ALL Cage the Elephant Songs RANKED
If you would like to see my top 10 songs, watch this video on my YouTube channel.
Cage the Elephant has come a long way in the past two decades. But despite the trials that singer Matt Shultz has gone through, there is no doubt that the music has pursued in quality. So today, I’m going to be ranking every Cage the Elephant song from their self-titled debut to Social Cues, of course not taking into account any of the Unpeeled variants or any covers. B-sides, however, are fair game this time.
61. Indy Kidz (Thank You, Happy Birthday)
You probably saw this one coming. The only thing that gave this song justice is 1) the fact that it was probably a joke, and 2) the recording of the song from the Live at the Vic album made the song listenable. That’s probably not a word, but “Indy Kidz” probably can’t count as a song, either.
60. That’s Right (Tell Me I’m Pretty)
I wouldn’t call this song absolutely terrible, but after the first verse, it’s just annoying. There’s not a lot going for it, and Shultz even sounds lazy while he’s singing it.
59. What I’m Becoming (Social Cues)
By far the WORST song on Social Cues. There are times that I want to enjoy this song, but it’s just so dull. It doesn’t add anything to the album or the “serial killer” character that Matt takes up on the album. It’s a filler song meant to take up another slot on the album.
58. Night Running (Social Cues)
“Night Running” is the perfect (and first) example of how disappointing Social Cues was at the time of its promotion and release. Following the first two singles, “Ready to Let Go” and “House of Glass,” we got this track featuring Beck. I wasn’t too hyped for the band’s last feature with Alison Mosshart, “It’s Just Forever,” so there was no reason for me to get excited about “Night Running.” This song is most definitely not a Cage the Elephant song. The vibe of it screams Beck in every sense of the word. It makes me laugh thinking about the complaints about the previous album being a Black Keys album whenever this song comes on. At least “Mess Around” was a decent song. “Night Running” is just a watered-down stadium hit to trade fans with Beck’s audience.
57. Sell Yourself (Thank You, Happy Birthday)
Don’t you go hating on Thank You, Happy Birthday. This album defined the sound of Cage (or at least what Cage used to be), and while most of its tracks aren’t as great as those of Melophobia, it stands as a favorite in my book. “Sell Yourself” always stood out as the oddball to me, but seeing as how similar it is to the energy from “In One Ear,” probably the most popular song by the band besides “Ain’t No Rest for the Wicked,” I’m surprised that no one ever talks about it. I don’t hold ill-will towards it, but I had to give in and put it further down the list.
56. It’s Just Forever (Melophobia)
I’ve already mentioned my dislike of this song, mainly for the same reasons as “Night Running”: it just doesn’t feel like it was meant for a Cage the Elephant album. Considering tracks like “Black Widow,” it somewhat makes sense, but the straightforward concepts in the lyrics make me wonder if these two trcks were written to appease a double audience from both of the contributing artists, leaving it watered-down and with little to be desired.
55. Portuguese Knife Fight (Tell Me I’m Pretty)
This song starts off so good with the old-time style guitar and keeps up a strong guitar riff for the entire song. Matt’s vocals are sexy like the song suggests, but it doesn’t sit well with me as a favorite.
54. Tiny Little Robots (Cage the Elephant)
This song carries the ideas and tone of the first album from Cage, but it is not a good representation of of the band as a whole, making it not only inferior to the rest of the album, but also forgettable in the light of the rest of the band’s discography.
53. Mess Around (Tell Me I’m Pretty)
Sure, this song may be heavily influenced by Dan Auerbach, but that doesn’t mean I’m not going to sing the chorus as loud as I can when it comes on. It may be one of the worst Cage the Elephant songs, but that doesn’t stop me from loving it whenever it turns on!
52. Halo (Melophobia)
This song fits onto the Melophobia album and is somewhat enjoyable, but it is the worst track by how memorable it is, its lyrical content that doesn’t add anything to the album’s progression, and the basic composition. Melophobia may be the best Cage album, but “Halo” is nothing special.
51. Sabertooth Tiger (Thank You, Happy Birthday)
I’ve tried so hard to like this song in the time that I’ve known about it. Similar to “Indy Kidz,” it is an amazing song to hear live, but the lyrics don’t have enough protein to keep me interested for very long.
50. Trouble (Tell Me I’m Pretty)
I love this song…! But only its Unpeeled version. I don’t find the song terrible, I just never really vibed with it. The tinkling keyboard seems out of place, and I’ve never loved Matt’s falsetto voice. The lyrics aren’t anything special until the very end, and while I don’t hate it at all, I certainly don’t love it.
49. Hypocrite (Melophobia)
Similar to “Halo,” this song doesn’t offer a lot to the mood of Melophobia. Though I am a fan of the song, the melody is pretty stagnant except for a brief deviation with the lyrics, “Crash collide into space.”
48. Punchin’ Bag (Tell Me I’m Pretty)
This is an easy one to love. A little too easy. This was the first song I ever played on repeat when I first heard Cage the Elephant back in 2017, and it veeeery quickly got old. I’m the kind of person that can listen to a song on an endless loop without getting irritated (hence why I thought a critic would be a good idea to pursue as a career), but this is one of those songs that I haven’t been able to enjoy since, even after an extended break from it and a re-imagined version on Unpeeled. Every once in a while, I’ll think back to the lyrics and my favorite, “Afraid of nothin’ and she carries a knife,” and have a good nostalgic trip, but I can’t stand listening to the entirety of it. If anything, the Unpeeled version made the song even worse, and was easily the worst acoustic song to include on that record. The high-pitched vocals don’t sit well with me, and it’s the worst song I’ve ever heard from a live recording.
47. Free Love (Cage the Elephant)
This song doesn’t have a lot going for it. I don’t like the message for one, and the music itself is bland.
46. Monkey Disease (Back Against the Wall)
I can barely remember “Monkey Disease” as it is, except that it was a forerunner to the sound of the band’s sophomore album, Thank You, Happy Birthday. It’s enjoyable, but otherwise forgettable, and there are better songs to dicuss with screaming vocals in the spotlight.
45. Rubber Ball (Thank You, Happy Birthday)
“Rubber Ball” is just flat-out boring. The Unpeeled version of the song gave it a bit more taste, but by itself, there are just so many more interesting ballads in the bands’ discography.
44. Black Madonna (Social Cues)
I can’t deny how enjoyable and catchy this song’s chorus is. But the versesfalls short of the standard set by the rest of the album, Social Cues. The lyrics feel cramped and somewhat out-of-place, and the low notes don’t appeal to me, either.
43. 2024 (Thank You, Happy Birthday)
I like this song, but it also happens to be the worst vocal performance Shultz has released on a studio album that wasn’t on purpose (or at least shouldn’t have been).
42. House of Glass (Social Cues)
This song has grown on me considerably since it first came out as Social Cues’ second single. It brings us back to the good old days of Thank You, Happy Birthday or “Teeth.” But it’s too reminiscent of a rap song for my liking.
41. Japanese Buffalo (Thank You, Happy Birthday)
Just try to convince me that this song is garbage. Go on, I dare you. It may be similar to Indy Kidz in its ranting, jumbled style, but to me, it is the very epitome of what Thank You, Happy Birthday was intended to be. It may seem like there is no purpose or reason to it, but at least it followed some sort of melody. It switches from a slow, psychedelic style, to chaotic and then back to a slow, drawn-out rhythm. And I love it.
40. Tokyo Smoke (Social Cues)
I dig this song, but it is inconsistent in its progression from start to finish. I love the ending, but it is a far-cry from the stuck-up, seductive vibes at the beginning of the song. The chorus kicks up and acts as a stepping stone to the final bit, but the verses are left far behind in the trail.
39. Aberdeen (Thank You, Happy Birthday)
And here we have the first song I know a lot of you will be screaming in rage at me over. Similar to “Trouble,” I just never vibed with the song. It’s short, the melody isn’t anything special, and it’s not something I find myself singing too all the time.
38. Back Stabbin’ Betty (Cage the Elephant)
I don’t personally listen to this song because I am not a fan of the language. But with the story that is painted, I must admit it makes sense why it was written that way.
37. Cover Me Again (Cage the Elephant)
“Cover Me Again” is a sweet little ballad (and the first we see by the band), but the melody is repetitive. It’s kind of like “We’re Going to Be Friends” by The White Stripes, but less memorable. Not to mention, it’s a B-side.
36. How Are You True (Tell Me I’m Pretty)
This song is by far the sweetest song off the band’s previous album, and the message meant to reach a friend makes it even more special. I love the melody, but I feel that the Unpeeled version was way better and would have been set higher on the list if I was counting it.
35. Dance Dance (Social Cues)
This song is groovy and introduces its ideas effectively, but its chorus feels like a fragment sentence: there seems to be more that is needed to be said, but is cut off before it can get to the point. But Matt’s sustained notes in the verses make them irresistable, pushing your body backwards or to the side as it glides with the melody.
34. James Brown (Cage the Elephant)
This song is really similar to “Judas,” “Drones in the Valley,” and a few other songs off Cage the Elephant, and for ths reason, it ends up standing in the shadows of the other great songs on the record.
33. Black Widow (Melophobia)
There isn’t a Cage song I can compare with “Black Widow.” It is sexy, aggressive, and has effective symbolism and imagery. Matt’s falsetto vocals increase the feeling of attraction and captivation. An overall solid track, but not quite worthy of a high honor.
32. Flow (Thank You, Happy Birthday)
Fun fact: this was the first Cage the Elephant song I ever heard. It didn’t hook me then, and it doesn’t still. But I still enjoy the nostalgia. It’s a good song with its breezy melodies and steady guitar riff.
31. Goodbye (Social Cues)
The closing track of Social Cues, and rightfully so, “Goodbye” may not be the most exciting song in the band’s discography, but it made this spot on the list because of how well it served its purpose as the conclusion to the serial killer’s perspective showcased on the album.
30. Around My Head (Thank You, Happy Birthday)
I dig this song more than I probably should. I love Cage for how weird their style is — they’re unpredictable, eccentric, and they make ideas and sounds that seem like a terrible idea on paper, but turn out well when put into action. “Around My Head” is a perfect example of this, with Shultz screaming strange sounds of onomatopoeia around the mic throughout the song. He stutters his words, sustains syllables, and slurs his notes to make a messy song that you can’t help but love him for. It gives us everything we love about our favorite lead vocalist and you can’t hate on the personality that “Around My Head” exemplifies.
29. Take it or Leave It (Melophobia)
Another example of a song I wanted to put higher because of its Unpeeled variant. But this is the first example of songs in this category that I still enjoy the studio version of. Like its music video suggests, it has that same vintage vibe that Melophobia so brilliantly captures combined with a successful attempt at falsetto vocals from Shultz that remind me a bit of John Lennon’s cover of “Twist and Shout.” His voice is scratchy, and it is obvious he is out of his comfortable range, but in the context of the song, it fits the theme of an unsuccessful relationship perfectly.
28. In One Ear (Cage the Elephant)
I personally don’t like this song much. The idea is so typical, and the song really isn’t anything brilliant. But even I have to admit how catchy it is. Despite my opinion on the chorus, the verse is pretty good.
27. Soil to the Sun (Cage the Elephant)
This used to be one of my favorite songs, but over the years, it has gotten old after replaying it so much. But there is no denying how great the beat, the vocals, and the lyrics are. Don’t even deny it — the chorus is AMAZING. Easily the most underrated song by the band, but I must admit that there are so many other better ones.
26. Sweetie Little Jean (Tell Me I’m Pretty)
A heart-breaking story of a girl from the Shultz brothers’ childhood who was found dead after she was kidnapped. I like to imagine this girl as the woman featured on the album cover. The lyrics are heart-breaking and gut-wrenching, especially “How does it feel to be a ghost?” in the second verse.
25. Carry Me In (Thank You, Happy Birthday)
I would have put this one higher on the list, but after we have the addictive melody, we get to a long musical break of the same few chords played until the end. It doesn’t progress anywhere after that, and while I am always playing this song on a loop, I have never had the patience to hear it the whole way through. If this and the other Thank You, Happy Birthday songs had made the album, their sophomore release probably would have been more cherished by the media.
24. Doctor Doctor Doctor Help Me Help Me Help Me (Thank You, Happy Birthday)
A B-side housing the same energy as the tracks that made it onto the second album, but with effective melodies and lyrics as opposed to the nonsense that was “Indy Kidz” or “Sabertooth Tiger.” I would even go so far as to call it a favorite if it weren’t for the songs later in this list.
23. Always Something (Thank You, Happy Birthday)
The perfect evidence for the greatness and purity of the band’s sophomore studio release, “Always Something” literally starts off with a scream and a chord progression not unlike that from a Halloween production; high-pitched, in the background, almost making the hairs on your arms tingle. The chorus draws every last inch of breath out of you before slithering like a snake at the lyrics, “There’s always something waiting for you.” Easily one of the best songs on the record.
22. Right Before My Eyes (Thank You, Happy Birthday)
This is a classic hit from Cgae the Elephant and one of the less experimental tracks off their sophomore record. The lyrics of the song make a big impact on the listener with lines like “Hold our dirty hands over the flame/Getting pleasure from the pain/Softly screaming the pistol that you’ve raised has spoken.” But the music doesn’t have much going for it that we can’t hear elsewhere. if anything, the Unpeeled variant and the hidden track, “Timber Me Shivers,” do the song more justice than the original.
21. Love’s the Only Way (Social Cues)
This song is very reminiscent of the philosophy of John Lennon, which I believe contributes a lot towards its fan and critical praise. I can just picture Matt ascending up the stairs towards the top of a tall hotel building, towards a more divine perspective as the melody steps up by semitones as he sings, I can feel the warmth it brings/I can’t help but stop and think.” Maybe if “Flow” was released when the band was more well-known, it might have been held in a similar light. “Love’s the Only Way” offers a more peaceful, pessimistic solution to life’s problems as opposed to the tone of their first album.
20. Drones in the Valley (Cage the Elephant)
Compared with other songs from Cage the Elephant, this song is often left in the dust. We don’t get a lot of cynical songs anymore from the band, and “Drones in the Valley” is one of the better examples of that pessimistic tone with a desire for change or reform.
19. Broken Boy (Social Cues)
This song has a groove to it that is fast and heavy, and the lyrics are brittle, as if the song is about to fall apart or go terribly wrong at the singer’s command. Nothing else to say except that it made arguably the greatest opener to the band’s latest studio album. It sets the backstory and motivation of the character Matt is portraying himself as on the record, like setting the stage for a grand production.
18. Lotus (Cage the Elephant)
Who doesn’t love the cowbell in this song? This song isn’t talked about enough. It makes you shake, and the message can be compared to other great songs like “Soil to the Sun.”
17. Spiderhead (Melophobia)
Another Cage the Elephant classic, “Spiderhead” is one of the trippiest tracks from their third album both lyrically and with its heavy guitar riffs. I can see Matt’s neck stretch back as he yells out, “Say you wanted to” in the verses. The song is mostly static in its progression, though, hence why it didn’t make it to the top of the list, similar to “Doctor Doctor Doctor Help Me Help Me Help Me.”
16. Judas (Cage the Elephant)
Another severely underrated track, “Judas” is without a doubt the most cynical song on the record, except for of course “Back Stabbin’ Betty.”
15. Come a Little Closer (Melophobia)
The lyrics are one thing in this song, especially with the bridge and the expressive chorus, but the best quality of this song is hands down the bass guitar lick. I don’t know if I even need to back up my argument; this is the most prominent example of a bass feature (with the exception of Mess Around), and it was the first major feature of bass player Daniel Tichenor, who made his debut with this outstanding performance.
14. Too Late to Say Goodbye (Tell I’m Pretty)
The most redeeming quality of Tell Me I’m Pretty was Matt’s new inspiration to tell a story in his lyrics, and there is no better example than that of “Too Late to Say Goodbye.” The symbols of ashes in the wind and the mesmerizing beauty to the dancing flames make “Too Late to Say Goodbye” one of the most beautifully composed songs in the band’s discography.
13. Social Cues (Social Cues)
This song has warmed up to me a lot as the title track of its album. The music video is trippy, but sits nicely with the low tones of the verses. I am constantly finding myself with the chorus stuck in my head, often humming aloud without even realizing it.
12. Back Against the Wall (Cage the Elephant)
The catchy first hit single from the band, “Back Against the Wall” has a likeable groove that perseveres throughout the song. It diesn’t have anything wrong with it, but it doesn’t quite live up to be a favorite.
11. Cry Baby (Tell Me I’m Pretty)
Often praised for how relatable it is and the references to old-style tunes of the 20th century, “Cry Baby” has been a fan favorite since it first dropped in 2015. For me, I’ve heard the tune so many times over, and it hasn’t aged well on me. I prefer to hear it live than recorded, similar to most of the other tracks from the same record.
10. Teeth (Melophobia)
Now “This song is about L-O-V-E love. Hit it Jared!” You can’t hate the supercharged energy of this song, and it is always a favorite with fans as the closing song for most of their concerts.
9. Cold Cold Cold (Tell Me I’m Pretty)
I was tempted, but could not bare to leave this song out of the top 10. It was the most popular song off of Tell Me I’m Pretty, and it is thanks to it that Cage won the Grammy for Best Rock Album in 2017. It is relatable, deep, and is characterized by styles and influences harboring from the 60s, similar to Cry Baby.
8. The War is Over (Social Cues)
There is a part of me that can’t tell whether this song is supposed to be positive or negative. But I guess if the war has ended, Matt has been able to stop fighting against his heart. It is special in the light of the rest of the songs on Social Cues, and the melody in the chorus is interesting.
7. Skin and Bones (Social Cues)
There is part of me that hurts to place “The War is Over” behind “Skin and Bones,” but the final deciding factor in my choice was based mostly on how much I find myself coming back to the latter track. The music is addicting, and I can’t listen to this song without singing aloud. “Close my eyes/Fight to carry on,” among others from the same track, make up some of my favorite lines on the record.
6. Telescope (Melophobia)
If you don’t like this song even a little bit, there is no light left in your soul. The keyboard is charming and whimsical, and the song causes you to reflect on your own course of actions in life along with Matt. The shouted bridge may not alter in tone, but it is the consistency that makes the lyrics even more powerful, ringing in your ears and settling there for a while.
5. Ready to Let Go (Social Cues)
The first single off the band’s newest album, “Ready to Let Go” was the public’s first look into the band’s new, darker sound that surfaced as a result of Matt’s recent struggle with the divorce from his ex-wife, Juliette. Ironic; you would think it would be the conclusion. Nevertheless, the song revists all of the anger and dysphoria leading up to the split. In a way, it is the perfect, yet unhappy ending to the story told in “Cigarette Daydreams,” while still bravely giving it up with the best line: “I’m ready/I’m ready to let go.”
4. Shake Me Down (Thank You, Happy Birthday)
The song that ranks at number two on my list of favorite lyrics of all-time, “Shake Me Down” is a song often interpreted to be a song inspired by Matt’s struggle with drug addiction. That may be true, but considering the track’s music video, it may also simply be a story of grief and the acceptance of death. Whatever the intention, “Shake Me Down” was my favorite Cage song for the longest time, as it was the first song that instantly hooked me to their music. The song, though with a major focus on depressing topics, has some of the most optimistic, self-empowering undertones that have gotten me through the hardest of days. So “even on a cloudy day,” this song will always stand in the top 10.
3. Baby Blue (Melophobia)
I love the lyrics, I love the vocals, I can’t get enough of the melody, and I don’t understand how Hypocrite and Halo got onto the album while this one didn’t! I would argue that Melophobia is a concept album; most of the songs allude to the similar themes of depression and lack of control, and “Baby Blue” is no exception, even displaying lyrical similarities with existing track “Spiderhead.” The vocals are slightly disconnected, and the echoes of “Why’re you running away?” leave a somewhat dissonant connection from reality, further carried out with the accidentals in the bridge. Lastly, I’m just a sucker for songs that end with the beginning of the first verse.
2. Ain’t No Rest for the Wicked (Cage the Elephant)
You might have seen this one coming, but there isn’t a Cage the Elephant alive that can downplay the brilliance of the band’s breakout hit. The battling guitars are addicting, and Matt’s voice yells out kin a manner almost comparable to John Lennon’s stellar performance on “Twist and Shout” from The Beatles’ first album. It is a timeless masterpiece unlike anything else we have seen from the band since their debut album, and with the new perspective taken on their most recent, Social Cues, it is a diamond that we are unlikely to witness again. The truth hits hard, as does this song’s gritty vibes and pessimistic composition.
1. Cigarette Daydreams (Melophobia)
A story of longing, a story of love, and at last a story of the past. While I have never been married or part of a relationship, this song is special to me mainly for nostalgic reasons. Rain is a prominent symbol in this song, and well chosen, as it mimics the mood of a damp, cloudy forecast, but it can also be as the heavens crying with the speaker for the girl in the song. The guitar plays most of the song with a series of eighth notes all played with downstrums. Audibly and visually, the rain, the stress, and the mourning is pouring down, steady as the guitar or the beat of your heart, with other less prominent instruments in the background, settling the scene of a lonely late night drive in the rain. The detailed observations the speaker is describing of the girl, the repetition of the idea of “Looking for the answer,” the plea to “Find a reason to stay” even while your life is raining around you, it all makes this song beautiful in a special way, as well as securing its spot as one of my favorite songs of all-time.
Watch my top 10 list on YouTube:
