
Hit 'Em Up Style (Oops!)
Dallas Austin wrote it, produced it, played bass and keys, and slipped a Sinatra snippet under Cantrell's revenge.

Dallas Austin wrote it, produced it, played bass and keys, and slipped a Sinatra snippet under Cantrell's revenge.

Feldman overheard a schoolgirl brushing off a boy, and the Angels' demo for the Shirelles went out as is.

Built on a bassline lifted from a Robbin' the Hood dub, and issued months after Nowell's death.

Tyler spent nine months on the lyric, Fincher directed the video, and the Grammy went to Aerosmith's bleakest hit.

Muggs looped Lowell Fulson's 1967 "Tramp" for the guitar and bass, and B-Real's nasal whine arrived fully formed.

Tompkins and Kear wrote it hoping Gretchen Wilson would cut it; Underwood's version stayed sixty-four weeks on the Hot 100.

Storch's clavinet, Timbaland's beat, and a breakup Timberlake spent years declining to explain; the Grammy arrived anyway.
Leslie Kong cut it in 1969, Hibbert called the subject karma, and The Harder They Come carried it worldwide.

Written with Paul Epworth in one afternoon after a breakup, and the credits list stiletto heels as percussion.

A Vox Continental organ, a Michigan basement studio, a tiny local label, and somehow the number one record in America.

Cut in a converted Camden church in 1927, two takes, and the yodel that made hillbilly records big business.

Deacon's bassline owes Chic, Michael Jackson talked them into releasing it, and Queen landed their biggest-selling single.
Osbourne heard Iommi's riff and called it a big iron bloke walking; Butler built the science fiction around that.