
St. Elmo's Fire (Man in Motion)
Foster showed Parr a news clip about Rick Hansen's wheelchair world tour, and the pair wrote it that Friday afternoon.

Foster showed Parr a news clip about Rick Hansen's wheelchair world tour, and the pair wrote it that Friday afternoon.

G5's beat is a stomp, and the black-and-white video walks Ross through New Orleans' Calliope projects.

Two Oslo singers formerly billed as Envy, a video shot at Victoria Falls, and a Hot 100 number four.

Eighty to number one in a single week, on a hook lifted from the Moldovan pop song behind Numa Numa.

A slasher-film joke rewritten on Phil Ramone's orders into Flashdance's training montage, and two weeks at number one.

Ray Dalton's hook, Ryan Lewis's piano gallop, and a sleeper single that took nearly two years to reach number one.

Three writers bouncing riffs between cassettes in a Hollywood apartment, and Milton Berle in the video that broke them.

Greg Camp studied the Billboard top fifty for parts, then Shrek used it as temp music and never replaced it.

Van Heusen heard Crosby warn a son at dinner he might grow up a mule, and Burke built the lyric.

Two unfinished songs Mutt Lange stitched together, and a kid outside the arena hearing one guitar through the wall.
Written for Space Jam, Paul Riser's strings taped in Detroit, the Luv Club Choir massed behind the vocal.

Guitarist Greg Brown wrote it, McCrea narrates deadpan over trumpet, and the driver keeps racing long after everyone left.

Boi-1da's beat was first meant for Kardinal Offishall; Kanye, by his account, rewrote his verse for two days after Eminem.

Cara and Forsey wrote most of the lyric in a cab to the studio; six weeks at number one followed.

Mike Zombie's beat samples a Bruno Sanfilippo ambient piano piece; the title came out of a Future studio session.

Petty and Jeff Lynne wrote Eddie's rise and fall as one unbroken story; Johnny Depp played him on screen.

Stallone had cut the fight scene to Queen, couldn't clear it, so Sullivan and Peterik timed their chords to punches.

Verses at 123 beats a minute collapsing to 65 in the chorus, cut live with Auerbach's band in Nashville.

T-Bone Burnett replaced the band's own drummer with session man Denny Fongheiser, and Duritz got the fame he wished for.
Rescued from a 1993 demo the band wrote off as too Rod Stewart, and adored everywhere except by Yorke.

Mike Campbell's fuzz riff, then a closing solo of nearly two minutes he nailed in a single take.

Chucky Thompson looped Phil Collins, and Nas rises from a murmur to a roar and back, verse after verse.

Master Henry Gibson's congas drive it, the horns arrive like good news, and Britain sent it top twelve.
Two songwriters homesick in London started it; Keys and a Moments piano loop made Jay-Z's first lead-artist number one.

Tyler had the tune on his family's New Hampshire lodge piano years before Aerosmith; a reissue reached number six.

Orzabal found the shuffle alien to the band, Hughes talked him into it anyway, and America made it a number one.

Cain lifted the title from his father's advice, and the chorus stays hidden until the last fifty seconds.

Coldcut took 700 pounds for the remix, added Ofra Haza, and Rakim's minute-long verse reset how rappers rhymed.
Edwin Birdsong's Cola Bottle Baby, found in a record bin, vocoded into a mantra Kanye West later borrowed wholesale.

Cissy Houston's version turned Weatherly's midnight plane to Houston into a train to Georgia.

De Niro called the first theme too weak, so Kander and Ebb wrote this one in anger.

West cleared the Daft Punk sample through their manager, had Timbaland reprogram the kick drums, and hit number one.

His grandmother told him to knock them out; Marley Marl looped Funky Drummer, and the Grammy followed.

Ahmad Jamal's piano figure, a hook Pete Rock sang himself, and the most hopeful stretch of Illmatic.

Bombs Over Baghdad at 155 beats per minute, drum and bass colliding with a gospel choir and a guitar solo.

Poke and Combs looped Mtume's Juicy Fruit, and Wallace told the rags to riches story that hip hop kept retelling.

Written between takes on a film set, delivered like a man with exactly one shot at everything.
Chuck Berry's intro lick is rock's opening statement, a country boy's origin myth now drifting past the solar system.