
Jenny From the Block
A Boogie Down Productions interpolation under the bridge, and Lopez answering the tabloids without once breaking her stride.

A Boogie Down Productions interpolation under the bridge, and Lopez answering the tabloids without once breaking her stride.

Ruess wanted a hip hop producer and Paul Simon's harmonies; the sleeper took seven months to reach number three.

A Yellow Magic Orchestra synth loop from 1978, reportedly cleared for Mariah Carey first, carries Lopez to number one.

Two Melvin Van Peebles samples anchor it, and the trio spends the whole track naming exactly what shaped them.

Billed as Santogold then, White aimed it at Lower East Side poseurs; Rolling Stone called it 2008's second best single.

Pecknold called it an anti-protest song, a plain opinion with no poetry, and gave it away free in January 2011.
A rewrite of a 1959 novelty called "The Beat Generation", with Quine and Julian's guitars turning parody into manifesto.

Eight days at the Record Plant with Rundgren, and Johansen's strut arrived years before punk had a name.

Anne Murray turned it down, so Lauper took Steinberg and Kelly's gospel ballad and stripped it to almost nothing.
Townshend woke in a Soho doorway after drinking with two Sex Pistols, and Keith Moon's last album took the title.

Fourteen songs, one take, November 1993; Cobain plays Bowie through an amp and makes the song permanently his.

Townshend built it from a single word in "Tracks of My Tears", and American pressings rewrote the line about race.

Bowie first threw it away on a fake band called Arnold Corns, then rebuilt it at Trident around Ronson.

Dre and Eminem finished it in an hour, over a Labi Siffre interpolation, and Slim Shady existed.

Iovine wanted another "My Name Is," so Eminem wrote this hours before the album was due. It hit number four.
Prince Paul flipped Funkadelic's Knee Deep; De La Soul resisted the beat, then got their only R&B number one.

Gossard's demo was called Dollar Short until Vedder set it to learning who his real father was.

Larry Graham slapping and popping the bass line credited with inventing the technique, and a verse quoting their own hits.

A Small Clone chorus pedal gives the riff its underwater sound, and Cobain nearly withheld the single.