(Welcome to The Disney Discourse, a recurring feature where Josh Spiegel discusses the latest in Disney news. He goes deep on everything from the animated classics to the theme parks to live-action franchises. In this edition: the first in a series ranking all 368 songs featured in Disney animated films.)

Let’s get the obvious out of the way: I am clearly insane. Why else would I feel compelled to rank every song from every animated feature from the Walt Disney Company? So yes, this list will feature songs from every Walt Disney Animation Studios film, from Snow White and the Seven Dwarfs to Moana; every Pixar Animation Studios film, from Toy Story to their latest release, Coco; and even films like The Nightmare Before Christmas as well as the company’s live-action/animation hybrids, such as Mary Poppins and Enchanted. That makes up 368 songs. 368. Songs. Like I said: I’m insane.

And yet: this was a wonderful and exhausting list to compile. I have no doubt that you will disagree with my rankings. How could you not? We all share such unique likes and dislikes that there’s no way we can all agree on the very best or very worst Disney song, let alone all of those in between. What I hope is that people read the list and don’t tear out their hair too much. So now, please: read the list. You know you want to. Part 2 and Part 3 of this list will arrive over the next two days.

Ah yes, the racist question that no one should ever ask, or have ever asked.

If this song wasn’t a bit catchier, it might be in last place. Just as unnecessary and racist!

“Savages” isn’t trying to be racist, but good intentions don’t improve the song’s wince-inducing lyrics.

In this song from the cloying Home on the Range, a Randy Quaid character yodels so…well (?) that he puts cows in a trance. This song really destroys the moo-vie’s momentum. (#sorrynotsorry)

Even the best child singer couldn’t stop this from being cloying and obnoxious.

At least this Pete’s Dragon song, about the backwoods hicks who want Pete for themselves, features pros like Helen Reddy and Shelley Winters. Unfortunately, it’s unmemorable and silly.

This Cars 2 duet between country singer Brad Paisley and British crooner Robbie Williams is the pits. The lyrics are a men-are-from-Mars-women-are-from-Venus thing, with America and the UK. Different countries have different traditions! Mind-blowing!

Jim Dale and Red Buttons, as two con artists trying to capture Elliott the dragon, are consummate pros, but this song is over-the-top, endless, and annoying.

This Pete’s Dragon song, also performed by Dale and Buttons, is a con artist’s sales pitch. See, Passamaquoddy is a hard name to say, a joke repeated over and over in the song.

Yes. Another song from Pete’s Dragon. In this opening number, the Gogans, led by Shelley Winters, force young Pete to stay with them. Not quite so happy of a home.

Rare is the actively obnoxious song in the Disney discography. “Scales and Arpeggios” takes the cake, gratingly mimicking the ascending and descending nature of musical scales being practiced by some precocious kittens.

In this brief song from Dumbo, roustabouts (and elephants) set up circus tents amidst a driving rainstorm. The song is both forgettable and kinda racist! (The roustabouts have very dark skin and are literally faceless. Yeah.)

“Wintry Winds” is not only brief, but it’s a choral number playing after Bambi’s mom is shot. It’s appropriately somber, but doesn’t stand out.

“Run That Race,” one of two originals from Cars 3, is a decent enough pop song by Dan Auerbach, but is a too-little-too-late attempt to revive the franchise’s style of down-home music.

This low-key country ballad from Brad Paisley is barely better than the film in which it appears, Cars 2. Just barely.

This song, performed by Gracie Potter over Tangled’s closing credits, is a fine pop number but doesn’t even fit the modernized spin on the Rapunzel fairy tale.

While Alice needs to acknowledge the lessons she’s learned in Alice in Wonderland, this song is fairly melodramatic without being cheeky.

While there’s at least one solid number in Meet the Robinsons, “Another Believer” is too twee and manic for its own good, much like the film itself.

“The Clown Song” can take comfort in the knowledge that it’s not the worst song in Dumbo. But it’s the most pointless.

“Behind the Clouds” is yet another Brad Paisley song, a simple and forgettable piece from the first Cars.

This song, meant to emphasize the friendship in Home on the Range, is as forgettable as the film’s other musical numbers. At least it’s not grating.

This song barely makes an appearance in The Sword in the Stone. Like the title song, it’s fitting with the film’s time period without being enjoyable.

The pop songs in Meet the Robinsons fit the theme. But “The Future Has Arrived,” while fitting the film’s theme, is as manic as its other songs.

Brother Bear is largely a very dull film, and the majority of the Phil Collins songs on its soundtrack bear that out. (Again, #sorrynotsorry)

Miley Cyrus, still in her Hannah Montana period, acquits herself well in this duet, but John Travolta’s singing drags the Bolt song down.

Nothing against this opener of Home on the Range from Alan Menken and Glenn Slater, but its jaunty presence doesn’t remove the poor film in which it appears.

This is one of two John Rzeznik songs in Treasure Planet, a weak, forgettable attempt to make Disney soundtracks “hip.

In line with the other new song from Cars 3, “Ride” is a mix of country and rock from ZZ Ward. It’s better than “Run That Race,” but fairly unremarkable.

“Find Yourself” speaks to Lightning McQueen’s journey of self-actualization in Cars, and is slightly better than Brad Paisley’s other song from the original. But not much better.

Jenny, the kindly girl who rescues Oliver, gets this extremely sappy, overly simplistic number in Oliver & Company. Skip it.

Each 1940s Disney package film kicks off with music, typically a title song performed by a chorus to set the mood. Most of them, like this, are forgettable.

Helen Reddy’s weak spot in Pete’s Dragon is “There’s Room for Everyone.” Its melodies are pleasant, in a carnival-esque style, but the song’s context in the truly annoying story is unavoidable.

Remember how Skrillex wrote a song for Wreck-It Ralph? “Bug Hunt” is…well, definitely a Skrillex song: loud, thumping, and repetitive.

Before the Cars movies dove wheel-first into country music, Home on the Range featured maudlin numbers like this, performed by Tim McGraw.

Jack Albertson was a wonderful performer, and he’s not bad in The Fox and the Hound. But this song, literally 30 seconds long, is as dull as they get.

This is just bad. It’s got a fun tune, but the lyrics and message are ridiculously dumb.

Mickey Rooney was once the biggest star—in the world! Rooney sells this song as hard as he can, but a silly, lifeless song is silly and lifeless no matter how hard you try.

This song, as the title suggests, is a commotion of rhythms and melodies. No thanks.

Phil Collins can be a great musician, but his work in Brother Bear isn’t solid proof. “Welcome” is easy-listening pablum, with groan-inducing lyrics to boot.

This should be tender, as Widow Tweed thinks back to fond times with her adopted fox, but the speak-singing style along with the premise — it’s…a fox — makes this rough.

Pearl Bailey takes center stage — the three genuine songs in The Fox and the Hound are all hers — but “Appreciate the Lady” is too slow to work.

Having a Pointer Sister sing this is fine, but Oliver and Company’s ’80s-pop sound does not hold up 30 years later.

Pearl Bailey sings the best song in The Fox and the Hound. Unfortunately, “Lack of Education” isn’t it.

“I’m Still Here,” sung by John Rzeznik of The Goo Goo Dolls, feels like one of his band’s songs, more so than a Disney ballad.

Remember this song? Sure you do! It’s at the end of Atlantis: The Lost Empire! Sung by Mya! It’s…pretty bland!