
A Bay Bay
A Shreveport club chant for DJ Hollywood Bay Bay, which Phunk Dawg's beat carried all the way to number seven.

A Shreveport club chant for DJ Hollywood Bay Bay, which Phunk Dawg's beat carried all the way to number seven.

Cut at the Record Plant with The Underdogs, 130 BPM of house that gave Brown his first UK number one.
Dutch singer, German producers, and a Gilbert Montagne sample underneath; the Roxbury soundtrack later handed it a second life.

Twenty-three weeks of climbing before it peaked at number four, riding a Mick Schultz beat built for last call.

Fat Joe found no club record built around throwing money, so Scott Storch cut one at the Hit Factory.

Rihanna's team turned it down for Loud, and Usher took it to number four with Pitbull along for the ride.

Bruce Dukov's violin line, modelled on Wes Montgomery's Eleanor Rigby, over a track first built for Michael Jackson.

Leiber and Stoller's first single for the group, Stoller himself at the piano, climbed to number eight R&B.

Akon met Eminem at an Obie Trice session, flew to Detroit's 54 Sound, and left with five weeks at number two.

Dre and Mike Elizondo built it spare, clipped piano and low thump; the Mobb Deep remix reached number six.

Three weeks at number one, built on synth loops Polow da Don pulled from a GarageBand pack.

Written first as a Doublemint gum jingle, then extended by Polow da Don into a wedding-aisle staple.

Fourteen straight weeks atop the R&B chart, T-Pain's Auto-Tune at its peak, and a Grammy for the pair.

DJ Montay's beat, T-Pain on the hook, and the first song to sell four million digital copies in America.

Stewart heard Jorge Ben's Taj Mahal at Rio Carnival, absorbed the melody unwittingly, and signed the royalties over to UNICEF.

Number three on the Hot 100, co-produced by Beyonce, the last single cut with Luckett and Roberson.

Sonny Digital and Metro Boomin built the beat, Drake jumped on the remix, and a weeknight became an occasion.