since I was a kid,” the singer explained during an appearance on the Song Exploder podcast. “Writing about it was a way of coping, expressing that feeling of going crazy but ultimately pulling through.” Armstrong’s anxiety oozes throughout the track, from the frantic guitar part to lyrics like “Sometimes my mind plays tricks on me” and “I think I’m cracking up.” “Basket Case” reached No. 1 on the alternative chart and peaked at No. 16 on the Billboard Hot 100, ranking it among the most popular songs in Green Day’s history.

 

11. Replacements, “Bastards of Young” (From Tim, 1985)

“We are the sons of no one / Bastards of young,” frontman Paul Westerberg sings on the chorus to this Replacements’ 1985 single. His lyrics and vocals reflect the sense of alienation consuming young Americans at the time. The topic hit close to home, as Westerberg’s own sister partly inspired the tune. “To me, a part of that song is about my sister who felt the need … to be something by going somewhere else,” the frontman explained, alluding to how his sister left Minnesota to pursue an acting career in New York. “It is sort of the Replacements feeling the same way … not knowing where we fit. It’s our way of reaching a hand out and saying, ‘We are right along with you. We are just as confused.'”

 

10. Stooges, “Search and Destroy” (From Raw Power, 1973)

Another example of punk reflecting young people’s disenchantment with government politics, the Stooges’ “Search and Destroy”” was inspired by a Time magazine article on the Vietnam War. “The lyrics, I just sorta took out of Time magazine, the concept of search and destroy,” Iggy Pop explained to Clash magazine. “I used to read Time obsessively, because they were the representatives of the ultimate establishment to me. They were giving the party line that represented the power people and the powers that be. So I kinda liked to look in there and see what they were talking about, and then I’d use that inventory in other ways. That’s what I was doing in that song.” The lyrics hit heavy, with lines about “firefights,” “nuclear A-bombs” and “radiation.” Meanwhile, the song’s protagonist is a self-described “street-walking cheetah with a heart full of napalm.” Still, it’s the ferocity of “Search and Destroy” that resonates the loudest, as the track’s raw aggression and machine-gun-style guitar drive home its wartime narrative.

 

9. New York Dolls, “Personality Crisis” (From New York Dolls, 1973)

New York Dolls’ impact on punk is sometimes undervalued, yet the genre’s history cannot be written without them. The band flew in the face of societal norms, delivering outrageous live shows, led by the commanding presence of frontman David Johansen. “Personality Crisis,” the first track on New York Dolls’ 1973 self-titled debut, finds the band firing on all cylinders. The song begins with a rousing guitar riff, before honky-tonk piano and Johansen’s wail kick in. Controlled chaos ensues, as swagger and excitement exude with every note. New York Dolls would be regarded as a landmark LP, influencing generations of musicians who followed it. “Personality Crisis” led the charge.

 

8. Iggy Pop, “Lust for Life” (From Lust for Life, 1977)

Iggy Pop collaborated with his friend and fellow rock legend David Bowie for the timeless tune “Lust for Life.” “We were sitting around his digs on the floor, because it was a no-chairs kind of place,” Pop recalled. “We had a production contract and a schedule and he had to get it out of the way, so he said, ‘Let’s get a song here.’ He picked up a little ukulele he had – I think it might have been his son’s – and just came up with that progression, which I thought was great.” Lyrically, the tune reflects Pop’s notorious debauchery, with mentions of “liquor and drugs,” “striptease” and “sleeping on the sidewalk.” Ironically, “Lust for Life” was crafted during a period when Pop and Bowie were (mostly) sober. With its propulsive drums and an earworm chorus, listeners gravitated towards “Lust for Life,” making it one of Pop’s most recognized hits.

 

7. Ramones, “I Wanna Be Sedated” (From Road to Ruin, 1978)

Two separate incidents contributed to the creation of “I Wanna Be Sedated,” one of the most beloved songs in punk history. First, an accident that sent Joey Ramone to the hospital. The Ramones frontman accidentally burned himself while using a humidifier (or teapot, depending on the story) while preparing for a New York gig. He still played the show, then went for care once it was over. Not long afterward, the Ramones were in the U.K. at the end of December, part of their endless touring schedule. “We were there at Christmas time, and in Christmas time, London shuts down. There’s nothing to do, nowhere to go,” Joey once recalled. “Here we were in London for the first time in our lives, and me and Dee Dee Ramone were sharing a room in the hotel, and we were watching The Guns of Navarone. So there was nothing to do, I mean, here we are in London finally, and this is what we are doing, watching American movies in the hotel room.”

 

6. Stooges, “I Wanna Be Your Dog” (From The Stooges, 1969)

There’s a primal energy that courses through the Stooges’ punk classic “I Wanna Be Your Dog.” The carnal track focuses on a man who yearns to be dominated by a woman, a topic that was controversial upon its release in 1969. “Have you ever seen like a really good looking girl, really nicely dressed, and she’s walking down the street with her dog, right? And like her dog is… intimate with her body,” Iggy Pop explained to Howard Stern. “Basically, it’s the idea of, I want to unite with your body. I don’t wanna talk about literature with you or judge you as a person. I wanna dog you.” Despite its taboo subject matter, “I Wanna Be Your Dog” gradually became regarded as a landmark proto-punk tune.

 

5. Sex Pistols, “God Save the Queen” (From Never Mind the Bollocks, Here’s the Sex Pistols, 1977) 

Another example of punk rockers’ complete disdain for authority figures, the Sex Pistols took aim at the British monarchy with their 1977 single “God Save the Queen.” The band embodied England’s working class, and their fiery dismantling of Queen Elizabeth’s “fascist regime” stirred up plenty of controversy. “You don’t write ‘God Save the Queen’ because you hate the English race,” Johnny Rotten once explained. “You write a song like that because you love them, and you’re fed up with them being mistreated.”

 

4. MC5, “Kick Out the Jams” (From Kick Out the Jams, 1969)

Powered by its forceful and instantly-recognizable guitar riff, “Kick Out the Jams” was MC5’s defining track. The titular phrase was a favorite of the band’s, even before they turned it into a song. “We were using the expression for a long time, because we would be critical of other bands that came to Detroit that the MC5 would open for,” guitarist Wayne Kramer recalled to Songfacts. “They’d come into town with this big reputation, and then they’d get up on stage and they weren’t very good. So, we used to harass them. We’d yell at them, ‘Kick out the jams or get off the stage, motherfucker!’ Finally, one day we said, ‘I like that expression. We should use that as the title of a song.'”

 

3. Clash, “London Calling” (From London Calling, 1979)

It’s impossible to turn on the news without seeing a story about war, destruction or the latest harbinger of the apocalypse. It’s a feeling that’s all too common in modern times, yet the Clash was feeling the exact same thing back in 1979. Rather than dwelling in the negativity, the band – known for its rebellious nature and socially conscious idealism – decided to write a song about it. “There was a lot of Cold War nonsense going on, and we knew that London was susceptible to flooding,” Joe Strummer recalled to Uncut magazine, explaining how the famous line “London is drowning and I / I live by the river” came about. With “London Calling,” the Clash tapped into an anxiety that was shared by many people at the time, regardless of whether they were punks or not. As the title track and lead single from their third studio album, the track enjoyed worldwide success. More than 40 years later, it remains a hugely influential release.

 

2. Ramones, “Blitzkrieg Bop” (From Ramones, 1976)

Known for their wild live shows, the Ramones yearned to have a chant that they and their fans could enjoy. The idea came from a very un-punk place. “I hate to blow the mystique, but at the time we really liked bubblegum music, and we really liked the Bay City Rollers,” Joey Ramone once explained. “Their song ‘Saturday Night’ had a great chant in it, so we wanted a song with a chant in it: ‘Hey! Ho! Let’s Go!’. ‘Blitzkrieg Bop’ was our ‘Saturday Night’.” As the opening track to the Ramones’ self-titled debut album, “Blitzkrieg Bop” was a rallying cry for punk’s leather clad leaders. It helped establish the Ramones’ mythology and remains one of the most celebrated punk songs of all time. Yet, there’s one tune that ranked higher on our list.

 

1. Sex Pistols, “Anarchy in the U.K.” (From Never Mind the Bollocks, Here’s the Sex Pistols, 1977)

When the Sex Pistols announced an unlikely reunion in 1996, Johnny Rotten made a loud proclamation: “We invented punk. We write the rules, and you follow.” It was a bold statement, even for a band known for being outlandish. Suggesting any single act “invented” punk is grounds for debate, however we feel confident in a lesser declaration: “Anarchy in the U.K.” is the most important punk song ever recorded. Everything about the track was designed to instigate shock and awe, from Rotten’s declaration that he is both “an antichrist” and “an anarchist,” to mentions of the MPLA (People’s Movement for the Liberation of Angola), UDA (Northern Ireland’s Ulster Defence Association) and IRA (Irish Republican Army). The song frightened England’s buttoned-down society and received backlash from many mainstream outlets. Sex Pistols reveled in the controversy, using outrage over the tune to fuel their popularity. Nearly 50 years after its release, “Anarchy in the U.K.” remains the powder keg whose explosion began punk’s mainstream invasion.