
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.
Moroder's pulsing synth track, Summer floating above it, and the record Eno reportedly called the sound of the future.
Recorded beside the Berlin Wall, Fripp's feedback howling while Bowie sings himself hoarse over a single defiant day.
Nicks wrote it in a black velvet studio room at Sausalito's Record Plant; it remains the band's only US number one.
Felder demoed it on a four-track in Malibu, and his Les Paul duels Walsh's Telecaster through the outro.

Buckingham aimed Mick Fleetwood at the Street Fighting Man groove, then sang a breakup line Nicks demanded he cut.
Written as "No Future," banned by the BBC, and stuck at number two amid loud suspicion of chart rigging.
A 1965 Studio One ska tune rebuilt for Exodus, with Mayfield credited to keep the borrowing legal.

May came home from a Stafford gig where the crowd sang back, and built a chorus from stomps and claps.

Kraftwerk's rhythm rode a train across Europe, name-checked Bowie and Iggy Pop, then turned up inside Afrika Bambaataa's Planet Rock.

Mercury wrote it with audience participation in mind, and a 2011 study named it the catchiest song in pop.
Razor-blade tape splices turned rejected scraps into the one Rumours song credited to all five, McVie's bass ending it.

Wonder built it for Ellington after his death in 1974, then handed the melody to horns playing in unison.

Bowie found the beat in an Armed Forces Network call sign; Hunt Sales hammered it out in Berlin.

Petty cut it on the Fourth of July, 1976, and Roger McGuinn heard the Byrds so clearly he covered it.

A ballad first, written at art school, until Weymouth's French bridge and bassline turned it feral.

Ten minutes captured in one take; Ficca thought it was a rehearsal and Verlaine refused Andy Johns another go.
Gardiner found the riff wandering under apple blossom, and Bowie sings behind Iggy at Hansa by the Wall.
Bootsy passed on the bass part, so Worrell chained three Minimoogs together and gave Parliament its first R&B number one.
Reportedly inspired by canaries at his Hope Road windowsill, cut in London, and the gentlest reassurance in reggae.