
You Got It (The Right Stuff)
Maurice Starr wrote and produced it, Jordan Knight and Donnie Wahlberg took the leads, and Britain crowned it a year later.

Maurice Starr wrote and produced it, Jordan Knight and Donnie Wahlberg took the leads, and Britain crowned it a year later.

Bubba Strait pitched it off a rodeo friend's CD; his father left it on the coffee table, then cut it.

Five Mount Vernon high schoolers, a Billy Myles song, and Bob Scholl's lead floating over the sweetest doo-wop changes.

An Oscar nominee from the Footloose soundtrack, George Duke producing, and Williams audibly grinning through every chorus.

Stargate cut it at Battery Studios with Espen Lind on acoustic guitar, and Brown took it to number two.

Sparkling cigarettes became a silver moon in the final lyric, and She's All That made it a number two.

Written on tour opening for Journey, buried on a movie soundtrack first, and number one nearly two years later.

Rzeznik hid a teenage pregnancy story inside the sunniest jangle of 1998; it topped Modern Rock and Adult Top 40.

Feldman overheard a schoolgirl brushing off a boy, and the Angels' demo for the Shirelles went out as is.

Maurice Starr built New Edition as an answer to the Jackson 5, and this hit number one in Britain.

A leak forced its release nearly two weeks early, and Swift's lead Speak Now single still debuted at number three.

Sidney Lippman and Sylvia Dee handed Cole a teenage lament, and Capitol got five weeks at number one.

Swift wrote it in roughly twenty minutes for a ninth-grade talent show, then spent six weeks atop the country chart.

Cut as a throwaway B-side to a Patti Page cover, and doo-wop crossed into the pop top ten.

A twelve-string riff swapped for six and doubled for thickness, then a chorus about a summer Adams never actually had.

Schneider got the fuzz from tube preamps and compression, not pedals, and Mangum sings childhood into two minutes flat.
That hook is an oboe, not an ocarina, and Cher disliked the song Bono wrote for them in their basement.

Bonnie McKee rewrote it repeatedly until Benny Blanco suggested studying a Teenagers single, and one word cracked the chorus open.

Darlene Love sang lead at Gold Star, Hal Blaine drummed, and the Crystals got the credit for a number one.

Fiddle, banjo and a tempo shifting gears, then one week at number one between Billie Jean and Beat It.
Seger walked out of American Graffiti with a story of his own, and took six months finding the words.
Written in federal prison, cut at Chess in January 1964, and the happiest wedding song rock and roll made.

Mick Ronson suggested the baby rattles and sang the "let it rock" hook; the handclaps were only a guide track.

Shadow Morton's teenage melodrama, a motorcycle revving through the mix, and a BBC that refused to play it.

Larry Levine stumbled onto that echo by accident, and LaLa Brooks sings a whole courtship in under three minutes.

Cuomo thought it too cheesy to release; Ocasek insisted, then Spike Jonze spliced the band into Happy Days footage.

Swift wrote it in twenty minutes on her bedroom floor, gave Romeo and Juliet a happy ending, banjo included.

Taupin wrote it about Maxine Feibelman, the seamstress who toured with the band, and Almost Famous made it a singalong.

Herman Santiago built it from a neighbor's love letters; Lymon, thirteen, took the lead and the credit fight ran decades.
Felice and Boudleaux Bryant's plot is an alibi, Boston banned it as suggestive, and it still topped the pop chart.

Cut as a demo in Ted Brinson's garage, pillows on the drums, then three weeks atop the R&B chart.
Cooke cut it at his last Keen session and credited the writing to his wife's maiden name.

Twenty-two takes at A&R Studios, the Sweet Inspirations behind him, and a song Morrison says never paid him royalties.
Cut in Clovis as "Cindy Lou" until Allison's girlfriend got the title, and his paradiddles never let up.
Two accordions, a key change eight beats in, and 21 takes at Gold Star before Wilson sang about growing up.
Holly took the title from a John Wayne line and recut it in Clovis after Decca shelved the first version.
Davies started it as "Liverpool Sunset," moved it to the Thames, and Dave's tape-delay guitar did the rest.
Lennon and McCartney started it on a tour bus after a Newcastle show; Martin thought the sixth-chord ending corny.
Months of wall-of-sound overdubs poured into one getaway car, and every word still sounds like escape.