
Bad Romance
Written on a tour bus in Norway and premiered at Alexander McQueen's last show, all nonsense syllables and appetite.

Written on a tour bus in Norway and premiered at Alexander McQueen's last show, all nonsense syllables and appetite.
Two songwriters homesick in London started it; Keys and a Moments piano loop made Jay-Z's first lead-artist number one.

An arpeggio out of Chicago house, a sample from the Cassini Saturn probe, Lennox wanting only a home.

Banjo, fiddle and mandolin under a scene Swift wrote after overhearing a touring musician's phone call with his girlfriend.

Chris Bear started the piano line on a Cape Cod weekend; Victoria Legrand's stacked harmonies make the rest glow.

A fantasy of Belle Epoque Paris, handed out free online, that then spent thirty-one weeks climbing to alternative number one.
Bedroom pop in the literal sense, a Gary Low disco record slowed to a crawl, and chillwave had its template.

Banjo hammering under a chorus that needed a radio edit, produced by Markus Dravs and voted Australia's song of 2009.

Four lines, no instruments, one voice stacked through Auto-Tune into a choir Kanye West later built a song from.

Heine coined the word for Liszt's swooning fans, and Philippe Zdar gave these guitars their chrome shine.

Jessie J wrote it with Claude Kelly, passed on singing it, and Cyrus took it to number two.

Boi-1da's beat was first meant for Kardinal Offishall; Kanye, by his account, rewrote his verse for two days after Eminem.

Four writers, one late-night phone call, and a chorus that took Record and Song of the Year at the Grammys.

Recorded in Honolulu for 808s & Heartbreak with Jeff Bhasker co-producing, Auto-Tune propping up bravado that keeps slipping.

Written at a soundcheck in an Edinburgh pub, open-D guitar and banjo climbing into a stomp that drew four Grammy nominations.

Synth pitched somewhere in early-eighties Prince territory, with Keys singing insomnia as though it were a physical condition.

Fourteen straight weeks atop the R&B chart, T-Pain's Auto-Tune at its peak, and a Grammy for the pair.
Vedder lifted the opening chord from Tuolumne, an Into the Wild instrumental, and Willie Nelson later took the song.

Nine weeks at number one, the first of the 2010s, and Kesha's talk-sung verses over Dr. Luke's synths.

Cut in a converted basement on Block Island, sung in falsetto with the drums stripped out; the Mayflower never sounded lonelier.