
Seven Nation Army
A guitar pitched down to fake a bass, and the seven-note riff every stadium on earth now sings.

A guitar pitched down to fake a bass, and the seven-note riff every stadium on earth now sings.
Recorded beside the Berlin Wall, Fripp's feedback howling while Bowie sings himself hoarse over a single defiant day.

Dre and Yella built it in a Torrance studio on almost no money, and Compton stopped being invisible.
Structured as a mock trial with Dre presiding, and it drew a warning letter from an FBI assistant director.
Presley started clowning through an Arthur Crudup blues on a break; Sam Phillips heard it and rolled tape.
Named for the gardener who woke them up, and cut with an acoustic guitar recorded into a Philips cassette recorder.

May came home from a Stafford gig where the crowd sang back, and built a chorus from stomps and claps.
Buried as a B-side until DJs flipped it, and Gaynor cut the vocal in a back brace after spinal surgery.

Yauch's bass line started it, Ad-Rock turned a joke about their producer into a scream, and Jonze filmed the rest.
Rick Rubin's first rap production in years, a Billy Squier drum break, and a second verse about a traffic stop.

Jay-Z wrote every line of it, Scott Storch played the piano figure, and Dre's seven-year album silence ended.

Cut live to tape at Daptone in Brooklyn with the Dap-Kings, and it took Record and Song of the Year.

His grandmother told him to knock them out; Marley Marl looped Funky Drummer, and the Grammy followed.

Cash suggested the phrase, Phillips talked him into changing one word, and Sun got its first million seller.

First released on the Less Than Zero soundtrack, it opens with Malcolm X and never stops arguing rap's case.

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

Cliff coined the phrase on set, Henzell made it the film's title, and the Dynamic Sounds session was filmed.

Scorsese shot eighteen minutes in a Brooklyn subway station, and the brass hits point straight back at James Brown.

Topper Headon cut the drums, piano and bass himself, and Strummer finished the lyrics in the studio bathroom.

Chuck Berghofer's descending double bass, plus Sinatra talking Hazlewood into letting a woman sing lines written for a man.