Cyrus Saladin Ming

Pop Song 400 of 500 'Friday I'm In Love' The Cure 1992 Robert Smith, the song's primary writer, described it in 1992 as both "a throw your hands in the air, let's get happy kind of record" and "a very naïve, happy type of pop song. During the writing process, Robert Smith became convinced that he had inadvertently stolen the chord progression from somewhere, and this led him to a state of paranoia where he called everyone he could think of and played the song for them, asking if they had heard it before. None of them had, and Smith realised that the melody was indeed his. "It's always been paradoxical that it's pushed down people's throats that we're a goth band," Smith observed. "Because, to the general public, we're not. To taxi drivers, I'm the bloke that sings 'Friday I'm in Love'. I'm not the bloke who sings 'Shake Dog Shake' or 'One Hundred Years'. I don't care if Monday's blue Tuesday's gray and Wednesday too Thursday I don't care about you It's Friday, I'm in love Monday you can fall apart Tuesday, Wednesday, break my heart Oh, Thursday doesn't even start It's Friday, I'm in love Saturday wait And Sunday always comes too late But Friday never hesitate I don't care if Monday's black Tuesday, Wednesday, heart attack Thursday never looking back It's Friday, I'm in love Monday you can hold your head Tuesday, Wednesday, stay in bed Or Thursday watch the walls instead It's Friday, I'm in love Saturday wait And Sunday always comes too late But Friday never hesitate Dressed up to the eyes It's a wonderful surprise To see your shoes and your spirits rise Throwing out your frown And just smiling at the sound And as sleek as a shriek spinning 'round and 'round Always take a big bite It's such a gorgeous sight To see you eat in the middle of the night You can never get enough Enough of this stuff It's Friday, I'm in love I don't care if Monday's blue Tuesday's gray and Wednesday too Thursday I don't care about you It's Friday, I'm in love Monday you can fall apart Tuesday, Wednesday, break my heart Thursday doesn't even start It's Friday, I'm in love

Pop Song 399 of 500 "Handle with Care' Traveling Wilburys 1988 English-American supergroup Traveling Wilburys, comprising George Harrison, Jeff Lynne, Bob Dylan, Roy Orbison and Tom Petty. The song's message as being "about getting out from under the shell of the '60s fallout, along with a strong theme of survival". The song's structure comprises rounds containing three distinct sections: Harrison's verses, the Orbison-sung "I'm so tired of being lonely" bridge, and a second bridge led by Dylan. Author Ian Inglis writes that Harrison's verses reflect his having overcome hardships and challenges throughout his musical career, with the line "Oh, the sweet smell of success!" conveying a mix of optimism, resignation and cynicism regarding the concept of stardom. Been beat up and battered around Been sent up and I've been shot down You're the best thing that I've ever found Handle me with care Reputation's changeable Situation's tolerable But baby, you're adorable Handle me with care: I'm so tired of being lonely I still have some love to give Won't you show me that you really care?: Everybody's got somebody to lean on Put your body next to mine and dream on: I've been fobbed off and I've been fooled I've been robbed and ridiculed In day care centers and night schools Handle me with care Been stuck in airports, terrorized Sent to meetings, hypnotized Overexposed, commercialized Handle me with care: I'm so tired of being lonely I still have some love to give Won't you show me that you really care?: Everybody's got somebody to lean on Put your body next to mine and dream on I've been uptight and made a mess But I'll clean it up myself, I guess Oh, the sweet smell of success Handle me with care

Pop Song 398 of 500 'More Human than Human' White Zombie 1994 The title and lyrics reference the novel Do Androids Dream of Electric Sheep? by Philip K. Dick, adapted in film as Blade Runner. The title was the slogan of the Tyrell Corporation, manufacturers of the very humaniform biological androids, or "replicants" that are the focal point of the story. "I want more life, fucker" (quoted in the lyrics) is one of the last things his creator hears when the replicant designed to be the perfect – and disposable – soldier (Rutger Hauer) finds him and is denied a reprieve from the programmed 4 year life span. Yeah, well I am the astro creep A demolition-style hell american freak, yeah I am the crawling dead A phantom in a box, shadow in your head, say Acid and suicide Freedom of the blast, read the fuckin' lies, yeah Scratch off the broken skin Tear into my heart, make me do it again, yeah Yeah, yeah, yeah, yeah More human than human More human than human More human than human More human than human More human than human More human than human Yeah, well I am the jigsaw man I turn the world around with a skeleton hand, say I am electric head A cannibal core, a television said, yeah Do not victimize Read the motherfuckin' psychoholic lies, yeah Into a psychic war I tear my soul apart and I eat it some more, yeah Yeah, yeah, yeah, yeah More human than human More human than human More human than human More human than human More human than human More human than human Yeah, well I am the ripper man A locomotion mind, love american style, yeah I am the nexus one I want more life, fucker, I ain't done, yeah More human than human More human than human More human than human More human than human More human than human More human than human More human than human More human than human

Pop Song 397 of 500 'Werewolves of London' Warren Zevon 1978 The song began as a joke by Phil Everly (of The Everly Brothers) to Zevon in 1975, over two years before the recording sessions for Excitable Boy. Everly had watched a television broadcast of the 1935 film Werewolf of London and "suggested to Zevon that he adapt the title for a song and dance craze." Zevon, Marinell and Wachtel played with the idea and wrote the song in about 15 minutes, all contributing lyrics that were transcribed by Zevon's then-wife Crystal. However, none of them took the song seriously. Soon after, Zevon's friend Jackson Browne saw the lyrics and thought "Werewolves of London" had potential and began performing the song during his own live concerts. T Bone Burnett also performed the song, on the first leg of Bob Dylan's Rolling Thunder Revue tour in the autumn of 1975. Burnett's version of the song included alternate or partially improvised lyrics mentioning stars from classical Hollywood cinema, along with mentions of vanished labor leader Jimmy Hoffa, and adult film stars Marilyn Chambers and Linda Lovelace. According to Wachtel, "Werewolves of London" was "the hardest song to get down in the studio I've ever worked on." However, Wachtel "laid down his solo in one take." They tried at least seven different configurations of musicians in the recording studio before being satisfied with McVie and Fleetwood's contributions. A storefront with a large cartoon pig on it Lee Ho Fook in London—the werewolf goes here to get beef chow mein. The song's lyrics "He was looking for the place called Lee Ho Fook's / Gonna get a big dish of beef chow mein" refer to Lee Ho Fook, a Chinese restaurant on 15 Gerrard Street in London's Chinatown, which is in the West End of London. Egon Ronay's Dunlop Guide for 1974 discussed the restaurant and said it served Cantonese cuisine.[9] In concerts, Zevon would often change the line "You better stay away from him, he'll rip your lungs out, Jim / I'd like to meet his tailor", to "And he's looking for James Taylor" I saw werewolf with a Chinese menu in his hand Walking through the streets of SoHo in the rain He was looking for the place called Lee Ho Fooks For to get a big dish of beef chow mein Ah-hoo, werewolves of London Ah-hoo Ah-hoo, werewolves of London Ah-hoo You hear him howling around your kitchen door You better not let him in Little old lady got mutilated late last night Werewolves of London again Ah-hoo, werewolves of London Ah-hoo Ah-hoo, werewolves of London Ah-hoo, huh He's the hairy handed gent who ran amok in Kent Lately he's been overheard in Mayfair You better stay away from him, he'll rip your lungs out Jim Huh, I'd like to meet his tailor Ah-hoo, werewolves of London Ah-hoo Ah-hoo, werewolves of London Ah-hoo Well, I saw Lon Chaney walking with the Queen Doin' the werewolves of London I saw Lon Chaney Jr. walking with the Queen, uh Doin' the werewolves of London I saw a werewolf drinkin' a piña colada at Trader Vic's His hair was perfect Ah-hoo, werewolves of London Hey draw blood Ah-hoo, werewolves of London

Pop Song 395 of 500 'The Little Things' Colbie Caillat 2007 Colbie Marie Caillat is an American singer-songwriter. She rose to fame through social networking website Myspace. At that time, she was the number one unsigned artist of her genre. The little things you do to me Are taking me over, I wanna show ya Everything inside of me Like a nervous heart that is crazy beatin' My feet are stuck here against the pavement I wanna break free, I wanna make it Closer to your eyes, get your attention Before you pass me by Back up, back up Take another chance Don't you mess up, mess up I don't wanna lose you Wake up, wake up This ain't just a thing that you Give up, give up Don't you say that I'd be Better off, better off, sleeping by myself and wondering If I'm better off, better off, without you boy And every time you notice me by Holding me closely and saying sweet things I don't believe that it could be You speaking your mind and saying the real thing My feet have broke free and I am leaving I'm not gonna stand here feeling lonely but I don't regret it and I don't think it Was just a waste of time Back up, back up Take another chance Don't you mess up, mess up I don't wanna lose you Wake up, wake up This ain't just a thing that you Give up, give up Don't you say that I'd be Better off, better off, sleeping by myself and wondering If I'm better off, better off, without you boy Don't just leave me hangin' on... Don't just leave me hangin' on... The little things you do to me are Taking me over, I wanna show ya Everything inside of me Like a nervous heart that is crazy beatin' My feet are stuck here against the pavement I wanna break free, I wanna make it Closer to your eyes, get your attention Before you pass me by Don't just leave me hangin' on... Back up, back up Take another chance Don't you mess up, mess up I don't wanna lose you Wake up, wake up This ain't just a thing that you Give up, give up Don't you say that I'd be Don't just leave me hangin' on..

Pop Song 392 of 500 'Remember Me' Disney Film Coco 2017 "Remember Me" is a song from the 2017 animated Pixar film Coco, written by Robert Lopez and Kristen Anderson-Lopez Remember me Though I have to say goodbye Remember me Don't let it make you cry For ever if I'm far away I hold you in my heart I sing a secret song to you Each night we are apart Remember me Though I have to travel far Remember me Each time you hear a sad guitar Know that I'm with you The only way that I can be Until you're in my arms again Remember me

Pop Song 393 of 500 'Beautiful Birds' Passenger 2015 You remember when we were two beautiful birds, we would light up the sky, when we'd fly, You were orange and red, like the sun when it sets, I was green as an apple's eye. You said you loved all the songs that I'd sing, like nothing you'd ever heard, And I said I loved you with all of my heart when we were two beautiful birds. Remember when we were two beautiful birds, we would say when the morning would come, You are silver and blue like the moon when it's new, I was gold as the summer sun. But one day you asked for a different song, One that I just couldn't sing, I got the melody sharp, and the words all wrong, Those were the last days of spring. To build a nest we pecked feathers from our chests, Like a book tearing out every page, We weren't to know that these feathers would grow, Into a beautiful cage.

Pop Song 391 of 500 'In My Life' The Beatles 1965 According to Lennon, "In My Life" was his "first real major piece of work" because it was the first time he wrote about his own life. There are places I remember All my life, though some have changed Some forever not for better Some have gone and some remain All these places have their moments With lovers and friends, I still can recall Some are dead and some are living In my life, I've loved them all But of all these friends and lovers There is no one compares with you And these memories lose their meaning When I think of love as something new Though I know I'll never lose affection For people and things that went before I know I'll often stop and think about them In my life, I love you more Though I know I'll never lose affection For people and things that went before I know I'll often stop and think about them In my life, I love you more In my life, I love you more

Pop Song 389 of 500 'White Room' Cream 1968 This song is about depression and hopelessness, but the setting is an empty apartment. The lyrics were written by a poet named Pete Brown, who was a friend of Cream bass player Jack Bruce The music was written first. Pete Brown's first attempt at a lyric was something about a "doomed hippie girl" - the song was called "Cinderella's Last Goodnight." Jack Bruce wasn't buying it, so he scrapped that idea and pulled up an eight-page poem he had written earlier, which he reworked into "White Room." Pete Brown "It was a meandering thing about a relationship that I was in and how I was at the time. It was a kind of watershed period really. It was a time before I stopped being a relative barman and became a songwriter, because I was a professional poet, you know. I was doing poetry readings and making a living from that. It wasn't a very good living, and then I got asked to work by Ginger and Jack with them and then started to make a kind of living. And there was this kind of transitional period where I lived in this actual white room and was trying to come to terms with various things that were going on. It's a place where I stopped, I gave up all drugs and alcohol at that time in 1967 as a result of being in the white room, so it was a kind of watershed period. That song's like a kind of weird little movie: it changes perspectives all the time. That's why it's probably lasted - it's got a kind of mystery to it." Jack Bruce wrote the music. He was inspired by a cycling tour that he took in France. The "white room" was a literal place: a room in an apartment where Pete Brown was living. It was not, as some suspected, an institution. In the white room with black curtains near the station Black roof country, no gold pavements, tired starlings Silver horses ran down moonbeams in your dark eyes Dawn light smiles on you leaving, my contentment I'll wait in this place where the sun never shines Wait in this place where the shadows run from themselves You said no strings could secure you at the station Platform ticket, restless diesels, goodbye windows I walked into such a sad time at the station As I walked out, felt my own need just beginning I'll wait in the queue when the trains come back Lie with you where the shadows run from themselves At the party she was kindness in the hard crowd Consolation for the old wound now forgotten Yellow tigers crouched in jungles in her dark eyes She's just dressing, goodbye windows, tired starlings I'll sleep in this place with the lonely crowd Lie in the dark where the shadows run from themselves

Pop Song 387 of 500 'Romeo's Tune' Steve Forbert 1979 The song speaks of fading away from the world in the company of your lover. The title does not appear in the lyrics. Meet me in the middle of the day Let me hear you say, "Everything's okay" Bring me southern kisses from your room Meet me in the middle of the night Let me hear you say, "Everything's alright" Let me smell the moon in your perfume Oh, Gods and years will rise and fall And there's always something more Lost in talk, I waste my time And it's all been said before While further down behind the masquerade The tears are there I don't ask for all that much I just want someone to care Answer right now Meet me in the middle of the day Let me hear you say, "Everything's okay" Come on out beneath the shining sun Meet me in the middle of the night Let me hear you say, "Everything's alright" Sneak on out beneath the stars and run, yeah Oh, yeah, yes Oh, yes It's king and queen and we must go down 'round Behind the chandelier Where I won't have to speak my mind And you won't have to hear Shreds of news and after thoughts And complicated scenes We'll weather down behind the light And fade like magazines Meet me in the middle of the day Let me hear you say, "Everything's okay" Bring me southern kisses from your room Hey, hey Meet me in the middle of the night Let me hear you say, "Everything's alright" Let me smell the moon in your perfume Oh, now Meet me in the middle of the day Let me hear you say, "Everything's okay" Let me see you smiling back at me Hey Meet me in the middle of the night Let me hear you say, "Everything's alright" Hold me tight and lovin' love is free Whoa oh Okay.

Pop Song 384 of 500 'Today' Smashing Pumpkins 1993 The song, though seemingly upbeat, contains dark lyrics; Corgan wrote the song about a day in which he was having suicidal thoughts. The contrast between the grim subject matter of the song and the soft instrumental part during the verses, coupled with use of irony in the lyrics, left many listeners unaware of the song's tale of depression and desperation. The song alternates between quiet, dreamy verses and loud choruses with layered, distorted guitar Today is the greatest day I've ever known Can't live for tomorrow Tomorrow's much too long I'll burn my eyes out before I get out I wanted more Than life could ever grant me Bored by the chore Of saving face Today is the greatest day I've ever known Can't wait for tomorrow I might not have that long I'll tear my heart out Before I get out Pink ribbon scars that never forget I tried so hard to cleanse these regrets My angel wings were bruised and restrained My belly stings Today is Today is Today is The greatest day I wanna turn you on I wanna turn you on I wanna turn you on I wanna turn you Today is the greatest Today is the greatest day Today is the greatest day that I have ever really known

Pop Song 382 of 500 'Money' Pink Floyd' 1973 "Money interested me enormously," Waters remarked on the twentieth anniversary of Dark Side. "I remember thinking, 'Well, this is it and I have to decide whether I'm really a socialist or not.' I'm still keen on a general welfare society, but I became a capitalist. You have to accept it. I remember coveting a Bentley like crazy. The only way to get something like that was through rock or the football pools. I very much wanted all that material stuff." Money, get away You get a good job with more pay and you're OK Money, it's a gas Grab that cash with both hands and make a stash New car, caviar, four-star daydream Think I'll buy me a football team Money, get back I'm alright, Jack, keep your hands off of my stack Money, it's a hit Ah, don't give me that do-goody-good bullshit I'm in the high-fidelity first-class traveling set And I think I need a Learjet Money, it's a crime Share it fairly but don't take a slice of my pie Money, so they say Is the root of all evil today But if you ask for a rise it's no surprise that they're giving none away

Pop Song 386 of 500 'If I had a boat' Lyle Lovett 1988 Lovett claims that this song is based on a true story. He once tried to ride a pony across a pond. For other meanings https://themiddlespaces.com/2013/05/0... If I had a boat I'd go out on the ocean And if I had a pony I'd ride him on my boat And we could all together Go out on the ocean Me upon my pony on my boat If I were Roy Rogers I'd sure enough be single I couldn't bring myself to marrying old Dale It'd just be me and Trigger We'd go riding through them movies Then we'd buy a boat and on the sea we'd sail And if I had a boat I'd go out on the ocean And if I had a pony I'd ride him on my boat And we could all together Go out on the ocean Me upon my pony on my boat The mystery masked man was smart He got himself a Tonto Cause Tonto did the dirty work for free But Tonto he was smarter And one day said Kemosabe Kiss my ass I bought a boat I'm going out to sea And if I had a boat I'd go out on the ocean And if I had a pony I'd ride him on my boat And we could all together Go out on the ocean Me upon my pony on my boat And if I were like lightning I wouldn't need no sneakers I'd come and go wherever I would please And I'd scare 'em by the shade tree And I'd scare 'em by the light pole But I would not scare my pony on my boat out on the sea And if I had a boat I'd go out on the ocean And if I had a pony I'd ride him on my boat And we could all together Go out on the ocean Me upon my pony on my boat Me upon my pony on my boat

Pop Song 381 of 500 'Locomotive Breath' Jethro Tull 1971 Lyrically, "Locomotive Breath" was inspired by Anderson's concern regarding overpopulation. He explained, "It was my first song that was perhaps on a topic that would be a little more appropriate to today's world. It was about the runaway train of population growth and capitalism, it was based on those sorts of unstoppable ideas. We’re on this crazy train, we can’t get off it. Where is it going? Bearing in mind, of course, when I was born in 1947, the population of planet earth was slightly less than a third of what it is today, so it should be a sobering thought that in one man’s lifetime, our planetary population has more than tripled. You'd think population growth would have brought prosperity, happiness, food and a reasonable spread of wealth, but quite the opposite has happened. And is happening even more to this day. Without putting it into too much literal detail, that was what lay behind that song." The song additionally features a train motif that Anderson has employed on many songs. Anderson later said, "Train songs have been with us ever since the blues began, and I have written my fair share of these. I keep being drawn back to the subject, because public transport is part of my life. I don’t drive, so rely on buses, trains and the like In the shuffling madness Of the locomotive breath Runs the all time loser Headlong to his death Oh, he feels the pistons screaming Steam breaking on his brow Old Charlie stole the handle And the train, it won't stop going No way, it could slow down He sees his children jumpin' off At stations one by one His woman and his best friend In bed and having fun So he's crawling down the corridor On his hands and knees Old Charlie stole the handle And the train, it won't stop going No way, it could slow down He hears the silence howling Catches angels as they fall And the all time winner Has got him by the balls Oh, he picks up Gideon's Bible Open at page one I thank God, he stole the handle And the train, it won't stop going No way, it could slow down No way, it could slow down No way, it could slow down No way, it could slow down No way, it could slow down No way, it could slow down No way, it could slow down

Redo Pop Song 63 of 500 'Mad World' Gary Jules cover Tears for Fears 1982 My first attempt on Yamaha Digital Upright https://www.youtube.com/watch?v=bJBBDMalQPI&t=0s • Pop Song 63 of 50... Became popular from movie Donnie Darko https://www.bilibili.com/video/BV1Qx4... That came when I lived above a pizza restaurant in Bath and I could look out onto the centre of the city. Not that Bath is very mad – I should have called it "Bourgeois World. The song was influenced by the theories of Arthur Janov, author of The Primal Scream. The lyric "the dreams in which I'm dying are the best I've ever had" suggests that dreams of intense experiences such as death will be the best at releasing tension All around me are familiar faces Worn out places, worn out faces Bright and early for their daily races Going nowhere, going nowhere Their tears are filling up their glasses No expression, no expression Hide my head I want to drown my sorrow No tomorrow, no tomorrow And I find it kind of funny I find it kind of sad The dreams in which I'm dying are the best I've ever had I find it hard to tell you 'cause I find it hard to take When people run in circles, it's a very, very Mad world Mad world Mad world Mad world Children waiting for the day they feel good Happy birthday, happy birthday Made to feel the way that every child should Sit and listen, sit and listen Went to school and I was very nervous No one knew me, no one knew me Hello teacher, tell me what's my lesson? Look right through me, look right through me And I find it kind of funny I find it kind of sad The dreams in which I'm dying are the best I've ever had I find it hard to tell you 'cause I find it hard to take When people run in circles, it's a very, very Mad world Mad world Mad world Mad world And I find it kind of funny I find it kind of sad The dreams in which I'm dying are the best I've ever had I find it hard to tell you 'cause I find it hard to take When people run in circles it's a very, very Mad world Mad world Halargian world Mad world

Pop Song 389 of 500 'Unstoppable' Sia 2016 All smiles, I know what it takes to fool this town I'll do it 'til the sun goes down And all through the nighttime Oh, yeah Oh, yeah, I'll tell you what you wanna hear Leave my sunglasses on while I shed a tear It's never the right time Yeah, yeah I put my armor on, show you how strong I am I put my armor on, I'll show you that I am I'm unstoppable I'm a Porsche with no brakes I'm invincible Yeah, I win every single game I'm so powerful I don't need batteries to play I'm so confident Yeah, I'm unstoppable today Unstoppable today Unstoppable today Unstoppable today I'm unstoppable today Break down, only alone I will cry out loud You'll never see what's hiding out Hiding out deep down Yeah, yeah I know, I've heard that to let your feelings show Is the only way to make friendships grow But I'm too afraid now Yeah, yeah I put my armor on, show you how strong I am I put my armor on, I'll show you that I am I'm unstoppable I'm a Porsche with no brakes I'm invincible Yeah, I win every single game I'm so powerful I don't need batteries to play I'm so confident Yeah, I'm unstoppable today Unstoppable today Unstoppable today Unstoppable today I'm unstoppable today Unstoppable today Unstoppable today Unstoppable today I'm unstoppable today I put my armor on, show you how strong I am I put my armor on, I'll show you that I am I'm unstoppable I'm a Porsche with no brakes I'm invincible Yeah, I win every single game I'm so powerful I don't need batteries to play I'm so confident Yeah, I'm unstoppable today Unstoppable today Unstoppable today Unstoppable today I'm unstoppable today Unstoppable today Unstoppable today Unstoppable today I'm unstoppable today

Pop Song 372 of 500 'City of Stars' Film La La Land 2016 "City of Stars" is a song performed by Ryan Gosling and Emma Stone in the film La La Land (2016). The music of the song was composed by Justin Hurwitz while the lyrics were provided by Benj Pasek and Justin Paul. The song won numerous awards, including the award for Best Original Song at both the 74th Golden Globe Awards and 89th Academy Awards. Justin Hurwitz, the composer of the song, discussed the writing of the song: [The song] started at the piano with me just working on demos for Damien, sending him ideas until something really sparked. It's so funny that that and "Audition" are the two songs that people seem to be responding to the most, at least so far, because they had similar processes in the sense that they had probably the least amount of fussing at the piano demo stage. [...] I was just composing it from an emotional place and thinking about the tone. I would say the tone is hopeful, but melancholy at the same time. And it kind of goes back-and-forth between cadencing in major and cadencing in minor, because I think that’s kind of what the song is about. You have these great moments and then you have these less great moments in life and in Los Angeles and we see it happen in the story. I was thinking about that idea a little bit and just trying to compose a melody that I thought was shapely and beautiful. I guess it has some jazz inflections, because it’s something Sebastian plays on the piano. City of stars Are you shining just for me? City of stars There's so much that I can't see Who knows? I felt it from the first embrace I shared with you That now our dreams They've finally come true City of stars Just one thing everybody wants There in the bars And through the smokescreen of the crowded restaurants It's love Yes, all we're looking for is love from someone else A rush A glance A touch A dance To look in somebody's eyes To light up the skies To open the world and send them reeling A voice that says, I'll be here And you'll be alright I don't care if I know Just where I will go 'Cause all that I need's this crazy feeling A rat-tat-tat on my heart... Think I want it to stay City of stars Are you shining just for me? City of stars You never shined so brightly

Pop Song 368 of 500 'Tell all the people' The Doors 1969 Doors guitarist Robby Krieger wrote this, as well as most of the songs on The Soft Parade. He thought it was perfect for Jim Morrison to sing, but Morrison did not want to be associated with this song was because of the negative imagery in the lyrics. "Tell all the people get your guns...," was the phrase that made Jim Morrison hate this song. Krieger was referring to an event where certain rednecks violently beat him and Doors drummer John Densmore. This also explains why you see them on the Smothers Brothers Comedy Hour with black eyes playing "Touch Me." This song prompted Morrison to insist on individual writing credits so people could identify which band member wrote which songs. He did not want anyone to think he wrote this. Tell all the people that you see Follow me Follow me down Tell all the people that you see Set them free Follow me down You tell them they don't have to run We're gonna pick up everyone Come out and take me by my hand Gonna bury all our troubles in the sand, oh yeah Can't you see the wonder at your feet Your life's complete Follow me down Can't you see me growing, get your guns The time has come To follow me down Follow me across the sea Where milky babies seem to be Molded, flowing revelry With the one that set them free Tell all the people that you see It's just me Follow me down Tell all the people that you see Follow me Follow me down Tell all the people that you see We'll be free Follow me down Tell all the people that you see It's just me Follow me down Tell all the people that you see Follow me Follow me down Follow me down You got to follow me down Follow me down Tell all the people that you see We'll be free Follow me down Tell all the people you see Follow me You got to follow me down

Pop Song 367 of 500 'Sweet Caroline' Neil Diamond 1969 Diamond has provided different explanations for the song's origins. In a 2007 interview, Diamond stated the inspiration for his song was John F. Kennedy's daughter, Caroline, who was eleven years old at the time it was released. Diamond sang the song for her at her 50th birthday celebration in 2007. On December 21, 2011, in an interview on CBS's The Early Show, Diamond said that a magazine cover photo of Caroline as a young child on a horse with her parents created an image in his mind, and the rest of the song came together about five years after seeing the picture. However, in 2014, Diamond said the song was about his then-wife Marcia, but he needed a three-syllable name to fit the melody. Where it began I can't begin to know when But then I know it's growin' strong Was in the spring And spring became the summer Who'd have believe you'd come along? Hands Touchin' hands Reachin' out Touching me, touchin' you Sweet Caroline Good times never seemed so good I've been inclined To believe they never would But now I look at the night And it don't seem so lonely We fill it up with only two And when I hurt Hurtin' runs off my shoulders How can I hurt when holdin' you? Warm Touchin' warm Reachin' out Touchin' me, touchin' you Sweet Caroline Good times never seemed so good I've been inclined To believe they never would, oh, no, no Sweet Caroline Good times never seemed so good Sweet Caroline I believe they never could Sweet Caroline

Pop Song 366 of 500 'Heart of Gold' Neil Young 1972 The song, which features backup vocals by James Taylor and Linda Ronstadt, is one of a series of soft acoustic pieces which were written partly as a result of a back injury. Unable to stand for long periods of time, Young could not play his electric guitar and so returned to his acoustic guitar, which he could play sitting down. He also played his harmonica during the three instrumental portions, including the introduction to the song Young has stated that this song, as well as "Harvest" and "Out on the Weekend" from the same album, were inspired by his then blossoming love for actress Carrie Snodgress In 1985, Bob Dylan said he disliked hearing the song, despite always liking Young: The only time it bothered me that someone sounded like me was when I was living in Phoenix, Arizona, in about '72 and the big song at the time was "Heart of Gold". I used to hate it when it came on the radio. I always liked Neil Young, but it bothered me every time I listened to "Heart of Gold." I think it was up at number one for a long time, and I'd say, "Shit, that's me. If it sounds like me, it should as well be me." I wanna live, I wanna give I've been a miner for a heart of gold It's these expressions I never give That keep me searching for a heart of gold And I'm getting old Keep me searching for a heart of gold And I'm getting old I've been to Hollywood, I've been to Redwood I crossed the ocean for a heart of gold I've been in my mind, it's such a fine line That keeps me searching for a heart of gold And I'm getting old Keeps me searching for a heart of gold And I'm getting old Keep me searching for a heart of gold You keep me searching and I'm growing old Keep me searching for a heart of gold I've been a miner for a heart of gold

Pop Song 362 of 500 'Homeward Bound' Simon & Garfunkel 1966 "Homeward Bound" was written by Paul Simon after he returned to England in early 1964. He had previously spent time in Essex, and he became a nightly fixture at the Railway Hotel in Brentwood, beginning that April. He was reeling from his brief period in the folk scene in Greenwich Village, New York, and the recording of his first album with Art Garfunkel, Wednesday Morning, 3 A.M., which he anticipated would be a failure. During his time in England, Simon met Kathy Chitty, who was working as a ticket-taker at the club. The two hit it off instantly, but it became clear that Simon desired to perform in London, resulting in an emotional farewell.Following a performance in Widnes, Simon was dropped off at Widnes railway station for a train to his next gig in Humberside. He had been missing Chitty and he began to write "Homeward Bound" on a scrap of paper.A plaque commemorating the song is displayed on the Widnes station platform I'm sitting in the railway station, got a ticket for my destination, hmm On a tour of one-night stands, my suitcase and guitar in hand And every stop is neatly planned for a poet and a one-man band Homeward-bound I wish I was homeward-bound Home, where my thought's keepin' Home, where my music's playin' Home where my love lies waitin' silently for me Every day's an endless stream of cigarettes and magazines, hmm And each town looks the same to me, the movies and the factories And every stranger's face I see reminds me that I long to be Homeward-bound I wish I was homeward-bound Home, where my thought's keepin' Home, where my music's playin' Home, where my love lies waitin' silently for me Tonight I'll sing my songs again I'll play the game and pretend, hmm-hmm But all my words come back to me in shades of mediocrity Like emptiness in harmony, I need someone to comfort me Homeward-bound I wish I was homeward-bound Home, where my thought's keepin' Home, where my music's playin' Home, where my love lies waitin' silently for me Silently for me

Pop Song 361 of 500 'Ob-La-Di, Ob-La-Da' The Beatles 1968 Paul McCartney began writing "Ob-La-Di, Ob-La-Da" during the Beatles' stay in Rishikesh, India, in early 1968. Prudence Farrow, one of their fellow Transcendental Meditation students there, recalled McCartney, John Lennon and George Harrison playing it to her in an attempt to lure her out of her room, where she had become immersed in intense meditation. McCartney wrote the song when reggae was becoming popular in Britain; author Ian MacDonald describes it as "McCartney's rather approximate tribute to the Jamaican ska idiom". The character of Desmond in the lyrics, from the opening line "Desmond has a barrow in the market-place", was a reference to reggae singer Desmond Dekker, who had recently toured the UK. The tag line "Ob-la-di, ob-la-da, life goes on, brah" was an expression used by Nigerian conga player Jimmy Scott-Emuakpor, an acquaintance of McCartney. According to Scott's widow, as part of his stage act with his band Ob-La-Di Ob-La-Da, Scott would call out "Ob la di", to which the audience would respond "Ob la da", and he would then conclude: "Life goes on." Desmond has a barrow in the marketplace Molly is the singer in a band Desmond says to Molly, "Girl, I like your face" And Molly says this as she takes him by the hand Ob-la-di, ob-la-da Life goes on, brah La, la, how the life goes on Ob-la-di, ob-la-da Life goes on, brah La, la, how the life goes on Desmond takes a trolley to the jeweler's store Buys a 20 carat golden ring (ring) Takes it back to Molly waiting at the door And as he gives it to her, she begins to sing (sing) Ob-la-di, ob-la-da (la, la, la, la, la, la) Life goes on, brah (la, la, la, la, la, la) La, la, how the life goes on Ob-la-di, ob-la-da (la, la, la, la, la, la) Life goes on, brah (la, la, la, la, la, la) La, la, how the life goes on (yeah) In a couple of years They have built a home, sweet home With a couple of kids running in the yard Of Desmond and Molly Jones (ha-ha-ha-ha-ha-ha) Happy ever after in the market place Desmond lets the children lend a hand (arm, leg) Molly stays at home and does her pretty face And in the evening, she still sings it with the band (yes) Ob-la-di, ob-la-da Life goes on, brah La, la, how the life goes on (hey) Ob-la-di, ob-la-da Life goes on, brah La, la, how the life goes on In a couple of years They have built a home, sweet home With a couple of kids running in the yard Of Desmond and Molly Jones (hey) Happy ever after in the market place Molly lets the children lend a hand Desmond stays at home and does his pretty face And in the evening, she's a singer with the band (yeah) Ob-la-di, ob-la-da Life goes on, brah La, la, how the life goes on (hey) Ob-la-di, ob-la-da Life goes on, brah La, la, how the life goes on And if you want some fun Take Ob-la-di-bla-da Thank you

Pop Song 359 of 500 'Alabama Song' aka Whisky Bar and Moon over Alabama' 1927 play Little Mahagonny covered by The Doors The "Alabama Song"—also known as "Moon of Alabama", "Moon over Alabama", and "Whisky Bar"—is an English version of a song written by Bertolt Brecht and translated from German by his close collaborator Elisabeth Hauptmann in 1925 and set to music by Kurt Weill for the 1927 play Little Mahagonny. It was reused for the 1930 opera Rise and Fall of the City of Mahagonny and has been recorded by the Doors and David Bowie. For the German 1927 play https://www.youtube.com/watch?v=Yi-hEFKs9gk Well, show me the way To the next whisky bar Oh, don't ask why Oh, don't ask why Show me the way To the next whisky bar Oh, don't ask why Oh, don't ask why For if we don't find The next whisky bar I tell you we must die I tell you we must die I tell you, I tell you I tell you we must die Oh, moon of Alabama We now must say goodbye We've lost our good old mama And must have whisky, oh, you know why Oh, moon of Alabama We now must say goodbye We've lost our good old mama And must have whisky, oh, you know why Yeah Oh, show me the way To the next little girl Oh, don't ask why Oh, don't ask why Show me the way To the next little girl Oh, don't ask why Oh, don't ask why For if we don't find The next little girl I tell you we must die I tell you we must die I tell you, I tell you I tell you we must die Oh, moon of Alabama We now must say goodbye We've lost our good old mama And must have whisky, oh, you know why

Pop Song 356 of 500 'Life's Been Good' Joe Walsh 1978 In the song, Walsh satirically reflects on the antics and excesses of the era's rock stars, with nods to Keith Moon and others: "I live in hotels, tear out the walls/I have accountants pay for it all", and "My Maserati does one-eighty-five/I lost my license, now I don't drive". The 1979 Rolling Stone Record Guide called it "riotous", and "(maybe) the most important statement on rock stardom anyone has made in the late Seventies". His later Ordinary Average Guy is written as a late-life followup I have a mansion, forget the price Ain't never been there, they tell me it's nice I live in hotels, tear out the walls I have accountants pay for it all They say I'm crazy, but I have a good time I'm just looking for clues at the scene of the crime Life's been good to me so far My Maserati does 185 I lost my license, now I don't drive I have a Limo, ride in the trunk I lock the doors in case I get drunk I make hit record, my fans, they can't wait They write Tim letters, tell Glenn Don's great So I got me an office, gold records on the wall Just leave a message, maybe I'll call Lucky I'm sane after all I've been through (Everybody says I'm cool, he's cool) I can't complain, but sometimes I still do Life's been good to me so far I go to parties, sometimes until 4:00 It's hard to leave when you can't find some more It's tough to handle this fortune and fame Everybody's so different, we're all insane They say I'm lazy, but it takes all my time (Everybody say oh, yeah, oh, yeah) oh, yeah Keep on going, guess I'll never know why Life's been good to me so far Yeah, yeah, yeah, uh, ooh Thank you

Pop Song 354 of 500 "For What It's Worth (Stop, Hey What's That Sound)" Buffalo Springfield 1966 Although "For What It's Worth" is often considered an anti-war song, Stephen Stills was inspired to write the song because of the Sunset Strip curfew riots in Los Angeles in November 1966, a series of early counterculture-era clashes that took place between police and young people on the Sunset Strip in Hollywood, California, the same year Buffalo Springfield had become the house band at the Whisky a Go Go. Local residents and businesses had become annoyed by how crowds of young people going to clubs and music venues along the Strip had caused late-night traffic congestion. In response, they lobbied Los Angeles County to pass local ordinances stopping loitering, and enforced a strict curfew on the Strip after 10 p.m. The young music fans, however, felt the new laws infringed upon their civil rights. On Saturday, November 12, 1966, fliers were distributed on the Sunset Strip inviting people to join demonstrations later that day. Several of Los Angeles's rock radio stations also announced a rally outside the Pandora's Box club on the corner of Sunset Boulevard and Crescent Heights. That evening, as many as 1,000 young demonstrators, including future celebrities such as Jack Nicholson and Peter Fonda (who was handcuffed by police) gathered to protest against the curfew's enforcement. Although the rallies began peacefully, trouble eventually broke out. The unrest continued the next night, and periodically throughout the rest of November and December, forcing some clubs to shut down within weeks. It was against the background of these civil disturbances that Stills recorded "For What It's Worth" on December 5, 1966 There's something happening here But what it is ain't exactly clear There's a man with a gun over there Telling me I got to beware I think it's time we stop Children, what's that sound? Everybody look, what's going down? There's battle lines being drawn Nobody's right if everybody's wrong Young people speaking their minds Getting so much resistance from behind It's time we stop Hey, what's that sound? Everybody look, what's going down? What a field day for the heat (Ooh ooh ooh) A thousand people in the street (Ooh ooh ooh) Singing songs and they carrying signs (Ooh ooh ooh) Mostly say, "Hooray for our side" (Ooh ooh ooh) It's time we stop Hey, what's that sound? Everybody look, what's going down? Paranoia strikes deep Into your life it will creep It starts when you're always afraid Step out of line, the men come and take you away We better stop Hey, what's that sound? Everybody look, what's going down? You better stop Hey, what's that sound? Everybody look, what's going down? You better stop Now, what's that sound? Everybody look, what's going down? You better stop Children, what's that sound? Everybody look, what's going down?