99 Problems
Rick Rubin's first rap production in years, a Billy Squier drum break, and a second verse about a traffic stop.
Rick Rubin's first rap production in years, a Billy Squier drum break, and a second verse about a traffic stop.

A marching ARC Choir sample, Rhymefest's co-write, and a label convinced nobody would play a rap record about God.

A dembow riddim from Luny Tunes, an uncredited hook from Glory, and a place in the National Recording Registry.

Flowers wrote it after a bad night at a Vegas bar; Britain has kept it charting past 500 weeks.

The Neptunes built it from tongue clicks and almost nothing else, and it gave Snoop his first number one.

Pink passed on it and Duff couldn't hit the notes, so Clarkson asked for heavier guitars and won a Grammy.

Two songs welded together, the tempo dropping a minute in, and a sniper film lending Kapranos his double-edged title.

Brock wrote it in the final days of tracking, fed up with darkness, and built indie rock's warmest chorus.

Denied the Lauryn Hill sample, West had Syleena Johnson sing the part, and got his first solo top ten.

Zinner's looped riff, twenty minutes of writing from Karen O, and a video where the tears are real.

Timbaland's beat is all snap and space, and in 2008 a presidential candidate borrowed the shoulder-brush on a Raleigh stage.

Nigel Godrich's sessions got scrapped, Gordon Raphael came back, and the descending twin-guitar riff turned everything into a sprint.

Aaliyah's death in 2001 clarified what mattered, and Keys answered with piano, gospel restraint and a Grammy-winning vocal.

Armstrong wrote the lyrics alone in an East Village apartment, and that loneliness won Record of the Year.

Gospel choir the Sweet Inspirations, a bassline Flowers traced to Bowie, and a refrain built for arenas.

Flowers called it the story of trying to meet someone in a club; Keuning's hook does the flirting.

Charlie White's video put an animatronic puppet through a real emergency room, six puppeteers digitally erased; fans named it Norman.

Slade wrote it after mentoring a troubled teenager at a Denver camp, and Grey's Anatomy did the rest.

Two verses, two voices, and Jerry Douglas's Dobro; Bill Anderson and Jon Randall wrote country's bleakest modern ballad.

Cello, upright bass and brushed drums, roughly seventy acoustic tracks, and Hoppus and DeLonge trading verses about missing someone.

Recorded at Sweet Tea in Oxford, Mississippi, and it turns a hard look at mortality into something close to serene.
Beam slowed Gibbard's synth-pop into hushed acoustic guitar for a Sub Pop B-side, then Garden State put it everywhere.

Jazze Pha built the beat on an Akai MPC3000, and Missy Elliott cut her verse before ever meeting Ciara.

Rice-Oxley hammered it out on piano after "Heroes", and Keane proved a rock band could skip guitars entirely.

Scott Storch built it on a Donna Summer interpolation, and Beyonce turns a club come-on into pure command.

Scott Storch's beat, three weeks at number one, and a hook that instructs the room not to dance.

Cut in Venice Beach with Danielle Brisebois, then adopted by The Hills and every graduation slideshow since.

50 Cent wrote the chorus, liked it enough to take a verse, and Dre's beat carried Compton nationwide.

Wiseman and Nichols built it from a friend's cancer scare, and McGraw cut it the year his father died.
Beam swapped his home four-track for Brian Deck's Chicago studio, and sang two lovers weighing which of them dies first.

Rice-Oxley wrote it after the guitarist quit, which is why a rock band's biggest hook is played on piano.

Just Blaze cut it from Supertramp's Crime of the Century, and Fabolous raps it like a man being chased.

Mayer lobbied his label against releasing it, then won Song of the Year in 2005 and said so onstage.

Sean Mackin's violin cutting through the guitars, and an avenue that is really a boulevard in Atlantic Beach, Florida.

A song Foreman wrote to talk himself into moving, cut twice, the 2003 version the band's biggest hit.

Trackboyz built the stomp, J-Kwon was seventeen, and twenty years on Shaboozey turned the hook into a number one.

Sean Garrett wrote the hook in a taxi, and T.I. and Lil Wayne are the album's only guest verses.

Kanye looped a 1978 Lenny Williams record, Miri Ben-Ari sawed the violin, and Twista outran both to number six.

Writer's block became the subject; Bedingfield turned her failure to finish a love song into a UK number one.