
Dancing Queen
Seventeen and gliding across the floor, the rare disco record that sounds like joy and ache at once.

Seventeen and gliding across the floor, the rare disco record that sounds like joy and ache at once.

Tommy wanted a Bay City Rollers chant; the album around it cost $6,400 and took seven days.

Lydon picked anarchist because it rhymed with antichrist; EMI dropped the band six weeks later and punk was loose.

Mercury wrote it at the piano, then three voices were multitracked into something the size of a gospel choir.

Wonder cut it for his newborn daughter Aisha, harmonica and all, and refused to shorten it for a single.
Five years in Scholz's basement, a hundred-dollar Yamaha twelve-string on the intro, and Delp stacking harmonies over the top.

An irregular heartbeat diagnosis sent Dharma writing about mortality and lasting love, and the cowbell did the rest.
Richman borrowed two chords from Sister Ray and turned Route 128 after midnight into the happiest song about driving.

Gorham and Robertson's twin leads on a track the band nearly left off Jailbreak; Kentucky radio saved it.

Jimmy Ellis over eleven minutes of Philadelphia rhythm, a flop in 1976 until Saturday Night Fever made it a hit.
Seger walked out of American Graffiti with a story of his own, and took six months finding the words.

Kerry Livgren's last-minute addition to Leftoverture opens a cappella, then hands Kansas their first top forty hit.

Miller ran a Stratocaster through an Echoplex for that staggered triplet echo, and the synthesizer drifts like weather.

Started life as "The Fat Man", written by Bell for his teased son, and Philippe Wynne made it fly.
Brown put the writing credit in his wife's and daughters' names over IRS debts, then cut it live in two takes.
Ann Orson and Carte Blanche on the credits, a Motown duet pastiche that held British number one for six weeks.
Parazaider heard it on the radio while cleaning his pool and assumed McCartney, not his own band.