Cyrus Saladin Ming

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

Pop Song 560 of 1000 'Amarillo by Morning' Terry Stafford 1973 Watch George Strait's version https://www.youtube.com/watch?v=wtVeDaZxAXo The song is sung from the point of view of a rodeo cowboy, driving at night from San Antonio to a county fair in Amarillo, that will begin the following morning. The man recounts the hardships his occupation has caused him, including divorce, broken bones, and poverty, but states that he does not regret his lifestyle: "I ain't rich/ But Lord, I'm free." The song has appeared in several lists of the best country songs.

Pop Song 559 of 1000 'Now and then' The Beatles 2023 Watch the MV https://www.youtube.com/watch?v=Opxhh9Oh3rg "Now and Then" is a song by the English rock band the Beatles, released on 2 November 2023. Dubbed "the last Beatles song", it appeared on a double A-side single, paired with a new stereo remix of the band's first single, "Love Me Do" (1962), with the two serving as "bookends" to the band's history.[11] Both songs were included on the expanded re-issues of the 1973 compilations 1962–1966 and 1967–1970, released on 10 November 2023.[12] "Now and Then" is a psychedelic soft rock ballad that John Lennon wrote and recorded around 1977 as a solo home demo but left unfinished. After Lennon's death in 1980, the song was considered as a potential third Beatles reunion single for their 1995–1996 retrospective project The Beatles Anthology, following "Free as a Bird" and "Real Love", both based on two other Lennon demos of the same name. Instead, it was shelved for nearly three decades, until it was completed by his surviving bandmates Paul McCartney and Ringo Starr, using overdubs and guitar tracks by George Harrison (who died in 2001) from the abandoned 1995 sessions.[13] The final version features additional lyrics by McCartney.[6] Lennon's voice was extracted from the demo using the machine-learning-assisted audio restoration technology commissioned by Peter Jackson for his 2021 documentary The Beatles: Get Back.[14] Jackson also directed the music video for "Now and Then" One, two, three I know it's true It's all because of you And if I make it through It's all because of you And now and then If we must start again Well, we will know for sure That I will love you Now and then I miss you Oh, now and then I want you to be there for me Always to return to me I know it's true It's all because of you And if you go away I know you'll never stay Now and then I miss you Oh, now and then I want you to be there for me I know it's true It's all because of you And if I make it through It's all because of you Good one

Pop Song 558 of 1000【钢琴改编】rabbit [john] Was a request! Please watch original video https://www.youtube.com/watch?v=2ALF_3aUgJA had to change some notes as my hands are too small for some chords

Pop Song 557 of 1000 'Round here' Counting Crows 1993 Please watch the original MV as I dont sing it well and its such a good song https://www.youtube.com/watch?v=SAe3sCIakXo The first way Counting Crows ever sounded, it was me and Dave in bars and coffee houses playing open mics, doing this song this way. The song begins with a guy walking out the front door of his house, and leaving behind this woman. But the more he begins to leave people behind in his life, the more he feels like he's leaving himself behind as well. The less and less substantial he feels like he's becoming to himself. And that's sorta what the song's about because he feels that even as he disappears from the lives of people, he's disappearing more and more from his own life. The chorus is, he sorta keeps screaming out these idioms these lessons that your mother might say to you when you were a kid, sorta child lessons ya know, "round here we always stand up straight", "carving out our names". Things that you are told when you are a kid that you do these things that.. that when you're grown up it'll add up to something, you'll have a job, you'll have a life. I think for me and the character of the song they don't add up to anything, it's just a bunch of crap kinda. Your life comes to you or doesn't come to you, but those things don't really mean anything. By the end of the song he's so dismayed by this that he's kinda screaming out that he can stay up as long as he wants and that no one makes him wait...the sort of things that are important if you are a kid. You know that you don't have to go to bed, you don't have to do anything. The sort of things that don't make any difference at all when you're an adult, they're nothing. And uh and uh this is a song about, about me. Step out the front door like a ghost Into the fog where no one notices The contrast of white on white In between the moon and you The angels get a better view Of the crumbling difference between wrong and right Well, I walk in the air between the rain Through myself and back again Where? I don't know Maria says she's dying Through the door I hear her crying Why? I don't know 'Round here we always stand up straight 'Round here something radiates Maria came from Nashville with a suitcase in her hand She said she'd like to meet a boy who looks like Elvis And she walks along the edge of where the ocean meets the land Just like she's walking on a wire in the circus She parks her car outside of my house And takes her clothes off Says she's close to understanding Jesus And she knows she's more than just a little misunderstood She has trouble acting normal when she's nervous 'Round here we're carving out our names 'Round here we all look the same 'Round here we talk just like lions But we sacrifice like lambs 'Round here she's slipping through my hands Sleeping children better run like the wind Out of the lightning dream Mama's little baby better get herself in Out of the lightning She says, "It's only in my head." She says, "Shh I know it's only in my head." But the girl on the car in the parking lot Says, "Man you should try to take a shot Can't you see my walls are crumbling?" Then she looks up at the building And says she's thinking of jumping She says she's tired of life She must be tired of something 'Round here she's always on my mind 'Round here hey man got lots of time 'Round here we're never sent to bed early And nobody makes us wait 'Round here we stay up very, very, very, very late I I can't see nothing, nothing, 'round here You catch me if I'm falling You catch me if I'm falling You catch me 'cause I'm falling down on you I said, "I'm under the gun..." 'Round here Oh, man, I said, "I'm under the gun..." 'Round here Well, I can't see nothing, nothing 'Round here

Pop Song 556 of 1000 'Freebird' Lynyrd Skynyrd 1973 Watch Lynyrd Skynyrd live https://www.youtube.com/watch?v=QxIWDmmqZzY Allen Collins's girlfriend, Kathy, whom he later married, asked him, "If I leave here tomorrow, would you still remember me?" Collins noted the question and it eventually became the opening line of "Free Bird." Also, in an interview filmed during a fishing outing on a boat with Gary Rossington, an interviewer asked Ronnie Van Zant what the song meant. Van Zant replied that in essence, that the song is "what it means to be free, in that a bird can fly wherever he wants to go." He further stated that "everyone wants to be free...that's what this country's all about If I leave here tomorrow Would you still remember me? For I must be traveling on now 'Cause there's too many places I've got to see But, if I stay here with you, girl Things just couldn't be the same 'Cause, I'm as free as a bird now And this bird you cannot change, oh-oh-oh-oh-oh And the bird you cannot change And this bird you cannot change Lord knows I can't change Bye-bye, baby, it's been a sweet love, yeah, yeah Though this feeling I can't change But, please, don't take it so badly 'Cause Lord knows I'm to blame But, if I stay here with you, girl Things just couldn't be the same 'Cause, I'm as free as a bird now And this bird you'll never change, oh-oh-oh-oh-oh And the bird you cannot change And this bird you cannot change Lord knows I can't change Lord, help me, I can't cha-a-a-ange Lord, I can't change Won't you fly h-i-i-igh, free bird, yeah

Pop Song 555 of 1000 'White Rabbit' Jefferson Airplane 1967 Live https://www.youtube.com/watch?v=WANNqr-vcx0 Official wonderful MV https://www.youtube.com/watch?v=TKZVUtvjBdM "White Rabbit" is one of Grace Slick's earliest songs, written during December 1965 or January 1966.[10] It uses imagery found in the fantasy works of Lewis Carroll—1865's Alice's Adventures in Wonderland and its 1871 sequel Through the Looking-Glass—such as changing size after taking pills or drinking an unknown liquid. Slick wrote the lyrics first, then composed the music at a red upright piano she had bought for US$50 with eight or ten keys missing—"that was OK because I could hear in my head the notes that weren't there"[11] —moving between major chords for the verses and chorus. She said that the music was heavily influenced by Miles Davis's 1960 album Sketches of Spain, particularly Davis's treatment of the Concierto de Aranjuez (1939). She later said: "Writing weird stuff about Alice backed by a dark Spanish march was in step with what was going on in San Francisco then. We were all trying to get as far away from the expected as possible."[10] Slick said the composition was supposed to be a wake-up call to parents who read their children novels such as these and then would wonder why their children used drugs.[12] She later commented that all fairytales read to little girls have a Prince Charming who comes and saves them. But Alice did not; she was "on her own...in a very strange place, but she kept on going and she followed her curiosity – that's the White Rabbit. A lot of women could have taken a message from that story about how you can push your own agenda." Slick added that "The line in the song 'feed your head' is both about reading and psychedelics...feeding your head by paying attention: read some books, pay attention."[11] Characters Slick referenced include Alice, the White Rabbit, the hookah-smoking caterpillar, the White Knight, the Red Queen, and the Dormouse.[13] Slick reportedly wrote the song after an acid trip.[14] For Slick, "White Rabbit" "is about following your curiosity. The White Rabbit is your curiosity."[15] For her and others in the 1960s, drugs were a part of mind expansion and social experimentation. With its enigmatic lyrics, "White Rabbit" became one of the first songs to sneak drug references past censors on the radio. Marty Balin, Slick's former bandmate and co-founder of Jefferson Airplane (and later Jefferson Starship), regarded the song as a "masterpiece". In interviews, Slick has related that Alice in Wonderland was often read to her as a child and remained a vivid memory well into her adulthood.[6] In an interview with The Wall Street Journal, Slick mentioned that, in addition to Alice in Wonderland, her other inspiration for the song was Ravel's Boléro. Like Boléro, "White Rabbit" is essentially one long crescendo. The music combined with the song's lyrics strongly suggests the sensory distortions experienced with hallucinogens, and the song was later used in pop culture to imply or accompany just such a state.[16] The song was first played by the Great Society in a bar in San Francisco in early 1966, and later when they opened the bill for bigger bands like the Grateful Dead. They made a series of demo records for Autumn Records, for which they were assisted by Sly Stone. Grace Slick said: "We were so bad that Sly eventually played all the instruments so the demo would sound OK." When Slick joined Jefferson Airplane later in 1966, she taught the song to the band, who recorded it for their album Surrealistic Pillow.[10] "White Rabbit" is in the key of F-sharp which Slick acknowledges "is difficult for guitar players as it requires some intricate fingering"

Pop Song 554 of 1000 'Born to be wild' Steppenwolf 1968 Watch the song in Easy Rider https://www.youtube.com/watch?v=egMWlD3fLJ8 "Born to Be Wild" is a song written by Mars Bonfire and first performed by the band Steppenwolf. It is often invoked in both popular and counter culture to denote a biker appearance or attitude. It is most notably featured in the 1969 film Easy Rider. Sometimes, "Born to Be Wild" is described as the first heavy metal song, and the second-verse lyric "heavy metal thunder" marks the first use of this term in rock music (although not as a description of a musical style but rather a motorcycle). Get your motor runnin' Head out on the highway Lookin' for adventure And whatever comes our way Yeah Darlin' go make it happen Take the world in a love embrace Fire all of your guns at once And explode into space I like smoke and lightning Heavy metal thunder Racin' with the wind And the feelin' that I'm under Yeah Darlin' go make it happen Take the world in a love embrace Fire all of your guns at once And explode into space Like a true nature's child We were born, born to be wild We can climb so high I never wanna die Born to be wild Born to be wild Get your motor runnin' Head out on the highway Lookin' for adventure And whatever comes our way Yeah Darlin' go make it happen Take the world in a love embrace Fire all of your guns at once And explode into space Like a true nature's child We were born, born to be wild We can climb so high I never wanna die Born to be wild Born to be wild

Pop Song 553 of 1000 'Please come to Boston' Dave Loggins 1964 Watch Dave Loggins live https://www.youtube.com/watch?v=7vs0TCxwdSY The three verses of the song are each a plea from the narrator to a woman whom he hopes will join him in, respectively, Boston, Denver, and Los Angeles, with each verse concluding: "She said, 'No – boy would you come home to me'"; the woman's sentiment is elaborated on in the chorus which concludes with the line: "I'm the number one fan of the man from Tennessee". Dave Loggins, born and raised in Tennessee, was inspired to write "Please Come to Boston" by a 1972 tour with the Nitty Gritty Dirt Band which included stops in Boston, Denver and Los Angeles,[5] cities which were new to Loggins. He stated: The story is almost true, except there wasn't anyone waiting {here} so I made her up. In effect, making the longing for someone stronger. It was a recap to my first trip to each of those cities and out of innocence. That was how I saw each one. The fact of having no one to come home to made the chorus easy to write. Some 40 years later, I still vividly remember that night, and it was as if someone else was writing the song Please, come to Boston for the Springtime I'm stayin' here with some friends, and they've got lots of room And you can sell your paintings on the side-walk By a café where I hope to be workin' soon Please, come to Boston She said, "No, would you come home to me?" And she say, hey ramblin' boy, now won't you settle down? Boston ain't your kinda town There ain't no gold and there ain't nobody like me I'm the number one fan of the man from Tennessee Please, come to Denver with the snowfall We'll move up into the mountains so far that we can't be found And throw "I love you" echoes down the canyon And then, lie awake at night 'til they come back around Please, come to Denver She said, "No, boy, would you come home to me?" And she said, "Hey ramblin' boy, why don't you settle down? Denver ain't your kinda town There ain't no gold and there ain't nobody like me 'Cause I'm the number one fan of the man from Tennessee" Now, this drifter's world goes 'round and 'round And I doubt that it's ever gonna stop But of all the dreams I've lost or found And all that I ain't got I still need to lean to Somebody I can sing to Please, come to LA to live forever And California's life alone is just too hard to build I live in a house that looks out over the ocean And there's some stars that fell from the sky And livin' up on the hill Please, come to LA She just said, "No, boy, won't you come home to me?" And she said, "Hey ramblin' boy, why don't you settle down? LA can't be your kinda town There ain't no gold and there ain't nobody like me No, no, I'm the number one fan of the man from Tennessee" I'm the number one fan of the man from Tennessee