
Raiders of the Lost Ark
Every adventure film since is measured against it: Spielberg and Lucas built a machine of chases and near misses so efficient that forty years of imitation have not worn it out.

Every adventure film since is measured against it: Spielberg and Lucas built a machine of chases and near misses so efficient that forty years of imitation have not worn it out.

Saleem Sinai is born at the exact midnight India becomes independent, which gives him telepathy and welds his life to the country's. Sixty years of history arrive as one unreliable, delighted confession.
Bowie lived near Mountain Studios, dropped in, and one evening's jam became a UK number one with a disputed bassline.

No war film has ever been this claustrophobic: Petersen ran a camera the length of a U-boat again and again until the steel walls start pressing in on you.

Padgham's talkback-microphone accident on Peter Gabriel's third album, a Roland CR-78 pattern, and pop's most anticipated drum entrance.

Oakey thought it the weakest thing on Dare; it became Britain's best-selling single of 1981 and Christmas number one.

Hib-Tone pressed about a thousand copies in 1981, and Stipe mumbled lyrics he hadn't finished writing.
A Northern soul flop from 1964 rebuilt on synthesizers at Advision, Marc Almond's first vocal take kept intact.

Three turntables, two mixers, ten to fifteen takes, and a record built entirely out of ten other records.

Cain lifted the title from his father's advice, and the chorus stays hidden until the last fifty seconds.

Cut in Leamington Spa on eight tracks, the flute squeezed onto full brass, number one while Britain burned.
In this present crisis, government is not the solution to our problem; government is the problem.

Two rock takes buried under dozens of abandoned reggae versions, dug out of the vault while assembling Tattoo You.

The Temptations sang backup, and the bass line James dismissed as silly later won him a Grammy through Hammer's sample.

Sledge fought as a Marine mortarman on Peleliu and Okinawa, then set down the mud, the maggots, and the looting of corpses. The critic Paul Fussell ranked it with the finest war memoirs.

Working nights in a Massachusetts basement, a crew of young engineers races to build a new computer in a year, and Kidder catches every argument. Nobody had made engineering a literary subject.

Four years in Sting's drawer before The Police cut it, and Jean Roussel's piano overdubs are why it soars.

Two brothers spend a morning announcing they will kill Santiago Nasar over their sister's wedding night, and nobody stops them. García Márquez reconstructs it from the witnesses who let it happen.
MacDonald's track came first, Withers added the words, and Washington's saxophone carried it to number two in 1981.