A Change is Gonna Come
Cooke wrote it after a motel turned him away, and sang it like a hymn he already knew by heart.
Cooke wrote it after a motel turned him away, and sang it like a hymn he already knew by heart.

Harrison wrote it in Clapton's garden while skipping a business meeting, and it sounds exactly like that relief.

McCartney dreamed of his mother Mary telling him it would be all right; Harrison cut two different solos.

Bittan's piano, a harmonica, and a screen door slamming; Springsteen lifted the title from a Robert Mitchum film poster.
Mayfield turned the gospel train of the spirituals into a civil rights hymn, and King used it to steady marchers.
Armstrong took union scale so the orchestra could collect overtime; ABC's president hated it and buried the record.

Gallagher wrote it in 1991, before Oasis had a record deal, pitching plain optimism against everything grunge was selling.
Al Bell lifted the bassline from a Jamaican instrumental, and Mavis Staples turned Muscle Shoals into a pulpit.
Reportedly inspired by canaries at his Hope Road windowsill, cut in London, and the gentlest reassurance in reggae.

Albarn built it on a melodica and an Omnichord's first preset; Del cut his verses in half an hour.

Cain lifted the title from his father's advice, and the chorus stays hidden until the last fifty seconds.

Brock wrote it in the final days of tracking, fed up with darkness, and built indie rock's warmest chorus.

Tyler had the tune on his family's New Hampshire lodge piano years before Aerosmith; a reissue reached number six.

Master Henry Gibson's congas drive it, the horns arrive like good news, and Britain sent it top twelve.

The band laughed at Sambora's talk box until it opened the record. The last chorus climbs a minor third.

Froom's Hammond solo does the heavy lifting, and Finn wrote the rest as an exhortation to himself.

A celesta played by the producer's wife, Jerry Allison slapping his knees for drums, and two minutes of pure lift.

Eno programmed the drum machine, Lanois played the Telecaster, and the Edge won the argument for his old delay-drenched sound.

A bass line Clayton stumbled on while decoding Visage's Fade to Grey, then Bono aimed the words at Poland's Solidarity.

A night walk at Caribou Ranch gave White the title, and the band their only Hot 100 number one.