A Change is Gonna Come
Cooke wrote it after a motel turned him away, and sang it like a hymn he already knew by heart.
Cooke wrote it after a motel turned him away, and sang it like a hymn he already knew by heart.

Harrison wrote it in Clapton's garden while skipping a business meeting, and it sounds exactly like that relief.

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

Bittan's piano, a harmonica, and a screen door slamming; Springsteen lifted the title from a Robert Mitchum film poster.
Mayfield turned the gospel train of the spirituals into a civil rights hymn, and King used it to steady marchers.
Armstrong took union scale so the orchestra could collect overtime; ABC's president hated it and buried the record.

Gallagher wrote it in 1991, before Oasis had a record deal, pitching plain optimism against everything grunge was selling.
Al Bell lifted the bassline from a Jamaican instrumental, and Mavis Staples turned Muscle Shoals into a pulpit.
Reportedly inspired by canaries at his Hope Road windowsill, cut in London, and the gentlest reassurance in reggae.

Albarn built it on a melodica and an Omnichord's first preset; Del cut his verses in half an hour.

Cain lifted the title from his father's advice, and the chorus stays hidden until the last fifty seconds.

Brock wrote it in the final days of tracking, fed up with darkness, and built indie rock's warmest chorus.

Tyler had the tune on his family's New Hampshire lodge piano years before Aerosmith; a reissue reached number six.

Master Henry Gibson's congas drive it, the horns arrive like good news, and Britain sent it top twelve.

The band laughed at Sambora's talk box until it opened the record. The last chorus climbs a minor third.

Froom's Hammond solo does the heavy lifting, and Finn wrote the rest as an exhortation to himself.

A celesta played by the producer's wife, Jerry Allison slapping his knees for drums, and two minutes of pure lift.

Eno programmed the drum machine, Lanois played the Telecaster, and the Edge won the argument for his old delay-drenched sound.

A bass line Clayton stumbled on while decoding Visage's Fade to Grey, then Bono aimed the words at Poland's Solidarity.

A night walk at Caribou Ranch gave White the title, and the band their only Hot 100 number one.

Goffin and King built it for Little Eva; the Chiffons got the track, King's piano intro intact.

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

Alexander buried a celebrity taunt in the last verse to prove the press would ignore the politics; it worked.

Take four, June 1967 at EMI, with a trumpet added later onto the mono mix and nowhere else.

Granduciel spent two years second-guessing these sessions, and the song still turns on one yelp before the chorus.

Richard Carpenter recognized Paul Williams singing a bank commercial and asked whether a whole song existed underneath.

Four Alabama day-jobbers paid for their own sessions at a Nashville home studio, and Rolling Stone named it 2012's best.

A piano ballad at first, then a synthesizer break, then guitars, angels and a starship headed skyward.

Four chords, F, C, A minor, G, looping unchanged while Petty and Jeff Lynne make uplift sound effortless.

Boi-1da's beat, Resto's keyboards, and Eminem setting the Slim Shady mask aside; it debuted at number one.

James took the title from Revelation's New Jerusalem and floated it over organ, acoustic guitar and overdubbed bongos.
Written for Space Jam, Paul Riser's strings taped in Detroit, the Luv Club Choir massed behind the vocal.

Duritz wrote it before dawn while a friend lay in hospital, and the band cut it almost entirely live.

Written at a soundcheck in an Edinburgh pub, open-D guitar and banjo climbing into a stomp that drew four Grammy nominations.

Cut in Venice Beach with Danielle Brisebois, then adopted by The Hills and every graduation slideshow since.

Jakob Dylan wrote it at a Los Angeles kitchen table, then watched it top all three Billboard rock airplay charts.

Robin Clark, credited as additional lead singer, answers Kerr line for line while Iovine pushes everything skyward.

Sanders and Sillers wrote it in 1999; five weeks at country number one, and every graduation since has borrowed it.

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

Justin Meldal-Johnsen co-produced at Sunset Sound, and Gonzalez turns unembarrassed optimism into a wall of synthesizers.

A song its writer said had no bridge and no hook, written in 45 minutes and sung to number three.

A Red Rider demo called "Love Is a Highway", revived after Cochrane's World Vision trip to eastern Africa.
A father's blessing written for the kids Stewart missed while touring, and similar enough to Dylan's song that they share royalties.

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

Chynna Phillips drew the words from AA's one-day-at-a-time, Glen Ballard produced, and it topped Billboard's 1990 year-end chart.

Jason McGerr shaped the drums after the Purdie Shuffle, and Gibbard turned the 2007 California wildfires into something almost calm.

Kane Beatz interpolated Modest Mouse's Float On, Atlantic made it the price of releasing Lasers, and Fiasco got his biggest hit.

Eight tracks at Fantasy Studios, every sound McFerrin's own voice, and the first a cappella number one ever.

Critics heard the Kinks' Lola in the strum, and a Dancing on Ice slot lifted it to number fourteen.

Buble wrote it with Chang and Foster-Gillies while dating Luisana Lopilato, who plays his love interest in the supermarket video.

Turned down for Whitney Houston and passed over by Belinda Carlisle, so the writers cut it themselves and reached number five.

Three Swedes wrote and produced it, and Dion turned her greatest-hits lead single into a final Hot 100 top ten.

Written after Cochrane's famine-relief trip to Africa, and reborn as a Pixar road anthem by Rascal Flatts.
Written on New Year's Day in the Canary Islands, then finished at Cheiron by Denniz Pop and Max Martin.

May and Taylor wrote it, Mercury sang it, and Queen waited until 2019 to give it a video.