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“Get Lucky” is from Daft Punk’s 2013 album Random Access Memories. Featuring Pharrell Williams on vocals and Nile Rodgers on guitar, the disco-funk track became a massive global hit, peaking at #2 on the Billboard Hot 100, where it was blocked from the top spot by Robin Thicke's "Blurred... Lines," which also featured Pharrell Williams. It reached #1 in the UK, France, Australia, and more than 30 other countries, and won Record of the Year and Best Pop Duo/Group Performance at the 2014 Grammy Awards. The song's infectious groove and feel-good energy helped revive interest in live instrumentation and classic disco sounds in modern pop and electronic music. Its release was preceded by a 15-second teaser during Saturday Night Live, which ignited worldwide anticipation. "Get Lucky" also spent a record 46 consecutive weeks at #1 on Billboard's Dance/Electronic Songs chart, while Daft Punk's celebrated performance with Stevie Wonder at the 2014 Grammy Awards has since become one of the defining moments of the duo's career before their split in 2021.show more

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“Instant Crush” is from Daft Punk’s 2013 album Random Access Memories. The track features vocals from Julian Casablancas of The Strokes, blending the French duo’s electronic production with nostalgic synth-pop and rock influences. Although it was not a major Billboard Hot 100 hit, it peaked at #14 on the US Billboard Alternative Airplay chart and reached the Top 20 in Japan. Casablancas recorded his vocals using vintage microphones and heavy Auto-Tune and vocoder processing, creating the song's distinctive bittersweet, dreamlike sound. He later revealed that he wrote and recorded his vocal parts during a late-night studio session with Daft Punk.

“Instant Crush” is from Daft Punk’s 2013 album Random Access Memories. The track features vocals from Julian Casablancas of The Strokes, blending the French duo’s electronic production with nostalgic synth-pop and rock influences. Although it was not a major Billboard Hot 100 hit, it peaked at #14 on the US Billboard Alternative Airplay chart and reached the Top 20 in Japan. Casablancas recorded his vocals using vintage microphones and heavy Auto-Tune and vocoder processing, creating the song's distinctive bittersweet, dreamlike sound. He later revealed that he wrote and recorded his vocal parts during a late-night studio session with Daft Punk.

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Released in 1964, "Oh, Pretty Woman" was the biggest hit of Roy Orbison's career. The song quickly reached number 1 on the Billboard Hot 100 chart and became one of the most iconic rock/pop songs of the 1960s. Roy Orbison won a Grammy Award for Best Male Pop Vocal Performance in 1991 for his live performance on the television special Roy Orbison and Friends, A Black and White Night.

Released in 1964, "Oh, Pretty Woman" was the biggest hit of Roy Orbison's career. The song quickly reached number 1 on the Billboard Hot 100 chart and became one of the most iconic rock/pop songs of the 1960s. Roy Orbison won a Grammy Award for Best Male Pop Vocal Performance in 1991 for his live performance on the television special Roy Orbison and Friends, A Black and White Night.

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“Feel Good Inc.” was released in 2005 as the lead single from Gorillaz's second studio album, Demon Days and features the legendary hip-hop trio De La Soul on the rap verses. The song became Gorillaz's biggest international hit at the time, reaching No. 14 on the Billboard Hot 100 and No. 2 on the UK Singles Chart. In the US it also topped the Billboard Modern Rock Tracks chart for eight consecutive weeks. The song won the Grammy Award for Best Pop Collaboration with Vocals in 2006 and was also nominated for Record of the Year and Best Music Video. Its iconic animated video was inspired by Hayao Miyazaki's Castle in the Sky, particularly its legendary floating city of Laputa.

“Feel Good Inc.” was released in 2005 as the lead single from Gorillaz's second studio album, Demon Days and features the legendary hip-hop trio De La Soul on the rap verses. The song became Gorillaz's biggest international hit at the time, reaching No. 14 on the Billboard Hot 100 and No. 2 on the UK Singles Chart. In the US it also topped the Billboard Modern Rock Tracks chart for eight consecutive weeks. The song won the Grammy Award for Best Pop Collaboration with Vocals in 2006 and was also nominated for Record of the Year and Best Music Video. Its iconic animated video was inspired by Hayao Miyazaki's Castle in the Sky, particularly its legendary floating city of Laputa.

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“Genie in a Bottle” is the debut single from Christina Aguilera’s self-titled 1999 album. The track became an instant worldwide success, spending five weeks at #1 on the Billboard Hot 100. It also reached #1 in Canada, #1 in the UK, #2 in New Zealand, #5 in Australia, and the Top 10 in several European countries. Christina was only 18 years old when the song was released. Before releasing her debut album, she had already caught the industry's attention with "Reflection" from Disney's Mulan (1998), a performance that helped her secure a recording contract. "Genie in a Bottle" was co-written by hitmaker Steve Kipner, who also co-wrote Chicago's "Hard to Say I'm Sorry", and was later recorded in Spanish as "Genio Atrapado" for the Latin American edition of Aguilera's debut album. The single earned Aguilera a Grammy Award nomination for Best Female Pop Vocal Performance and paved the way for her Best New Artist win at the 42nd Grammy Awards in 2000.

“Genie in a Bottle” is the debut single from Christina Aguilera’s self-titled 1999 album. The track became an instant worldwide success, spending five weeks at #1 on the Billboard Hot 100. It also reached #1 in Canada, #1 in the UK, #2 in New Zealand, #5 in Australia, and the Top 10 in several European countries. Christina was only 18 years old when the song was released. Before releasing her debut album, she had already caught the industry's attention with "Reflection" from Disney's Mulan (1998), a performance that helped her secure a recording contract. "Genie in a Bottle" was co-written by hitmaker Steve Kipner, who also co-wrote Chicago's "Hard to Say I'm Sorry", and was later recorded in Spanish as "Genio Atrapado" for the Latin American edition of Aguilera's debut album. The single earned Aguilera a Grammy Award nomination for Best Female Pop Vocal Performance and paved the way for her Best New Artist win at the 42nd Grammy Awards in 2000.

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“Losing My Religion” was written by all four members of R.E.M.: Michael Stipe, Peter Buck, Mike Mills and Bill Berry and began with an unusual mandolin riff that Buck developed while experimenting with the instrument. The track was released in 1991 as the lead single from R.E.M.’s seventh studio album, Out of Time. It became the band’s biggest U.S. hit, reaching No. 4 on the Billboard Hot 100, while peaking at No. 19 on the UK Singles Chart. The song also reached the Top 10 in several other countries. Its acclaimed music video, directed by Tarsem Singh and filled with religious and classical-art imagery, won the Grammy for Best Short Form Music Video in 1992, while the song itself won Best Pop Performance by a Duo or Group with Vocal. Despite becoming one of R.E.M.’s signature songs, “Losing My Religion” has no conventional chorus and Peter Buck’s mandolin remains its defining instrumental feature.

“Losing My Religion” was written by all four members of R.E.M.: Michael Stipe, Peter Buck, Mike Mills and Bill Berry and began with an unusual mandolin riff that Buck developed while experimenting with the instrument. The track was released in 1991 as the lead single from R.E.M.’s seventh studio album, Out of Time. It became the band’s biggest U.S. hit, reaching No. 4 on the Billboard Hot 100, while peaking at No. 19 on the UK Singles Chart. The song also reached the Top 10 in several other countries. Its acclaimed music video, directed by Tarsem Singh and filled with religious and classical-art imagery, won the Grammy for Best Short Form Music Video in 1992, while the song itself won Best Pop Performance by a Duo or Group with Vocal. Despite becoming one of R.E.M.’s signature songs, “Losing My Religion” has no conventional chorus and Peter Buck’s mandolin remains its defining instrumental feature.

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#Today On February 22 1998, .Madonna's "Ray Of Light" (Studio Album) was released. Ray of Light was met with universal acclaim upon its release and is often considered Madonna's magnum opus. The album entered the US Billboard 200 at number two, with the biggest first-week sales by a female artist at the time. It also peaked at number one in 17 countries, including Australia, Canada, Germany, Italy, Spain and on the United Kingdom Albums Chart, and charted within the top-five in most musical markets. Worldwide, Ray of Light has sold over 16 million copies and is one of the best-selling albums by women. Ray of Light won four Grammy Awards from a total of six nominations at the 41st Annual Grammy Awards.

#Today On February 22 1998, .Madonna's "Ray Of Light" (Studio Album) was released. Ray of Light was met with universal acclaim upon its release and is often considered Madonna's magnum opus. The album entered the US Billboard 200 at number two, with the biggest first-week sales by a female artist at the time. It also peaked at number one in 17 countries, including Australia, Canada, Germany, Italy, Spain and on the United Kingdom Albums Chart, and charted within the top-five in most musical markets. Worldwide, Ray of Light has sold over 16 million copies and is one of the best-selling albums by women. Ray of Light won four Grammy Awards from a total of six nominations at the 41st Annual Grammy Awards.

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“A Little Respect” is from Erasure’s 1988 album The Innocents. Written by Vince Clarke and Andy Bell, the synth-pop classic became one of the duo's signature songs, reaching #4 on the UK Singles Chart and becoming their first Top 20 hit on the Billboard Hot 100, where it peaked at #14. Its infectious melody, emotional lyrics and instantly recognizable chorus helped establish The Innocents as Erasure's commercial breakthrough. The track's soaring vocal performance, combined with Vince Clarke's sophisticated electronic production, created one of the defining songs of late-1980s synth-pop. Decades later the song experienced a renewed surge in popularity after the cast of the hit TV series Scrubs performed an impromptu singalong in a memorable 2002 episode, introducing “A Little Respect” to a new generation of listeners and reinforcing its place as one of Erasure's most enduring songs.

“A Little Respect” is from Erasure’s 1988 album The Innocents. Written by Vince Clarke and Andy Bell, the synth-pop classic became one of the duo's signature songs, reaching #4 on the UK Singles Chart and becoming their first Top 20 hit on the Billboard Hot 100, where it peaked at #14. Its infectious melody, emotional lyrics and instantly recognizable chorus helped establish The Innocents as Erasure's commercial breakthrough. The track's soaring vocal performance, combined with Vince Clarke's sophisticated electronic production, created one of the defining songs of late-1980s synth-pop. Decades later the song experienced a renewed surge in popularity after the cast of the hit TV series Scrubs performed an impromptu singalong in a memorable 2002 episode, introducing “A Little Respect” to a new generation of listeners and reinforcing its place as one of Erasure's most enduring songs.

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🔥🔥💫✨In 1989, Belgian electronic group Technotronic released Pump Up the Jam, a house music track that helped propel underground club sounds into the global mainstream. Built on an infectious beat, bold rhythm, and an instantly recognizable vocal hook, the song captured the energy of late-80s club culture at a time when electronic music was still largely outside pop radio.🫶🫶 The impact was immediate. In early 1990, the track reached No. 2 on both the US Billboard Hot 100 and the UK Singles Chart, proving that electronic dance music could compete head-to-head with traditional pop on a global scale.

🔥🔥💫✨In 1989, Belgian electronic group Technotronic released Pump Up the Jam, a house music track that helped propel underground club sounds into the global mainstream. Built on an infectious beat, bold rhythm, and an instantly recognizable vocal hook, the song captured the energy of late-80s club culture at a time when electronic music was still largely outside pop radio.🫶🫶 The impact was immediate. In early 1990, the track reached No. 2 on both the US Billboard Hot 100 and the UK Singles Chart, proving that electronic dance music could compete head-to-head with traditional pop on a global scale.

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“Give Me the Night” is the title track from George Benson's 1980 album Give Me the Night. Written by Rod Temperton and produced by Quincy Jones, the infectious jazz-funk and disco classic became one of Benson's biggest crossover hits, reaching No. 4 on the Billboard Hot 100, No. 1 on the Hot Soul Singles chart, and No. 2 on the Hot Disco Singles chart. It also earned Benson a Grammy Award for Best R&B Vocal Performance, Male, in 1981. One of the most memorable elements of the recording is Patti Austin's backing and scat vocals, which add to its rich, layered sound. The music video is even more playful: Benson can be seen singing and playing guitar while roller-skating along the Venice Beach Boardwalk in Los Angeles. He later recalled seeing other skaters and deciding that he wanted to do it himself, despite his manager worrying that he might fall.

“Give Me the Night” is the title track from George Benson's 1980 album Give Me the Night. Written by Rod Temperton and produced by Quincy Jones, the infectious jazz-funk and disco classic became one of Benson's biggest crossover hits, reaching No. 4 on the Billboard Hot 100, No. 1 on the Hot Soul Singles chart, and No. 2 on the Hot Disco Singles chart. It also earned Benson a Grammy Award for Best R&B Vocal Performance, Male, in 1981. One of the most memorable elements of the recording is Patti Austin's backing and scat vocals, which add to its rich, layered sound. The music video is even more playful: Benson can be seen singing and playing guitar while roller-skating along the Venice Beach Boardwalk in Los Angeles. He later recalled seeing other skaters and deciding that he wanted to do it himself, despite his manager worrying that he might fall.

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#Today on October 25 1994 .Madonna's "Bedtime Stories" was released by Maverick and Sire Records. A pop album with elements of R&B and hip hop, Bedtime Stories explores lyrical themes of love and romance, but with a toned-down, less sexual approach. In the song "Human Nature", Madonna explicitly addresses the backlash and controversy surrounding her previous projects, whereas title track "Bedtime Story" saw her working with Icelandic singer Björk. The album yielded two Hot 100 top-three singles, "Secret" and "Take a Bow"; the latter stayed at number one for seven weeks on the chart. Follow-ups "Bedtime Story" and "Human Nature" were both top-ten hits on the UK Singles Chart. It was nominated for Best Pop Album at the 38th Grammy Awards. The album debuted and peaked at number three on the US Billboard 200, also reached the first spot in Australia, and charted within the top-five in many other countries, including Canada, France, Germany, and the United Kingdom. In retrospective reviews, it has been referred to as one of Madonna's most important yet underrated albums.

#Today on October 25 1994 .Madonna's "Bedtime Stories" was released by Maverick and Sire Records. A pop album with elements of R&B and hip hop, Bedtime Stories explores lyrical themes of love and romance, but with a toned-down, less sexual approach. In the song "Human Nature", Madonna explicitly addresses the backlash and controversy surrounding her previous projects, whereas title track "Bedtime Story" saw her working with Icelandic singer Björk. The album yielded two Hot 100 top-three singles, "Secret" and "Take a Bow"; the latter stayed at number one for seven weeks on the chart. Follow-ups "Bedtime Story" and "Human Nature" were both top-ten hits on the UK Singles Chart. It was nominated for Best Pop Album at the 38th Grammy Awards. The album debuted and peaked at number three on the US Billboard 200, also reached the first spot in Australia, and charted within the top-five in many other countries, including Canada, France, Germany, and the United Kingdom. In retrospective reviews, it has been referred to as one of Madonna's most important yet underrated albums.

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"You're My Heart, You're My Soul" is the debut single from Modern Talking's 1985 album The 1st Album. The synth-pop track became a massive international hit, spending six weeks at #1 in West Germany and topping the charts in numerous other countries. It sold over eight million copies worldwide, launching the duo's remarkable success in the mid-1980s. The song's success was so overwhelming that it turned Modern Talking into one of the biggest European pop acts of the decade. It was the first of five consecutive #1 singles in West Germany, a feat unmatched by any other German duo at the time.

"You're My Heart, You're My Soul" is the debut single from Modern Talking's 1985 album The 1st Album. The synth-pop track became a massive international hit, spending six weeks at #1 in West Germany and topping the charts in numerous other countries. It sold over eight million copies worldwide, launching the duo's remarkable success in the mid-1980s. The song's success was so overwhelming that it turned Modern Talking into one of the biggest European pop acts of the decade. It was the first of five consecutive #1 singles in West Germany, a feat unmatched by any other German duo at the time.

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"I Feel Love" comes from Donna Summer's 1977 album I Remember Yesterday, a concept album that moves through different musical eras, with the title track representing the past, the middle of the album reflecting the present, and "I Feel Love" representing the future. Produced and co-written by Giorgio Moroder and Pete Bellotte, the track was built around Moog synthesizers, sequenced electronic rhythms and Donna Summer's hypnotic vocals, creating a sound that was radically futuristic for its time. The song helped change the course of electronic and dance music. According to a famous story, Brian Eno heard the track while visiting David Bowie's studio and immediately told Bowie that he had heard "the sound of the future." "I Feel Love" topped the UK Singles Chart for four weeks in 1977 and reached No. 9 on the Billboard Hot 100 in the United States, while also topping the US Dance/Disco chart. Its influence can be heard throughout later electronic, house, techno and synth-pop music.

"I Feel Love" comes from Donna Summer's 1977 album I Remember Yesterday, a concept album that moves through different musical eras, with the title track representing the past, the middle of the album reflecting the present, and "I Feel Love" representing the future. Produced and co-written by Giorgio Moroder and Pete Bellotte, the track was built around Moog synthesizers, sequenced electronic rhythms and Donna Summer's hypnotic vocals, creating a sound that was radically futuristic for its time. The song helped change the course of electronic and dance music. According to a famous story, Brian Eno heard the track while visiting David Bowie's studio and immediately told Bowie that he had heard "the sound of the future." "I Feel Love" topped the UK Singles Chart for four weeks in 1977 and reached No. 9 on the Billboard Hot 100 in the United States, while also topping the US Dance/Disco chart. Its influence can be heard throughout later electronic, house, techno and synth-pop music.

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"All That She Wants" is the biggest debut hit by Ace of Base, featured on the album Happy Nation (1992) released as The Sign in the United States. The track became a worldwide hit, peaking at #1 in several European countries and #2 on the Billboard Hot 100.

"All That She Wants" is the biggest debut hit by Ace of Base, featured on the album Happy Nation (1992) released as The Sign in the United States. The track became a worldwide hit, peaking at #1 in several European countries and #2 on the Billboard Hot 100.

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“Basket Case” was written by Billie Joe Armstrong about the anxiety and panic attacks he experienced for years. He later recalled waking up in the middle of the night in a panic and riding around the neighborhood to calm himself down. At the time he thought he was simply going crazy, but he eventually realised that what he had been experiencing were panic attacks. The song turned those deeply personal experiences into one of Green Day's most enduring anthems. Released in 1994 as the second single from Dookie, “Basket Case” spent five weeks at No. 1 on Billboard's Modern Rock Tracks chart and also reached No. 9 on the Mainstream Rock chart. The song was nominated for Best Rock Vocal Performance by a Duo or Group at the 1995 Grammy Awards, while Dookie won the Grammy for Best Alternative Music Performance.

“Basket Case” was written by Billie Joe Armstrong about the anxiety and panic attacks he experienced for years. He later recalled waking up in the middle of the night in a panic and riding around the neighborhood to calm himself down. At the time he thought he was simply going crazy, but he eventually realised that what he had been experiencing were panic attacks. The song turned those deeply personal experiences into one of Green Day's most enduring anthems. Released in 1994 as the second single from Dookie, “Basket Case” spent five weeks at No. 1 on Billboard's Modern Rock Tracks chart and also reached No. 9 on the Mainstream Rock chart. The song was nominated for Best Rock Vocal Performance by a Duo or Group at the 1995 Grammy Awards, while Dookie won the Grammy for Best Alternative Music Performance.

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"Cheri, Cheri Lady" is a song by German pop duo Modern Talking from their second studio album, Let's Talk About Love (1985). It was released as the album's only single on 2 September 1985 and reached number one on the German Singles Chart, becoming the duo's third consecutive number-one single in Germany, following "You're My Heart, You're My Soul" and "You Can Win If You Want". The single spent four weeks at the top and a total of 24 weeks on the German chart, and eventually went gold, selling over 250,000 units there. The song has also reached certified silver in France, denoting sales in excess of 250,000 units.

"Cheri, Cheri Lady" is a song by German pop duo Modern Talking from their second studio album, Let's Talk About Love (1985). It was released as the album's only single on 2 September 1985 and reached number one on the German Singles Chart, becoming the duo's third consecutive number-one single in Germany, following "You're My Heart, You're My Soul" and "You Can Win If You Want". The single spent four weeks at the top and a total of 24 weeks on the German chart, and eventually went gold, selling over 250,000 units there. The song has also reached certified silver in France, denoting sales in excess of 250,000 units.

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"Hey Ya!" was written, produced and recorded almost entirely by André 3000. He played acoustic guitar, keyboards, programmed the drums and did all the vocals (the only thing he didn't record was the bass, played by Aaron Mills). The track, featured on the album Speakerboxxx/The Love Below (2003), became one of the biggest hits of his career. The video was directly inspired by the Beatles' historic performance on the Ed Sullivan Show in 1964. The success was so great that "Hey Ya!" spent 9 weeks at the top of the Billboard Hot 100 and won the Grammy for Best Urban/Alternative Performance.

"Hey Ya!" was written, produced and recorded almost entirely by André 3000. He played acoustic guitar, keyboards, programmed the drums and did all the vocals (the only thing he didn't record was the bass, played by Aaron Mills). The track, featured on the album Speakerboxxx/The Love Below (2003), became one of the biggest hits of his career. The video was directly inspired by the Beatles' historic performance on the Ed Sullivan Show in 1964. The success was so great that "Hey Ya!" spent 9 weeks at the top of the Billboard Hot 100 and won the Grammy for Best Urban/Alternative Performance.

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"Hey Ya!" was written, produced and recorded almost entirely by André 3000. He played acoustic guitar, keyboards, programmed the drums and did all the vocals (the only thing he didn't record was the bass, played by Aaron Mills). The track, featured on the album Speakerboxxx/The Love Below (2003), became one of the biggest hits of his career. The video was directly inspired by the Beatles' historic performance on the Ed Sullivan Show in 1964. The success was so great that "Hey Ya!" spent 9 weeks at the top of the Billboard Hot 100 and won the Grammy for Best Urban/Alternative Performance.

"Hey Ya!" was written, produced and recorded almost entirely by André 3000. He played acoustic guitar, keyboards, programmed the drums and did all the vocals (the only thing he didn't record was the bass, played by Aaron Mills). The track, featured on the album Speakerboxxx/The Love Below (2003), became one of the biggest hits of his career. The video was directly inspired by the Beatles' historic performance on the Ed Sullivan Show in 1964. The success was so great that "Hey Ya!" spent 9 weeks at the top of the Billboard Hot 100 and won the Grammy for Best Urban/Alternative Performance.

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“Iris” was written by Goo Goo Dolls frontman John Rzeznik specifically for the 1998 film City of Angels, starring Nicolas Cage and Meg Ryan. At the time, Rzeznik was staying in a hotel in Los Angeles when music supervisor Danny Bramson asked him to write a song for the movie. The track became a radio phenomenon, spending a then-record 18 weeks at No. 1 on Billboard's Hot 100 Airplay chart. Because no commercial single was released in the US the song was initially ineligible for the Billboard Hot 100. When Billboard changed its rules in December 1998 to allow airplay-only songs onto the chart, “Iris” debuted at No. 9 and ultimately peaked there. It became the Goo Goo Dolls' signature song, was nominated for three Grammy Awards and went on to become one of the defining alternative-pop hits of the late 1990s.

“Iris” was written by Goo Goo Dolls frontman John Rzeznik specifically for the 1998 film City of Angels, starring Nicolas Cage and Meg Ryan. At the time, Rzeznik was staying in a hotel in Los Angeles when music supervisor Danny Bramson asked him to write a song for the movie. The track became a radio phenomenon, spending a then-record 18 weeks at No. 1 on Billboard's Hot 100 Airplay chart. Because no commercial single was released in the US the song was initially ineligible for the Billboard Hot 100. When Billboard changed its rules in December 1998 to allow airplay-only songs onto the chart, “Iris” debuted at No. 9 and ultimately peaked there. It became the Goo Goo Dolls' signature song, was nominated for three Grammy Awards and went on to become one of the defining alternative-pop hits of the late 1990s.

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“Fade to Grey” is Visage's breakthrough single, released in 1980. Written by Billy Currie, Chris Payne, and Midge Ure, with English lyrics by Steve Strange, the synth-pop classic became one of the defining songs of the New Romantic movement. It reached #8 on the UK Singles Chart, #1 in Germany and Switzerland, #2 in Belgium and the Top 10 across much of Europe. The song's distinctive bilingual vocals (English by Steve Strange and French by Brigitte Arens) helped give it its mysterious, cosmopolitan atmosphere. Although it was Visage's only major international hit, "Fade to Grey" became hugely influential on synth-pop and electronic music, inspiring countless artists and remaining one of the most iconic tracks of the early 1980s.

“Fade to Grey” is Visage's breakthrough single, released in 1980. Written by Billy Currie, Chris Payne, and Midge Ure, with English lyrics by Steve Strange, the synth-pop classic became one of the defining songs of the New Romantic movement. It reached #8 on the UK Singles Chart, #1 in Germany and Switzerland, #2 in Belgium and the Top 10 across much of Europe. The song's distinctive bilingual vocals (English by Steve Strange and French by Brigitte Arens) helped give it its mysterious, cosmopolitan atmosphere. Although it was Visage's only major international hit, "Fade to Grey" became hugely influential on synth-pop and electronic music, inspiring countless artists and remaining one of the most iconic tracks of the early 1980s.

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“Iris” was written by Goo Goo Dolls frontman John Rzeznik specifically for the 1998 film City of Angels, starring Nicolas Cage and Meg Ryan. At the time, Rzeznik was staying in a hotel in Los Angeles when music supervisor Danny Bramson asked him to write a song for the movie. The track became a radio phenomenon, spending a then-record 18 weeks at No. 1 on Billboard's Hot 100 Airplay chart. Because no commercial single was released in the US the song was initially ineligible for the Billboard Hot 100. When Billboard changed its rules in December 1998 to allow airplay-only songs onto the chart, “Iris” debuted at No. 9 and ultimately peaked there. It became the Goo Goo Dolls' signature song, was nominated for three Grammy Awards and went on to become one of the defining alternative-pop hits of the late 1990s.

“Iris” was written by Goo Goo Dolls frontman John Rzeznik specifically for the 1998 film City of Angels, starring Nicolas Cage and Meg Ryan. At the time, Rzeznik was staying in a hotel in Los Angeles when music supervisor Danny Bramson asked him to write a song for the movie. The track became a radio phenomenon, spending a then-record 18 weeks at No. 1 on Billboard's Hot 100 Airplay chart. Because no commercial single was released in the US the song was initially ineligible for the Billboard Hot 100. When Billboard changed its rules in December 1998 to allow airplay-only songs onto the chart, “Iris” debuted at No. 9 and ultimately peaked there. It became the Goo Goo Dolls' signature song, was nominated for three Grammy Awards and went on to become one of the defining alternative-pop hits of the late 1990s.

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