
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.

Quincy Jones and Jackson remixed the whole record because the first version sounded thin, and Eddie Van Halen played his solo for free.
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.

It flopped, then quietly redesigned the future: every rainy neon city of the last forty years is borrowing from Ridley Scott, and the mood still outlasts the plot.

Highest grossing film in the world for a decade, and it earns every cent: Spielberg shot at child height so the adults are legs and voices, and wrecks entire cinemas.

Pessoa invented an assistant bookkeeper in Lisbon and gave him hundreds of fragments on being alive in a rented room. Open the book anywhere and someone is already thinking your thoughts.
Bambaataa welded Kraftwerk's Trans-Europe Express to a Roland 808, and Tommy Boy paid Kraftwerk a dollar per record.

Bergman meant it as his farewell to cinema and made it the warmest thing he ever did: five hours in its full version, of Christmas light, ghosts, cruelty and childhood.

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

He taped it alone on a four-track in his bedroom, carried the cassette around in his pocket, and it ended up released as it was.

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.

Hoffman said the part permanently changed how he saw women, and what he learned is worked out here as farce: an unemployable actor becomes a soap opera star.

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.

Celie is fourteen, writing to God because there is nobody else to tell. Walker took her from there to a life she owns and won the first fiction Pulitzer given a Black woman.

Herzog dragged a 320-ton steamship over a mountain with no models and no effects: his hero wants an opera house in the Amazon, and the production came to resemble the obsession it filmed.

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.

Einstein's physics taken as seriously as Einstein's life. Pais knew him at Princeton, could follow the mathematics, and produced the account against which every later scientific life of Einstein is measured.

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

Oskar Schindler, a Nazi profiteer, spent the fortune he made on slave labor buying more than a thousand Jews out of the camps. Keneally builds him from survivors' testimony and offers no explanation.

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

Roxy Music's last record, made partly in the Bahamas and finished so smoothly it barely sounds played. Bryan Ferry never made another with the band.

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

Geoff Emerick, who had engineered Sgt. Pepper, produced it, and the lyrics were printed on the sleeve as one unbroken block of text.