Cyrus Saladin Ming

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

Pop Song 552 of 1000 'Way down in the hole' Tom Waits 1987 John Waits Live https://www.youtube.com/watch?v=Xw2MjRcVO4g "Way Down in the Hole" is a song written by the singer-songwriter Tom Waits. It was included on his 1987 album Franks Wild Years, which was first presented as a stage production put on by the Steppenwolf Theatre Company[1] in Chicago, Illinois. The song was used as the theme for HBO's The Wire.[2][3] A different recording was used each season. Versions, in series order, were recorded by The Blind Boys of Alabama, Tom Waits, The Neville Brothers, DoMaJe, and Steve Earle. Season four's version, performed by the Baltimore teenagers Ivan Ashford, Markel Steele, Cameron Brown, Tariq Al-Sabir and Avery Bargasse, was arranged and recorded specifically for the show.[4] An extended version of the Blind Boys of Alabama recording was played over a montage in the series finale. In 2004, music historian Kim Beissel said that the 1994 song "Red Right Hand" by Nick Cave and the Bad Seeds was loosely based on "Way Down in the Hole"

Pop Song 551 of 1000 'I want you back' Jackson 5 1969 MV https://www.youtube.com/watch?v=y2bVIBwpCTA Originally considered for Gladys Knight & the Pips and later for Diana Ross, as "I Wanna Be Free", "I Want You Back" explores the theme of a lover who decides that he was too hasty in dropping his partner. An unusual aspect about "I Want You Back" was that its main lead vocal was performed by a tween, a then-11-year-old Michael Jackson

Pop Song 549 of 1000 'Life is a Highway' Tom Cochrane 1991 Watch the MV https://www.youtube.com/watch?v=U3sMjm9Eloo Cochrane has stated that "Life Is a Highway" was originally conceived in the 1980s as "Love is a Highway" while he was still a member of Red Rider, but was shelved at that time because he felt the unfinished song was unusable. Following a trip with his family to Eastern Africa with the World Vision famine relief organization, Cochrane revisited the song on the advice of his friend John Webster, an instrumentalist on the Mad Mad World album. In a 2017 interview with The Canadian Press to mark the song's 25th anniversary, Cochrane said Webster encouraged him to revisit the demo recording, which at that point only had mumbled vocals and improvised lyrics, but not the song's well-known chorus. "(The song) became a pep talk to myself... saying you can't really control all of this stuff, you just do the best you can," he says. Cochrane says he was trying to make sense of the poverty he witnessed on his trip, which he found "shocking and traumatic" Whoo! Mmm, yeah Life's like a road that you travel on When there's one day here, and the next day gone Sometimes you bend, sometimes you stand Sometimes you turn your back to the wind There's a world outside every darkened door Where blues won't haunt you anymore Where the brave are free and lovers soar Come ride with me to the distant shore We won't hesitate To break down the garden gate There's not much time left today, yeah Life is a highway I wanna ride it all night long If you're goin' my way Well, I wanna drive it all night long Through all these cities and all these towns It's in my blood, and it's all around I love you now like I loved you then This is the road, and these are the hands

Pop Song 548 of 1000 'Killing in the name' Rage against the Machine 1992 Watch Rage against the Machine live https://www.youtube.com/watch?v=8de2W3rtZsA The lyrics were inspired by the police brutality suffered by Rodney King and the subsequent 1992 Los Angeles riots.[13][14][15] The refrain "some of those that work forces are the same that burn crosses" draws what the band views as a link between the Los Angeles Police Department and the Ku Klux Klan.[16] According to BBC News, "Killing in the Name" rails against "the military–industrial complex, justifying killing for the benefit of, as the song puts it, the chosen whites

Pop Song 546 of 1000 'Kryptonite' 3 Doors Down 1999 MV https://www.youtube.com/watch?v=xPU8OAjjS4k The song was written by the band's vocalist and drummer, Brad Arnold, in a mathematics class when he was 15; it was one of the first songs he ever wrote.[5] About the song's meaning, Arnold has said: "That song seems like it's really just kind of like asking a question. Its question is kind of a strange one. It's not just asking, "If I fall down, will you be there for me?", because it's easy to be there for someone when they're down. But it's not always easy to be there for somebody when they're doing good. And that's the question it's asking. It's like, "If I go crazy, will you still call me Superman?" It's asking, "If I'm down, will you still be there for me?" but at the same time, "If I'm alive and well, will you be there holding my hand?" That's kind of asking, "If I'm doing good, will you be there for me? Will you not be jealous of me?" That's the basic question that song's asking, and maybe throughout the years of singing that song, I might have come up with more meanings for it than it actually might have originally had."

Pop Song 547 of 1000 'You are my sunshine' Jimmie Davis 1939 "You Are My Sunshine" is a standard of American old-time country music and one of the official state songs of Louisiana. Though its original writer is disputed, according to the performance rights organization BMI in 2000, the song had been recorded by over 350 artists and translated into 30 languages. Written and recorded as early as 1939, the song was first published and copyrighted in 1940 by Jimmie Davis and Charles Mitchell. Davis went on to be governor of Louisiana from 1944 to 1948 and again from 1960 to 1964, and used the song for his election campaign. In 1977, the Louisiana State Legislature decreed "You Are My Sunshine" the state song in honor of Davis. Its best-known covers include a recording by Johnny Cash in 1989

Pop Song 545 of 1000 'Layla' Derek and the Dominos Eric Clapton 1970 Watch Clapton live https://www.youtube.com/watch?v=fX5USg8_1gA The song was inspired by a love story that originated in 7th-century persian and later formed the basis of The Story of Layla and Majnun by the 12th-century Persian poet Nizami Ganjavi,[1] a copy of which Ian Dallas had given to Clapton. The book moved Clapton profoundly, because it was the tale of a young man who fell hopelessly in love with a beautiful young girl, went crazy and so could not marry her.[2][3][4] The song was further inspired by Clapton's secret love for Pattie Boyd, the wife of his friend and fellow musician George Harrison. After Harrison and Boyd divorced, Clapton and Boyd eventually married. See if you can spot this one What will you do when you get lonely? No one waiting by your side You've been running hiding much too long You know it's just your foolish pride Layla Got me on my knees Layla Begging darling please Layla Darling won't you ease my worried mind? Tried to give you consolation When your old man had let you down Like a fool I fell in love with you You turned my whole world upside down, Layla Got me on my knees Layla Begging darling please Layla Darling won't you ease my worried mind? Make the best of the situation 'Fore I finally go insane Please don't say we'll never find a way Tell me all my love's in vain Layla Got me on my knees Layla I'm begging darling please Layla Darling won't you ease my worried mind? (Yeah-yeah-yeah-yeah) Layla Got me on my knees Layla Begging darling please Layla Darling won't you ease my worried mind? (Yeah-yeah-yeah-yeah) Layla Got me on my knees Layla Begging darling please Layla Darling won't you ease my worried mind? Layla Got me on my knees Layla Begging darling please Layla Darling won't you ease my worried mind? Thank you

Pop Song 544 of 1000 'Tom Sawyer' Rush 1981 Thank you to @dakotabailey9133 for Rush request! MV https://www.youtube.com/watch?v=auLBLk4ibAk Tom Sawyer was a collaboration between myself and Pye Dubois, an excellent lyricist who wrote the lyrics for Max Webster. His original lyrics were kind of a portrait of a modern day rebel, a free-spirited individualist striding through the world wide-eyed and purposeful. I added the themes of reconciling the boy and man in myself, and the difference between what people are and what others perceive them to be—namely me, I guess A modern-day warrior Mean, mean stride Today's Tom Sawyer Mean, mean pride Though his mind is not for rent Don't put him down as arrogant His reserve a, quiet defense Riding out the day's events The river What you say about his company Is what you say about society Catch the mist, catch the myth Catch the mystery, catch the drift The world is, the world is Love and life are deep Maybe as his skies are wide Today's Tom Sawyer, he gets high on you And the space he invades, he gets by on you No, his mind is not for rent To any god or government Always hopeful, yet discontent He knows changes aren't permanent But changes is And what you say about his company Is what you say about society Catch the witness, catch the wit Catch the spirit, catch the spit The world is, the world is Love and life are deep Maybe as his eyes are wide Exit the warrior, today's Tom Sawyer He gets high on you and the energy you trade He gets right onto the friction of the day!

Pop Song 543 of 1000 'Centerfold' J. Geils Band 1981 Watch the MV https://www.youtube.com/watch?v=BqDjMZKf-wg The song is about a man who is shocked to discover that his high school crush appeared in a centerfold spread for an unspecified men's magazine. The song's narrator is torn between conflicting feelings: his disappointment due to her loss of innocence, and his lust until the end of the song. Come on! Does she walk? Does she talk? Does she come complete? My homeroom, homeroom angel always pulled me from my seat She was pure like snowflakes no one could ever stain The memory of my angel could never cause me pain Years go by, I'm lookin' through a girly magazine And there's my homeroom angel on the pages in-between My blood runs cold, my memory has just been sold My angel is the centerfold, angel is the centerfold My blood runs cold, woo, my memory has just been sold Angel is the centerfold Slipped me notes under the desk while I was thinkin' about her dress I was shy, I turned away before she caught my eye I was shakin' in my shoes whenever she flashed those baby blues Something had a hold on me when angel passed close by Those soft, fuzzy sweaters, too magical to touch To see her in that négligée is really just too much My blood runs cold, yeah, my memory has just been sold My angel is the centerfold, angel is the centerfold My blood runs cold, my memory has just been sold Oh yeah, angel is the centerfold Now listen, it's okay, I understand, this ain't no never-never land I hope that when this issue's gone, I'll see you when your clothes are on Take your car, yes we will, we'll take your car and drive it We'll take it to a motel room and take 'em off in private A part of me has just been ripped, the pages from my mind are stripped Oh no, I can't deny it, oh yeah, I guess I gotta buy it My blood runs cold, my memory has just been sold My angel is the centerfold, angel is the centerfold My blood runs cold, woo, my memory has just been sold

Pop Song 542 of 1000 'Something stupid' Carson Parks 1966 cover by Sinatras Watch Frank and Nancy Sinatra https://www.youtube.com/watch?v=sLEQvWt0axk "Somethin' Stupid", or "Something Stupid", is a song written by C. Carson Parks. It was originally recorded in 1966 by Parks and his wife Gaile Foote, as Carson and Gaile. A 1967 version by Frank Sinatra and his daughter Nancy Sinatra became a major international hit. I know I stand in line, until you think you have the time To spend an evening with me And if we go someplace to dance, I know that there's a chance You won't be leaving with me And afterwards we drop into a quiet little place And have a drink or two And then I go and spoil it all By saying something stupid like "I love you" I can see it in your eyes, that you despise the same old lies You heard the night before And though it's just a line to you For me it's true, it never seemed so right before I practice every day to find some clever lines to say To make the meaning come through But then I think I'll wait until the evening gets late And I'm alone with you The time is right your perfume fills my head The stars get red and oh, the night's so blue And then I go and spoil it all By saying something stupid like "I love you" The time is right your perfume fills my head The stars get red and oh, the night's so blue And then I go and spoil it all By saying something stupid like "I love you" I love you

Pop Song 541 of 1000 'The beautiful people' Marilyn Manson 1996 Watch MV https://www.youtube.com/watch?v=Ypkv0HeUvTc The title of the song comes from Marylin Bender's 1967 book The Beautiful People,[5] which exposed the world of scandal within the "jet-set" lifestyle of the 1960s, and the culture of beauty as it pertained to fashion and politics.[5][6] In the context of the album's concept, the song refers to the privileged class of elites whom the titular character, a populist demagogue called Antichrist Superstar, fulminate against. Lyrically, it discusses what Manson refers to as "the culture of beauty". And I don't want you and I don't need you Don't bother to resist, or I'll beat you It's not your fault that you're always wrong The weak ones are there to justify the strong The beautiful people, the beautiful people It's all relative to the size of your steeple You can't see the forest for the trees You can't smell your own shit on your knees There's no time to discriminate Hate every motherfucker That's in your way Hey you, what do you see? Something beautiful or something free? Hey, you, are you trying to be mean? If you live with apes man, it's hard to be clean The worms will live in every host It's hard to pick which one they eat the most The horrible people, the horrible people It's as anatomic as the size of your steeple Capitalism has made it this way Old-fashioned fascism will take it away Hey you, what do you see? Something beautiful or something free?

Pop Song 540 of 1000 'Yellow moon' The Neville Brothers 1989 Watch The Neville Brothers live https://www.youtube.com/watch?v=lDzraECGfUY The lyrics of Yellow Moon are poetic and reflective. They tell the story of a man who is haunted by the past and searching for a new beginning. The narrator of the song is haunted by the memory of a lover who has left him. He sees her in the moon and feels her presence everywhere he goes. He longs to find a way to move on from the pain of the past and start a new life. Yellow Moon is a song about love, loss, and the search for redemption. It explores the universal theme of how we deal with the pain of the past and find the strength to move on. The yellow moon in the song represents hope and new beginnings. It is a symbol of the possibility of redemption and a new life. The song speaks to the human experience of love and heartbreak. It reminds us that even when we have lost everything, there is always the possibility of starting over. It encourages us to find the strength to let go of the past and embrace the future. Yellow moon, yellow moon, why you keep peeping in my window? Do you know something I don't know? Did you see my baby walking down the railroad tracks? You can tell me if the girls ever coming back. Is she hid out with another or is she trying to get back home? Is she wrapped up in some other's arms? Or is the girl somewhere all alone? Can you see if she is missing me, or is she having a real good time? Has she forgotten all about, or is the girl still mine all mine? With your eye so big a shiney You can see the whole damn land Yellow moon can you tell me If the girl's with another man? Refrain: Oh yellow moon, have you seen that creole woman You can tell me, Now ain't you a friend of mine.

Pop Song 539 of 1000 'Jerry was a race car driver' Primus 1991 Watch the MV https://www.youtube.com/watch?v=LBQ2305fLeA Watch them live https://www.youtube.com/watch?v=u-JsDjVYPEI The song tells the stories of two characters, Jerry, an ill-fated race car driver who collides with a telephone pole while driving intoxicated (hence the use of "was", in the title) and Captain Pearce, a retired fireman. Jerry was a race car driver, And he drove so god-damn fast. He never did win no checkered flag, But he never did come in last. Jerry was a race car driver, He'd say "el sob number one." With a Bocephus sticker on his 442 He'd lighten up just for fun. Captain Pierce was a fireman. Richmond engine number three, I'd be a wealthy man When I get a dime for all the things that man Had taught to me. Captain Pierce was a strong man. Strong as any man alive. He got stuck in his crawl that they Made him retire at the age of 65. Jerry was a race car driver. 22 years old. Had one to many cold beers one night, Wrapped himself around a telephone pole.

Pop Song 538 of 1000 'Sour Times' Portishead 1994 The song uses a sample from Argentine composer Lalo Schifrin's "Danube Incident", from the 1967 album, More Mission: Impossible. Portishead sped up the sample to a desired tempo which took Schifrin's arrangement up nearly a semitone, giving the song a dissonant kind of "hip-hop tuning" To pretend no one can find The fallacies of morning rose Forbidden fruit, hidden eyes Courtesies that I despise in me Take a ride, take a shot now 'Cause nobody loves me, it's true Not like you do Covered by the blind belief That fantasies of sinful screens Bear the facts, assume the dye End the vows no need to lie, enjoy Take a ride, take a shot now 'Cause nobody loves me, it's true Not like you do Who am I, what and why 'Cause all I have left is my memories of yesterday Oh these sour times 'Cause nobody loves me, it's true Not like you do After time the bitter taste Of innocence, decent or race Scattered seeds, buried lives Mysteries of our disguise revolve Circumstance will decide 'Cause nobody loves me It's true Not like you do 'Cause nobody loves me It's true Not like you Nobody loves me It's true Not, like you do

Pop Song 536 of 1000 'You Spin Me Round' Dead or Alive 1984 MV https://www.youtube.com/watch?v=PGNiXGX2nLU How did I write "Spin Me"? I listened to Luther Vandross's 'I Wanted Your Love'. It's not the same chord structure, but then that's the way I make music – I hear something and I sing another tune over it. I didn't sit and study the Luther Vandross album – I heard the song and it locked. [...] I'm trying to structure the music and I know what I want. [...] It's like do this, do this, do this – and suddenly it hits. I don't want to do Luther Vandross's song, but I can still sing the same pattern over it. And there was another record, by Little Nell, called "See You 'Round Like a Record". [...] So I had those two, Van Dross [sic] and Little Nell and – bingo! – done deal. — Pete Burns, Freak Unique (2007 If I, I get to know your name Well, if I could trace your private number, baby All I know is that to me You look like you're lots of fun Open up your lovin' arms I want some, want some I set my sights on you (And no one else will do) And I, I've got to have my way now, baby All I know is that to me You look like you're havin' fun Open up your lovin' arms Watch out, here I come You spin me right 'round, baby, right 'round Like a record, baby, right 'round, 'round, 'round You spin me right 'round, baby, right 'round Like a record, baby, right 'round, 'round, 'round I (I, I, I), I got to be your friend now, baby And I (I, I, I) would like to move in just a little bit closer (To move in just a little bit closer) All I know is that to me You look like you're lots of fun Open up your lovin' arms Watch out, here I come

Pop Song 537 of 1000 'Do Wah Diddy Diddy' Manfred Mann 1963 Thanks to my friend Lonesome Aleks https://www.youtube.com/channel/UCJCIEcCGfhWRl2O_dHQyhwA for the request! MV https://www.youtube.com/watch?v=ooeRA8ZhcoQ "Do Wah Diddy Diddy" is a song written by Jeff Barry and Ellie Greenwich and originally recorded in 1963, as "Do-Wah-Diddy", by the American vocal group the Exciters. Cash Box described the Exciters' version as "a sparkling rocker that bubbles over with coin-catching enthusiasm" and said that the "great lead job is backed by a fabulous instrumental arrangement."[3] It was made internationally famous by the British band Manfred Mann There she was just a-walkin' down the street, singin' 'Do wah diddy diddy dum diddy do' Snappin' her fingers and shufflin' her feet, singin' 'Do wah diddy diddy dum diddy do' She looked good (Looked good) She looked fine (Looked fine) She looked good, she looked fine And I nearly lost my mind Before I knew it she was walkin' next to me, singin' 'Do wah diddy diddy dum diddy do' Holdin' my hand just as natural as can be, singin' 'Do wah diddy diddy dum diddy do' We walked on (Walked on) To my door (My door) We walked on to my door Then we kissed a little more Whoa-oh, I knew we was falling in love Yes, I did And so I told her all the things I'd been dreamin' of Now we're together nearly every single day, singin' 'Do wah diddy diddy dum diddy do' A-we're so happy, and that's how we're gonna stay, singin' 'Do wah diddy diddy dum diddy do' Well, I'm hers (I'm hers) She's mine (She's mine) I'm hers, she's mine

Pop Song 535 of 1000 'Wake me up' Avicii i 2013 MV https://www.youtube.com/watch?v=IcrbM1l_BoI Live https://www.youtube.com/watch?v=Ey7D6FVvBNM It was written by Avicii, Mike Einziger, and American soul singer Aloe Blacc, who provides vocals for the track Aloe Blacc, who is not credited on the track, explained to The Huffington Post: "I started writing the lyrics at the top of 2013, travelling back from Switzerland. I started in hip hop music back in the 90s and I never expected to be singing and have an actual career as a musician, but I'm travelling all over the world and I thought 'Life is a dream, wake me up when it's all over'. I was invited to the studio with Avicii and Mike Einziger from Incubus, and when I got to the studio they had already come up with a chord progression of the song. I came in with the lyrics and I just developed the melody as I heard the chords, and we all thought it was something very strong. We finished the song that night as an acoustic version, then Avicii made the dance mix in a couple of days, and that's what we released to the world, and that was his release. The official video for "Wake Me Up" was released a month after the lyric video on 29 July 2013. It was directed by celebrity photographer Mark Seliger and co-directed and edited by CB "Barney" Miller (former guitarist for 1980's pop band Miller Miller Miller & Sloan). It features a woman and a young girl, clearly sisters: The older woman is Russian fashion model Kristina Romanova, and the younger girl is Laneya Grace. It depicts them and how they are different from the people in their dreary village, said people are seen looking at the two often with disgust and revulsion except for one of them. One morning, Kristina gets up early and rides off on a horse to a nearby city. Once in the city, she finds how welcoming and accepting the people are of her. She notices a woman with the Avicii logo birthmark like the one on her lower arm. They meet others and then jump into a truck and are then shown to be attending an Avicii concert. The next morning, Kristina rides back home on the horse and tells Laneya that she found "somewhere they belong" as they pack up all their belongings and depart the village for good. The video ends with them walking down the highway as they move into the city and shots from the concert and one of the staring villagers from the beginning seeming to notice and depressed by the sisters' departure before resuming her uninspired life.