
One More Night (Maroon 5)
Nine weeks at number one, Maroon 5's longest Hot 100 reign, and a reggae lilt under the ache.

Nine weeks at number one, Maroon 5's longest Hot 100 reign, and a reggae lilt under the ache.
Van Eede scribbled the title down the night it occurred to him; Terry Brown drummed it on Neil Peart's snare.

Never a single, still platinum: Mayer, Steve Jordan and Pino Palladino playing a relationship that both parties know is finished.

Gillespie had gone off to Primal Scream, so a drum machine drives the Reids' highest UK charting single.

Del Rey wrote it with Emile Haynie and Dan Heath, then sings a doomed vow over surf guitar and strings.
Rosie Danvers wrapped the strings around Adele's biggest crescendo, and 21 took its third straight American number one.

Alex da Kid's beat, Skylar Grey's demo hook, Rihanna's vocal cut in Dublin, seven weeks at No. 1.

Two labels rejected Cedric Gervais's remix; Radio 1 played it anyway, and the remix took a Grammy and number six.

Moby nearly left it off Play; a reversed string sample from the Exodus score, cut in his Little Italy apartment.

One Letterman performance in March 2014, Herring's angular dancing, and Pitchfork, NME and Spin named it the year's best.
Snow chains rattling for percussion, Jamerson's bass shoving it along, and Reeves sounding genuinely cornered by the arrangement.

Slash's solo grew from an improvisation, Rose had chased the song since 1986, and nine minutes went top three.

An irregular heartbeat diagnosis sent Dharma writing about mortality and lasting love, and the cowbell did the rest.
A Northern soul flop from 1964 rebuilt on synthesizers at Advision, Marc Almond's first vocal take kept intact.

Swift plays her own tabloid caricature, a clicking pen for percussion, and she replaced herself at number one.

Muscle Shoals, January 1967, Oldham on Wurlitzer, and a session that fell apart in an argument right after it.

Erma Franklin had it first in 1967, then Joplin tore the same Ragovoy and Berns song wide open.

Albini recorded it at Pachyderm in a Minnesota winter, and Scott Litt later remixed it to lift Cobain's vocal.
The Edge was sent a prototype Infinite Guitar by Michael Brook, and U2 had their first American number one.

Written on a tour bus in Norway and premiered at Alexander McQueen's last show, all nonsense syllables and appetite.

The title flips Captain and Tennille into its opposite, and the single arrived a month after Curtis's death.
Recorded beside the Berlin Wall, Fripp's feedback howling while Bowie sings himself hoarse over a single defiant day.