
I'm So Paid
Coogi paid the entire million-dollar bill for the Miami video, and Detail's beat still outshines it.

Coogi paid the entire million-dollar bill for the Miami video, and Detail's beat still outshines it.

Fat Joe found no club record built around throwing money, so Scott Storch cut one at the Hit Factory.

Ant Banks flipped a Bootsy Collins sample for a farewell album that went platinum, with Parliament-Funkadelic on the hook.

Nic Nac's beat borrows from "Money Ain't a Thang," and three regional versions carried it thirty-six weeks on the chart.

Jim Jonsin built the beat from the Rocky II theme, and it leapt seventy places to number one, a chart record.

Dallas Austin wrote it, produced it, played bass and keys, and slipped a Sinatra snippet under Cantrell's revenge.

Ric Wake heard the demo, played it for Lopez, and both loved it; it went to number one in Britain.

A guitar line lifted from the Top Gun theme, Mannie Fresh on the boards, and ESPN running it all summer.

Filmed among Aston Martins in Miami, with J.U.S.T.I.C.E. League's beat and Drake turning Ross's luxury boast wistful.

Two Shepherd's Bush friends hiding behind the initials J and T, falsetto stacked over a warehouse full of dancers.

Angelakos built each verse from a man in his own family who immigrated, then set financial ruin to synths.

Kool and the Gang's Hollywood Swinging flipped by Puffy and Deric Angelettie, and Mase's drawl making effort look optional.

Grandmaster Flash's "The Message" under a "Break My Stride" hook, six weeks at number one, and Mase arrives.

Cut in Virginia Beach with Danja co-producing, Keri Hilson co-writing, and a hook that shrugs at the whole courtship.

A hustler's goodbye scored by the New York Philharmonic, Sonny Kompanek conducting, with Bob Dylan cameoing in the video.

A DeBarge interpolation from 1982, Jay E producing, and Nelly making must be the money a national catchphrase.

Wardell Quezergue brought five artists to Malaco in a borrowed school bus; Stax passed, then Knight's put-down sold millions.

Snowed into a Prince Edward Island farmhouse, Rankin wrote a proposal song; VanGaalen cut it in Calgary.

She'kspere started beatboxing the groove in a store, and Kandi Burruss turned a deadbeat boyfriend into a number one.

Jesse Stone's song, cut once McPhatter rebuilt the group from scratch, topped the R&B chart for eleven weeks.

Hall wrote it about a fast-food heir, changed Rich Boy to Rich Girl, and took the duo to number one.

Written for the Charlie's Angels soundtrack, eleven straight weeks at number one, and Michelle Williams's first single with the group.

Neptunes production at its bounciest, with Kelis on the hook a month before her own debut single.

Twinkling piano, bumping bass, the Smeezingtons doing sixties Motown, and a typography video that went viral on release day.

West and DJ Toomp sped up Michael Jackson's P.Y.T. into a Grammy-winning glide, T-Pain's hook floating over it.
Jim Beck offered a free demo in his Dallas studio; Frizzell's stretched phrasing became the template Haggard and Jones inherited.

Cut in Aaron Dessner's Brooklyn garage, a horn part stripped out late, leaving that rolling drum pattern and Berninger's baritone.

Motown's first hit, cut at Hitsville in 1959, with a bluesy piano vamp and a writing credit long disputed.

Aaliyah's death in 2001 clarified what mattered, and Keys answered with piano, gospel restraint and a Grammy-winning vocal.
Ski looped Lonnie Liston Smith under a Nas vocal, and Jay-Z made money sound like a weary confession.
A white upright piano, a bout of illness, and Britain's supertax reimagined as a lounging aristocrat pleading poverty.

Two point one million American advance orders, and behind them a Paris hotel upright where McCartney wrote it.

Coldcut took 700 pounds for the remix, added Ofra Haza, and Rakim's minute-long verse reset how rappers rhymed.

DJ Dahi slowed Beach House's guitar intro and ran it backwards, and Jay Rock's verse steals the whole record.

Herb Alpert's Rise looped into a strut, released five days before Wallace was killed, number one within weeks.

Kelly Price sang the hook uncredited over Stevie J's flip of I'm Coming Out, a posthumous number one.

Hit-Boy's beat, a Blades of Glory sample, and twelve straight encores of it one night in Paris.