
Stan
The 45 King looped Dido under four letters, and Eminem's fan character ended up in the Oxford dictionary.

The 45 King looped Dido under four letters, and Eminem's fan character ended up in the Oxford dictionary.

Andre 3000 apologizing to Erykah Badu's mother, who liked it enough to buy a Ms. Jackson license plate.

Romanthony's vocal pushed through auto-tune over a slowed Eddie Johns disco sample, filtered until the chorus explodes.

Bombs Over Baghdad at 155 beats per minute, drum and bass colliding with a gospel choir and a guitar solo.

Radiohead opened Kid A with no guitars at all, just a Prophet-5 and Yorke's voice diced in Pro Tools.

Ken Nelson pointed at the stars outside Rockfield, and Martin sang the melody in his worst Neil Young impression.

Iovine wanted another "My Name Is," so Eminem wrote this hours before the album was due. It hit number four.

Eno programmed the drum machine, Lanois played the Telecaster, and the Edge won the argument for his old delay-drenched sound.

Moby nearly left it off Play; a reversed string sample from the Exodus score, cut in his Little Italy apartment.

Written for the Charlie's Angels soundtrack, eleven straight weeks at number one, and Michelle Williams's first single with the group.

Printed as "The Good Old Way" in an 1867 collection of slave songs, and Krauss makes it sound weightless.

Three guitar chords, spoken city names saluting Havana's Radio Reloj, and a list of small pleasures that lands on you.

Andreas Carlsson reportedly wrote the lyric during a Stockholm driving test; Cheiron's producers built pop's most decisive exit.

A 1932 hymn Brumley began while picking cotton, carried here by Krauss and Welch over mandolin and guitar.

Number one in Australia, number two in Britain, built from Brown's memory of Long Island parents fearing metal records.

Recorded four times before Ken Nelson kept one, and Martin, by his account, apologizing for behaving badly toward his band.

Fifteen years old and stuck in a math class when Arnold wrote it; he sang it from the drum stool.

Boyd called it a song about fear, and Scott Litt's production pulls the band down to acoustic guitar.