Cyrus Saladin Ming

Pop Song 490 of 500 'And so it goes' Billy Joel 1983 "And So It Goes" is a song written by Billy Joel in 1983, though it was not released until six years later. It appeared as the tenth and final track of his 1989 studio album Storm Front. The original 1983 demo was released on the 2005 box set My Lives.[1] Joel wrote the song about a doomed relationship with model Elle Macpherson. Due to their 15-year age difference, their relationship was dramatic. In 1983, Macpherson was about 19 years old while Joel was around 34. Joel dated Macpherson for only a brief time, and shortly after became involved with model Christie Brinkley. She ultimately became his second wife in 1985. The song was inspired by the Scottish ballad "Barbara Allen", and is unique for Joel as it is written in iambic tetrameter. In every heart there is a room A sanctuary safe and strong To heal the wounds from lovers past Until a new one comes along I spoke to you in cautious tones You answered me with no pretense And still I feel I said too much My silence is my self defense And every time I've held a rose It seems I only felt the thorns And so it goes, and so it goes And so will you, soon, I suppose But if my silence made you leave Then that would be my worst mistake So I will share this room with you And you can have this heart to break And this is why my eyes are closed It's just as well for all I've seen And so it goes, and so it goes And you're the only one who knows So I would choose to be with you That's if the choice were mine to make But you can make decisions too And you can have this heart to break And so it goes, and so it goes And you're the only one who knows

Pop Song 489 of 500 'See you again' Wiz Khalifa and Charlie Puth 2015 See You Again" is a song by American rapper Wiz Khalifa featuring American singer and songwriter Charlie Puth. It was commissioned for the soundtrack of the 2015 film Furious 7 as a tribute to Fast & Furious actor Paul Walker, who died in a single-vehicle crash on November 30, 2013. [Charlie Puth:] It's been a long day without you, my friend And I'll tell you all about it when I see you again We've come a long way from where we began Oh, I'll tell you all about it when I see you again When I see you again [Wiz Khalifa:] Damn, who knew? All the planes we flew, good things we been through That I'd be standing right here talking to you 'Bout another path, I know we loved to hit the road and laugh But something told me that it wouldn't last Had to switch up, look at things different, see the bigger picture Those were the days, hard work forever pays Now I see you in a better place (See you in a better place) Uh How could we not talk about family when family's all that we got? Everything I went through, you were standing there by my side And now you gon' be with me for the last ride [Charlie Puth & Wiz Khalifa:] It's been a long day without you, my friend And I'll tell you all about it when I see you again (I'll see you again) We've come a long way (Yeah, we came a long way) from where we began (You know we started) Oh, I'll tell you all about it when I see you again (I'll tell you) When I see you again [Charlie Puth:] Aah oh, aah oh Wooooh-oh-oh-oh-oh-oh Yeah [Wiz Khalifa:] First, you both go out your way and the vibe is feeling strong And what's small turned to a friendship, a friendship turned to a bond And that bond will never be broken, the love will never get lost (The love will never get lost) And when brotherhood come first, then the line will never be crossed Established it on our own when that line had to be drawn And that line is what we reached, so remember me when I'm gone (Remember me when I'm gone) How could we not talk about family when family's all that we got? Everything I went through you were standing there by my side And now you gon' be with me for the last ride [Charlie Puth:] So let the light guide your way, yeah Hold every memory as you go And every road you take Will always lead you home, home It's been a long day without you, my friend And I'll tell you all about it when I see you again We've come a long way from where we began Oh, I'll tell you all about it when I see you again When I see you again [Charlie Puth & Wiz Khalifa:] Aah oh, aah oh (Uh) Yeah (Yeah) Wooooh-oh-oh-oh-oh-oh (Yo) When I see you again (Yo, uh) See you again (Yo, yo) Oh-oh (Uh-huh) (Yup) When I see you again

Pop Song 488 of 500 'Tenth Avenue Freeze-Out' Bruce Springsteen 1975 The song tells the story of the formation of the E Street Band. The meaning of the title is unclear. Even Springsteen himself says in the Born to Run documentary Wings for Wheels: The Making of Born to Run: "I still have no idea what it means. But it's important."[2] The song's protagonist, "Bad Scooter", is a pseudonym for Springsteen himself (as indicated by the initials they share). In the third verse, "Big Man joined the band" refers to Clarence Clemons, the band's long-time saxophonist Teardrops on the city Bad Scooter searching for his groove Seem like the whole world walking pretty And you can't find the room to move Well, everybody better move over, that's all 'Cause I'm running on the bad side And I got my back to the wall Tenth Avenue freeze-out Tenth Avenue freeze-out Well, I was stranded in the jungle Trying to take in all the heat they was giving The night is dark but the sidewalk's bright And lined with the light of the living From a tenement window, a transistor blasts Turn around the corner, things got real quiet real fast I walked into a Tenth Avenue freeze-out Tenth Avenue freeze-out And I'm all alone, I'm all alone And kid you better get the picture And I'm on my own, I'm on my own And I can't go home When the change was made uptown And the Big Man joined the band From the coastline to the city All the little pretties raise their hands I'm gonna sit back right easy and laugh When Scooter and the Big Man bust this city in half with Tenth Avenue freeze-out Tenth Avenue freeze-out Tenth Avenue freeze-out Tenth Avenue freeze-out I'm talking about a, tell me Yeah, nothing but a, tell me I'm talking about the, tell me Ain't nothing but a Tenth, Tenth, Tenth, Tenth, Tenth Tenth, Tenth, Tenth, Tenth, Tenth, Tenth, Tenth, Tenth I'm talking about the Tenth, Tenth Avenue freeze-out Tenth Avenue freeze-out

Pop Song 487 of 500 'I've Loved these Days' Billy Joel 1976 Billy Joel's fourth studio album, Turnstiles, is largely about the singer's return to his native New York after three years of living in Los Angeles. In "I've Loved These Days," Joel takes a sardonic look at the hollow pursuit of hedonism he's leaving behind. Joel didn't realize how much his life was about to change with the release of his commercial breakthrough, The Stranger, a year later, but he sensed there was a change coming, which led him to write this tune. "I was recognizing that I was at the end of a certain point in my life. I didn't know it was going to be such a quantum leap with The Stranger album," he told Sirius XM in 2016. "But from '76 to '77 my life was taking on a trajectory that was pretty intense, and I wanted to say goodbye to the era I had come out of, which was 'I've Loved These Days'... I was gonna make a move somehow, something different was gonna happen. It was fraught at that particular time in my life. Things are gonna change. Not with thinking about I'm gonna be a big success. But it's going to change, there's going to be a big change in my life. And then came The Stranger album." Now we take our time, so nonchalant And spend our nights so bon vivant We dress our days in silken robes The money comes, the money goes We know it's all a passing phase We light our lamps for atmosphere And hang our hopes on chandeliers We're going wrong, we're gaining weight We're sleeping long and far too late And so it's time to change our ways But I've loved these days Now as we indulge in things refined We hide our hearts from harder times A string of pearls, a foreign car Oh, we can only go so far On caviar and Cabernet We drown our doubts in dry champagne And soothe our souls with fine cocaine I don't know why I even care We'll get so high and get nowhere

Pop Song 486 'Mercy Mercy Me' Marvin Gaye 1971 Whoa, oh, mercy mercy me Oh, things ain't what they used to be, no no Where did all the blue skies go? Poison is the wind that blows from the North and South and East Whoa mercy, mercy me Oh, things ain't what they used to be, no no Oil wasted on the oceans and upon our seas, fish full of mercury Oh, oh, oh mercy, mercy me Oh things ain't what they used to be, no no Radiation underground and in the sky Animals and birds who live nearby are dying Oh mercy, mercy me Oh things ain't what they used to be What about this overcrowded land How much more abuse from man can she stand? Oooh, oooh, oh no no, na, na na, na My sweet Lord, na, na, na My, my Lord, my sweet Lord Breathe

Pop Song 485 of 500 'Centerfield' John Fogerty 1984 John took approximately a decade off from recording after leaving Creedence Clearwater Revival and releasing two solo albums. For his comeback album, he chose “Centerfield” as the name of the album before he even wrote the song itself.[5] John said the song was easy to write. "I was practicing a song, and I came up with that guitar riff that starts the song," he said. "I went into the studio, playing the guitar with a drumbeat and it just came out." The song combines two of John's passions, baseball and rock & roll. Well, I beat the drum and hold the phone The sun came out today We're born again, there's new grass on the field A-roundin' third and headed for home It's a brown-eyed handsome man Anyone can understand the way I feel Oh, put me in, coach I'm ready to play today Put me in, coach I'm ready to play today Look at me, I can be centerfield Well, I spent some time in the Mudville Nine Watching it from the bench You know I took some lumps When the Mighty Casey struck out So say, "Hey Willie, tell Ty Cobb and Joe DiMaggio" Don't say it ain't so you, know the time is now Oh, put me in, coach I'm ready to play today Put me in, coach I'm ready to play today Look at me, I can be centerfield You got a beat up glove, a homemade bat And a brand new pair of shoes You know I think it's time to give this game a ride Just to hit the ball and touch 'em all, a moment in the sun It's a-gone and you can tell that one goodbye Oh, put me in, coach I'm ready to play today

Pop Song 484 of 500 'Born to Run' Bruce Springsteen 1974 In late 1973, on the road in Tennessee, Springsteen awoke with the title "Born to Run", which he wrote down. According to Springsteen, this was the first spark of the later song. Written in the first person, the song is a love letter to a girl named Wendy, for whom the hot rod-riding protagonist seems to possess the passion to love, just not the patience. However, Springsteen has noted that it has a much simpler core: getting out of Freehold. U.S. Route 9, a highway passing through Freehold, is mentioned from the lyric "sprung from cages out on Highway In the day we sweat it out on the streets Of a runaway American dream At night we ride through the mansions of glory In suicide machines Sprung from cages on highway nine Chrome wheeled, fuel injected, and steppin' out over the line Oh, baby, this town rips the bones from your back It's a death trap, it's a suicide rap We gotta get out while we're young 'Cause tramps like us Baby, we were born to run Yes, girl we were Wendy let me in, I wanna be your friend I wanna guard your dreams and visions Just wrap your legs 'round these velvet rims And strap your hands 'cross my engines Together we could break this trap We'll run 'til we drop, baby, we'll never go back Oh, will you walk with me out on the wire 'Cause baby, I'm just a scared and lonely rider But I gotta know how it feels I want to know if love is wild Babe, I want to know if love is real Oh, can you show me Beyond the Palace hemi-powered drones Scream down the boulevard Girls comb their hair in rearview mirrors And the boys try to look so hard The amusement park rises bold and stark Kids are huddled on the beach in a mist I wanna die with you, Wendy On the street tonight in an everlasting kiss Ha One, two, three, four The highway's jammed with broken heroes On a last chance power drive Everybody's out on the run tonight But there's no place left to hide Together, Wendy, we can live with the sadness I'll love you with all the madness in my soul Oh, someday girl, I don't know when We're gonna get to that place where we really wanna go And we'll walk in the sun But 'til then, tramps like us Baby, we were born to run Oh honey, tramps like us Baby, we were born to run Come on with me, tramps like us Baby, we were born to run Run, mmm Baby, run Run, run, run, run Mmm Woah-woah Woah-woah Run, run, run, run

Pop Song 483 of 500 'Mr. Brightside' The Killers 2003 Lyrically, "Mr. Brightside" depicts a true story of Flowers' jealousy and paranoia when he walked into a bar in Las Vegas and found his girlfriend cheating on him. "I was asleep and I knew something was wrong," he said. "I have these instincts. I went to the Crown and Anchor, a bar in Vegas, and my girlfriend was there with another guy. I'm coming out of my cage, and I've been doing just fine Gotta, gotta be down because I want it all It started out with a kiss, how did it end up like this? It was only a kiss, it was only a kiss Now I'm falling asleep, and she's calling a cab While he's having a smoke, and she's taking a drag Now they're going to bed, and my stomach is sick And it's all in my head, but she's touching his Chest now, he takes off her dress now Let me go I just can't look, it's killing me And taking control Jealousy, turning saints into the sea Swimming through sick lullabies, choking on your alibis But it's just the price I pay, destiny is calling me Open up my eager eyes, 'cause I'm Mr. Brightside I'm coming out of my cage, and I've been doing just fine Gotta, gotta be down because I want it all It started out with a kiss, how did it end up like this? It was only a kiss, it was only a kiss Now I'm falling asleep, and she's calling a cab While he's having a smoke, and she's taking a drag Now they're going to bed, and my stomach is sick And it's all in my head, but she's touching his Chest now, he takes off her dress now Let me go 'Cause I just can't look, it's killing me And taking control Jealousy, turning saints into the sea Swimming through sick lullabies, choking on your alibis But it's just the price I pay, destiny is calling me Open up my eager eyes, 'cause I'm Mr. Brightside I never

Pop Song 482 of 500 'Red Right Hand' Nick Cave and the Bad Seeds 1994 The liner notes for Murder Ballads state that the phrase "red right hand" is from a line in John Milton's epic poem Paradise Lost that refers to divine vengeance. The opening song on the album, "Song of Joy," states of a murderer: "It seems he has done many, many more, / quotes John Milton on the walls in the victim's blood. / The police are investigating at tremendous cost. / In my house he wrote 'his red right hand'. / That, I'm told, is from Paradise Lost." The aforementioned appearance in Paradise Lost (Book II, 170-174) is: "What if the breath that kindled those grim fires, / Awaked, should blow them into sevenfold rage, / And plunge us in the flames; or from above / Should intermitted vengeance arm again / His red right hand to plague us?". The term itself appears to be Milton's translation of the term "rubente dextera" in Horace's Ode I.2,2-3 Co-writer Mick Harvey recalled that the song originated during the songwriting process for the band's 1994 album Let Love In. The lyrics describe "a shadowy, alluring, and manipulative figure, stalking the land and striking a combination of fear and awe everywhere he goes" who is "seemingly part deity, part demon".[6] While writing the lyrics, Cave "filled an entire notebook" with descriptions of the town the song is set in, "including maps and sketches of prominent buildings, virtually none of which made it into the lyrics."[7] Cave later said that the town and landscape depicted in the song is a "reconstructed" version of Wangaratta, his hometown. Biographer Mark Mordue notes that it is "still somewhere real enough for those lyrics to serve as a map that could guide you from one point to another with an eerie familiarity."[8] In 2004 researcher Kim Beissel claimed that "Red Right Hand" was loosely based on the 1987 Tom Waits song "Way Down in the Hole". Take a little walk to the edge of town and go across the tracks Where the viaduct looms, like a bird of doom as it shifts and cracks Where secrets lie in the border fires in the humming wires Hey man, you know you're never coming back Past the square, past the bridge, past the mills, past the stacks On a gathering storm comes a tall handsome man In a dusty black coat with a red right hand He'll wrap you in his arms, tell you that you've been a good boy He'll rekindle all the dreams, it took you a lifetime to destroy He'll reach deep into the hole, heal your shrinking soul But there won't be a single thing that you can do He's a god, he's a man, he's a ghost, he's a guru They're whispering his name through this disappearing land But hidden in his coat is a red right hand You don't have no money? He'll get you some You don't have no car? He'll get you one You don't have no self-respect, you feel like an insect Well don't you worry buddy 'cause here he comes Through the ghettos and the barrio and the Bowery and the slum A shadow is cast wherever he stands Stacks of green paper in his red right hand You'll see him in your nightmares, you'll see him in your dreams He'll appear out of nowhere but he ain't what he seems You'll see him in your head, on the TV screen And hey buddy, I'm warning you to turn it off He's a ghost, he's a god, he's a man, he's a guru You're one microscopic cog in his catastrophic plan Designed and directed by his red right hand

Pop Song 481 of 500 'Avril 14th' Aphex Twin 2001 Whereas most of James's music is electronic, "Avril 14th" is a piano composition. It was recorded using a Disklavier, a piano with a mechanism that reads MIDI data and plays the keyboard without human input. The clicking of the mechanism is audible on the recording. According to Fact writer Scott Wilson, "The result is something that sounds human but not quite. Several critics likened it to the works of Erik Satie. Fact described it as a "a butterfly-fragile float" of "piano calm" "Avril 14th" has been used in films including Marie Antoinette (2006), Four Lions (2010), and the international trailer for Her (2013).[3] For Four Lions, James rerecorded the track with a minor edit.[3] In 2007, "Avril 14th" was sampled for a song used in the SNL digital short "Iran So Far." As SNL owner NBC had not obtained the rights to use the track, the short was quickly removed from YouTube.[5] The American rapper Kanye West used elements of "Avril 14th" for his 2010 track "Blame Game." According to James, after he was sent an early version of "Blame Game" with a heavily timestretched sample of "Avril 14th," he offered to rerecord the piece at a different tempo; West's team replied with "It's not yours, it's ours, and we're not even asking you any more," and tried to avoid paying for its use.[6] The final "Blame Game" used a rerecorded version of "Avril 14th" rather than a sample, and James received credit

Pop Song 480 of 500 'A beautiful morning' The Rascals 1968 The song continued the theme of carefree optimism that had distinguished the previous year's "Groovin'". It was written one morning in Honolulu, Hawaii when the band was invited to perform there It's a beautiful morning, ah I think I'll go outside for a while and just smile Just take in some clean fresh air, boy (Ain't) no sense in staying inside If the weather's fine and you got the time It's your chance to wake up and plan another brand-new day (Either way) it's a beautiful morning, ah Each bird keeps singing his own song, so long I've got to be on my way now (Ain't) no fun just hanging around I got to cover ground, you couldn't keep me down It just ain't no good if the sun shines When you're still inside (shouldn't hide) Still inside (shouldn't hide) Still inside (shouldn't hide) Still in-, oh, oh, oh-oh-oh Oo-ooh-ah-ah Oo-ooh-ah-ah There will be children with robins and flowers Sunshine caresses each new waking hour Seems to me that people keep seeing more and more each day (Gotta say) lead the way (It's okay) brand-new day (Gotta say) it's okay Wednesday, Thursday, it's okay Oh, oh, oh-oh Oo-ooh-ah-ah Oh, oh, oh-oh Oo-ooh-ah-ah Whoa, oh, oh, oh-oh Oo-ooh-ah-ah Oh (ooh-ah-ah) Oh, oh, oh-oh Oo-ooh-ah-ah

Pop Song 479 of 500 'Radar Love' Golden Earring 1973 The song is written from the point of view of a man who has some sort of psychic connection with his lover — "radar love". He senses that she urgently wants him to be with her, and in his haste he drives recklessly, causing a fatal accident, but even in the afterlife the song's narrator and his lover still have radar love. I've been drivin' all night My hand's wet on the wheel There's a voice in my head That drives my heel It's my baby callin' Says: I need you here And it's a half past four And I'm shifting gear When she is lonely And the longing gets too much She sends a cable Coming in from above Don't need no phone at all We've got a thing that's called Radar Love We've got a wave in the air Radar Love The radio's playing some forgotten song Brenda Lee's "Coming On Strong" The road has got me hypnotized And I'm speeding into a new sunrise When I get lonely And I'm sure I've had enough She sends her comfort Comin' in from above Don't need no letter at all We've got a thing that's called Radar Love We've got a line in the sky Radar Love No more speed, I'm almost there Gotta keep cool now, gotta take care Last car to pass, here I go And the line of cars drove down real slow And the radio played that forgotten song Brenda Lee's "Coming On Strong" And the newsman sang his same song One more radar love is gone When I get lonely and I'm sure I've had enough She sends her comfort, coming in from above We don't need no letter at all We've got a thing that's called Radar Love We've got a line in the sky We've got a thing that's called Radar Love We've got a thing that's called Radar Love

Todi Music : Student Recital Ravel Ondine different angle from organizers First movement of Ravel's Gaspard de la nuit http://www.todimusicmasters.com/ Ondine, depicts a water nymph, luring a man into the water to become her husband. When her pleas are rejected, she "burst out laughing and vanished in showers that formed white trickles down my blue windowpanes." (Bertrand.) "Listen! – Listen! – It is I, it is Ondine who brushes drops of water on the resonant panes of your windows lit by the gloomy rays of the moon; and here in gown of watered silk, the mistress of the chateau gazes from her balcony on the beautiful starry night and the beautiful sleeping lake. "Each wave is a water sprite who swims in the stream, each stream is a footpath that winds towards my palace, and my palace is a fluid structure, at the bottom of the lake, in a triangle of fire, of earth and of air. "Listen! – Listen! – My father whips the croaking water with a branch of a green alder tree, and my sisters caress with their arms of foam the cool islands of herbs, of water lilies, and of corn flowers, or laugh at the decrepit and bearded willow who fishes at the line." Her song murmured, she beseeched me to accept her ring on my finger, to be the husband of an Ondine, and to visit her in her palace and be king of the lakes. And as I was replying to her that I loved a mortal, sullen and spiteful, she wept some tears, uttered a burst of laughter, and vanished in a shower that streamed white down the length of my blue stained glass windows.

Pop Song 478 of 500 'Don't Give Up' Peter Gabriel Kate Bush 1986 "Don't Give Up" is a song written by English rock musician Peter Gabriel and recorded as a duet with English singer Kate Bush The song was inspired by the Depression-era photographs of Dorothea Lange, showing poverty-stricken Americans in Dust Bowl conditions.[1] Gabriel saw Lange's images in a book entitled In This Proud Land (1973). He felt that a song based on this was appropriate to difficult economic conditions in the United Kingdom under the premiership of Margaret Thatcher.[2] He composed lyrics about a man whose unemployment causes stress in his domestic relationship. The verses, sung by Gabriel, describe the man's feelings of isolation, loneliness and despair; the choruses, sung by Bush, offer words of hope and encouragement. Gabriel originally wrote the song from a reference point of American roots music and he approached country singer Dolly Parton to sing it with him. However, Parton turned it down, so his friend Kate Bush took her place.[3] In a 2014 interview, Elton John attributed his sobriety to the song, in particular the lyric from Bush, "Rest your head. You worry too much. It’s going to be all right. When times get rough you can fall back on us. Don’t give up." He states, "she [Bush] played a big part in my rebirth. That record helped me so much." In this proud land we grew up strong We were wanted all along I was taught to fight, taught to win I never thought I could fail No fight left or so it seems I am a man whose dreams have all deserted I've changed my face, I've changed my name But no one wants you when you lose Don't give up 'Cause you have friends Don't give up You're not beaten yet Don't give up I know you can make it good Though I saw it all around Never thought that I could be affected Thought that we'd be last to go It is so strange the way things turn Drove the night toward my home The place that I was born, on the lakeside As daylight broke, I saw the earth The trees had burned down to the ground Don't give up You still have us Don't give up We don't need much of anything Don't give up 'Cause somewhere there's a place Where we belong Rest your head You worry too much It's gonna be alright When times get rough You can fall back on us Don't give up Please don't give up Got to walk out of here I can't take any more Gonna stand on that bridge Keep my eyes down below Whatever may come And whatever may go That river's flowing That river's flowing Moved on to another town Tried hard to settle down For every job, so many men So many men no one needs Don't give up 'Cause you have friends Don't give up You're not the only one Don't give up No reason to be ashamed Don't give up You still have us Don't give up now We're proud of who you are Don't give up You know it's never been easy Don't give up 'Cause I believe there's a place There's a place where we belong

Pop Song 477 of 500 'Nothing else matters' Metallica 1991 Lead singer and rhythm guitarist James Hetfield wrote the song (credited to Hetfield/Ulrich)[3] in 1990 while on tour, when Hetfield "was bumming out about being away from home."[4] Initially, the song was not meant to be released, as Hetfield had written it for himself, but after drummer Lars Ulrich heard it, it was considered for the album.[4] Hetfield initially had reservations about presenting the song to the band: "I thought that Metallica could only be the four of us. These are songs about destroying things, head banging, bleeding for the crowd, whatever it is, as long as it wasn't about chicks and fast cars, even though that's what we liked. The song was about a girlfriend at the time. It turned out to be a pretty big song. So close, no matter how far Couldn't be much more from the heart Forever trusting who we are And nothing else matters Never opened myself this way Life is ours, we live it our way All these words, I don't just say And nothing else matters Trust I seek and I find in you Every day for us something new Open mind for a different view And nothing else matters Never cared for what they do Never cared for what they know But I know So close, no matter how far It couldn't be much more from the heart Forever trusting who we are And nothing else matters Never cared for what they do Never cared for what they know But I know I never opened myself this way Life is ours, we live it our way All these words, I don't just say And nothing else matters Trust I seek and I find in you Every day for us something new Open mind for a different view And nothing else matters Never cared for what they say Never cared for games they play Never cared for what they do Never cared for what they know And I know, yeah, yeah So close, no matter how far Couldn't be much more from the heart Forever trusting who we are No, nothing else matters

Pop Song 476 of 500 'What a wonderful world' Louis Armstrong 1968 "What a Wonderful World" is a song written by Bob Thiele (as "George Douglas") and George David Weiss. It was first recorded by Louis Armstrong and released in 1967 as a single. In April 1968, it topped the pop chart in the United Kingdom,[2] but performed poorly in the United States because Larry Newton, the president of ABC Records, disliked the song and refused to promote it. I see trees of green, red roses too I see them bloom, for me and for you And I think to myself What a wonderful world I see skies of blue, and clouds of white The bright blessed days, dark sacred nights And I think to myself What a wonderful world The colors of the rainbow so pretty in the sky Are also on the faces of people going by I see friends shaking hands sayin' how do you do They're really sayin' I love you I hear babies cry, I watch them grow They'll learn much more than I'll never know And I think to myself What a wonderful world Yes, I think to myself What a wonderful world Oh, yes

Pop Song 475 of 500 'Take the long way home' Supertramp 1978

Pop Song 474 of 500 'Come as you are' Nirvana 1992 Many have speculated the song to be about heroin, which Cobain was struggling with at the time of writing and recording. The lyrics "Come doused in mud, soaked in bleach" speak directly to a Seattle-area HIV prevention campaign from the time period encouraging addicts to sterilize their needles with bleach before using them with the tagline "If doused in mud, soak in bleach", and "As a friend, as a trend, as a known enemy", for some, was further allegory of addiction to the drug. After Cobain's death, Sub Pop records approached G. Alan Marlatt at the University of Washington to set up a memorial fund to establish an addiction treatment center titled the "Come as You Are" center, but the funding fell through after the record label was sold to Warner Music Group. Cobain described the lyrics of "Come as You Are" as contradictory, and said the song was about "people and what they're expected to act like". Pointing to the line "Take your time, hurry up, choice is yours, don't be late", essayist Catherine J. Creswell writes that in Cobain's lyrics, "[p]hrases clump into strings of empty clichés whose own ostensible meaning is forced into contradictions or simple rhyme sound".[18] In light of Cobain's suicide in 1994, AllMusic's Mark Deming suggests that hearing "Cobain sing 'and I swear that I don't have a gun' gives 'Come as You Are' an edge it was never meant to have when [Nevermind] was first released in 1991." Deming reasons that the "I don't have a gun" lyric is Cobain's "attempt to reassure listeners that ... his target is the world at large rather than the individuals in it, and that there was still room in this damaged world for everyone".[19] Others have suggested the lyrics regarding the "gun" are metaphors for escapism and turmoil found in heroin usage. Come as you are, as you were As I want you to be As a friend, as a friend As a known enemy Take your time, hurry up Choice is yours, don't be late Take a rest, as a friend As a known memoria Memoria Memoria Memoria Come doused in mud, soaked in bleach As I want you to be As a trend, as a friend As a known memoria Memoria Memoria Memoria And I swear that I don't have a gun No, I don't have a gun No, I don't have a gun Memoria Memoria Memoria Memoria (and I don't have a gun) And I swear that I don't have a gun No, I don't have a gun No, I don't have a gun No, I don't have a gun No, I don't have a gun (Memoria) (Memoria)

Pop Song 473 of 500 'Smells like teen spirit' Nirvana 1991 "Smells Like Teen Spirit" was one of several songs written following Nirvana's first recording sessions with producer Butch Vig in 1990. Lead singer and guitarist Kurt Cobain began writing it a few weeks before recording their second album, Nevermind, in 1991. He said it was an attempt to write a song in the style of the Pixies, a band he admired: I was trying to write the ultimate pop song. I was basically trying to rip off the Pixies. I have to admit it. When I heard the Pixies for the first time, I connected with that band so heavily that I should have been in that band—or at least a Pixies cover band. We used their sense of dynamics, being soft and quiet and then loud and hard. When Cobain presented the song to his bandmates, it comprised just the main guitar riff and the chorus vocal melody.Cobain said the riff was "clichéd", similar to a riff by Boston or the Richard Berry song "Louie Louie".[5] Bassist Krist Novoselic dismissed it as "ridiculous"; in response, Cobain made the band play it for an hour and a half. Eventually, Novoselic began playing it more slowly, inspiring drummer Dave Grohl to create the drum beat,[8] which drew from disco artists like The Gap Band. As a result, it is the only song on Nevermind to credit all three band members as writers. The title derives from a phrase written on Cobain's wall by his friend Kathleen Hanna, singer of the riot grrrl band Bikini Kill: "Kurt smells like Teen Spirit." Hanna meant that Cobain smelled like the deodorant Teen Spirit, which she and Tobi Vail, his then-girlfriend, had discovered during a trip to the grocery store. Cobain said that he was unaware of the deodorant until months after the single was released, and had interpreted it as a revolutionary slogan, as they had been discussing anarchism and punk rock Load up on guns, bring your friends It's fun to lose and to pretend She's over-bored and self-assured Oh no, I know a dirty word Hello, hello, hello, how low Hello, hello, hello, how low Hello, hello, hello, how low Hello, hello, hello With the lights out, it's less dangerous Here we are now, entertain us I feel stupid and contagious Here we are now, entertain us A mulatto, an albino A mosquito, my libido Yeah Hey Yay I'm worse at what I do best And for this gift I feel blessed Our little group has always been And always will until the end Hello, hello, hello, how low Hello, hello, hello, how low Hello, hello, hello, how low Hello, hello, hello With the lights out, it's less dangerous Here we are now, entertain us I feel stupid and contagious Here we are now, entertain us A mulatto, an albino A mosquito, my libido Yeah Hey Yay And I forget just why I taste Oh yeah, I guess it makes me smile I found it hard, it's hard to find Ooh well, whatever, nevermind Hello, hello, hello, how low Hello, hello, hello, how low Hello, hello, hello, how low Hello, hello, hello With the lights out, it's less dangerous Here we are now, entertain us I feel stupid and contagious Here we are now, entertain us A mulatto, an albino A mosquito, my libido A denial A denial A denial A denial

Pop Song 472 of 500 'How long will I love you' Ellie Goulding 2013 How long will I love you? As long as stars are above you And longer if I can How long will I need you? As long as the seasons need to Follow their plan How long will I be with you? As long as the sea is bound to Wash upon the sand How long will I want you? As long as you want me to And longer by far How long will I hold you? As long as your father told you As long as you can How long will I give to you? As long as I live through you However long you say How long will I love you? As long as stars are above you And longer if I may How long will I love you? As long as stars are above you

Pop Song 471 of 500 'To be with you' Mr. Big 1991 The song was written and composed by Eric Martin during his teen years, with guitarist Paul Gilbert contributing to its melodic arrangements later on. Writing credit is also given to David Grahame, a songwriter working for the label at the time. The lyrics were inspired by a girl Martin knew when he was younger: "This girl had a lot of boyfriends who treated her like shit. I wanted to be the knight in shining armor, wanted to be with her. She wasn't having it. It never came to play. Hold on, little girl Show me what he's done to you Stand up little girl Broken heart can't be that bad When it's through, it's through Fate will twist the both of you So come on baby, come on over Let me be the one to show you I'm the one who wants to be with you Deep inside I hope you feel it too (feel it too) Waited on a line of greens and blues (waited on a line) Just to be the next to be with you Build up your confidence So you can be on top for once Wake up who cares about Little boys that talk too much I've seen it all go down The game of love was all rained out So come on baby, come on over Let me be the one to hold you I'm the one who wants to be with you (I'm the one, yeah) Deep inside I hope you feel it too (feel it too) Waited on a line of greens and blues (waited on a line, yeah) Just to be the next to be with you Why be alone when we can be together, baby? You can make my life worthwhile I can make you start to smile When it's through, it's through Fate will twist the both of you So come on baby, come on over Let me be the one to show you I'm the one who wants to be with you (I'm the one) Deep inside I hope you feel it too (feel it too) Waited on a line of greens and blues (waited on a line) Yeah, just to be the next to be with you I'm the one who wants to be with you (I'm the one) Deep inside I hope (deep inside) you feel it too (you feel it too) Waited on a line of greens and blues (waited on that line) Yeah, just to be the next to be with you Just to be the next to be with you, ooh

Pop Song 469 of 500 'Time after Time' Cyndi Lauper 1983 Although "Time After Time" would eventually become one of Lauper's signature songs, it was one of the last songs on her debut album to be recorded. While Lauper was still writing material for She's So Unusual in the spring of 1983, her producer, Rick Chertoff introduced her to American musician Rob Hyman, a founding member of the Hooters. Lauper had by then already recorded the majority of the album, including the songs "Girls Just Want to Have Fun" and "She Bop," but Chertoff insisted that she and Hyman needed to record just "one more song". Therefore, she and Hyman sat at a piano and started working on "Time After Time". The inspiration for the song came from the fact that both songwriters were going through similar challenges in their respective romantic relationships; Hyman was coming out of a relationship, and Lauper was having difficulties with her boyfriend/manager, David Wolff. One of the early lines Rob wrote was "suitcase of memories," which according to Lauper, "struck her," claiming it was a "wonderful line," and other lines came from Lauper's life experiences. The song's title was borrowed from a TV Guide listing for the 1979 movie Time After Time, which Lauper had intended to use only as a temporary placeholder during the writing process. Although she later tried to change the song's name, she said that she felt at some point that "Time After Time" had become so fundamental to the song that it would fall apart with a different title. Lying in my bed I hear the clock tick and think of you Caught up in circles Confusion is nothing new Flashback, warm nights Almost left behind Suitcase of memories Time after Sometimes you picture me I'm walkin' too far ahead You're callin' to me I can't hear what you've said Then you say, "go slow" I fall behind The second hand unwinds If you're lost, you can look and you will find me Time after time If you fall, I will catch you, I'll be waiting Time after time If you're lost, you can look and you will find me Time after time If you fall, I will catch you, I'll be waiting Time after time After my picture fades And darkness has turned to gray Watching through windows You're wondering if I'm okay Secrets stolen From deep inside The drum beats out of time If you're lost, you can look and you will find me Time after time If you fall, I will catch you, I'll be waiting Time after time You said, "go slow" I fall behind The second hand unwinds If you're lost, you can look and you will find me Time after time If you fall, I will catch you, I'll be waiting Time after time If you're lost, you can look and you will find me Time after time If you fall, I will catch you, I'll be waiting Time after time Time after time Time after time Time after time

Pop Song 470 of 500 'Shape of my heart' Sting 1993 Sting explained that through "Shape of My Heart", he wanted to tell the story of a "card player, a gambler who gambles not to win but to try to figure out something; to figure out some kind of mystical logic in luck, or chance; some kind of scientific, almost religious law." Sting: "We wrote a song together — “Shape of My Heart”. Dom came in with this fantastic riff — beautiful cadence, sort of Bach-like descending bassline. So we spent the morning structuring it, making it into a song. Here's a verse here and a verse there and there's a key change there. So I just go for a walk and I have it in my headphones and I just walk around. A few hours later I’ve got at least the concept of what the song is telling me, which is about a gambler. And Dom said, 'Where’d you get this shit from?' I said, 'I don’t know.' It just occurs to me but the music tells me the story." Dominic Miller: "Well it's a huge compliment, I think. But I mean the truth behind that one is that that riff is that I just actually came up with that motif as an exercise for myself, just as a warm-up exercise based on sixth chords. And it's like that takes inspiration from, kind of from Chopin-type chords, piano chords. I was just messing around with that, kind of like the way John McLaughlin would write chord sequences. He wasn't really articulating the third so much — it's much more about the sixth is what, like, tells you what it is. And so I was just having fun with that and what I think about it is when I hear rappers and an artist using that riff, I'm kind of smiling at myself, first of all thinking that unbeknownst to them they're actually playing classical music from Europe. I can't really claim it as my own really because that's that was the source and I just reorganized that idea. And then it was Sting's imagination as a songwriter to — this is a perfect example of collaboration — he was the one who said well that is a song. And I'm going, “It’s just an exercise, mate.” And cut to he walks in the garden and comes back with a lyric, and that song was written in a day. It was just done. It didn't take three months, and sometimes songs are like that, you know? So I'm very flattered, but I don't really claim total ownership with it because I know where it came from, and it came from classical music." He deals the cards as a meditation And those he plays never suspect He doesn't play for the money he wins He don't play for respect He deals the cards to find the answer The sacred geometry of chance The hidden law of a probable outcome The numbers lead a dance I know that the spades are the swords of a soldier I know that the clubs are weapons of war I know that diamonds mean money for this art But that's not the shape of my heart He may play the Jack of diamonds He may lay the Queen of spades He may conceal a King in his hand While the memory of it fades I know that the spades are the swords of a soldier I know that the clubs are weapons of war I know that diamonds mean money for this art But that's not the shape of my heart That's not the shape, the shape of my heart And if I told you that I loved you You'd maybe think there's something wrong I'm not a man of too many faces The mask I wear is one But those who speak know nothing And find out to their cost Like those who curse their luck in too many places And those who fear a loss I know that the spades are the swords of a soldier I know that the clubs are weapons of war I know that diamonds mean money for this art But that's not the shape of my heart That's not the shape of my heart That's not the shape, the shape of my heart

Pop Song 468 of 500 'Everglow' Coldplay 2014 Martin came up with the idea for the title of the song from a slang word he heard from a surfer. In an interview with Zane Lowe, he explained the origin of the phrase: "I was in the ocean one day with this surfer guy, who spoke just like you'd imagine a surfer guy to speak … This guy spoke like Sean Penn's character from Fast Times at Ridgemont High. He was like, 'Yo dude, I was doing this thing the other day man, it gave me this total everglow! Oh, they say people come, say people go This particular diamond was extra special And though you might be gone, and the world may not know Still I see you, celestial Like a lion you ran, goddess you rolled Like an eagle you circled, in perfect purple So how come things move on? How come cars don't slow When it feels like the end of my world? When I should but I can't let you go? But when I'm cold, I'm cold When I'm cold, cold There's a light that you give me when I'm in shadow There's a feelin' within me, an everglow Like brothers in blood or sisters who ride When we swore, on that night, we'd be friends 'til we die But the changin' of winds and the way waters flow Life is short as the fallin' of snow And now I'm gonna miss you, I know But when I'm cold, I'm cold In water-rolled salt And I know that you're with me, and the way you will show And you're with me wherever I go But you give this feelin', this everglow Oh-ooh Oh, what I'd give for just a moment to hold Yeah, I live for this feelin', this everglow (Oh) So if you love someone, you should let them know Oh, the light that you left me will everglow

Pop Song 467 of 500 'Pictures of You' The Cure 1990 According to interviews, the inspiration of the song came when a fire broke loose in Robert Smith's home. After that day, Smith was going through the remains and came across his wallet which had pictures of his wife, Mary. The cover of the single is one of the pictures. I've been looking so long at these pictures of you That I almost believe that they're real I've been living so long with my pictures of you That I almost believe that the pictures Are all I can feel Remembering you standing quiet in the rain As I ran to your heart to be near And we kissed as the sky fell in Holding you close How I always held close in your fear Remembering you running soft through the night You were bigger and brighter and whiter than snow And screamed at the make-believe Screamed at the sky And you finally found all your courage to let it all go Remembering you fallen into my arms Crying for the death of your heart You were stone white, so delicate Lost in the cold You were always so lost in the dark Remembering you, how you used to be Slow drowned, you were angels So much more than everything Hold for the last time then slip away quietly Open my eyes, but I never see anything If only I'd thought of the right words I could have held on to your heart If only I'd thought of the right words I wouldn't be breaking apart All my pictures of you Looking so long at these pictures of you But I never hold on to your heart Looking so long for the words to be true But always just breaking apart My pictures of you There was nothing in the world That I ever wanted more Than to feel you deep in my heart There was nothing in the world That I ever wanted more Than to never feel the breaking apart My pictures of you