Cyrus Saladin Ming

Pop Song 424 of 500 'Have You Ever Seen the Rain?' Creedence Clearwater Revival 1971 In his review for AllMusic, Mark Deming suggests that the song is about the idealism of the 1960s and about how it faded in the wake of events such as the Altamont Free Concert and the Kent State shootings, and that Fogerty is saying that the same issues of the 1960s still existed in the 1970s but that people were no longer fighting for them. However, Fogerty himself has said in interviews and prior to playing the song in concert that it is about rising tension within CCR and the imminent departure of his brother Tom from the band. In an interview, Fogerty stated that the song was written about the fact that they were on the top of the charts, and had surpassed all of their wildest expectations of fame and fortune. They were rich and famous, but somehow all of the members of the band at the time were depressed and unhappy; thus the line "Have you ever seen the rain, coming down on a sunny day?". The band split up in October the following year after the release of the album Mardi Gras. In a literal sense, the song describes a sunshower, such as in the lyric "It'll rain a sunny day" and the chorus, "Have you ever seen the rain, comin' down on a sunny day?" These events are particularly common in Louisiana, Mississippi, Florida, Georgia, South Carolina, and Alabama, but less common in other parts of the United States, due to localized atmospheric wind shear effects. Someone told me long ago There's a calm before the storm I know, it's been comin' for some time When it's over, so they say It'll rain on a sunny day I know, shining down like water I wanna know, have you ever seen the rain? I wanna know, have you ever seen the rain Comin' down on a sunny day? Yesterday and days before Sun is cold and rain is hard I know, been that way for all my time 'Til forever on it goes Through the circle, fast and slow I know, it can't stop, I wonder I wanna know, have you ever seen the rain? I wanna know, have you ever seen the rain Comin' down on a sunny day? Yeah! I wanna know, have you ever seen the rain? I wanna know, have you ever seen the rain Comin' down on a sunny day?

Pop Song 421 of 500 'Don't Look Back in Anger' Oasis 1996 "Of the character "Sally" referred to in the song, he commented, "I don't actually know anybody called Sally. It's just a word that fit, y'know, might as well throw a girl's name in there." He explained the song by saying, "It's about not being upset about the things you might have said or done yesterday, which is quite appropriate at the moment. It's about looking forward rather than looking back. I hate people who look back on the past or talk about what might have been." Slip inside the eye of your mind Don't you know you might find A better place to play You said that you'd never been But all the things that you've seen Will slowly fade away So I start a revolution from my bed 'Cause you said the brains I had went to my head Step outside, summertime's in bloom Stand up beside the fireplace Take that look from off your face You ain't ever gonna burn my heart out And so Sally can wait She knows its too late as we're walking on by Her soul slides away "But don't look back in anger" I heard you say Take me to the place where you go Where nobody knows if it's night or day Please don't put your life in the hands Of a Rock n' Roll band Who'll throw it all away Gonna start a revolution from my bed 'Cause you said the brains I had went to my head Step outside 'cause summertime's in bloom Stand up beside the fireplace Take that look from off your face 'Cause you ain't ever gonna burn my heart out And so Sally can wait She knows its too late as she's walking on by My soul slides away "But don't look back in anger" I heard you say So Sally can wait She knows its too late as we're walking on by Her soul slides away "But don't look back in anger" I heard you say So Sally can wait She knows its too late as she's walking on by My soul slides away "But don't look back in anger, don't look back in anger" I heard you say At least not today

Pop Song 417 of 500 'Leader of the Band' Dan Fogelberg 1981 Please watch Dan explain the song he wrote to his dying father and here him sing it https://www.bilibili.com/video/BV1Qz4... An only child alone and wild A cabinetmaker's son His hands were meant For different work And his heart was known to none He left his home and went his lone And solitary way And he gave to me a gift I know I never can repay A quiet man of music Denied a simpler fate He tried to be a soldier once But his music wouldn't wait He earned his love through discipline A thundering, velvet hand His gentle means of sculpting souls Took me years to understand The leader of the band is tired And his eyes are growing old But his blood runs through my instrument And his song is in my soul My life has been a poor attempt To imitate the man I'm just a living legacy To the leader of the band My brothers' lives were different For they heard another call One went to Chicago And the other to St. Paul And I'm in Colorado When I'm not in some hotel Living out this life I've chose And come to know so well I thank you for the music And your stories of the road I thank you for the freedom When it came my time to go I thank you for the kindness And the times when you got tough And, papa, I don't think I said 'I love you' near enough The leader of the band is tired And his eyes are growing old But his blood runs through my instrument And his song is in my soul My life has been a poor attempt To imitate the man I'm just a living legacy To the leader of the band I am a living legacy to the leader of the band

Pop Song 418 of 500 'Enjoy the Silence' Depeche Mode 1989 Songwriter Martin Gore created a ballad-like first version of the song, which the band took into the studio in 1989. At band member Alan Wilder's insistence, the song was re-worked into the up-tempo version released on the album. Words like violence Break the silence Come crashing in Into my little world Painful to me Pierce right through me Can't you understand Oh my little girl? All I ever wanted All I ever needed Is here in my arms Words are very unnecessary They can only do harm Vows are spoken To be broken Feelings are intense Words are trivial Pleasures remain So does the pain Words are meaningless And forgettable All I ever wanted All I ever needed Is here in my arms Words are very unnecessary They can only do harm All I ever wanted All I ever needed Is here in my arms Words are very unnecessary They can only do harm All I ever wanted All I ever needed Is here in my arms Words are very unnecessary They can only do harm Enjoy the silence

Pop Song 419 of 500 'Try Everything' Film Zootopia 2016 Shakira "Try Everything" is a song recorded by Colombian singer Shakira for the 2016 Walt Disney Animation Studios film Zootopia, and written by Sia, Tor Hermansen, and Mikkel Eriksen. In the film, it is featured as a song recorded by a singer named Gazelle (voiced by Shakira). It is first heard when Judy Hopps plays it on her MP3 player on the train to Zootopia. It is heard again during the end credits (performed by Gazelle for the citizens of Zootopia). The song appears on the soundtrack album to Zootopia, and was released as a single in February 2016. Oh, oh, oh, oh, oh Oh, oh, oh, oh, oh Oh, oh, oh, oh, oh Oh, oh, oh, oh, oh I messed up tonight, I lost another fight Lost to myself, but I'll just start again I keep falling down, I keep on hitting the ground I always get up now, see what's next Birds don't just fly, they fall down and get up Nobody learns without gettin' it wrong I won't give up, no, I won't give in 'Til I reach the end, and then I'll start again No, I won't leave, I wanna try everything I wanna try even though I could fail I won't give up, no, I won't give in 'Til I reach the end, and then I'll start again No, I won't leave, I wanna try everything I wanna try even though I could fail Oh, oh, oh, oh, oh Try everything Oh, oh, oh, oh, oh Try everything Oh, oh, oh, oh, oh Try everything Oh, oh, oh, oh, oh Look how far you've come, you filled your heart with love Baby, you've done enough, take a deep breath Don't beat yourself up, no need to run so fast Sometimes we come last, but we did our best I won't give up, no, I won't give in 'Til I reach the end, and then I'll start again No, I won't leave, I wanna try everything I wanna try even though I could fail I won't give up, no, I won't give in 'Til I reach the end, and then I'll start again No, I won't leave, I wanna try everything I wanna try even though I could fail I'll keep on making those new mistakes I'll keep on making them every day Those new mistakes Oh, oh, oh, oh, oh Try everything Oh, oh, oh, oh, oh Try everything Oh, oh, oh, oh, oh Try everything Oh, oh, oh, oh, oh Try everything

Pop Song 420 of 500 'Hey Jude' The Beatles 1968 It was written by Paul McCartney and credited to the Lennon–McCartney partnership. The writing and recording of "Hey Jude" coincided with a period of upheaval in the Beatles. The ballad evolved from "Hey Jules", a song McCartney wrote to comfort John Lennon's young son Julian, after Lennon had left his wife for the Japanese artist Yoko Ono. The lyrics espouse a positive outlook on a sad situation, while also encouraging "Jude" to pursue his opportunities to find love. In May 1968,[4] John Lennon and his wife Cynthia separated due to his affair with Japanese artist Yoko Ono. The following month, Paul McCartney drove out to visit the Lennons' five-year-old son Julian, at Kenwood, the family's home in Weybridge. Cynthia had been part of the Beatles' social circle since before the band's rise to fame in 1963; McCartney later said he found it "a bit much for them suddenly to be personae non gratae and out of my life".Cynthia Lennon recalled of McCartney's surprise visit: "I was touched by his obvious concern for our welfare ... On the journey down he composed 'Hey Jude' in the car. I will never forget Paul's gesture of care and concern in coming to see us."[9] The song's original title was "Hey Jules", and it was intended to comfort Julian from the stress of his parents' separation. McCartney said, "I knew it was not going to be easy for him", and that he changed the name to "Jude" "because I thought that sounded a bit better". Hey Jude, don't make it bad Take a sad song and make it better Remember to let her into your heart Then you can start to make it better Hey Jude, don't be afraid You were made to go out and get her The minute you let her under your skin Then you begin to make it better And any time you feel the pain Hey Jude, refrain Don't carry the world upon your shoulder For, well, you know that it's a fool Who plays it cool By making his world a little colder Na, na, na, na-na, na, na, na-na Hey Jude, don't let me down You have found her, now go and get her (let it out and let it in) Remember (hey Jude) to let her into your heart Then you can start to make it better Better, better, better, better (I'm begging you), better, oh! Na, na, na, na-na-na-na Na-na-na-na, hey Jude Na, na, na, na-na-na-na Na-na-na-na, hey Jude Na, na, na, na-na-na-na Na-na-na-na, hey Jude (Jude) Na, na, na, na-na-na-na Na-na-na-na, hey Jude (Yeah, you know you can make) (Jude, Jude, you're not gonna break it) Na, na, na, na-na-na-na (don't make it bad, Jude) (Take a sad song and make it better) na-na-na-na, hey Jude (Hey Jude, Jude, hey Jude, wow!) Na, na, na, na-na-na-na (ooh, Jude) Na-na-na-na, hey Jude (hey Jude) Na, na, na, na-na-na-na Na-na-na-na, hey Jude Na, na, na, na-na-na-na Na-na-na-na, hey Jude Na, na, na, na-na-na-na Na-na-na-na, hey Jude

Pop Song 416 of 500 'Amazing Grace' John Newton 1772 http://www.todimusicmasters.com/ "Amazing Grace" is a Christian hymn published in 1779 with words written in 1772 by English Anglican clergyman and poet John Newton (1725–1807). It is an immensely popular hymn, particularly in the United States, where it is used for both religious and secular purposes. Newton wrote the words from personal experience; he grew up without any particular religious conviction, but his life's path was formed by a variety of twists and coincidences that were often put into motion by others' reactions to what they took as his recalcitrant insubordination. He was pressed into service with the Royal Navy, and after leaving the service, he became involved in the Atlantic slave trade. In 1748, a violent storm battered his vessel off the coast of County Donegal, Ireland, so severely that he called out to God for mercy. While this moment marked his spiritual conversion, he continued slave trading until 1754 or 1755, when he ended his seafaring altogether. Newton began studying Christian theology and later became an abolitionist Amazing grace! (how sweet the sound) That sav'd a wretch like me! I once was lost, but now am found, Was blind, but now I see. 'Twas grace that taught my heart to fear, And grace my fears reliev'd; How precious did that grace appear The hour I first believ'd! Thro' many dangers, toils, and snares, I have already come; 'Tis grace hath brought me safe thus far, And grace will lead me home. The Lord has promis'd good to me, His word my hope secures; He will my shield and portion be As long as life endures. Yes, when this flesh and heart shall fail, And mortal life shall cease; I shall possess, within the veil, A life of joy and peace. The earth shall soon dissolve like snow, The sun forbear to shine; But God, who call'd me here below, Will be forever mine. John Newton, Olney Hymns, 1779

Pop Song 414 of 500 'Wild Horses' The Rolling Stones 1970 Jagger states, "I remember we sat around originally doing this with Gram Parsons, and I think his version came out slightly before ours. Everyone always says this was written about Marianne but I don't think it was; that was all well over by then. But I was definitely very inside this piece emotionally." Richards says, "If there is a classic way of Mick and me working together this is it. I had the riff and chorus line, Mick got stuck into the verses. Just like "Satisfaction", "Wild Horses" was about the usual thing of not wanting to be on the road, being a million miles from where you want to be. Childhood living Is easy to do The things you wanted I bought them for you Graceless lady You know who I am You know I can't let you Slide through my hands Wild horses Couldn't drag me away Wild, wild horses Couldn't drag me away I watched you suffer A dull aching pain Now you decided To show me the same No sweeping exits Or off stage lines Could make me feel bitter Or treat you unkind Wild horses Couldn't drag me away Wild, wild horses Couldn't drag me away I know I dreamed you A sin and a lie I have my freedom But I don't have much time Faith has been broken Tears must be cried Let's do some living After we die Wild horses Couldn't drag me away Wild, wild horses We'll ride them someday Wild horses Couldn't drag me away Wild, wild horses We'll ride them someday

Pop Song 415 of 500 'Black Hole Sun' Soundgarden 1994 I wrote it in my head driving home from Bear Creek Studio in Woodinville, a 35–40 minute drive from Seattle. It sparked from something a news anchor said on TV and I heard wrong. I heard 'blah blah blah black hole sun blah blah blah'. I thought that would make an amazing song title, but what would it sound like? It all came together, pretty much the whole arrangement including the guitar solo that's played beneath the riff. I spent a lot of time spinning those melodies in my head so I wouldn't forget them. I got home and whistled it into a Dictaphone. The next day I brought it into the real world, assigning a couple of key changes in the verse to make the melodies more interesting. Then I wrote the lyrics and that was similar, a stream of consciousness based on the feeling I got from the chorus and title. Cornell said that he wrote the song in about 15 minutes In my eyes Indisposed In disguise As no one knows Hides the face Lies the snake And the sun In my disgrace Boiling heat Summer stench 'Neath the black The sky looks dead Call my name Through the cream And I'll hear you Scream again Black hole sun Won't you come And wash away the rain? Black hole sun Won't you come? Won't you come? Won't you come? Stuttering Cold and damp Steal the warm wind Tired friend Times are gone For honest men And sometimes Far too long For snakes In my shoes A walking sleep And my youth I pray to keep Heaven send Hell away No one sings Like you anymore Black hole sun Won't you come And wash away the rain? Black hole sun Won't you come? Won't you come? Black hole sun Won't you come And wash away the rain? Black hole sun Won't you come? Won't you come? (Black hole sun, Black hole sun) Won't you come? (Black hole sun, Black hole sun) Won't you come? (Black hole sun, Black hole sun) Won't you come? (Black hole sun, Black hole sun) Hang my head Drown my fear 'Til you all just disappear Black hole sun Won't you come And wash away the rain? Black hole sun Won't you come? Won't you come? Black hole sun Won't you come And wash away the rain? Black hole sun Won't you come? Won't you come? (Black hole sun, Black hole sun) Won't you come? (Black hole sun, Black hole sun) Won't you come? (Black hole sun, Black hole sun) Won't you come? (Black hole sun, Black hole sun) Won't you come? (Black hole sun, Black hole sun) Won't you come? (Black hole sun, Black hole sun) Won't you come? Won't you come? Won't you come?

Pop Song 413 of 500 'Sparkle Kimi no Na wa 君の名は 你的名字(Your Name)' Radwimps 2016 A request from https://space.bilibili.com/1702574198 The Music Video • Sparkle | Your Name AMV Your Name (Japanese: 君の名は。, Hepburn: Kimi no Na wa) is a 2016 Japanese animated romantic fantasy film written and directed by Makoto Shinkai It depicts the story of high school students who suddenly begin to swap bodies despite having never met, unleashing chaos on each other's lives. The film was inspired by Japan's frequency for natural disasters. The review aggregator website Rotten Tomatoes reports that 98% of critics have given the film a positive review based on 116 reviews, with an average rating of 8.2/10. The site's critics consensus reads, "As beautifully animated as it is emotionally satisfying, Your Name adds another outstanding chapter to writer-director Makoto Shinkai's filmography." On Metacritic, the film has a score of 81 out of 100 based on 26 critics, indicating "universal acclaim" The film received widespread critical acclaim, with praise for its story, animation, music, visuals, and emotional weight. Grossing over US$382 million worldwide Your Name became a huge commercial success, especially in Japan,[62] where it grossed ¥25.17 billion.[63] The film achieved the second-largest gross for a domestic film in Japan, behind Spirited Away, and the fourth-largest ever, behind Titanic and Frozen.[64] It is the first anime not directed by Hayao Miyazaki to earn more than $100 million (~￥10 billion) at the Japanese box office.

Pop Song 412 of 500 'Jane Says' Jane's Addiction 1987 The title refers to lead singer Perry Farrell's ex-housemate, Jane Bainter, who was the muse, inspiration, and the namesake of the band. In a 2001 interview with the Los Angeles Times, Bainter confirmed and clarified many things about the song; she was dating an abusive man named Sergio and that she did wear wigs, but stated she never sold her body for sex. In the same interview, Bainter said she had been clean for eight years and did eventually get to go to Spain. Jane says "I'm done with Sergio He treat me like a rag doll" She hides The television Says "I don't owe him nothing, But if he comes back again Tell him to wait right here for me or, Try again tomorrow" I'm gonna kick tomorrow... I'm gonna kick tomorrow... Jane says "Have you seen my wig around? I feel naked without it" She knows They all want her to go But that's ok man She don't like them anyway Jane says "I'm going away to Spain when I get my money saved I'm gonna start tomorrow" I'm gonna kick tomorrow... I'm gonna kick tomorrow... She gets mad And she starts to cry Takes a swing but she can't hit! She don't mean no harm She just don't know... (don't know, don't know) What else to do about it. Jane goes To the store at eight She walks up on Saint Andrews. She waits And gets her dinner there. She pulls her dinner From her pocket. Jane says "I've never been in love I don't know what it is" She only knows if someone wants her I want 'em if they want me... I only know they want me... She gets mad And she starts to cry Takes a swing but she can't hit! She don't mean no harm She just don't know... What else to do about it Jane says...

Pop Song 411 of 500 '怒放的生命 Life in Full Bloom' 汪峰 Wang Feng 2005 With my brother Aurelius on guitar and his friend Jason. Summer fun! Please watch this nice version with English translation subtitles. https://www.youtube.com/watch?v=JsvMHCmz3m4&t=0s

Pop Song 410 of 500 'Caravan' Van Morrison 1969 For Michael Pratt The theme of the song is about gypsy life and the radio which are both images of harmony. Music critic Johnny Rogan described it as "a romantic portrayal of gypsy life and a testimony to [Morrison's] love of radio." Van Morrison also based the song on real memories while living in a rural house in Woodstock, New York, where the nearest house was far down the road. He described why he included the reference to radio in the song: I could hear the radio like it was in the same room. I don't know how to explain it. There was some story about an underground passage under the house I was living in, rumours from kids and stuff and I was beginning to think it was true. How can you hear someone's radio from a mile away, as if it was playing in your own house? So I had to put that into the song, It was a must. And the caravan is on its way I can hear the merry gypsy play Mama, mama look at Emma Rose She's a-playin' with the radio La, la, la, la... And the caravan has all my friends It will stay with me until the end Gypsy Robin and sweet Emma Rose Tell me everything I need to know La, la, la, la... Turn up your radio and let a-me hear the song Switch on your electric light Then we can get down to what is really wrong I long to hold you tight so I can feel you Sweet lady of the night I shall reveal you If you want Turn it up, turn it up, little bit higher, radio Turn it up, burn it up, so you know, radio La, la, la, la... And the caravan is painted red and white That means ev'rybody's staying overnight Yeah, the barefoot gypsy player 'Round the campfire sing and play And the woman tells us of her ways La, la, la, la... Turn up your radio and let-a me hear the song Switch on your electric light Then we can get down to what is really wrong I long just to hold you tight so baby I can feel you Sweet lady of the night I shall reveal you If you want Turn it up, turn it up, little bit higher, radio Turn it up, that's enough, so you know it's got soul Radio, radio turn it up, hmm La, la, la, la... (La) la, la, la... (La) La, la, la... (La) la, la, la... (La) la, la, la... (La) la, la, la... (La) la, la, la... (La) la, la, la...

Pop Song 409 of 500 'Does Anybody Really Know What Time It Is?' Chicago 1969 Lamm said of the song: "[It's] not a complicated song, but it’s certainly a quirky song. But that was my intent. I wanted to write something that wasn’t ordinary, that wasn’t blues-based, that didn’t have ice cream changes, and would allow the horns to shine and give Lee Loughnane a solo. So all that was the intent." As I was walking down the street one day A man came up to me and asked me What the time was that was on my watch, yeah And I said (I don't) Does anybody really know what time it is (Care) Does anybody really care (About time) If so I can't imagine why (Oh no, no) We've all got time enough to cry And I was walking down the street one day A pretty lady looked at me and Said her diamond watch had stopped cold dead And I said (I don't) Does anybody really know what time it is (Care) Does anybody really care (About time) If so I can't imagine why (Oh no, no) We've all got time enough to cry And I was walking down the street one day (People runnin' everywhere) Being pushed and shoved (don't know where to go) By people trying to beat the clock (I don't know where I am) Oh no, so I just don't know (I can't see past the next step) I don't know, I don't know-ow And I said Yes I said (I don't have time to. I don't have time to look around) (I just run around everywhere) (I don't) Does anybody really know what time it is (Care) Does anybody really care (About time) If so I can't imagine why (Oh no, no) We've all got time enough to die Everybody's worryin' (I don't care) I don't care

Pop Song 408 of 500 'Synchronicity II' The Police 1982 The song, which refers to Carl Jung's theory of synchronicity, nominally tells the story of a father whose home, work life, and environment are dispiriting and depressing. Lyrics refer to "Grandmother screaming at the wall", as well as "mother chants her litany of boredom and frustration, but we know all her suicides are fake". Later, we hear about humiliation by his boss ("and every single meeting with his so-called superior/is a humiliating kick in the crotch"), all the while he "knows that something somewhere has to break". Meanwhile, something monstrous is emerging from a "dark Scottish lake/loch", a reference to the Loch Ness Monster—a parallel to the father's own inner anguish. There's a domestic situation where there's a man who's on the edge of paranoia, and as his paranoia increases a monster takes shape in a Scottish lake, the monster being a symbol of the man's anxiety. That's a synchronistic situation. — Sting, 'A Visual Documentary', 1984 Interpretations of the lyric vary widely. Writing in Entertainment Weekly about a 1996 Sting tour, Chris Willman said: "The late-inning number that really gets [the crowd] galvanized is the edgy old Police staple that has the most old-fashioned unresolved rock tension in it, 'Synchronicity II'—which, after all, is a song about a domestic crisis so anxiety-producing that it wakes up the Loch Ness Monster." Sting explained the theme of the song to Time magazine: "Jung believed there was a large pattern to life, that it wasn't just chaos. Our song Synchronicity II is about two parallel events that aren't connected logically or causally, but symbolically." "Synchronicity II" also may have taken inspiration from the poem "The Second Coming" by William Butler Yeats.The theme of "The Second Coming" is similar to that of "Synchronicity II"—a civilisation beginning to collapse, and the rise of something new, something perhaps savage, to take its place. In "Synchronicity II" guitarist Andy Summers "forgoes the pretty clean sounds for post-apocalyptic squeals and crashing power chords", writes Matt Blackett in Guitar Player magazine.Summers recalls how the feedback was created: "So I was in the studio with the Strat and two Marshalls full up, waiting for them to run the track. I put the headphones on and started messing around with the feedback, really giving it one... six minutes of screeching with my life passing before me on the guitar!" According to Summers, there was originally going to be a link between this song and counterpart "Synchronicity I": Another suburban family morning Grandmother screaming at the wall We have to shout above the din of our rice crispies We can't hear anything at all Mother chants her litany of boredom and frustration But we know all her suicides are fake Daddy only stares into the distance There's only so much more that he can take Many miles away something crawls from the slime At the bottom of a dark Scottish lake Another industrial ugly morning The factory belches filth into the sky He walks unhindered through the picket lines today He doesn't think to wonder why The secretaries pout and preen like cheap tarts in a red-light street But all he ever thinks to do is watch And every single meeting with his so-called superior Is a humiliating kick in the crotch Many miles away something crawls to the surface Of a dark Scottish loch Another working day has ended Only the rush hour hell to face Packed like lemmings into shiny metal boxes Contestants in a suicidal race Daddy grips the wheel and stares alone into the distance He knows that something somewhere has to break He sees the family home now, looming in his headlights The pain upstairs that makes his eyeballs ache Many miles away there's a shadow on the door Of a cottage on the shore Of a dark Scottish lake Many miles away Many miles away Many miles away Many miles away

Pop Song 407 of 500 'Crazy Little Thing Called Love' Queen 1979 With my older brother Aurelius 'Crazy Little Thing Called Love' took me five or ten minutes. I did that on the guitar, which I can't play for nuts, and in one way it was quite a good thing because I was restricted, knowing only a few chords. It's a good discipline because I simply had to write within a small framework. I couldn't work through too many chords and because of that restriction I wrote a good song, I think. — Freddie Mercury The song was written by Mercury as a tribute to his musical heroes Elvis Presley and Cliff Richard. Roger Taylor added in an interview that Mercury wrote it in just 10 minutes while lounging in a bath in the Bayerischer Hof Hotel in Munich during one of their extensive Munich recording sessions. Mercury took it to the studio shortly after writing it and presented it to Taylor and John Deacon. The three of them, with their then new producer Reinhold Mack, recorded it at Musicland Studios in Munich. The entire song was reportedly recorded in less than half an hour (although Mack says it was six hours). Having written "Crazy Little Thing Called Love" on guitar and played an acoustic rhythm guitar on the record, for the first time ever Mercury played guitar in concerts, This thing called love I just can't handle it This thing called love I must get 'round to it, I ain't ready Crazy little thing called love This thing (this thing) called love (called love) It cries (like a baby) in a cradle all night It swings (woo-ooo), it jives (woo-woo) It shakes all over like a jelly fish I kinda like it Crazy little thing called love There goes my baby She knows how to rock and roll She drives me crazy She gives me hot and cold fever Then she leaves me in a cool, cool sweat I gotta be cool, relax Get hip, get on my tracks Take a back seat, hitch-hike And take a long ride on my motorbike Until I'm ready Crazy little thing called love Yeah, I gotta be cool, relax Get hip and get on my tracks Take a back seat, hitchhike (ahem, ahem) And take a long ride on my motorbike Until I'm ready (ready, Freddie) Crazy little thing called love This thing called love I just can't handle it This thing called love I must get 'round to it, I ain't ready (ooh) Crazy little thing called love Crazy little thing called love (yeah, yeah)

Pop Song 406 of 500 'No More "I Love You's"' Annie Lennox version 1994 "No More 'I Love You's'" is a song written by British musicians David Freeman and Joseph Hughes and originally recorded by them as the Lover Speaks. It was released in 1986 as the lead single from their self-titled debut album. The song was covered by the Scottish singer Annie Lennox and became a commercial success for her in 1995, reaching number two on the UK Singles Chart. Scottish singer and songwriter Annie Lennox covered "No More 'I Love You's" and released as the lead single from her second studio album, Medusa (1995), in February 1995. The song features slightly altered lyrics from the original version and added background vocals that can be heard around the 2:50 mark of the song. Do-be-do-be-do-do-do (oh) Do-be-do-be-do-do-do (oh) Do-be-do-be-do-do-do (oh) Do-be-do-be-do-do-do (oh) Do-be-do-be-do-do-do (oh) I used to be a lunatic from the gracious days I used to feel woebegone and so restless nights My aching heart would bleed for you to see Oh, but now (I don't find myself bouncing home) (Whistling buttonhole tunes to make me cry) No more I love you's The language is leaving me No more I love you's Changes are shifting outside the words (The lover speaks about the monsters) I used to have demons in my room at night Desire, despair, desire, so many monsters Oh, but now (I don't find myself bouncing around) (Whistling my conscience to make me cry) No more I love you's The language is leaving me No more I love you's The language is leaving me in silence No more I love you's Changes are shifting outside the words They were being really crazy But they will only come And you know what, mommy? Everyone was being really crazy The monsters are crazy There are monsters outside No more I love you's The language is leaving me No more I love you's The language is leaving me in silence No more I love you's Changes are shifting outside the word Outside the word No more I love you's The language is leaving me No more I love you's The language is leaving me No more I love you's Changes are shifting outside the word Do-be-do-be-do-do-do (oh) Outside the word Do-be-do-be-do-do-do (oh) Do-be-do-be-do-do-do (oh)

Pop Song 405 of 500 'Hey Joe' Jimi Hendrix's version 1966 "Hey Joe" is an American song from the 1960s that has become a rock standard and has been performed in many musical styles by hundreds of different artists. The lyrics tell of a man who is on the run and planning to head to Mexico after shooting his unfaithful wife. The authorship of the song has been contested, and different recordings have credited its writing to either Billy Roberts or Dino Valenti, or have listed it as a traditional song. "Hey Joe" was registered for copyright in the US in 1962 by Billy Roberts, a California-based folk musician. Scottish folk singer Len Partridge has claimed that he helped write the song with Roberts when they both performed in clubs in Edinburgh in 1956.[3] Roberts may have drawn inspiration for "Hey Joe" from three earlier works: the song "Baby, Please Don’t Go to Town" written by his girlfriend Niela Horn (later Miller), which uses a similar chord progression based on the circle of fifths; Carl Smith's 1953 US country hit "Hey Joe!" (written by Boudleaux Bryant), which shared the title and the "questioning" format; and the early 20th century traditional ballad "Little Sadie", which tells of a man on the run after he has shot his wife. Niela Horn Miller's song "Baby Don't Go to Town" was recorded as a demo tape in 1962, but was not released until 2009 when it appeared on her album Songs of Leaving. Billy Roberts performed "Hey Joe" regularly in the late 1950s and early 1960s, without copyrighting it, and some other performers including Pete Seeger recognised that it had been developed from Niela Miller's song Hey Joe Where you going with that gun in your hand? Hey Joe I said, where you going with that gun in your hand? I'm going down to shoot my old lady You know, I caught her messing around with another man I'm going down to shoot my old lady You know, I caught her messing around with another man And that ain't too cool Hey Joe I heard you shot your woman down You shot her down, now Hey Joe I heard you shot your old lady down You shot her down to the ground Yeah Yes I did, I shot her You know, I caught her messing around, messing around town Yes I did, I shot her You know, I caught my old lady messing around town And I gave her the gun I shot her! Hey Joe (said now) Where you going to run to now? Where you going to run to? Hey Joe (I said) Where you going to run to now? Where you, where you going to go? Well, dig it I'm going way down south Way down to Mexico way Alright I'm going way down south Way down where I can be free There's no one going to find me Ain't no hangman going to He ain't gonna put a rope around me You better believe it right now I got to go now Hey Joe You better run on down Goodbye everybody, ow! Hey Joe, uh Run on down

Pop Song 404 of 500 'I Walk the Line' Johnny Cash 1956 The unique chord progression for "I Walk the Line" was inspired by the backwards playback of guitar runs on Cash's tape recorder while he was stationed in Germany as a member of the United States Air Force. Later in a telephone interview, Cash stated, "I wrote the song backstage one night in 1956 in Gladewater, Texas. I was newly married at the time, and I suppose I was laying out my pledge of devotion." After writing the song, Cash had a discussion with fellow performer Carl Perkins, who encouraged him to adopt "I Walk the Line" as the song title. Cash originally intended the song to be a slow ballad, but producer Sam Phillips preferred a faster arrangement;[6] in the end, Cash agreed to the change, and the uptempo recording met with success. I keep a close watch on this heart of mine I keep my eyes wide open all the time I keep the ends out for the tie that binds Because you're mine, I walk the line I find it very, very easy to be true I find myself alone when each day is through Yes, I'll admit that I'm a fool for you Because you're mine, I walk the line As sure as night is dark and day is light I keep you on my mind both day and night And happiness I've known proves that it's right Because you're mine, I walk the line You've got a way to keep me on your side You give me cause for love that I can't hide For you I know I'd even try to turn the tide Because you're mine, I walk the line I keep a close watch on this heart of mine I keep my eyes wide open all the time I keep the ends out for the tie that binds Because you're mine, I walk the line

Pop Song 403 of 500 'Pyramid Song' Radiohead 2001 Pyramid Song" was inspired by the song "Freedom" by the jazz musician Charles Mingus. The lyrics were inspired by an exhibition of ancient Egyptian underworld art Yorke attended while Radiohead were recording in Copenhagen, and ideas of cyclical time found in Buddhism and discussed by Stephen Hawking NME named "Pyramid Song" their "single of the week", describing it as "malevolent, moving, epic". The Guardian named it "CD of the week", with the critic Alexis Petridis describing it as "a beautiful, intricately wrought mesh of complex time signatures, keening vocals, elegiac strings and subtly disturbing audio effects". Rolling Stone placed "Pyramid Song" at number 94 on their list of the "100 Best Songs of the Decade", writing that it "might be [Yorke's] most blissful recorded moment". In October 2011, NME named it the 131st-best track of the preceding 15 years, calling it a "ghostly hymn of stunning beauty". Pitchfork named it the decade's 59th-best track, describing it as "an absolutely singular track in a catalog with no shortage of standouts". In 2020, the Guardian named it the fourth-best Radiohead song, writing: "Lyrics alluding to Hermann Hesse's Siddhartha, piano seemingly exhumed from ancient civilisation and a newly spiritual Yorke, swimming with 'black-eyed angels' and a shoal of exes towards some nebulous afterlife. Torture for some; otherwise, cult-making. I jumped in the river and what did I see? Black-eyed angels swam with me A moon full of stars and astral cars And all the things I used to see All my lovers were there with me All my past and futures And we all went to heaven in a little row boat There was nothing to fear and nothing to doubt I jumped into the river Black-eyed angels swam with me A moon full of stars and astral cars And all the things I used to see All my lovers were there with me All my past and futures And we all went to heaven in a little row boat There was nothing to fear and nothing to doubt There was nothing to fear and nothing to doubt There was nothing to fear and nothing to doubt

Pop Song 402 of 500 'A Hard Rain's a-Gonna Fall' Bob Dylan 1963 Its lyrical structure is based on the question-and-answer refrain pattern of the traditional British ballad "Lord Randall", published by Francis Child. The song is characterized by symbolist imagery in the style of Arthur Rimbaud, communicating suffering, pollution, and warfare. Dylan has said that all of the lyrics were taken from the initial lines of songs that "he thought he would never have time to write." Nat Hentoff quoted Dylan as saying that he immediately wrote the song in response to the Cuban Missile Crisis,although in his memoir, Chronicles: Volume One, Dylan attributed his inspiration to the feeling he got when reading microfiche newspapers in the New York Public Library: "After a while you become aware of nothing but a culture of feeling, of black days, of schism, evil for evil, the common destiny of the human being getting thrown off course. It’s all one long funeral song. Oh, where have you been, my blue-eyed son? And where have you been, my darling young one? I've stumbled on the side of 12 misty mountains I've walked and I crawled on six crooked highways I've stepped in the middle of seven sad forests I've been out in front of a dozen dead oceans I've been 10,000 miles in the mouth of a graveyard And it's a hard, it's a hard It's a hard, it's a hard It's a hard rain's a-gonna fall Oh, what did you see, my blue-eyed son? And what did you see, my darling young one? I saw a newborn baby with wild wolves all around it I saw a highway of diamonds with nobody on it I saw a black branch with blood that kept drippin' I saw a room full of men with their hammers a-bleedin' I saw a white ladder all covered with water I saw 10,000 talkers whose tongues were all broken I saw guns and sharp swords in the hands of young children And it's a hard, it's a hard It's a hard, and it's a hard It's a hard rain's a-gonna fall And what did you hear, my blue-eyed son? And what did you hear, my darling young one? I heard the sound of the thunder that roared out a warning I heard the roar of a wave that could drown the whole world I heard one hundred drummers whose hands were a-blazin' I heard 10,000 whisperin' and nobody listenin' I heard one person starve, I heard many people laughin' I heard the song of a poet who died in the gutter I heard the sound of a clown who cried in the alley And it's a hard, it's a hard It's a hard, it's a hard It's a hard rain's a-gonna fall Oh, what did you meet, my blue-eyed son? And who did you meet, my darling young one? I met a young child beside a dead pony I met a white man who walked a black dog I met a young woman, her body was burning I met a young girl, she gave me a rainbow I met one man who was wounded in love I met another man who was wounded in hatred And it's a hard, it's a hard It's a hard, it's a hard It's a hard rain's a-gonna fall And what'll you do now, my blue-eyed son? And what'll you do now, my darling young one? I'm a-goin' back out 'fore the rain starts a-fallin' I'll walk to the depths of the deepest dark forest Where the people are many and their hands are all empty Where the pellets of poison are flooding their waters Where their home in the valley meets the damp dirty prison And the executioner's face is always well-hidden Where hunger is ugly, where the souls are forgotten Where black is the colour, where none is the number And I'll tell it and speak it, and think it and breathe it And reflect from the mountains, so all souls can see it And I'll stand on the ocean until I start sinkin' But I'll know my song well before I start singing And it's a hard, it's a hard It's a hard, and it's a hard It's a hard rain's a-gonna fall

Pop Song 401 of 500 'Still DRE' Dr. Dre 1999 Yeah, nigga, I'm still fuckin' wit' ya Still waters run deep Still Snoop Dogg and D-R-E '99 nigga (guess who's back) Still, still doing that shit, Andre? Oh, for sho', yeah, check me out It's still Dre Day nigga, AK nigga Though I've grown a lot, can't keep it home a lot 'Cause when I frequent the spots that I'm known to rock You hear the bass from the trunk when I'm on the block Ladies, they pay homage, but haters say Dre fell off How nigga? My last album was The Chronic They want to know if he still got it They say rap's changed, they want to know how I feel about it (If you ain't up on thangs) Dr. Dre is the name, I'm ahead of my game Still, puffing my leafs, still fuck with the beats Still not lovin' police (uh huh) Still rock my khakis with a cuff and a crease (for sho') Still got love for the streets, reppin' 213 (for life) Still the beat bangs, still doin' my thang Since I left, ain't too much changed, still I'm representin' for the gangsters all across the world (still) Hittin' them corners in them low, low's girl (still) Takin' my time to perfect the beat And I still got love for the streets, it's the D-R-E I'm representin' for the gangsters all across the world (still) Hittin' them corners in them low, low's girl (still) Takin' my time to perfect the beat And I still got love for the streets, it's the D-R-E Since the last time you heard from me, I lost some friends Well, hell, me and Snoop, we dippin' again Kept my ear to the streets, signed Eminem He's triple platinum, doing 50 a week Still, I stay close to the heat And even when I was close to defeat, I rose to my feet My life's like a soundtrack I wrote to the beat Treat rap like Cali weed, I smoke 'til I sleep Wake up in the a.m., compose a beat I bring the fire 'til you're soakin' in your seat It's not a fluke, it's been tried, I'm the truth Since, Turn Off the Lights, from the World Class Wreckin' Cru I'm still at it, After-mathematics In the home of drive-by's and ak-matics Swap meets, sticky green, and bad traffic I dip through then I get skin, D-R-E I'm representin' for the gangsters all across the world (still) Hittin' them corners in them low, low's girl (still) Takin' my time to perfect the beat And I still got love for the streets, it's the D-R-E I'm representin' for the gangsters all across the world (still) Hittin' them corners in them low, low's girl (still) Takin' my time to perfect the beat And I still got love for the streets, it's the D-R-E It ain't nothing but more hot shit Another classic CD for y'all to vibe with Whether you're cooling on a corner with your fly bitch Laid back in the shack, play this track I'm representing for the gangsters all across the world (Still, hittin' them corners in them low, low's girl) I'll break your neck, damn near put your face in your lap Niggas try to be the king but the ace is back (So if you ain't up on thangs) Dr. Dre be the name, still runnin' the game Still, got it wrapped like a mummy Still, ain't trippin', love to see young blacks get money Spend time out the hood, take they moms out the hood Hit my boys off with jobs, no more livin' hard Barbeques every day, drivin' fancy cars Still gon' get mine regardless (still) I'm representin' for the gangsters all across the world (still) Hittin' them corners in them low, low's girl (still) Takin' my time to perfect the beat And I still got love for the streets, it's the D-R-E I'm representin' for the gangsters all across the world (still) Hittin' them corners in them low, low's girl (still) Takin' my time to perfect the beat And I still got love for the streets, it's the D-R-E I'm representin' for the gangsters all across the world (still) Hittin' them corners in them low, low's girl (still) Takin' my time to perfect the beat And I still got love for the streets, it's the D-R-E Right back up in ya motherfuckin' ass 9-5 plus four pennies, add that shit up D-R-E right back on top of thangs Smoke some with your dog No stress, no seeds, no stems, no sticks! Some of that real sticky icky icky Ooh wee! Put it in the air Boy, you's a fool, D-R-E

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

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

Pop Song 394 of 500 'Come On Eileen' Dexys Midnight Runners 1982 Although often believed to have been inspired by a childhood friend with whom Kevin Rowland had a romantic, and later sexual, relationship in his teens, there was actually no real Eileen. "In fact she was composite, to make a point about Catholic repression. John Alvin Ray from first line was an American singer, songwriter, and pianist. Highly popular for most of the 1950s, Ray has been cited by critics as a major precursor to what became rock and roll, for his jazz and blues-influenced music, and his animated stage personality. Tony Bennett called Ray the "father of rock and roll",and historians have noted him as a pioneering figure in the development of the genre Poor old Johnny Ray Sounded sad upon the radio Moved a million hearts in mono Our mothers cried Sang along, who'd blame them? You're grown (you're grown up) So grown (so grown up) Now I must say more than ever (Come on Eileen) Toora loora toora loo rye ay And we can sing just like our fathers Come on Eileen, oh I swear what he means At this moment, you mean everything You in that dress, my thoughts I confess Verge on dirty, ah, come on Eileen Come on Eileen These people round here Wear beatdown eyes sunk in smoke dried face So resigned to what their fate is But not us (no never) No not us (no never) We are far too young and clever (Remember) Toora loora, toora loo rye ay Eileen, I'll hum this tune forever Come on Eileen, oh I swear (what he means) Ah come on let's, take off everything Pretty red dress, Eileen, tell him yes Ah come on let's, ah, come on Eileen That pretty red dress, Eileen, tell him yes Ah, come on let's, ah come on Eileen, please Come on Eileen, too loo rye ay Come on Eileen, too loo rye ay Now you have grown, and now you have shown Oh, Eileen Said Come on Eileen, too loo rye ay Come on Eileen, too loo rye ay Now I must say more than ever Things round here change I said, toora loora, toora loo rye ay Come on Eileen, oh I swear what he means At this moment, you mean everything You in that dress, my thoughts I confess Verge on dirty, ah come on Eileen Come on Eileen, oh I swear what he means At this moment, you mean everything In that dress, oh my thoughts, I confess Well, they're dirty, come on Eileen Come on Eileen