Cyrus Saladin Ming

Pop Song 334 of 500 'Nothing's Gonna Change My Love For You' George Benson 1985 "Nothing's Gonna Change My Love for You" is a song written by composers Michael Masser and Gerry Goffin. It was originally recorded by American singer and guitarist George Benson for his 1985 studio album 20/20, released by Warner Bros. Records. This original version was produced by co-writer Masser, and was released as a single in Europe only in 1985. Two years later, in 1987, Hawaiian singer Glenn Medeiros sang his version of the song which became a worldwide success. If I had to live my life without you near me The days would all be empty The nights would seem so long With you I see forever, oh, so clearly I might have been in love before But it never felt this strong Our dreams are young and we both know They'll take us where we want to go Hold me now, touch me now I don't want to live without you Nothing's gonna change my love for you You oughta know by now how much I love you One thing you can be sure of I'll never ask for more than your love Nothing's gonna change my love for you You oughta know by now how much I love you The world may change my whole life through But nothing's gonna change my love for you If the road ahead is not so easy Our love will lead the way for us Like a guiding star I'll be there for you if you should need me You don't have to change a thing I love you just the way you are So come with me and share the view I'll help you see forever too Hold me now, touch me now I don't want to live without you Nothing's gonna change my love for you You oughta know by now how much I love you One thing you can be sure of I'll never ask for more than your love Nothing's gonna change my love for you You oughta know by now how much I love you The world may change my whole life through But nothing's gonna change my love for you Nothing's gonna change my love for you You oughta know by now how much I love you One thing you can be sure of I'll never ask for more than your love Nothing's gonna change my love for you You oughta know by now how much I love you The world may change my whole life through But nothing's gonna change my love for you Nothing's gonna change my love for you You oughta know by now how much I love you One thing you can be sure of I'll never ask for more than your love Nothing's gonna change my love for you You oughta know by now how much I love you The world may change my whole life through But nothing's gonna change my love for you

Pop Song 537 of 1000 'Do Wah Diddy Diddy' Manfred Mann 1963 Thanks to my friend Lonesome Aleks https://www.youtube.com/channel/UCJCIEcCGfhWRl2O_dHQyhwA for the request! MV https://www.youtube.com/watch?v=ooeRA8ZhcoQ "Do Wah Diddy Diddy" is a song written by Jeff Barry and Ellie Greenwich and originally recorded in 1963, as "Do-Wah-Diddy", by the American vocal group the Exciters. Cash Box described the Exciters' version as "a sparkling rocker that bubbles over with coin-catching enthusiasm" and said that the "great lead job is backed by a fabulous instrumental arrangement."[3] It was made internationally famous by the British band Manfred Mann There she was just a-walkin' down the street, singin' 'Do wah diddy diddy dum diddy do' Snappin' her fingers and shufflin' her feet, singin' 'Do wah diddy diddy dum diddy do' She looked good (Looked good) She looked fine (Looked fine) She looked good, she looked fine And I nearly lost my mind Before I knew it she was walkin' next to me, singin' 'Do wah diddy diddy dum diddy do' Holdin' my hand just as natural as can be, singin' 'Do wah diddy diddy dum diddy do' We walked on (Walked on) To my door (My door) We walked on to my door Then we kissed a little more Whoa-oh, I knew we was falling in love Yes, I did And so I told her all the things I'd been dreamin' of Now we're together nearly every single day, singin' 'Do wah diddy diddy dum diddy do' A-we're so happy, and that's how we're gonna stay, singin' 'Do wah diddy diddy dum diddy do' Well, I'm hers (I'm hers) She's mine (She's mine) I'm hers, she's mine

Bring our boys back! Goodnight Saigon' Billy Joel Cyrus Saladin Ming October 10, 2020

'Riders on the Storm' The Doors Cyrus Saladin Ming October 18, 2020

Pop Song 555 of 1000 'White Rabbit' Jefferson Airplane 1967 Live https://www.youtube.com/watch?v=WANNqr-vcx0 Official wonderful MV https://www.youtube.com/watch?v=TKZVUtvjBdM "White Rabbit" is one of Grace Slick's earliest songs, written during December 1965 or January 1966.[10] It uses imagery found in the fantasy works of Lewis Carroll—1865's Alice's Adventures in Wonderland and its 1871 sequel Through the Looking-Glass—such as changing size after taking pills or drinking an unknown liquid. Slick wrote the lyrics first, then composed the music at a red upright piano she had bought for US$50 with eight or ten keys missing—"that was OK because I could hear in my head the notes that weren't there"[11] —moving between major chords for the verses and chorus. She said that the music was heavily influenced by Miles Davis's 1960 album Sketches of Spain, particularly Davis's treatment of the Concierto de Aranjuez (1939). She later said: "Writing weird stuff about Alice backed by a dark Spanish march was in step with what was going on in San Francisco then. We were all trying to get as far away from the expected as possible."[10] Slick said the composition was supposed to be a wake-up call to parents who read their children novels such as these and then would wonder why their children used drugs.[12] She later commented that all fairytales read to little girls have a Prince Charming who comes and saves them. But Alice did not; she was "on her own...in a very strange place, but she kept on going and she followed her curiosity – that's the White Rabbit. A lot of women could have taken a message from that story about how you can push your own agenda." Slick added that "The line in the song 'feed your head' is both about reading and psychedelics...feeding your head by paying attention: read some books, pay attention."[11] Characters Slick referenced include Alice, the White Rabbit, the hookah-smoking caterpillar, the White Knight, the Red Queen, and the Dormouse.[13] Slick reportedly wrote the song after an acid trip.[14] For Slick, "White Rabbit" "is about following your curiosity. The White Rabbit is your curiosity."[15] For her and others in the 1960s, drugs were a part of mind expansion and social experimentation. With its enigmatic lyrics, "White Rabbit" became one of the first songs to sneak drug references past censors on the radio. Marty Balin, Slick's former bandmate and co-founder of Jefferson Airplane (and later Jefferson Starship), regarded the song as a "masterpiece". In interviews, Slick has related that Alice in Wonderland was often read to her as a child and remained a vivid memory well into her adulthood.[6] In an interview with The Wall Street Journal, Slick mentioned that, in addition to Alice in Wonderland, her other inspiration for the song was Ravel's Boléro. Like Boléro, "White Rabbit" is essentially one long crescendo. The music combined with the song's lyrics strongly suggests the sensory distortions experienced with hallucinogens, and the song was later used in pop culture to imply or accompany just such a state.[16] The song was first played by the Great Society in a bar in San Francisco in early 1966, and later when they opened the bill for bigger bands like the Grateful Dead. They made a series of demo records for Autumn Records, for which they were assisted by Sly Stone. Grace Slick said: "We were so bad that Sly eventually played all the instruments so the demo would sound OK." When Slick joined Jefferson Airplane later in 1966, she taught the song to the band, who recorded it for their album Surrealistic Pillow.[10] "White Rabbit" is in the key of F-sharp which Slick acknowledges "is difficult for guitar players as it requires some intricate fingering"

'Separate Ways' Journey Cyrus Saladin Ming October 18, 2020 Usually we don't write songs that far in advance of an album," observed Jonathan Cain, the band's keyboardist, as Andy Secher, in his article "Adventures in Frontierland," published in the June 1983 issue of Hit Parader Magazine, quoted him. "But on that occasion, Steve [Perry] and I were just working an idea backstage and it all came together. He was working on a bass and I had a guitar, and we just worked out the melody that night and the lyrics the next afternoon. Sometimes you can get lucky and have a song fall together like that." Schon said that the song was, like many other songs by the band, "Motown mixed with R&B and blues ... that's pretty much where 'Separate Ways' is coming from. It's got a heavier guitar than an R&B song, but I think that's what makes it sound like Journey." Cain said the same thing in 1983: We wanted to write something rhythmic and still have a strong and haunting melody. We needed a main rhythm to run through the synthesizer and Steve Smith designed that kind of drum beat to let everything breathe. It's really a throwback to all of our roots and the Motown sound. Steve [Perry] has always listened to a lot of Motown records, songs with a strong chorus approach. Songs that were real urgent sounding, but still had rhythm and melody

"Desperado" The Eagles Cyrus Saladin Ming November 06,2020

Pop Song 178 'Whiplash' Hank Levy 1973 Main Theme Film Whiplash Whiplash is a 2014 American psychological drama film written and directed by Damien Chazelle, and starring Miles Teller, J. K. Simmons, Paul Reiser, and Melissa Benoist. The story follows ambitious jazz drummer Andrew Neiman (Teller), who is pushed to his limit by his abusive and ruthlessly strict bandleader (Simmons) at the fictional Shaffer Conservatory. After Chazelle completed the script of Whiplash, Right of Way Films and Blumhouse Productions helped him turn 15 pages of the script into an 18-minute short film, also titled Whiplash. The short film received acclaim after debuting at the 2013 Sundance Film Festival, which attracted investors to produce the complete version of the script. Whiplash premiered in competition at the 2014 Sundance Film Festival on January 16, 2014, as the festival's opening film; it won the Audience Award and Grand Jury Prize for drama.[3] Sony Pictures acquired the worldwide distribution rights, releasing the film under its Sony Pictures Classics and Stage 6 Films banners for its North American and international releases respectively.[4] The film opened in limited release domestically in the United States and Canada on October 10, 2014, gradually expanding to over 500 screens and finally closing on March 26, 2015. The film grossed $49 million on a production budget of $3.3 million. The film received critical acclaim with praise for its screenplay, direction, film editing, sound mixing, and Teller and Simmons' performances. Whiplash received multiple awards and nominations, winning Academy Awards for Best Film Editing and Best Sound Mixing, and also being nominated for Best Picture and Best Adapted Screenplay. Simmons' portrayal of Fletcher won him the Academy, BAFTA, Critics' Choice, Golden Globe and Screen Actors Guild awards for Best Supporting Actor.

'Open Arms' Journey in memory of Hookfang our cat. Cyrus Saladin Ming April 12, 2020

Pop Song 323 of 500 'Imagine' John Lennon 1971 "Imagine" is a song by British rock musician John Lennon from his 1971 album of the same name. The best-selling single of his solo career, the lyrics encourage listeners to imagine a world of peace, without materialism, without borders separating nations and without religion. Several poems from Yoko Ono's 1964 book Grapefruit inspired Lennon to write the lyrics for "Imagine"—in particular, one which Capitol Records reproduced on the back cover of the original Imagine LP titled "Cloud Piece", reads: "Imagine the clouds dripping, dig a hole in your garden to put them in."Lennon later said the composition "should be credited as a Lennon/Ono song. A lot of it—the lyric and the concept—came from Yoko, but in those days I was a bit more selfish, a bit more macho, and I sort of omitted her contribution, but it was right out of Grapefruit." When asked about the song's meaning during a December 1980 interview with David Sheff for Playboy magazine, Lennon told Sheff that Dick Gregory had given Ono and him a Christian prayer book, which inspired him the concept behind "Imagine". The concept of positive prayer ... If you can imagine a world at peace, with no denominations of religion—not without religion but without this my God-is-bigger-than-your-God thing—then it can be true ... the World Church called me once and asked, "Can we use the lyrics to 'Imagine' and just change it to 'Imagine one religion'?" That showed [me] they didn't understand it at all. It would defeat the whole purpose of the song, the whole idea. Lennon stated: "'Imagine', which says: 'Imagine that there was no more religion, no more country, no more politics,' is virtually The Communist Manifesto, even though I'm not particularly a Communist and I do not belong to any movement." He told NME: "There is no real Communist state in the world; you must realise that. The Socialism I speak about ... [is] not the way some daft Russian might do it, or the Chinese might do it. That might suit them. Us, we should have a nice ... British socialism." Ono described the lyrical statement of "Imagine" as "just what John believed: that we are all one country, one world, one people." Rolling Stone described its lyrics as "22 lines of graceful, plain-spoken faith in the power of a world, united in purpose, to repair and change itself". An original piano musical motif, later called "John's Piano Piece", close to the final one was created in January 1969 during the Let It Be sessions.Lennon finished composing "Imagine" one morning in early 1971, on a Steinway piano, in a bedroom at his Tittenhurst Park estate in Ascot, Berkshire, England. Ono watched as he composed the melody, chord structure and almost all the lyrics, nearly completing the song in one brief writing session.Described as a piano ballad Imagine there's no heaven It's easy if you try No hell below us Above us only sky Imagine all the people living for today Imagine there's no countries It isn't hard to do Nothing to kill or die for And no religion too Imagine all the people living life in peace, you You may say I'm a dreamer But I'm not the only one I hope some day you'll join us And the world will be as one Imagine no possessions I wonder if you can No need for greed or hunger A brotherhood of man Imagine all the people sharing all the world, you You may say I'm a dreamer But I'm not the only one I hope some day you'll join us And the world will be as one

'Jump' Van Halen Cyrus Saladin Ming November 6, 2020

'Shenandoah' Traditional American Cyrus Saladin Ming October 19, 2020

Song 49 ' Man in Motion from St. Elmo's Fire John Parr and David Foster March 5, 2021 Living in Hilton Hotel San Francisco. 3rd floor Chinese culture center ball room. Stuck for 5 weeks so far waiting for CN Embassy approval to go to Shanghai

Pop Song 198 'Ain't no mountain high enough' Nickolas Ashford & Valerie Simpson 1966 "Ain't No Mountain High Enough" is a pop/soul song written by Nickolas Ashford & Valerie Simpson in 1966 for the Tamla label, a division of Motown. The composition was first successful as a 1967 hit single recorded by Marvin Gaye and Tammi Terrell, and became a hit again in 1970 when recorded by former Supremes frontwoman Diana Ross. The song became Ross's first solo number-one hit on the Billboard Hot 100 chart and was nominated for the Grammy Award for Best Female Pop Vocal Performance. The song was written by Ashford and Simpson prior to joining Motown. British soul singer Dusty Springfield wanted to record the song but the duo declined, hoping it would give them access to the Detroit-based label. As Valerie Simpson later recalled, "We played that song for her (Springfield) but wouldn't give it to her, because we wanted to hold that back. We felt like that could be our entry to Motown. Nick called it the 'golden egg'." The original 1967 version of "Ain't No Mountain High Enough" was a top twenty hit. According to record producers, Terrell was a little nervous and intimidated during the recording sessions because she did not rehearse the lyrics. Terrell recorded her vocals alone with producers Harvey Fuqua and Johnny Bristol, who added Gaye's vocal at a later date. "Ain't No Mountain" peaked at number nineteen on the Billboard pop charts, and went to number three on the R&B charts. Billboard's original review of the single stated "Chalk up another pulsating fast smash for Gaye with his new partner Tammi Terrell. The electricity of the duo combined with the blockbuster rhythm material grooves all the way." This original version of "Ain't No Mountain", produced by Fuqua and Bristol, was a care-free, danceable, and romantic love song that became the signature duet between Gaye and Terrell. Its success led to a string of more Ashford/Simpson penned duets (including "You're All I Need to Get By", "Ain't Nothing Like the Real Thing", and "Your Precious Love"). In 1999, the Gaye/Terrell version was inducted into the Grammy Hall of Fame. The Gaye/Terrell version was included in the soundtrack for the 2000 film Remember the Titans as well as the 2014 film Guardians of the Galaxy.

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?

'Yesterday' Beatles Cyrus Saladin Ming March 31, 2020

Pop Song 206 'True' Spandau Ballet 1983 "True" is a song by the English new wave band Spandau Ballet. It was released on 15 April 1983 as the third single from their third studio album of the same name. The song was written by band member Gary Kemp. "True" was composed by group leader Gary Kemp, who wrote the song at his parents' house while living there. It is a six-minute (in its original album version) song that in part pays tribute to the Motown artist Marvin Gaye, who is mentioned in the lyrics, and the sound he helped to establish. According to Kemp, "I think I wanted to write a song that was a bit like a Marvin Gaye, Al Green song, a blue-eyed soul song. It was at a time when it was me concentrating on melody first rather than the sort of riff and the groove." Kemp also said, "'True' became a song about writing a love song. Why 'Why do I find it hard to write the next line? I want the truth to be said?' Because I didn't want to write it down—because there's nothing more embarrassing." The song was partly about Kemp's platonic relationship with (and unrequited love for) Altered Images singer Clare Grogan. Some phrases in the lyrics (including the much-quoted reference to "seaside arms") were adapted from Vladimir Nabokov's novel Lolita, a copy of which Grogan had given Kemp. The song is written in the key of G major. It has a tempo of 98 BPM and a chord progression of G, Em9, CMaj9, Bm7. The song modulates to the key of E♭ major for the instrumental break, after which it re-modulates the key of G Major for the remainder of the song. In 2009, Tim Rice wrote in The Spectator that the song was "a giant of its time and remains a standard today". In 2014, Ian Gittins described it in The Guardian as a "juggernaut power ballad". In 2015, Peter Larsen wrote for the Orange County Register that the band's formula of mining "a vein of soulfulness tinged with nostalgia and romance" had "reached perfection" on the track, describing it as "the one Spandau Ballet song everyone knows... It's truly a perfect song, as moving today as ever it was. "It has been characterized as a "karaoke staple". In 2015, the song was voted by the British public as the nation's tenth-favorite 1980s number one in a poll for ITV. "Set Adrift on Memory Bliss" is a song by American hip-hop group P.M. Dawn, released in August 1991 as the second single from their debut album, Of the Heart, of the Soul and of the Cross: The Utopian Experience (1991). It is built around samples of Spandau Ballet's "True", The Soul Searchers' "Ashley's Roachclip", and the Bob James version of Paul Simon's "Take Me to the Mardi Gras", with the remainder of the song written by P.M. Dawn vocalist Attrell "Prince Be" Cordes; only Prince Be and "True" writer Gary Kemp were credited for writing the tune. The song was P.M. Dawn's first (and only) number-one hit on the US Billboard Hot 100

Pop Song 222 'Sailing' Sutherland Brothers 1972 Gavin Sutherland said of the song, "Most people take the song to be about a young guy telling his girl that he's crossing the Atlantic to be with her." and with a grin, continued "In fact the song's got nothing to do with romance or ships; it's an account of mankind's spiritual odyssey through life on his way to freedom and fulfillment with the Supreme Being." According to Iain Sutherland the connection between the Sutherland Brothers and Rod Stewart which led to Stewart's recording of "Sailing" began when Stewart's live-in girlfriend Dee Harrington saw the Sutherland Brothers on the 20 June 1972 broadcast of the BBC2 music program The Old Grey Whistle Test: Harrington recommended the Sutherland Brothers as a musical act that would interest Stewart, and Stewart did indeed become a Sutherland Brothers fan after seeing them perform at the Marquee Club. According to Gavin Sutherland, the Sutherland Brothers co-wrote two original songs with Stewart which Stewart hoped to record for Atlantic Crossing: however the only Sutherland Brothers tune Stewart would record for the album would be "Sailing" whose seemingly nautical theme complemented the album's title. Stewart would recall the recording of "Sailing" being a challenge: he was awoken in his hotel room by a 10 am phone call from Dowd at Muscles Shoals, in which Dowd said "Get down here in half an hour; we've mixed the track and need the vocal"; Stewart (quote): "I was like: 'You're joking, recording at 10:30 in the morning. I need a drink to calm the old nerves'...There was nothing [alcoholic] to be had anywhere and I was terrified to sing without [a drink]"..."I'd never sung anything in a studio without having a drink – let alone a big old anthem. And I'd never sung anything, anywhere that early in the morning. Got it in six or seven takes though. Despite his enthusiasm for the Sutherland Brothers, Stewart said that he "argued vehemently" against the release of "Sailing" as the lead single from Atlantic Crossing,[6] instead advocating his own composition "Three Time Loser".[6] Gavin Sutherland concurs: "I don't think Rod personally wanted ["Sailing"] put out as a single. He just saw it as a big ballady-kind of last track, side two, finish to Atlantic Crossing which had several other great tracks on it."[5] However "Sailing" had an August 1975 UK single release parallel with the album release of Atlantic Crossing: reaching No. 2 UK in its second week of release, Stewart's "Sailing" would have a four-week tenure at No. 1 UK. Stewart's "Sailing" had a UK chart revival in 1976 as a result of the track being utilized as theme song for Sailor a documentary series on HMS Ark Royal which BBC1 aired for ten weeks from 5 August 1976: "Sailing" ranked at No. 50 on the UK chart dated 4 September 1976 and the track's renewed popularity continued even after the 7 October 1976 finale of the Sailor TV series, as "Sailing" reached its 1976 chart peak of No. 3 on the UK charts dated 16 – 23 October 1976, with the track remaining in the UK Top 50 into January 1977.[7] Stewart performed "Sailing" live on the Top of the Pops broadcast of 23 September 1976. "Sailing" remains Stewart's biggest-selling single in the UK: in November 2012 it was reported that "Sailing" by Rod Stewart had sold 1.12 million units in the UK with a resultant ranking at No. 112 of the 123 UK million-selling singles.[8] In the US, where Atlantic Crossing had been issued in August 1975 without a single release, "Sailing" was issued as the album's lead single in October 1975 but failed to reach the Top 40 of Billboard, attaining a Hot 100 peak of No. 58.[9] Overall "Sailing" did afford Stewart a major international success reaching No.1 in Ireland, the Netherlands, and Norway; No. 2 in Australia, Belgium's Flemish Region, South Africa and Switzerland; No. 3 in New Zealand; No. 4 in Germany; No. 7 in Austria; No. 13 in Sweden. The first music video for "Sailing" was filmed in the Port of Dublin and also featured footage shot on the major Dublin thoroughfare Moore Street: featuring Stewart and his partner Britt Ekland, the video aired on the Top of the Pops broadcast of 28 August 1975. Another music video for "Sailing" was shot in New York Harbor in 1978, and would become one of the first to be aired on MTV when it launched on 1 August 1981

Pop Song 543 of 1000 'Centerfold' J. Geils Band 1981 Watch the MV https://www.youtube.com/watch?v=BqDjMZKf-wg The song is about a man who is shocked to discover that his high school crush appeared in a centerfold spread for an unspecified men's magazine. The song's narrator is torn between conflicting feelings: his disappointment due to her loss of innocence, and his lust until the end of the song. Come on! Does she walk? Does she talk? Does she come complete? My homeroom, homeroom angel always pulled me from my seat She was pure like snowflakes no one could ever stain The memory of my angel could never cause me pain Years go by, I'm lookin' through a girly magazine And there's my homeroom angel on the pages in-between My blood runs cold, my memory has just been sold My angel is the centerfold, angel is the centerfold My blood runs cold, woo, my memory has just been sold Angel is the centerfold Slipped me notes under the desk while I was thinkin' about her dress I was shy, I turned away before she caught my eye I was shakin' in my shoes whenever she flashed those baby blues Something had a hold on me when angel passed close by Those soft, fuzzy sweaters, too magical to touch To see her in that négligée is really just too much My blood runs cold, yeah, my memory has just been sold My angel is the centerfold, angel is the centerfold My blood runs cold, my memory has just been sold Oh yeah, angel is the centerfold Now listen, it's okay, I understand, this ain't no never-never land I hope that when this issue's gone, I'll see you when your clothes are on Take your car, yes we will, we'll take your car and drive it We'll take it to a motel room and take 'em off in private A part of me has just been ripped, the pages from my mind are stripped Oh no, I can't deny it, oh yeah, I guess I gotta buy it My blood runs cold, my memory has just been sold My angel is the centerfold, angel is the centerfold My blood runs cold, woo, my memory has just been sold

'The Sound of Silence' Simon and Garfunkel Cyrus Saladin Ming April 1, 2020 Simon wrote "The Sound of Silence" when he was 21 years old,[9][10] with Simon explaining that the song was written in his bathroom, where he turned off the lights to better concentrate. "The main thing about playing the guitar, though, was that I was able to sit by myself and play and dream. And I was always happy doing that. I used to go off in the bathroom, because the bathroom had tiles, so it was a slight echo chamber. I'd turn on the faucet so that water would run (I like that sound, it's very soothing to me) and I'd play. In the dark. 'Hello darkness, my old friend / I've come to talk with you again.' According to Garfunkel, the song was first developed in November, but Simon took three months to perfect the lyrics, which he claims were entirely written on February 19, 1964.[13] Garfunkel, introducing the song at a live performance (with Simon) in Harlem, June 1966, summed up the song's meaning as "the inability of people to communicate with each other, not particularly intentionally but especially emotionally, so what you see around you are people unable to love each other." In a recent memoir by Sandy Greenberg, as reviewed in People magazine in December 2020, the song reflected the strong bond he had with his college buddy and best friend, Garfunkel, who adopted the special epithet 'Darkness' so as to empathise with Greenberg's sudden-onset blindness while in college. The first stanza presents the singer as taking some relative solace in the peacefulness he associates with "darkness" which is submerged "within" the ambiguous sound of silence. The second stanza has the effect of breaking into the silence with "the flash of a neon light" which leaves the singer "touched" by the enduring ambiguity of the sound of silence. In the third stanza, a "naked light" emerges as a vision of 10,000 people all caught within their own solitude and alienation without any one of them being able to "disturb" the recurring sound of silence. In the fourth stanza, the singer proclaims in a declarative voice that "silence like a cancer grows", though his words "like silent raindrops fell" without ever being heard against the by now cancerous sound of silence. The fifth stanza appears to culminate with the urgency raised by the declarative voice in the fourth stanza through the apparent triumph of a false "neon god". The false neon god is only challenged when a "sign flashed out its warning" that only the words of the indigent written on "subway walls and tenement halls" could still "whisper" their truth against the recurring and ambiguous form of "the sound of silence"

Redo Pop Song 214 of 500 'Bette Davis Eyes' Kim Carnes 1981 My first version Yamaha Digital acoustic piano: https://www.youtube.com/watch?v=Mc1hGb_Oa78 "Bette Davis Eyes" is a song written and composed by Donna Weiss and Jackie DeShannon in 1974. It was originally recorded by DeShannon in that year for her album New Arrangement, but it was made popular by American singer Kim Carnes in 1981 Actress Bette Davis was 73 years old when Kim Carnes's version became a hit. She wrote letters to Carnes, Weiss, and DeShannon to thank all three of them for making her "a part of modern times" and stated that her grandson now looked up to her. After their Grammy wins, Davis sent them roses as well. Her hair is Harlow gold Her lips, a sweet surprise Her hands are never cold She's got Bette Davis eyes She'll turn the music on you You won't have to think twice She's pure as New York snow She got Bette Davis eyes And she'll tease you She'll unease you All the better just to please you She's precocious And she knows just what it takes to make a pro blush She got Greta Garbo stand-off sighs She's got Bette Davis eyes She'll let you take her home It whets her appetite She'll lay you on a throne She got Bette Davis eyes She'll take a tumble on you Roll you like you were dice Until you come up blue She's got Bette Davis eyes She'll expose you When she snows you Off your feet with the crumbs she throws you She's ferocious And she knows just what it takes to make a pro blush All the boys think she's a spy She's got Bette Davis eyes And she'll tease you She'll unease you All the better just to please you She's precocious And she knows just what it takes to make a pro blush All the boys think she's a spy She's got Bette Davis eyes She'll tease you She'll unease you Just to please you She's got Bette Davis eyes She'll expose you When she snows you 'Cause she knows you She's got Bette Davis eyes

Pop Song 103 'Mr. Blue Sky' Electric Light Orchestra (ELO)

Pop Song 182 Ain't Misbehavin' 1929 lyrics Andy Razaf score Thomas "Fats" Waller & Harry Brooks "Ain't Misbehavin'" is a 1929 stride jazz/early swing song. Andy Razaf wrote the lyrics to a score by Thomas "Fats" Waller and Harry Brooks for the Broadway musical comedy play Connie's Hot Chocolates The song was first performed at the premiere of Connie's Hot Chocolates in Harlem at Connie's Inn as an opening song by Paul Bass and Margaret Simms, and repeated later in the musical by Russell Wooding's Hallelujah Singers. Connie's Hot Chocolates was transferred to the Hudson Theatre on Broadway during June 1929, where it was renamed to Hot Chocolates and where Louis Armstrong became the orchestra director. The script also required Armstrong to play "Ain't Misbehavin'" in a trumpet solo, and although this was initially slated only to be a reprise of the opening song, Armstrong's performance was so well received that the trumpeter was asked to climb out of the orchestra pit and play the piece on stage. As noted by Thomas Brothers in his book Louis Armstrong: Master of Modernism, Armstrong was first taught "Ain't Misbehavin'" by Waller himself, "woodshedding" it until he could "play all around it"; he cherished it "because it was 'one of those songs you could cut loose and swing with. Ain't Misbehavin' has been recorded by many other performers over the years, including Seger Ellis, Anita O'Day, Sarah Vaughan (for "Sarah Vaughan in Hi-Fi"; 1950), Bing Crosby (for "Songs I Wish I Had Sung the First Time Around"), Billie Holiday, Eartha Kitt, Ella Fitzgerald, Carol Channing, Django Reinhardt, Harry James, Miles Davis, Kay Starr, Frankie Laine, Art Tatum, Floyd Pepper, Sonny Stitt, Sam Cooke, Johnnie Ray, Sidney Bechet, Ray Charles, Nat King Cole, Elkie Brooks, Eyran Katsenelenbogen, Willie Nelson, Kermit Ruffins, Leon Redbone, Freddie White, Dave Brubeck, Johnny Hartman, Hank Williams Jr., Robson Green and Jerome Flynn (Mini TV series UK, 1997), and Bill Haley & His Comets (who recorded a rock and roll version during 1957). Johnnie Ray's version scored number 17 in the UK Singles Chart during May 1956. In 1960, Tommy Bruce and the Bruisers had a number 3 hit in the UK Singles Chart with their cover version of the song.[5] During 1976, Leon Redbone performed the song on Saturday Night Live. It served as the title song of the successful 1978 musical Ain't Misbehavin'. Country music artist Hank Williams Jr. recorded a version for his 1985 studio album Five-O. Released as a single, the song peaked at #1 on Billboard's Hot Country Singles chart and earned Williams a Grammy Award nomination for Best Country Vocal Performance, Male.

Learning Guitar Pop Song 8 ''Running to Stand Still' U2 1987 Thank you Nelson Wu for being a wonderful, supportive and understanding Director of Music! With people like you, people can overcome anything. My piano version https://rumble.com/vtp68p-pop-song-145-running-to-stand-still-u2-1987.html A slow ballad based on piano and guitar, it describes a heroin-addicted couple living in Dublin's Ballymun flats; the towers have since become associated with the song. Though a lot of time was dedicated to the lyrics, the music was improvised with co-producer Daniel Lanois during a recording session for the album. The group explored American music for The Joshua Tree, and as such, "Running to Stand Still" demonstrates folk rock and acoustic blues influences. The song was praised by critics, many of them calling it one of the record's best tracks "Running to Stand Still" was written by U2 in the context of the heroin addiction epidemic in Dublin of the 1980s, much like "Bad" (and to some extent "Wire") had been from their 1984 album The Unforgettable Fire. Bassist Adam Clayton has referred to the song as "Bad Part II". Thin Lizzy frontman Phil Lynott's decline and death from addiction also resonated with Clayton at the time. Until their 2014 album Songs of Innocence, U2 had written relatively few songs directly related to their growing up in Dublin, often giving higher priority to works about The Troubles in Northern Ireland or to international concerns. When they have written about Dublin, allusions to it have often been disguised. But "Running to Stand Still" was one of those with specific Dublin connections I see seven towers But I only see one way out This lyric was a reference to the Ballymun flats, a group of seven local authority, high-rise residential tower blocks built in the Ballymun neighborhood of Dublin during the 1960s. Paul Hewson (later known as U2's lead vocalist Bono) had grown up on Cedarwood Road in the adjacent Glasnevin neighborhood, in a house across fields behind the towers, near his friends and future artists Fionán Hanvey (later known as Gavin Friday) and Derek Rowan (later known as Guggi). Bono had played in the towers' foundations as they were being built, then traveled in their elevators for the novel experience. Over time, poor maintenance, lack of facilities for children, transient tenancies, and other factors caused social conditions and communal ties to break down in the flats. The place began to stink of urine and vomit, and glue sniffers and used needles were common sights, as were appearances of the Garda Síochána. Guggi later lived in the towers during years that he was struggling personally with drugs. It was through his exposure to people without hope in the flats that Bono began to develop his social consciousness. Bono may have used Ballymun as the inspiration (without any explicit lyrical references to it) for the 1980 U2 song "Shadows and Tall Trees", and later likened living in the area to some of the scenes portrayed in the 1992 Mike Newell film Into the West. Driving by there in 1987, Bono said, "See the seven tall buildings there? They're 'the seven towers.' They have the highest suicide rate in Ireland. After they discovered everywhere else in the world that you don't put people living on top of each other, we built them here. The song's title phrase originated from Bono asking his brother how his struggling business was going, and the brother responding, "It's like running to stand still." Bono had not heard the phrase before, and he thought it expressed what heroin addiction and the effects of the drug on the body were like; a writer later described the title as a "perfect distillation of the dynamic of feeding on addiction." Bono had heard a real story about a pair of heroin addicts, a man and a woman, who lived in the Ballymun towers. Out of money and unable to pay the rent due to their habit, the man became a heroin smuggler, operating between Dublin and Amsterdam and taking enormous risks for a big payday. Bono felt the man was decent at heart but was constrained by his squalid living conditions, as well as poor choices, and Bono wanted to illustrate how these poor conditions affected their lives. The resulting lyric does not describe any of this explicitly, but instead limns the emotional atmosphere that the couple live in. In doing so, the song is not judgmental and shows sympathy for the woman. A character monologue from Wim Wenders' 1984 film Paris, Texas, was also a significant influence on Bono's writing of the song.

Pop Song 145 'Running to Stand Still' U2 1987 A slow ballad based on piano and guitar, it describes a heroin-addicted couple living in Dublin's Ballymun flats; the towers have since become associated with the song. Though a lot of time was dedicated to the lyrics, the music was improvised with co-producer Daniel Lanois during a recording session for the album. The group explored American music for The Joshua Tree, and as such, "Running to Stand Still" demonstrates folk rock and acoustic blues influences. The song was praised by critics, many of them calling it one of the record's best tracks "Running to Stand Still" was written by U2 in the context of the heroin addiction epidemic in Dublin of the 1980s, much like "Bad" (and to some extent "Wire") had been from their 1984 album The Unforgettable Fire. Bassist Adam Clayton has referred to the song as "Bad Part II". Thin Lizzy frontman Phil Lynott's decline and death from addiction also resonated with Clayton at the time. Until their 2014 album Songs of Innocence, U2 had written relatively few songs directly related to their growing up in Dublin, often giving higher priority to works about The Troubles in Northern Ireland or to international concerns. When they have written about Dublin, allusions to it have often been disguised. But "Running to Stand Still" was one of those with specific Dublin connections I see seven towers But I only see one way out This lyric was a reference to the Ballymun flats, a group of seven local authority, high-rise residential tower blocks built in the Ballymun neighborhood of Dublin during the 1960s. Paul Hewson (later known as U2's lead vocalist Bono) had grown up on Cedarwood Road in the adjacent Glasnevin neighborhood, in a house across fields behind the towers, near his friends and future artists Fionán Hanvey (later known as Gavin Friday) and Derek Rowan (later known as Guggi). Bono had played in the towers' foundations as they were being built, then traveled in their elevators for the novel experience. Over time, poor maintenance, lack of facilities for children, transient tenancies, and other factors caused social conditions and communal ties to break down in the flats. The place began to stink of urine and vomit, and glue sniffers and used needles were common sights, as were appearances of the Garda Síochána. Guggi later lived in the towers during years that he was struggling personally with drugs. It was through his exposure to people without hope in the flats that Bono began to develop his social consciousness. Bono may have used Ballymun as the inspiration (without any explicit lyrical references to it) for the 1980 U2 song "Shadows and Tall Trees", and later likened living in the area to some of the scenes portrayed in the 1992 Mike Newell film Into the West. Driving by there in 1987, Bono said, "See the seven tall buildings there? They're 'the seven towers.' They have the highest suicide rate in Ireland. After they discovered everywhere else in the world that you don't put people living on top of each other, we built them here. The song's title phrase originated from Bono asking his brother how his struggling business was going, and the brother responding, "It's like running to stand still." Bono had not heard the phrase before, and he thought it expressed what heroin addiction and the effects of the drug on the body were like; a writer later described the title as a "perfect distillation of the dynamic of feeding on addiction." Bono had heard a real story about a pair of heroin addicts, a man and a woman, who lived in the Ballymun towers. Out of money and unable to pay the rent due to their habit, the man became a heroin smuggler, operating between Dublin and Amsterdam and taking enormous risks for a big payday. Bono felt the man was decent at heart but was constrained by his squalid living conditions, as well as poor choices, and Bono wanted to illustrate how these poor conditions affected their lives. The resulting lyric does not describe any of this explicitly, but instead limns the emotional atmosphere that the couple live in. In doing so, the song is not judgmental and shows sympathy for the woman. A character monologue from Wim Wenders' 1984 film Paris, Texas, was also a significant influence on Bono's writing of the song