
Stronger
West cleared the Daft Punk sample through their manager, had Timbaland reprogram the kick drums, and hit number one.

West cleared the Daft Punk sample through their manager, had Timbaland reprogram the kick drums, and hit number one.

DJ Toomp built the beat and bassline, West layered the strings, and Zach Galifianakis lip-synced it on a tractor.

No chorus, just strings and a rising ache; Kleerup's living-room track became Robyn's first British number one.

StarGate looped Michael Jackson's chant from Wanna Be Startin' Somethin', and Rihanna took it to number one in ten countries.

West and DJ Toomp sped up Michael Jackson's P.Y.T. into a Grammy-winning glide, T-Pain's hook floating over it.

Nels Cline's lead guitar turns a quiet Tweedy song into the twin-guitar epic Rolling Stone compared to Television.

Justice built it from Michael Jackson song titles and handed the chorus to a London children's choir.

Jon Brion produced this track and no other on the album, adding mariachi-style horns and handclaps to Britt Daniel's warning.

Auto-Tune used as an instrument rather than a fix, T-Pain producing himself, Yung Joc riding a snap beat.

Swift wrote it in roughly twenty minutes for a ninth-grade talent show, then spent six weeks atop the country chart.

Nathan Chapman's production stays hushed while Swift and Liz Rose leave the real classmate's name, Drew, in the lyric.

A 1964 Everly Brothers single, rebuilt by T Bone Burnett into swampy menace, won a Grammy.

Brian Deck built a loop for Beam to layer guitar over; Stewart reportedly chose it for Twilight's prom.

Cut first for the Up in Rags EP, all four members co-producing, a clothesline standing in for one-sided love.

Cut in Virginia Beach with Danja co-producing, Keri Hilson co-writing, and a hook that shrugs at the whole courtship.

A steelpan loop built on a demo copy of FL Studio, seven weeks at number one, three million downloads.

Five minutes of Harmer's bass riff before a word arrives, a krautrock crawl radio edits had to hack apart.