Top 50 Most Difficult Songs to Sing

Welcome to WatchMojo, and today we’re counting down our picks for the most challenging tunes for the average vocalist to tackle.

#50: “Welcome to the Black Parade” (2006)My Chemical Romance

The “Black Parade” LP from My Chemical Romance features a number of songs that would be considered challenging to sing from a layperson’s perspective. The ending coda to “Famous Last Words” comes to mind, as does the album’s title track, “Welcome to the Black Parade.” Frontman Gerard Way and the band indulge their greatest Queen fantasies on this LP, and this song features layered lead vocals from Way that sound energetic and anthemic. This is another song that seems to be building up to something, a race to the finish line where Way takes charge as lead singer, driving home MCR’s “Black Parade” for all he’s worth.

#49: “Best of You” (2005)Foo Fighters

There was probably nobody out there that was questioning Dave Grohl’s skills as a frontman back when Foo Fighters released their fifth LP, “In Your Honor,” in 2005. That said, we still appreciate how Grohl continued to challenge himself on songs like “Best of You.” The tune’s composition requires the former Nirvana drummer to continually sing at the top of his register, to the point where it sounds raw ‘n ragged. This isn’t a bad thing, of course, since Grohl’s scream-singing allows for “Best of You” to grab the listener forcefully by the proverbial collar, shaking out all of their righteous rage and emotion.

#48: “Life on Mars?” (1971)David Bowie

Some songs are known for the entirety of their challenging nature, while others become closely associated with one particular vocal performance. “Life on Mars?” from David Bowie is one of the rock legend’s most loved tunes, but it’s also one that contains one of the man’s most iconic high notes. We’re speaking, obviously, of Bowie’s emphasis on the word “Mars,” but it’s the whole song that really highlights Bowie’s generational charisma, if we’re being honest. From the look, to the sound, to that warm seventies production, “Life on Mars?” is an octave-jumping rocket ship to the stars and back.

#47: “Since U Been Gone” (2004)Kelly Clarkson

The “American Idol” experience hasn’t been the same for every season’s winner, that’s for sure. Yet, for every Taylor Hicks, there’s a Kelly Clarkson, who managed to keep her career going strong for years after appearing on that competition show. “Since U Been Gone” incorporates a wide array of influences within its competition, and it’s this “everything goes” approach that helped it land with a lot of different fans. Clarkson’s enviable talent is clearly on display here, as she performs with tons of power, while also demonstrating her incredible range. “Since U Been Gone” has since become one of Clarkson’s defining tunes, although we’d be hard pressed to find anyone that can sing it quite like her.

#46: “Over the Rainbow” (1939)Judy Garland

Sometimes, it’s not about how high you can sing, or how much power you can belt out into a tune. Instead, it’s how a performance brings subtlety, texture and dynamics to a composition, lifting it up from “good,” beyond “great” and into the territory of “perfection.” “Over the Rainbow” from “The Wizard of Oz” has been sung by many performers over the years, often to great effect. There will always be something special to Judy Garland’s original, however, to the point where every attempt will always be compared to the actress’ tender work on the silver screen.

#45: “The Phantom of the Opera” (1986)Andrew Lloyd Webber

Everybody has their favorite version of Andrew Lloyd Webber’s title number to “The Phantom of the Opera.” Each version requires some serious professionalism in order to properly nail down, however, since Webber’s composition keeps changing keys. This is done not only for dramatic effect, but also to emphasize the singers’ voices, particularly the female role of Christine. The heavy metal band Nightwish even recorded a fan favorite version that made the most out of their own trained opera vocalist, Tarja Turunen. It ultimately doesn’t matter which version of “The Phantom of the Opera” you rock, however, because they’re all going to sound EPIC.

#44: “Carrie” (1987)Europe

The world of commercial heavy metal back in the 1980s featured plenty of talented and amazing singers. Europe may be known for their international hit “The Final Countdown,” but they, like every other band during this time, also recorded their fair share of power ballads. Joey Tempest had one of those voices that could handle both hard rocking numbers and more tender songs with ease, and he certainly gets the job done on “Carrie.” It’s all about the song’s finale, however, as Tempest goes for broke with some grandiose emoting. The lead singer’s vocal harmonies are also on point during “Carrie,” lifting up cigarette lighters and cellphones all around the world.

#43: “I'd Do Anything for Love (But I Won't Do That)” (1993)Meat Loaf

High drama. High art. Absolutely zero irony. These are just some of the sentiments at play here within “I’d Do Anything for Love (But I Won’t Do That)” by Meat Loaf. The music video particularly underlines these points, but all of the flash in the world couldn’t make this song resonate the way it does, were it not for Meat Loaf’s go-for-broke performance. This is a long song, requiring a lot of power and commitment for anybody attempting to replicate that Meat Loaf magic. The back-and-forth between Meat Loaf and his duet partner Lorraine Crosby is classic stuff, a slice of cinematic extravagance that’s one-in-a-million.

#42: “Paradise City” (1987)Guns N’ Roses

It doesn’t really matter at this point whether or not Guns N’ Roses ever release an LP that rivals their thunderous 1987 debut, “Appetite For Destruction.” The band’s musical power and glory are safely secured, as is the vocal prowess of their tempestuous singer, Axl Rose. Fans who’ve been lucky enough to witness GnR’s straight rock fury in the live arena can testify to Rose’s talent as a singer and frontman. He hits high notes and screams on the regular, usually while sprinting across the stage at a breakneck pace. Songs like “Paradise City” careen from his mouth like an air horn, as Rose caterwauls like a madman from first note to last.

#41: “Always” (1994)

Bon Jovi

This is Bon Jovi’s first appearance on this but, spoiler alert, it won’t be the last. “Always” wasn’t taken from the band’s 1980s heyday, but instead as a single from their first “greatest hits” collection. This wasn’t a throwaway song, however; far from it. Instead, “Always” became an international smash, anchored by Jon Bon Jovi’s superbly strong vocal performance. This is a song that went unapologetically hard, particularly during its ending section, as Jon really stretches and breaks free. The harmonized bridge section is also great, and we totally see why “Always” managed to connect with so many people back in 1994.

#40: “I’ll Make Love to You” (1994)

Boyz II Men

The R&B genre is one that usually requires at least a modicum of upper-level vocal talent to execute properly, and with the required emotion. This goes even more so when it comes to vocal groups, and this is why the music of Boyz II Men so closely echoes the R&B scene of the 1990s. “I’ll Make Love to You” is a song that makes the most out of each individual members’ vocal strengths, from resonant lows to soaring highs. The arrangements lend plenty of places for all the singers of Boyz II Men to shine, and “I’ll Make Love to You” has managed to live on in the minds of all those who experienced this unironic and passionate love song back in the day.

#39: “Fix You” (2005)Coldplay

Sometimes, it’s not about the intensity of a vocal performance that makes it affect an audience in an emotional way, but rather the quieter and more subtle moments. Coldplay’s Chris Martin isn’t the sort of singer that earns his paycheck howling for the heavens or screaming for the back row, but that hasn’t stopped his performance in “Fix You” from becoming a favorite for the group’s fans. This is a song where patience and control are required from the singer, since the falsetto notes of “Fix You” are left intentionally fragile. It’s not as easy as it looks.

#38: “Getting Married Today” (1970)

Stephen Sondheim

The subject of show tunes can occasionally elicit grumblings, snickers or criticism from those unfamiliar with Broadway vocal performances, but make no mistake: songs like “Getting Married Today” are incredibly difficult to sing. This song from Stephen Sondheim’s 1970 musical “Company” requires the performer to sing incredibly fast and clear, spitting out words a mile a minute in order to fulfill the song’s arrangement. “Getting Married Today,” as a result, has definitely earned its reputation as one of Broadway’s most challenging tunes, from any musical era. It’s a rhythmic and tongue twisting nightmare.

#37: “Mailman” (1994)Soundgarden

The music of Soundgarden may be primarily associated with the grunge movement of the 1990s, but the band’s lead vocalist, Chris Cornell, clearly possessed a vocal talent born from a different era. Cornell’s screaming, upper level register felt more indicative of ‘80s heavy metal than the brooding and listless sound of Seattle, and it’s this ability to move from low to high on songs like “Mailman” that made Soundgarden special for their fans. The band’s doomy, Sabbathian groove was one that also showcased their ‘70s hard rock influences, and this juxtaposition of monolithic heaviness and Cornell’s powerful voice definitely makes “Mailman” stand out from the pack.

#36: “Gethsemane” (1971)Andrew Lloyd Webber

The soundtrack to “Jesus Christ Superstar” is chock full of memorable moments, from the high drama of “Heaven on Their Minds” to the moodiness of “Judas’ Death.” Yet, there’s one major musical moment that will forever be associated with this 1971 musical, and that’s the iconic high note hit by Jesus on the song “Gethsemane.” This prototypical rock opera requires anybody taking on this role to steady themselves for a proper belt on the word “why,” but “Gethsemane” isn’t only about this magical moment. It’s also about getting in the properly pensive and frightened mood, capturing Christ’s emotions as he’s readying himself to die on the cross.

#35: “My Heart Will Go On” (1997)

Celine Dion

She’s one of the voices of her generation, and it’s this song that serves as her musical calling card. “My Heart Will Go On” served as the multi-million selling smash hit single from the soundtrack to director James Cameron’s “Titanic.” A song that was basically impossible to avoid, since both “My Heart Will Go On” and “Titanic” entered the public zeitgeist big time back in 1997. Dion’s insane vocal range and power makes just about any of her songs a challenge to even the most experienced singers. “My Heart Will Go On” is at another level, however; a litmus test to judge between great vocalists and exemplary talents.

#34: “Cry Me a River” (2009)

Michael Bublé

They call ‘em “standards” for a reason. Canada’s Michael Bublé put his own stamp upon this jazzy pop song that’s been recorded by multiple other artists over the years. Bublé, Julie London, Joe Cocker and more have all leant their vocal skills to “Cry Me a River,” a challenging track despite it not being a particularly stressful or strenuous workout. Natural storytelling ability and pathos are required to transport the listeners to the proper, emotional place here with “Cry Me a River,” and Bublé’s version followed nicely in the footsteps of his forebears back when it was released in 2009.

#33: “Defying Gravity” (2003)Stephen Schwartz

Cinematic adaptations of hit Broadway shows can often be a dicey proposition, since the original showtunes are often held close to the hearts and minds of their fans. “Defying Gravity” is one of those defining songs, a major moment from the OG 2003 version of “Wicked,” sung by Idina Menzel and Kristin Chenoweth. The insane high note delivered by Menzel at the climax of this tune is one of modern Broadway’s most defining and commercially successful moments. Menzel and Chenoweth’s performance set an insanely high bar for the 2024 movie version of “Wicked” to hit, but thankfully fans seemed to like this new version just fine.

#32: “Alone” (1987)Heart

Isn’t it funny how some songs take on different lives of their own, long after their initial composition fades away into trivia obscurity? “Alone” first hit airwaves via a group called i-Ten, before then being included on the short lived television show “Dreams.” That version featured John Stamos on co-vocals, but most fans would probably point to the version recorded by Heart in 1987 as THE best take on “Alone.” Not only does their version of “Alone” feature amazing vocal harmonies, but Ann Wilson’s insane power recalls the group’s classic rock influences from groups like Led Zeppelin. It’s amazing arena rock AOR with passion and urgency to spare.

#31: “The Writing’s on the Wall” (2015)Sam Smith

Every James Bond fan has their personal favorite of the franchise’s many, many excellent title themes. “Spectre” from 2015 may have been a divisive Bond entry with regards to its effectiveness as a film, but we think that Sam Smith’s “The Writing’s on the Wall” is one of the best Bond themes of all time. Smith’s falsetto is utilized throughout much of “The Writing’s on the Wall,” and the end results feel perfectly in line with Bond’s legacy of glamour, class and intrigue. Smith’s work doubling the chorus at this song’s climax is emotional stuff, to be sure, bringing audiences closer and closer to “Spectre’s” identity as pure, unfiltered Bond.

#30: “Un-Break My Heart” (1996)

Toni Braxton

It’s not just the high notes that can be difficult to hit. The opening of “Un-Break My Heart” doesn’t necessarily make you feel like the song’s going to be that hard to sing. But then, you hear the incredible range of Toni Braxton. From that first verse, Braxton’s smoky vocals follow through the lower notes of her register with incredible strength and power. On top of that, her talent only shines stronger on the second verse, when she shows us all how low she can go while still maintaining precise control over her stellar runs.

#29: “How Can I Ease the Pain” (1991)

Lisa Fischer

Here’s one of the most impossible-to-nail slow jams of all time. Seriously, we don’t know how Lisa Fischer does it. She’s a goddess. It was released in 1991 and remains one of Fischer’s biggest hits to this day. Fischer manages to stretch her notes like no other, and listening to her attain those high notes so flawlessly makes us wish she got more opportunities like this to show off her chops. “How Can I Ease the Pain” requires an incredibly strong belter to get up into that high register while still pouring passion into the words. And once Fischer lets loose on those whistle tones? Please.

#28: “imagine” (2018)

Ariana Grande

Oh, you wanted more whistle tones in modern pop music? Well, Ariana Grande heard you, and she delivered. It’s no secret that Grande is an expert singer, but with her hit “imagine,” she went further than we could have imagined. The song’s chorus requires the singer to make a large vocal leap on the word “imagine,” and necessitates pinpoint precision in its notes. But all that aside, if you want to sound like Grande when you sing this song, you’ve got to try and go for those whistle tones at the end - definitely not an easy task. #27: “Don’t Rain on My Parade” (1964)

Barbra Streisand

Notoriously difficult, “Don’t Rain on My Parade” is from the musical “Funny Girl”, which was based on the life of Fanny Brice. Barbra Streisand, who played the lead role on Broadway in 1964 and won an Oscar for her performance in the movie adaptation, makes it sound quite natural; however, the song’s tricky rhythms, frequent leaps, and consistent high energy have daunted many aspiring vocalists. Although a few professionals like Bea Arthur and Idina Menzel have covered the song, the musical wasn’t revived on Broadway for decades - possibly because of the challenge of finding someone for that dynamic leading role.

#26: “Go the Distance” (1997)

Michael Bolton

It’s widely recognized as one of Disney’s most motivational songs. Paradoxically, you may need to listen to the track just to make yourself believe that you can actually sing it. The notes soar higher than Olympus itself, and the lyrical context requires the performer to belt each one with unwavering vocal confidence. It was originally tackled by Roger Bart for the “Hercules” soundtrack, followed by Michael Bolton, Ricky Martin, and an assortment of Walt Disney World cast members. You’d better have a brave choral range to conquer it, as well as the ability to convey a challenging scope of emotions. If you can convincingly nail both the vulnerability of its opening and the epic crescendo of its finale, then you just might please the gods!

#25:“You Raise Me Up” (2003)

Josh Groban

“You Raise Me Up” was originally written by the duo Secret Garden. The Norwegian-Irish twosome released the track back in 2002 and since then it’s gone on to be covered by over 100 different artists both male and female. One of the most popular covers is the 2003 version by Josh Groban and copying that version is quite difficult for other male singers. Groban’s vocal range is wide and trying to replicate it isn’t easy, or even possible, for many other male vocalists. In 2005 Irish boy band Westlife released their version of the song. It’s a very nice version of the song, but as you can hear, the vocals stay in a much narrower range. #24: “Hurt” (2006)

Christina Aguilera

Christina Aguilera is one of the most prolific singers in the biz. Unfortunately, one of her greatest, most difficult songs to sing, is not one of her most famous. “Hurt” is a number from Aguilera’s 2006 album “Back to Basics.” It sort of got buried under the pizazz of the rest of the tracklist, which includes the likes of “Ain’t No Other Man” and “Candyman.” However, in “Hurt,” Aguilera slows things down and delivers a masterful performance with incredible range. The chorus necessitates a kind of emotion and resonance that is rare to come by.

#23: “Crawling” (2001)

Linkin Park

Chester Bennington was a phenomenal vocalist, and gave Linkin Park one of the most unique sounds of the 2000s. But the notes Bennington could hit aren’t really what makes the song “Crawling” a difficult song to master. Rather it’s the range of styles and techniques he employs throughout the three and a half minute track. From the softer, more melodic singing of the verses to the loud, emotional screaming of the chorus, it covers a lot of ground. You better prepare your throat if you plan on attempting this one. #22: “Love On Top” (2011)

Beyoncé

It’s time to talk about key changes! Beyoncé’s 2011 hit “Love On Top” is one of the pop diva’s most fun songs. From the outset, it doesn’t seem like it will be particularly difficult to sing. Not more difficult than any other Beyoncé song, anyway. But, by the end, we’ve found ourselves with so many key changes, we don’t even know how to begin counting them off. As Beyoncé’s voice keeps getting higher and higher, our jaws keep dropping lower to the ground. It’s insanely impressive how high up she can get, never mind the absolute clarity with which she does!

#21: “Livin' on a Prayer” (1986)

Bon Jovi

You can take our hand, but when it comes to properly rocking this track, we can’t swear to the fact that you’ll make it. Awesome 80s hairdo aside, Jon Bon Jovi powers through “Livin' on a Prayer” with some subtly impressive vocal stylings. The song might seem like a rather simple 80s rock ballad. But as many karaoke audiences know, making it through that chorus ain’t as easy as many think it is. Most guys should probably just remember that it’s all for fun and it doesn't make a difference if they make it or not.

#20: "Don't Stop Believin'" (1981)

Journey

Do not try to sing Journey's "Don't Stop Believin'" at your next karaoke party. Oh sure, it may sound like a great idea at the time, and everyone thinks they're going to be able to nail this absolute rock anthem with Steve Perry's grace and power....but it rarely, if ever works out. That's not only because Perry is one of classic rock's finest singers, but also because the performance hinges so strongly on his combination of clarity, power and range. "Don't Stop Believin'" may start off slowly with that iconic keyboard intro, but by the time the chorus finally hits, we're firmly on that spaceship into infinity.

#19: "Hello" (2015)

Adele

Speaking of "power," is there any popular female vocalist in recent memory that can compete with Adele in terms of sheer vocal strength? Not many! There's a reason that the English singer-songwriter’s music has sold millions of albums—and it's not because they’re easy to sing. Though it’s sure fun to try! Fans really seem to connect with her lyrics, honesty and passion. And it’s the delivery that really brings it all together. "Hello" is a perfect example. It’s the sort of heart-rending ballad that fans adore. It isn't so much the brooding intensity of the verse that makes "Hello" challenging, but rather the vocal control required to nail that epic chorus. There's just no one who does it quite like Adele.

#18: "Take On Me" (1984)

A-ha

Falsetto. Love it or hate it, many artists and groups have taken the vocal style and run with it all the way to chart success. A-Ha was one of those bands, a Norwegian export that struck it HUGE in the eighties with their colossal synth-pop hit, "Take On Me." For our money, we LOVE Morten Harket's falsetto note that he hits near the end of "Take On Me's" epic chorus. And it's even more impressive when you take into account that Harket has to climb two and a half octaves from his starting point of A. It’s these vocal gymnastics that make "Take On Me" such a challenge for even the most seasoned of vocalists.

#17: "I'll Never Let You Go" (1990)

Steelheart

The world of glam metal has historically been one of powerful and dynamic singers. Even so, there are few who can compete with the likes of Steelheart's Miljenko Matijevic, who absolutely dominates on the band's highest charting single, "I'll Never Let You Go." Again, this is a song that starts innocuously enough. Matijevic begins with a clear, mid-range verse before shooting for the stars with a crazy high note. Oh, and it only gets more stratospheric from there, as the Croatian-born singer seems to almost taunt us with how high he can actually go. Seriously, there's high, and then there's STEELHEART levels of high, the levels perfected on songs like this one, or "She's Gone."

#16: "I Believe in a Thing Called Love" (2003)

The Darkness

The spirit of classic Thin Lizzy lived on within the classic rock style of England's The Darkness, although the falsetto singing style of The Darkness frontman Justin Hawkins was probably the furthest thing from Phil Lynott's bluesy howl. "I Believe in a Thing Called Love" was The Darkness' biggest international hit, and quickly became infamous for Hawkins' trouser-pinching vocal approach. Not everyone can pull off an ultra-high falsetto with the sort of conviction Hawkins musters throughout this twin-guitar epic, but Justin nails it with style and sleaze to spare.

#15: "Chandelier" (2014)

Sia

We have two words to describe "Chandelier:" THAT. CHORUS. It's difficult to explain just how much emotion and pathos Sia packs into her performance. She pairs a comparatively subdued verse with an explosion of passion and cathartic anger. Sometimes, a singer just possesses this nebulous quality, an ability to connect with an audience with how they sing a song, not just the mechanics of how a song’s composed. Sia is an artist who not only possesses the knowledge and skill to get her vocal performance across, but also the ability to make that performance unique and incredibly difficult to replicate.

#14: "Sherry" (1962)

Frankie Valli and the Four Seasons

We mentioned falsettos earlier in our list, and there are few male vocalists who mastered this style better than Frankie Valli, lead singer of The Four Seasons. Valli made himself a legend off of his ability to control his falsetto arguably better than any other male performer of his era, showcasing the sort of control that verges on supernatural. Falsetto, by nature, can sound fragile and thin, but Valli sounds large and in charge throughout his performance in "Sherry," which is no mean feat. There's a reason why they're called "classics," after all, and The Four Seasons definitely created one of those when they recorded this gem back in 1962.

#13: "Total Eclipse of the Heart" (1983)

Bonnie Tyler

They just don't make 'em like this anymore. We're talking about the pompous (in the best possible way), extravagant and over-the-top operettas of Meat Loaf collaborator and songwriter, Jim Steinman. These were the songs about muscular men and wild women, the sort of ferocity encapsulated by Bonnie Tyler and her amazing performance on "Total Eclipse of the Heart." It's gothic, sumptuous and decadent power-balladry at its best, amplified by Tyler's gruff and breathy delivery. Seriously, when the near seven minute album version reaches its vocal crescendo, we're right there with Bonnie on the mountaintop, shielding our eyes from the eclipse as her vocals block out the sun in an epic show of power.

#12: "Earth Song" (1995)

Michael Jackson

Ok, so we all know about Michael Jackson's pedigree for classic music videos. But we admit that sometimes the singer's actual talent can get lost amongst all the visual spectacle. Not so with "Earth Song," a track meant for the King of Pop's "Dangerous" album, but which didn't get released until the 1995 album "HIStory: Past, Present and Future: Book 1". The song is a real showcase for Jackson's ability to meld and cross-pollinate genres, from operatic highs to gospel choral lows. Michael's legendary soul and power also make their presence known, of course, making this something of a forgotten classic from this iconic talent.

#11: "The Star-Spangled Banner" (1814)

Lyrics: Francis Scott Key & Music: John Stafford Smith

It's been the honor and bane of many a singer's existence: performing "The Star-Spangled Banner." The national anthem of the United States is infamously difficult to sing—even for the most accomplished performer—because of how much control it takes to navigate its range of key changes. The key is to start low and to conserve energy, saving a big burst of power for the anthem's climax. This is easier said than done, of course, with many great singers tripping up at either the performance side of things, or something as simple as remembering the lyrics! We're not gonna fault anyone for failing at "The Star-Spangled Banner," though, because it is a massive challenge.

#10: "Bridge over Troubled Water" (1970)

Simon & Garfunkel

The world of folk might not be the first place you might look for a stratospheric vocal performance, but don't sleep on Simon & Garfunkel. If you do, you'll be missing out on one of the all time greatest vocal achievements: the incredible "Bridge Over Troubled Water." Paul Simon wrote the song, and delivers some excellent backing harmonies, but "Bridge Over Troubled Water," at its core, is a showcase for Art Garfunkel. It's the sort of vocal that builds from a place of quiet contemplation into an emotive explosion—assisted by a perfect storm of string arrangements, incredible production and session backing from drummer Hal Blaine. We dare you not to get caught up as Garfunkel sails away on that last high note.

#9: "Wuthering Heights" (1978)

Kate Bush

Kate Bush possesses an extraordinary voice and progressive visual style, which earned her acclaim from both fans and critics. "Wuthering Heights" serves as Bush's biggest hit, and for good reason, as it sets on full display all of the singer's incredible vocal range. The song has been recorded twice by Bush, and both versions are melodic masterpieces that hinge on Bush's soaring vocals, from the song's sparse intro right on through to the booming chorus. Finally, Bush lets it rip alongside the song's lead guitar-accompanied outro, proving her place as a member of art rock royalty with a performance that still evokes chills today.

#8: "Unchained Melody" (1965)

The Righteous Brothers

"Unchained Melody" was written in 1955, and has been performed by a number of different artists over the years. It's the version recorded a decade later by The Righteous Brothers that has since gone on to become the definitive version, however, thanks largely in part to Bobby Hatfield's soaring vocal performance. "Unchained Melody" actually starts off quite slow and somber, but Hatfield soon kicks things up with a level of emotion that is completely raw and delivered with unbelievable passion. Oh, and once the drums kick in around the two minute mark? Forget about it; there isn't a dry eye in the house.

#7: "Dream On" (1973)

Aerosmith

A good power ballad can be a wonderful thing, and once in a while it can even define a band's career. Proof of this can be seen in that of Aerosmith’s, who scored a massive, iconic hit with this track from their 1973 self-titled debut. "Dream On" is another slow burn of sorts, a sensitive song composed in F minor that reaches a crescendo a little past the halfway mark as Steven Tyler's measured vocals duel with Joe Perry's lead guitar. Tyler's powerful scream serves as the linchpin of "Dream On," a gold standard against which many other classic rock singers have been measured.

#6: "All by Myself" (1996)

Celine Dion

The next song on our list has a long history of cover versions, after its original artist, Eric Carmen, adapted it from a Rachmaninoff concerto in 1975. Carmen's "All By Myself" is still remembered fondly today, but it's Celine Dion's 1996 version that is even more vocally impressive: she hits an immensely powerful high note shortly before the three minute mark, turning what was initially a great pop song into a tour de force for the French-Canadian singer to shine. Trust us when we say that you probably don’t want to attempt this one at karaoke.

#5: "Bohemian Rhapsody" (1975)

Queen

There are many reasons why Queen's "Bohemian Rhapsody" is an incredibly difficult song for just about anyone to sing. For starters, it's composed in multiple keys, and shifts styles and tempos from a ballad arrangement, to operatic accompaniment and straight up hard rock. Then, there's the nature of the vocals, which consist of all four members of Queen layering their tracks in the studio to create a larger-than-life atmosphere. There are high falsettos, deep basses and hard rock screams to tackle, all combined by lead singer Freddie Mercury and company. Simply stated: Mercury was an inimitable vocal talent, and only the bravest singers should even attempt at laying their stamp on this one - or “The Show Must Go On” for that matter.

#4: "And I Am Telling You I'm Not Going" (1982)

Jennifer Holliday

Power. This is perhaps how best to describe "And I Am Telling You I'm Not Going," a key song from the Broadway hit "Dreamgirls." The song earned Jennifer Holliday a Tony and a Grammy Award in 1982 for her absolutely inspiring performance, while Jennifer Hudson would also score a hit with her take on the film version in 2006. The tune is incredibly difficult for even the most seasoned singer to perform, as it never lets up for a second, demanding range, tone and, yes, POWER to give "And I Am Telling You I'm Not Going" the justice it deserves. Luckily, Holliday had all of these qualities and more, delivering the vocal performance of a lifetime.

#3: "Lovin' You" (1975)

Minnie Riperton

Minnie Riperton was the OG when it came to striking gold with this sort of approach, as evidenced by "Lovin' You" and its chart-topping success back in 1975. The song is backed by a sunny keyboard performance from Stevie Wonder, while Riperton sings a sweet ode to love and sex that hits the stratosphere when she hits those famous whistle notes. Fun fact: Minnie Riperton is actually Maya Rudolph's mother, and can be heard singing her daughter's name during the outro on unedited and album versions of the track.

#2: "I Will Always Love You" (1992)

Whitney Houston

We're not taking anything away from the absolutely killer original version of "I Will Always Love You," recorded by country legend Dolly Parton in 1973. For many, however, it's the arrangement Whitney Houston used for the 1992 film "The Bodyguard" that serves as the most well-known. Houston used Linda Ronstadt's 1975 cover as a basis for her version, yet she ultimately makes it her own, thanks to an incredible vocal performance. Houston's uncanny ability to balance vulnerability and power not only makes "I Will Always Love You" a stone cold classic, but it also served as a defining, pivotal moment of Houston's career as one of the great, all time singers.

#1: "Emotions" (1991)

Mariah Carey

It's not an exaggeration to describe Mariah Carey as one of the foremost vocal talents of her generation. Her prowess as a singer has been well-documented over a career that has spanned over thirty years, including such hits as "Vision of Love," "Honey" and "Hero." "Emotions" might be the ultimate Mariah Carey jam, however, one that showcases the singer's uncanny ability to reach glass-shattering high notes. The song is also a great example of the sort of light and breezy R&B that dominated charts in the ‘90s, yet is punctuated by Carey's charm and charisma. Meanwhile, her vocal histrionics steal the show from any pretender who might lay claim to her throne.

Can you nail any of these songs? Let us know in the comments!