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Ronson cut it at Daptone with the Dap-Kings, sixties girl-group machinery rebuilt around a voice in ruins.

Ronson cut it at Daptone with the Dap-Kings, sixties girl-group machinery rebuilt around a voice in ruins.

Cut live to tape at Daptone in Brooklyn with the Dap-Kings, and it took Record and Song of the Year.

A Willie Hutch loop left alone at the top, and Andre 3000's verse reportedly returned with the drums stripped off.

Timberlake sang it in a distorted low register borrowed from Prince, and it held number one for seven weeks.

Ne-Yo pitched it as country, written with Shania Twain in mind; Beyoncé turned it into ten weeks at number one.

Twenty minutes for melody and title, by Flowers' account, and Flood and Moulder gave it Born to Run scale.

Ronson cut it at Daptone in Brooklyn with the Dap-Kings, Winehouse writing about infidelity and offering no apology.
DJ Toomp turned a Roberta Flack interpolation into a synth fanfare, and T.I. won a Grammy for the performance.

One microphone, mono, caught during a studio break when the headphones failed, and Gibbard's breath before the first chord.

Jean and Duplessis rebuilt his 'Dance Like This' around Jerry Rivera's salsa trumpet line; number one in eighteen countries.

Tompkins and Kear wrote it hoping Gretchen Wilson would cut it; Underwood's version stayed sixty-four weeks on the Hot 100.

Nicknamed the BlackBerry Song because every line could be text-messaged, and Timbaland trades verses instead of just producing.

Produced by the Runners in 2005, it drew bids from Bad Boy and Murder Inc. before Def Jam won.

Yttling whistled a placeholder melody, ran it through tape delay, and kept it; Bergsman answers line for line.

Lil Jon's beat never cracked the Hot 100, yet it became Too Short's signature, later borrowed by Drake and Saweetie.

One character, tracked across three albums to her death, and a Frusciante outro built on Purple Haze.

Pizzicato cello, a title lifted from Douglas Coupland, and a circus wedding video that won Video of the Year.

Lightbody's father compared him to a dog chasing a car; a Grey's Anatomy finale sent it worldwide.

3.2 million ringtones sold, a Grammy won, and Play-N-Skillz's beat under a hook about racial profiling.

Alicia Keys sings backing behind Pino Palladino's bass, and Mayer called it the most important song he has written.

Danja's guitar riff started it in the studio; Timberlake's third straight number one turns betrayal into slow burn.
Mercer sketched a young lesbian couple stuck in a small town, then floated it on Chiccarelli's widescreen jangle.

Never a single, still platinum: Mayer, Steve Jordan and Pino Palladino playing a relationship that both parties know is finished.

Higgenson told a steeplechase runner he had written a song about her, then spent a year making it true.

Steve Jordan on drums, Pino Palladino on bass, and a Grammy for a chorus about feeling politically stuck.

Stroud's guitar over Mast's programming, not a word sung, and a gold single that landed in MLB 07: The Show.

Seven minutes long, never a single, self-produced by the trio, and the longest slow burn on Writer's Block.

Akon met Eminem at an Obie Trice session, flew to Detroit's 54 Sound, and left with five weeks at number two.

One week of downloads lifted it from sixty-six to three, a Hot 100 record, with JoJo just fifteen.

Mark Wills cut it first in 2003; Dann Huff's production turned Steele and Robson's ballad into a country number one.

Plies cut the original verses; Akon swapped in Snoop Dogg, cleaned the title, and landed his first number one.

Donovan Bennett's riddim, a Keyshia Cole verse added for the Step Up soundtrack, and a number three Hot 100 peak.

Track four on Writer's Block, self-produced by the trio, and its plainest study of being left behind.

Atlanta radio had it in March 2006; by September the country did, and Outkast joined the remix.

Written after Cochrane's famine-relief trip to Africa, and reborn as a Pixar road anthem by Rascal Flatts.

Fat Joe found no club record built around throwing money, so Scott Storch cut one at the Hit Factory.

Polow da Don and Sean Garrett built it on Middle Eastern percussion, and Snoop Dogg turned up for the single.

Finger snaps where the snare should be, E-40 riding shotgun, and Lil Jon proving crunk could whisper.