
Don't Judge Me
Produced by The Messengers with Nasri co-writing, the fifth single from Fortune asks a lover to ignore rumor.

Produced by The Messengers with Nasri co-writing, the fifth single from Fortune asks a lover to ignore rumor.

Pop and Oak's glossy production, an Ester Dean co-write, and Nas cast as the love interest in Benny Boom's video.

Tweedy and Feist trading a chorus about two people trying to hold it together, Wilco's first album duet.

Mercer tried a falsetto in the booth, doubled the take, and Broken Bells arrived sounding like the Bee Gees.

Re-recorded in a new key after Genie in a Bottle, it reached number one on January 15, 2000.

A Gamble and Huff ballad first sung by Teddy Pendergrass in 1972, taken by Hucknall to number one in America.

Mayer lobbied his label against releasing it, then won Song of the Year in 2005 and said so onstage.

Six weeks at number two, blocked by End of the Road, which Babyface's team also wrote, T-Boz leading throughout.

Cut first for the Up in Rags EP, all four members co-producing, a clothesline standing in for one-sided love.

Judd Lander, the harmonica player from Karma Chameleon, gives the record its Stevie Wonder swing over Absolute's production.

Paich's pounding piano intro, Porcaro's triplet hi-hat, and Lukather's solo, all on a debut single that hit number five.

Holly Knight and Mike Chapman wrote it as a ballad; Neil Giraldo's drum machines turned it into dance-rock.

Neville was working the New Orleans docks when he cut this for Par-Lo, a label built to release it.

Schwartz took the title from a pillow-punching therapy session, and Benatar made it her first American top ten.

Chris Bear started the piano line on a Cape Cod weekend; Victoria Legrand's stacked harmonies make the rest glow.

A Tim Pope video with no lip-syncing, BBC wildlife footage, and Talk Talk's only American top forty.

Number twelve on the Hot 100, the band's last pop top twenty, and a bass line hip hop still raids.

Hoppus was twenty-six and picked twenty-three purely for the rhyme; MCA made them drop the title "Peter Pan Complex".

A thank-you note to Jagger for shouldering the band, by Richards' account, with Wood taking the solo.

Four palm-muted chords, Dirnt's bass doing the melodic work, and a lyric Armstrong wrote after fighting with Adrienne.