Jolene
Dolly pleading with her rival rather than fighting her, written the same day as "I Will Always Love You."
Dolly pleading with her rival rather than fighting her, written the same day as "I Will Always Love You."

Ed Townsend conceived it as a spiritual; Gaye kept the backing track, rewrote the lyric, and Billboard number one followed.

Written and taped in a three-hour burst, Wonder on clavinet and drums, the keyboard snarling through a Mu-Tron filter.
Wonder played most of it himself, then broke it open with a spoken street scene running past seven minutes.

Flack heard Lori Lieberman's version on a plane's in-flight audio, rewrote the chords, and took Record of the Year.

Collins's chords sat unused for two years until Van Zant found the melody; the long outro was his onstage rest.

Written with Tosh after Marley toured Haiti, and the last song he ever sang onstage, Pittsburgh, September 1980.

Seven beats to the bar, a tape loop of coins and cash registers, and Pink Floyd's first American hit.

Sessions collapsed in Kingston, so the band regrouped at a French chateau and Taupin traded Oz for a Lincolnshire farm.
Pop lifted the title from a Time column on Vietnam, and Bowie's mix made Williamson's guitar a threat.

Cissy Houston's version turned Weatherly's midnight plane to Houston into a train to Georgia.

Two short verses written for a dying sheriff in Pat Garrett, with Roger McGuinn on guitar and Jim Keltner drumming.
A lounge gig, a fake name, Bill Martin, and every regular at the Executive Room written into a verse.
Marley swapped police for sheriff to avoid a government fuss, and Clapton's 1974 cover became his only American number one.
Wings lost two members on the eve of Lagos, so McCartney played the drums and built a three-part escape.

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

Gus Dudgeon overdubbed crowd noise from old concerts, and the fake live track topped the Hot 100.
McCartney read the Fleming novel in a day and wrote it that afternoon; Martin's orchestra did the rest at AIR.

Taupin lifted the phrase from a Janis Joplin tribute and pointed it at Marilyn Monroe; the chorus does the mourning.

Recorded at the Record Plant in LA, with Ernie Isley's Hendrix-drenched guitar rebuilding a song the brothers cut in 1964.