What artists and musicians think will instantly click with listeners doesn’t always translate into chart domination. In fact, the opposite can happen: a tune that creators loathe or dismiss may end up becoming a massive hit. This phenomenon is crystal‑clear in the music business, where a handful of songs have risen from the brink of obscurity to become the very definition of a “10 mega hit” phenomenon. Below we dive into the surprising backstories behind ten tracks that almost never saw the light of day.
Why These 10 Mega Hit Tracks Still Matter
10 Radiohead: Creep
Radiohead’s most recognizable anthem, “Creep,” was penned by frontman Thom Yorke when he was just 19 and juggling English and fine‑arts studies at university. Feeling isolated and stressed, Yorke poured those emotions onto paper, crafting a raw, confessional lyric.
When the band entered the studio to record their debut, Pablo Honey, the track didn’t fit the edgy image they were cultivating. In fact, the members themselves were lukewarm; guitarist Jonny Greenwood even tried to sabotage it by adding a pre‑chorus riff he thought would ruin the vibe.
Despite the band’s doubts, college‑radio DJs fell in love with “Creep,” and it quickly spread across the U.S., U.K., and Australia. The song crept up the charts in more than a dozen territories, earning sustained airplay and massive sales.
Even years later, Yorke and his bandmates admit they get weary of performing it, yet the track remains a staple of their live shows. Their early attempts to bury it only amplified its legend, turning “Creep” into the breakout hit that launched Radiohead into global stardom.
9 Prince: Kiss
In the spring of 1985, Prince was deep into recording his Parade album at Sunset Sound Studios in L.A. At the same time, a side project called Mazarati, formed by Prince’s bassist Brown Mark, asked for an extra song to flesh out their record.
Prince obliged on the spot, cobbling together a one‑minute, stripped‑down version of “Kiss” on a cheap studio tape recorder. Brown Mark and a producer then fleshed out the groove, turning it into the funk‑infused hit we know today.
When Prince first heard the finished track, he was furious and tried to reclaim it, promising Brown Mark a songwriting credit. Warner Bros., however, balked at releasing it, deeming the minimalistic arrangement too risky for mainstream audiences.
Undeterred, Prince fought for the song’s release. His persistence paid off: “Kiss” topped the American charts, sold over a million copies, and earned a Grammy, even though Brown Mark never received the promised credit and eventually walked away from Prince’s camp.
8 Nirvana: Smells Like Teen Spirit
Nirvana’s genre‑defining anthem “Smells Like Teen Spirit” thrust grunge into the mainstream, yet frontman Kurt Cobain was far from enthusiastic about the track. While working on the album that would become Nevermind, Cobain was obsessively listening to the Pixies, hoping to emulate their dynamic shifts.
He set out to craft a song that mirrored the Pixies’ quiet‑loud formula, essentially to see if Nirvana could produce a pop‑friendly hit. The result was exactly that, but by the time they recorded it, Cobain had grown tired of the song and wanted to discard it.
“I was basically trying to rip off the Pixies,” Cobain later admitted. “I have to admit it. When I first heard the Pixies, I felt I should be in a Pixies cover band.” The band’s dynamic paid off, though, and the track became a worldwide phenomenon.
Ironically, Cobain grew to resent the song’s massive popularity, feeling trapped by fans’ relentless demand for it at every concert, illustrating how a creator’s love‑hate relationship can fuel a 10 mega hit.
7 The Eurythmics: Sweet Dreams (Are Made of This)
Annie Lennox and Dave Stewart found themselves in a tough spot after their previous band, The Tourists, dissolved during an Australian tour, leaving them financially strained and romantically separated.
Back in the U.K., they survived on small gigs until they secured a bank loan, bought new synthesizer gear, and began experimenting. One day, while tinkering, Stewart accidentally created a bass line, then reversed it on the synth, sparking the core of “Sweet Dreams (Are Made of This).”
Lennox instantly sensed its potential, and together they shaped the track. However, record‑company executives recoiled, arguing the song lacked a conventional chorus and would likely be rejected.
Undaunted, the duo shopped the song independently. A Cleveland radio DJ fell in love with it, giving it heavy rotation, which prompted other stations to follow suit. The grassroots buzz catapulted the Eurythmics to global fame.
6 Michael Jackson: Billie Jean
Michael Jackson sensed the hit potential of “Billie Jean” from its inception, but his legendary producer Quincy Jones wasn’t convinced. Jones critiqued the demo’s bass line and even feared the title might be mistaken for a tribute to tennis star Billie Jean King.
Jackson argued passionately that the groove made him want to dance, which in turn would compel listeners to move. Jones suggested a compromise, proposing a title change to “Not My Lover,” but Jackson stood firm.
After a firm discussion, Jackson convinced Jones to keep the original title and arrangement. The resulting track became a cultural milestone, proving that even seasoned producers can misread a future classic.
“Billie Jean” went on to dominate charts worldwide, underscoring how a creator’s conviction can overturn skeptical production opinions to birth a 10 mega hit.
5 Smashing Pumpkins: 1979
The Smashing Pumpkins burst onto the scene in 1988, quickly defining the early‑90s rock era. After the success of their second album Siamese Dream, frontman Billy Corgan teamed up once more with producer Mark Ellis, aka “Flood,” for their third record.
Corgan brought the single “1979” to Flood, who instantly despised it. Flood demanded a complete overhaul, threatening to cut the song from the album if Corgan didn’t comply.
Reluctantly, Corgan re‑engineered the track over several days, adjusting arrangement and production to meet Flood’s standards. When Flood finally gave his nod, the song was cleared for inclusion.
The reworked “1979” became a massive hit, cementing the Pumpkins’ legacy and demonstrating how a producer’s harsh critique can refine a track into a 10 mega hit.
4 Metallica: Nothing Else Matters
Metallica’s self‑titled “Black Album” (1991) cemented their status as metal icons, yet the ballad “Nothing Else Matters” emerged from an unexpected place. While on tour in 1990, frontman James Hetfield penned the song on a bus, missing his girlfriend and yearning for home.
Hetfield feared the band’s heavy‑metal image wouldn’t accommodate such a tender, melodic piece. He shared the demo with drummer Lars Ulrich, who immediately insisted it be included on the album.
Initially hesitant, Hetfield tried to persuade his bandmates that the track didn’t fit Metallica’s aggressive brand. The group, however, refused to drop it, recognizing its emotional depth.
“Nothing Else Matters” ultimately became one of their biggest songs, proving that even a hard‑rock act can score a 10 mega hit with a heartfelt ballad.
3 Rolling Stones: Satisfaction
The Rolling Stones’ iconic riff for “(I Can’t Get No) Satisfaction” was almost discarded. Late one night, guitarist Keith Richards woke with an eight‑note idea, recorded it on a cassette, and even captured his own snoring for good measure.
Richards initially dismissed the riff as a filler, but when he played it for his bandmates, they sensed its raw power and urged him to develop it into a single.
Despite his reluctance, the band pressed forward, and the song exploded onto the charts, becoming a defining anthem that propelled the Stones to legendary status.
Richards later admitted he never expected the simple riff to become such a massive hit, yet it solidified their place in rock history as a quintessential 10 mega hit.
2 John Mellencamp: Jack & Diane
John Mellencamp’s chart‑topping “Jack & Diane” dominated the U.S. for four weeks in 1982, but its original concept was far more provocative. Mellencamp initially wanted the song to portray an interracial romance, with Jack being African‑American.
When he presented the idea to his record label, executives balked, fearing controversy. They pressured him to alter the narrative, suggesting Jack become a football star instead.
Mellencamp resisted, insisting the original theme was essential, but ultimately compromised, rewriting the lyrics to fit the label’s safer storyline.
The revised “Jack & Diane” became a massive hit, leaving listeners to wonder how the song might have resonated had its original, more daring message remained intact.
1 Taylor Swift: Shake It Off
When Taylor Swift prepared her fifth album 1989, Big Machine’s studio heads were uneasy about the lead single “Shake It Off.” They argued the track’s pop‑leaning sound clashed with Swift’s country roots.
The label tried to persuade her to omit the song, criticizing its artwork, vibe, and even the title. Swift, however, stood firm, insisting the track belonged on the album.
Her determination paid off: “Shake It Off” surged to number one on the Billboard Hot 100 and topped charts across Australia, New Zealand, Canada, Poland, Hungary, Mexico, and many more. The label’s eventual concession let Swift deliver a worldwide 10 mega hit.