Sourced and sung.
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Say Aah
Troy Taylor cut it at D2 in Atlanta, and Songz's birthday toast climbed to number nine, then double platinum.
Bottoms Up
Brett James co-wrote it with Gilbert and Weaver, his first million-selling single and a Hot Country Songs number one.
Whoomp! (There It Is)
Glenn borrowed 2,500 dollars from his parents to press 800 copies; it sat at number two for seven weeks.
Wonderful Christmastime
Recorded alone in Sussex in the summer of 1979, every instrument McCartney's own, and a UK number six by January.
I Like It
RedOne's beat, Pitbull's verse, and Lionel Richie back at the mic re-cutting his own 'All Night Long' hook.
Good Time
One YouTube link from his manager gave Young the voice he wanted, and a top-ten summer duet.
Snap Yo Fingers
Finger snaps where the snare should be, E-40 riding shotgun, and Lil Jon proving crunk could whisper.
Yeah 3x
DJ Frank E's video-game synths cut at the Record Plant, and Brown's return to pure pop after the mixtape years.
No Sleep
Number six on the Hot 100 the week it arrived, Benny Blanco and Big Jerm keeping it airborne.
Work Hard, Play Hard
Benny Blanco and Stargate on the beat, and Marco Rubio calling Khalifa a modern poet during a Senate filibuster.
Raise Your Glass
Shellback and Max Martin built a toast to outsiders, and it gave Pink her third Billboard number one.
Cheers (Drink to That)
Built on a sample of Avril Lavigne's I'm with You, flipped by the Runners into a Friday-night toast.
Shake Ya Tailfeather
A stadium war chant repurposed for the Bad Boys II soundtrack, and a Grammy for the three of them.
Starships
RedOne, Carl Falk and Rami Yacoub behind the board, Minaj's vocals cut at Conway, diamond certified in America.
Tipsy
Trackboyz built the stomp, J-Kwon was seventeen, and twenty years on Shaboozey turned the hook into a number one.
Let Me Clear My Throat
Cut live at Philadelphia's Bahama Bay over The 45 King's saxophone loop, the crowd doing half the work.
Alcohol
Paisley wrote it from the drink's own point of view, a 6/8 country shuffle sung with a wink.
Tik Tok
Nine weeks at number one, the first of the 2010s, and Kesha's talk-sung verses over Dr. Luke's synths.
Coolie High
Ski built it from Janet Jackson's "Funny How Time Flies" and Skull Snaps drums; two Bronx kids talking pure seventies.
We Can't Stop
Written for Rihanna, passed to Mike Will Made It, and the la-di-da-di hook earned Slick Rick a songwriting credit.
Oh, What a Night
Vee-Jay released it in 1956 as doo-wop; the Dells recut it thirteen years later and reached the pop ten.
2 On
Mustard's beat interpolates Sean Paul, ScHoolboy Q scuffs the gloss, and the Aquarius lead single went four times platinum.
Feel So Good
Kool and the Gang's Hollywood Swinging flipped by Puffy and Deric Angelettie, and Mase's drawl making effort look optional.
22
An acoustic guitar riff opens it, then Max Martin and Shellback's synthesizers turn a birthday into a full night out.
Turn Down For What
Snake and Tchami built the drop, Lil Jon shouted the title, and Daniels made a video of pure slapstick.
Hip Hop Hooray
KayGee looped James Brown and Peter Gabriel, and Spike Lee filled the Brooklyn video with Tupac and Queen Latifah.
This DJ
Snoop wrote the hook but label trouble kept him off the record; Warren G took it to number nine.
Party in the USA
Jessie J wrote it with Claude Kelly, passed on singing it, and Cyrus took it to number two.
Mony Mony
Idol's 1981 studio take missed the Hot 100 entirely; the live 1987 version knocked Tiffany off number one.
Mama Told Me Not to Come
Newman wrote it for Eric Burdon in 1966, and Cory Wells sings the bewildered party guest straight to number one.
Back and Forth
Fifteen years old, a debut single that went top five, and Aaliyah already sounding unhurried and completely in command.
Brass Monkey
Rick Rubin looped Wild Sugar's "Bring It Here" under an 808, and a cocktail's name became a chant.
This Is How We Do It
Def Jam's first R&B single looped Slick Rick's 'Children's Story' and held number one for seven weeks.
1st of Tha Month
DJ U-Neek's beat, Cleveland voices harmonizing at double speed, and welfare day reimagined as a neighborhood holiday.
C'mon Everybody
Earl Palmer on drums, Guybo Smith on bass, a B-side flipped into a number six hit in Britain.
Celebration
Recorded in a New Jersey studio with Deodato producing, and adopted everywhere from ballparks to the hostages' homecoming.
Rock and Roll All Nite
Casablanca's Neil Bogart asked for a party song; Stanley wrote the chorus, and the live take beat the studio single.