
Bad Day
Powter sketched it on the ferry from Victoria to Vancouver; American Idol adopted it and Billboard called it 2006's biggest.

Powter sketched it on the ferry from Victoria to Vancouver; American Idol adopted it and Billboard called it 2006's biggest.
Gilbert traded shred for acoustic guitar behind Martin's teenage lyric, and hand claps carried it to number one.

A debut-album cut that Branch wrote alone, produced by John Shanks, and her first trip into the top ten.

Babyface hummed a placeholder where the words should go, kept it, and watched the record debut at number one.

Linda Ronstadt produced it, and Neville's falsetto turns the Main Ingredient's 1972 consolation into something even gentler.

Roddick emailed tracks from Montreal to James in Halifax, and the album took its title from this song's lyric.

Written by all four members in 1989, David Crosby added backing vocals, and the debut album sold twenty million.

Piano, upright bass, a drum machine, and McLachlan writing about a Smashing Pumpkins keyboardist's overdose with startling tenderness.

Taylor played this at his Apple audition to land the deal, and Harrison lifted its title for "Something".

Bacharach and Bayer Sager wrote it for Rod Stewart; four voices later it raised over three million for AIDS research.

Martin wrote the verse in Amsterdam and the outro in Iceland; the closing track waits minutes before the guitars arrive.

Written for Gloria Estefan until Mottola heard the demo; Carey thought it schmaltzy and took it to number one.
Cuba Gooding Sr. stepped up after Donald McPherson's death and turned heartbreak into the warmest consolation soul ever offered.

Number four in 1961, with Luther Dixon and Willie Denson turning a mother's shrug into pure reassurance.

Michel Zitron lifted the chorus line straight from his father, John Martin sang it, and the trio had its farewell.

Six minutes that drift, then lift; the track Rob plays in High Fidelity to sell five copies on the spot.

Perry wrote it for herself, then refused Aguilera a retake; the demo vocal is what reached number two.

Stan Vincent's song sat on a B-side until it broke out in Philadelphia and Detroit and climbed to number eight.

Capitol dropped the band, Trombino produced on credit, and the drum pattern came straight off Tom Petty's You Wreck Me.