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That “na-na-na” sing-a-long is enough, but this new wave classic is the complete package. And a fake ending with a reprise? Yes PLEASE.

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This short-lived girl group made in the image of Rick James has some very serious moments in their catalog, but none quite like “In My House.” Funky, melodic perfection.

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Harry’s unstoppable mega-hit more than borrows its aura (and almost its synth hook verbatim) from “Take On Me,” but it’s born again as something new.

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Back before he was a nazi, and his biggest controversy was “George Bush doesn’t care about white people” (the good old days), Kayne was recalibrating pop music in real time. It’s hard to give the man any kudos at the moment, but “Heartless” was pivotal.

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Selena girl you slayed this one. The untouchable bass riff from “Psycho Killer” becomes even more deranged juxtaposed with her soft and restrained vocal delivery, and that chorus is a 10/10. The way this climaxes at the end so powerfully without even really “going anywhere” is brilliant.

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Almost no one remembers the chorus of “I’m So Sexy,” they’re regurgitating the verses. That is so unbelievably rare for a pop song to embed such an iconic hook in there, and have it work.

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Released back when Marina was …& the Diamonds, “Primadonna” is a textbook execution in the anti-chorus – the verses are the dancy parts – almost reminding us of the deadpan sarcasm in her lyrics.

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This latter day Elton hit is a genius mosaic of his previous works, sewing together several interpolations into an entirely new experience. And of course, Dua’s invited to the party.

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Blur pioneered Britpop just a couple years prior, but “Girls and Boys” is when it arrived. Built around a plunky little synth line, and an uber-funky bass, it’s Damon Albarn’s iconic gender ping-pong of a chorus that endeared it to the masses.

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ABBA made some of their greatest works after their respective relationships ended, and “The Winner Takes It All” … well, kind of takes it. A synthy dance ballad that crescendos upwards and upwards, this is an unrefuted opus.

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