
Don't Matter
Ten weeks climbing from number seventy-nine to the top, with a chorus built partly on Marley's Zimbabwe.

Ten weeks climbing from number seventy-nine to the top, with a chorus built partly on Marley's Zimbabwe.

Among Plant's first songwriting credits, a CBS contract having blocked him on the debut, over guitars panning across both channels.

A soft reggae beat from Mikey Craig's Caribbean instincts, Steve Levine's polish, and Boy George on Top of the Pops.

Sting drew on his years teaching and on Nabokov, then watched it become Britain's best-selling single of 1980.

Written by post after Wiedlin and Hall's 1980 tour romance, and it still sounds like a secret being kept.

Timbaland built the beat around a baby coo lifted from a sixties sound-effects record, and Aaliyah glides over it.

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

Anita Carter cut it first, her sister June wrote it with Merle Kilgore, and Cash added the mariachi trumpets.

Clapton wanted his friend's wife; Duane Allman's slide answers every line, then Jim Gordon's piano coda changes everything.