
Like a Boss
A Slim Thug track turned inside out over Rick tha Rular's beat, with a skeptical Seth Rogen questioning Samberg.

A Slim Thug track turned inside out over Rick tha Rular's beat, with a skeptical Seth Rogen questioning Samberg.

Frank Rogers built it on mandolin, and Billboard named it 2012's top country song despite it never reaching number one.

Florrie Palmer wrote it, Britain sent it to number three, and America renamed it to dodge Dolly Parton's hit.

Benny Blanco and Stargate on the beat, and Marco Rubio calling Khalifa a modern poet during a Senate filibuster.

Stipe found the word on a New York apartment door and gave the night shift its lullaby, post-Berry R.E.M.
Okeh sent an Avalon sharecropper home after modest sales, leaving behind a fingerpicked John Henry that refuses the hammer.

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

Brown and Rollins wrote it, Stegall cut it, and Buffett collected the first major award of his thirty-year career.

Sonny Digital and Metro Boomin built the beat, Drake jumped on the remix, and a weeknight became an occasion.

Dean found an empty beach midweek and wondered where everyone was; Reno turned waiting for the weekend into working.

Michael programmed the LinnDrum in an evening, wrote the vocal next morning, and turned marital dread into a groove.

Mitchell wrote it for David Geffen after a Paris trip, then set his escape to Jose Feliciano's guitar.

Marr's melody came from a New York hotel room, the title from Sandie Shaw, and misery never sounded so cheerful.

Knopfler borrowed a pen in a New York appliance store to copy down a delivery man's complaints about MTV.
Cochran overdubbed his own bass voice for the boss and the senator, Earl Palmer drumming behind the great teenage complaint.

Parton played the typewriter part on her acrylic fingernails, credited on the album, then took it to number one.
Edwin Birdsong's Cola Bottle Baby, found in a record bin, vocoded into a mantra Kanye West later borrowed wholesale.

Fogerty came out of the National Guard and wrote it in two days, Beethoven's Fifth hiding in the intro.

Webb sent it over unfinished, one verse short, and Campbell cut the loneliest three minutes in country music.

Taupin borrowed the title from a Pearls Before Swine song, and Hentschel's ARP put the loneliness in orbit.

Starr's slip of the tongue supplied the title, and the opening chord is still argued over by musicologists.