
Brass in Pocket
Honeyman-Scott's guitar lick came first, and Hynde told her producer he could release the thing over her dead body.

Honeyman-Scott's guitar lick came first, and Hynde told her producer he could release the thing over her dead body.

Nicknamed the BlackBerry Song because every line could be text-messaged, and Timbaland trades verses instead of just producing.

A darbuka drum, finger cymbals, and almost nothing else; the Neptunes' emptiest beat became Kelis's biggest hit.

Written for Rod Stewart, declined by Tina Turner, and parked at number one for ten weeks by Newton-John.

Liberty DeVitto hated reggae, so the demo's lilt became a shuffle; the radio bans only sold more copies.
Lenky Marsden's Diwali riddim is mostly handclaps and space, and Sean Paul rode it to three weeks at number one.

The Neptunes wrote it for Michael Jackson's Invincible; he passed, Timberlake took it, and the falsetto glides straight into disco.

Auto-Tune used as an instrument rather than a fix, T-Pain producing himself, Yung Joc riding a snap beat.

Four singers, one Rockwilder beat, and Missy Elliott turning a Labelle cover into 2001's best-selling single worldwide.
Recorded live with Henri René's orchestra in October 1953, and Kitt's purr makes every extravagant request land.

Rohan Fuller's Applause riddim, a Hot 100 number one, and dancehall running American radio through 2006.

Ghost Town DJ's 'My Boo' flipped by Mike Will Made It, Future co-writing, and Ciara singing barely above a whisper.

DR Period built it on the Commodores' "Easy," and Cam'ron and Juelz Santana rode it to number three.

Stargate's synth organ, Drake's first number one, and Rihanna turning a chorus of nonsense syllables into flirtation.

A new jack swing pivot from L.A. Reid and Babyface, and by Reid's account the vocal took one take.

Dre put music under Doug E. Fresh and Slick Rick's a cappella original, and Snoop made the story his.
One riff played idly in Jones's apartment, and Gramm making him stop and play it again.

Written as a rock song for Cyndi Lauper, then rebuilt with Patrick Leonard into Madonna's fifth American number one.

Scott Storch's synth strings borrow from Middle Eastern melody, and nine weeks at number one followed for 50 Cent.

Marti Sharron said the writers jumped around at the playback and named it for that; June Pointer does the rest.

Stewart heard Jorge Ben's Taj Mahal at Rio Carnival, absorbed the melody unwittingly, and signed the royalties over to UNICEF.

Told it was impossible, Money phoned Ronnie Spector himself, and she sings her 1963 hook right back.

Pharrell and Chad Hugo hand him an electric piano strut and a cowbell; Timberlake splits the room to sing back.

Fourteen straight weeks atop the R&B chart, T-Pain's Auto-Tune at its peak, and a Grammy for the pair.

Cut at Miami's Circle House, Jonsin's sparse keys and Lil Wayne's verse gave Rowland seven weeks atop the R&B chart.

A King Floyd sample, Sting International's production, and a Levi's ad that carried it to number one in Britain.

Three weeks at number one, built on synth loops Polow da Don pulled from a GarageBand pack.

Eric McCaine and Sweat cut the track together, Athena Cage answering him line for line, his biggest pop hit.
Foreigner's riff, a Funkadelic drum break, and a phrase borrowed from Flavor Flav, built into a top-three hit.

Akon met Eminem at an Obie Trice session, flew to Detroit's 54 Sound, and left with five weeks at number two.

Ninety minutes in the studio, twelve weeks at number one, and a copyright verdict for Marvin Gaye's estate.

Grande recorded it first and disliked her take; Jessie J took over, Minaj added a verse, all three stayed.

T-Pain wrote and produced it at Chalice in Los Angeles, and it held number one for three weeks.

Tina Turner's chorus rebuilt at Crackhouse Studios, and Ashanti became the first woman to hold the Hot 100's top two.

Ron Fair rebuilt an album track into a single, adding a bridge and a rap; four weeks at number one followed.

Donovan Bennett's riddim, a Keyshia Cole verse added for the Step Up soundtrack, and a number three Hot 100 peak.

Kanye looped a 1978 Lenny Williams record, Miri Ben-Ari sawed the violin, and Twista outran both to number six.

Miller threatened to fire Clooney if she refused, Stan Freeman played harpsichord, and it sat six weeks at number one.

Polow da Don and Sean Garrett built it on Middle Eastern percussion, and Snoop Dogg turned up for the single.