
Blank Space
Swift plays her own tabloid caricature, a clicking pen for percussion, and she replaced herself at number one.

Swift plays her own tabloid caricature, a clicking pen for percussion, and she replaced herself at number one.

Six studios, eighty-two takes at the guitar part, Ronson collapsing in the studio, and fourteen weeks at number one.

Written first for Rihanna, kept by Sia instead, and given a video where an eleven-year-old dancer did the acting.

Emile Haynie and Arca build a slow cathedral of bass, and Twigs sings desire in a whisper.

One Letterman performance in March 2014, Herring's angular dancing, and Pitchfork, NME and Spin named it the year's best.

Rahki built it on the Isley Brothers' That Lady, and Lamar turned self-love into two Grammys.

Rostam's harpsichord reharmonizes a melody that traveled from Bread through Grover Washington Jr. to Souls of Mischief, then here.

Martin and Shellback stomped the drum pattern on a wooden floor, and Swift turned tabloid noise into fifty weeks charting.

Wadge was playing chords while Sheeran showered; twenty minutes later they had a Song of the Year.

El-P's beat, de la Rocha recruited a day after a chance encounter, and the fiercest track on the album.

Verses at 123 beats a minute collapsing to 65 in the chorus, cut live with Auerbach's band in Nashville.

Granduciel spent two years second-guessing these sessions, and the song still turns on one yelp before the chorus.

Adrian Utley of Portishead helped build the noise, and Hadreas answers a lifetime of stares with pure swagger.

Snowed into a Prince Edward Island farmhouse, Rankin wrote a proposal song; VanGaalen cut it in Calgary.

Dropped without warning on a Saturday in August, an Outkast sample underneath, Minaj arriving to claim the rap crown.

Boi-1da, Vinylz and Frank Dukes built the boast; Nineteen85 and 40 flip a James Blake sample for the reckoning.

Spoon's eighth album brought in Dave Fridmann and Alex Fischel, and Daniel spends the chorus asking to be understood.

One voice layered roughly twenty times into a choir, and a settlement that added Petty and Lynne.

Del Rey wrote it with Lou Reed in mind, then sang the Brooklyn hipster caricature straight, deadpan and unbothered.

Stephan Moccio's piano under strings that swing in six-eight, and Tesfaye's first Hot 100 top five.