
Everlong
Drums by Grohl, Hawkins not yet in the band, and Louise Post's backing vocals sung down a phone from Chicago.

Drums by Grohl, Hawkins not yet in the band, and Louise Post's backing vocals sung down a phone from Chicago.

Flea on bass and Dave Navarro on guitar, recorded in Glen Ballard's home studio, behind the nineties' fiercest kiss-off.

Fifteen years old and stuck in a math class when Arnold wrote it; he sang it from the drum stool.

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

Written late in the Malibu sessions on the street that gave the album its name, Boyd making stillness sound enormous.
Wade wrote it in about five minutes, and it never hit number one yet finished 2001 as America's biggest single.

Written in 1996 for an acoustic side project and shelved, it returned to spend twenty weeks atop Mainstream Rock.

Forty-five minutes to an hour, by Kroeger's account, then more US radio plays than any song of the decade.

Scannell wrote it about a friendship he wanted to be more, and it became Billboard's most-played single of 2000.

Brad Arnold and the band shot the video aboard the USS George Washington, then held Mainstream Rock seventeen weeks.

Alone in a Hollywood hotel room missing his son, Scantlin turned the ache into ten weeks atop Mainstream Rock.

Lewis finished the words onstage in Biloxi with Fred Durst singing along, and that live take became the hit.

Twelve weeks at number one on Alternative Airplay, with Brett Scallions selling every syllable of Carl Bell's chorus.

Kamin wrote it after a funeral, imagining the widower left behind; it then held Adult Top 40 for twenty-three weeks.

Estrin mailed Robb an instrumental demo; the lyrics came from scraps in a journal, the strings from Capitol.

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