
Good Vibrations (Marky Mark)
Donnie Wahlberg produced his brother's number one around a Loleatta Holloway sample, and Holloway herself appeared in the video.

Donnie Wahlberg produced his brother's number one around a Loleatta Holloway sample, and Holloway herself appeared in the video.
Written on New Year's Day in the Canary Islands, then finished at Cheiron by Denniz Pop and Max Martin.

One YouTube link from his manager gave Young the voice he wanted, and a top-ten summer duet.

Four weeks atop country radio in May, a Love to Infinity remix, and a pop top ten by December.
Toni Wine and Carole Bayer Sager set lyrics to a Clementi sonatina rondo; Eric Stewart sang it to number two.
Kate Pierson's guest vocal, Mark Bingham's waltzing strings, and R.E.M.'s only top ten hit in both Britain and America.
Branford Marsalis blowing a jazz solo across Narada Michael Walden's production, and Shanice sounds like she is actually smiling.

Kimberley Rew called it simple fun; the 1985 re-recording added horns and carried the band into the American top ten.

Clivilles and Cole of C+C Music Factory built the disco lift; Carey's whistle register handles everything above it.

Number one in both America and Britain, with Thomas Dolby on synths and Diane Keaton directing the video.

Ridgeley scrawled a note to his parents, doubled a word by mistake, and George Michael built a number one on it.

Red Bird's first single, written by Barry, Greenwich and Spector, and it knocked the Beatles off number one.

No drum kit on the record at all, just percussion, harmonica and birdsong, and Cavaliere's Sundays off tour.

Maurice White and Al McKay wrote it, Earth Wind and Fire's rhythm section played it, and the Hutchinson sisters soared.

A debut single written about her first love, with Stephen Street producing and Mike Mahoney's voice climbing wordlessly out the top.

Sebastian's autoharp opens it, written after he watched a teenager dance at the Night Owl in Greenwich Village.

Not planned for the Green Album until Ocasek fought for it, then Spike Jonze filmed the band among wild animals.
Mary Wilson and Phyllis Hyman turned it down; Benitez cut it at Sigma Sound in a week, cowbell included.

Cut in New York with Sy Oliver's orchestra in 1950, Piaf's song rebuilt around a trumpet and a rasp.

A rare Yamaha CP-30 supplies the riff, and Oates traced the song to Delta blues jammed against Texas swing.