Pop Song 490 of 500 'And so it goes' Billy Joel 1983
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
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Pop Song 489 of 500 'See you again' Wiz Khalifa and Charlie Puth 2015
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
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Pop Song 488 of 500 'Tenth Avenue Freeze-Out' Bruce Springsteen 1975
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
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Pop Song 487 of 500 'I've Loved these Days' Billy Joel 1976
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
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Pop Song 486 'Mercy Mercy Me' Marvin Gaye 1971
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
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Pop Song 485 of 500 'Centerfield' John Fogerty 1984
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
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Pop Song 484 of 500 'Born to Run' Bruce Springsteen 1974
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
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Pop Song 483 of 500 'Mr. Brightside' The Killers 2003
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
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Pop Song 482 of 500 'Red Right Hand' Nick Cave and the Bad Seeds 1994
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
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Pop Song 481 of 500 'Avril 14th' Aphex Twin 2001
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
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Pop Song 480 of 500 'A beautiful morning' The Rascals 1968
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
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Pop Song 479 of 500 'Radar Love' Golden Earring 1973
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
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Todi Music : Student Recital Ravel Ondine different angle from organizers
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.
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Pop Song 478 of 500 'Don't Give Up' Peter Gabriel Kate Bush 1986
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
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Pop Song 477 of 500 'Nothing else matters' Metallica 1991
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
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Pop Song 476 of 500 'What a wonderful world' Louis Armstrong 1968
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
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Pop Song 475 of 500 'Take the long way home' Supertramp 1978
Pop Song 475 of 500 'Take the long way home' Supertramp 1978
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Pop Song 474 of 500 'Come as you are' Nirvana 1992
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)
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Pop Song 473 of 500 'Smells like teen spirit' Nirvana 1991
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
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1
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Pop Song 472 of 500 'How long will I love you' Ellie Goulding 2013
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
23
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Pop Song 471 of 500 'To be with you' Mr. Big 1991
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
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Pop Song 470 of 500 'Shape of my heart' Sting 1993
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
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Pop Song 469 of 500 'Time after Time' Cyndi Lauper 1983
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
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Pop Song 468 of 500 'Everglow' Coldplay 2014
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
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Pop Song 467 of 500 'Pictures of You' The Cure 1990
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
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