
Love Will Tear Us Apart
The title flips Captain and Tennille into its opposite, and the single arrived a month after Curtis's death.

The title flips Captain and Tennille into its opposite, and the single arrived a month after Curtis's death.

A die-cut sleeve modelled on a floppy disk, an Oberheim drum machine, and the best-selling twelve-inch single ever pressed.

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

Robert Hazard wrote it in 1979 from a man's point of view, and Lauper flipped it into female solidarity.

Oakey thought it the weakest thing on Dare; it became Britain's best-selling single of 1981 and Christmas number one.
Gore wrote it as a harmonium ballad; Wilder and Flood put a dance beat under it over his objections.
Cut twice, once for Bobby Orlando and again with Stephen Hague, Tennant half-rapping London class anxiety to number one.

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

RedOne produced it at Record Plant, Gaga's mum-mum-mum-mah hook nodding to Boney M, and 2009's best-selling single worldwide.

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.

Written for another singer, rebuilt with Stephen Bray for a Desperately Seeking Susan dance scene, then buried on a B-side.

By Numan's account a road-rage scare in London started it; a bass riff, a Polymoog, and a UK number one.

Drake wanted a record that weddings would still play in ten years, and Majid Jordan's synths delivered exactly that.

A B-side until a San Francisco DJ's remix reached radio, and a first rap Grammy nomination they boycotted.

Bryan Ferry and Billy Idol passed; Simple Minds cut it reluctantly, then kept the placeholder chant that closes it.

Too weird for radio, not clubby enough for clubs, by the duo's own reckoning; Sam Smith's falsetto settled it.