# 10 – Sunshine Superman – Donovan

Few songs encapsulated the dawn of the psychedelic era as vividly as Donovan’s 1966 hit “Sunshine Superman.” Written by Donovan and recorded at EMI Studios in London in December 1965, the song fused folk, rock, and emerging psychedelic sounds with its distinctive harpsichord, sitar-like guitar tones, and hypnotic rhythm. Produced by Mickie Most, the track featured session guitarist Jimmy Page, later of Led Zeppelin fame, and bassist John Paul Jones, both contributing to its innovative musical structure. Released as a single in July 1966, “Sunshine Superman” became Donovan’s first major international success, reaching number one on the Billboard Hot 100 in the United States and number two on the UK Singles Chart.

Lyrically, “Sunshine Superman” projected a confident, whimsical vision of romance wrapped in the countercultural mystique of the 1960s. Donovan’s references to comic book heroes—most notably Superman and Green Lantern—symbolized a playful, all-powerful devotion, while his lines about “tricks in the book” and “blowing your little mind” hinted at the mind-expanding ethos of the psychedelic movement. The song’s dreamlike quality, reinforced by its layered instrumentation and unconventional production, positioned it as a defining track of its time.

As one of the earliest psychedelic pop songs to achieve mainstream success, “Sunshine Superman” influenced a wave of artists exploring new sonic textures and themes of expanded consciousness. Its commercial triumph cemented Donovan’s reputation as a key figure in the genre’s development, paving the way for later hits like “Mellow Yellow” and “Hurdy Gurdy Man.” Over the decades, the song has remained a touchstone of 1960s counterculture, frequently appearing in films and television, preserving its legacy as one of the era’s most distinctive anthems.

# 9 – Champagne Supernova – Oasis

Oasis closed out (What’s the Story) Morning Glory? with “Champagne Supernova,” a sprawling, dreamlike epic that blended psychedelia with Britpop’s anthemic scale. Written by Noel Gallagher and produced by Owen Morris, the song was recorded at Rockfield Studios in Wales in 1995. It featured lead vocals by Liam Gallagher and an atmospheric guitar contribution from Paul Weller of The Jam and The Style Council. Though not originally released as a single in the UK, it was issued as a radio single in the U.S. in 1996, where it reached number one on the Billboard Modern Rock Tracks chart and became one of Oasis’s most enduring songs.

Lyrically, “Champagne Supernova” embraced an abstract, almost surrealist quality, filled with cryptic imagery and existential questions. Lines like “How many special people change? / How many lives are living strange?” captured themes of nostalgia, disillusionment, and the fleeting nature of fame and youth. The chorus, with its vision of being “caught beneath the landslide in a champagne supernova in the sky,” evoked a sense of beautiful destruction, a metaphor that resonated deeply with listeners. Gallagher later admitted that much of the song’s meaning was intentionally ambiguous, further cementing its mystique.

The song’s grand, hypnotic build-up, stretching over seven minutes, allowed it to take on an almost trance-like quality, making it a defining closer for the album. “Champagne Supernova” contributed significantly to Oasis’s international success, particularly in America, where it helped (What’s the Story) Morning Glory? achieve multi-platinum status. Over the years, it has remained a fan favorite, often played in live performances and frequently cited as one of Oasis’s most ambitious compositions, embodying the sweeping scale and self-mythologizing spirit of the Britpop era.

# 8 – Super Freak – Rick James

Rick James brought his signature blend of funk and rock to the mainstream with “Super Freak,” a track that redefined the genre upon its release in 1981. Featured on his album Street Songs, the song was written by James alongside Alonzo Miller and produced by James himself at the Record Plant in Sausalito, California. Driven by its infectious bassline and layered synthesizers, “Super Freak” became one of James’s biggest hits, reaching number 16 on the Billboard Hot 100 and earning him a Grammy nomination for Best Male Rock Vocal Performance. The song also saw significant success on the R&B and dance charts, securing its place as one of the defining funk tracks of the early ’80s.

“Super Freak” embraced an unabashedly playful and provocative tone, describing a woman whose uninhibited nature made her both alluring and unforgettable. James’s delivery, combined with the song’s lively call-and-response backing vocals—provided by The Temptations—gave it a dynamic energy that set it apart from traditional funk anthems. Unlike the romanticized infatuation of “Champagne Supernova,” which leaned into psychedelic introspection, “Super Freak” took a more direct and humorous approach, reveling in excess rather than reflection.

The song’s impact stretched well beyond its initial release, thanks in part to its bassline being sampled in MC Hammer’s “U Can’t Touch This,” introducing it to a new generation of listeners. In comparison to “Sunshine Superman,” which drew on folk and psychedelic influences, “Super Freak” was a pure distillation of funk’s raw, electric energy. While Donovan’s track embraced mysticism and Oasis’s song leaned into existential grandeur, James crafted a song that celebrated indulgence without restraint, ensuring that “Super Freak” remained a defining track of both funk and pop culture.

# 7 – Superfly – Curtis Mayfield

Curtis Mayfield cemented his place in both soul and film history with “Superfly,” the title track from his groundbreaking 1972 soundtrack to the Blaxploitation film Super Fly. Written and produced by Mayfield, the song was recorded at RCA Studios in Chicago and became one of his most recognizable works, reaching number eight on the Billboard Hot 100 and number five on the R&B chart. Unlike most soundtrack compositions, “Superfly” functioned as a social critique, countering the film’s glorification of drug culture with a sharp, cautionary perspective.

Lyrically, “Superfly” painted the portrait of an enigmatic hustler, a man whose success was both revered and feared. Mayfield’s smooth falsetto floated above a funk-driven groove, punctuated by wah-wah guitars and a dynamic horn section, crafting a sound that was both hypnotic and urgent. While “Super Freak” by Rick James embraced excess with a playful energy, “Superfly” took a darker approach, exposing the contradictions of street life. Mayfield’s message was clear—his protagonist might be powerful, but the consequences of his world were inevitable.

The song’s influence extended far beyond the film, solidifying Mayfield’s reputation as a socially conscious artist who used his platform for activism. While “Champagne Supernova” by Oasis leaned into surreal introspection and “Sunshine Superman” by Donovan played with psychedelic escapism, “Superfly” grounded itself in reality, reflecting the struggles of urban America. Its cultural significance endured for decades, inspiring countless hip-hop artists and shaping the sonic landscape of funk and soul. In a list of “super” songs, “Superfly” stood out for its ability to transcend its original purpose, evolving into a powerful standalone statement on ambition, consequence, and survival.

# 6 – Super Trouper – ABBA

ABBA captured both the glamour and the isolation of fame with “Super Trouper,” the title track from their 1980 album. Written and produced by Benny Andersson and Björn Ulvaeus, the song was recorded at Polar Music Studios in Stockholm, Sweden, and became the band’s final number one hit in the UK, topping the singles chart for three weeks. It also reached number forty-five on the Billboard Hot 100 in the United States, maintaining the group’s presence in the global pop scene. The term “Super Trouper” referred to a brand of stage spotlight, a fitting metaphor for the song’s theme of life under the glare of public scrutiny.

Lyrically, “Super Trouper” contrasted the euphoria of performing with the loneliness that often accompanied it. Frida Lyngstad’s lead vocal delivered a bittersweet narrative about the exhaustion of life on the road, softened by the hope of reconnecting with a loved one in the audience. The song’s grand production featured ABBA’s signature layered harmonies, anthemic melodies, and a triumphant, marching rhythm that gave it a larger-than-life quality. While “Super Freak” by Rick James leaned into excess and indulgence, “Super Trouper” painted a more reflective picture, exploring the emotional toll behind the spectacle of success.

In the broader context of songs on this list, “Super Trouper” shared the theatricality of “Superfly” by Curtis Mayfield but took a completely different approach—where Mayfield chronicled the struggles of an urban antihero, ABBA delivered an introspective view of stardom. Unlike “Champagne Supernova” by Oasis, which leaned into surrealism, “Super Trouper” remained grounded in reality, making it one of ABBA’s most personal and relatable compositions. Its blend of melancholy and joy cemented its status as one of the group’s definitive hits, standing as both a farewell to their peak era and a timeless anthem of resilience in the face of fame.

# 5 – Lost in the Supermarket – The Clash

The Clash delivered one of their most poignant and introspective tracks with “Lost in the Supermarket,” featured on their landmark 1979 album London Calling. Written by Joe Strummer and Mick Jones, the song was recorded at Wessex Studios in London with Guy Stevens as producer. While The Clash were known for their politically charged anthems, this song took a more personal approach, exploring themes of alienation, consumerism, and the struggle to find identity in a world increasingly driven by mass production and superficiality.

Lyrically, “Lost in the Supermarket” painted a vivid portrait of disillusionment, as the narrator wandered through a commercialized landscape in search of meaning, only to find himself drowning in artificiality. Lines like “I came in here for that special offer, a guaranteed personality” captured the song’s biting critique of consumer culture. Mick Jones provided the lead vocals, offering a more subdued and melancholic delivery compared to Joe Strummer’s typically urgent style. The track’s instrumentation featured a polished yet melancholic groove, blending reggae-inflected rhythms with a pop-leaning melody that contrasted its cynical message. This sense of detachment echoed some of the themes found in “Super Trouper” by ABBA, though ABBA’s song approached loneliness through the lens of fame, while The Clash depicted it in the everyday monotony of modern life.

Musically, “Lost in the Supermarket” stood apart from the high-energy funk of “Super Freak” by Rick James or the cinematic soul of “Superfly” by Curtis Mayfield. While those songs thrived on their vibrant, expressive styles, The Clash opted for a more subdued approach, reinforcing the emotional weight of its lyrics. Despite not being released as a single, the track became one of London Calling’s most beloved deep cuts, resonating with listeners who found themselves equally adrift in a world that often felt impersonal and detached. Through its melancholic yet melodic composition, “Lost in the Supermarket” remained a striking meditation on the emptiness lurking beneath modern consumer culture.

# 4 – Super Bad – James Brown

James Brown brought relentless energy and unshakable confidence to “Super Bad,” a funk powerhouse released as a single in 1970. Recorded at King Studios in Cincinnati, Ohio, and produced by Brown himself, the song encapsulated his raw, electrifying performance style. “Super Bad” climbed to number thirteen on the Billboard Hot 100 and topped the Billboard R&B chart, reaffirming Brown’s dominance in the genre. The track featured Brown on vocals, backed by the tight grooves of his band, including saxophonist Maceo Parker and trombonist Fred Wesley, whose contributions added to the song’s explosive energy.

Lyrically, “Super Bad” was a declaration of self-assurance, with Brown proclaiming his prowess over a relentless funk groove. His signature vocal exclamations and call-and-response dynamics gave the track an improvisational feel, making it one of his most kinetic recordings. Unlike “Super Trouper” by ABBA, which explored the emotional toll of fame, Brown’s song was all about personal swagger and unfiltered energy. The relentless repetition of phrases like “I got soul, and I’m super bad” reinforced Brown’s unmatched ability to turn simple declarations into unforgettable anthems.

Among the songs in this article, “Super Bad” shared the most rhythmic DNA with “Super Freak” by Rick James, both driven by infectious basslines and unapologetic bravado. However, where “Super Freak” leaned into funk-infused pop with a playful edge, “Super Bad” remained pure, uncut funk, with Brown’s band delivering an unrelenting, groove-heavy performance. Similarly, while “Superfly” by Curtis Mayfield painted a cinematic picture of street life, Brown’s track focused inward, making it an anthem of self-celebration rather than social commentary. With its driving rhythms and explosive delivery, “Super Bad” stood as a defining statement of James Brown’s influence on funk, inspiring countless artists in the decades that followed.

# 3 – Superstar – The Carpenters

Originally written by Bonnie Bramlett and Leon Russell, the song first emerged in 1969 as “Groupie (Superstar),” performed by Delaney & Bonnie with Eric Clapton. The Carpenters reworked the track in 1971, transforming it from a bluesy lament into an orchestral ballad with Karen Carpenter’s ethereal vocal at the center. Produced by Richard Carpenter and Jack Daugherty, the song was recorded at A&M Studios in Hollywood and released as a single from Carpenters, peaking at number two on the Billboard Hot 100 and becoming one of the duo’s most enduring hits.

Lyrically, “Superstar” told the story of a devoted fan who longed for a musician who had seemingly moved on, leaving behind empty promises. Karen Carpenter’s delivery, both tender and mournful, elevated the song beyond its origins, turning it into a deeply personal meditation on loneliness. Unlike “Super Bad” by James Brown, which exuded self-confidence and groove-driven swagger, “Superstar” dwelled in vulnerability and quiet desperation. The orchestral arrangement, punctuated by a wistful clarinet solo, gave the track a cinematic quality that contrasted sharply with the funk and soul-driven anthems elsewhere on this list.

Among the other songs featured, “Superstar” shared more in common thematically with “Champagne Supernova” by Oasis, as both explored themes of longing and loss wrapped in melancholic melodies. However, where Oasis enveloped their song in psychedelic rock textures, The Carpenters opted for a delicate, symphonic approach. While Curtis Mayfield’s “Superfly” painted a gritty picture of urban survival, “Superstar” turned inward, emphasizing the emotional cost of devotion to a fleeting figure. With its elegant arrangement and Karen Carpenter’s unmatched vocal control, “Superstar” remained one of the most poignant ballads of the 1970s, proving that emotional depth could be just as powerful as sheer musical bravado.

# 2 – Superstition – Stevie Wonder

Stevie Wonder crafted “Superstition” as a forceful fusion of funk and social commentary, releasing it as the lead single from his 1972 album Talking Book. Recorded at Electric Lady Studios in New York City, the track was produced by Wonder himself and showcased his multi-instrumental talent, with him playing the clavinet, drums, and Moog bass. The song reached number one on the Billboard Hot 100 and the Hot Soul Singles chart, marking one of the defining moments of Wonder’s career and cementing his transition into the more experimental and socially conscious phase of his music.

Lyrically, “Superstition” dissected the irrational beliefs that people cling to despite the harm they cause, with lines like “when you believe in things that you don’t understand, then you suffer.” Unlike the celebratory bravado of “Super Bad” by James Brown, which exuded self-confidence, Wonder’s song was a warning, cautioning against blind faith in omens and old wives’ tales. His use of the clavinet created a deep, percussive groove that became one of the most recognizable riffs in funk history, driving the track forward with an urgency that mirrored the tension of its lyrics.

Compared to the smooth disco-inflected sound of “Super Trouper” by ABBA or the cinematic storytelling of “Superfly” by Curtis Mayfield, “Superstition” stood out for its raw, syncopated rhythm and intense energy. While “Super Freak” by Rick James embraced excess and decadence, “Superstition” warned against the unseen forces that shape lives through fear and tradition. The song’s infectious groove and universal message have made it one of the most covered and enduring tracks in Stevie Wonder’s catalog, proving that sometimes, funk and wisdom go hand in hand.

# 1 – (Wish I Could Fly Like) Superman – The Kinks

The Kinks closed the 1970s with “(Wish I Could Fly Like) Superman,” a song that fused their signature wit with the pulsating energy of disco and hard rock. Released in 1979 as the lead single from Low Budget, the song was recorded at Konk Studios in London and produced by Ray Davies. While it did not chart as high as some of their earlier classics, it became a cult favorite, embraced for its biting social commentary and its departure from the band’s traditional British rock sound. Dave Davies’ driving guitar and Mick Avory’s steady drumming provided the backbone for the track, while Ray Davies’ sardonic lyrics painted a picture of an everyman overwhelmed by modern life, dreaming of superheroic escape.

Lyrically, “(Wish I Could Fly Like) Superman” embodied frustration and longing, as its protagonist lamented his physical weakness, financial woes, and the general chaos of the world. The lyrics, “Gas bills, rent bills, tax bills, phone bills / I’m such a wreck but I’m staying alive,” illustrated a character drowning in obligations, wishing for the power to rise above it all. Unlike the smooth confidence of “Super Freak” or the celebratory excess of “Super Bad,” this song leaned into disillusionment, making it thematically closer to “Lost in the Supermarket” by The Clash, which also explored feelings of alienation. The Kinks’ track, however, injected humor and irony, making it both bleak and oddly empowering.

Closing this list with “(Wish I Could Fly Like) Superman” brings everything full circle, encapsulating both the grandeur and the absurdity of the “super” concept in music. While Stevie Wonder’s “Superstition” warned against blind faith and Curtis Mayfield’s “Superfly” depicted the high stakes of street life, The Kinks took a different approach, showing the struggles of an average person wishing for the extraordinary. With its danceable groove and sharp lyricism, the song remains a testament to The Kinks’ ability to evolve while maintaining their unmistakable voice.