
Niggas in Paris
Hit-Boy's beat, a Blades of Glory sample, and twelve straight encores of it one night in Paris.

Hit-Boy's beat, a Blades of Glory sample, and twelve straight encores of it one night in Paris.

Gonzalez built that shrieking hook from his own distorted voice, then let James King's saxophone close the record.

Dan Wilson of Semisonic at the piano, Adele singing, nothing else added; five weeks at number one.

Calvin Harris wrote and produced it alone, and Rihanna rode ten weeks at number one, 2011's longest run.

Horns and clarinets swell over guitar in a converted Wisconsin veterinary clinic; Grammy voters nominated it for record and song.

Kane Beatz's synth bounce, a bonus track buried on the Pink Friday deluxe, and Minaj's first solo top ten.

Recorded at his parents' house on the Mornington Peninsula around a Luiz Bonfá sample, eight weeks at number one.

Pecknold called it an anti-protest song, a plain opinion with no poetry, and gave it away free in January 2011.

Sia cut the vocal as a guide for another singer; Guetta released it anyway, and she got a number one.
Rosie Danvers wrapped the strings around Adele's biggest crescendo, and 21 took its third straight American number one.

Five hours in a Los Angeles jingle studio, the demo kept as the master, its subject hidden in plain sight.

Eno took a co-writing credit and played synthesizers; it became Coldplay's second UK number one and a stadium fixture.

Sounwave's woozy loop, Ab-Soul in the margins, and Lamar naming a generation's numbness on his debut album.

Six weeks at number one, and it began with Ruess singing the chorus, tipsy, at the Bowery Hotel.

Diplo and Afrojack made the beat for a mixtape; Busta Rhymes' double-time verse pushed it to diamond.

Goulding wrote it about a childhood fear of the dark, and the Hot 100 kept it fifty-two weeks.

Flux Pavilion's dubstep drop rebuilt into a rap victory lap, cut at the Mercer Hotel with Jay-Z trading verses.