
Smells Like Teen Spirit
Four chords, a mumble nobody could decipher, and the riff that ended one decade of rock and started another.

Four chords, a mumble nobody could decipher, and the riff that ended one decade of rock and started another.

That opening arpeggio is a Lowrey organ's marimba repeat function; Dave Arbus's violin sends the ending careening.

Perry built the riff at a Honolulu soundcheck; Tyler wrote the words on a Record Plant stairwell wall.

Rubin had to talk Run-DMC into it; Tyler smashed through the video's wall and Aerosmith got a career back.
Cochran overdubbed his own bass voice for the boss and the senator, Earl Palmer drumming behind the great teenage complaint.

Flood said it wasn't good enough, so Corgan rewrote it that night and got the band's biggest hit.

Mick Ronson suggested the baby rattles and sang the "let it rock" hook; the handclaps were only a guide track.

Lafayette Leake's piano, Willie Dixon's bass, and a melody Brian Wilson borrowed so closely he lost the copyright.
Two deliberate key changes raise the temperature under a teenager discovering his parents are cooler than he is.
Three Wilson brothers on the first verse, singing harmonies worked out in the Hawthorne bedroom the song describes.

Conceived as a satire of party songs, it became the band's only top ten hit, the joke unnoticed.

Nas was twenty and already writing memoir here, over DJ Premier's loop of a Reuben Wilson organ.

Ezrin cut an eight-minute jam down to three, and John Lydon mimed along to it to join the Sex Pistols.

Written on guitar rather than piano, cut live in a bedroom on a few microphones, and unbearably calm.

Number one in Australia, number two in Britain, built from Brown's memory of Long Island parents fearing metal records.

Cut with Joel Little in a small Auckland studio, the beat built before a word, that "Yeah" doing everything.
Mercer sketched a young lesbian couple stuck in a small town, then floated it on Chiccarelli's widescreen jangle.

Schlesinger owned up to this one, chasing the Cars; Ocasek assumed the intro was sampled from Just What I Needed.

Nathan Chapman's production stays hushed while Swift and Liz Rose leave the real classmate's name, Drew, in the lyric.