Cyrus Saladin Ming

Pop Song 506 of 1000 'Baby blue' Badfinger 1971 Watch the original https://www.youtube.com/watch?v=xbILy-bCN4M Ham wrote the song about a woman named Dixie Armstrong, whom he had dated during Badfinger's last US tour.[5][6] Guitarist Joey Molland recalled, "She came to one of the shows, they got talking and Pete really liked her. I don’t know whether they fell in love straight away, but he invited her on the road with us and she came along."[7] Ham ultimately ended the relationship, partially as a result of Armstrong's lack of interest in Badfinger's recording and touring activities. Guess I got what I deserve Kept you waiting there, too long my love All that time, without a word Didn't know you'd think, that I'd forget, or I'd regret The special love I have for you My baby blue All the days became so long Did you really think I'd do you wrong Dixie, when I let you go Thought you'd realize, that I would know, I would show The special love I have for you My baby blue What can I do, what can I say? Except that I want you by my side How can I show you? Show me a way Don't you know, the times I tried? Guess that's all I have to say Except the feeling just gets stronger everyday Just one thing, before I go Take good care, baby let me know, let it grow The special love you have for me My Dixie dear

Pop Song 505 of 1000 'Wherever you may go' The Calling 2001 Watch them https://www.youtube.com/watch?v=iAP9AF6DCu4 Songwriter Aaron Kamin talked about the song in a radio interview. He said: "At the time my grandmother's best friend had passed away and she left behind a husband of 50 or more years and I was at the funeral and afterwards I just started thinking of what it would be like to be him and have your whole life change so dramatically and not for the best in a matter of moments. Somebody that you live and grow with and are one with, just to be gone, is crazy and I figured all he ever thinks about probably is finding a way to get back to her or be with her or make sure she's alright or something like that. That was the sentiment behind that. So lately, been wondering Who will be there to take my place When I'm gone, you'll need love To light the shadows on your face If a great wave shall fall And fall upon us all Then between the sand and stone Could you make it on your own If I could, then I would I'll go wherever you will go Way up high or down low I'll go wherever you will go And maybe, I'll find out A way to make it back someday To watch you, to guide you Through the darkest of your days If a great wave shall fall And fall upon us all Then I hope there's someone out there Who can bring me back to you If I could, then I would I'll go wherever you will go Way up high or down low I'll go wherever you will go Run away with my heart Run away with my hope Run away with my love I know now, just quite how My life and love might still go on In your heart, in your mind I'll stay with you for all of time If I could, then I would I'll go wherever you will go Way up high or down low I'll go wherever you will go If I could turn back time I'll go wherever you will go If I could make you mine I'll go wherever you will go I'll go wherever you will go

Tennis week ending November 18, 2023

Pop Song 499 of 1000 'The Waiting' Tom Petty and the Heartbreakers 1981 Tom Petty and Eddie Veder https://www.youtube.com/watch?v=KnTE1dlJCFA Frontman Tom Petty explained that the song's title was inspired by a quote from fellow musician Janis Joplin, who once said of touring, "I love being onstage and everything else is just waiting."[4] He recalled: That's where I think I got it from ... [Roger] McGuinn swears that he said it to me. Maybe he did. I don't think so. I think I got it from the Janis Joplin quote. That's where it stuck in my mind. I don't think she said, 'The waiting is the hardest part,' but it was something to that effect: 'Everything else is just waiting.' And so that's where that came from Oh baby, don't it feel like heaven right now? Don't it feel like something from a dream? Yeah, I've never known nothing quite like this Don't it feel like tonight might never be again? Baby, we know better than to try and pretend Honey, no one could've ever told me 'bout this I said yeah, yeah (yeah, yeah) Yeah, yeah, yeah, yeah The waiting is the hardest part Every day you see one more card You take it on faith, you take it to the heart The waiting is the hardest part Well, yeah, I might have chased a couple women around All it ever got me was down Yeah, then there were those that made me feel good But never as good as I feel right now Baby, you're the only one that's ever known how To make me wanna live like I wanna live now I said yeah, yeah (yeah, yeah) Yeah, yeah, yeah, yeah The waiting is the hardest part Every day you get one more yard You take it on faith, you take it to the heart The waiting is the hardest part Oh, don't let it kill you baby, don't let it get to you Don't let it kill you baby, don't let it get to you I'll be your bleeding heart, I'll be your crying fool Don't let this go too far, don't let it get to you Yeah, yeah (yeah, yeah) Yeah, yeah, yeah, yeah The waiting is the hardest part Every day you get one more yard You take it on faith, you take it to the heart The waiting is the hardest part Yeah, the waiting is the hardest part Woah-oh It's the hardest part Woah-oh It's the hardest part

Tennis week ending Nov 10, 2023

Pop Song 497 of 1000 'My Own Summer' Deftones 1997 official MV https://www.youtube.com/watch?v=XOzs1FehYOA This is the biggest hit for the Deftones, who released their first album in 1995 and spent time opening for Ozzy Osbourne and Korn. It's one of their few songs to get airplay on MTV and radio. Some lyric analysis: "Cloud come shove the sun aside" - sadness against happiness. "And no sun in my summer" - The bad luck of being sad and poor in this world. "There are no crowds in the streets" - Loneliness caused by social discrimination. "The shade is a tool, a device, a savior" - Living in the shade is a solution to get far away from this. "I try and look up to the sky, but my eyes burn" - Someone wants to bring us down everyday. "Shove It" - These people don't care for anyone but themselves. These people are the "sky" (because they've got the cash), and when we try to get next to them, we want to return to our shade and just say, "Shove It." According to thedeftones.com, this was written in Seattle during the hot summer of 1994. Trapped inside of his room by the heat and sun, Chino Moreno boarded up his windows with aluminum foil and wished for "An apocalyptic-type thing" where all of the people on the streets would disappear and the sun would go away. He called this dream world "his own summer," which is where the song title comes from Hey you, big star Tell me when it's over (cloud) Hey you, big mood Guide me to shelter 'Cause I'm through when the two Hits the six and it's summer (Cloud) come shove it, shove it, shove it (Shove) shove it, shove it, shove it (The sun) shove it, shove it, shove it (Aside) shove it aside I think God is moving its tongue There's no crowds in the street And no sun In my own summer The shade is a tool A device, a savior See, I try and look up to the sky But my eyes burn (Cloud) come shove it, shove it, shove it (Shove) shove it, shove it, shove it (The sun) shove it, shove it, shove it (Aside) shove it aside (Cloud) come shove it, shove it, shove it (Shove) shove it, shove it, shove it (The sun) shove it, shove it, shove it (Aside) shove it aside I think God is moving its tongue There's no crowds in the street And no sun In my own summer Come shove it, shove it, shove it (Shove) shove it, shove it, shove it (The sun) shove it, shove it, shove it (Aside) shove it aside

Pop Song 495 of 1000 'Summer' Joe Hisaishi 1999 watch Joe Hisaishi conduct original https://www.youtube.com/watch?v=l0GN40EL1VU Kikujiro (Kikujirō no Natsu (菊次郎の夏, literally "Kikujirō's Summer")) is a 1999 Japanese road drama film written, directed and co-edited by Takeshi Kitano, who also stars in the film with Yusuke Sekiguchi. Its score was composed by Joe Hisaishi. The film was entered into the 1999 Cannes Film Festival. Kikujiro tells the story of a young boy searching for his mother during his summer vacation. The film is mostly divided into smaller chapters, listed as entries in the boy's summer vacation diary. Kitano's inspiration for the character (not the film) was his own father, Kikujiro Kitano, a gambler who struggled to feed his family and pay the rent.

Pop Song 494 of 100 'This land is your land' Woody Guthrie 1945 It is one of the United States' most famous folk songs. Its lyrics were written in 1940 in critical response to Irving Berlin's "God Bless America". Its melody is based on a Carter Family tune called "When the World's on Fire". When Guthrie was tired of hearing Kate Smith sing "God Bless America" on the radio in the late 1930s, he sarcastically called his song "God Blessed America for Me" before renaming it "This Land Is Your Land" This land is your land, and this land is my land From California to the New York island From the Redwood Forest to the Gulf Stream waters This land was made for you and me As I went walking that ribbon of highway And I saw above me that endless skyway I saw below me that golden valley This land was made for you and me I roamed and rambled, and I've followed my footsteps To the sparkling sands of her diamond deserts All around me, a voice was sounding This land was made for you and me There was a big, high wall there that tried to stop me A sign was painted said "Private Property" But on the backside, it didn't say nothing This land was made for you and me When the sun come shining, then I was strolling And the wheat fields waving, and the dust clouds rolling The voice was chanting as the fog was lifting This land was made for you and me This land is your land, and this land is my land From California to the New York island From the Redwood Forest to the Gulf Stream waters This land was made for you and me

Pop Song 491 of 500 'She's got a way' Billy Joel 1971 "She's Got a Way" is a love ballad. The lyrics to "She's Got a Way" have the singer describing how various characteristics of a particular woman, such as her laugh, make him love her, even though he can't understand why. To music critic Mark Bego, it's a song about a woman who has "mesmerized" him. Joel biographer Fred Schruers describes the lyrics as a "plainspoken, never-quite-corny adoration of a loved one." According to a friend of the couple, Bruce Gentile, the song was written about Joel's first wife Elizabeth. Joel's liner notes for Songs in the Attic seem to agree with this, commenting, "Written in 1970, I still feel the same way." She's got a way about her I don't know what it is But I know that I can't live without her She's got a way of pleasin' I don't know what it is But there doesn't have to be a reason anyway She's got a smile that heals me I don't know why it is But I have to laugh when she reveals me She's got a way of talkin' I don't know why it is But it lifts me up when we are walkin' anywhere She comes to me when I'm feelin' down Inspires me without a sound She touches me and I get turned around She's got a way of showin' How I make her feel And I find the strength to keep on goin' She's got a light around her And ev'rywhere she goes A million dreams of love surround her ev'rywhere She comes to me when I'm feelin' down Inspires me without a sound She touches me and I get turned around She's got a smile that heals me I don't know why it is But I have to laugh when she reveals me She's got a way about her I don't know what it is, But I know that I can't live without her anyway

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 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 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 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 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 465 of 500 'Ghost Song' The Doors 1978 In 1978 The Doors released the album An American Prayer. By then lead singer Jim Morrison had been dead of a drug overdose in Paris, France for seven years. What made this release unique is the band overdubbed their musical score with the reading of a mystic poem by the deceased Morrison entitled Ghost Song. In our opinion (which is no better than anyone else, which would make Morrison happy) the key verse is the fifth stanza. It goes as follows: Indians scattered, On dawn’s highway bleeding Ghosts crowd the young child’s Fragile eggshell mind Morrison often told a story about a drive with his parents into the desert when he was a child. The family encountered a horrible vehicle crash. Morrison said the road was littered with seriously injured and dead Indians that had been thrown from both pickup trucks. He told his parents he wanted to do something to help these poor souls but they said the Indians were beyond saving. The tragedy had a profound impact on young Jim. He said he could see the souls of two of the victims dancing angrily on the highway. Suddenly Morrison said these souls “leaped into my soul and they’re still there.” It is a plea for grace and forgiveness, not just for those transgressing in the here and now, but for those who have wronged in the past. The lyrics explore the idea of being able to start again and choose to live life differently and more peacefully. In the song, Morrison describes a utopia that is only accessible through the power of love, music and art. He calls for a new dawn of understanding, forgiveness and compassion, as well as for people to rise above the struggles and difficulties of the present. The song culminates in a plea to God to grant the people “one more hour” so that they can “perform our art and perfect our lives”. Awake. Shake dreams for your hair My pretty child, my sweet one. Choose the day And choose the sign of your day, The day's divinity. First thing you see. A vast radiant beach And a cool jeweled moon. Couples naked race down By its quiet side, And we laugh like Soft mad children Smug in the wooly Cotton brains of infancy. The music and voices Are all around us. Choose they croon The ancient ones, The time has come again. Choose now they croon Beneath the moon Beside an ancient lake. Enter again the sweet forest. Enter the hot dream Come with us. Everything is broken up And dances. Indians scattered on Dawn's highway bleeding, Ghosts crowd the young child's Fragile egg-shell mind.

Pop Song 462 of 500 'The Safety Dance' Men without Hats 1982 The song was written by lead singer Ivan Doroschuk after he had been ejected from a club for pogo dancing We can dance if we want to We can leave your friends behind 'Cause your friends don't dance and if they don't dance Well, they're no friends of mine Say, we can go where we want to A place where they will never find And we can act like we come from out of this world Leave the real one far behind And we can dance (Dancé!) We can go when we want to The night is young and so am I And we can dress real neat from our hats to our feet And surprise 'em with the victory cry Say, we can act if we want to If we don't, nobody will And you can act real rude and totally removed And I can act like an imbecile And say, we can dance, we can dance Everything's out of control We can dance, we can dance They're doing it from pole to pole We can dance, we can dance Everybody look at your hands We can dance, we can dance Everybody's taking the chance Safety dance Oh well, the safety dance Ah yes, the safety dance We can dance if we want to We've got all your life and mine As long as we abuse it, never gonna lose it Everything'll work out right I say, we can dance if we want to We can leave your friends behind Because your friends don't dance and if they don't dance Well, they're no friends of mine I say, we can dance, we can dance Everything's out of control We can dance, we can dance We're doing it from pole to pole We can dance, we can dance Everybody look at your hands We can dance, we can dance Everybody's taking the chance Oh well, the safety dance Ah yes, the safety dance Oh well, the safety dance Oh well, the safety dance Oh yes, the safety dance Oh, the safety dance, yeah Well, it's the safety dance It's the safety dance Well, it's the safety dance

Pop Song 460 of 500 'Let's stay together' Al Green 1971 It was selected by the Library of Congress as a 2010 addition to the National Recording Registry, which selects recordings annually that are "culturally, historically, or aesthetically significant". The song went on to claim the number 1 position on the Billboard Year-End chart as an R&B song for 1972 I'm, I'm so in love with you Whatever you want to do Is all right with me 'Cause you make me feel so brand new And I want to spend my life with you Let me say that since, baby Since we've been together Ooh Loving you forever Is what I need Let me be the one you come running to I'll never be untrue Ooh baby Let's, let's stay together (Together) Loving you whether, whether Times are good or bad, happy or sad Ooh, ooh, yeah Whether times are good or bad, happy or sad Why, somebody, why people break-up Oh, turn around and make-up? I just can't deceive You'd never do that to me (Would you, baby?) Stayin' around you is all I see (Here's what I want us to do) Let's, we oughta stay together (Together) Loving you whether, whether Times are good or bad, happy or sad, come on Let's, let's stay together Loving you whether, whether Times are good or bad, happy or sad

Pop Song 455 of 500 'Vehicle' Ides of March 1970 Written by vocalist and frontman Jim Peterik, it is about a girl that often used him for her mode of transportation, leading Peterik to surmise that he was little more than her "vehicle" Hey well I'm the friendly stranger in the black sedan won't you hop inside my car I got pictures got candy I am a lovable man I'd like to take you to the nearest star I'm your vehicle baby I'll take you anywhere you wanna go I'm your vehicle woman By now I'm sure you know that I love ya (love ya) I need ya (need ya) I want you got to have you child Great God in heaven you know I love you Well if you want to be a movie star I got the ticket to Hollywood If you want to stay just like you are you know I think you really should I'm your vehicle baby I'll take you anywhere you wanna go I'm your vehicle woman By now I'm sure you know that I love ya (love ya) I need ya (need ya) I want you got to have you child Great God in heaven you know I love... you Oh... you know I do... Well I'm the friendly stranger in the black sedan won't you hop inside my car I got pictures candy I am a lovable man I'd like to take you to the nearest star I'm your vehicle babe I'll take you anywhere you wanna go I'm your vehicle woman By now I'm sure you know that I love ya (love ya) I need ya (need ya) I want you I got to have ya Great God in heaven you know I love... you And I'm your vehicle babe Alright You know I love ya (love ya) I need ya (need ya) I want you got to have you child Great God in heaven you know I love you

Pop Song 453 of 500 'It's not unusual' Tom Jones 1964 "It's Not Unusual" is a song written by Les Reed and Gordon Mills, first recorded by a then-unknown Tom Jones after it had first been offered to Sandie Shaw. He intended it as a demo for her, but when she heard it she was so impressed with his delivery that she recommended he sing it instead. The musical arranger was Les Reed. Although the guitarist has been cited as Jimmy Page of Led Zeppelin,[7] Reed has said the only guitarist was Joe Moretti, who also played on "Shakin' All Over" and "Brand New Cadillac". Page lists the session in his online discography.[8] Drums were played by Scottish percussionist Andy White, who had previously drummed on a Beatles recording session,[9] or possibly by Ronnie Verrell,[10]. Alan Grahame has also said he was involved.[11] According to Jones's regular drummer, Chris Slade, there were four attempts with different drummers, him included, in order to get one with the right 'feel'. Though he was certain that his take was not chosen, he was unable to confirm which one of the others did make the final recording. Jones's group, "Tom Jones and the Squires", were missing their regular keyboard player for the session, so Slade (a future member of Manfred Mann's Earth Band, AC/DC, and The Firm with Jimmy Page and Paul Rodgers) ran across the street to the "La Giaconda" coffee house, and recruited the then-unknown Reginald Dwight (who later adopted the stage name Elton John) for the one-day recording session It's not unusual to be loved by anyone It's not unusual to have fun with anyone But when I see you hanging about with anyone It's not unusual to see me cry, I wanna die It's not unusual to go out at any time But when I see you out and about, it's such a crime If you should ever want to be loved by anyone It's not unusual, it happens every day, no matter what you say You'll find it happens all the time Love will never do what you want it to Why can't this crazy love be mine? It's not unusual to be mad with anyone It's not unusual to be sad with anyone But if I ever find that you've changed at anytime It's not unusual to find out I'm in love with you

Pop Song 447 of 500 'Who can it be now' Men at Work 1981 Around 1979, lead vocalist Colin Hay wrote the music for "Who Can It Be Now" in a tree house he and his girlfriend made in Bermagui, New South Wales.[8] The lyrics would not come until 1981, when Hay was living in an apartment complex in St Kilda, Victoria. He lived next to drug dealers, and people would often confuse Hay's apartment for the dealers'. The number of people that would knock on his door unnerved him to the point where he was scared to open his door, regardless of who was there. At the time, Hay was also anxious about his music career, which had yet to take off. In a 2015 interview, Hay explained: "I was trying to get out of the situation I was in, which is that I didn’t really have any money...It seemed at that particular time everyone who knocked on my door wanted something from me that I either didn't have or didn’t want to give them. That could be money, or it could simply be time that I didn’t want to give them. Who can it be knocking at my door? Go 'way, don't come 'round here no more Can't you see that it's late at night? I'm very tired and I'm not feeling right All I wish is to be alone Stay away, don't you invade my home Best off if you hang outside Don't come in, I'll only run and hide Who can it be now? Who can it be now? Who can it be now? Who can it be now? Who can it be knocking at my door? Make no sound, tip-toe across the floor If he hears, he'll knock all day I'll be trapped and here I'll have to stay I've done no harm, I keep to myself There's nothing wrong with my state of mental health I like it here with my childhood friend Here they come, those feelings again! Who can it be now? Who can it be now? Who can it be now? Who can it be now?