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The 100 greatest UK No 1 singles

Guardian critics sift through 70 years of music history and choose the best tracks to top the UK charts

  • (L-R) Lauryn Hill and Jimi Hendrix and Cilla Black.

    'It reminded me I should not go quietly': readers' favourite UK No 1s

    Guardian readers fill in the blanks in our countdown of the greatest UK No 1s of all time, with entries from Dusty Springfield to Desmond Dekker, Jimi Hendrix to Joe Dolce
  • Marvin Gaye, Kate Bush and the Prodigy’s Keith Flint, three of the artists to make our Top 100.

    The 100 greatest UK No 1 singles: what did we miss?

  • ‘Intoxicating sobriety’ ... (L-R) Chris Lowe and Neil Tennant at the 1986 MTV awards.

    The 100 greatest UK No 1s: No 1, Pet Shop Boys – West End Girls

  • ‘Chris and I felt we had a new thing – gay, hi-NRG dance music and hip-hop’ ... (L-R) Neil Tennant and Chris Lowe.

    Neil Tennant on West End Girls: 'It's about sex and escape. It's paranoid'

  • Number 1 hits, Number 1, From left; The Beatles, Donna Summer, the Per Shop Boys

    The 100 greatest UK No 1s: 100-1

  • ‘Nothing before had developed the terrible currency of Ghost Town, and nor has anything since’ ... the Specials.

    The 100 greatest UK No 1s: No 2, The Specials – Ghost Town

    The remarkable, dark power of this song, with its harrowing wail of a chorus, plunges you straight back into the anger, violence and despair of the early 80s
  • ‘A sound of collective creativity that demolished the supremacy of solo artists’ ... the Beatles.

    The 100 greatest UK No 1s: No 3, The Beatles – She Loves You

    The Fab Four’s 1963 hit is an explosion of exuberance that made “yeah yeah yeah” the fanfare for a culture on the brink of irreversible change
  • ‘Impossible to completely quantify its effect on dance music’ ... Donna Summer.

    The 100 greatest UK No 1s: No 4, Donna Summer – I Feel Love

    Hypnotic synth, peerless vocals and visionary ambition make the 1977 genre-busting hit a turning point in pop and a truly timeless track
  • ‘One of the great queer pop anthems’ ... Dead or Alive, from left Mike Percy, Pete Burns, Tim Lever and Steve Coy.

    The 100 greatest UK No 1s, No 5: Dead or Alive – You Spin Me Round (Like a Record)

    Led with peacock glamour and untamed sexuality from Pete Burns, the Stock Aitken Waterman production is synth-pop at its very finest
  • ‘While Thriller’s title track is cartoonishly scary, Billie Jean is authentically scared’ ... Michael Jackson in 1983.

    The 100 greatest UK No 1s: No 6, Michael Jackson – Billie Jean

    Despite the allegations against him, certain of his songs have been deemed too good to lose, and Billie Jean tops the list
  • ‘Arguably the first synth-pop smash hit’ ... the Human League.

    The 100 greatest UK No 1s: No 7, The Human League – Don't You Want Me

    Phil Oakey might have hated it, but his hook-laden hit about sexual power politics brought synth-pop in from the cold
  • ‘a squirming, sweating, fleshbound creature’ ... Keith Flint of the Prodigy performing at the Phoenix festival, 1996.

    The 100 greatest UK No 1s: No 8, The Prodigy – Firestarter

    A surreal and terrifying mix of big-beat pyrotechnics, lyrical vitriol and tabloid outrage. ‘Ban This Sick Fire Record,’ squawked the Mail on Sunday – but it was much too late
  • ‘A sense of boundless possibility’ ... Abba in 1976.

    The 100 greatest UK No 1s: No 9, Abba – Dancing Queen

    This glittering, many-layered pop track, laced with nostalgia and yearning harmonies, has inspired many imitators – and some covers during lockdown
  • ‘A crucial step towards forming his own nuanced artistic identity.’ ... Marvin Gaye.

    The 100 greatest UK No 1s: No 10, Marvin Gaye – I Heard It Through the Grapevine

    A heady mix of loss, defiance and lust, Gaye’s only UK No 1 is a testament to the Motown singer’s captivating depth – and a glimpse of the masterwork to come
  • ‘Pocket symphony’ ... the Beach Boys recording Pet Sounds in 1966.

    The 100 greatest UK No 1s: No 11, The Beach Boys – Good Vibrations

    It captured the mumbled inarticulacy and heightened feelings of love, but also the sound of a culture changing
  • ‘One of the most compelling vocal performances in pop history’ ... Sinead O’Connor in 1990.

    The 100 greatest UK No 1s: No 12, Sinéad O'Connor – Nothing Compares 2 U

    Seismic and ethereal, O’Connor’s cover of an obscure Prince track remains a haunting, heartbreaking evocation of lost love
  • ‘Proof that, besides tragedy, nothing brings the UK together quite like extreme horniness’ ... Frankie Goes to Hollywood in 1984.

    The 100 greatest UK No 1s: No 13, Frankie Goes to Hollywood – Relax

    Amid 80s homophobia and repression, this gleeful banger about banging thrust its way to the top of the charts, its success boosted by a BBC ban
  • ‘Its keen ear for adolescent angst is part of what makes it so special’ ... Kate Bush in the video for Wuthering Heights.

    The 100 greatest UK No 1s: No 14, Kate Bush – Wuthering Heights

    Written when Bush was 18 years old, this eerie gothic tale of lost love and longing cemented her individuality from the very beginning
  • ‘Swaggering, ecstatic, vulnerable, orgasmic, postcoital’ ... Jerry Lee Lewis in 1957.

    The 100 greatest UK No 1s: No 15, Jerry Lee Lewis – Great Balls of Fire

    The 1957 rock’n’roll hit is still one of the most lascivious songs ever recorded
  • ‘Pop’s new reigning diva’ ... Beyoncé in 2003.

    The 100 greatest UK No 1s: No 16, Beyoncé – Crazy in Love

    With its blaring horns and dancefloor swagger, Beyoncé’s first solo hit was a regal fanfare announcing her unstoppable ascent to the pop pantheon
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