Once in a Lifetime
Byrne borrowed a preacher's cadence, Eno hummed the chorus melody, and the band looped its own jams like samplers.
Byrne borrowed a preacher's cadence, Eno hummed the chorus melody, and the band looped its own jams like samplers.
Marr faked the strings on an Emulator, credited them to the Hated Salford Ensemble, and Britain waited six years.

Sting woke at Fleming's Goldeneye with the melody; Summers cut that arpeggio in one take and made surveillance sound tender.

Recorded on a secondhand eight-track in a Chalk Farm attic, and an American number one by September.

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

Smith traced it to a day at Beachy Head with Mary Poole; Williams sped the tempo, adding the opening fill.

Oakey thought it the weakest thing on Dare; it became Britain's best-selling single of 1981 and Christmas number one.

Copeland turned Sting's bossa nova into a tango, and the piano clang at the top was an accident they kept.

Flowers wrote it after a bad night at a Vegas bar; Britain has kept it charting past 500 weeks.

A ballad first, written at art school, until Weymouth's French bridge and bassline turned it feral.

Gonzalez built that shrieking hook from his own distorted voice, then let James King's saxophone close the record.

Two releases flopped before the third one broke, Furuholmen's Juno-60 riff intact and a video rotoscoped over sixteen weeks.

It missed the UK top forty, all Fairlight sequencing except Hook's bass, and now every indie disco needs it.
A Northern soul flop from 1964 rebuilt on synthesizers at Advision, Marc Almond's first vocal take kept intact.

Knopfler borrowed a pen in a New York appliance store to copy down a delivery man's complaints about MTV.

Topper Headon cut the drums, piano and bass himself, and Strummer finished the lyrics in the studio bathroom.

Summers' arpeggiated riff, Sting's castaway pleading over it, and the first of the Police's five UK number ones.

Orzabal found the shuffle alien to the band, Hughes talked him into it anyway, and America made it a number one.

Kumalo cut one descending bass measure, Halee reversed the tape for the break, and Chevy Chase mimed it on MTV.

Frantz came home from a Parliament-Funkadelic show chanting it, and Byrne built the band's only American top ten.