Cyrus Saladin Ming

Pop Song 583 of 1000 'Hunger Strike' Temple of the Dog 1991 Official MV https://www.youtube.com/watch?v=VUb450Alpps "Hunger Strike" was written by vocalist Chris Cornell. It features a duet between Cornell and vocalist Eddie Vedder. Cornell was having trouble with the vocals at practice, when Vedder stepped in. Cornell later said "he sang half of that song not even knowing that I'd wanted the part to be there and he sang it exactly the way I was thinking about doing it, just instinctively "Hunger Strike" by Temple of the Dog is about staying true to your beliefs, even if it means not changing what you do for money or success. The song is also about taking advantage of people who don't have much. Cornell said: “I was wanting to express the gratitude for my life but also disdain for people where that’s not enough, where they want more. There’s no way to really have a whole lot more than you need usually without taking from somebody else that can’t really afford to give it to you. It’s sort of about taking advantage of a person or people who really don’t have anything.”

Pop Song 582 of 1000 'Push' Matchbox Twenty 1996 Official MV https://www.youtube.com/watch?v=HAkHqYlqops The song's lyrics are about the stress of falling in and out of love. Thomas stated that the man in the song (either himself or fictional) was the one being abused, either emotionally or physically, by a woman.

Pop Song 575 of 1000 'Down in the hole' Alice in Chains 1992 Watch Alice in Chains unplugged https://www.youtube.com/watch?v=nWK0kqjPSVI Jerry Cantrell wrote the song for his then-girlfriend, Courtney Clarke.[7] In the liner notes of 1999's Music Bank box set collection, Cantrell said of the song: ["Down in a Hole"]'s in my top three, personally. It's to my long-time love. It's the reality of my life, the path I've chosen and in a weird way it kind of foretold where we are right now. It's hard for us to both understand...that this life is not conducive to much success with long-term relationships

Pop Song 580 of 1000 'Unwell' Matchbox Twenty 2003 Official MV https://www.youtube.com/watch?v=WziA88-n02k Rob Thomas states that he wrote the song as a metaphor for humanity in general, a song for people who are "messed up and feel alone like that. We all feel a little messed up sometimes... you're not alone."

Pop Song 581 of 1000 'Amie' Pure Prairie League 1972 MV https://www.youtube.com/watch?v=IEhyOIwAlZw https://www.tennessean.com/story/entertainment/music/2016/12/02/story-behind-song-aime/94619736/

Pop Song 578 of 1000 'Tush' ZZ Top 1974 Watch ZZ Top live https://www.youtube.com/watch?v=euZm1TfO9xY The title is a double entendre, referring both to slang for buttocks (with the connotation of "a piece of ass"), and slang for "luxurious" or "lavish", according to a 1985 interview with Hill in Spin magazine.[3][better source needed] Gibbons said "We were in Florence, Alabama, playing in a rodeo arena with a dirt floor. We decided to play a bit in the afternoon. I hit that opening lick, and Dave Blayney, our lighting director, gave us the hand [twirls a finger in the air]: 'Keep it going.' I leaned over to Dusty and said, 'Call it 'Tush.' "The Texas singer Roy Head had a flip side in 1966, 'Tush Hog.' Down South, the word meant deluxe, plush. And a tush hog was very deluxe. We had the riff going, Dusty fell in with the vocal, and we wrote it in three minutes. We had the advantage of that dual meaning of the word 'tush' [grins]. It's that secret blues language — saying it without saying it.

Pop Song 579 of 1000 'Everyday' Buddy Holly 1957 Watch the video https://www.youtube.com/watch?v=GEE2TyadgEM "Everyday" by Buddy Holly is a song about the excitement of hope and anticipation while waiting for true love to arrive. The song speaks of the passing of time and how each day it's getting closer and faster as the lyrics express. It also speaks of having the courage to ask someone out and that true love will eventually come one's way. Finally, the chorus talks about how love gets stronger every day and poetically asks the listener if they ever long for true love from someone.

Pop Song 577 of 1000 'Boogie Chillen 2' John Lee Hooker 1948 Watch John Lee Hooker, Eric Clapton and the Rolling Stones https://www.youtube.com/watch?v=o4jo6tmMr9s "Boogie Chillen'" or "Boogie Chillun"[c] is a blues song first recorded by John Lee Hooker in 1948. It is a solo performance featuring Hooker's vocal, electric guitar, and rhythmic foot stomps. The lyrics are partly autobiographical and alternate between spoken and sung verses. The song was his debut record release and in 1949, it became the first "down-home" electric blues song to reach number one in the R&B records chart. Hooker's song was part of a trend in the late 1940s to a new style of urban electric blues based on earlier Delta blues idioms. Although it is called a boogie, it resembles early North Mississippi Hill country blues rather than the boogie-woogie piano-derived style of the 1930s and 1940s. Hooker gave credit to his stepfather, Will Moore, who taught him the rhythm of "Boogie Chillen'" ("chillen'" is a phonetic approximation of Hooker's pronunciation of "children") when he was a teenager. Some of the song's lyrics are derived from earlier blues songs.

Pop Songs 576 of 1000 'Cross road blues' Robert Johnson 1936 MV https://www.youtube.com/watch?v=Kxi4XkIVWLQ "Cross Road Blues" (commonly known as "Crossroads") is a song written by the American blues artist Robert Johnson. He performed it as a solo piece with his vocal and acoustic slide guitar in the Delta blues-style. The song has become part of the Robert Johnson mythology as referring to the place where he supposedly sold his soul to the Devil in exchange for his musical talent. This is based largely on folklore of the American South that identifies a crossroads as the site where such pacts are made, although the lyrics do not contain any references to Satan or a Faustian bargain.

Pop Song 573 of 1000 'Machinehead' Bush 1994 Watch MV https://www.youtube.com/watch?v=5WPbqYoz9HA This powerful track, with its pulsating rhythms and emotive lyrics, delves into the complexities of human emotion and the struggles we face in our journey through life. The repetition of “Breathe in, breathe out” serves as a mantra, emphasizing the importance of finding balance amidst life’s challenges. The imagery of being “tied to a wheel” conveys a sense of being trapped or controlled, while “Bleeding through a tourniquet smile” paints a vivid picture of hiding pain behind a facade of contentment As the song progresses, the lyrics touch upon themes of self-reflection and the desire for change. “Deaf, dumb and thirty, starting to deserve this” hints at a sense of resignation and a longing for something more. The comparison of blood to wine suggests a transformation of pain into something more profound, hinting at the potential for growth and renewal. Machinehead captures the essence of a journey towards self-discovery. The narrator grapples with their own vulnerabilities, seeking to break free from the confines that bind them. The machinehead, a metaphor for resilience and strength, becomes a beacon of hope in the face of adversity. The shift from “green to red” signifies a transformation, a transition from stagnation to action. Machinehead reminds us that even in our darkest moments, there is potential for change and growth. It encourages us to acknowledge our pain, to breathe through it, and to find the inner strength to forge ahead.

Pop Song 572 of 1000 'Nobody knows when you're down and out' Jimmy Cox 1923 Watch Eric Clapton's wonderful cover https://www.youtube.com/watch?v=0b-OHZI1Q5w "Nobody Knows You When You're Down and Out" is a blues standard written by pianist Jimmie Cox in 1923 and originally performed in a Vaudeville-blues style. The lyrics in the popular 1929 recording by Bessie Smith are told from the point of view of somebody who was once wealthy during the Prohibition era and reflect on the fleeting nature of material wealth and the friendships that come and go with it. Since her 1929 recording, the song has been interpreted by numerous musicians in a variety of styles. When the song was composed in 1923, the "Roaring Twenties" were coming into full swing.[1] After the post-World War I recession, a new era of prosperity was experienced in the U.S. and elsewhere. However, in the face of all the optimism, the known lyrics form a cautionary tale about the fickle nature of fortune and its attendant relationships: Once I lived the life of a millionaire, spendin' my money I didn't have a care I carried my friends out for a good time, buying bootleg liquor, champagne and wine When I begin to fall so low, I didn't have a friend and no place to go So if I ever get my hand on a dollar again, I'm gonna hold on to it 'til them eagles grin Nobody knows you, when you down and out In my pocket not one penny, and my friends I haven't any Bessie Smith recorded the song on May 15, 1929,[7] in New York City. Unlike the earlier versions, she recorded the song with instrumental accompaniment, including a small trumpet section. When Smith's record was released on September 13, 1929 (a Friday), the lyrics turned out to be oddly prophetic. The New York stock market had reached an all-time high less than two weeks earlier, only to go into its biggest decline two weeks later in the Wall Street Crash of 1929, which signaled the beginning of the ten-year Great Depression. When he was an art student in the early 1960s, Eric Clapton was attracted to London's folk-music scene and the fingerpicking acoustic guitar-style of Big Bill Broonzy.[10] Along with "Key to the Highway", "Nobody Knows You When You're Down and Out" was one of the first songs that Clapton learned to play in this style.[10] In 1970, he recorded a group version with his band, Derek and the Dominos, for their debut album Layla and Other Assorted Love Songs. The recording took place at the Criteria Studios in Miami, Florida, with Jim Gordon (drums), Carl Radle (bass), Bobby Whitlock (organ), and Duane Allman (slide guitar).

Pop Song 571 of 1000 'Stella by starlight' Victor Young 1944 Watch this wonderful performance https://www.youtube.com/watch?v=F0OnGnYAK3g "Stella by Starlight" is a popular song by Victor Young that was drawn from thematic material composed for the main title and soundtrack of the 1944 Paramount Pictures film The Uninvited. Appearing in the film's underscore as well as in source music as an instrumental theme song without lyrics, it was turned over to Ned Washington, who wrote the lyrics for it in 1946. The title had to be incorporated into the lyrics, which resulted in its unusual placement: the phrase appears about three-quarters of the way through the song, rather than at the beginning or the end.[1] At one point in the film, the main character, Rick (Ray Milland) tells Stella (Gail Russell) that he is playing a serenade, "To Stella by Starlight"

Pop Song 570 of 1000 'The Reason' Hoobastank 2004 Official MV https://www.youtube.com/watch?v=fV4DiAyExN0 The song "Crawling In The Dark" by Hoobastank is about searching for meaning in life. The lyrics express the struggle to understand one's purpose and destiny, and how difficult it can be to find the answers. The singer is desperately looking for answers and trying to make sense of their life, even though they may feel lost and uncertain. The chorus expresses a determination to keep on searching and a desire to understand what it all means. The bridge emphasizes the need to keep on going, even though it is difficult to see a way forward. The song ultimately reflects the uncertainty, but also the hope, of a life journey that can be filled with both joy and pain.

Pop Song 569 'Aja' Steely Dan 1977 Watch Steely Dan! https://www.youtube.com/watch?v=CNboRePtg1g "Aja" is a jazz rock song, with elements of jazz fusion and progressive rock, by the American rock band Steely Dan Fagen called the song "a journey in time and space."[8] He has long claimed it was named after a South Korean woman a high school friend's brother married after serving in the Army in that country. He is not sure about the spelling, however.[9] "We thought that was a good name, a very romantic sort of image," Fagen said, "the sort of tranquility that can come of a quiet relationship with a beautiful woman.

Pop Song 568 of 1000 'Dirty old town' Ewan MacColl 1949 cover by The Dubliners and The Pogues Watch the MV of the Pogues version https://www.youtube.com/watch?v=s11BuatTuXk The song was written about Salford, then in Lancashire, England, the area where MacColl was born and brought up. It was originally composed for an interlude to cover an awkward scene change in his 1949 play Landscape with Chimneys, set in a North of England industrial town,[1][2] but with the growing popularity of folk music the song became a standard. The first verse refers to the gasworks croft, which was a piece of open land adjacent to the gasworks, and then speaks of the old canal, which was the Manchester, Bolton & Bury Canal. The line in the original version about smelling a spring on “the Salford wind” is sometimes sung as “the sulphured wind”. But in any case, most singers tend to drop the Salford reference altogether, in favour of calling the wind “smoky”. (This is the case in MacColl's own 1983 recording of the song

Pop Song 567 'Mr. Jones' Counting Crows 1993 Watch the MV https://www.youtube.com/watch?v=-oqAU5VxFWs&t=3s The song is about struggling musicians (Duritz and bassist Marty Jones of The Himalayans) who "want to be big stars", believing that "when everybody loves me, I will never be lonely". Duritz would later recant these values; and in some later concert appearances, "Mr. Jones" was played in a subdued acoustic style, if at all.[8] On the live CD Across a Wire Duritz changes the lyrics "We all wanna be big, big stars, but we got different reasons for that" to "We all wanna be big, big stars, but then we get second thoughts about that"; he also changed the lyrics "when everybody loves you, sometimes that's just about as funky as you can be" to "when everybody loves you, sometimes that's just about as fucked up as you can be."[10] Some believe the song is a veiled reference to the protagonist of Bob Dylan's "Ballad of a Thin Man",[11] based on the lyric "I wanna be Bob Dylan, Mr. Jones wishes he was someone just a little more funky." According to Adam Duritz on VH1 Storytellers, "It's really a song about my friend Marty and I. We went out one night to watch his dad play, his dad was a Flamenco guitar player who lived in Spain (David Serva), and he was in San Francisco in the mission playing with his old Flamenco troupe. And after the gig we all went to this bar called the New Amsterdam in San Francisco on Columbus."[12] In a 2013 interview, Duritz explained that even though the song is named for his friend Marty Jones, it is actually about Duritz himself. "I wrote a song about me, I just happened to be out with him that night", Duritz said. The inspiration for the song came as Duritz and Jones were drunk at a bar after watching Jones' father perform, when they saw Kenney Dale Johnson, longtime drummer for the musician Chris Isaak, sitting with three women. "It just seemed like, you know, we couldn't even manage to talk to girls, ... we were just thinking if we were rock stars, it'd be easier. I went home and wrote the song", Duritz said Sha, la, la, la, la, la, la Mmm Uh huh I was down at the New Amsterdam Staring at this yellow-haired girl Mr Jones strikes up a conversation With a black-haired flamenco dancer You know, she dances while his father plays guitar She's suddenly beautiful We all want something beautiful Man, I wish I was beautiful So come dance the silence down through the morning Sha la, la, la, la, la, la, la Yeah Uh huh Yeah Cut up, Maria! Show me some of that Spanish dancin' Pass me a bottle, Mr Jones Believe in me Help me believe in anything 'Cause I want to be someone who believes Yeah Mr Jones and me Tell each other fairy tales And we stare at the beautiful women She's looking at you Ah, no, no, she's looking at me Smilin' in the bright lights Coming through in stereo When everybody loves you You can never be lonely Well, I'm gonna paint my picture Paint myself in blue and red and black and gray All of the beautiful colors are very, very meaningful Yeah, well, you know grey is my favorite color I felt so symbolic yesterday If I knew Picasso I would buy myself a grey guitar and play Mr Jones and me Look into the future Yeah, we stare at the beautiful women She's looking at you I don't think so She's looking at me Standing in the spotlight I bought myself a grey guitar When everybody loves me I will never be lonely I will never be lonely Said I'm never gonna be Lonely I wanna be a lion Yeah, everybody wants to pass as cats We all wanna be big, big stars Yeah, but we got different reasons for that Believe in me 'Cause I don't believe in anything And I wanna be someone to believe To believe, to believe Yeah! Mr Jones and me Stumbling through the Barrio Yeah, we stare at the beautiful women She's perfect for you Man, there's got to be somebody for me I wanna be Bob Dylan Mr Jones wishes he was someone Just a little more funky When everybody love you Oh! Son, that's just about as funky as you can be Mr Jones and me Starin' at the video When I look at the television, I wanna see me Staring right back at me We all wanna be big stars But we don't know why, and we don't know how But when everybody loves me I wanna be just about as happy as I can be Mr Jones and me We're gonna be big stars

Pop Song 565 'While my guitar gently weeps' The Beatles 1968 Watch https://www.youtube.com/watch?v=1bQTCTZ8MfU watch great ensemble performance https://www.youtube.com/watch?v=dWRCooFKk3c The song conveys his dismay at the world's unrealised potential for universal love, which he refers to as "the love there that's sleeping". The song also serves as a comment on the disharmony within the Beatles after their return from studying transcendental meditation in India in early 1968. This lack of camaraderie was reflected in the band's initial apathy towards the composition, which Harrison countered by inviting his friend and occasional collaborator, Eric Clapton, to contribute to the recording. Clapton overdubbed a lead guitar part, although he was not formally credited for his contribution Lyrics In his lyrics to "While My Guitar Gently Weeps", Harrison revisits the theme of universal love and the philosophical concerns that were evident in his overtly Indian-influenced compositions, particularly "Within You Without You".[34] The song is a lament for how a universal love for humankind is latent in all individuals yet remains unrealised. In the description of theologian Dale Allison, the song "conveys spiritual angst and an urgent religious point of view without being explicitly theological".[36] Harrison sings of surveying "you all" and seeing "the love there that's sleeping".[37] Musicologist Walter Everett comments that the change from the minor-mode verse to the parallel major might express hope that "unrealized potential" described in the lyrics is to be "fulfilled", but the continued minor triads "seem to express a strong dismay that love is not to be unfolded".[33] During the bridges, Harrison adopts a repetitive rhyming scheme in the style of Bob Dylan[38] to convey how humankind has become distracted from its ability to manifest this love.[37] He sings of people that have been "inverted" and "perverted" from their natural perspective

Pop Song 563 of 1000 'Hanginaround' Counting Crows 1999 Watch the MV https://www.youtube.com/watch?v=ARiiO_41Id8&t=142s As with on much of the This Desert Life album, Hanginaround saw the band experimenting with different recording techniques - in this case, utilizing looping. The song consists of eight different piano loops arranged in various configurations in setup inspired by Brian Wilson's Smile project.[3] According to Counting Crows fansite anna-begins.com, Duritz says: So I was sort of ... semi-celebratory about that but also [thinking] 'Where am I going?' It's about a wild time when I was growing' up. Living a bit of a wild life, celebrating that. It's also about being scared that you don't have a future, but I don't think that's a waste. In the end, the guy just decides to continue having fun and to worry about it later.[4] In an interview with Songfacts, Adam Duritz summed up his thought process behind the lyrics by stating "The idea of a song created with loops made me think of being on a loop myself. I wrote that song about when I was younger and the latter years in Berkeley and how I loved it there, but I was kind of going nowhere

Pop Song 564 of 1000 'Lovesong' The Cure 1989 Watch the MV https://www.youtube.com/watch?v=ks_qOI0lzho

Pop Song 562 of 1000 'Sweet Dreams (Are Made of This)' The Eurythmics 1983 Original MV https://www.youtube.com/watch?v=qeMFqkcPYcg Marilyn Manson https://www.youtube.com/watch?v=QUvVdTlA23w Annie Lennox and Dave Stewart wrote the song after the Tourists had broken up and they formed Eurythmics. Although the two of them also broke up as a couple, they continued to work together. They became interested in electronic music and bought new synthesizers to play around with. According to Stewart, he managed to produce the beat and riff of the song on one of their new synthesizers, and Lennox, on hearing it, said: "What the hell is that?" and started playing on another synthesizer, and beginnings of the song came out of the two dueling synths. According to Lennox, the lyrics reflected the unhappy time after the breakup of the Tourists, when she felt that they were "in a dream world" and that whatever they were chasing was never going to happen. She described the song as saying: "Look at the state of us. How can it get worse?" adding "I was feeling very vulnerable. The song was an expression of how I felt: hopeless and nihilistic." Stewart thought the lyrics too depressing and added the "hold your head up, moving on" line to make it more uplifting. Sweet dreams are made of this Who am I to disagree? I travel the world and the seven seas Everybody's looking for something Some of them want to use you Some of them want to get used by you Some of them want to abuse you Some of them want to be abused Sweet dreams are made of this Who am I to disagree? I travel the world and the seven seas Everybody's looking for something (Hold your head up, keep your head up) movin' on (Hold your head up) movin' on, (keep your head up) movin' on (Hold your head up) movin' on, (keep your head up) movin' on (Hold your head up) movin' on, (keep your head up) Some of them want to use you Some of them want to get used by you Some of them want to abuse you Some of them want to be abused Sweet dreams are made of this Who am I to disagree? I travel the world and the seven seas Everybody's looking for something Sweet dreams are made of this Who am I to disagree? I travel the world and the seven seas Everybody's looking for something Sweet dreams are made of this Who am I to disagree? I travel the world and the seven seas Everybody's looking for something Sweet dreams are made of this Who am I to disagree? I travel the world and the seven seas Everybody's looking for something Sweet dreams are made of this Who am I to disagree? I travel the world and the seven seas Everybody's looking for something Sweet dreams are made of this (oh-oh) Commenting on the line "Some of them want to use you [...] some of them want to be abused", Lennox said that "people think it's about sex or S&M, and it's not about that at all."

Pop Song 561 of 1000 'Friends in low places' Garth Brooks 1990 Watch Garth Brooks https://www.youtube.com/watch?v=RLyqUuXrXkw Watch this great cover by this Mongolian https://www.youtube.com/watch?v=rMVz2cT8VSM According to Earl Bud Lee, one of the song's co-writers, the idea of the song was born when he and some songwriting friends gathered for lunch one day at Tavern on the Row, a popular Nashville eatery. When the check came, Lee realized he had forgotten his money. He was asked how he was going to pay for the meal, and he replied, "Don't worry. I have friends in low places. I know the cook." Lee and his songwriting partner, Dewayne Blackwell, immediately recognized that the line "friends in low places" had potential, but they did not act upon it immediately. Some months later, Lee and Blackwell were at a party, celebrating a recent No. 1 hit by another songwriter. They began to talk about the dormant "friends in low places" idea, and "at that very moment, it all started to come together in a song," Lee said Because nothing else was available, they wrote the song on paper napkins.When the songwriters polished "Friends in Low Places", they contacted Garth Brooks to see if he would record a demo for them. Guitarist James Garver added "The Oasis", the name of the bar in the song, after an establishment in his hometown of Concordia, Kansas Blame it all on my roots, I showed up in boots And ruined your black tie affair The last one to know, the last one to show I was the last one you thought you'd see there And I saw the surprise and the fear in his eyes When I took his glass of champagne And I toasted you, said, "Honey, we may be through But you'll never hear me complain" 'Cause I've got friends in low places Where the whiskey drowns and the beer chases my blues away And I'll be OK Yeah, I'm not big on social graces Think I'll slip on down to the oasis Oh, I've got friends in low places Well, I guess I was wrong, I just don't belong But then I've been there before Everything's all right, I'll just say good night And I'll show myself to the door Hey, I didn't mean to cause a big scene Just give me an hour and then Well, I'll be as high as that ivory tower That you're livin' in 'Cause I've got friends in low places Where the whiskey drowns and the beer chases my blues away And I'll be OK Yeah, I'm not big on social graces Think I'll slip on down to the oasis Oh, I've got friends in low places Oh, I've got friends in low places Where the whiskey drowns and the beer chases my blues away And I'll be OK Yeah, I'm not big on social graces Think I'll slip on down to the oasis Oh, I've got friends in low places Yeah, I've got friends in low places Where the whiskey drowns and the beer chases my blues away And I'll be OK Yeah, I'm not big on social graces Think I'll slip on down to the oasis Oh, I've got friends in low places Yeah, I've got friends in low places Where the whiskey drowns and the beer chases my blues away And I'll be OK