
Stayin' Alive
Barry Gibb's falsetto over a drum loop so metronomic that paramedics still use it to time chest compressions.

Barry Gibb's falsetto over a drum loop so metronomic that paramedics still use it to time chest compressions.
Moroder's pulsing synth track, Summer floating above it, and the record Eno reportedly called the sound of the future.

Wonder wrote that clavinet riff for Jeff Beck, heard it back, and sensibly kept it for himself.

Seventeen and gliding across the floor, the rare disco record that sounds like joy and ache at once.

Big Bank Hank auditioned outside the pizzeria where he worked, rapping lines borrowed from Grandmaster Caz's notebook.

Willis wanted real words instead of ba-dee-ya; White refused, and the groove outlived any lyric she could have written.

Jackson wrote it himself and steered the session; a whisper, a water-bottle rattle, then Louis Johnson's bass takes over.
Buried as a B-side until DJs flipped it, and Gaynor cut the vocal in a back brace after spinal surgery.

Edwards' bassline turned up on Rapper's Delight within months; the settlement put Chic's names on rap's first pop hit.

A demo kicked around since the mid-seventies, rebuilt on a Roland drum machine that appalled their punk friends.

Wonder built it for Ellington after his death in 1974, then handed the melody to horns playing in unison.

Deacon's bassline owes Chic, Michael Jackson talked them into releasing it, and Queen landed their biggest-selling single.

Rod Temperton offered it to Karen Carpenter first; Quincy Jones and Jackson took it to number one.

Rodgers' guitar, Pharrell's vocal, Nathan East on bass, and disco walked back onto the radio wearing robot helmets.

The Meters on rhythm at Sea-Saint, Toussaint producing, and Patti LaBelle singing a French hook she did not understand.

Moroder's four-on-the-floor, Jeff Baxter's rock guitar solo bolted on, and the first female rock vocal Grammy.

Four-on-the-floor from a Billy Preston jam, harmonica by Sugar Blue, found busking in Paris, and their last American number one.

Jimmy Ellis over eleven minutes of Philadelphia rhythm, a flop in 1976 until Saturday Night Fever made it a hit.