If you have ever tried to explain the difference between a coordinating conjunction and a subordinating conjunction to a nine-year-old and watched their eyes glaze over, then you need MC Grammar songs in your life immediately. Jacob Mitchell, the former UK primary school teacher who became one of the most imaginative educational rap artists working today, has quietly built a catalogue of tracks that genuinely stick. We are talking hooks that loop in your head on the school run, lyrics that pop up during spelling tests, and rhythms that make even the driest grammar rule feel like something worth celebrating. With over 15 million YouTube views and a World Book Day ambassadorship to his name, MC Grammar is not a novelty act. He is a movement. Here are 20 of his best songs, ranked, analysed, and appreciated with the full enthusiasm they deserve.
The Noun Song
If there is a single MC Grammar track that teachers reach for first, it tends to be The Noun Song. The production is warm and accessible, built on a mid-tempo hip-hop beat that gives Mitchell plenty of breathing room to pack in the facts. Common nouns, proper nouns, pronouns — he works through each category with the kind of clean, methodical lyricism that only someone who spent years in a classroom actually delivering this content could pull off. What makes it land so well on headphones is the tonal shift between the explanatory verses and the hook, which is pure repetition-based memory work disguised as something you would hum voluntarily. It is a masterclass in edutainment architecture.
The Adjective Song
The Adjective Song swings harder than you would expect for a track aimed at primary schoolers. Mitchell layers in vivid descriptive examples throughout the verses, not just telling kids what adjectives do but modelling exactly how they transform sentences in real time. The production here has a slightly brighter, more playful feel — there is a bounce to the beat that matches the inherent liveliness of the subject matter. What is genuinely impressive from a songwriting standpoint is how he keeps the examples fresh rather than recycling the same tired classroom staples. If you are exploring more great educational and genre-bending songs, this track is a fine place to see how music and learning can genuinely merge without either suffering.
The Verb Song
Action words deserve an action-oriented track, and The Verb Song absolutely delivers on that premise. The flow is noticeably more energetic here, mirroring the kinetic quality of the subject itself. The track covers not just action verbs but also linking verbs, giving it more depth than a surface-level overview — which matters enormously when you are trying to prepare kids for genuine written assessments. The bridge section in particular is where the song earns its place on this list, compressing a surprisingly nuanced grammar point into a few bars that any child can replay mentally when they are mid-essay and second-guessing themselves.
The Adverb Song
There is something quietly brilliant about The Adverb Song construction. Mitchell understands that adverbs are one of those grammar concepts kids perpetually muddle, so he approaches the track with unusual precision — the lyrics zero in on how adverbs modify verbs rather than just listing examples and hoping for the best. The sonic palette here is smooth and unhurried, which actually creates an interesting contrast with the sharp, punchy delivery of the key definitions. Played through a decent pair of speakers or a well-chosen set of headphones, you notice how carefully the mix is balanced to keep the diction front and centre where clarity matters most.
The FANBOYS Song
Ask any teacher who regularly uses MC Grammar catalogue which song they hear kids singing in corridors, and The FANBOYS Song will come up almost universally. The mnemonic — For, And, Nor, But, Or, Yet, So — is embedded into a fast-moving, bouncy rhythm that makes forgetting the seven coordinating conjunctions practically impossible after just a couple of listens. The production is genuinely fun, with a percussive drive that keeps energy levels high from the first bar to the last. Mitchell has talked about how the SPaG paper demands this kind of sticky knowledge, and this track exemplifies how he meets that challenge: not by drilling facts grimly but by making the recall process feel like reward in itself.
The Subordinating Conjunction Song
Subordinating conjunctions are the kind of topic that can genuinely make lesson planning feel like an uphill battle. MC Grammar takes a mnemonic-driven approach here, building the track around an easy-to-remember device for recalling subordinating conjunctions that kids can deploy when constructing complex sentences. The arrangement is more intricate than some of his earlier tracks, with the call-and-response structure of the verses doing real pedagogical heavy lifting. What is particularly noteworthy is that Mitchell does not shy away from the terminology — he uses words like subordinate clause and dependent clause fully and correctly, trusting his young audience to rise to the language rather than watering it down.
The Apostrophe Song
Apostrophe errors are arguably the most stubborn writing habit to break in young learners, which makes The Apostrophe Song feel almost essential. Mitchell takes on both possession and omission in a single track without it ever feeling rushed or overcrowded — the verse structure naturally separates the two concepts before the hook brings them together under the broader punctuation umbrella. The tone is confident rather than cautious, which is exactly right for this kind of content. When a child hears someone rap apostrophe rules with this much conviction, it carries an authority that a worksheet simply cannot replicate.
The Inverted Commas Song
Direct versus indirect speech is a concept that trips up even older writers, so the fact that The Inverted Commas Song makes it approachable for primary-aged children is genuinely impressive. Mitchell structures the track so that listeners first understand the conceptual difference between the two, then gets into the practical mechanics of punctuating dialogue — the capital letters, the placement of commas, the closing conventions. The rap delivery here has a theatrical quality that suits the subject matter; after all, inverted commas are literally about giving voice to someone else, and you can hear that performative energy baked into every bar of the track.
The Sentences Type Song
Exclamatory sentences. Questions. Statements. Commands. The Sentences Type Song cycles through all four types with a structural elegance that mirrors the tidiness of the grammar itself. Each sentence type gets its own lyrical moment before the hook synthesises them, and the vocal performance shifts register subtly between sections in a way that models the different purposes these sentence types serve. It is the kind of detail that separates a good educational song from an exceptional one. For anyone exploring these tracks through a good audio setup, check out earbuds that handle vocal-forward mixes particularly well, since the precision of the diction is the star of the show here.
The Conjunction Song
Before you get deep into FANBOYS or subordinating conjunctions, The Conjunction Song provides a wider panoramic view of how connective words function in English. Think of it as the establishing shot before the close-ups. The production is welcoming and accessible, with a tempo that allows Mitchell to lay down concepts at a learner-friendly pace. It functions brilliantly as a gateway track — introduce this one first, let the hook settle, and then the more specific conjunction songs land with so much more context behind them. As a piece of curriculum design embedded in song form, it shows a deep understanding of how learning sequences actually need to work.
The Pronoun Song
Personal pronouns, possessive pronouns, relative pronouns — The Pronoun Song is more ambitious than its friendly, upbeat production initially suggests. Mitchell works through multiple pronoun categories without the track ever feeling like a list being read aloud, which is the great trap that lesser educational music falls into. The lyrical examples are well-chosen and feel natural rather than constructed purely for the sake of fitting the metre, which is surprisingly rare. There is a genuine warmth to this track that makes it one of the more replayable entries in the catalogue even outside a direct teaching context.
The Determiners Song
Determiners are a relatively advanced primary grammar topic, and the fact that MC Grammar manages to cover quantifiers, demonstratives, articles, and possessives in a single song without it collapsing under its own weight is a real accomplishment. The track has a snappy, upbeat energy that works against the tendency for this subject to feel like pure memorisation. The choice to use real-world example sentences throughout the verses rather than abstract definitions keeps the content grounded and relatable. As a standalone track it is punchy; as part of a sequence alongside The Noun Song and The Adjective Song, it completes a trio that covers the core building blocks of a sentence with real coherence.
The Preposition Song
Under, over, behind, beside — prepositions are fundamentally about spatial and relational awareness, and The Preposition Song production reflects that with a flow that feels almost directional. Mitchell builds the lyrical content around concrete visual imagery, which is exactly the right approach for a concept that is easier to show than to define abstractly. The hook deploys repetition effectively, giving listeners a rhythmic anchor that makes word recognition automatic after just a few plays. In a classroom setting, this one pairs beautifully with physical activity — kids naturally want to move when it comes on, which reinforces the spatial awareness the content is actually teaching.
The Comma for Lists Song
Comma usage is one of those skills that writers at every level continue to refine, and The Comma for Lists Song tackles the most foundational application with admirable focus. Rather than trying to cover every possible comma use case, Mitchell keeps the scope deliberately narrow — this is specifically about lists, and everything in the production and lyrical structure serves that single clear objective. The result is a track with unusual coherence and a hook that functions almost like a rule statement you would write in a notebook, except infinitely more repeatable. It stands as one of the tightest, most purposeful pieces of songwriting in the entire MC Grammar catalogue.
The Metaphor Song
The Metaphor Song marks a shift in MC Grammar catalogue toward literary devices and creative writing, and it arrives with a noticeably elevated artistic energy. Mitchell clearly relishes the subject matter — you can hear it in the delivery, which becomes more expressive and playful as the track builds. The examples used throughout the song are genuinely good metaphors in their own right, not just illustrations of the concept but demonstrations of why figurative language matters in the first place. It is one of the more musically satisfying tracks in the collection, with a melody that lingers in a way that feels entirely appropriate for a song about the power of evocative comparison.
The Idiom Song
Idioms present a unique teaching challenge because their meaning is by definition disconnected from their literal words, and The Idiom Song takes that challenge head-on with a sense of humour that makes the track genuinely fun to listen to even without a classroom context. Mitchell leans into the inherent comedy of idioms and uses that comic energy as a hook for both engagement and recall. The production here has a looser, more playful feel than some of the more strictly grammatical tracks, which suits the creative, lateral-thinking nature of the subject beautifully. It is one of those songs that makes you appreciate just how strange and rich the English language actually is.
The Volcano Song
When MC Grammar expanded beyond grammar and literacy into science topics, The Volcano Song was one of the standout results. The production leans into drama in a way that serves the content — there is a build to the track that mimics geological pressure accumulating before release, which is either a very deliberate structural choice or a happy coincidence either way. The lyrical approach to science content is refreshingly direct: processes are named correctly, proper terminology is used throughout, and young listeners are trusted to absorb the vocabulary through repetition and context. For teachers looking at cross-curricular applications, this track is proof that the MC Grammar formula translates powerfully beyond the English classroom.
The Dinosaur Song
The Dinosaur Song goes hard. There is simply no other way to put it. The energy from the opening bar is enormous, and Mitchell matches it with a delivery that has more intensity than almost anything else in his catalogue. The palaeontological detail is solid — species are named correctly, characteristics are represented accurately, and the overall picture of prehistoric life is far more substantive than a novelty kids song would normally attempt. It is the kind of track that makes you wonder why more science content is not delivered this way: with genuine enthusiasm, rhythmic momentum, and a deep respect for the intelligence of its audience.
The Brain Song
The Brain Song takes on one of the most complex subjects in the MC Grammar science catalogue and handles it with real care. Mitchell structures the track to move from broad overview to specific function, giving listeners a sense of the brain architecture before getting into what different regions actually do. The production is notably thoughtful here — the mix is cleaner and slightly more measured than the more frenetic science tracks, which somehow feels appropriate for a song about the organ responsible for all that processing. It is a track that rewards multiple listens, with details that register more clearly each time through as the overall framework becomes familiar.
The Save The Planet Song
Closing this list with The Save The Planet Song feels right, because it is one of the tracks where MC Grammar steps furthest beyond pure curriculum delivery into something that feels like genuine artistic statement. The environmental message is urgent without being preachy, empowering without being naive, and the production reflects that balance — it is anthemic but not bombastic. Mitchell has always said that music can change lives the way it changed his, and The Save The Planet Song feels like the fullest expression of that belief. It is a track that works as a classroom discussion starter, as a singalong at a school assembly, and simply as a piece of music worth having in your ears on any given day.
Frequently Asked Questions
Who is MC Grammar?
MC Grammar is Jacob Mitchell, a former UK primary school teacher who began creating educational rap music in his classroom to help students prepare for the SPaG assessment. He launched his YouTube channel mcgrammartv in 2020 and has since accumulated over 15 million views. In 2021, he was appointed as an Ambassador for World Book Day and wrote the official song encouraging children to read.
What age group is MC Grammar music designed for?
MC Grammar songs are primarily designed for primary school children aged 5 to 11, covering curriculum topics in English literacy, grammar, punctuation, and broader science subjects. That said, the clear explanations and infectious hooks make them genuinely useful for any learner needing a fun, memorable revision tool regardless of age.
Where can I listen to MC Grammar songs?
The full MC Grammar catalogue is available on YouTube through his channel mcgrammartv, where many songs come with dedicated lesson video formats. His music is also available on Spotify, and more information, upcoming events, and resources can be found at his official website mrmcgrammar.com.
Does MC Grammar cover topics beyond grammar?
Yes — while grammar and punctuation are his signature territory, MC Grammar has expanded significantly into science and general knowledge topics. The Volcano Song, The Dinosaur Song, The Brain Song, The Moon Song, The Speed Song, and The Digestion Song all demonstrate his ability to apply the same educational rap formula to STEM subjects with equally impressive results.
Is MC Grammar music available for classroom use?
Absolutely. Teachers across the UK and beyond use MC Grammar videos as lesson starters, revision tools, and creative sub plans. Many of his YouTube uploads include dedicated lesson combo formats with lyric breakdowns designed specifically for classroom display, making them easy to integrate into SPaG lessons, literacy sessions, and cross-curricular science activities.