
Goodfellas
Every gangster film of the last thirty years is arguing with this one: Scorsese made the life so intoxicating for an hour that the comedown lands like a physical event.

Every gangster film of the last thirty years is arguing with this one: Scorsese made the life so intoxicating for an hour that the comedown lands like a physical event.

Their production team piled so many samples into each track that the record could not legally be made today. Nothing since sounds this crowded.

Kiarostami blurred documentary and fiction so completely that nobody has quite untangled it since: a man caught impersonating a director, with everyone involved playing themselves on camera.

The band announced a signing at a Los Angeles record shop and around seventeen thousand people came, which ended with riot police.
Prince wrote it for a side project that went nowhere; O'Connor's tears in the video were real, and unplanned.

O'Brien lists what a platoon in Vietnam hauled around, down to the ounce, then tells war stories and takes them back. The invented ones carry the war more exactly than facts could.

His grandmother told him to knock them out; Marley Marl looped Funky Drummer, and the Grammy followed.
Gore wrote it as a harmonium ballad; Wilder and Flood put a dance beat under it over his objections.

An Average White Band loop, Q-Tip and Phife trading lines, and a Queens rooftop that Linden Boulevard still remembers.

Michael refused to appear, so Fincher had five supermodels lip-sync while his Faith leather jacket burned onscreen.

Written with Ben Margulies in a studio behind his father's cabinet factory, and the whistle-register note that reset pop singing.

Bud Lee forgot his wallet, joked that he knew the cook, and Brooks took it to number one.

Q-Tip read Miles Davis on space, then rapped conversationally over a Rotary Connection loop and made desire sound utterly relaxed.

Angus called it a little guitar trick; Malcolm added the rhythm underneath, and it lands before Johnson sings a word.

The Coens wrote it in the voice of a 1930s crime novel and never break character once: a hat blowing through woods is the famous image, and nobody explains it.
Bob Andrews cut it in 1988 to no interest; Lillywhite's remix made it Britpop's founding jangle.

Jerden heard Livin' on a Prayer driving to the studio and suggested the talk box that defines it.

Bissinger spent the 1988 season in Odessa, Texas, where a whole town's self-worth rode on schoolboy football and one black star's ruined knee took his only way out. Odessa answered with death threats.

Britain and Russia crept toward each other across Central Asia until two thousand miles between them became twenty. Hopkirk tells it through the officers who rode alone into Bukhara, Khiva, and Kabul.

A boy with blades for hands is brought down from a gothic mansion into a pastel suburb: Tim Burton's most personal fairy tale, with the Danny Elfman score he calls a career favorite.

Trevor Horn spent about three months producing it; Seal built the chorus from a world visibly changing.

Elliot Straite, as Dr. Freeze, turned a letter to an ex-girlfriend into new jack swing at its sharpest.
What little girls learn is not the desire for the other, but the desire to be desired.

Kathy Bates turned a fan into the most frightening character of the decade: a novelist wakes up in the house of the reader who saved him, and she has opinions about his ending.
A Sly Stone drum loop, a fake nose, and Shock G inventing Humpty Hump, the funniest alter ego in rap.

John McTiernan solves the language problem with a slow push in on the Russian political officer, and everyone speaks English from then on: submarine cat-and-mouse with almost no violence in it.

Rick James sued over the Super Freak riff and settled for a co-writing credit; Hammer's pants did the rest.

Guitar jangle, Wheeler's voice, and a US Modern Rock number one that Britain never received as a single.

Every journalist knows what he does is morally indefensible, Malcolm opens, then proves it through a convicted murderer suing the writer who befriended him and delivered him to readers as a sociopath.

Four generations of one bank, from Victorian London to the crash of 1987. Chernow's Pierpont Morgan locks New York's bankers in his library until they agree to end the Panic of 1907.

Los Angeles read as a machine for excluding people: Davis strips the sunshine myth to find speculators, bum-proof benches, and a police force patrolling from helicopters. Two years later the city burned.

Costner directed it himself, shot a third of it in Lakota with subtitles, and everyone expected disaster: a Union officer posted to an empty frontier fort starts keeping company with his neighbors.

A new jack swing pivot from L.A. Reid and Babyface, and by Reid's account the vocal took one take.

Los Angeles, 1948. Easy Rawlins, a Black veteran fired from the aircraft plant, takes a white man's hundred dollars to find a missing woman, and Mosley rebuilds postwar Watts around the search.

The title is what his grandmother told him when critics said he was finished. Marley Marl produced it and the comeback worked.

Steinberg brought a verse and chorus, the four writers finished it the next day, Australia sent it to number one.

You leave town in a yellow suit and hit the Lurch, the Slump, and the Waiting Place, where nothing happens. Seuss made the standard graduation gift out of a warning about failure.
I asked him one time what type of writing brought the most money and the agent says, "Ransom notes."

Two voices and one acoustic guitar, dropped into a funk metal album, and A&M got a number one.

Anthony Burgess translated the subtitles into rhyming couplets so English audiences would get the verse: Gerard Depardieu plays the nose and the poetry equally, and the swordfight is a poem too.

Martha Wash sang it, a model mimed it, and her lawsuit changed how dance records credit their singers.

A riff written on a bike ride, a sample Rick Rubin cleared free, and a surprise American number one.
Romania in February 1990, weeks of upheaval still fresh, and Edwards came home to write pop's happiest history lesson.

Chynna Phillips drew the words from AA's one-day-at-a-time, Glen Ballard produced, and it topped Billboard's 1990 year-end chart.
This will not stand. This will not stand, this aggression against Kuwait.
You can be a little old for a lot of things. You're never too old to be afraid.

Phenix Horns brass over Nathan East's bass, on a song Collins first wrote for The War of the Roses.

Clapton plays the lead over Padgham's production, the closest Collins had then come to writing a blues song.
Three writers, a Pretty Woman soundtrack slot, and the most cheerful denial ever to reach the American top ten.
Marley Marl looped an Eddie Kendricks record; Ace, co-producing his own debut, made Brooklyn sound like a place to watch.

Jeremy Irons plays Claus von Bulow as completely unreadable and was rewarded for it: the film is narrated by his wife from the coma she never woke from, and takes no position.

Queen and Bowie went uncredited until a settlement, and hip hop had its first Hot 100 number one.

A slow burn, Hugh Padgham at the desk, Stephen Bishop harmonising behind, and Collins's fourteenth and final American top ten.
Roses are red, violets are blue, Jazz and I are black, but Carlton what are you?
Kids, you tried your best and you failed miserably. The lesson is, never try.
Why do I get the feeling that someday I'll be describing this to a psychiatrist?
Eugene Record and Barbara Acklin wrote it for the Chi-Lites in 1971; Hammer's hushed remake reached number four.

Paul Stanley and Michael Bolton co-wrote the ballad that returned Kiss to the Top 40 after eleven years away.

Mutt Lange's hitchhiker story gave Heart a number two the Wilsons openly disliked; Ann called its message hideous.

Wayne Kirkpatrick co-wrote it, Dann Huff played the guitar, and Christian radio's searching ballad reached number six pop.

Eugene Record's Chi-Lites ballad, harmonica and all, remade by Young in 1990 for a number eight American hit.
It's far better to buy a wonderful company at a fair price than a fair company at a wonderful price.