
Roam
A rare B-52's lyric from an outsider, Robert Waldrop, and Pierson and Wilson make wanderlust sound weightless.

A rare B-52's lyric from an outsider, Robert Waldrop, and Pierson and Wilson make wanderlust sound weightless.
Strings, harpsichord, a second take cut live, and Ronstadt the only Stone Poney anywhere on the record.
Sixteen-year-old Ernie Isley's bass on his first session, cut for the brothers' own T-Neck label, funk built on a shrug.

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

Her only American top ten hit, cut with Tom Scott's L.A. Express as she swung folk toward jazz.

Stafford's idea, Fraser's overnight lyric, and a fiddle arrangement that rodeo crowds took for their own.
Co-written with Ted White, out weeks after King's assassination, and a bridge that turns on one word, freedom.
Richman borrowed two chords from Sister Ray and turned Route 128 after midnight into the happiest song about driving.
Wings lost two members on the eve of Lagos, so McCartney played the drums and built a three-part escape.

Clinton, Shider and Junie Morrison cut it at United Sound; six weeks at R&B number one, 1978's longest run.

Michael refused to appear, so Fincher had five supermodels lip-sync while his Faith leather jacket burned onscreen.

Mars Bonfire's used Ford Falcon inspired it, Steppenwolf sped it up, and Easy Rider made it biker culture's signature.

Joplin taped the vocal days before her death; Kristofferson did not hear it until the day after.

Collins's chords sat unused for two years until Van Zant found the melody; the long outro was his onstage rest.

Robert Hazard wrote it in 1979 from a man's point of view, and Lauper flipped it into female solidarity.

Written for a Newley and Bricusse musical, it opens with nothing but her voice before Hal Mooney's horns land.

One man, one electric guitar, no band; the Chess single that later named a magazine and a British group.

Bert de Coteaux's twelve-piece string section, overdubbed a week later, carried King's minor-key blues onto pop radio.

Mutt Lange took over production, the band cut it in London in 1979, and America finally caught on.
A single voice and acoustic guitar close Uprising, with a line lifted from Marcus Garvey and Marley already ill.