
Higher
Stapp built it from a recurring dream he learned to control, and it sat atop Mainstream Rock for seventeen weeks.

Stapp built it from a recurring dream he learned to control, and it sat atop Mainstream Rock for seventeen weeks.

Written at sixteen on a road trip, produced by Ben Keith, from a debut that took two years to break.

Curt Kirkwood wrote it for Meat Puppets II, then stood onstage playing it while Cobain sang his obscure song to millions.

A basement demo meant only for publishers, until an Atlanta college station put it into rotation and Atlantic came calling.

James took the title from Revelation's New Jerusalem and floated it over organ, acoustic guitar and overdubbed bongos.

Grown from a Dublin jam called Sick Puppy, and Edge's Korg funk-wah setting turned Clayton's bassline into U2's funkiest record.

Chaka Khan's backing vocals lift Winwood's first solo number one, and the Grammy for Record of the Year followed.

Kerry Livgren's last-minute addition to Leftoverture opens a cappella, then hands Kansas their first top forty hit.

Seven-four time, Steve Hunter's Martin triple-tracked at three tape speeds, and Gabriel's first record after walking out of Genesis.
Cohen thought Simon's orchestration overblown, but the four-track master wouldn't let him strip it; Judy Collins recorded it first.

Five-Percenter numerology over a bassline that barely moves, Badu's debut single, and a Grammy at the first attempt.
Harrison started it backstage in Copenhagen, gave it to Billy Preston first, then took the first ex-Beatle number one.

Written first as 'Into the Misty', recorded at A&R in New York, and the warmest thing Morrison ever sang.

Written and taped in a three-hour burst, Wonder on clavinet and drums, the keyboard snarling through a Mu-Tron filter.
Eight minutes that climb from recorders to Page's solo, never released as a single and never needing to be.