
September
Willis wanted real words instead of ba-dee-ya; White refused, and the groove outlived any lyric she could have written.

Willis wanted real words instead of ba-dee-ya; White refused, and the groove outlived any lyric she could have written.

Three years of litigation kept Springsteen out of a studio, and when he got back in he gave away most of the catchy songs.
Buried as a B-side until DJs flipped it, and Gaynor cut the vocal in a back brace after spinal surgery.

Cimino spends a whole first act on a steel town and a wedding, so that when the war arrives it lands on people you already know by name.

A demo kicked around since the mid-seventies, rebuilt on a Roland drum machine that appalled their punk friends.

Joey wrote it stranded in a shut-down London at Christmas, and Johnny's solo is one note, repeated.

Copeland turned Sting's bossa nova into a tango, and the piano clang at the top was an accident they kept.

Clinton, Shider and Junie Morrison cut it at United Sound; six weeks at R&B number one, 1978's longest run.

Strummer expected roots rebellion at an all-night Palais reggae bill, got showbiz, and slipped reggae bass into punk.

Four-on-the-floor from a Billy Preston jam, harmonica by Sugar Blue, found busking in Paris, and their last American number one.

Shalamov spent seventeen years in the Kolyma camps. His stories are short, about frostbite and stolen bread and men too weak to lift a shovel, and he insists that suffering teaches nothing.

Springsteen abandoned the demo, Iovine passed Smith the cassette, and she wrote the verses waiting on a phone call.

Western scholarship on the East was never neutral, Said argues: scholars and novelists built an exotic, backward Orient that empire could claim to govern. He upended how the West studies everyone it ruled.

Nick Lowe wrote it for a pub-rock flop, produced Costello's B-side version, then got rich when The Bodyguard covered it.
The Answer to Life, the Universe and Everything...it's Forty-two.