
Auld Lang Syne
Burns said he took the song down from an old man; Stanley's 1910 disc is probably the first commercial recording.

Burns said he took the song down from an old man; Stanley's 1910 disc is probably the first commercial recording.

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

Jack & Diane, Only the Good Die Young, Rock'n Me: the songs Chesney says drag him back.

Alex da Kid's beat, Hayley Williams on the hook, and a wish on a passing plane that went diamond.

Phillips wrote it after a trip to Orcas Island, keeping the placeholder lyrics because nothing he tried afterward worked better.

Sean Mackin's violin cutting through the guitars, and an avenue that is really a boulevard in Atlantic Beach, Florida.

Keith Stegall produced it, Jim McBride supplied the title line, and Jackson water-skied through the video in red cowboy boots.

Brian Deck built a loop for Beam to layer guitar over; Stewart reportedly chose it for Twilight's prom.

Funkadelic's Can You Get to That, looped and sweetened, under the one Sleigh Bells song that whispers.

A homesick lullaby from No Need to Argue, with a string arrangement O'Riordan scored herself over Noel Hogan's chords.

Four voices, no instruments, a 1975 Cooley High ballad rebuilt a cappella and carried to number two.

Jackson wrote it alone, a whole marriage from courtship to old age, and country radio held it at number one.

Sixteen weeks in the top ten, more than any other single of the eighties, and Aronoff's drums never let up.

Cut with Joel Little in a small Auckland studio, the beat built before a word, that "Yeah" doing everything.

Rice-Oxley hammered it out on piano after "Heroes", and Keane proved a rock band could skip guitars entirely.

Moretti woke to hear Casablancas inventing the melody in the bathroom, and it became the warmest song on Is This It.

Five mics from The Source for The Fix, a Mike Dean beat, and Scarface drawing his Houston block affectionately.

Guitar jangle, Wheeler's voice, and a US Modern Rock number one that Britain never received as a single.

A rolling piano, Butler's boyhood in The Woodlands outside Houston, and an album he called a letter from the suburbs.

A twelve-string riff swapped for six and doubled for thickness, then a chorus about a summer Adams never actually had.