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Some Guys Have All the Luck
Jeff Fortgang wrote it fresh out of Yale; the Persuaders cut it first, and Stewart took it to number ten.
Jealous
Jonas cut it while training for the series Kingdom, chasing what he called a Lionel Richie vibe.
Paper Doll
Cut in under fifteen minutes as a B-side in 1942, it sat at number one for twelve weeks.
Lately (Jodeci)
Twenty-four hours to learn a Stevie Wonder ballad for MTV Unplugged, and K-Ci and JoJo owned it.
Honey Don't
Flipside of Blue Suede Shoes, cut at Sun with both Perkins brothers, and later Ringo's turn on Beatles for Sale.
Teardrops On My Guitar
Nathan Chapman's production stays hushed while Swift and Liz Rose leave the real classmate's name, Drew, in the lyric.
Santeria
Built on a bassline lifted from a Robbin' the Hood dub, and issued months after Nowell's death.
It's Not Unusual
Written for Sandie Shaw, who heard Jones's demo and told them to give him the record instead.
Is She Really Going Out With Him?
Graham Maby's bass carries the whole thing, a 1978 flop until reissue, and Jackson insisted it was a funny song.
The Boy Is Mine
Brandy got the idea from a Jerry Springer love triangle, and Darkchild's clipped beat held number one thirteen weeks.
The Kids Are Alright
Recorded at IBC in October 1965, it stalled at 41 in Britain, then became the mod movement's calling card.
Jessie's Girl
A Pasadena stained-glass class, a friend's girlfriend, and Neil Giraldo's guitar turning ordinary envy into a number one.
Heart of the City (Ain't No Love)
A Bobby Bland soul record from 1974, rebuilt by Kanye West, and Jay-Z sounding untouchable and unloved at the top.
Bernadette
Dozier had three Bernadettes in mind, and Levi Stubbs shouts the name at the false ending like a man drowning.
Watching the Detectives
Costello wrote it after a night with the first Clash album; Nieve's piano stalks it like Bernard Herrmann.
I Can See for Miles
Townshend called it his ace in the hole and never forgave Britain for stopping it at number ten.
Sweet Emotion
Three sounds in that intro: Hamilton's bass riff, Perry's talk box, a bass marimba. Aerosmith's first Top 40 single.
You Got Me
Jill Scott's hook, re-sung by Badu at the label's request, and Questlove driving the outro into drum and bass.