Hey Jude
Seven minutes, four of them just na-na-na, and somehow nobody has ever wanted it to end sooner.
Seven minutes, four of them just na-na-na, and somehow nobody has ever wanted it to end sooner.

Garfunkel's voice climbing a gospel staircase, the last verse arriving like the cavalry.

McCartney dreamed of his mother Mary telling him it would be all right; Harrison cut two different solos.

Marley credited it to Tata Ford, whose Trenchtown soup kitchen the royalties kept running; the title means woman, don't cry.

A choral intro from the London Bach Choir, Al Kooper on French horn, and producer Jimmy Miller on drums.

Holland-Dozier-Holland pitched Stubbs at the very top of his range, and Paul Riser opened it with piccolo and flute.

Hal Davis cut it at Hitsville West in June 1970, and Michael, eleven years old, made the ballad sound lived-in.

A glockenspiel, a Leslie speaker meant for organs, and Hendrix fading out after two minutes and twenty-five seconds.

Noel's first lead vocal on an Oasis single, a phrase lifted from a Lennon tape, Manchester's anthem ever since.
Reportedly inspired by canaries at his Hope Road windowsill, cut in London, and the gentlest reassurance in reggae.

Starr sang it at dawn after ten takes, having first made them cut the line about thrown tomatoes.

A shout through a Stax restroom door became the title, and Booker T.'s band made it an R&B number one.

Wilson heard Be My Baby, resolved to answer it, and took the title phrase from his girlfriend Marilyn Rovell.

Owen Morris showed Bonehead the root notes for a Mellotron cello, and the track was largely done in a day.

Reprise rejected the album, Wilco streamed it free, and a sister Warner label put out these swooning strings instead.

Cocker slowed a Beatles album track to gospel tempo, with Jimmy Page on guitar and Tommy Eyre's organ intro.
Berry wrote most of it over a drum machine, John Paul Jones scored the strings, and the words target teenagers.

Coyne wrote it during Drozd's recovery, a plain statement about mortality that Oklahoma voted its official state rock song.

Kerry Livgren's last-minute addition to Leftoverture opens a cappella, then hands Kansas their first top forty hit.

David Grisman's mandolin threading Hunter's London lyrics, a benediction the Dead tucked onto the B-side of "Truckin'".

Anne Murray turned it down, so Lauper took Steinberg and Kelly's gospel ballad and stripped it to almost nothing.

King wrote it during the Tapestry sessions; Taylor cut it with Joni Mitchell behind him for his only number one.

Capitol dropped the band, Trombino produced on credit, and the drum pattern came straight off Tom Petty's You Wreck Me.

Stan Vincent's song sat on a B-side until it broke out in Philadelphia and Detroit and climbed to number eight.

Perry wrote it for herself, then refused Aguilera a retake; the demo vocal is what reached number two.

Six minutes that drift, then lift; the track Rob plays in High Fidelity to sell five copies on the spot.

Michel Zitron lifted the chorus line straight from his father, John Martin sang it, and the trio had its farewell.

Number four in 1961, with Luther Dixon and Willie Denson turning a mother's shrug into pure reassurance.
Cuba Gooding Sr. stepped up after Donald McPherson's death and turned heartbreak into the warmest consolation soul ever offered.

Written for Gloria Estefan until Mottola heard the demo; Carey thought it schmaltzy and took it to number one.

Martin wrote the verse in Amsterdam and the outro in Iceland; the closing track waits minutes before the guitars arrive.

Bacharach and Bayer Sager wrote it for Rod Stewart; four voices later it raised over three million for AIDS research.

Taylor played this at his Apple audition to land the deal, and Harrison lifted its title for "Something".

Piano, upright bass, a drum machine, and McLachlan writing about a Smashing Pumpkins keyboardist's overdose with startling tenderness.

Written by all four members in 1989, David Crosby added backing vocals, and the debut album sold twenty million.

Roddick emailed tracks from Montreal to James in Halifax, and the album took its title from this song's lyric.

Linda Ronstadt produced it, and Neville's falsetto turns the Main Ingredient's 1972 consolation into something even gentler.

Babyface hummed a placeholder where the words should go, kept it, and watched the record debut at number one.

A debut-album cut that Branch wrote alone, produced by John Shanks, and her first trip into the top ten.
Gilbert traded shred for acoustic guitar behind Martin's teenage lyric, and hand claps carried it to number one.

Powter sketched it on the ferry from Victoria to Vancouver; American Idol adopted it and Billboard called it 2006's biggest.