
Auld Lang Syne
Burns said he took the song down from an old man; Stanley's 1910 disc is probably the first commercial recording.

Burns said he took the song down from an old man; Stanley's 1910 disc is probably the first commercial recording.

Critics heard the Kinks' Lola in the strum, and a Dancing on Ice slot lifted it to number fourteen.

Fink wrote the whole album around his split with Laura Marling; this became its first single, and its way out.

Cecil Sharp collected it in Appalachia in 1916; Seeger's arrangement and Terry Gilkyson's voice sold a million.

Ben Keith produced Pieces of You partly at Neil Young's ranch, and radio flipped this B-side into the hit.

Ten winter days in a Block Island basement, a pump organ, and a hush Emmylou Harris later covered.

Fogelberg wrote it for his father Lawrence, a working bandleader who lived to hear it and talk about it.

Cut in a converted basement on Block Island, sung in falsetto with the drums stripped out; the Mayflower never sounded lonelier.

Laura Marling's ukulele and Charlie Fink's deadpan flopped in 2007; a 2008 re-release carried the sunshine to number seven.

Eight years of songs Welch and Rawlings never liked enough to release, then this litany of friends gone.
Beam swapped his home four-track for Brian Deck's Chicago studio, and sang two lovers weighing which of them dies first.

Markus Dravs produced Babel; the video was shot at Red Rocks, banjo running flat out under a vow.

Lead Belly died months before Gordon Jenkins's orchestra carried his waltz to thirteen weeks atop the American charts.

Voice, guitar and strings went down together at Sound Techniques, Robert Kirby scoring the sound of coming up short.

John Cale's viola and harpsichord circle Drake's plea for a second chance, and Wes Anderson later borrowed it.

A 1964 Everly Brothers single, rebuilt by T Bone Burnett into swampy menace, won a Grammy.

Mike Mogis produced it; the Söderberg sisters name Gram and Emmylou, June and Johnny, and sing harmony like devotion.

One week of writing after a nine-year relationship ended, and Godrich kept the arrangement to acoustic guitar and brushes.
Homesick for his brother Sean, Pecknold buried the vocals in reverb and block harmony that swells like Sacred Harp singing.
Beam slowed Gibbard's synth-pop into hushed acoustic guitar for a Sub Pop B-side, then Garden State put it everywhere.
Recorded in 1936 with someone else singing lead, then cut again by Acuff in 1947, a train that never existed.

In his father's Wisconsin hunting cabin, Vernon shaped the melody wordlessly, then wrote his gambling losses into it.
One classical guitar, no drums, and the Knife's synth-pop single reduced to a whisper that reached UK number nine.

Boyd handed Cale the demo and he improvised celeste, piano and organ around Drake's most openly loving song.

Pecknold called it an anti-protest song, a plain opinion with no poetry, and gave it away free in January 2011.

Simon first cut it alone for a UK-only album, then Hal Blaine and Carol Kaye turned withdrawal electric.

Pecknold rebuilt a piano soul demo with Phil Ek at Bear Creek, and the harmonies own the second half.

A round about snow that the band never once played together, its voices stacked from first takes in production.

Three months alone in his father's Wisconsin hunting cabin, and falsetto stacked until one voice becomes a choir.

Simon wrote it on an English railway platform missing Kathy Chitty; a plaque at Widnes station now claims the spot.

Horns and clarinets swell over guitar in a converted Wisconsin veterinary clinic; Grammy voters nominated it for record and song.

Voice, guitar, and a single overdubbed piano line, taped after eleven at night with only an engineer present.

Friends banged on a piano bench at a party; Simon and Halee looped the thumping into a rhythm track.

Vernon cut it alone in his father's Wisconsin hunting cabin over a winter, and the falsetto still sounds snowbound.

Simon learned it from Martin Carthy in London; Garfunkel wound an anti-war lyric through the ballad as counterpoint.

Maybelle Carter played melody and rhythm at once, and every country guitarist since has learned this 1860 parlor tune.

Mitchell threw back a Hawaii hotel curtain, saw mountains above a parking lot, and wrote pop's sunniest protest song.

No rhyme scheme anywhere, just Simon reworking a 1964 road trip with Kathy Chitty until the emptiness lands mid-verse.

Danoff and Nivert finished it with Denver one December night, and they premiered it hours later at the Cellar Door.
Cohen thought Simon's orchestration overblown, but the four-track master wouldn't let him strip it; Judy Collins recorded it first.