
Be My Baby
Hal Blaine's four-beat drum intro is the most imitated in pop, and Ronnie Spector owns everything after it.

Hal Blaine's four-beat drum intro is the most imitated in pop, and Ronnie Spector owns everything after it.

MGM cut it from the film twice until Arthur Freed threatened to quit; Garland was sixteen.
Willie Nelson wrote it; Cline, back after a car wreck bruised her ribs, nailed the vocal in one take.
Spector printed 3:05 on the label of a 3:45 record, and it became the century's most-played song on American radio.

One chord, no changes, Sumlin's guitar circling, and Wolf's howl answering the trains whose sparks named the song.

Eno reckoned half the album's sessions went into it and nearly wiped the tape; the Edge's delay does the rest.
Marr faked the strings on an Emulator, credited them to the Hated Salford Ensemble, and Britain waited six years.

Carmichael whistled the tune to his band at Gennett and cut it fast; Parish added the lyric two years later.

Blackwell gave Presley half the writing credit; the Jordanaires hum behind a vocal so relaxed it barely seems to try.

Hoagy Carmichael's 1930 tune, remade as Charles's first Billboard number one and adopted as Georgia's state song in 1979.
Two accordions, a key change eight beats in, and 21 takes at Gold Star before Wilson sang about growing up.

Gilmour's twelve-string comes through a recorded car radio, and Grappelli's violin sits buried near the very end.

Webb sent it over unfinished, one verse short, and Campbell cut the loneliest three minutes in country music.

Riley Hampton's strings behind a 1941 film tune James took over, and the Library of Congress preserved it.
Never a professional singer, Gilberto sang at the 1963 session because she spoke English; Record of the Year followed.

Ely shouted on tiptoe at a mic hung overhead, and the FBI spent thirty-one months failing to decode him.
Withers was building airplane toilets when he cut this, and he left the unfinished bridge as twenty-six repeats.

The Phillipses wrote it homesick in a New York winter, and Doherty sang over Barry McGuire's existing backing track.
Cut at Muscle Shoals in December 1969, with Jim Dickinson on tack piano after Ian Stewart refused the minor chords.

A back injury kept Young seated with an acoustic guitar; Taylor and Ronstadt were in Nashville and sang behind him.