Dreams (Fleetwood Mac)
Nicks wrote it in a black velvet studio room at Sausalito's Record Plant; it remains the band's only US number one.
Nicks wrote it in a black velvet studio room at Sausalito's Record Plant; it remains the band's only US number one.

Andre 3000 apologizing to Erykah Badu's mother, who liked it enough to buy a Ms. Jackson license plate.

Beyonce found Bob Fosse's Mexican Breakfast on YouTube; three Grammys and a decade of wedding receptions followed.
Presley started clowning through an Arthur Crudup blues on a break; Sam Phillips heard it and rolled tape.

Buckingham aimed Mick Fleetwood at the Street Fighting Man groove, then sang a breakup line Nicks demanded he cut.

Parton wrote it to leave Porter Wagoner; Houston opened a cappella and held the Hot 100 for fourteen weeks.
Buried as a B-side until DJs flipped it, and Gaynor cut the vocal in a back brace after spinal surgery.
Percy Mayfield mailed it in as an a cappella demo; Margie Hendrix answers Charles line for line.

Max Martin built it at Cheiron in Stockholm after TLC and the Backstreet Boys passed, and Spears was sixteen.

Collins's chords sat unused for two years until Van Zant found the melody; the long outro was his onstage rest.
Razor-blade tape splices turned rejected scraps into the one Rumours song credited to all five, McVie's bass ending it.

Built on the bones of Tom Petty's American Girl, which Petty confirmed without complaint, and recorded in Gordon Raphael's basement.

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

Dozier reportedly took the Morse code guitar figure from a radio news signal, and Ross demands her exit over it.

Two days of writing with Jeff Lynne, Mike Campbell's twelve-string, and Ventura Boulevard turned into the whole San Fernando Valley.

A Vox Continental organ, a Michigan basement studio, a tiny local label, and somehow the number one record in America.

Pink passed on it and Duff couldn't hit the notes, so Clarkson asked for heavier guitars and won a Grammy.

Cut at EMI in February 1965, with Harrison's Rickenbacker riff and a record Lennon later called the first heavy metal.

Written with Paul Epworth in one afternoon after a breakup, and the credits list stiletto heels as percussion.
Johnson's 1936 triplet figure run through an amplifier, Sonny Boy Williamson on harmonica, and a riff everybody stole.

Auto-Tune, a TR-808, No I.D. co-producing, and Kid Cudi writing the hook: rap learned to sing from this.
A Northern soul flop from 1964 rebuilt on synthesizers at Advision, Marc Almond's first vocal take kept intact.

Flea on bass and Dave Navarro on guitar, recorded in Glen Ballard's home studio, behind the nineties' fiercest kiss-off.
Krieger's raga-style tuning, Morrison at his most unnerving, and nearly twelve minutes Coppola later gave to Apocalypse Now.

Bud Lee forgot his wallet, joked that he knew the cook, and Brooks took it to number one.

Chuck Berghofer's descending double bass, plus Sinatra talking Hazlewood into letting a woman sing lines written for a man.

Toni Stern wrote the words in a day after her romance with James Taylor ended, and Curtis Amy's sax answers.
Stills nailed the seven-minute basic track in one take, then all three sang into a single microphone.

Some thirty acts turned the Bryants' song down; Don Everly's intro, written for something else, took it to number two.

Storch's clavinet, Timbaland's beat, and a breakup Timberlake spent years declining to explain; the Grammy arrived anyway.

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

Webb mapped a drive that is geographically impossible, and Sinatra still called it the greatest torch song ever written.

Vernon cut it alone in his father's Wisconsin hunting cabin over a winter, and the falsetto still sounds snowbound.

Ne-Yo pitched it as country, written with Shania Twain in mind; Beyoncé turned it into ten weeks at number one.

A wobble bass drop grafted onto a country breakup song, and Swift's full move to pop became inevitable.

Taiko drums against an 808 heartbeat, Auto-Tune everywhere, and a version West scrapped and recut after the fan backlash.
Mick Jones wrote it overnight for an NME flexi-disc that fell through, and the printed sleeves never listed it.

Bruce Hornsby's piano behind a vocal Raitt cut in one take, then refused to try again.
Nina Simone's 1965 Strange Fruit against TNGHT's blaring horns, a breakup rendered enormous; platinum without ever being a single.