
Good Vibrations (Marky Mark)
Donnie Wahlberg produced his brother's number one around a Loleatta Holloway sample, and Holloway herself appeared in the video.

Donnie Wahlberg produced his brother's number one around a Loleatta Holloway sample, and Holloway herself appeared in the video.
Written on New Year's Day in the Canary Islands, then finished at Cheiron by Denniz Pop and Max Martin.

One YouTube link from his manager gave Young the voice he wanted, and a top-ten summer duet.

Four weeks atop country radio in May, a Love to Infinity remix, and a pop top ten by December.
Toni Wine and Carole Bayer Sager set lyrics to a Clementi sonatina rondo; Eric Stewart sang it to number two.
Kate Pierson's guest vocal, Mark Bingham's waltzing strings, and R.E.M.'s only top ten hit in both Britain and America.
Branford Marsalis blowing a jazz solo across Narada Michael Walden's production, and Shanice sounds like she is actually smiling.

Kimberley Rew called it simple fun; the 1985 re-recording added horns and carried the band into the American top ten.

Clivilles and Cole of C+C Music Factory built the disco lift; Carey's whistle register handles everything above it.

Number one in both America and Britain, with Thomas Dolby on synths and Diane Keaton directing the video.

Ridgeley scrawled a note to his parents, doubled a word by mistake, and George Michael built a number one on it.

Red Bird's first single, written by Barry, Greenwich and Spector, and it knocked the Beatles off number one.

No drum kit on the record at all, just percussion, harmonica and birdsong, and Cavaliere's Sundays off tour.

Maurice White and Al McKay wrote it, Earth Wind and Fire's rhythm section played it, and the Hutchinson sisters soared.

A debut single written about her first love, with Stephen Street producing and Mike Mahoney's voice climbing wordlessly out the top.

Sebastian's autoharp opens it, written after he watched a teenager dance at the Night Owl in Greenwich Village.

Not planned for the Green Album until Ocasek fought for it, then Spike Jonze filmed the band among wild animals.
Mary Wilson and Phyllis Hyman turned it down; Benitez cut it at Sigma Sound in a week, cowbell included.

Cut in New York with Sy Oliver's orchestra in 1950, Piaf's song rebuilt around a trumpet and a rasp.

A rare Yamaha CP-30 supplies the riff, and Oates traced the song to Delta blues jammed against Texas swing.

Those African-sounding chants are invented gibberish; Richie had no time for a translator and no reason to care.

Cut at American Sound in Memphis with Charles Calello's horns, and every Fenway eighth inning has belonged to it since 2002.
Smith left the vari-speed engaged at mixdown, so the released version sits a quarter-tone sharp and grins anyway.

Written first for CeeLo Green, whose label passed, cut in Miami, and given pop's first 24-hour video.

Withers holds the last note for eighteen seconds, Ray Parker Jr. plays guitar, and morning suddenly looks survivable.

James Jamerson's bass, cut in Chicago with Funk Brothers moonlighting for cash, and Wilson sounding weightless above it.

Two weeks of Alpine fog broke, and Lynne wrote this and thirteen more songs, closing it with a vocoder.

Wonder cut it for his newborn daughter Aisha, harmonica and all, and refused to shorten it for a single.

The tap opening it is Teenie Hodges counting time on a crate by his foot, and Green takes over.
Bootsy passed on the bass part, so Worrell chained three Minimoogs together and gave Parliament its first R&B number one.

Wonder built it for Ellington after his death in 1974, then handed the melody to horns playing in unison.
Bootsy Collins on bass, Fred Wesley and Maceo Parker newly arrived from James Brown, and Parliament's first gold single.
Piaf's own lyric, dismissed by her collaborators as foolishness, then a million American sales and a French national possession.

Willis wanted real words instead of ba-dee-ya; White refused, and the groove outlived any lyric she could have written.

Gaye co-wrote it and cut an early version; Reeves heard block parties in it and needed two takes.

Brown recycled a flop he'd cut on Yvonne Fair, added Maceo Parker's alto, and landed his highest-charting single.
Smokey Robinson wrote it for his wife Claudette, then handed David Ruffin his first Temptations lead vocal.

A nonsense holler cleaned up just enough to press, and the moment rock and roll stopped asking permission.