
Rolling in the Deep
Written with Paul Epworth in one afternoon after a breakup, and the credits list stiletto heels as percussion.

Written with Paul Epworth in one afternoon after a breakup, and the credits list stiletto heels as percussion.

Rihanna sings the hook, Elton John plays piano, and West spent two years stacking fourteen singers behind the horns.

Cut in Aaron Dessner's Brooklyn garage, a horn part stripped out late, leaving that rolling drum pattern and Berninger's baritone.

Cut at Wondaland with Big Boi guesting, a horn-driven groove Monae wrote about staying level under praise and criticism.

Bonnie McKee rewrote it repeatedly until Benny Blanco suggested studying a Teenagers single, and one word cracked the chorus open.

Ratatat cut the beat before Cudi arrived, MGMT added vocals, and Steve Aoki's remix made a song about intoxication ubiquitous.

Twinkling piano, bumping bass, the Smeezingtons doing sixties Motown, and a typography video that went viral on release day.

Alex da Kid's beat, Skylar Grey's demo hook, Rihanna's vocal cut in Dublin, seven weeks at No. 1.

A rolling piano, Butler's boyhood in The Woodlands outside Houston, and an album he called a letter from the suburbs.

Bangladesh built the beat around Harry Belafonte's Day-O, and Wayne released it six weeks after leaving jail.

Every instrument played by Mars and Ari Levine at Levcon Studios, and a Grammy for male pop vocal followed.

Cut in New York, finished by Sandy Vee in Paris, and Rihanna's ninth Hot 100 number one; euphoria on demand.

Boi-1da's beat, Resto's keyboards, and Eminem setting the Slim Shady mask aside; it debuted at number one.

Stargate's synth organ, Drake's first number one, and Rihanna turning a chorus of nonsense syllables into flirtation.

Funkadelic's Can You Get to That, looped and sweetened, under the one Sleigh Bells song that whispers.

Perry's West Coast answer to Empire State of Mind, the misspelling saluting Big Star, six weeks at number one.

Rebuilt two days before the album was due, its surf-pop guitars gone, and Mars sings it like a wound.

Three rappers, one T-Pain hook, and a brass fanfare Obama walked out to at the 2013 correspondents' dinner.

Stargate's beat, a yellow Challenger with black stripes, and a Pittsburgh hometown chant that reached number one.

A leak forced its release nearly two weeks early, and Swift's lead Speak Now single still debuted at number three.

Mercer and Burton met at Roskilde in 2004, then recorded in secret; the result shuffles beautifully toward resignation.

Two minutes long, given away to fans who posted flyers, and jangling its way toward something like salvation.

Kimberly Perry wrote it alone, and banjo, fiddle and mandolin carry her meditation on mortality across fifty-three Hot 100 weeks.

A Joe Tex drum break under a Smeezingtons hook, and Bruno Mars stepping out from behind the songwriting desk.

Filmed among Aston Martins in Miami, with J.U.S.T.I.C.E. League's beat and Drake turning Ross's luxury boast wistful.

Jim Jonsin and Rico Love built the beat, and Nelly took the heartbreak to number three.

A leaked demo forced its own release, and an Annie Lennox sample gave Minaj eight weeks atop the rap chart.

Three voices, one mixtape: McCall produced and guested, Tyga rapped, and Brown took a breakup to number one R&B.

Kane Beatz interpolated Modest Mouse's Float On, Atlantic made it the price of releasing Lasers, and Fiasco got his biggest hit.

Alex da Kid's beat, Hayley Williams on the hook, and a wish on a passing plane that went diamond.

Recorded on cheap gear in a college dorm room, co-written with Big Sean, and a number six hit.

Mercer sang falsetto for the first time here at Burton's urging; Christina Hendricks plays the android in the video.

Ne-Yo and Chuck Harmony built it on a Just the Two of Us sample; Kahn's video parades a century of divas.

Shellback and Max Martin built a toast to outsiders, and it gave Pink her third Billboard number one.

Rihanna's team turned it down for Loud, and Usher took it to number four with Pitbull along for the ride.

DJ Frank E's video-game synths cut at the Record Plant, and Brown's return to pure pop after the mixtape years.

Queens kids who met on Craigslist and busked subway platforms, then made banjo and glockenspiel sound euphoric.
A Dallas dance named after Doug E. Fresh, a cowbell-driven beat from Runway Star, and Inglewood teaching everyone else.

Twenty-three weeks of climbing before it peaked at number four, riding a Mick Schultz beat built for last call.

RedOne's beat, Pitbull's verse, and Lionel Richie back at the mic re-cutting his own 'All Night Long' hook.

Fraser T Smith produced a UK number one; Mercury then added Ludacris and it leapt to the American top spot.

Written in 2007 about a girl who moved away for college, and every synth in it aches accordingly.

Troy Taylor cut it at D2 in Atlanta, and Songz's birthday toast climbed to number nine, then double platinum.