
Good Vibrations
Brian Wilson's pocket symphony, months and a fortune spent chasing one shimmering theremin line into the sunlight.

Brian Wilson's pocket symphony, months and a fortune spent chasing one shimmering theremin line into the sunlight.

Handclaps, that leaping chord under "I can't hide," and five weeks later America belonged to them.

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

Brown recycled a flop he'd cut on Yvonne Fair, added Maceo Parker's alto, and landed his highest-charting single.

King wrote the melody and the string arrangement, and a girl group topped the Hot 100 for the first time.

Riley Hampton's strings behind a 1941 film tune James took over, and the Library of Congress preserved it.
Taupin scribbled the lyric over breakfast at a kitchen table, and Buckmaster's strings turned it into John's first Top 10.
Piaf's own lyric, dismissed by her collaborators as foolishness, then a million American sales and a French national possession.

A Steinberg and Kelly demo Rodgers disliked at first, six weeks at number one, and a seventeen-foot wedding cake.
A 1784 French melody rewritten for Blue Hawaii, and the song Presley chose to close his shows for a decade.

Two releases flopped before the third one broke, Furuholmen's Juno-60 riff intact and a video rotoscoped over sixteen weeks.

Written with Ben Margulies in a studio behind his father's cabinet factory, and the whistle-register note that reset pop singing.

A shaken Pepsi bottle gave Blackwell the title, and Presley's version held number one for two solid months.

Holland-Dozier-Holland over a gospel backbeat, Mike Terry's baritone sax break, and Reeves hollering the Vandellas to a Grammy nomination.

Calvin Harris wrote and produced it alone, and Rihanna rode ten weeks at number one, 2011's longest run.
Wolinski's synth loop, his threat to hand the song to Quincy Jones instead, and Khan sailing clean over it.

Wonder was fifteen, his voice breaking, and Gordy feared he was finished; Sylvia Moy fed him lyrics line by line.

Tamborello sent instrumental DATs to Gibbard, who added vocals and shipped them back; his first happy love song.

Her only American top ten hit, cut with Tom Scott's L.A. Express as she swung folk toward jazz.