
Oh Girl (Paul Young)
Eugene Record's Chi-Lites ballad, harmonica and all, remade by Young in 1990 for a number eight American hit.

Eugene Record's Chi-Lites ballad, harmonica and all, remade by Young in 1990 for a number eight American hit.

Written in 1982, handed to Branigan after Bolton refused Clive Davis's rewrite, and reclaimed for a number one.

Paul Stanley and Michael Bolton co-wrote the ballad that returned Kiss to the Top 40 after eleven years away.

Swayze and Stacy Widelitz wrote it in 1984; rejected for Youngblood, it found Dirty Dancing and Wendy Fraser's backing vocals.
Paco de Lucía's flamenco guitar runs through it, cut for Don Juan DeMarco, and it held number one five weeks.
Cetera sketched the chords in three hours for Kenny Rogers, who declined; Chicago kept it and hit number three.

A slow burn, Hugh Padgham at the desk, Stephen Bishop harmonising behind, and Collins's fourteenth and final American top ten.

Cut at John Alagia's home studio in Maryland, it topped Adult Pop Songs for nine weeks and became a wedding standard.

Rutherford and B.A. Robertson had both just lost their fathers; Carrack, who lost his young, sang it.

Rick Parashar cut it across three studios, and Arnold's ballad about missing someone became an unofficial anthem in Iraq.

A DX7 electric piano, a drum machine, and Don Myrick's saxophone taking a number one out quietly.

Chip Taylor wrote it after hearing Ruby Tuesday, Connie Francis passed on it, and Newton reached number four.

Twain got the idea at a soccer match in Italy; Bryan White sang the original duet version.

Written for Cynthia Rhodes while she filmed in South Africa, turned down by Streisand, then three weeks at number one.

Seamus Egan's instrumental came first; McLachlan added words, and the live Mirrorball version won her a Grammy.

Cronin sat on the verses for years before finishing them in Hawaii, and three weeks at number one followed.

Clapton plays the lead over Padgham's production, the closest Collins had then come to writing a blues song.

Morrison wrote it as a prayer for Avalon Sunset; Stewart's reading turned it into a wedding standard.

A Korg M1 supplied most of the sounds, NPR called it the year's most divisive song, Vernon his favorite.

Beckett and Crowley wrote it after two bandmates' breakups, and Lambert and Potter's production held number one for three weeks.

Reversed cymbal into synth bass, John Lang's lyric drawn from Kahlil Gibran, and Page's voice soaring over it.

Barry Mann and Bill Medley both cut it first; Neville's tenor against Ronstadt is what finally carried it to a Grammy.
Sixteen straight weeks at number one in Britain, from a ballad Adams and Lange wrote in forty-five minutes.

Piano, upright bass, a drum machine, and McLachlan writing about a Smashing Pumpkins keyboardist's overdose with startling tenderness.

Foster brought in three Toto members and saved Chicago's horns for the coda, returning the band to number one.

The last number one of the eighties and the first of the nineties, with David Crosby singing behind Collins.

Bacharach and Bayer Sager wrote it for Rod Stewart; four voices later it raised over three million for AIDS research.

Carly Simon sings harmony behind her husband, David Sanborn takes the sax, and Holland-Dozier-Holland's Motown tune turns Californian.

Taupin and Martin Page wrote it, Nancy Wilson sang lead through a cold, and Heart got their first number one.

Babyface stripped back to acoustic guitar, won his first performing Grammy, and landed his highest solo placing at number four.

Every instrument on it is Winwood alone; the 1982 single stalled, and Tom Lord-Alge's 1987 remix reached the top ten.

Taupin's first New York, gunfire outside the hotel window, a rose borrowed from Spanish Harlem, all cut in France.

Waite heard a guitar melody on cassette and improvised the first verse on the spot; its chorus is pure denial.

Elton John joined Michael onstage near Chicago in October 1991, and the live duet topped both charts.

Eric Carmen's verse borrowed from Rachmaninoff's Second Concerto, and Dion nailing the high F Foster dared her to try.

Cut at AIR Montserrat with the classic band reunited, and Stevie Wonder's harmonica lifting it clean off the ground.

Wynonna Judd cut it first as country; Babyface gave Clapton a soul groove and the Grammys gave back three.
Parazaider heard it on the radio while cleaning his pool and assumed McCartney, not his own band.

Eight minutes on the album, four on the radio, and Tinsley learned his violin solo the day before.

Levine says he and Valentine wrote it in about an hour, drawing on a troubled couple he knew.