Cyrus Saladin Ming

Pop Song 442 of 500 'Crazy Train' Ozzy Osbourne 1980 The lyrics deal with the subject of the Cold War and the fear of annihilation that existed during this period. All aboard! Ha ha ha ha ha ha haaaa! Ay, ay, ay, ay, ay, ay, ay... Crazy, but that's how it goes Millions of people living as foes Maybe it's not too late To learn how to love and forget how to hate Mental wounds not healing Life's a bitter shame I'm going off the rails on a crazy train I'm going off the rails on a crazy train Let's go! I've listened to preachers, I've listened to fools I've watched all the dropouts who make their own rules One person conditioned to rule and control The media sells it and you live the role Mental wounds still screaming Driving me insane I'm going off the rails on a crazy train I'm going off the rails on a crazy train I know that things are going wrong for me You gotta listen to my words, yeah, yeah! Heirs of a Cold War, that's what we've become Inheriting troubles, I'm mentally numb Crazy, I just cannot bear I'm living with something that just isn't fair Mental wounds not healing Who and what's to blame? I'm going off the rails on a crazy train I'm going off the rails on a crazy train

Pop Song 441 of 500 'Margaritaville' Jimmy Buffet 1976 RIP September 1, 2023 This song was written about a drink Buffett discovered at Lung's Cocina del Sur restaurant (where High 5 is located as of September 2023) at 2700 W. Anderson Lane, Ste 101, in Austin, Texas, and the first huge surge of tourists who descended on Key West, Florida, around that time. He wrote most of the song one night at a friend's house in Austin, and finished it while spending time in Key West. Named for the cocktail margarita, with lyrics reflecting a laid-back lifestyle in a tropical climate, "Margaritaville" has come to define Buffett's music and career. Nibblin' on sponge cake Watchin' the sun bake All of those tourists covered with oil Strummin' my six string on my front porch swing Smell those shrimp They're beginnin' to boil Wasted away again in Margaritaville Searchin' for my lost shaker of salt Some people claim that there's a woman to blame But I know it's nobody's fault Don't know the reason Stayed here all season With nothing to show but this brand new tattoo But it's a real beauty A Mexican cutie, how it got here I haven't a clue Wasted away again in Margaritaville Searchin' for my lost shaker of salt Some people claim that there's a woman to blame Now I think, - hell it could be my fault I blew out my flip flop Stepped on a pop top Cut my heel, had to cruise on back home But there's booze in the blender And soon it will render That frozen concoction that helps me hang on Wasted away again in Margaritaville Searchin' for my lost shaker of salt Some people claim that there's a woman to blame But I know, it's my own damn fault Yes, and some people claim that there's a woman to blame And I know it's my own damn fault

Pop Song 440 of 500 'Working for the weekend' Loverboy 1982 The song originated when guitarist Paul Dean was out walking one Wednesday afternoon, looking for inspiration in his songwriting. He noticed that much of the area was deserted, as most people were at work. "So I'm out on the beach and wondering, 'Where is everybody? Well, I guess they're all waiting for the weekend,'" he later said. Mike Reno, the band's vocalist, suggested they change the title to "Working for the Weekend". According to Dean, he first began writing the song in a hotel room following a Montreal concert. At the time, the band were still playing bars to little response from patrons. After completing the song, they used it to open one set, and Dean recalled that "the dance floor was packed. Everyone's watchin' to see what you will do Everyone's lookin' at you, oh Everyone's wonderin' will you come out tonight? Everyone's tryin' to get it right, get it right Everybody's workin' for the weekend Everybody wants a new romance Everybody's goin' off the deep end Everybody needs a second chance, oh You wanna piece of my heart? You better start from the start You wanna be in the show? Come on baby, let's go! Everyone's lookin' to see if it was you Everyone wants you to come through Everyone's hopin' it'll all work out Everyone's waiting they're holding out Everybody's workin' for the weekend Everybody wants a new romance, hey yeah, hey-hey Everybody's goin' off the deep end Everybody needs a second chance, oh You wanna piece of my heart? You better start from the start You wanna be in the show? Come on baby, let's go! Hey! You wanna piece of my heart? You better start from the start You wanna be in the show? Come on baby, let's go! You wanna piece of my heart? You better start from the start You wanna be in the show? Come on baby, let's go!

Pop Song 439 of 500 'These Are the Days of Our Lives' Queen 1990 WIth my brother, Aurelius on guitar and his friend Jason These Are the Days of Our Lives" is Innuendo's most significant single, given that it was released on Mercury's 45th birthday, and that its video marked the last time his fans were able to see the singer alive, as it was filmed in May of 1991 during the final stages of his battle with AIDS. A ballad in the vein of "Love of My Life," it was a song that carried a significant amount of weight given the frailty of Mercury's appearance in the black-and-white video, later compounded when unreleased colour footage from the filming emerged in Days of Our Lives. Reminiscing on the past, Roger Taylor penned the song as Freddie Mercury's health was deteriorating. As a teenager Taylor had known Mercury since the late 1960s when they worked together at Kensington Market in London before the two (along with Brian May) founded Queen in 1970.[5] The opening chorus in the song reminisces, with "Those were the days of our lives", while the second chorus refers to the present, "Cause these are the days of our lives". I was sitting at home in a rather reflective mood and I did know that Freddie was ill, and I think it came out of that slightly melancholic mood. I guess I was trying to put an optimistic slant on it in a way—those were the days then. And these are the days of our lives—Today is more important than yesterday. — Taylor speaking to Absolute Radio in 2011 In the video, Mercury wears a waistcoat with pictures of cats that was made for him by Queen costume designer Diana Moseley. With his farewell look straight at the camera as the song ends, Mercury whispers "I still love you", directed to his fans, which are his last words on camera.[7][9][10] Video director Dolezal had been told beforehand to keep things speedy due to Mercury's ailing condition, but before shooting wrapped, Mercury requested one more take for the last lyrics of the song: "Those days are gone now but one thing's still true / When I look and I find I still love you". Jordan Runtagh for People writes, "On the last line, he summons all his strength for a final heroic pose before collapsing into himself with a soft laugh. Staring through the camera, he whispers a final "I still love you" before snapping his fingers, walking out of frame with a flourish".[8] Dolezal comments, "In these last few seconds of that song, he gives us a résumé of his whole life: 'I was a big superstar, but don't take it too seriously.' And then, 'I still love you,' which is to the fans. Then he walks out of life. Even in his last moments, he planned his exit artistically. That's how he wanted it to be. Sometimes I get to feelin' I was back in the old days, long ago When we were kids, when we were young Things seemed so perfect, you know The days were endless, we were crazy, we were young The sun was always shinin' We just lived for fun Sometimes it seems like lately I just don't know The rest of my life's been just a show Those were the days of our lives The bad things in life were so few Those days are all gone now, but one thing is true When I look, and I find, I still love you You can't turn back the clock, you can't turn back the tide Ain't that a shame Ooh, I'd like to go back one time on a roller coaster ride When life was just a game No use in sitting and thinkin' on what you did When you can lay back and enjoy it through your kids Sometimes it seems like lately I just don't know Better sit back and go with the flow 'Cause these are the days of our lives They've flown in the swiftness of time These days are all gone now, but some things remain When I look, and I find, no change Those were the days of our lives, yeah The bad things in life were so few Those days are all gone now, but one thing's still true When I look, and I find I still love you I still love you

Guitar Pop Song 21 'I'm on Fire' Bruce Springsteen 1985 Hey, little girl, is your daddy home? Did he go away and leave you all alone? I got a bad desire Oh-oh-oh, I'm on fire Tell me now, baby, is he good to you And can he do to you the things that I do? Oh no, I can take you higher Oh-oh-oh, I'm on fire Sometimes it's like someone took a knife, baby, edgy and dull And cut a six-inch valley through the middle of my skull At night, I wake up with the sheets soaking wet And a freight train running through the middle of my head Only you can cool my desire Oh-oh-oh, I'm on fire Oh-oh-oh, I'm on fire Oh-oh-oh, I'm on fire

Guitar Pop Song 19 'Diamante' Zucchero 1990 P 2 of 2 English version Todi ItalyTodi, Italy at Piano Festival http://www.todimusicmasters.com/ My piano version https://www.youtube.com/watch?v=Z_PAFbN2WtI&t=0s https://theitaliansong.com/songs/diam... English translation here For my father's friend Tania Giovanetti who taught him this song. First attempt at Italian Part 2 in another video is the English version Zucchero dedicated (written by De Gregori) this song to his grandmother, whose name was Diamante. The Lyric speaks about the end of World War II. He pictures his grandparents and their families who find themselves in their native village, with a pile of rubble. It 's a Sunday morning, Zucchero underlines the hard work of the men who must rebuild after the war (make flourish the snowfields) their lives. Note the line: "soldiers and wives" as men in those times used to go for wedding in their uniforms as it was the only smart dress they could wear.. The song ends with the sadness of his grandfather (Adelmo), who tell himself he must be strong, as " big kids do not cry", and the voice of his grandmother calling him to come back from the war and start again together in Emilian dialect: "Delmo, Delmo, vin'a cà .. Where do I go, when part of me is dying? Somewhere they're baking new bread There's peace in my life. I'll be the rain, and you'll be heaven crying And my eyes will be filled with flowers Upon the snowfields of white. And we will learn to walk together Oh hand in hand, we'll walk together Domenica. Waiting for you, I'll drink a glass of wine My heart will explode again And we'll be larger than life Time in the distance, will bring me to your side From high up in heaven, diamante We'll see peace with our eyes. We'll see them walking, the brides and soldiers Find more lyrics at ※ Mojim.com Dancing the dark, they melt together Against the twilight And all together we'll lift our voices Singing the time, to play at soldiers is gone forever Domenica. Fai piano i bimbi grandi non piangono Fai piano i bimbi grandi non piangono Fai piano i bimbi grandi non piangono We'll see them walking, the brides and soldiers Dancing the dark, they melt together Against the twilight And all together we'll lift our voices Singing the time, to play at soldiers is gone forever Domenica.

Guitar Pop Song 20 'Three Little Birds' Bob Marley 1977 Last day in Italy Tony Gilbert, a long time friend of Marley, was present at the time he was writing the song and elaborated, "Bob got inspired by a lot of things around him, he observed life. I remember the three little birds. They were pretty birds, canaries, who would come by the windowsill at Hope Road." However, three female singers from the reggae group I Threes who did shows with Marley claim it is a reference to them. Don't worry, about a thing 'Cause every little thing, gonna be all right Singin', don't worry, about a thing 'Cause every little thing, gonna be all right Rise up this mornin' Smile with the risin' sun Three little birds Pitched by my doorstep Singin' sweet songs Of melodies pure and true Sayin', "This is my message to you, whoo-hoo" Singin', don't worry, about a thing 'Cause every little thing, is gonna be all right Singin', don't worry, don't worry 'bout a thing 'Cause every little thing, gonna be all right Rise up this mornin' Smile with the risin' sun Three little birds Pitched by my doorstep Singin' sweet songs Of melodies pure and true Sayin', "This is my message to you, whoo-hoo" Singin', don't worry, about a thing Worry about a thing, no Every little thing, gonna be all right Don't worry Singin', don't worry, about a thing I won't worry! 'Cause every little thing, gonna be alright Hmm, don't worry, about a thing 'Cause a every little thing, gonna be all right I won't worry Baby don't worry, about a thing 'Cause every little thing, is gonna be all right Say, don't worry about a thing, no girl 'Cause every little thing gonna be all right

Guitar Pop Song 18 'Diamante' Zucchero 1990 P 1 of 2 'Italian version Todi Italy Todi, Italy at Piano Festival http://www.todimusicmasters.com/ My piano version https://www.youtube.com/watch?v=knr5ZI30dq8&t=0s • Zucchero - Diamante https://www.youtube.com/watch?v=jlp3APIK7SA&t=3s https://theitaliansong.com/songs/diam... English translation here For my father's friend Tania Giovanetti who taught him this song. First attempt at Italian Part 2 in another video is the English version Zucchero dedicated (written by De Gregori) this song to his grandmother, whose name was Diamante. The Lyric speaks about the end of World War II. He pictures his grandparents and their families who find themselves in their native village, with a pile of rubble. It 's a Sunday morning, Zucchero underlines the hard work of the men who must rebuild after the war (make flourish the snowfields) their lives. Note the line: "soldiers and wives" as men in those times used to go for wedding in their uniforms as it was the only smart dress they could wear.. The song ends with the sadness of his grandfather (Adelmo), who tell himself he must be strong, as " big kids do not cry", and the voice of his grandmother calling him to come back from the war and start again together in Emilian dialect: "Delmo, Delmo, vin'a cà .. Respirerò, l’odore dei granai e pace per chi ci sarà e per i fornai pioggia sarò e pioggia tu sarai i miei occhi si chiariranno e fioriranno i nevai impareremo a camminare per mano insieme a camminare domenica. Aspetterò che aprano i vinai più grande ti sembrerò e tu più grande sarai nuove distanze ci riavvicineranno dall’alto di un cielo, Diamante, i nostri occhi vedranno passare insieme soldati e spose ballare piano in controluce moltiplicare la nostra voce per mano insieme soldati e spose. Domenica, Domenica. Fai piano i bimbi grandi non piangono fai piano i bimbi grandi non piangono fai piano i bimbi grandi non piangono Passare insieme soldati e spose ballare piano in controluce moltiplicare la nostra voce passare in pace soldati e spose. “Delmo, Delmo vin a’ cà!”

Pop Song 438 of 500 'Under the Bridge' Red Hot Chili Peppers 1991 During the production of the Red Hot Chili Peppers' 1991 album Blood Sugar Sex Magik, producer Rick Rubin regularly visited singer Anthony Kiedis to review his new material. He found a poem titled "Under the Bridge" in Kiedis's notebook and took an interest in the poignant lyrics. Rubin suggested that Kiedis show it to the rest of the band: "I thought it was beautiful. I said, 'We've got to do this.'" Kiedis was reluctant, as he felt the poem was too emotional and did not fit the Chili Peppers' style. After singing the poem to guitarist John Frusciante and drummer Chad Smith, they "got up and walked over to their instruments and started finding the beat and guitar chords to match it".[6] Frusciante chose the chords to balance the dark lyrics, saying "I thought if the lyrics are really sad like that I should write some chords that are happier" Kiedis wrote many of the lyrics during a period of depression. After struggling with heroin and cocaine addiction, he had been sober for roughly three years. He felt that this had distanced him from his bandmates, who continued to use marijuana together; Kiedis felt that Frusciante was "no longer in [his] world".[5] Driving home after rehearsal in April 1991, Kiedis thought of his addiction during his relationship with his former girlfriend Ione Skye. He wrote in his 2004 memoir Scar Tissue: "The loneliness that I was feeling triggered memories of my time with Ione and how I'd had this beautiful angel of a girl who was willing to give me all of her love, and instead of embracing that, I was downtown with fucking gangsters shooting speedballs under a bridge." Kiedis's alienation led him to feel that the city of Los Angeles was his only companion, and that "there was a nonhuman entity, maybe the spirit of the hills and the city, who had me in her sights and was looking after me". One verse discusses the harsh effects of drugs, their role in destroying Kiedis's relationships, and their impact on his happiness. The verse recounts his experience entering gang territory under a bridge to purchase drugs; to gain access, Kiedis pretended that a sister of one of the gang members was his fiancée. Kiedis wrote that this was one of his lowest moments, as it demonstrated the level to which he was willing to sink for his addiction. Sometimes I feel like I don't have a partner Sometimes I feel like my only friend Is the city I live in, the city of angels Lonely as I am, together we cry I drive on her streets 'cause she's my companion I walk through her hills 'cause she knows who I am She sees my good deeds and she kisses me windy Well, I never worry, now that is a lie I don't ever want to feel like I did that day Take me to the place I love, take me all the way I don't ever want to feel like I did that day Take me to the place I love, take me all the way Yeah, yeah, yeah It's hard to believe that there's nobody out there It's hard to believe that I'm all alone At least I have her love, the city she loves me Lonely as I am, together we cry And I don't ever want to feel like I did that day Take me to the place I love, take me all the way Well, I don't ever want to feel like I did that day Take me to the place I love, take me all the way Yeah, yeah, yeah, yeah Oh, no, no, no, yeah, yeah Love me, I said yeah, yeah One time (Under the bridge downtown) Is where I drew some blood (Under the bridge downtown) I could not get enough (Under the bridge downtown) Forgot about my love (Under the bridge downtown) I gave my life away Yeah, yeah, yeah, yeah (ooh) Oh, no, no, no, yeah, yeah I said oh, yeah, yeah Where I'll stay (ooh)

Pop Song 437 of 500 'Ironic' Alanis Morissette 1995 "Ironic" was written by Alanis Morissette and Glen Ballard, and produced by the latter for her third studio album, Jagged Little Pill (1995).In an interview with Christopher Walsh of Billboard, Ballard explained how he and Morissette met, and how "Ironic" was written. He commented: "I'm telling you, within 15 minutes we were at it—just writing. 'Ironic' was the third song we wrote. Oh God, we were just having fun. I thought 'I don't know what this is—what genre it is—who knows? It's just good' An old man turned 98 He won the lottery and died the next day It's a black fly in your Chardonnay It's a death row pardon two minutes too late And isn't it ironic, don't you think? It's like rain on your wedding day It's a free ride when you've already paid It's the good advice that you just didn't take And who would've thought, it figures Mr. Play It Safe was afraid to fly He packed his suitcase and kissed his kids goodbye He waited his whole damn life to take that flight And as the plane crashed down, he thought "Well, isn't this nice?" And isn't it ironic, don't you think? It's like rain on your wedding day It's a free ride when you've already paid It's the good advice that you just didn't take And who would've thought, it figures Well, life has a funny way of sneaking up on you When you think everything's okay and everything's going right And life has a funny way of helping you out When you think everything's gone wrong and everything blows up In your face A traffic jam when you're already late A no-smoking sign on your cigarette break It's like ten thousand spoons when all you need is a knife It's meeting the man of my dreams And then meeting his beautiful wife And isn't it ironic, don't you think? A little too ironic And, yeah, I really do think It's like rain on your wedding day It's a free ride when you've already paid It's the good advice that you just didn't take And who would've thought, it figures And, yeah, life has a funny way of sneaking up on you Life has a funny, funny way of helping you out Helping you out

Pop Song 436 of 500 'Holding Back the Years' Simply Red 1985 Thanks to the channel The Professor of Rock for this meaningful song. The group's frontman Mick Hucknall wrote the song when he was 17, while living at his father's house. In a 2018 interview, Hucknall said the song was inspired by a member of the teaching staff at Manchester School of Art, where Hucknall was a fine-art student: the lecturer suggested the greatest paintings are produced when the artist is working in a stream of consciousness, which Hucknall then tried to apply to songwriting – "Holding Back the Years" was the second song he wrote using this method. The song's writing credits are shared between Hucknall and Neil Moss, a friend and member of Hucknall's first group, the Frantic Elevators. However, according to Hucknall, Moss did not co-write the song, but the credit was added "to remember the great times we had" as the pair had written so many other songs together.[4] The song was first performed by the Frantic Elevators. The song's "I'll keep holding on" chorus was not added until many years later, after the band had split and Hucknall had formed Simply Red. Hucknall's mother left the family when he was three: the upheaval caused by this event inspired him to write the song.[8] However, according to Hucknall, he did not realize what the song was about until it was finished: he characterized it as a song "about that moment where you know you have to leave home and make your mark, but the outside world is scary. So you’re holding back the years". He said that the line "Strangled by the wishes of pater" was inspired by arguments he had with his father: according to Hucknall, the two clashed often during his teenage years "because there was no woman to act as referee". Holdin' back the years Thinkin' of the fear I've had so long When somebody hears Listen to the fear that's gone Strangled by the wishes of pater Hopin' for the arms of mater Get to me the sooner or later Oh-oh Holdin' back the years Chance for me to escape from all I've known Holdin' back the tears 'Cause nothing here has grown I've wasted all my tears Wasted all those years Nothing had the chance to be good Nothing ever could, yeah Oh-oh, well I'll keep holdin' on I'll keep holdin' on I'll keep holdin' on I'll keep holdin' on So tight Alright Oh, now Well, I've wasted all my tears Wasted all of those years And nothing had the chance to be good 'Cause nothing ever could, oh yeah Oh I'll keep holdin' on I'll keep holdin' on I'll keep holdin' on I'll keep holdin' on Holdin', holdin, holdin' on La-la-la-la-la-la I said, "Ooh, yeah" That's all I have today It's all I have to say

Pop Song 435 of 500 'Tears in Rain' Vangelis 1982 Film Blade Runner Tears in rain" is a 42-word monologue, consisting of the last words of character Roy Batty (portrayed by Rutger Hauer) in the 1982 Ridley Scott film Blade Runner. Written by David Peoples and altered by Hauer,[ the monologue is frequently quoted. Critic Mark Rowlands described it as "perhaps the most moving death soliloquy in cinematic history", and it is commonly viewed as the defining moment of Hauer's acting career. Hauer's chair from the film's production The monologue is near the conclusion of Blade Runner, in which detective Rick Deckard (played by Harrison Ford) has been ordered to track down and kill Roy Batty, a rogue artificial "replicant". During a rooftop chase in heavy rain, Deckard misses a jump and hangs on to the edge of a building by his fingers, about to fall to his death. Batty turns back and lectures Deckard briefly about how the tables have turned, but pulls him up to safety at the last instant. Recognizing that his limited lifespan is about to end, Batty further addresses his shocked nemesis, reflecting on his own experiences and mortality, with dramatic pauses between each statement: I've seen things you people wouldn't believe... Attack ships on fire off the shoulder of Orion... I watched C-beams glitter in the dark near the Tannhäuser Gate. All those moments will be lost in time, like tears in rain... Time to die. In the documentary Dangerous Days: Making Blade Runner, Hauer, director Ridley Scott, and screenwriter David Peoples confirm that Hauer significantly modified the speech. In his autobiography, Hauer said he merely cut the original scripted speech by several lines, adding only, "All those moments will be lost in time, like tears in rain".[8] One earlier version in Peoples' draft screenplays was: I've known adventures, seen places you people will never see, I've been Offworld and back… frontiers! I've stood on the back deck of a blinker bound for the Plutition Camps with sweat in my eyes watching stars fight on the shoulder of Orion... I've felt wind in my hair, riding test boats off the black galaxies and seen an attack fleet burn like a match and disappear. I've seen it, felt it...! And, the original script, before Hauer's rewrite, was: I've seen things... seen things you little people wouldn't believe. Attack ships on fire off the shoulder of Orion bright as magnesium... I rode on the back decks of a blinker and watched C-beams glitter in the dark near the Tannhäuser Gate. All those moments... they'll be gone. Hauer described this as "opera talk" and "hi-tech speech" with no bearing on the rest of the film, so he "put a knife in it" the night before filming, without Scott's knowledge. After filming the scene with Hauer's version, crew-members applauded, with some even in tears.[6] In an interview with Dan Jolin, Hauer said that these final lines showed that Batty wanted to "make his mark on existence ... the replicant in the final scene, by dying, shows Deckard what a real man is made of".

Todi Music Festival Day 16: My performance Beethoven Concerto 4 Mvt 1 http://www.todimusicmasters.com/

Pop Song 432 of 500 'Black' Pearl Jam 1991 Vocalist Eddie Vedder on the song's lyrics: Pearl Jam's Eddie Vedder had been a fan of American Music Club for years. Pearl Jam's song 'Black', Melody Maker's Allan Jones maintains, "couldn't have been written without AMC's songs as an example. 'Black' doesn't quote directly from 'Western Sky,' but it paraphrases the line 'Please be happy baby' where Vedder sings in a very Eitzel way, 'I hope someday you'll have a beautiful life'." Vedder confirmed Jones' interpretation when they first met. "Oh yes, nobody ever picked up on that," the singer told him. "It is American Music Club, but I'm surprised that anyone here has even heard of them."[6] In the 2011 book Pearl Jam Twenty, Vedder said about the meaning of the song: It's about first relationships. The song is about letting go. It's very rare for a relationship to withstand the Earth's gravitational pull and where it's going to take people and how they're going to grow. I've heard it said that you can't really have a true love unless it was a love unrequited. It's a harsh one, because then your truest one is the one you can't have forever. Hey-hey-hey Yeah-ah Sheets of empty canvas, untouched sheets of clay Were laid spread out before me, as her body once did All five horizons revolved around her soul as the Earth to the Sun Now the air I tasted and breathe has taken a turn Mmm, and all I taught her was everything Mmm-hmm, I know she gave me all that she wore And now my bitter hands chafe beneath the clouds Of what was everything All the pictures had all been washed in black Tattooed everything I take a walk outside I'm surrounded by some kids at play I can feel their laughter So why do I sear? Mmm, and twisted thoughts that spin 'round my head I'm spinning, oh-oh, I'm spinning How quick the Sun can drop away? And now my bitter hands cradle broken glass Of what was everything All the pictures have all been washed in black Tattooed everything All the love gone bad turned my world to black Tattooed all I see, all that I am All I'll be, yeah-yeah Oh-oh, oh-oh, ooh I know someday you'll have a beautiful life I know you'll be a star in somebody else's sky But why, why, why can't it be Oh, can't it be mine? Ooh Ah, yeah Ah, ooh-ooh Doo-doo-doo-doo, doo-doo-doo

Pop Song 433 of 500 'Spicks and Specks' Bee Gees 1966 He particularly misses the girls he loved and who were on his mind, and reflects on the disappearance of their presence in his life. He expresses his sadness in the chorus and conclusion by repeating "Spicks and specks," which symbolize the little bits of joy he had in his life. Where is the sun That shone on my head The sun in my life It is dead It is dead Where is the light That would play In my streets And where are the friends I could meet I could meet Where are the girls I left all behind The spicks and the specks Of the girls on my mind Where is the sun That shone on my head The sun in my life It is dead It is dead Where are the girls I left all behind The spicks and the specks Of the girls on my mind Where are the girls I left all behind The spicks and the specks Of the girls on my mind Where is the girl i loved All along The girl that i loved She's gone She's gone All of my life I call yesterday The spicks and the specks Of my life 've gone away All of my life I call yesterday The spicks and the specks Of my life 've gone away Spicks and specks! Spicks and specks!

Pop Song 431 'LA Woman' The Doors 1971 "L.A. Woman" has been viewed as Morrison's "final goodbye" to Los Angeles, before his move to Paris, France.[10] The song's lyrics draw inspiration from John Rechy's transgressive novel City of Night, published in 1963,[11][12] while its title is expressed as a metaphor, personifying L.A. (Los Angeles) as a woman.[4] In author Melissa Ursula Dawn Goldsmith's description, it is also used to describe the city's topography and atmosphere.[13] In the bridge, Morrison repeats the phrase "Mr. Mojo Risin'," which is an anagram of his name "Jim Morrison Well, I just got into town about an hour ago Took a look around, see which way the wind blow Where the little girls in their Hollywood bungalows Are you a lucky little lady in the City of Light? Or just another lost angel? City of Night, City of Night City of Night, City of Night L.A. woman, L.A. woman L.A. woman, Sunday afternoon L.A. woman, Sunday afternoon L.A. woman, Sunday afternoon Drive through your suburbs Into your blues, into your blues, yeah Into your blues, into your blues! I see your hair is burning Hills are filled with fire If they say I never loved you You know they are a liar Driving down your freeways Midnight alleys roam Cops in cars, the topless bars Never saw a woman so alone So alone, so alone, so alone Motel money murder-madness Let's change the mood from glad to sadness Mr. Mojo Risin', Mr. Mojo Risin' Mr. Mojo Risin', Mr. Mojo Risin' Got to keep on risin' Mr. Mojo Risin', Mr. Mojo Risin' Mojo Risin', gotta Mojo Risin' Mr. Mojo Risin', gotta keep on risin' Risin', risin' Gone risin', risin' I'm gone risin', risin' I gotta risin', risin' Well, risin', risin' I gotta, wooo, yeah, risin' Whoa, oh yeah Well, I just got into town about an hour ago Took a look around, see which way the wind blow Where the little girls in their Hollywood bungalows Are you a lucky little lady in The City of Lights? Or just another lost angel? City of Night, City of Night City of Night, City of Night, whoa, c'mon L.A. Woman, L.A. Woman L.A. Woman, you're my woman Little L.A. Woman, Little L.A. Woman L.A. L.A. Woman Woman L.A. Woman c'mon

Pop Song 430 of 500 'Suspicious Minds' Mark James 1968 (Elvis made famous) Suspicious Minds" is a 1968 song written and first recorded by the American songwriter Mark James. After this recording failed commercially, it was recorded by Elvis Presley with the producer Chips Moman. Presley's version reached No.1 on the US Billboard Hot 100 The song is about a mistrusting and dysfunctional relationship, and the need of the characters to overcome their issues in order to maintain it.[1] Written in 1968 by Mark James,[2] who was also the co-writer of "Always on My Mind" (which Presley would later record), James said that late one night, he was fooling around on his Fender guitar and using his Hammond organ pedals for a bass line and came up with what he thought was a catchy melody. At the time, he was married to his first wife but still had feelings for his childhood sweetheart, who was married back in Houston. James's wife had suspicions about his feelings. He felt it was a confusing time for him and that all three were "caught in this trap that they could not walk out of." We're caught in a trap I can't walk out Because I love you too much, baby Why can't you see What you're doing to me When you don't believe a word I say? We can't go on together With suspicious minds (suspicious minds) And we can't build our dreams On suspicious minds So if an old friend I know Stops by to say hello Would I still see suspicion in your eyes? Here we go again Asking where I've been You can't see the tears are real, I'm crying (Yes I'm crying) We can't go on together With suspicious minds (suspicious minds) And we can't build our dreams On suspicious minds Oh, let our love survive I'll dry the tears from your eyes Let's don't let a good thing die When honey, you know I've never lied to you Hum (ye, ye) We're caught in a trap I can't walk out Because I love you too much, baby Why can't you see What you're doing to me When you don't believe a word I say? Well, don't you know I'm caught in a trap? I can't walk out Because I love you too much, baby Well, don't you know I'm caught in a trap? I can't walk out Because I love you too much, baby Don't you know I'm caught in a trap? I can't walk out Because I love you too much, baby Well, don't you know I'm caught in a trap? I can't walk out Because I love you too much, baby Well, don't you know I'm caught in a trap? I can't walk out Because I love you too much, baby Well, don't you know I'm caught in a trap? I can't walk out Because I love you too much, baby

Pop Song 428 of 500 'I Melt with You' Modern English 1982 The band's vocalist, Robbie Grey, described England at the time of the song's writing to be a bleak place, due to an ongoing economic downturn: "There was no money. There'd be no power—you'd be at home with candles."[4] These conditions and his fears of a nuclear war inspired "I Melt with You". The song depicts a couple making love while an atomic bomb is dropped. In an interview, he described the song as a "love song", but more about the "good and bad in people [...] The last thing we wanted was to write a song where boy meets girl, they go to the cinema and make love, and that's the end of it." Musically, the song came together in the band's rehearsal space in London while recording their second album, After the Snow. Producer Hugh Jones encouraged Grey to softly sing the vocal track, as opposed to his natural inclination to shout. He subsequently employed a softer vocal technique on the rest of the album.The original 4:11 album version features no call-and-response vocals in the second verse, and features a synthesizer break that begins at the second chorus. The more commonly known version of the song is the 3:50 single mix, in which the synthesizer riff is audible during the first chorus, an octave lower than on subsequent choruses, along with contrasting background vocals in the second verse - "You should know better" sung before "Dream of better lives...," etc. Eight bars from the instrumental break after the second chorus are cut in the single version, such that only the second rendering of the line "the future's...open wide" (lyrics sung twice on the album version) is present and the guitar riff leading up to this line thus fades in a bit more abruptly, accounting for the time difference between the album and single versions. The latter version was mixed down to mono from its original stereo recording. While both the album and single versions have circulated on radio, the true stereo mix of the single version has rarely been available since Moving forward using all my breath Making love to you was never second best I saw the world crashing all around your face Never really knowing it was always mesh and lace I'll stop the world and melt with you You've seen the difference and it's getting better all the time There's nothing you and I won't do I'll stop the world and melt with you (You should know better) Dream of better lives the kind which never hate (You should see why) Dropped in the state of imaginary grace (You should know better) I made a pilgrimage to save this human race (You should see why) Never comprehending the race was long, long lost (I'll stop the world) I'll stop the world and melt with you (I'll stop the world) You've seen the difference and it's getting better all the time (Let's stop the world) There's nothing you and I won't do (Let's stop the world) I'll stop the world and melt with you The future's open wide (Let's stop the world) I'll stop the world and melt with you (Let's stop the world) I've seen some changes but it's getting better all the time (Let's stop the world) There's nothing you and I won't do (Let's stop the world) I'll stop the world and melt with you The future's open wide I'll stop the world and melt with you (Let's stop the world) You've seen the difference and it's getting better all the time (Let's stop the world) There's nothing you and I won't do (Let's stop the world) I'll stop the world and melt with you (Let's stop the world) I'll stop the world and melt with you (Let's stop the world) I'll stop the world and melt with you (Let's stop the world) I'll stop the world and melt with you (Let's stop the world)

Pop Song 425 of 500 'Stairway to Heaven' Led Zeppelin 1971 The song originated in 1970 when Jimmy Page and Robert Plant were spending time at Bron-Yr-Aur, a remote cottage in Wales, following Led Zeppelin's fifth American concert tour. According to Page, he wrote the music "over a long period, the first part coming at Bron-Yr-Aur one night". Page always kept a cassette recorder around, and the idea for "Stairway to Heaven" came together from bits of taped music. The first attempts at lyrics, written by Robert Plant next to an evening log fire at Headley Grange, were partly spontaneously improvised and Page claimed, "a huge percentage of the lyrics were written there and then". Jimmy Page was strumming the chords, and Robert Plant had a pencil and paper. There's a lady who's sure All that glitters is gold And she's buying a stairway to heaven When she gets there she knows If the stores are all closed With a word she can get what she came for Ooh ooh ooh ooh ooh And she's buying a stairway to heaven There's a sign on the wall But she wants to be sure 'Cause you know, sometimes words have two meanings In a tree by the brook There's a songbird who sings Sometimes all of our thoughts are misgiven Ooh, it makes me wonder Ooh, it makes me wonder There's a feeling I get When I look to the west And my spirit is crying for leaving In my thoughts I have seen Rings of smoke through the trees And the voices of those who stand looking Ooh, it makes me wonder Ooh, it really makes me wonder And it's whispered that soon If we all call the tune Then the piper will lead us to reason And a new day will dawn For those who stand long And the forests will echo with laughter Oh whoa-whoa-whoa, oh-oh If there's a bustle in your hedgerow, don't be alarmed now It's just a spring clean for the May Queen Yes, there are two paths you can go by, but in the long run And there's still time to change the road you're on And it makes me wonder Oh, whoa Your head is humming and it won't go In case you don't know The piper's calling you to join him Dear lady, can you hear the wind blow? And did you know Your stairway lies on the whispering wind? And as we wind on down the road Our shadows taller than our soul There walks a lady we all know Who shines white light and wants to show How everything still turns to gold And if you listen very hard The tune will come to you at last When all are one and one is all, yeah To be a rock and not to roll And she's buying a stairway to heaven

Pop Song 426 of 500 'Fade into you' Mazzy Star 1993 Fade into You" is a song by American alternative rock band Mazzy Star from their second studio album, So Tonight That I Might See (1993). The song was written by lyricist Hope Sandoval and composer David Roback, who also served as producer. I wanna hold the hand inside you I wanna take the breath that's true I look to you and I see nothing I look to you to see the truth You live your life, you go in shadows You'll come apart and you'll go blind Some kind of night into your darkness Colors your eyes with what's not there Fade into you Strange, you never knew Fade into you I think it's strange you never knew A stranger light comes on slowly A stranger's heart without a home You put your hands into your head And then smiles cover your heart Fade into you Strange, you never knew Fade into you I think it's strange you never knew Fade into you Strange, you never knew Fade into you I think it's strange you never knew I think it's strange you never knew

Pop Song 427 of 500 'End of the World' Skeeter Davis 1962 Pop song written by composer Arthur Kent and lyricist Sylvia Dee, who often worked as a team. They wrote the song for American singer Skeeter Davis, and her recording of it was highly successful in the early 1960s, reaching the top five on four different charts, including No. 2 on the main Billboard Hot 100. It spawned many cover versions "The End of the World" is a sad song about the aftermath of a romantic breakup. Dee, the lyricist, said she drew on her sorrow from her father's death to set the mood for the song Why does the sun go on shining? Why does the sea rush to shore? Don't they know it's The End of the World Cause you don't love me any more Why do the birds go on singing? Why do the stars glow above? Don't they know it's The End of the World It ended when I lost your love I wake up in the morning and I wonder Why everything's the same as it was I can't understand, no, I can't understand How life goes on the way it does Why does my heart go on beating Why do these eyes of mine cry Don't they know it's the end of the world It ended when you said goodbye Why does my heart go on beating Why do these eyes of mine cry Don't they know it's the end of the world It ended when you said goodbye

Pop Song 429 of 500 'Dancing Queen' ABBA 1975 "Dancing Queen" is a Europop and disco song by the Swedish group ABBA, released as the lead single from their fourth studio album, Arrival (1976). It was written by Benny Andersson, Björn Ulvaeus and Stig Anderson.[1] Andersson and Ulvaeus also produced the song. "Dancing Queen" Ooh You can dance, you can jive Having the time of your life Ooh, see that girl, watch that scene Digging the dancing queen Friday night and the lights are low Looking out for a place to go Where they play the right music Getting in the swing You come to look for a king Anybody could be that guy Night is young and the music's high With a bit of rock music, everything is fine You're in the mood for a dance And when you get the chance You are the dancing queen Young and sweet, only seventeen Dancing queen Feel the beat from the tambourine, oh yeah You can dance, you can jive Having the time of your life Ooh, see that girl, watch that scene Digging the dancing queen You're a teaser, you turn 'em on Leave 'em burning and then you're gone Looking out for another, anyone will do You're in the mood for a dance And when you get the chance You are the dancing queen Young and sweet, only seventeen Dancing queen Feel the beat from the tambourine, oh yeah You can dance, you can jive Having the time of your life Ooh, see that girl, watch that scene Digging the dancing queen Digging the dancing queen

Pop Song 422 of 500 "Who'll stop the rain?' Creedence Clearwater Revival 1970 Lyrically, "Who'll Stop the Rain" breaks into three verses, with a historical, recent past, and present tense approach. All three verses allude to a sense of unending malaise, pondered by "good men through the ages", "Five Year Plans and New Deals/wrapped in golden chains", and the Woodstock generation. Interpreting the song in its time period (1970), and the resigned but somewhat angry feeling of the song, many see "Who'll Stop the Rain" as a thinly veiled protest against the Vietnam War, with the final verse lyrics and its references to music, large crowds, rain, and crowds trying to keep warm being about the band's experience at the Woodstock Festival in August 1969. In 2007 during a concert in Shelburne, Vermont, he said the following about the song: Well, this next song has a bit of a fable surrounding it. A lot of folks seem to think I sang this song at Woodstock way back then. No. I was at Woodstock 1969. I think. It was a nice event. I'm a California kid. I went up there and saw a whole bunch of really nice young people. Hairy. Colorful. It started to rain, and got really muddy, and then half a million people took their clothes off! Boomer generation making its presence known, I guess. Anyway, then I went home and wrote this song. Long as I remember the rain been comin' down Clouds of mystery pourin' confusion on the ground Good men through the ages tryin' to find the sun And I wonder, still I wonder, who'll stop the rain? I went down Virginia, seekin' shelter from the storm Caught up in the fable, I watched the tower grow Five Year Plans and New Deals, wrapped in golden chains And I wonder, still I wonder, who'll stop the rain? Heard the singers playin', how we cheered for more The crowd had rushed together, tryin' to keep warm Still the rain kept pourin', fallin' on my ears And I wonder, still I wonder, who'll stop the rain?

Pop Song 423 of 500 'Knockin' on Heaven's Door' Bob Dylan 1973 "Knockin' on Heaven's Door" is a song by American singer-songwriter Bob Dylan, written for the soundtrack of the 1973 film Pat Garrett and Billy the Kid. Released as a single two months after the film's premiere, it became a worldwide hit, reaching the Top 10 in several countries. The song became one of Dylan's most popular and most covered post-1960s compositions, spawning covers from Eric Clapton, Guns N' Roses, Randy Crawford, and more. Described by Dylan biographer Clinton Heylin as "an exercise in splendid simplicity", the song features two short verses, the lyrics of which comment directly on the scene in the film for which it was written: the death of a frontier lawman (Slim Pickens) who refers to his wife (Katy Jurado) as "Mama Mama, take this badge off of me I can't use it anymore It's gettin' dark, too dark to see Feel I'm knockin' on Heaven's door Knock, knock, knockin' on Heaven's door Knock, knock, knockin' on Heaven's door Knock, knock, knockin' on Heaven's door Knock, knock, knockin' on Heaven's door Mama, put my guns in the ground I can't shoot them anymore That long black cloud is comin' down I feel I'm knockin' on Heaven's door Knock, knock, knockin' on Heaven's door Knock, knock, knockin' on Heaven's door Knock, knock, knockin' on Heaven's door Knock, knock, knockin' on Heaven's door