
I Walk the Line
Cash slipped paper under his guitar strings for that snare tick, and hums to find each new key.

Cash slipped paper under his guitar strings for that snare tick, and hums to find each new key.
Felder demoed it on a four-track in Malibu, and his Les Paul duels Walsh's Telecaster through the outro.

Slash's riff, McKagan's breakdown recycled from his old punk band, and roughly three hours from nothing to finished song.

Minogue passed on it; Bloodshy and Avant hung a Bollywood string sample over surf guitar for Spears's only Grammy.

Lewis argued theology with Sam Phillips between takes at Sun, decided the devil could wait, and cut it anyway.
A church organ quoting Wham!'s Freedom, then Hugh Burns's Bo Diddley rhythm, and four weeks at number one.

A DeShannon album track from 1975 until Bill Cuomo's Prophet-5 riff arrived; nine non-consecutive weeks at number one followed.

A lullaby melody hiding a song about alcohol, and one of three Either/Or tracks in Good Will Hunting.

Sting drew on his years teaching and on Nabokov, then watched it become Britain's best-selling single of 1980.

Elliot Straite, as Dr. Freeze, turned a letter to an ex-girlfriend into new jack swing at its sharpest.

Five weeks at number one, reportedly the first chart-topper built entirely in Pro Tools, and Latin pop's door kicked open.

Seven weeks at number two in America and a straight-in number one in Britain, all from Dupri's Atlanta studio.
Raf's Italo-disco original topped Italy's chart first; Friedkin directed Branigan's video and MTV demanded cuts before airing.

Alicia Keys sings backing behind Pino Palladino's bass, and Mayer called it the most important song he has written.
Twelve weeks at number one on the R&B chart, a record then, and one of 1994's smoothest hooks.

Blue Oyster Cult passed, .38 Special passed, and Adams kept the riff; the first full take made the record.

CeeLo Green produced it for Tori Alamaze first, and the Dolls took her taunt to number one in fifteen countries.

A Joe Tex drum break under a Smeezingtons hook, and Bruno Mars stepping out from behind the songwriting desk.

Drummer Stan Frazier sang the hook on his way out of the studio, and the chorus borrows Malo's Suavecito.

Sugar Ray's drummer co-wrote it about touring temptation and a faithful girlfriend; the album title joked about vanishing fame.