
Dirt
Clawson and Tompkins built a whole life around one word; the duo nearly cut the closing lines about mortality.

Clawson and Tompkins built a whole life around one word; the duo nearly cut the closing lines about mortality.

Queens kids who met on Craigslist and busked subway platforms, then made banjo and glockenspiel sound euphoric.

Mac McAnally's 1990 original about his Mississippi hometown reached number fourteen; Chesney's cover went gold without ever being a single.

Death Cab's first number one on alternative radio, and its video was performed live in one unbroken take.

Folds went back to a trio for Songs for Silverman, and made its lead single a phone call home.
Donaldson wrote the tune waiting his turn at a Friars Club billiard table; Austin's soft croon sold millions.

Goulding wrote it about a childhood fear of the dark, and the Hot 100 kept it fifty-two weeks.

Written in the laundry room of Mellencamp's old house, it makes Indiana sound like enough for one life.

Larry Knechtel on piano, Jim Gordon on drums, and a chorus that arrives like the evening it describes.

Kozelek grew up in Massillon, Ohio, and this is what he sends back: an apology set to ringing acoustic guitars.

Jason Schwartzman still drummed for the band when they cut it; The O.C. later made it a UK top ten.

McCartney played bass and Harrison sang uncredited backing on the Apple debut, while Taylor sat in London missing North Carolina.

Five mics from The Source for The Fix, a Mike Dean beat, and Scarface drawing his Houston block affectionately.
Armstrong wrote it about squatting in a West Oakland warehouse, and the Dookie re-recording is the one everyone knows.

Cut in Hollywood in May 1941; nine months later RCA handed Miller the first gold record ever presented.

A Boston fan's poem, reworked by Parsons, Emmylou Harris on harmony, and an album out four months after his death.

One of three Deja Vu tracks the four cut together, Young keening about the Ontario town of his childhood.

Cut in Aaron Dessner's Brooklyn garage, a horn part stripped out late, leaving that rolling drum pattern and Berninger's baritone.