
Sweet Child O' Mine
Slash was goofing through a warm-up he called a circus melody; an hour later the band had this.

Slash was goofing through a warm-up he called a circus melody; an hour later the band had this.

Slash's riff, McKagan's breakdown recycled from his old punk band, and roughly three hours from nothing to finished song.

Eno reckoned half the album's sessions went into it and nearly wiped the tape; the Edge's delay does the rest.
The Edge was sent a prototype Infinite Guitar by Michael Brook, and U2 had their first American number one.

Written in a rental van home from San Francisco, and the final two minutes simply double the tempo.

Smith traced it to a day at Beachy Head with Mary Poole; Williams sped the tempo, adding the opening fill.

Two years in the making, with MacColl finally singing the woman's part, and it still stalled at number two.

First released on the Less Than Zero soundtrack, it opens with Malcolm X and never stops arguing rap's case.

Jackson took the chorus line from a CPR dummy named Annie, and the anti-gravity lean later earned a patent.

A jam demoed under the title The Weather Girls became a gospel hymn about doubt, and U2's second American number one.

Walden thought the demo too country, funked it up, and Houston cut it while shaking off a bronchial infection.

Coldcut took 700 pounds for the remix, added Ofra Haza, and Rakim's minute-long verse reset how rappers rhymed.

Scorsese shot eighteen minutes in a Brooklyn subway station, and the brass hits point straight back at James Brown.
A church organ quoting Wham!'s Freedom, then Hugh Burns's Bo Diddley rhythm, and four weeks at number one.

A B-side until a San Francisco DJ's remix reached radio, and a first rap Grammy nomination they boycotted.
A Bobby Byrd loop that sent every producer digging for James Brown, and Rakim rhyming coolly off the beat.

A cassette demo made while a taxi idled outside, finished in Hong Kong, and INXS's only American number one.

A dream about a party where every guest had Lenny Bruce's initials, sped into Document's headlong disaster list.
Ice Cube wrote it for a New York group who walked out; Dre pushed Eazy-E to rap it himself.

Cut at Westlake with Quincy Jones, a shuffle Jackson wrote himself, and Bad's third straight Hot 100 number one.