
M.A.A.D City
Sounwave and THC build the first half, Terrace Martin the second, and MC Eiht walks in from Compton's own past.

Sounwave and THC build the first half, Terrace Martin the second, and MC Eiht walks in from Compton's own past.
Released as a B-side until DJs flipped it, with a mandolin credited only to a name Stewart said slipped his mind.
A wordless chorus half of indie rock then copied, and Bowie sang it onstage with the band in 2005.

Sleigh bells, trumpets and a choir stacked into one crescendo, and Stevens cut five different versions of it.

Gibson wrote it on her first trip home from forestry school, and Lloyd Maines knew it belonged to his daughter.

Hoppus turned bumping into an ex into four chords, a Trombino production, and pop punk's great shrug at adulthood.

A twelve-string riff swapped for six and doubled for thickness, then a chorus about a summer Adams never actually had.
Armstrong wrote it about squatting in a West Oakland warehouse, and the Dookie re-recording is the one everyone knows.

John Hughes reshot Pretty in Pink's ending and asked for 120 BPM; OMD turned it around in a day or two.

Keith Stegall produced it, Jim McBride supplied the title line, and Jackson water-skied through the video in red cowboy boots.

A four-track cassette machine in the rehearsal space Earley half lived in, and a boy who runs with wolves.

Drummer Kelly Keagy wrote it about his kid sister Christy; Jack Blades misheard the name and Christian stuck.