
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.

Vernon strips Reid and Shamblin's Nashville ballad to falsetto, then slips into Raitt's "Nick of Time" at the end.

Eight years of songs Welch and Rawlings never liked enough to release, then this litany of friends gone.

Justin Meldal-Johnsen co-produced at Sunset Sound, and Gonzalez turns unembarrassed optimism into a wall of synthesizers.

Cut at Miami's Circle House, Jonsin's sparse keys and Lil Wayne's verse gave Rowland seven weeks atop the R&B chart.

A free EP download from 2011, Goransson on the beat, and Glover rapping like he had something to prove.

Ray Dalton's hook, Ryan Lewis's piano gallop, and a sleeper single that took nearly two years to reach number one.

Trumpet hook lifted from the Yiddish standard Dona Dona, and two and a half years later, number eight.

A Korg M1 supplied most of the sounds, NPR called it the year's most divisive song, Vernon his favorite.

Paul Epworth produced it, and Foster points the synth hook at everyone too eager to conform.

Thirteen weeks atop the rap chart, on a beat T-Minus and Noah Shebib built wide enough for three guests.

Half-finished on the Hooligans tour, the melody landed once Mars saw an early cut of Breaking Dawn.

Death Cab's first number one on alternative radio, and its video was performed live in one unbroken take.

Dr. Luke and Max Martin built the dubstep stomp at Conway; West's verses took it to number one.

Critics heard the Kinks' Lola in the strum, and a Dancing on Ice slot lifted it to number fourteen.

Built on a sample of Avril Lavigne's I'm with You, flipped by the Runners into a Friday-night toast.

Diplo and Switch wrapped a breakup song in dubstep, and a Microsoft browser ad made it a worldwide hit.

Wayne named Tupac's "Keep Ya Head Up" as his model, then sang it over acoustic guitar into the top five.

Number six on the Hot 100 the week it arrived, Benny Blanco and Big Jerm keeping it airborne.