
Gold Digger
Foxx sang the Ray Charles hook fresh from his Oscar for playing him, and it held number one ten weeks.

Foxx sang the Ray Charles hook fresh from his Oscar for playing him, and it held number one ten weeks.

Cee-Lo cut the vocal in one take over a 1968 spaghetti western sample. Nine weeks at UK number one.
Maseo's cackle, Danger Mouse at the desk, and a song Albarn dreamed up driving past California windmills toward Coachella.
A wordless chorus half of indie rock then copied, and Bowie sang it onstage with the band in 2005.

Fourteen weeks at number one, two soul interpolations underneath, and Carey singing softly rather than belting.

Sleigh bells, trumpets and a choir stacked into one crescendo, and Stevens cut five different versions of it.

An Ini Kamoze sample under it, Stephen Marley at the desk, and verses answering the postcard version of Jamaica.

Cool and Dre's Trammps flip earned two Grammy nominations and stalled at two, blocked by 50 Cent's own 'Candy Shop'.

Four guitar chords never change while Stevens sings a Bible study, a friend's death, and a question for God.

Daniel wrote it late for Gimme Fiction, cut it first, and sang in a Prince falsetto over Eno's hi-hat.

Courtney Love called her a cheerleader, so Stefani and the Neptunes built the taunt into pop's first million-selling download.

Thirteen seconds of chiptune open it, and the Dust Brothers built the rest around Beck jamming acoustic guitar.

Armstrong's father died in September 1982; by his account the words he said that day waited twenty years.

Rohan Fuller's Applause riddim, a Hot 100 number one, and dancehall running American radio through 2006.

Scott Storch's synth strings borrow from Middle Eastern melody, and nine weeks at number one followed for 50 Cent.

Armstrong spent two months doubting the lyrics until Cavallo pushed him; it went to number one on modern rock radio.

Gibbard wrote it for his girlfriend, Walla produced at a Massachusetts farm studio, ten weeks atop Adult Alternative.

Piano and Meg's drums instead of a riff, cut at White's Detroit house, thematically the album's one cheerful track.