
Stayin' Alive
Barry Gibb's falsetto over a drum loop so metronomic that paramedics still use it to time chest compressions.

Barry Gibb's falsetto over a drum loop so metronomic that paramedics still use it to time chest compressions.

Premier built the beat on the spot; Nas nailed verse one in a take, muttering doubt into the intro.

Johnson was told the Bon Scott tribute could not be morbid, so he wrote a celebration over Angus Young's riff.
Named for the gardener who woke them up, and cut with an acoustic guitar recorded into a Philips cassette recorder.
Buried as a B-side until DJs flipped it, and Gaynor cut the vocal in a back brace after spinal surgery.

Havoc built the beat in his Queensbridge bedroom from a slowed Herbie Hancock piano figure and a Daly-Wilson drum break.

DJ Pooh looped the Isley Brothers' Footsteps in the Dark, and Ice Cube spent four minutes on an uneventful day.

Larry Graham slapping and popping the bass line credited with inventing the technique, and a verse quoting their own hits.

Mercury wrote it with audience participation in mind, and a 2011 study named it the catchiest song in pop.

Over a hundred hours of work, and that cannon-shot snare is Hal Blaine playing beside a Columbia elevator shaft.

Deacon's bassline owes Chic, Michael Jackson talked them into releasing it, and Queen landed their biggest-selling single.

Gossard's demo was called Dollar Short until Vedder set it to learning who his real father was.

AZ's first appearance on record, the only rapper Nas let onto Illmatic, and his father Olu Dara closing on trumpet.

The soundtrack took three days at RCA Chicago; Johnny Pate arranged, Henry Gibson's rototoms set the strut.

Five-Percenter numerology over a bassline that barely moves, Badu's debut single, and a Grammy at the first attempt.

Brock wrote it in the final days of tracking, fed up with darkness, and built indie rock's warmest chorus.
The 45 King looped an Annie showtune, and Jay-Z cleared it with a letter he admitted was a lie.
McCartney read the Fleming novel in a day and wrote it that afternoon; Martin's orchestra did the rest at AIR.
Fifteen minutes on foot to a New York studio was all the writing time, and Blackwell approved it instantly.

Ernie Freeman's arrangement, and a second take Sinatra resented making; the annoyance is why the vocal snarls.