
Oh Girl (Paul Young)
Eugene Record's Chi-Lites ballad, harmonica and all, remade by Young in 1990 for a number eight American hit.

Eugene Record's Chi-Lites ballad, harmonica and all, remade by Young in 1990 for a number eight American hit.

Todd Pipes drew the lyric from Roman Holiday, swapped in a different Hepburn title, and Britain sent it to number one.
Hammond and Warren's song first surfaced on a Tina Turner B-side; Aswad, then Ace of Base, found the hit inside.

David Frank and Steve Kipner handed a boy band a breakup song about ending an affair; it reached number five.

Diplo and Switch wrapped a breakup song in dubstep, and a Microsoft browser ad made it a worldwide hit.

A slow burn, Hugh Padgham at the desk, Stephen Bishop harmonising behind, and Collins's fourteenth and final American top ten.

Written in a garden shed at Farrington's father's house, stalled at fifty-eight in Britain, then Napoleon Dynamite happened.

Forty-five minutes to an hour, by Kroeger's account, then more US radio plays than any song of the decade.
Three writers, a Pretty Woman soundtrack slot, and the most cheerful denial ever to reach the American top ten.

Fink wrote the whole album around his split with Laura Marling; this became its first single, and its way out.

Fifty-five weeks on the Hot 100 without ever passing number sixteen, and Sheik got a Grammy nomination out of it.

One week of downloads lifted it from sixty-six to three, a Hot 100 record, with JoJo just fifteen.

James Ford produced it, all three sisters wrote it, and the harmonies turn a plea into a groove.

Wilde rebuilt the Holland-Dozier-Holland original as hi-NRG and became the second act to take it to number one.
Cut at EMI Studios in Stockholm, Gessle's deliberate pastiche of overblown American FM rock, and it hit number one.

Three voices, one mixtape: McCall produced and guested, Tyga rapped, and Brown took a breakup to number one R&B.

Phenix Horns brass over Nathan East's bass, on a song Collins first wrote for The War of the Roses.

Twenty-four hours to learn a Stevie Wonder ballad for MTV Unplugged, and K-Ci and JoJo owned it.

Seven minutes long, never a single, self-produced by the trio, and the longest slow burn on Writer's Block.