
Billie Jean
That bassline, mixed and remixed until it gleamed, and the four minutes that integrated MTV.

That bassline, mixed and remixed until it gleamed, and the four minutes that integrated MTV.
The record that proved hip hop could report and not just party, and the edge everyone's been close to since.

Van Halen dropped in, played the solo for free, and Jackson made rock and pop the same building.

Vincent Price cackling over a disco-funk groove, and a fourteen-minute video that turned pop into event television.
Bambaataa welded Kraftwerk's Trans-Europe Express to a Roland 808, and Tommy Boy paid Kraftwerk a dollar per record.

Gaye programmed the TR-808 himself in a Belgian studio, and it finally won him the first Grammys of his career.

The Runaways passed, so Jett recorded it twice herself; the second version spent seven weeks at number one.

Topper Headon cut the drums, piano and bass himself, and Strummer finished the lyrics in the studio bathroom.

Nearly seven minutes, Rory Dodd's voice answering Tyler on the refrain, and Steinman's vampire love song became number one.

Spanish backing vocals translated by the tape operator's mother over the phone, and a jeans advert made it number one.

Haggard passed on it at the Pancho and Lefty sessions, so Nelson stayed behind and cut it himself after hours.

Mick Ronson suggested the baby rattles and sang the "let it rock" hook; the handclaps were only a guide track.

Hynde cut it weeks after Honeyman-Scott's death, with Rockpile's Bremner on guitar and a Sam Cooke chant behind her.

Steve Porcaro's demo reached Quincy Jones only because a cassette auto-reversed, and it took Carousel's place on Thriller.

Rhodes had the backing track in mind before reaching the studio; the Sri Lanka video carried it to number three.

A swan song by Ferry's own account, with a wordless vocal from Yanick Etienne, found in the next studio.

Steve Stevens' guitar cutting through Keith Forsey's production, and Idol sneering his way through somebody else's wedding.

Fiddle, banjo and a tempo shifting gears, then one week at number one between Billie Jean and Beat It.

Ferry's voice drops out almost two minutes before the end, leaving a synthesizer to finish the thought.

Battery Studios, London: the echoing riffs were written for a guitarist who had just joined, and they still sound airborne.

Oates started it as reggae; Hall swapped in a Motown bassline, and it sat four weeks at number one.

Stallone had cut the fight scene to Queen, couldn't clear it, so Sullivan and Peterik timed their chords to punches.

A soft reggae beat from Mikey Craig's Caribbean instincts, Steve Levine's polish, and Boy George on Top of the Pops.

Jeff Porcaro's half-time shuffle carried it to Record of the Year, and drummers have been chasing that groove since.

Producer Hugh Jones talked Grey out of shouting, and the nuclear-apocalypse lyric arrives as the warmest chorus of 1982.

Sixteen weeks in the top ten, more than any other single of the eighties, and Aronoff's drums never let up.

Stills took the Curtis Brothers' 'Seven League Boots', rewrote the words and chorus, and turned a divorce into open ocean.

Anita Pointer takes the lead, Richard Perry produced, and a 1984 reissue lifted a number thirty single to nine.

Jon Lord's Hammond organ on the 1982 original, a heartbreak song Coverdale wrote in Portugal, later a number one.

Two unfinished songs Mutt Lange stitched together, and a kid outside the arena hearing one guitar through the wall.

Woolfson took the title from casino surveillance slang; Sirius became the music that introduced Michael Jordan's Bulls.
Dolby storyboarded the video before writing a note, then had TV scientist Magnus Pyke shout the title's last word.

Cut at AIR Montserrat with the classic band reunited, and Stevie Wonder's harmonica lifting it clean off the ground.

Every instrument on it is Winwood alone; the 1982 single stalled, and Tom Lord-Alge's 1987 remix reached the top ten.
Criteria Studios in Miami, Kenny Laguna producing, the Strangeloves' 1965 hook over Barbarossa's Bo Diddley drums.

Foster brought in three Toto members and saved Chicago's horns for the coda, returning the band to number one.
A Racey album track called "Kitty" until Basil switched the gender, added the cheer chant, and directed the video herself.