
I Heard it Through the Grapevine
Motown shelved Gaye's version for over a year; it came out sounding like paranoia set to a Funk Brothers groove.

Motown shelved Gaye's version for over a year; it came out sounding like paranoia set to a Funk Brothers groove.

Ida Red, a 1938 Bob Wills fiddle tune, turned into a car chase, with Johnnie Johnson's piano running underneath.

A lyric dictated from a car seat, one last Nashville session, and six weeks at country number one.

Harrison's sitar, widely reckoned the first on a rock record, and Lennon smuggling an affair past everyone.

Blackwell built the lyric to run too fast for Pat Boone, and Richard shouted it out at Cosimo Matassa's J&M.

Rodney Jerkins chopped the beat into stop-start halves, and a phone call full of suspicion became two Grammys.

By Dozier's account the title came from a motel argument; Paul Williams supplied the hand at a rehearsal.

Joe South's tremolo guitar opens it, Don Covay wrote it young while singing gospel, and Franklin turns it merciless.

Written at seventeen on a bus, scrapped at Muscle Shoals, saved by Steve Gregory's saxophone in one breath.
A loop of the Jackson 5's "ABC," Melvin Bliss drums, and an acronym that carried the group to number six.

A trumpet loop, T-Boz half-whispering, and Left Eye objecting so strongly she threatened to tape her mouth shut.

Robinson's falsetto over a slow Funk Brothers groove, with Pete Moore co-writing and stacking the harmonies behind him.
Townshend called it his ace in the hole and never forgave Britain for stopping it at number ten.
Dixon's title was blues code for adultery, cut by Wolf at Chess and reopened by the Doors in 1967.

Ronson cut it at Daptone in Brooklyn with the Dap-Kings, Winehouse writing about infidelity and offering no apology.

Cody ChesnuTT's four-track bedroom original rebuilt by a live band, his guitar hook intact, Questlove pushing the tempo up.

Tompkins and Kear wrote it hoping Gretchen Wilson would cut it; Underwood's version stayed sixty-four weeks on the Hot 100.

Rodgers and Edwards wrote the groove, Ross remixed the album to lift her vocal, and it topped the Hot 100.