What's Going On
Party chatter, a sax that sighs, and Gaye asking the question Motown begged him not to ask.
Party chatter, a sax that sighs, and Gaye asking the question Motown begged him not to ask.

Garfunkel's voice climbing a gospel staircase, the last verse arriving like the cavalry.

Barry Gibb's falsetto over a drum loop so metronomic that paramedics still use it to time chest compressions.
Months of wall-of-sound overdubs poured into one getaway car, and every word still sounds like escape.
Eight minutes that climb from recorders to Page's solo, never released as a single and never needing to be.
Moroder's pulsing synth track, Summer floating above it, and the record Eno reportedly called the sound of the future.
Dolly pleading with her rival rather than fighting her, written the same day as "I Will Always Love You."

Strummer borrowing the BBC's wartime call sign to announce the end of the world, and sounding thrilled about it.

Six minutes with no chorus and so many vocal overdubs the tape wore transparent. Still nothing else like it.

Wonder wrote that clavinet riff for Jeff Beck, heard it back, and sensibly kept it for himself.

Seventeen and gliding across the floor, the rare disco record that sounds like joy and ache at once.
Recorded beside the Berlin Wall, Fripp's feedback howling while Bowie sings himself hoarse over a single defiant day.

Big Bank Hank auditioned outside the pizzeria where he worked, rapping lines borrowed from Grandmaster Caz's notebook.

That opening arpeggio is a Lowrey organ's marimba repeat function; Dave Arbus's violin sends the ending careening.
Nicks wrote it in a black velvet studio room at Sausalito's Record Plant; it remains the band's only US number one.

McCartney dreamed of his mother Mary telling him it would be all right; Harrison cut two different solos.

A tranquilizer shot before a 1977 Philadelphia show gave Waters the lyric; Gilmour brought the chords and the solo.

Marley credited it to Tata Ford, whose Trenchtown soup kitchen the royalties kept running; the title means woman, don't cry.
Felder demoed it on a four-track in Malibu, and his Les Paul duels Walsh's Telecaster through the outro.

Clapton wanted his friend's wife; Duane Allman's slide answers every line, then Jim Gordon's piano coda changes everything.