
Like a Rolling Stone
A snare crack, a sneer, and Kooper's uninvited organ swirling through the song that split rock open.

A snare crack, a sneer, and Kooper's uninvited organ swirling through the song that split rock open.
Keith dreamt the fuzz riff, taped it half-asleep, and woke up holding the sound of teenage frustration.

Al Kooper was not the organ player and sat down at it anyway, which is the sound everybody remembers from Like a Rolling Stone.

McCartney dreamt the melody, called it "Scrambled Eggs" for weeks, then let a string quartet make it immortal.

A folk flop until a producer secretly overdubbed electric guitars, and the duo heard their number one on the radio.

Norwegian Wood has the first sitar on a pop record. The stretched cover photograph happened when a slide slipped during the projection.

The record where the beat moved to the one and funk quietly began. James Brown never looked back.

Lennon's first draft listed bus stops in Liverpool; Martin's piano solo, taped at half speed, sounds baroque.

One side plugged in, one side not. A few months later Dylan took the electric half to Newport and the folk crowd turned on him.

Brown recycled a flop he'd cut on Yvonne Fair, added Maceo Parker's alto, and landed his highest-charting single.
Entwistle's bass solo needed a Fender after his Danelectro strings snapped, and Daltrey stuttered his way into history.

Garrison's four notes, then Coltrane overdubbing the chant nineteen times, one December day at Van Gelder's.

Session men cut the track and McGuinn's twelve-string Rickenbacker rang over one Dylan verse; folk rock started there.

Malcolm X was a Michigan boy, then a Harlem hustler, then a convict copying the dictionary, then a speaker no one in America could ignore. He was still changing when he was murdered.

Tarplin brought the guitar figure first, Robinson and Moore wrote words to it, and Motown got its saddest smile.
Mayfield turned the gospel train of the spirituals into a civil rights hymn, and King used it to steady marchers.

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

Simone had trained to be a classical pianist and was turned down by the conservatory. You can hear the Bach in her left hand throughout.

Holland-Dozier-Holland pitched Stubbs at the very top of his range, and Paul Riser opened it with piccolo and flute.

The Phillipses wrote it homesick in a New York winter, and Doherty sang over Barry McGuire's existing backing track.

Jerry Wexler danced the Jerk across the Stax floor until the band pushed the backbeat onto beat two.

Sent to study agriculture, a Missouri farm boy falls for English literature instead and never leaves the university. Williams makes an unremarkable life, badly used by everyone in it, hold you completely.

Written for a Newley and Bricusse musical, it opens with nothing but her voice before Hal Mooney's horns land.

Twelve takes in April 1965, McCartney's counter-melody chasing the lead, and Lennon insisting years later the plea was real.

Dozier lifted the title from his grandfather flirting in a beauty shop, and Stubbs sings it like a plea.

Written for a 1955 prison film, buried on a B-side, and Hatfield sang the whole thing alone.

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

Butler handed Redding a fragment in a Buffalo motel room; two weeks later Stax had the ultimate slow dance.

Cut at EMI in February 1965, with Harrison's Rickenbacker riff and a record Lennon later called the first heavy metal.

Recorded in a single twenty-four-hour stretch, with a break so the musicians could play their regular Saturday gigs, and three Sam Cooke songs on it.
How does it feel To be on your own With no direction home A complete unknown Like a rolling stone?
Forty-four takes for the backing track, Hal Blaine and Carol Kaye on it, and an intro built like a fanfare.

Simone learned it at her mother's revival meetings and stretched it past ten minutes of piano vamp and handclaps.

Eleven minutes, one acoustic guitar, and Charlie McCoy improvising fills after Bob Johnston found him passing through New York.

Chandler's bass walks in alone, Burdon arrives furious, and GIs in Vietnam claimed a Brill Building demo.

It saved a studio from bankruptcy and has never left the culture since: Salzburg in the mountains, a nun who cannot behave, and songs everyone somehow already knows.

Seeger set Ecclesiastes to a tune in 1959; McGuinn's twelve-string turned it into the number one with the oldest lyrics.
Climb every mountain, Ford every stream, Follow every rainbow, 'Til you find your dream.

A concept album about the sea, made by Miles Davis's pianist with Davis's rhythm section, and every title refers to water.

Arrakis is a desert planet of sandworms, holding the only supply of the spice that makes interstellar travel possible. Paul Atreides arrives as a duke's son and the Fremen call him messiah.

Wonder was fifteen, his voice breaking, and Gordy feared he was finished; Sylvia Moy fed him lyrics line by line.

Robinson's falsetto over a slow Funk Brothers groove, with Pete Moore co-writing and stacking the harmonies behind him.
Snow chains rattling for percussion, Jamerson's bass shoving it along, and Reeves sounding genuinely cornered by the arrangement.

Godard at his most beautiful and least patient: Belmondo walks out of a party and drives south with Anna Karina, and the film keeps dissolving into color, quotation and pure play.

Simon wrote it on an English railway platform missing Kathy Chitty; a plaque at Widnes station now claims the spot.

Critics savaged it on release and audiences ignored them completely: Lean shot the Russian winter in Spain, and Maurice Jarre's balalaika theme was inescapable for a decade afterward.

Written after Horace Ott quarreled with his girlfriend, and sped from Simone's ballad into Burdon's pleading.

Shorter wrote these while working in Miles Davis's band and said he was thinking about folk tales and misty landscapes with witches.

A few minutes' work by Clark about a girlfriend from the Ciro's residency, and a refrain hinging on "probably".

Leone found the shape of his westerns here: two bounty hunters circle each other for two hours, a musical pocket watch counts down the duel, and Morricone times the whole film.

Sebastian's autoharp opens it, written after he watched a teenager dance at the Night Owl in Greenwich Village.

The crowd answers every line he sings, and King plays around them rather than over them. He never plays and sings at the same time.
That hook is an oboe, not an ocarina, and Cher disliked the song Bono wrote for them in their basement.
Written for Sandie Shaw, who heard Jones's demo and told them to give him the record instead.
Gordy ordered a rush job after Columbia reissued an old single, so Holland-Dozier-Holland reversed their own chart topper.
Brando sang it in the film while Sinatra played Nathan Detroit; eight years later Sinatra cut it himself.
Gordy demanded better after "Nothing but Heartaches" stalled, and Holland-Dozier-Holland came back with modulations and Mike Terry's baritone sax.

Brian Auger's harpsichord and Denny Piercy's bongos on a pop single, with Clapton confined to the middle break before quitting.

Keith Richards wanted horns on the Satisfaction riff and used a fuzz pedal as a placeholder. The placeholder is what got released.

Holland-Dozier-Holland's fifth straight number one for the group, Jamerson's bass driving it, Ross name-checking Flo and Mary mid-verse.

Murphy left Dunkirk in the frozen January of 1963 on a bicycle named Roz and rode to Delhi, fighting off wolves in Yugoslavia and thieves in Iran, and setting it down without drama.

Shadow Morton production, Greenwich and Barry words, and a narrator who quietly hands her boyfriend back to the streets.
Tubular bells, autoharp and a muted guitar imitating pedal steel; Sebastian finished Boone's melody in half an hour.

The band's rhythm section came straight out of Howlin' Wolf's group, and Butterfield had learned harmonica in Chicago clubs while still at university.
You don't need a weather man To know which way the wind blows.

Buddy Guy played guitar but was credited as Friendly Chap, because he was signed to another label at the time.
Toni Wine and Carole Bayer Sager set lyrics to a Clementi sonatina rondo; Eric Stewart sang it to number two.