
Will You Love Me Tomorrow (The Shirelles)
King wrote the melody and the string arrangement, and a girl group topped the Hot 100 for the first time.

King wrote the melody and the string arrangement, and a girl group topped the Hot 100 for the first time.

A stomping riff, a desert studio in Joshua Tree, and the band's first single to reach the Billboard Hot 100.

Mitchell was reading Henderson the Rain King on a plane, looked out at the clouds, and started writing immediately.

Berry's chords, Buck's arrangement, and lyrics Stipe wrote at the last minute about Andy Kaufman, Elvis impression included.

Jill Scott's hook, re-sung by Badu at the label's request, and Questlove driving the outro into drum and bass.

Spanish backing vocals translated by the tape operator's mother over the phone, and a jeans advert made it number one.

Seventeen weeks in the American top ten, and a ballad Stigwood refused to let them hand to Yvonne Elliman.

Taiko drums against an 808 heartbeat, Auto-Tune everywhere, and a version West scrapped and recut after the fan backlash.

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

Armstrong wrote the lyrics alone in an East Village apartment, and that loneliness won Record of the Year.

One Korg M1 preset, stripped to vocal and kick, and Beyonce was still borrowing that organ in 2022.

A few minutes' work by Clark about a girlfriend from the Ciro's residency, and a refrain hinging on "probably".

Chris Bear started the piano line on a Cape Cod weekend; Victoria Legrand's stacked harmonies make the rest glow.
Seven weeks at number one for Neil Diamond's song, with Diamond himself on acoustic guitar behind Dolenz's lead.

A demo Janet Jackson's camp turned down, which Houston rode to number one over her cousin Dionne Warwick.

Six-times platinum for a soundtrack ballad: Rick Nowels producing, Craig Armstrong's strings, Del Rey singing Daisy Buchanan's doubt.
A decade after the Shirelles made it the first girl-group number one, King slowed it down with Taylor and Mitchell.

Koenig named it for a Columbia classmate from his Buddhism class, and the final minute cracks wide open.

Recorded at Sweet Tea in Oxford, Mississippi, and it turns a hard look at mortality into something close to serene.

Jam and Lewis wrote and produced it for Johnny Gill's first New Edition album, and it topped the R&B chart.