Pop Song 536 of 1000 'You Spin Me Round' Dead or Alive 1984
Pop Song 536 of 1000 'You Spin Me Round' Dead or Alive 1984
MV https://www.youtube.com/watch?v=PGNiXGX2nLU
How did I write "Spin Me"? I listened to Luther Vandross's 'I Wanted Your Love'. It's not the same chord structure, but then that's the way I make music – I hear something and I sing another tune over it. I didn't sit and study the Luther Vandross album – I heard the song and it locked. [...] I'm trying to structure the music and I know what I want. [...] It's like do this, do this, do this – and suddenly it hits. I don't want to do Luther Vandross's song, but I can still sing the same pattern over it. And there was another record, by Little Nell, called "See You 'Round Like a Record". [...] So I had those two, Van Dross [sic] and Little Nell and – bingo! – done deal.
— Pete Burns, Freak Unique (2007
If I, I get to know your name
Well, if I could trace your private number, baby
All I know is that to me
You look like you're lots of fun
Open up your lovin' arms
I want some, want some
I set my sights on you
(And no one else will do)
And I, I've got to have my way now, baby
All I know is that to me
You look like you're havin' fun
Open up your lovin' arms
Watch out, here I come
You spin me right 'round, baby, right 'round
Like a record, baby, right 'round, 'round, 'round
You spin me right 'round, baby, right 'round
Like a record, baby, right 'round, 'round, 'round
I (I, I, I), I got to be your friend now, baby
And I (I, I, I) would like to move in just a little bit closer
(To move in just a little bit closer)
All I know is that to me
You look like you're lots of fun
Open up your lovin' arms
Watch out, here I come
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Pop Song 537 of 1000 'Do Wah Diddy Diddy' Manfred Mann 1963
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
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Pop Song 535 of 1000 'Wake me up' Avicii i 2013
Pop Song 535 of 1000 'Wake me up' Avicii i 2013
MV https://www.youtube.com/watch?v=IcrbM1l_BoI
Live https://www.youtube.com/watch?v=Ey7D6FVvBNM
It was written by Avicii, Mike Einziger, and American soul singer Aloe Blacc, who provides vocals for the track
Aloe Blacc, who is not credited on the track, explained to The Huffington Post: "I started writing the lyrics at the top of 2013, travelling back from Switzerland. I started in hip hop music back in the 90s and I never expected to be singing and have an actual career as a musician, but I'm travelling all over the world and I thought 'Life is a dream, wake me up when it's all over'. I was invited to the studio with Avicii and Mike Einziger from Incubus, and when I got to the studio they had already come up with a chord progression of the song. I came in with the lyrics and I just developed the melody as I heard the chords, and we all thought it was something very strong. We finished the song that night as an acoustic version, then Avicii made the dance mix in a couple of days, and that's what we released to the world, and that was his release.
The official video for "Wake Me Up" was released a month after the lyric video on 29 July 2013. It was directed by celebrity photographer Mark Seliger and co-directed and edited by CB "Barney" Miller (former guitarist for 1980's pop band Miller Miller Miller & Sloan). It features a woman and a young girl, clearly sisters: The older woman is Russian fashion model Kristina Romanova, and the younger girl is Laneya Grace. It depicts them and how they are different from the people in their dreary village, said people are seen looking at the two often with disgust and revulsion except for one of them. One morning, Kristina gets up early and rides off on a horse to a nearby city. Once in the city, she finds how welcoming and accepting the people are of her. She notices a woman with the Avicii logo birthmark like the one on her lower arm. They meet others and then jump into a truck and are then shown to be attending an Avicii concert. The next morning, Kristina rides back home on the horse and tells Laneya that she found "somewhere they belong" as they pack up all their belongings and depart the village for good. The video ends with them walking down the highway as they move into the city and shots from the concert and one of the staring villagers from the beginning seeming to notice and depressed by the sisters' departure before resuming her uninspired life.
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Pop Song 534 of 1000 'We just disagree' Dave Mason 1977
Pop Song 534 of 1000 We just disagree' Dave Mason 1977
Watch Dave Mason Live https://www.youtube.com/watch?v=p8_FOQ7-P30
[Verse 1]
Been away, haven't seen you in a while
How've you been, have you changed your style?
And do you think that we've grown up differently?
Don't seem the same, seems you've lost your feel for me
[Chorus]
So let's leave it alone, 'cause we can't see eye to eye
There ain't no good guy, there ain't no bad guy
There's only you and me and we just disagree
Ooh-hoo-hoo, oh-oh-ho
[Verse 2]
I'm going back to a place that's far away
How bout you, have you got a place to stay?
Why should I care when I'm just trying to get along?
We were friends, but now it's the end of our love song
[Chorus]
So let's leave it alone, 'cause we can't see eye to eye
There ain't no good guy, there ain't no bad guy
There's only you and me and we just disagree
Ooh-hoo-hoo, oh-oh-ho
[Chorus]
So let's leave it alone, 'cause we can't see eye to eye
There ain't no good guy, there ain't no bad guy
There's only you and me and we just disagree
Ooh-hoo-hoo, oh, oh-oh-ho
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Pop Song 533 of 1000 'Crazy' Gnarls Barkley 2005
Pop Song 533 of 1000 'Crazy' Gnarls Barkley 2005
MV https://www.youtube.com/watch?v=-N4jf6rtyuw
Watch them live! https://www.youtube.com/watch?v=WOjFhKg4h3s
Musically, "Crazy" was inspired by film scores of Spaghetti Westerns, in particular by the works of Ennio Morricone, and the song "Last Men Standing" by Gian Piero Reverberi and Gian Franco Reverberi from the 1968 Spaghetti Western Django, Prepare a Coffin, an unofficial prequel to Django. "Crazy" samples the song, and also utilizes parts of the main melody and chord structure.[6] Because of this, the Reverberis are credited as songwriters along with CeeLo Green and Danger Mouse.
The lyrics for the song developed out of a conversation between Danger Mouse and Green. According to Danger Mouse, "I somehow got off on this tangent about how people won't take an artist seriously unless they're insane... So we started jokingly discussing ways in which we could make people think we were crazy... CeeLo took that conversation and made it into 'Crazy', which we recorded in one take.
I remember when
I remember, I remember when I lost my mind
There was something so pleasant about that place
Even your emotions have an echo in so much space
And when you're out there without care
Yeah, I was out of touch
But it wasn't because I didn't know enough
I just knew too much
Does that make me crazy?
Does that make me crazy?
Does that make me crazy?
Possibly
And I hope that you are having the time of your life
But think twice, that's my only advice
Come on now, who do you, who do you, who do you
Who do you think you are
Ha ha ha, bless your soul
You really think you're in control
I think you're crazy
I think you're crazy
I think you're crazy
Just like me
My heroes had the heart to lose their lives out on the limb
And all I remember is thinking I want to be like them
Ever since I was little
Ever since I was little it looked like fun
And it's no coincidence I've come
And I can die when I'm done
But maybe I'm crazy
Maybe you're crazy
Maybe we're crazy
Probably
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Pop Song 532 of 1000 'Killing me softly' Lori Lieberman covered by Roberta Flack 1971
Pop Song 532 of 1000 'Killing me softly' Lori Lieberman covered by Roberta Flack 1971
Watch MV https://www.youtube.com/watch?v=mrudT410TAI
In November 1971, Lieberman, then 20, went out with her friend Michele Willens (daughter of millionaire Harold Willens) to see Don McLean perform at the Troubadour nightclub in Los Angeles.[1] McLean's hit song "American Pie" was rising in the charts, but Lieberman was strongly affected by McLean singing another song: "Empty Chairs".[7][8] This song spurred her to write poetic notes on a paper napkin while he was performing the song.[9] Willens confirms that Lieberman was "scribbling notes" on a napkin as soon as McLean began singing the song. After the concert, Lieberman phoned Gimbel to read him her napkin notes and share her experience of a singer reaching deep inside her world with his song.[1] Lieberman's description reminded Gimbel of a song title that was already in his idea notebook, the title "killing us softly with some blues".[10] Gimbel expanded on Lieberman's notes, fleshing them out into song lyrics. Gimbel said in 1973 that "Her conversation fed me, inspired me, gave me some language and a choice of words."[1] Gimbel passed these lyrics to Fox, who set them to music
Strumming my pain with his fingers
Singing my life with his words
Killing me softly with his song
Killing me softly with his song
Telling my whole life with his words
Killing me softly with his song
I heard he sang a good song,
I heard he had a style
And so I came to see him,
To listen for a while
And there he was this young boy,
A stranger to my eyes
Strumming my pain with his fingers
Singing my life with his words
Killing me softly with his song
Killing me softly with his song
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Pop Song 531 of 1000 'Heart-Shaped Box' Nirvana 1993
Pop Song 531 of 1000 'Heart-Shaped Box' Nirvana 1993
Please watch the MV https://www.youtube.com/watch?v=n6P0SitRwy8
Please watch Nirvana live https://www.youtube.com/watch?v=92fK3K8nagk
In the 1993 Nirvana biography Come As You Are: The Story of Nirvana, Cobain told author Michael Azerrad that "Heart-Shaped Box" was written about children with cancer. "Every time I see documentaries about little kids with cancer I just freak out", he explained. "It affects me on the highest emotional level, more than anything else on television."[2] As Azerrad noted, however, the song's lyrics were more likely about Love. Charles R. Cross, author of the 2001 Cobain biography Heavier Than Heaven, described the lyric, "I wish I could eat your cancer when you turn black" as "what has to be the most convoluted route any songwriter undertook in pop history to say 'I love you'".[14] Garr wrote that "while the song does reference [cancer], the lyrics appear more to address the physical and emotional dependencies inherent in relationships."[13]
Cobain's unused liner notes for In Utero, first described in Heavier Than Heaven and published in Journals the following year, featured an explanation for "Heart-Shaped Box" that "fell completely apart", according to Cross, "but touched on The Wizard of Oz, 'I Claudius', Leonardo da Vinci, male seahorses (who carry their young), racism in the Old West, and Camille Paglia".[14]
The song's title was inspired by the collection of heart-shaped candy boxes Love kept in the front room of the Fairfax apartment she and Cobain lived in.[2] However, early versions of the song featured the word "coffin" rather than "box". According to Bailey, the song also featured the working title "New Complaint."[15] In a 1993 interview with Circus, Cobain explained that the chorus lyrics "Hey/ Wait/ I've got a new complaint" were a reference to how he believed he was often perceived by the media.
She eyes me like a Pisces when I am weak
I've been locked inside your heart-shaped box for weeks
I've been drawn into your magnet tar pit trap
I wish I could eat your cancer when you turn black
Hey! Wait!
I've got a new complaint
Forever in debt to your priceless advice
Hey! Wait!
I've got a new complaint
Forever in debt to your priceless advice
Hey! Wait!
I've got a new complaint
Forever in debt to your priceless advice
Your advice
Meat-eating orchids forgive no one just yet
Cut myself on angel hair and baby's breath
Broken hymen of Your Highness, I'm left black
Throw down your umbilical noose so I can climb right back
Hey! Wait!
I've got a new complaint
Forever in debt to your priceless advice
Hey! Wait!
I've got a new complaint
Forever in debt to your priceless advice
Hey! Wait!
I've got a new complaint
Forever in debt to your priceless advice
Your advice
She eyes me like a Pisces when I am weak
I've been locked inside your heart-shaped box for weeks
I've been drawn into your magnet tar pit trap
I wish I could eat your cancer when you turn black
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Pop Song 530 of 1000 'Where the streets have no name' U2 1987
Pop Song 530 of 1000 'Where the streets have no name' U2 1987
Please watch https://www.youtube.com/watch?v=GzZWSrr5wFI
The lyrics were inspired by a story that Bono heard about Belfast, Northern Ireland, where a person's religion and income were evident by the street on which they lived.[13] He contrasted this with the anonymity he felt when visiting Ethiopia, saying: "the guy in the song recognizes this contrast and thinks about a world where there aren't such divisions, a place where the streets have no name. To me, that's the way a great rock 'n' roll concert should be: a place where everyone comes together... Maybe that's the dream of all art: to break down the barriers and the divisions between people and touch upon the things that matter the most to us all."[14] Bono wrote the lyrics while on a humanitarian visit to Ethiopia with his wife, Ali; he first wrote them down on an airsickness bag while staying in a village.[15]
According to him, the song is ostensibly about "Transcendence, elevation, whatever you want to call it."[16] Bono, who compared many of his lyrics prior to The Joshua Tree to "sketches", said that "'Where the Streets Have No Name' is more like the U2 of old than any of the other songs on the LP, because it's a sketch—I was just trying to sketch a location, maybe a spiritual location, maybe a romantic location. I was trying to sketch a feeling."
I wanna run, I want to hide
I wanna tear down the walls
That hold me inside
I wanna reach out
And touch the flame
Where the streets have no name
I wanna feel sunlight on my face
I see the dust-cloud
Disappear without a trace
I wanna take shelter
From the poison rain
Where the streets have no name
Where the streets have no name
Where the streets have no name
We're still building and burning down love
Burning down love
And when I go there
I go there with you
(It's all I can do)
The city's a flood, and our love turns to rust
We're beaten and blown by the wind
Trampled in dust
I'll show you a place
High on a desert plain
Where the streets have no name
Where the streets have no name
Where the streets have no name
We're still building and burning down love
Burning down love
And when I go there
I go there with you
(It's all I can do)
Our love turns to rust
We're beaten and blown by the wind, blown by the wind
Oh, and I see love
See our love turn to rust
And we're beaten and blown by the wind, blown by the wind
Oh when I go there
I go there with you
(It's all I can do)
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Merry Christmas Everyone! God bless us all!
Merry Christmas Everyone! God bless us all!
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2
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Pop Song 529 of 1000 'Black Betty' Ram Jam 1977 version, Lead Belly 1939
Pop Song 529 of 1000 'Black Betty' Ram Jam 1977 version, Lead Belly 1939
Watch the MV https://www.youtube.com/watch?v=I_2D8Eo15wE
"Black Betty" (Roud 11668) is a 20th-century African-American work song often credited to Huddie "Lead Belly" Ledbetter as the author, though the earliest recordings are not by him. Some sources say it is one of Lead Belly's many adaptations of earlier folk material
The origin and meaning of the lyrics are subject to debate. Historically, the "Black Betty" of the title may refer to the nickname given to a number of objects: a bottle of whiskey, a whip, or a penitentiary transfer wagon.
David Hackett Fischer, in his book Albion's Seed: Four British Folkways in America (Oxford University Press, 1989), states that "Black Betty" was a common term for a bottle of whisky in the borderlands between northern England and southern Scotland; it later became a euphemism in the backcountry areas of the eastern United States. In January 1736, Benjamin Franklin published The Drinker's Dictionary in the Pennsylvania Gazette offering 228 round-about phrases for being drunk. One of those phrases is "He's kiss'd black Betty."[2][3] Other sources give the meaning of "Black Betty" in the United States (from at least 1827) as a liquor bottle
In Caldwells's Illustrated Combination Centennial Atlas of Washington Co. Pennsylvania of 1876, a short section describes wedding ceremonies and marriage customs, including a wedding tradition where two young men from the bridegroom procession were challenged to run for a bottle of whiskey. This challenge was usually given when the bridegroom party was about a mile from the destination-home where the ceremony was to be had. Upon securing the prize, referred to as "Black Betty", the winner of the race would bring the bottle back to the bridegroom and his party. The whiskey was offered to the bridegroom first and then successively to each of the groom's friends.[6]
John A. and Alan Lomax's 1934 book, American Ballads and Folk Songs describes the origins of "Black Betty":
"Black Betty is not another Frankie, nor yet a two-timing woman that a man can moan his blues about. She is the whip that was and is used in some Southern prisons. A convict on the Darrington State Farm in Texas, where, by the way, whipping has been practically discontinued, laughed at Black Betty and mimicked her conversation in the following song." (In the text, the music notation and lyrics follow.)
— Lomax, John A. and Alan Lomax, American Ballads and Folk Songs.
John Lomax also interviewed blues musician James Baker (better known as "Iron Head") in 1934, almost one year after Iron Head performed the first known recorded performance of the song.[7] In the resulting article for Musical Quarterly, titled "'Sinful Songs' of the Southern Negro", Lomax again mentions the nickname of the bullwhip is "Black Betty".[8] Steven Cornelius in his book, Music of the Civil War Era, states in a section concerning folk music following the war's end that "prisoners sang of 'Black Betty', the driver's whip."[9]
In an interview conducted by Alan Lomax with former Texas penal farm prisoner Doc "Big Head" Reese, Reese stated that the term "Black Betty" was used by prisoners to refer to the "Black Maria" — the penitentiary transfer wagon.
Whoa, Black Betty (Bam-ba-lam)
Black Betty had a child (Bam-ba-lam)
The damn thing gone wild (Bam-ba-lam)
She said, "I'm worryin' outta mind" (Bam-ba-lam)
The damn thing gone blind (Bam-ba-lam)
I said oh, Black Betty (Bam-ba-lam)
Whoa, Black Betty (Bam-ba-lam)
Whoa, Black Betty (Bam-ba-lam)
Whoa, Black Betty (Bam-ba-lam)
She really gets me high (Bam-ba-lam)
You know that's no lie (Bam-ba-lam)
She's so rock steady (Bam-ba-lam)
And she's always ready (Bam-ba-lam)
Whoa, Black Betty (Bam-ba-lam)
Whoa, Black Betty (Bam-ba-lam)
Get it!
Whoa, Black Betty (Bam-ba-lam)
Whoa, Black Betty (Bam-ba-lam)
She's from Birmingham (Bam-ba-lam)
Way down in Alabam' (Bam-ba-lam)
Well, she's shakin' that thing (Bam-ba-lam)
Boy, she makes me sing (Bam-ba-lam)
Whoa, Black Betty (Bam-ba-lam)
Whoa, Black Betty
Bam-ba-laaam, yeah, yeah
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Pop Song 528 of 1000 'Play that funky music' Wild Cherry 1976
Pop Song 528 of 1000 'Play that funky music' Wild Cherry 1976
Watch https://www.youtube.com/watch?v=BHcYFxU4fMo
Wild Cherry was a hard rock cover band, but with the advent and popularity of the disco era, it began to be difficult to get bookings because audiences wanted to dance. Parissi told the band that if they wanted to get bookings, they were going to have to start to include dance tunes in their sets, but the band resisted becoming a disco band. While playing at the 2001 Club on the North Side of Pittsburgh to a predominantly black audience, a patron said to band member Beitle during a break, "Are you going to play some funky music, white boys?" Parissi grabbed a pen and order pad and wrote the song in about five minutes. The lyrics literally describe the predicament of a hard rock band adjusting to the disco era.
Hey, once I was a boogie singer
Playing in a rock 'n' roll band
I never had no problems, yeah
Burning down the one-night stands
Then everything around me, yeah
It got to start to feeling so low
And I decided quickly, yes, I did, heh
To disco down and check out the show
Yeah, they were dancing and singing
And moving to the grooving
And just when it hit me
Somebody turned around and shouted...
"Play that funky music, white boy
Play that funky music right
Play that funky music, white boy
Lay down the boogie and play that funky music 'til you die" (heh, heh)
'Til you die, yeah, uh
Here, here, ha
Well, I tried to understand this (yeah)
Heh, I thought that they were out of their minds
How could I be so foolish? How could I?
To not see I was the one behind?
So still I kept on fighting
Well, losing every step of the way (hey, what'd you do?)
I said, "I must go back there," I got to go back
And check to see if things still the same
Yeah, they were dancing and singing
And moving to the grooving
And just when it hit me
Somebody turned around and shouted...
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Live Performance 'We've Got Tonight' Bob Seger 1978
Live Performance 'We've Got Tonight' Bob Seger 1978
Please watch young Bob Seger Live https://www.youtube.com/watch?v=HCBhN4LIyXQ
Please watch old Bob Seger Live! https://www.youtube.com/watch?v=rbIYXgMlQDk
Anna Lam Winter Recital
Two lonely people who aren't right for each other but will do for one night. Seger wrote the song after seeing the movie The Sting, starring Robert Redford and Paul Newman. In the film, there's scene where Redford puts the moves on a waitress, who says, "I don't even know you." He replies: "You know me. I'm the same as you. It's two in the morning and I don't know nobody."
"That just hit me real hard," Seger told the Detroit Free Press in 1994. "The next day I wrote 'We've Got Tonight,' this song about two people who say 'I'm tired. It's late at night. I know you don't really dig me, and I don't really dig you, but this is all we've got, so let's do it.
I know it's late, I know you're weary
I know your plans don't include me
Still here we are, both of us lonely
Longing for shelter from all that we see
Why should we worry?
No one will care, girl
Look at the stars so far away
We've got tonight
Who needs tomorrow?
We've got tonight, babe
Why don't you stay?
Deep in my soul, I've been so lonely
All of my hopes fading away
I've longed for love like everyone else does
I know I'll keep searchin' even after today
So there it is girl, I've said it all now
And here we are babe, what do you say?
We've got tonight
Who needs tomorrow?
We've got tonight, babe
Why don't you stay?
I know it's late I know you're weary (weary)
Ooh, I know your plans don't include me
Still here we are both of us lonely (lonely)
Both of us lonely (lonely)
We've got tonight (we've got tonight)
Who needs tomorrow?
Let's make it last
Let's find a way
Turn out the light (turn out the light)
Come take my hand now
We've got tonight, babe
Why don't you stay?
We've got tonight
Who needs tomorrow?
Let's make it last
Let's find a way
Turn out the light
Come take my hand now
We've got tonight, babe
Why don't you stay?
Oh, we've got tonight (we've got tonight)
Who needs tomorrow?
Let's make it last
Let's find a way
Turn out the light (turn out the light)
Come take my hand now
We've got tonight, babe
Why don't you stay?
Oh-oh, oh, why don't you stay?
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Pop Song 527 of 1000 'Man in the box' Alice in Chains 1991
Pop Song 527 of 1000 'Man in the box' Alice in Chains 1991
Watch the MV https://www.youtube.com/watch?v=TAqZb52sgpU
In a 1992 interview with Rolling Stone, Layne Staley explained the origins of the song's lyrics:
I started writing about censorship. Around the same time, we went out for dinner with some Columbia Records people who were vegetarians. They told me how veal was made from calves raised in these small boxes, and that image stuck in my head. So I went home and wrote about government censorship and eating meat as seen through the eyes of a doomed calf.[11]
Jerry Cantrell said of the song:
But what it's basically about is, is how government and media control the public's perception of events in the world or whatever, and they build you into a box by feeding it to you in your home, ya know. And it's just about breaking out of that box and looking outside of that box that has been built for you.
I'm the man in the box
Buried in my shit
Won't you come and save me?
Save me
Feed my eyes
(Can you sew them shut?)
Jesus Christ
(Deny your maker)
He who tries
(Will be wasted)
Oh, feed my eyes
(Now you've sewn them) shut
I'm the dog who gets beat
Shove my nose in shit
Won't you come and save me?
Save me
Feed my eyes
(Can you sew them shut?)
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Pop Song 526 of 1000 'Melody of the night(夜的鋼琴曲)' - Shi Jin(石进)
Pop Song 526 of 1000 'Melody of the night(夜的鋼琴曲)' - Shi Jin(石进
Please watch the video https://www.youtube.com/watch?v=ErMz2iLLm4w
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Pop Song 525 of 1000 'If' Bread 1971
Pop Song 525 of 1000 'If' Bread 1971
Watch their performance https://www.youtube.com/watch?v=IQyKMueMFGk
The narrator expresses a desire to capture the beloved in a painting to show the beauty of the relationship, to be with them in two places at once, and to be with them through the end of the world. Thus, the song underscores the emotional intensity of the relationship, and the commitment to remain connected for eternity. The chorus is particularly powerful in emphasizing the narrator's vow to stay together forever, suggesting that their love can outlast even death.
If a picture paints a thousand words
Then why can't I paint you?
The words will never show
The you I've come to know
If a face could launch a thousand ships
Then where am I to go?
There's no one home but you
You're all that's left me too
And when my love for life is running dry
You come and pour yourself on me
If a man could be two places at one time
I'd be with you
Tomorrow and today
Beside you all the way
If the world should stop revolving
Spinning slowly down to die
I'd spend the end with you
And when the world was through
Then one by one the stars would all go out
Then you and I would simply fly away
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Pop Song 524 of 1000 'Something just like this' Coldplay & The Chainsmokers 2017
Pop Song 524 of 1000 'Something just like this' Coldplay & The Chainsmokers 2017
Watch the MV https://www.youtube.com/watch?v=FM7MFYoylVs
Watch them live https://www.youtube.com/watch?v=4u6bWs-ZG0o
The narrator doesn't feel up to the job of being in a relationship. He doesn't think he's good enough, but his love interest affirms realistic, healthy expectations for the relationship.
I've been reading books of old
The legends and the myths
Achilles and his gold
Hercules and his gifts
Spider-Man's control
And Batman with his fists
And clearly, I don't see myself upon that list
But she said, "Where'd you wanna go?
How much you wanna risk?
I'm not looking for somebody with some superhuman gifts
Some superhero
Some fairy tale bliss
Just something I can turn to
Somebody I can kiss"
I want something just like this
Doo-doo-doo, doo-doo-doo
Doo-doo-doo, doo, doo-doo
Doo-doo-doo, doo-doo-doo
Oh, I want something just like this
Doo-doo-doo, doo-doo-doo
Doo-doo-doo, doo, doo-doo
Doo-doo-doo, doo, doo-doo
Oh, I want something just like this
I want something just like this
I've been reading books of old
The legends and the myths
The testaments they told
The moon and its eclipse
And Superman unrolls a suit before he lifts
But I'm not the kind of person that it fits
She said, "Where'd you wanna go?
How much you wanna risk?
I'm not looking for somebody with some superhuman gifts
Some superhero
Some fairy tale bliss
Just something I can turn to
Somebody I can miss"
I want something just like this
I want something just like this
Oh, I want something just like this
Doo-doo-doo, doo-doo-doo
Doo-doo-doo, doo, doo-doo
Doo-doo-doo, doo-doo-doo
Oh, I want something just like this
Doo-doo-doo, doo-doo-doo
Doo-doo-doo, doo, doo-doo
Doo-doo-doo, doo, doo-doo
Where'd you wanna go?
How much you wanna risk?
I'm not looking for somebody with some superhuman gifts
Some superhero
Some fairy tale bliss
Just something I can turn to
Somebody I can kiss
I want something just like this
Oh, I want something just like this
Oh, I want something just like this
Oh, I want something just like this
28
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Pop Song 523 of 1000 'Come undone' Duran Duran 1993
Pop Song 523 of 1000 'Come undone' Duran Duran 1993
watch the MV https://www.youtube.com/watch?v=Epj84QVw2rc&t=161s
At its core, “Come Undone” is a song about the fragility of human connection. From its opening lines, the track sets a tone of introspection and vulnerability: “Mine, immaculate dream, made breath and skin, I’ve been waiting for you, signed, with a home tattoo.” The speaker is clearly in love, but there’s a sense of anxiety and uncertainty that hangs over the relationship, a fear that things might fall apart at any moment.
As the song progresses, this tension builds, with the narrator grappling with his own emotions and desires. “Can’t ever keep from falling apart at the seams, can’t I believe you’re taking my heart to pieces,” he laments, acknowledging the pain and uncertainty that comes with opening yourself up to another person.
While “Come Undone” is primarily a song about love and connection, it’s also deeply concerned with desire and the role it plays in our lives. The chorus, with its repeated chant of “can’t ever keep from falling apart,” is a haunting reminder of how easily we can be consumed by our own desires, how they can override our better judgement and cause us to act in ways we might not otherwise.
At the same time, there’s a sense of hopelessness to this aspect of the song, as if the narrator knows that his desires are leading him down a path that can only end in pain and disappointment. “Can’t ever keep from falling apart, at the seams,” he sings, “can’t I believe you’re taking my heart to pieces.” It’s a powerful reminder of how complicated and challenging relationships can be, and how difficult it can be to navigate the thorny emotional landscape of desire.
36
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Pop Song 522 of 1000 'Dream a little dream of me' Andre, Schwandt and lyrics Gus Kahn 1931
Pop Song 522 of 1000 'Dream a little dream of me' Andre, Schwandt and lyrics Gus Kahn 1931
Please listen to Ella Fitzgerald and Louis Armstrong https://www.youtube.com/watch?v=QJhSM17a8OA
"Dream a Little Dream of Me" is a 1931 song with music by Fabian Andre and Wilbur Schwandt and lyrics by Gus Kahn.[1] It was first recorded in February 1931 by Ozzie Nelson and His Orchestra, soon followed by Wayne King and His Orchestra with vocals by Ernie Birchill. A popular standard, it has seen well over 400 recorded versions
Stars shining bright above you
Night breezes seem to whisper "I love you"
Birds singing in the sycamore tree
Dream a little dream of me
Say nighty-night and kiss me
Just hold me tight and tell me you'll miss me
While I'm alone and blue as can be
Dream a little dream of me
Stars fading but I linger on dear (Oh, how you linger on)
Still craving your kiss (How you crave my kiss)
Now I'm longing to linger 'til dawn dear
Just saying this (Give me a little kiss)
Sweet dreams 'til sunbeams find you
Sweet dreams that leave all worries behind you
But in your dreams whatever they be
Dream a little dream of me
Stars fading but I linger on dear
Still craving your kiss
Yeah, I'm longing to linger 'til dawn dear
Just saying this
Sweet dreams, I'm dreamin' ('Til sunbeams find you)
Keep dreamin' (Gotta keep dreaming)
Leave the worries behind you
But in your dreams whatever they be
You've gotta make me a promise (oh, yes)
Promise to me
You'll dream
Dream a little dream of me
47
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Pop Song 521 of 1000 'Eleanor Rigby' The Beatles 1966
Pop Song 521 of 1000 'Eleanor Rigby' The Beatles 1966
Watch the MV https://www.youtube.com/watch?v=HuS5NuXRb5Y
https://en.wikipedia.org/wiki/Eleanor_Rigby
Ah, look at all the lonely people
Ah, look at all the lonely people
Eleanor Rigby
Picks up the rice in the church where a wedding has been
Lives in a dream
Waits at the window
Wearing the face that she keeps in a jar by the door
Who is it for?
All the lonely people
Where do they all come from?
All the lonely people
Where do they all belong?
Father McKenzie
Writing the words of a sermon that no one will hear
No one comes near
Look at him working
Darning his socks in the night when there's nobody there
What does he care?
All the lonely people
Where do they all come from?
All the lonely people
Where do they all belong?
Ah, look at all the lonely people
Ah, look at all the lonely people
Eleanor Rigby
Died in the church and was buried along with her name
Nobody came
Father McKenzie
Wiping the dirt from his hands as he walks from the grave
No one was saved
All the lonely people (ah, look at all the lonely people)
Where do they all come from?
All the lonely people (ah, look at all the lonely people)
Where do they all belong?
25
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Pop Song 520 of 1000 'Sabotage' Beastie Boys 1994
Pop Song 520 of 1000 'Sabotage' Beastie Boys 1994
Please watch this great MV https://www.youtube.com/watch?v=z5rRZdiu1UE
The song was first conceived when MCA played the signature bass line one day in the studio and it immediately caught the band's attention. Both Ad-Rock and Mike D picked up their respective instruments and started building on it. According to Ad-Rock in the 2020 Beastie Boys Story documentary, the lyrics are a fictitious rant about how their producer "was the worst person ever and how he was always sabotaging us and holding us back."
I can't stand it, I know you planned it
I'm gonna set it straight, this Watergate
I can't stand rocking when I'm in here
'Cause your crystal ball ain't so crystal clear
So while you sit back and wonder why
I got this fucking thorn in my side
Oh my God, it's a mirage
I'm tellin' y'all, it's a sabotage
So, so, so, so listen up 'cause you can't say nothin'
You'll shut me down with a push of your button?
But you, I'm out and I'm gone
I'll tell you now, I keep it on and on
'Cause what you see you might not get
And we can bet, so don't you get souped yet
You're scheming on a thing that's a mirage
I'm trying to tell you now, it's sabotage
Why
Our backs are now against the wall?
Listen all y'all, it's a sabotage
Listen all y'all, it's a sabotage
Listen all y'all, it's a sabotage
Listen all y'all, it's a sabotage
I can't stand it, I know you planned it
I'm gonna set it straight, this Watergate
Lord, I can't stand rockin' when I'm in this place
Because I feel disgrace because you're all in my face
But make no mistakes and switch up my channel
I'm Buddy Rich when I fly off the handle
What could it be? It's a mirage
You're scheming on a thing, that's sabotage
51
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Pop Song 518 of 100 'Edelweiss' Richard Rodgers Hammerstein 1959
Pop Song 518 of 100 'Edelweiss' Richard Rodgers Hammerstein 1959
Please watch from The Sound of Music https://www.youtube.com/watch?v=8bL2BCiFkTk
While The Sound of Music was in tryouts in Boston, Richard Rodgers felt Captain von Trapp should have a song with which he would bid farewell to the Austria he knew and loved. Rodgers and Oscar Hammerstein II decided to write an extra song that von Trapp would sing in the festival concert sequence towards the end of the show. As they were writing it, they felt this song could also use the guitar-playing and folk-singing talents of Theodore Bikel, who had been cast as the Captain. The Lindsay and Crouse script provides the metaphor of the simple edelweiss wildflower as a symbol of the Austria that Captain von Trapp, Maria, and their children knew would live on, in their hearts, despite the Nazi annexation of their homeland. The metaphor of this song builds on an earlier scene when Gretl presents a bouquet of edelweiss flowers to Baroness Elsa Schräder, during the latter's visit to the von Trapp household.
Rodgers provided a simple, yet haunting and affecting, waltz-time melody, to the simple Italian style ritornello lyric that Hammerstein wrote about the appearance of the edelweiss flower. "Edelweiss" turned out to be one of the most beloved songs in the musical, as well as one of the best-loved songs by Rodgers and Hammerstein.
Edelweiss is the last song Rodgers and Hammerstein wrote together; Hammerstein was suffering from stomach cancer, which took his life nine months after The Sound of Music opened on Broadway.
Edelweiss, Edelweiss
Every morning you greet me
Small and white, clean and bright
You look happy to meet me
Blossom of snow, may you bloom and grow
Bloom and grow forever
Edelweiss, Edelweiss
Bless my homeland forever
Small and white, clean and bright
You look happy to meet me
Blossom of snow, may you bloom and grow
Bloom and grow forever
Edelweiss, Edelweiss
81
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Pop Song 519 of 1000 'Hold on Loosely' .38 Special 1980
Pop Song 519 of 1000 'Hold on Loosely' .38 Special 1980
watch 38 special live https://www.youtube.com/watch?v=vJtf7R_oVaw
Barnes going through a difficult time in his marriage, lamented that his wife was not being more supportive of his career aspirations. He presented a seed idea for a song to co-writer Jim Peterik, asking what he thought of the title "Hold On Loosely", to which Peterik came back with, "...but don't let go". For the music, Peterik described the song's opening riff as "Like the Cars meets Lynyrd Skynyrd or something". Taking inspiration from "Just What I Needed" by the Cars, Jeff Carlisi wrote the famous riff to the song.
You see it all around you
Good lovin' gone bad
And usually it's too late when you
Realize what you had
And my mind goes back to a girl I met
Some years ago who told me
Just hold on loosely, but don't let go
If you cling too tightly, you're gonna lose control
Your baby needs someone to believe in
And a whole lot of space to breathe in
So damn easy
When your feelings are such
To overprotect her
To love her too much
And my mind goes back to a girl I met
Some years ago who told me
Just hold on loosely, but don't let go
If you cling too tightly, you're gonna lose control
Your baby needs someone to believe in
And a whole lot of space to breathe in
Don't let her slip away
Sentimental fool
Don't let your heart get in the way
Yeah, yeah, yeah
You see it all around you
Good lovin' gone bad
And usually it's too late when you
12
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Chinese Song 2 '怒放的生命 Life in Full Bloom' 汪峰 Wang Feng 2005
Chinese Song 2 '怒放的生命 Life in Full Bloom' 汪峰 Wang Feng 2005
Anna Lam Winter 2023 Recital
Please watch this nice version with English translation subtitles.
https://www.youtube.com/watch?v=JsvMHCmz3m4
32
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Pop Song 517 of 1000 'Freeze Frame' J Geils Band 1981
Pop Song 517 of 1000 'Freeze Frame' J Geils Band 1981
Please watch the MV https://www.youtube.com/watch?v=wHo43B6nu60
Freeze-frame
I could see it was a rough-cut Tuesday
Slow-motion weekdays stare me down
Her lipstick reflex got me wound
There were no defects to be found
Snapshot image froze without a sound
Thursday mornin' was a hot flash-factor
Her face still focused in my mind
Test-strip proof-sheet love is hard to find
Friday night, we'll dance the spotlight grind
Stop-time heart for me if she's not mine
(Freeze-frame) freeze-frame
(Freeze-frame) freeze-frame
(Freeze-frame) freeze-frame
(Freeze-frame, woo!) Now, freeze
Now I'm lookin' at a flashback Sunday
Zoom lens feelings just won't disappear
Close-up darkroom sweet-talk in my ear
Her hot-spot love for me is strong
This freeze-frame moment can't be wrong
(Freeze-frame) freeze-frame
(Freeze-frame) freeze-frame
(Freeze-frame) freeze-frame
(Freeze-frame, woo!) Now, freeze
Shoot, shoot
Shoot, shoot
Shoot, shoot
(Freeze-frame) freeze-frame
(Freeze-frame) freeze-frame
(Freeze-frame) freeze-frame
(Freeze-frame, woo!) Now, freeze
Yeah
(Freeze-frame, freeze-frame)
(Freeze-frame) freeze-frame (freeze-frame)
Freeze, please freeze, woo! (Freeze-frame)
(Shoot, shoot, freeze-frame)
(Shoot, shoot, freeze-frame)
(Shoot, shoot, freeze-frame)
52
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Pop Song 526 of 1000 'Blue sky' The Allman Brothers Band 1972
Pop Song 526 of 1000 'Blue sky' The Allman Brothers Band 1972
The song was written and sung by guitarist Dickey Betts, who penned it about his girlfriend (and later wife), Sandy "Bluesky" Wabegijig. The track is also notable as one of guitarist Duane Allman's final recorded performances with the group.
Walk along the river, sweet lullaby
They just keep on flowin'
They don't worry 'bout where it's goin'
No, no
Don't fly, mister bluebird
I'm just walkin' down the road
Early morning sunshine
Tell me all I need to know
You're my blue sky, you're my sunny day
Lord, you know it makes me high
When you turn your love my way
Turn your love my way, yeah
Good old Sunday mornin'
Bells are ringin' everywhere
Goin' to Carolina
It won't be long and I'll be there
You're my blue sky, you're my sunny day
Lord, you know it makes me high
When you turn your love my way
Turn your love my way, yeah, yeah
33
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