Selections From Rolling Stone Magazine's 500 Greatest Songs of All Time Guitar Classics Volume 2 (Easy Guitar TAB) PDF

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500
The
Greatest Songs
of All Time
The ultimate playlist, created by the editors
of Rolling Stone and a panel of experts
Introduction by Jay-Z
My Top 10
Brian Wilson, Kelly Clarkson, Tom Morello, Missy Elliott,
James Heteld, ?uestlove, Slash, Solomon Burke and
Ozzy Osbourne name the songs that touched their lives.
What Makes a Great Song

The best songwriters and producers in music talk about their nest
moments, including Leiber and Stoller on Yakety Yak, Eddie Holland
on Where Did Our Love Go, Linda Perry on Beautiful, Max Martin
on Since U Been Gone and John Fogerty on Proud Mary.
How We Made the List

The blue-ribbon panel of writers, musicians and experts.
Index
The Rolling Stone 500 by artist.
The Numbers
The longest and shortest RS 500 songs, the oldest and newest,
and everything in between.

PETRA NIEMEIER/K & K/REDFERNS/GETTY IMAGES
Jimi Hendrix spinning

a few of his personal
favorites in London, 1967
Jann S. Wenner
editor and publisher
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{Introduction}
by Jay-Z
A great song doesnt attempt

to be anything it just is.
When you hear a great song, you can think of where you were when
you rst heard it, the sounds, the smells. It takes the emotions of a
moment and holds it for years to come. It transcends time. A great
song has all the key elements melody; emotion; a strong statement
that becomes part of the lexicon; and great production. Think of
Bohemian Rhapsody, by Queen. That song had everything dier-
ent melodies, opera, R&B, rock and it explored all of those dier-
ent genres in an authentic way, where it felt natural.
When Im writing a song that I know is going to work, its a feel-
ing of euphoria. Its how a basketball player must feel when he starts
hitting every shot, when youre in that zone. As soon as you start, you
get that magic feeling, an extra feeling. Songs like that come out in
ve minutes; if I work on them more than, say, 20 minutes, theyre
probably not going to work.
When I was starting out, I was just trying to tell stories. I wasnt
thinking about melodies. Then I started to marry storytelling with
everything I was learning from all these other great records: the great

writers like Babyface and Lionel Richie; Rakims technique and syn-
copation; Dres whole package on the Chronic albums; Quincy Jones,
the greatest producer of all time; Rick Rubin, whos not too far be-
hind because of all his genre-jumping.
Technology has caused the songwriting process to lose some of the
magic. A lot of times now, people working on a song arent in the same
room. Imagine if Michael Jackson and Quincy Jones hadnt been in
the same room! Those records would have been totally dierent. Ive
had times when I changed one word because of something that some-
body said in the studio, and it changed the whole song. Its so impor-
tant to have other people in the room, vibing, saying, No, this part
is good, put that there.
I spend a lot of time ghting myself to stay out of the way of a
great song. Its hard for me to leave a song alone, in its natural state.
I want it to have that mass appeal, but once I start trying to push it
too far, you can feel that something isnt right. When you can hear
what a writer is trying to do, its like watching a dancer and seeing
him counting his steps. Music is emotional if youre singing that
youre in love with somebody but it doesnt really feel like you are,
people can tell.
Some of my best songs arent the biggest ones. A song like Can I
Live is so full of emotion to me it was better than Hard Knock
Life or Empire State of Mind, but it lacked that accessibility.
Michael Jacksons O the Wall album may not have been bigger than
Thriller, but the songs had better melodies.
But when a phrase gets stuck in your head like a great melody and
becomes part of everyday culture, thats when it can become some-
thing great. When your music signies a time in the culture or contin-
ues on in everyday life, like Say It Loud Im Black and Im Proud
or A Change Is Gonna Come. Or when something like Bling Bling
even makes it into the dictionary. Then you know youve done your job.
{1}
Like a
Rolling
Stone B O B DYLAN
Writer: Dylan | Producer: Tom Wilson | Released: July 65, Columbia
1 2 W E E K S ; N O. 2

Dylan recording
Like a Rolling
Stone in New
York in 1965
PHOTOGRAPH BY DANIEL KRAMER
Wyman, Jones,
Jagger, Watts
and Richards
(from left) in 1965
DAVID FARRELL/REDFERNS/GETTY IMAGES

(I Cant Get No)

2} Satisfaction
T HE RO LLING STO NES
Writers: Mick Jagger, Keith Richards
Producer: Andrew Loog Oldham
Released: May 65, London | 14 W E E K S ; N O. 1
3} Imagine
JO H N L E NNO N
Writer: Lennon | Producers: Lennon, Phil Spector,
Yoko Ono | Released: Oct. 71, Apple
9 W E E K S ; N O. 3

Lennon and
Ono at their
England
home,
Tittenhurst
Park, in 1971
TOM HANLEY/REDFERNS/GETTY IMAGES
4} Whats Going On
M A RV I N GAYE
Writers: Gaye, Renaldo Benson, Al Cleveland
Producer: Gaye | Released: Feb. 71, Tamla
1 3 W E E K S ; N O. 2

GEMS/REDFERNS/GETTY IMAGES
Gaye cutting
Whats Going
On in 1971
5}
Respect
ARETH A FRANKLIN
Writer: Otis Redding
Producer: Jerry Wexler
Released: April 67, Atlantic
1 2 W E E K S ; N O. 1
Franklin at
Atlantics New York
studio in 1967
PHOTOGRAPH BY DAVID GAHR
{6}
Good Vibrations
T HE BE AC H BOYS
Writers: Brian Wilson, Mike Love
Producer: Wilson | Released: Oct. 66, Capitol
1 4 W E E K S ; N O. 1
MICHAEL OCHS ARCHIVES/GETTY IMAGES

Wilson (top)
constructed most of
Good Vibrations
while the rest of the
Beach Boys (Mike
Love, Al Jardine, Carl
Wilson, Bruce
Johnston and Dennis
Wilson, from left,
reflected in mirror)
were on tour.
{7}
Johnny B.
Goode
C H UC K BERRY
Writer: Berry | Producers: Leonard and Phil Chess
Released: April 58, Chess
1 5 W E E K S ; N O. 8
Berry in
Chicago,
circa 1958
8} Hey Jude
T HE B E ATLE S
Writers: John Lennon, Paul McCartney
Producer: George Martin | Released: Aug. 68, Apple
1 9 W E E K S ; N O. 1

Lennon, Ringo Starr,

McCartney and George
Harrison in London, 1968
APPLE CORPS LTD.
9}
Smells Like
Teen Spirit
N I RVA N A
Writer: Kurt Cobain | Producer: Butch Vig
Released: Sept. 91, DGC | 2 0 W E E K S ; N O. 6

Nirvana at Rajis
in Hollywood,
in 1990
CHARLES PETERSON/RETNA
10} Whatd I Say
RAY C H ARLE S
Writer: Charles | Producers: Ahmet Ertegun,
Jerry Wexler | Released: June 59, Atlantic
1 9 W E E K S ; N O. 1

Charles in
Rochester, New
York, in 1958
PAUL HOEFFLER/REDFERNS/GETTY IMAGES
11} My Generation
T H E WH O
Writer: Pete Townshend | Producer: Shel Talmy
Released: Nov. 65, Decca
5 W E E K S ; N O. 74

The Who (Entwistle,

Moon, Daltrey,
Townshend), Cologne,
Germany, 1966
K & K ULF KRUGER OHG/REDFERNS/GETTY IMAGES

Cooke in
1963. Despite
the smile, it
was a year of
turmoil and
tragedy.
A Change
12} Is Gonna
Come
SA M CO O K E
Writer: Cooke | Producers: Hugo Peretti,
Luigi Creatore | Released: Dec. 64, RCA
7 W E E K S ; N O. 3 1

{13}
Yesterday
T H E B E ATLE S
Writers: John Lennon, Paul McCartney | Producer: George Martin
Released: Sept. 65, Capitol | 1 1 W E E K S ; N O. 1
APPLE CORPS LTD
The Beatles in 1965. They

were embarrassed
by their greatest ballad.
Bob Dylan in his
Greenwich Village
apartment, 1964
TED RUSSELL/POLARIS

Blowin in
14} the Wind
B O B DYLAN
Writer: Dylan | Producer: John Hammond
Released: May 63, Columbia
D I D N OT C H A R T
The bass that
Paul Simonon
is pictured
smashing g on
the cover
co of
Lond
ondon Calling.
London
The Clash Jones,

Strummer, Headon
and Simonon (from
left) in 1980.
{15}
London Calling
T HE C LAS H
Writers: Mick Jones, Joe Strummer
Producer: Guy Stevens | Released: Jan. 80, Epic
D I D N OT C H A R T

{16}
THIS SPREAD, FROM TOP LEFT: BOB GRUEN; COURTESY OF PAUL SIMONON; BETTMANN/CORBIS
I Want to Hold
Your Hand
T H E B E ATLE S
Writers: John Lennon,
Lennon, Paul
Paul McCartney
McC
McCartney
Producer: George Martin
Released: Dec. 63, Capitol
1 5 W E E K S ; N O. 1
The Beatles arrive

in New York on
February 7th, 1964.
{17}
Purple Haze
T H E JI M I HE N D RIX E X P E RIENC E
Writer: Hendrix | Producer: Chas Chandler
Released: March 67, Reprise
8 WE E K S ; N O. 65
Hendrix in a blaze
of glory at the
Monterey Pop
Festival, 1967
PHOTOGRAPH BY JIM MARSHALL

Berry in 1955. His

black audiences
had started
requesting the
hillbilly stuff.
FRANK DRIGGS COLLECTION/GETTY IMAGES
18} Maybellene
C H U C K BE RRY
Writer: Berry | Producers: Leonard
and Phil Chess | Released: July 55, Chess
1 1 W E E K S ; N O. 5
Presley in Miami,
1957. He nailed
Hound Dog
on the 31st take.
CHARLES TRAINOR/TIME & LIFE PICTURES/GETTY IMAGES
19}
Hound Dog
E LVIS P RE S LE Y
Writers: Jerry Leiber, Mike Stoller
Producer: Steve Sholes
Released: July 56, RCA
2 8 W E E K S ; N O. 1

{20}
Let It Be
T HE B E ATLE S
Writers: John Lennon, Paul McCartney
Released: March 70, Apple
1 4 W E E K S ; N O. 1
The Beatles in
APPLE CORPS LTD.
1969. Let It Be
was cut the day
after their final
concert.
{ 21 } { 22 }
LISTEN LISTEN
11 WEEKS 13 WEEKS
NO. 23 NO. 2
Born to Run Be My Baby

BRUCE SPRINGSTEEN THE RONETTES
Writer: Springsteen Writers: Jeff Barry, Ellie Greenwich,

Producers: Springsteen, Mike Appel Phil Spector
Released: Aug. 75, Columbia Producer: Spector
Released: Aug. 63, Philles
This songs four and a half
minutes took three and a Spector rehearsed this song with
half months to cut. Aiming for Ronnie Bennett (the only Ronette
the impact of Phil Spectors to sing on it) for weeks, but that
Wall of Sound, Springsteen in- didnt stop him from doing 42
cluded strings, glocken- takes before he was sat-
spiel, multiple key- ised. Aided by a full
boards and more orchestra (as well as
than a dozen gui- a young Cher, who
tar tracks. I had sang backup vo-
enormous ambi- cals), Spector creat-
tions for it, said ed a lush, echo-lad-
Springsteen. I want- en sound that was the
ed to make the great- Rosetta stone for studio
est rock record Id ever heard. pioneers such as the Beatles and
Springsteens lyrics told a story Brian Wilson, who calls this his
of young lovers on the highways favorite song. The things Phil
of New Jersey. I dont know how was doing were crazy and ex-
important the settings are, hausting, said Larry Levine,
Springsteen said. Its the idea Spectors engineer. But thats not
behind the settings. It could be the sign of a nut. Thats genius.
New Jersey, it could be Califor- Appears on: The Best of the Ronettes
nia, it could be Alaska. (ABKCO)
Appears on: Born to Run (Columbia)

{ 23 } { 24 }
LISTEN LISTEN
NoN- 8 wEEkS
SINgLE No. 14
In My Life People Get Ready

The BeATles The ImpressIons
writers: John Lennon, Paul McCartney writer: Curtis Mayfield

Producer: George Martin Producer: Johnny Pate
Released: Dec. 65, Capitol Released: Jan. 65, ABC-Paramount
In My Life was, I think, my It was warrior music, said civil

rst real, major piece of work, rights activist Gordon Sellers. It
Lennon said. Up until then it was music you listened to while
had all been glib and throw- you were preparing to go into
away. The ballad reects the se- battle. Mayeld wrote the gos-
rious turn the Beatles took with pel-driven R&B ballad, he said,
Rubber Soul, but it specifical- in a deep mood, a spiritual state
ly arose from a journalists chal- of mind, just before Martin Lu-
lenge: Why dont you write songs ther King Jr.s march on the Im-
about your life? The original lyr- pressions hometown of Chicago.
ics put Lennon on a bus in Liv- Shortly after People Get Ready
erpool, and it was the most bor- was released, churches in Chi-
ing sort of What I Did on My cago began including their own
Holidays Bus Trip song, he said. version of it in songbooks. May-
So Lennon rewrote the lyrics, elds version of the song ended
changing the song into a gor- with You dont need no tick-
geous reminiscence about his life et/You just thank the Lord, but
before the Beatles. The distinc- the churches rendition, ironical-
tive harpsichord solo near the ly, made the lyrics less Christian
songs end is actually an electric and more universal: Everybody
piano played by Martin and sped wants freedom/This I know.
up on tape. Appears on: The Very Best of the Impressions
Appears on: Rubber Soul (Capitol) (Rhino)

{ 25 }
LISTEN
8 WEEKS
NO. 39
Hard to
handle:
God Only Knows Redding
THE BEACH BOYS onstage
Writers: Brian Wilson, Tony Asher

Producer: Wilson
Released: May 66, Capitol
Its very emotional, always a bit

of a choker with me, said Paul
McCartney of this Pet Sounds
ballad. The night McCartney
and John Lennon rst heard Pet
Sounds, at a London party, they
wrote Here, There and Every-
where, which is inuenced by
God Only Knows. Carl Wilsons
understates, sleigh bells, strings
and accordion that gives God
its heavenly feel. Brian Wilson
was fascinated by spirituality
and said this song came out of
prayer sessions in the studio. We
made it a religious ceremony,
he said of recording Pet Sounds.
The only problem: The use of the

word God in the title scared o
some radio programmers.
Appears on: Pet Sounds (Capitol)

{ 26 }
LISTEN
16 WEEKS
NO. 1
(Sittin on) the

Dock of the Bay
OTIS REDDING
Writers: Redding, Steve Cropper

Producer: Cropper
Released: Jan. 68, Volt
A few days after his starmaking

set at the Monterey Pop Festival
in June 1967, Redding stayed on
a houseboat in Sausalito, Califor-
nia, while he played the Fillmore
in San Francisco. He wrote the
rst verse to Dock of the Bay
on that boat, then completed the
song with guitarist Cropper in
Memphis. Just a few days later,
Redding was on tour with the
Bar-Kays when his private plane
crashed into Lake Monona in
Madison, Wisconsin. While div-
ers searched for Reddings body,
Cropper kept his mind busy by
mixing Dock of the Bay. On
December 11th, 1967, the plane
was pulled out of the lake, with
Reddings body still strapped
into the co-pilots seat.
Appears on: The Dock of the Bay (Atlantic)
Stand by me:
Mike Stoller (left)
and Jerry Leiber
in New York in
the late Fifties

{ WHat Makes a Great sONG }
Leiber and Stoller

You wrote a lot of songs How do you feel about all
about a lot of things. Where the cursing in songwriting
did your ideas come from? nowadays?
Mike Stoller (composer): Leiber: I think its a commer-
Sometimes it was things that cial put-on to attract young
caught our attention. Like kids. But there are people
with Yakety Yak we were like Snoop Dogg who come
in Jerrys apartment, and up with tough, hard-edge
he was in the kitchen mak- songs and who use a four-
ing tea. I started playing this letter word out of real tem-
funny rhythm and he yelled, perament and feeling.
Take out the papers and the
trash. I yelled back one line Whos your favorite lyricist?
about spending cash, and we Leiber: Irving Berlin. Id scan
knew we had a song. his lyrics, and, try as I may,
I could never nd a better
What was the inspiration for word for anything.
Hound Dog?
Jerry Leiber (lyricist):
It was an old song
Mike found by
Furry Lewis called
MIchaeL OchS archIveS/GeTTY IMaGeS, 2
Youre a Dirty
Mutha Fur-
rier, Dont
You Know?
I asked him
where he got
it, and he said,
I just stuck my
hand in a pile Yakety Yak
of records and it
singers the
came out. Coasters
{ 27 } { 28 }
LISTEN LISTEN
15 wEEkS NoN-
No. 10 SINgLE
Layla A Day in the Life

Derek anD the Dominos the Beatles
writers: Eric Clapton, Jim Gordon writers: John Lennon,

Producers: Tom Dowd, Paul McCartney
the Dominos Producer: George Martin
Released: Nov. 70, Atco Released: June 67, Capitol
Embroiled in a love triangle with A Day in the Life was one of

George and Patti Boyd Har the last true LennonMcCartney
rison, Clapton took the title for collaborations: Lennon wrote
his greatest song from the Per the opening and closing sections,
sian love story Layla and McCartney contrib
and Majnoun. Re uted the Woke up/
corded by the Fell out of bed mid
shortlived ensem dle. For the climax,
ble Derek and the they hired 40 musi
Dominos, Layla cians, dressed them
storms with ach in tuxedos and funny
ing vocals and cross hats, and told them
cutting riffs from Clap they had 15 bars to ascend
ton and contributing guitarist from the lowest note on their in
Duane Allman, then dissolves struments to the highest. Lis
into a serene, pianobased coda. ten to those trumpets theyre
It was the heaviest thing going freaking out, McCartney said.
on at the time, Clapton told The nal piano chord concluded
Rolling Stone in 1974. Thats Sgt. Pepper and made rocks pos
what I wanted to write about sibilities seem innite.
most of all. appears on: Sgt. Peppers Lonely Hearts Club
appears on: Layla and other Assorted Love Band (Capitol)
Songs (Polydor)

{ 29 } { 30 }
LISTEN LISTEN
13 wEEkS 22 wEEkS
No. 1 No. 17
Help! I Walk the Line

The BeaTles Johnny Cash
writers: John Lennon, writer: Cash

Paul McCartney Producer: Sam Phillips
Producer: George Martin Released: Aug. 56, Sun
Released: July 65, Capitol
Cash began work on this track
Most people think its just a while he was in Germany with
fast rock & roll song, Lennon the Air Force, years before he
said. Subconsciously, I was cry would ever enter a studio. He re
ing out for help. I didnt real turned to it after he hit with Fol
ize it at the time; I just som Prison Blues, only
wrote the song be to nd that the origi
cause I was com nal tape had gotten
missioned to write mangled. But Cash
it for the movie. liked the strange
Overwhelmed by sound and added a
Beatlemania, Len clickclack rhythm
non was eating like by winding a piece of
a pig, dr ink ing too wax paper through his
much and smoking marijuana guitar strings. Phillips then had
for breakfast only 24 years him speed up the song, originally
old, he was already express a ballad, to a driving rumble. It
ing nostalgia for his lost youth. was dierent than anything else
I dont like the recording that you had ever heard, Bob Dylan
much, Lennon would later told Rolling Stone. A voice
tell Rol l i ng Ston e. We from the middle of the Earth.
did it too fast, to try and be appears on: The Complete original Sun
commercial. Singles (Varse Sarabande)
appears on: Help! (Capitol)

{ 31 }
LISTEN
NoN-
SINgLE Wind on down the
road: plant and page
Stairway to Heaven onstage in 1972
Led ZeppeLin
Writers: Jimmy Page, Robert Plant

Producer: Page
Released: Nov. 71, Atlantic
All epic anthems must measure

themselves against Stairway to
Heaven, the cornerstone of Led
Zeppelin IV. The acoustic intro
sounds positively Elizabethan,
thanks to John Paul Jones re-
corder solo and Plants fanciful
lyrics, which were partly inspired
by Lewis Spences historical
tome Magic Arts in Celtic Brit-
ain. Over eight minutes, the song
morphs into a furious Page solo
that storms heavens gate. Page
said the song crystallized the
essence of the band. It had ev-
erything there and showed
us at our best. It was a mile-
stone. Every musician wants to
do something of lasting quali-
RobERT kNIghT/RETNa
ty, something which will hold

up for a long time. We did it with
Stairway.
Appears on: Led Zeppelin IV (Atlantic)

{ 32 }
LISTEN
NoN-
SINgLE
Sympathy
for the Devil
The Rolling SToneS

Producer: Jimmy Miller
Released: Dec. 68, London
The inspiration for this hellish

detour came from Soviet writ-
er Mikhail Bulgakovs novel The
Master and Margarita, which
depicts Satan having his way in
1930s Moscow. Richards strug-
gled to nd the right backing for
Jaggers menacing Dylan-esque
lyrics, unsure whether it should
be a samba or a goddamn folk
song, he recalled. The Stones
ended up giving the devil one of
their best grooves, built on Rocky
Dijons congas and Bill Wymans
Bo Diddley-ish maracas. Before,
when we were just innocent kids
out for a good time [the media
said], Theyre evil, theyre evil,
Richards said. So that makes
you start thinking about evil. . . .
Everybodys Lucifer.
Appears on: Beggars Banquet (ABKCO)
{ 33 } { 34 }
LISTEN LISTEN
4 WEEKS 16 WEEKS
NO. 88 NO. 1
River Deep Youve Lost That

Mountain High Lovin Feelin
IKE AND TINA TURNER THE RIGHTEOUS BROTHERS
Writers: Phil Spector, Jeff Barry, Writers: Phil Spector, Barry Mann,
Ellie Greenwich Cynthia Weil
Producer: Spector Producer: Spector
Released: May 66, Philles Released: Dec. 64, Philles
Spector heard the Ike and Tina Spector was conducting the mu-
Turner Revue at a Hollywood club sicians for a Ronettes show in
at a time when their recording San Francisco when he decid-
career had stalled after ed to sign the Righteous
a handful of R&B hits Brothers, who were
in the early 1960s. on the bill. He then
Spector had a song asked Mann and
called River Deep Weil to come up
Mountain High with a hit for them.
that he was sure was Bill Medleys intro
going to be huge, and sounds impossibly
he wanted Tina to sing it, deep. When Phil played
though he forbade Ike from even it for me, Mann recalled, I said,
coming to the sessions. I must Phil, you have it on the wrong
have sung that 500,000 times, speed! Bobby Hateld was puz-
Tina later said. I was drenched zled by his partners opening solo:
with sweat. I had to take my What do I do while hes singing
shirt o and stand there in my the entire rst verse? he asked
bra to sing. Spector, who answered, You can
Appears on: Proud Mary: The Best of Ike and go directly to the bank.
Tina Turner (EMI) Appears on: Anthology 1962-1974 (Rhino)

{ 35 } { 36 }
LISTEN LISTEN
17 WEEKS 20 WEEKS
NO. 1 NO. 10
Light My Fire One

THE DOORS U2
Writers: Robby Krieger, John Writers: Bono, the Edge, Adam

Densmore, Jim Morrison, Ray Manzarek Clayton, Larry Mullen Jr.
Producer: Paul Rothchild Producers: Brian Eno, Daniel Lanois
Released: June 67, Elektra Released: Nov. 91, Island
It was the rst song Krieger ever Achtung Baby was the album
wrote with additional lyrics on which U2 traded in a dec-
from Morrison and arrange- ade of earnestness for irony, but
ments from the rest of the band. the new approach resulted in
Its like Id saved up all [these their most moving single ever.
ideas] in my mind and got them One was spun o from another
out all at once, Krieger said. song, Mysterious Ways, when
The song catapulted the Doors the Edge came up with two ideas
to overnight fame, which Krieger for the bridge, and Bono so liked
says was part of Morrisons plan: one of them that he wrote a new
Jim had this idea of the band set of lyrics. Though some hear it
being a shooting star, Krieg- as a love song, the words are full
er said. Fire ran for of hurt andan ambiguity. Peo-
seven minutes es on ple have
hav told me they play
the LP and was wa s iitt at th
their wedding, the
hree,
cut down to three, Edge said. And I think,
with Kriegers and Hav
Have you listened to
anza-
keyboardist Manza- the ly
lyrics? Its not that
ised,
reks solos excised, k
kind of a song.
on the single. Appears on: Achtung
Appears on: Baby (Island)

PHOTOFEST
The Doors (Elektra)
Jim Morrison
{ 37 } { 38 }
LISTEN LISTEN
DID NOT 11 WEEKS
CHART NO. 21
No Woman, No Cry Gimme Shelter

BOB MARLEY THE ROLLING STONES
AND THE WAILERS
Writers: Vincent Ford, Marley Producer: Jimmy Miller
Producers: Chris Blackwell, Marley and Released: April 69, London
the Wailers
Released: May 75, Island The Stones channeled the emo-
tional wreckage of the late Six-
The uptempo version on 1975s ties on a song that Richards
Natty Dread is forgettable, but wrote in 20 minutes. The intro,
the swaying, incantatory take strummed on an electric-acous-
on 1975s Live! remains one of tic guitar modeled on a Chuck
the reggae legends most beloved Berry favorite, conjures an un-
performances. The government paralleled aura of dread. Singer
yard in Trench Town refers to Merry Clayton brings down Ar-
the Jamaican n public-housing mageddon with a soul-
project where Mar- w
wracked wail: Rape,
he
ley lived in the m
murder, its just a shot
ve
Fifties. He gave aw
away. The song surfaced
a songwriting g days after Meredith Hunt-
d-
credit to child- ers murder at Altamont.
ho o d f r ie ndd T
Thats a kind of end-of-
Vincent Tata a th
the-world song, really,
Ford to help p Ja
Jagger said in 1995. Its
keep Fords a
apocalypse. Richards
Kingston soup llater said that his gui-
JEFF ALBERTSON/CORBIS
kitchen run- tar fell apart on the last

ning. take, as if by design.
Appears on: Appears on: Let It Bleed
Natty Dread (Island) Marley (ABKCO)

{ 39 } { 40 }
LISTEN LISTEN
1 WEEKS 14 WEEKS
NO. 1 NO. 2
Thatll Be the Day Dancing in the Street

BUDDY HOLLY AND THE MARTHA AND THE
CRICKETS VANDELLAS
Writers: Jerry Allison, Holly, Writers: Marvin Gaye, Ivy Hunter,

Norman Petty William Mickey Stevenson
Producer: Petty Producer: Stevenson
Released: May 57, Brunswick Released: Sept. 64, Gordy
Recorded in Clovis, New Mex- Stevenson, who gave Mar-

ico, in February 1957, the song tha Reeves her first job, as
took its title from a recurring his secretary, approached the
line in the John Wayne group with this song
movie The Search- after it was turned
ers. We were cut- down by Motown
ting Thatll Be the labelmate (and fu-
Day just as a demo ture Mrs. Steven-
to send to New son) Kim Weston.
York, just to see if The trio agreed to
they liked the sound record Dancing in the
of the group not for a Street as a demo with its
master record, recalled Crick- songwriters singing background.
ets drummer Allison. So we When Martha got into the song,
just went in and set up and sort Stevenson said, that was the end
of shucked through the song. of the conversation! Against a
Allison credits Hollys gui- backbeat that cracks like a gun-
tar-picking on Thatll Be the shot, Reeves reinvents the world
Day to the influence of New as a giant block party.
Orleans bluesman Lonnie John- Appears on: The Ultimate Collection
son. (Motown)
Appears on: Greatest Hits (MCA)

In my room: Wilson
in the studio during
the Pet Sounds
sessions, 1966

{ MY TOP 10 }
Brian Wilson
1. Be My Baby 6. Shes Leaving Home
The Ronettes The Beatles
I love the echo, Ronnie I love the title, and the lyrics
[Bennett]s voice and the are among the most special
drumbeat. ever written. Pauls voice is
absolutely perfect.
2. Youve Lost That Lovin
Feelin The Righteous 7. California Girls
Brothers The Beach Boys
Its one of the few records I What stands out are Mike
know of with two bridges. Loves voice and the 12-string
I love the way Phil Spector guitar Carl [Wilson] played
made a slow rock beat. in the intro. My falsetto
sounded special to me.
3. Walking in the Rain
The Ronettes 8. Good Vibrations
Ronnies voice in the rst verse The Beach Boys
I want him and need him The cellos in the choruses are
blew me away. The sound ef- thrilling. And the vocal harmo-
fects of thunder are just great. nies in the chorus were perfect.
Spector captured the sound of
rain with that background track. 9. I Get Around
The Beach Boys
4. Da Doo Ron Ron Its a combination of rock & roll
The Crystals with real pretty harmonies. It

I like it because it has a gave the East Coast producers
straight-ahead rhythm and a real jolt.
reverb on the drums.
10. Surfer Girl
5. River Deep Mountain The Beach Boys
High Ike and Tina Turner I love the simple melody and
I like the lyrics that suggest the spiritual bridge. Do you
self-hypnosis: It gets strong- love me, do you, surfer girl?
er every day. is my favorite part of the lyric.
Take a load off: Rick
Danko, Levon Helm,
Robbie Robertson,
Richard Manuel and
Garth Hudson (from
left) on Dankos car
in Woodstock, 1968

{ 41 }
LISTEN
7 WEEKS
NO. 63
The Weight
THE BAND
Writer: Robbie Robertson

Producer: John Simon
Released: Aug. 68, Capitol
The Band was chiey known as

Bob Dylans touring group when
it retreated to a pink house in
Woodstock, New York, to record
its debut, Music From Big Pink.
The album was centered by The
Weight, an oddball fable of debt
and burden driven by an indel-
ible singalong chorus (Take a
load off, Fanny. . . .). Robert-
son said he was inspired to write
the song after watching director
Luis Buuels films about the
impossibility of sainthood, but
characters such as Crazy Chester
(who tries to pawn his dog o on
ELLIOT LANDY/REDFERNS/GETTY IMAGES
the narrator) could have walked

straight out of an old folk song.
As for the biblical-sounding line
pulled into Nazareth, it refers
to Nazareth, Pennsylvania, home
of the Martin Guitar factory.
Appears on: Music From Big Pink (Capitol)
{ 42 } {43 }
LISTEN
DID NOT 12 WEEKS
CHART NO. 17
Waterloo Sunset Tutti-Frutti

THE KINKS LITTLE RICHARD
Writer: Ray Davies Writers: Dorothy La Bostrie,

Producer: Ray Davies Richard Penniman, Joe Lubin
Released: Feb. 68, Reprise Producer: Robert Bumps Blackwell
Released: Dec. 55, Specialty
The Davies brothers were in
the middle of recording their Id been singing Tutti-Frutti
bands fth album, Something for years, said Richard, but it
Else by the Kinks, when Ray never struck me as a song youd
played an early version of this record. Blackwell asked La
delicate orchestral-pop bal- Bostrie, a young song-
lad for Dave. We started ad- writer who had been
libbing vocal parts around pestering him for
the chorus, Dave said. Ray work, to clean up
recalled that he went home and the filthy original
revised until [the song] became lyrics (Tutti Frut-
like a pebble which had been ti, good booty/If it
rounded o by the sea . . . per- dont t, dont force it/
fectly smooth. But he initial- You can grease it, make it
ly held o sharing the lyrics easy). Fifteen minutes before
about a loner who dont need the session was to end, the chick
no friends with the rest of the comes in and puts these little
band. I was embarrassed by trite lyrics in front of me, said
how personal [the lyrics] were, Blackwell. Richard cleaned up
he later wrote. It was like an ex- his own Awop-bop-a-loo-mop
tract from a diary nobody was a-good-goddamn and loaded
allowed to read. La Bostries doggerel with sexu-
Appears on: Something Else by the Kinks al dynamite.
(Warner Bros.) Appears on: The Georgia Peach (Specialty)

{ 44 } { 45 }
LISTEN LISTEN
13 WEEKS 27 WEEKS
NO. 1 NO. 1
Georgia on My Mind Heartbreak Hotel

RAY CHARLES ELVIS PRESLEY
Writers: Hoagy Carmichael, Writers: Mae Boren Axton,

Stuart Gorrell Tommy Durden, Presley
Producer: Sid Feller Producer: Steve Sholes
Released: Sept. 60, ABC-Paramount Released: Jan. 56, RCA
Charles driver had heard him When RCA Records signed hill-
singing Georgia on My Mind billy cat Presley, they expect-
in the car and suggested that ed more songs like his rockabilly
Charles add that to the record hits from Sun Records. Instead,
he was working on, an for his first RCA single, Pres-
album consisting of ley recorded this gloomy, down-
songs with place tempo number, co-written by
names in their ti- Axton, his former publicist, and
tles. Once he re- inspired by a Miami Herald re-
corded it, though, port of a suicide note that con-
C ha rle s sa id he sisted solely of the line I walk
thought of many ways a lonely street. But what Sun
his rendition could have Records founder Sam Phillips
been better. As the single was called a morbid mess went on
about to enter the charts, Charles to become Presleys rst Num-
introduced his version to Amer- ber One hit and million-selling
ica on Hugh Hefners Playboy single, thanks to Scotty Moores
Penthouse, a syndicated show steely guitar leads, a thumping
out of Chicago, with David Fat- bass line from Bill Black and the
head Newman handling the brilliant melodrama with which
string parts on ute. Elvis infused every line.
Appears on: Ultimate Hits Collection (Rhino) Appears on: Elvis 30 #1 Hits (RCA)
{ 46 }
LISTEN
DID NOT
CHART
Heroes
DAVID BOWIE
Writers: Bowie, Brian Eno

Producer: Tony Visconti
Released: Sept. 77, RCA
After a coke-fried spell in Los

Angeles, Bowie was detoxing in
Berlin when he spied two lovers
having a rendezvous by the Ber-
lin Wall. Said Bowie, I thought,
of all the places to meet in Berlin,
why pick a bench underneath a
guard turret on the Wall? Imag-
ining the story behind their af-
fair, Bowie wrote his most com-
passionate song ever. The song
builds for six minutes, with
Bowie setting his ragged, im-
passioned croon over a throbbing
groove consisting of Enos hum-
ming synths, Robert Fripps gui-
tar and producer Visconti bang-
ing on a metal ashtray that was
lying around the studio. Bowie
wails with crazed soul about two
I will be
doomed lovers nding a moment king: Bowie
of redemption together just for performing
in Amsterdam
one day. in 1977
Appears on: Heroes

{ 47 }
LISTEN
9 WEEKS
NO. 20
All Along the

Watchtower
THE JIMI HENDRIX EXPERIENCE
Writer: Bob Dylan

Producer: Hendrix
Released: Sept. 68, Reprise
A ll A long the Watchtow-

er had just been released on
Dylans John Wesley Harding
when Hendrix began tinkering
with the song at Electric Lady
Studios in New York on Janu-
ary 21st, 1968. Using the line
And the wind began to howl
as a springboard, Hendrix con-
structed a tumultuous four-part
solo that transformed Dylans
concise foreboding into an elec-
tric hurricane. Dylan acknowl-
edged Hendrixs masterstroke:
His subsequent versions of All
Along the Watchtower, includ-
ing the treatment on his 1974
reunion tour with the Band and
TOLCA/SUNSHINE/RETNA
the live LP Before the Flood, em-

ulated Hendrixs cover.
Appears on: Electric Ladyland (MCA)
{ 48 } { 49 }
LISTEN LISTEN
14 WEEKS 19 WEEKS
NO. 1 NO. 1
Bridge Over Hotel California

Troubled Water THE EAGLES
SIMON AND GARFUNKEL
Writers: Don Felder, Glenn Frey,
Don Henley
Writer: Paul Simon
Producer: Bill Szymczyk
Producers: Art Garfunkel, Roy Halee,
Simon Released: Dec. 76, Asylum
Released: Feb. 70, Columbia
Hotel California was rumored
When Simon wrote this tribute to be about heroin addiction
to friendship, he and Garfunkel or Satan worship, but Henley
were arguing over everything, had more prosaic things on his
even who should sing it. He felt I mind: We were all middle-class
should have done it, Simon said. kids from the Midwest, he said.
Many times Im sorry I didnt. Hotel California was our in-
The Sail on, silver girl verse terpretation of the high life in
was Garfunkels idea; Simon has Los Angeles. (That doesnt pre-
never liked it. clude heroin or Satan, of course.)
Appears on: Bridge Over Troubled Water Recording the six-and-a-half-
(Columbia/Legacy) minute song posed its share of
problems: Working in Miami,
the Eagles were initially unable
to re- create Felders 12-string
intro and elaborate twin-guitar
coda. Panicked, Felder called his
housekeeper in L.A. and sent her
digging through a pile of tapes in
his home studio so she could play
his demo back over the phone.
Appears on: Hotel California (Elektra)

{ 50 } { 51 }
LISTEN LISTEN
12 WEEKS 7 WEEKS
NO. 16 NO. 62
The Tracks The Message

of My Tears GRANDMASTER FLASH
SMOKEY ROBINSON AND THE FURIOUS FIVE
AND THE MIRACLES
Writers: Duke Bootee, Melle Mel
Writers: Pete Moore, Robinson, Producer: Sylvia Robinson
Marv Tamplin Released: May 82, Sugar Hill
Producer: Robinson
Released: June 65, Tamla The Message was a break-
through in hip-hop, taking the
Legend had it that audiences music from party anthems to
would actually break into tears street-level ghetto blues. It began
when Robinson and the Mir- as a poem by schoolteacher Boo-
acles sang The Tracks of My tee; Sugar Hill boss Robinson
Tears. It tapped into their decided to make it a rap record
emotions, said Moore of the with Melle Mel of the Furious
Miracles. Pete Townshend was Five. Said Flash in 1997, I hated
obsessed with the way Robin- the fact that it was advertised as
son put across the word sub- Grandmaster Flash and the Fu-
stitute (Although she may be rious Five, because the only peo-
cute/Shes just a substitute). So ple on the record were Mel and
obsessed, he said, that I decid- Duke Bootee. But the song, driv-
ed to celebrate the word with a en by its signature future-shock
song all its own which is how synth ri and grim lyrics about
he came to write the Whos 1966 urban decay, became an instant
hit Substitute. When Robinson sensation on New Yorks hip-hop
cut Tears, it was such a clear radio. It played all day, every
winner that even hard-to-please day, Flash said. It put us on a
Motown founder Berry Gordy whole new level.
proclaimed it a masterpiece. Appears on: The Best of Sugar Hill Records
Appears on: Going to a Go-Go (Motown) (Rhino)

{ 52 } { 53 }
LISTEN LISTEN
21 WEEKS 13 WEEKS
NO. 1 NO. 1
When Doves Cry When a Man

PRINCE Loves a Woman
PERCY SLEDGE
Writer: Prince
Producer: Prince Writers: Calvin Lewis, Andrew Wright
Released: June 84, Warner Bros. Producers: Marlin Greene, Quin Ivy
Released: March 66, Atlantic
The Purple Rain soundtrack
album was completed, and so Sledge was touring the South
was the movie. But Prince just with an R&B combo called the
couldnt stop making music. And Esquires when producer Ivy
at the very last minute, he added heard him belt out an intense,
a brand-new song: When Doves pleading ballad at the local Elks
Cry. Even by Prince standards, Club. Sledge had recently lost
its eccentric; after single-hand- both his construction job and
edly recording the stark, broken- his girl, whod taken o for L.A.
hearted song in the studio, he de- to pursue a modeling career. I
cided to erase the bass track from didnt have any money to go after
the nal mix. According to the her, so there was nothing I could
engineer, Prince said, Nobody do to try and get her back, he
would have the balls to do this. later recalled. Ivy had the lyr-
You just wait theyll be freak- ics rewritten, and Sledge quit
ing. He was right. Prince made the Esquires to cut his rst solo
it the soundtracks rst single side, the immortal When a Man
and 1984s most avant-garde pop Loves a Woman. When Atlan-
record became his rst Amer- tics Jerry Wexler heard the song,
ican Number One hit, keeping he told partner Ahmet Ertegun,
Bruce Springsteens Dancing in Our billing for the summer is in
the Dark out of the top spot. the bag.
Appears on: Purple Rain (Warner Bros.) Appears on: It Tears Me Up: The Best of Percy
Sledge (Rhino)

{ 54 } { 55 }
LISTEN LISTEN
16 WEEKS 19 WEEKS
NO. 2 NO. 6
Louie Louie Long Tall Sally

THE KINGSMEN LITTLE RICHARD
Writer: Richard Berry Writers: Robert Bumps Blackwell,

Producer: Ken Chase Enotris Johnson, Little Richard
Released: June 63, Jerden Producer: Blackwell
Released: March 56, Specialty
A blast of raw guitars and half-
intelligible shouting recorded Half of a double-sided hit (the ip
for $52, the Kingsmens cover of was Slippin and Slidin [Pee-
Richard Berrys R&B song hit pin and Hidin]), Long Tall
Number Two in 1963 thanks Sally was aimed squarely at pop
in part to supposed- singer Pat Boone. The
ly pornographic lyr- white radio stations
ics that drew the at- wouldnt play Rich-
tention of the FBI. ards version of Tut-
The Portland, Ore- ti-Frutti and made
gon, group acciden- Boones cover Num-
tally rendered the ber One, recalled
decidedly noncontro- Blackwell. So we de-
versial lyrics (about a sail- cided to up the tempo on
or trying to get home to see his the follow-up and get the lyrics
lady) indecipherable by crowd- going so fast that Boone wouldnt
ing around a single microphone. be able to get his mouth together
I was yelling at a mike far away, to do it! Long Tall Sally proved
singer Jack Ely told Rolling to be Little Richards biggest hit.
Stone. I always thought the Unfazed, Boone also recorded
controversy was record-compa- the song, taking it to Number
ny hype. Eight.
Appears on: The Best of the Kingsmen Appears on: The Georgia Peach (Specialty)
(Rhino)
{ 56 }
LISTEN
NON-
SINGLE
Anarchy: The
Sex Pistols Sid
Vicious and Anarchy in the U.K.
Johnny Rotten THE SEX PISTOLS
(from left) in
Penzance, Writers: Paul Cook, Steve Jones,
England, Glen Matlock, Johnny Rotten
September Producers: Chris Thomas, Bill Price
1977 Released: Nov. 77, Warner Bros.
This is what the beginning of a

revolution sounds like: an explo-
sion of punk-rock guitar noise
and Johnny Rottens evil cackle.
The Sex Pistols set out to become
a national scandal in the U.K.,
and they succeeded with their
debut single. Jones made his gui-
tar sound like a pub brawl, while
Rotten snarled, spat and snick-
ered, declaring himself an anti-
christ and ending the song by
urging his fans, Get pissed/De-
stroy! EMI, the Sex Pistols re-
cord label, pulled Anarchy in the
U.K. and dropped them, which
DENNIS MORRIS/CAMERA PRESS/RETNA
just made them more notorious.

I dont understand it, Rotten
said in 1977. All were trying to
do is destroy everything.
Appears on: Never Mind the Bollocks, Heres
the Sex Pistols (Warner Bros.)

Grizzly: Rick Rubin at
home in Los Angeles,
January 2007

{ WHAT MAKES A GREAT SONG }
Rick Rubin
What is the difference Have any of your songs
between a great song and a surprised you by turning
good song? into hits?
Its nothing that can be Im always surprised. I go in
reduced to a formula. It has with no expectation other
more to do with how the than making music that
song makes you feel. A great moves me. When others like
song takes you away, and it, it always feels good.
usually hints at some larger
universal truth maybe one Who are your favorite song-
writers, and how have they
the writer isnt even aiming
inuenced your own work?
for or necessarily aware of.
The Beatles are my favor-
What makes a great song ite songwriters, based on
more than just a great beat the quality and quantity of
or track? the material they created.
A great track stands alone They are untouchable. The
without vocals or lyrics. A Beatles took everything that
lot of whats going on in pop came before from music-
and some hip-hop today is hall standards to the Everly
about the track more than Brothers, from American R&B
the song. to skife, from singer-song-
writer balladry to ragas and
As technology has evolved, made it their own. Whatever
how has the relationship
little bit I know about songs
between songwriter and
DAMIAN DOVARGANES/AP IMAGES
has come from growing up

producer changed?
with the Beatles music.
Its easier to make demos
sound like nished, produced
records which, in some Rick Rubin produced the
cases, has made songwriters Beastie Boys Fight for Your
take a bigger role in the way Right (to Party), the Red
nal productions actually Hot Chili Peppers Under the
sound. Bridge and many other hits.
{ 57 } { 58 }
LISTEN LISTEN
12 WEEKS 7 WEEKS
NO. 5 NO. 1
A Whiter Billie Jean

Shade of Pale MICHAEL JACKSON
PROCOL HARUM
Writer: Jackson
Writers: Keith Reid, Gary Brooker Producers: Jackson, Quincy Jones
Producer: Denny Cordell Released: Jan. 83, Epic
Released: June 67, A&M
Sinuous, paranoid and omni-
A somber hymn supported by an present: The single that made
organ theme straight out of Bach Jackson the biggest star since
(Air on the G String, from the Elvis was a denial of a paterni-
Suite No. 3 in D Major), Procol ty suit, and it spent seven weeks
Harums Whiter Shade of Pale at Number One on the
was unlike anything else on the pop charts. Jackson
radio in 1967. Reid got the idea came up with the ir-
for the song when he overheard resistible rhythm
someone at a party tell a woman, track on his home
Youve gone a whiter shade of dr um ma chine
pale. The track was also the only and he nailed the
one recorded by the initial lineup vocals in one take.
of Procol Harum, which started I knew the song was
as a British band, the Par mounts, going to be big, Jackson said.
in 1963. A worldwide smash that I was really absorbed in writ-
sold more than 6 million copies ing it. How absorbed? Jackson
and quickly found its way into said he was thinking about Bil-
wedding ceremonies (and, later, lie Jean while riding in his Rolls-
the Big Chill soundtrack), Pale Royce down the Ventura Free-
helped kick-start the classical- way in California and didnt
rock boomlet that gave the world notice the car was on re.
the Moody Blues. Appears on: Thriller (Sony)
Appears on: Greatest Hits (A&M)

{ 59 } { 60 }
LISTEN LISTEN
DID NOT 16 WEEKS
CHART NO. 1
The Times They Lets Stay Together

Are A-Changin A L GREEN
BOB DY LAN
Writers: Al Green, Al Jackson Jr.,
Willie Mitchell
Writer: Dylan
Producer: Mitchell
Producer: Bob Johnston
Released: Dec. 71, Hi
Released: Jan. 64, Columbia
I wanted to write a big song, A f ter Mitchell gave Green

some kind of theme song, with a rough mix of a tune he and
short, concise verses that piled drummer Jackson had worked
up on each other in a hypnotic out, Green wrote the lyrics in ve
way, said Dylan. This is minutes. Still, Green didnt want
denitely a song with to record the song and fought
a purpose. Inspired with Mitchell for two days be-
by Scottish and Irish fore finally agreeing to cut it.
folk ballads and re- The recording was nished late
leased less than two on a Friday night in the fall of
months after the as- 1971; Mitchell pressed the sin-
sassination of John F. gle on Monday, and by Thursday
Kennedy, The Times They Green was told that Lets Stay
Are A-Changin became an im- Together would be entering the
mediate Sixties anthem and was charts at Number Eight. With-
covered by artists ranging from in two weeks, it had reached
the Byrds to Cher to Eddie Ved- Number One on the R&B charts,
der. Said Dylan, I knew exactly and in Februar y 1972, the
what I wanted to say and who I warm, buoyant love song gave
wanted to say it to. Green his only Number One
Appears on: The Times They Are A-Changin pop hit.
(Columbia) Appears on: Lets Stay Together
(The Right Stuff)

{ 61 }
LISTEN
29 WEEKS
NO. 3
Whole Lotta Shakin

Going On
JERRY LEE LEWIS
Writers: Dave Williams, Roy Hall

Producer: Jack Clement
Released: June 57, Sun
When Lewis decided to record

what would be his breakthrough
hit, it had already been cut four
times and gone nowhere. Lewis
lled it with frantic piano and
lthy instructions (All you got
to do, honey, is kinda stand in
one spot/Wiggle around just a
little bit). But what really made
Whole Lotta Shakin Going On
work was producer Cowboy Jack
Clements decision to turn the
session over to the manic ener-
gy of Lewis live shows. I just
simply turned on the machine,
mixed it on the y, he said. After

Lewis played a ery version of
Shakin on Steve Allens TV
show, the song went on to sell
more than 6 million copies.
Appears on: Original Sun Greatest Hits
(Rhino)

All killer, no filler:

Jerry Lee Lewis
in Memphis, 1957
{ 62 } { 63 }
LISTEN LISTEN
DID NOT 15 WEEKS
CHART NO. 7
Bo Diddley For What Its Worth

BO DIDDLEY BUFFALO SPRINGFIELD
Writer: Ellas McDaniel Writer: Stephen Stills

Producers: Phil and Leonard Chess Producers: Charles Greene,
Released: June 55, Checker Brian Stone
Released: Feb. 67, Atco
Diddleys rst single went to
Number One on the R&B charts As police and teens clashed on
and immortalized the bedrock L.A.s Sunset Strip, Neil Youngs
beat that would power every- guitar tolled like a funeral bell;
thing from Buddy Hollys Not the Summer of Love was un-
Fade Away to the Smiths How raveling before it even began.
Soon Is Now. The song origi- It turned out to be indicative of
nated as a sexually suggestive what was about to happen, said
ditty titled Uncle John, but the Stills.
Chess brothers asked Diddley to Appears on: Buffalo Springfield (Elektra)
clean up its lyrics and give it a

more memorable title to match h
its otherworldly sound. Diddley, y,
who studied violin as a child d
and built his own instruments, s,
wrote songs that were decep- p-
tively simple, driven by inter- r-
play between the bass, drums ms
and his tremolo guitar. But you u
cant copyright a beat, and Did-d-
HENRY DILTZ/CORBIS
dley never reaped the rewards ds

for his greatest innovation.
Appears on: His Best: The Chess 50th
Anniversary Collection (Chess)

{ 64 } { 65 }
LISTEN LISTEN
15 wEEkS 26 wEEkS
No. 1 No. 5
She Loves You Sunshine

The BeaTles of Your Love
Cream
writers: John Lennon,
Paul McCartney
writers: Jack Bruce, Pete Brown,
Producer: George Martin Eric Clapton
Released: Sept. 63, Swan Producer: Felix Pappalardi
Released: Jan. 68, Atco
Lennon and McCartney began
writing this song on a tour van, Bassist Bruce and lyricist-poet
and George Harrison dreamed Brown came up with Sun-
up the harmonies, which Mar- shine toward the end of an all-
tin found corny. The band night session, which inspired the
overruled Martin on the har- opening line: Its getting near
monies, but they took his sug- dawn/When lights close their
gestion to kick o the song tired eyes. The killer riff was
with the jubilant chorus. When inspired by Jimi Hendrix and
McCartneys father heard the based on a bass ostinato from
song, he said, Son, there are Bruce; Clapton added the cho-
enough Americanisms around. rus hook, and drummer Ginger
Couldnt you sing, Yes, yes, yes, Baker laid down a mammoth,
just for once? McCartney said, tom-tom-heav y beat. Bruce
You dont understand, Dad. It knew Sunshine would do well,
wouldnt work. but Atlantic Records nearly re-
appears on: The Beatles 1 (Capitol/Apple) jected it until some of the labels
biggest acts started champion-
ing the record. Both Booker T.
Stills (top Jones and Otis Redding heard it
right), Young and told me it was going to be a
(far right) and
smash, he recalled.
Buffalo
Springfield appears on: Disraeli Gears (Polydor)
Marley in New York,
September 1980. Two
days later, he collapsed
and was diagnosed with
the cancer that took his
life the following year.
DAVID BROOKS/CORBIS

{ 66 }
LISTEN
DID NOT
CHART
Redemption Song
BOB MARLEY
AND THE WAILERS
Writer: Marley
Producer: Chris Blackwell
Released: June 80, Island
Marley had already recorded a

version of this freedom hymn
with his band when Island Rec-
ords chief Blackwell suggested
he try it as an acoustic-style folk
tune. Inspired by the writings of
Marcus Garvey, Marleys lyrics
oer up music as an antidote to
slavery, both mental and physi-
cal. I would love to do more
like that, Marley said a few
months before his death, from
cancer, at age 36 in 1981. As the
nal track on his nal album,
Redemption Song stands as
his epitaph.
Appears on: Uprising (Island)
{ 67 } { 68 }
LISTEN LISTEN
27 WEEKS 7 WEEKS
NO. 1 NO. 31
Jailhouse Rock Tangled Up in Blue

ELVIS PRESLEY BOB DYLAN
Writers: Jerry Leiber, Mike Stoller Writer: Dylan

Producer: Steve Sholes Producer: Dylan
Released: Oct. 57, RCA Released: Jan. 75, Columbia
Songwriters Leiber and Stoller When Dylan introduced Tan-

had already penned a couple gled Up in Blue onstage in 1978,
of Presley hits most notably he described it as a song that
Hound Dog, picked up from took him 10 years to live and
blues belter Big Mama Thorn- two years to write. Its still one of
ton but the theme song for his most frequently per-
Presleys third movie was the formed live staples. It
duos rst studio collaboration was the six-minute
with the young superstar. Jail- opener from Blood
house Rock was decidedly sil- on the Tracks, writ-
ly, the kind of tongue-in-cheek ten as his rst mar-
narrative goof they had been riage was falling
coming up with for the Coast- apart. Dylan takes
ers. The King, however, sang it inspiration from classic
as straight rock & roll, overlook- country singers like Hank Wil-
ing the humor in the lyrics (like liams and Lefty Frizzell, in a tale
the suggestion of gay romance of a drifting heart on the road
when inmate Number 47 tells through the Sixties and Seven-
Number 3, Youre the cutest ties. Dylan kept revising the song
jailbird I ever did see) and in- heavily through the years; on his
troducing Scotty Moores guitar 1984 Real Live, he plays with the
solo with a cry so intense that chords and lyrics to tell a whole
the take almost collapses. new story.
Appears on: Elvis: 30 #1 Hits (RCA) Appears on: Blood on the Tracks (Columbia)

{ 69 } { 70 }
LISTEN LISTEN
16 WEEKS 13 WEEKS
NO. 2 NO. 6
Crying Walk On By
ROY OR BISON DIONNE WARWICK
Writers: Joe Melson, Orbison Writers: Burt Bacharach, Hal David

Producer: Fred Foster Producers: Bacharach, David
Released: Aug. 61, Monument Released: April 64, Scepter
Orbison said he wrote this lush, Early in her career, Warwick was
dreamy ballad after an encounter a back-up singer who also cut
with an old ame: Whether I was demos for Brill Building song-
physically crying or just crying in- writers Bacharach and David.
side is the same thing. His near- This forlorn classic solidified
operatic performance her stardom, capping a series of
culminated in a high, singles in which she played the
wailing note, which pleading lover. A downcast bal-
Orbison never lost lad set to a bossa nova beat, it
the capacity to hit was originally relegated to the
until his death in B side of Any Old Time of the
1988. He sounded Day, until New York DJ Murray
like he was singing the K asked listeners to vote on
from an Olympian moun- the singles two sides. The win-
taintop and he meant business, ning cut scaled the charts during
Bob Dylan wrote in Chronicles. the heady exuberance of Beatle-
He was now singing his compo- mania, which provided an un-
sitions in three or four octaves witting foil for the understated
that made you want to drive your perseverance of Walk On By. I
car over a cli. He sang like a didnt get the guy very often in
professional criminal. those days, Warwick said.
Appears on: For the Lonely: 18 Greatest Hits Appears on: The Dionne Warwick Collection:
(Rhino) Her All-Time Greatest Hits (Rhino)

{ 71 }
LISTEN
13 WEEKS
NO. 8
Papas Got a
Brand New Bag
JAMES BROWN
Writer: Brown
Producer: Brown
Released: July 66, King
In mid-1965, Brown was locked in

a contract struggle with King Re-
cords, but when he learned King
was nearly bankrupt, he threw the
label a bone: a song hed recorded
a few months earlier, yelling, This
is a hit! as the tape rolled. Argu-
ably the rst funk record, its driv-
en by the empty space between
beats as much as by Browns bel-
low and guitarist Jimmy Nolens
ice-chipper scratch. In a stroke of
postproduction genius (you can
hear the original recording on the
Grammy-winning Star Time box
set), Brown sliced o the intro to
have the song start with a face-
smashing horn blast, and sped it
up just enough so it sounded like
an urgent bulletin from the future. Aint no drag:
Appears on: 50th Anniversary Collection
Brown on The Ed
Sullivan Show,
(UTV/Polydor) May 1st, 1966

CBS/LANDOV
{ 72 } { 73 }
LISTEN LISTEN
11 WEEKS 16 WEEKS
NO. 3 NO. 1
California Girls Superstition

THE BEACH BOYS STEVIE WONDER
Writers: Brian Wilson, Mike Love Writer: Wonder

Producer: Wilson Producers: Wonder, Malcolm Cecil,
Released: July 65, Capitol Robert Margouleff
Released: Nov. 72, Tamla
The rst time Wilson took acid,
he sat at the piano and wrote Wonder debuted this hard blast
the brooding, beautiful open- of funk live while opening for the
ing bars to California Girls. It Rolling Stones in the summer of
was a breakthrough moment, 1972, intent on expanding his
Wilson has said, that led audience. The 22-year-
him to begin creating old former child star
more complex, emo- had written it at the
tional music. The drum set, humming
lyrics, written by the other parts to
Love, were inspired himself. Wonder
by Wilsons asser- had initially intend-
tion that everybody ed for Je Beck to re-
loves girls. And despite cord the song, but Berry ry
the teen-fantasy theme, the sing- Gordy wouldnt let him give it
ing is tougher than earlier Beach away. It became the rstrst
st sin-
Boys hits, with tightly wound gle from Talking Book k
harmonies and an aggressive and Wonders rst r
lead vocal. I taught Mike to sing Number Onee
with attitude, said Wilson. I early
rly
hit in nearly
was trying to create a new Beach ade
de.
a decade.
Boys sound. Appears on::
Appears on: Sounds of Summer: The Very Talking Book
Best of the Beach Boys (Capitol) (Motown)

{ 74 } { 75 }
LISTEN LISTEN
16 WEEKS 15 WEEKS
NO. 8 NO. 4
Summertime Blues Whole Lotta Love

EDDIE COCHRAN LED ZEPPELIN
Writers: Cochran, Jerry Capehart Writers: Willie Dixon, Led Zeppelin

Producer: Capehart Producer: Jimmy Page
Released: July 58, Liberty Released: Oct. 69, Atlantic
Cochrans label tried molding The members of Led Zeppelin

him into a crooning teen idol, but rst got their sound together by
he made his mark with a string jamming on blues standards,
of rockabilly ravers written with stretching them out into psyche-
partner Capehart. Explaining delic orgies. Whole Lotta Love
the inspiration for this classic, was a tribute to Chicago blues
Capehart said, Theree had been songwriter Willie Dixon, based
out sum
a lot of songs about mme but
summer, on his You Need Love, a Muddy
none about thehe hardships off ssum
sum- Waters single from 1962 (though
mer. Withth that idea and a guitar
tar Robert Plant also threw in
COURTESY OF THE ROCK AND ROLL HALL OF FAME AND THE COCHRAN FAMILY
rom
om Cochran, they knocked
lick from qu
q
quotes from songs Dixon wrote
ut the song in 45 minutes.
out fo Howlin Wolf). The copy-
for
Appears on: Somethin Else rig issues werent sorted
ri
right
(Razor and Tie) out until 1985, when Dixon
brought legal action and got
his rightful share of the credit
for Whole Lotta Love. Pages
ri was Pages ri, Plant said.
Aint no cure:
Thee Gretsch
G I just thought, Well, what am
61200 guitar
g that I going to sing? That was it, a
Edd
dd Cochran
Eddie
used to write nick. Now happily paid for. Said
Summertime Page, Usually my ris are pretty
Blues with his
damn original. What can I say?
partner, Jerry
Capehart Appears on: Led Zeppelin II (Atlantic)
{ 76 } { 77 }
LISTEN LISTEN
9 WEEkS dId NoT
No. 8 charT
Strawberry Fields Mystery Train

Forever Elvis PrEslEy
ThE BEATlEs
Writer: Junior Parker, Sam Phillips
Writers: John Lennon, Producer: Phillips
Paul McCartney released: Sept. 55, Sun
released: Feb. 67, Capitol Mystery Train is one of Pres-
leys most haunting songs, a stark
Lennon often considered Straw- blues number that sounds ancient
berry Fields Forever his great- but was actually first cut only
est accomplishment with the two years before by Memphis
Beatles. The song, a sur- blues singer Junior Park-
real kaleidoscope of er. Presley recorded it
sound, was the rst with the groove from
track recorded for the flip side of the
Sgt. Peppers Lonely same Parker single,
Hearts Club Band Love My Baby, and
(although it was re- Sun producer Phil-
leased as a single in- lips taut, rubbery echo
stead). The lyrics are a eect made guitarist Scot-
nostalgic look at Lennons Liv- ty Moores every note sound dou-
erpool childhood and an expres- bled. Presley added a nal verse
sion of his own pride. Said Len- Train . . . took my baby, but it
non, The second line goes, No never will again capped by a
one I think is in my tree. Well, celebratory falsetto whoop that
what I was trying to say in that transformed a pastoral about
line is, Nobody seems to be as death into a song about the power
hip as me, therefore I must be to overcome it.
crazy or a genius. Appears on: Sunrise (RCA)
Appears on: Magical Mystery Tour (Capitol)

{ 78 } { 79 }
LISTEN LISTEN
12 WEEKS 13 WEEKS
NO. 3 NO. 1
I Got You Mr. Tambourine Man

(I Feel Good) THE BYRDS
JAMES BROWN
Writer: Bob Dylan
Writer: Brown Producer: Terry Melcher
Producer: Brown Released: May 65, Columbia
Released: Nov. 65, King
The only Byrd to play on the
The same year he hit with Papas bands rst hit was Roger Mc-
Got a Brand New Bag, Soul Guinn, whose chiming 12-string
Brother Number One scored his Rickenbacker guitar became
biggest pop success with I Got folk rocks dening sound. Ev-
You. It was a sped-up, erything else came from
hyped-up new ver- L.A. session players,
sion of a song called including dr um-
I Found You that mer Hal Blaine
Brown had writ- and bassist Larry
ten a few years pre- Knechtel of Phil
vious for one of his Spectors Wrecking
early protges, James Crew. But the rest of
Brow n Rev ue singer the Byrds soon caught up,
Yvonne Fair. I Got You received and as the song was breaking, a
some help on the pop charts curious Dylan checked out the
from a most unlikely source; a band at Ciros, a Los Angeles
few months before the single was club. Reportedly, he didnt rec-
released, Brown performed the ognize some of his own songs in
song in the Frankie Avalon teen their electried versions.
ick Ski Party. Appears on: Mr. Tambourine Man
Appears on: James Brown 50th Anniversary (Columbia/Legacy)
Collection (UTV/Polydor)
Kinks Korner:
Dave Davies, Ray
Davies, Peter
Quaife and Mick
Avory (clockwise
from top right)
VAL WILMER/REDFERNS/GETTY IMAGES

{ 80 }
LISTEN
15 WEEKS
NO. 7
You Really Got Me

THE KINKS
Writer: Ray Davies

Producer: Shel Talmy
Released: Sept. 64, Reprise
Convinced that the bands previ-

ous two singles had opped be-
cause they were too pristine, the
Kinks went into the studio in the
summer of 1964 to record this
deliberately raw rave-up, writ-
ten by Ray Davies on the piano
in his parents living room. But
the original recording still felt
too shiny, and the band had to
borrow 200 pounds to cover the
cost of another session. Seven-
teen-year-old guitarist Dave Da-
vies took a razor to the speaker
cone on his amp to get the de-
sired dirty sound for that im-
mortal, blistering ri. The song
came out of a working-class envi-
ronment, Dave recalled. People
ghting for something. A month
later, the proto-heavy-metal song
went straight to the top of the
British charts.
Appears on: Kinks (Castle)
{ 81 } { 82 }
LISTEN LISTEN
15 WEEKS 27 WEEKS
NO. 1 NO. 2
I Heard It Through Blueberry Hill

the Grapevine FATS DOMINO
MARVIN GAYE
Writers: Al Lewis, Larry Stock,
Vincent Rose
Writers: Barrett Strong,
Norman Whitfield Producer: Dave Bartholomew
Producer: Whitfield Released: Oct. 56, Imperial
Released: Oct. 68, Tamla
Blueberry Hill was rst record-
Motown producer Whitfield ed in 1940 by several artists, in-
had a reputation for recording cluding Gene Autry and Glenn
the same song with a number Miller. But Domino drew on the
of acts, changing the ar- 1949 Louis Armstrong
rangement each time. version when he had
This irritated some run out of materi-
of the labels art- al at a session. Pro-
ists, but every now ducer Bartholomew
and then he would thought it was a ter-
get a golden idea as rible idea but lost
happened with Gayes the argument. Good
1968 version of Grape- thing, too. It ended up
vine, which had been a hit the being Dominos biggest hit and
year before for Gladys Knight. broadened his audience once and
Whiteld and co-writer Strong for all. As Carl Perkins later said,
set the track in a slower, more In the white honky-tonks where
mysterious tempo, and the song I was playin, they were punchin
which Gaye initially resisted Blueberry Hill. And white cats
recording became the bestsell- were dancin to Fats Domino.
ing Motown single of the decade. Appears on: The Fats Domino Jukebox
Appears on: Every Motown Hit (Motown) (Capitol)

{ 83 } { 84 }
LISTEN LISTEN
NoN- 22 wEEkS
SINgLE No. 1
Norwegian Wood Every Breath

(This Bird Has Flown) You Take
The BeATles The Police
writers: John Lennon, writer: Sting

Paul McCartney Producer: Hugh Padgham
Producer: George Martin Released: May 83, A&M
Released: Dec. 65, Capitol
For their biggest hit, the Police
This wry, wistful folk ballad went back to basics, junking an
was among the rst of the Bea- elaborate synth part that dis-
tles revolutionary studio experi- tracted from the songs hypnot-
ments. The inclusion of the sitar, ic bass line in favor of a lick that
an instrument that George Har- guitarist Andy Summers record-
rison had recently discovered, ed in one live take. Sting admit-
was groundbreaking. The song, ted that the lyrics which sound-
written by Lennon, is the tale of ed tender but were actually bitter
a late-night tryst although its were pulled from the rock &
electric with sexual possibility, roll clich handbook. Every
the bemused cad ends up sleep- Breath You Take is an archetypal
ing in the bathtub (and maybe song, he told Rolling Stone.
takes his revenge by burning the If you have a major chord fol-
place down the next morning). lowed by a relative minor, youre
Lennon said that the lyrics dis- not original. Following Stings
guised an actual aair: I was unoriginal-and-proud mani-
very careful and paranoid be- festo, Puff Daddy would sam-
cause I didnt want my wife, Cyn, ple Breath extensively 14 years
to know that there was some- later for his own huge hit, the
thing going on. Notorious B.I.G. tribute Ill Be
Appears on: Rubber Soul (Capitol) Missing You.
Appears on: Synchronicity (Interscope)
ADRIAN BOOT/URBAN IMAGE

LISTEN
Sting called
Every Breath
You Take a
clich: Its an
archetypal song.
Police lineup: Andy

Summers, Stewart
Copeland and Sting
(from left) in 1983
{ 85 } { 86 }
LISTEN LISTEN
11 WEEKS NON-
NO. 9 SINGLE
Crazy Thunder Road

PATSY CLINE BRUCE SPRINGSTEEN
Writer: Willie Nelson Writer: Springsteen

Producer: Owen Bradley Producers: Springsteen, Jon Landau,
Released: Oct. 61, Decca Mike Appel
Released: Aug. 75, Columbia
Cline wasnt impressed when her
husband, Charlie Dick, brought We decided to make a guitar
home a demo by a 28-year-old album, but then I wrote all the
rookie Nashville songwriter songs on piano, Springsteen
named Willie Nelson. Told that said of his third album, Born to
the songs title was Crazy, she Run. Thunder Road, its open-
responded, It sure is. But Brad- ing track, is a cinematic tale
ley helped Cline make the song of redemption with a title bor-
her own with a lush arrangement rowed from a 1958 hillbilly noir
and understated backing vocals starring Robert Mitchum as a
from gospel group the Jordan- bootlegger with a car that cant
aires. Clines vocals, cut in one be beat (though the Boss had
take, infused Nelsons lyrics with never actually seen the movie).
slow-burn sex appeal. Crazy set An early title for the song was
the stage for a sophisticated new Wings for Wheels, which re-
phase of the C&W sound known surfaced as the name of a Born
as country politan, although to Run documentary. Decades
Cline herself wouldnt be around later, Springsteen would mar-
to shape it: She died in a plane vel that he wrote the line Youre
crash less than two years later. scared, and youre thinking
Appears on: Patsy Clines Greatest Hits (MCA) that maybe we aint that young
anymore when he was all of
24 years old.
Appears on: Born to Run (Columbia)

{ 87 } { 88 }
LISTEN LISTEN
13 WEEKS 13 WEEKS
NO. 17 NO. 1
Ring of Fire My Girl

JOHNNY CASH THE TEMPTATIONS
Writers: June Carter, Merle Kilgore Writers: Smokey Robinson,

Producer: Don Law Ronald White
Released: May 63, Columbia Producers: Robinson, White
Released: Jan. 65, Gordy
Carter wrote this song while
driving around aimlessly one The Temptations were shar-
night, worried about Cashs wild- ing a bill with Robinson and
man ways and aware that she his group the Miracles at Har-
couldnt resist him. There is no lems Apollo Theater when Rob-
way to be in that kind inson took time out to
of hell, no way to ex- cut the rhythm track
tinguish a f lame for a new song. After
that burns, burns, they heard it, the
burns, she wrote. Tempts begged him
Not long a f t er to let them record
hearing Junes sis- the song rather than
ter Anitas take on the the Miracles, as he had
song, Cash had a dream been planning. Robinson
that he was singing it with maria- relented and chose the throaty
chi horns. Cashs version became tenor David Run to sing lead,
one of his biggest hits (inspiring the rst time he had done so with
cover versions by everyone from the group. The Tempts rehearsed
Frank Zappa to Adam Lambert), the song that week at the Apol-
and his marriage to June four lo, then recorded it back home in
years later helped save his life. Detroit on December 21st, 1964.
Appears on: The Man in Black: His Greatest Appears on: The Temptations Sing Smokey
Hits (Columbia) (Motown)

{ 89 } { 90 }
LISTEN LISTEN
17 WEEKS 19 WEEKS
NO. 4 NO. 24
California Dreamin In the Still

THE MAMAS AND THE PAPAS of the Night
THE FIVE SATINS
Writers: John and Michelle Phillips
Producer: Lou Adler Writer: Fred Parris
Released: Dec. 65, Dunhill Producers: The Five Satins
Released: Sept. 56, Standord
One frigid winter in Manhattan,
a song came to John Phillips in Five Satins frontman Parris
the middle of the night. He woke wrote the song while on guard
up his young wife, Michelle, who duty in the Army, and the group
was homesick for the West Coast, recorded it in the basement of a
to help him nish writ- church in Parris home-
ing California Drea- town of New Haven,
min, one of the all- Connecticut. The
time sunniest songs roughness shows:
of longing. The tune The dr ums and
was first record- piano are muffled,
ed by Phillips folk the alto sax cracks
group the New Jour- during the solo, and
neymen and later given to the backing vocals wander
Barry McGuire as a thank-you o-key. But the primitive sound
after McGuire, riding high with and the fact that only four of
Eve of Destruction, introduced the Five Satins were even pres-
the group to producer Lou Adler, ent for the session cant keep
who convinced the Mamas and In the Still of the Night, orig-
the Papas to cut it themselves. inally released as a B side, from
Appears on: If You Can Believe Your Eyes and being a sublime, denitive piece
Ears (MCA) of doo-wop.
Appears on: The Five Satins: Their Greatest
Hits (Collectables)

{ 91 } { 92 }
LISTEN LISTEN
15 WEEKS DID NOT
NO. 1 CHART
Suspicious Minds Blitzkrieg Bop

ELVIS PRESLEY RAMONES
Writer: Mark James Writers: Ramones

Producers: Chips Moman, Producer: Craig Leon
Felton Jarvis, Presley Released: May 76, Sire
In less than three minutes, this
When Moman presented this song threw down the blueprint
song to Presley in 1969, the for punk rock. Its all here on the
singer was, as the lyrics put it, opening track of the Ramones
caught in a trap a cash cow debut: the buzz-saw chords,
being milked dry by his label and which Johnny played on his $50
hangers-on. That might be why Mosrite guitar; the snotty words,
Presley was convinced he could courtesy of drummer Tommy
turn the song into a deep-soul (with bassist Dee Dee adding the
hit, even though it had opped in brilliant line Shoot em in the
1968 for singer-songwriter Mark back now); and the hairball-in-
James. Recorded between four the-throat vocals, sung by Joey in
and seven in the morning, dur- a faux British accent. Recorded
ing the landmark Memphis ses- on the cheap at New Yorks Radio
sion that helped return the King City Music Hall, of all places,
to his throne, Suspicious Minds Blitzkrieg Bop never made the
the nal Number One single charts; instead, it almost single-
of his lifetime is Presleys mas- handedly created a world beyond
terpiece: He sings so intensely the charts. The kick-off chant
through the fade-out that his Hey! Ho! Lets go! meanwhile,
band returns for another minute is now an anthem of its own at
of the tear-stained chorus. sporting events nationwide.
Appears on: Elvis 30 #I Hits (RCA) Appears on: Ramones (Rhino)
{ 93 }
LISTEN
17 WEEKS
NO. 1 Blood-red sky:
Bono in 1987 on
I Still Havent the Joshua Tree
tour, in the
Found What Im Netherlands
Looking For
U2
Writer: Bono
Producers: Daniel Lanois, Brian Eno
Released: May 87, Island
The music that really turns me

on is either running toward God
or away from God, Bono told
Rolling Stone. U2s second
Number One single revels in am-
bivalence an anthem of doubt
more than faith, Bono has called
it. The song was typical of the ar-
duous sessions for The Joshua
Tree: Originally called Under
the Weather, it began, like most
U2 songs, as a jam. It sound-
ed to me a little like Eye of the
Tiger played by a reggae band,
the Edge recalled. It had this
great beat, Lanois said. I re-
member humming a tradition-
al melody in Bonos ear. He said,
Thats it! Dont sing any more!
and went o and wrote the mel-
ody as we know it.
Appears on: The Joshua Tree (Island)

COLLEXXX-LEX VAN ROSSEN/REDFERNS/GETTY IMAGES

{ 94 }
LISTEN
15 WEEKS
NO. 10
Good Golly,
Miss Molly
LITTLE RICHARD
Writers: Robert Bumps Blackwell,

John Marascalco
Producer: Blackwell
Released: Feb. 58, Specialty
Little Richard first heard the

phrase Good golly, Miss Molly,
from a Southern DJ named
Jimmy Pennick. He turned the
words into perhaps his most bla-
tant assault on American propri-
ety: Good golly, Miss Molly/You
sure like to ball. He swiped the
music from Ike Turners piano
intro to Jackie Brenstons Rock-
et 88, recorded by Sam Phillips
in Memphis seven years earli-
er. I always liked that record,
Richard recalled, and I used to
use the ri in my act, so when
we were looking for a lead-in to
Good Golly, Miss Molly, I did
that and it t. Richard had re-
nounced rock & roll the previous
year, but Specialty couldnt leave
this classic in the vaults.
Appears on: The Georgia Peach (Specialty)

{ 95 }
LISTEN
21 WEEKS
NO. 2
Sun star:
Carl Perkins in
Memphis, 1956 Blue Suede Shoes
CARL PERKINS
Writer: Perkins
Producer: Sam Phillips
Released: Feb 56, Sun
Johnny Cash had already given

Perkins the phrase blue suede
shoes as an idea for a song. But
when he overheard a Tennessee
hepcat who was trying to keep
the girl he was dancing with from
scung up his new kicks, Perkins
was inspired to write the song
that would be his Sun debut. It
was the rst single to crack the
pop, R&B and country charts,
and Perkins was driving to New
York to perform the song on The
Perry Como Show when his car
crashed into a poultry truck, lay-
ing him up for weeks. He could
only sit home and watch while

Blue Suede Shoes was per-
formed on The Milton Berle Show
sung by Elvis Presley, who
would later admit he couldnt top
Perkins original.
Appears on: Original Sun Greatest Hits
(Rhino)
{ 96 } { 97 }
LISTEN LISTEN
21 WEEKS 5 WEEKS
NO. 2 NO. 29
Great Balls of Fire Roll Over Beethoven

JERRY LEE LEWIS CHUCK BERRY
Writers: Otis Blackwell, Jack Hammer Writer: Berry

Producer: Sam Phillips Producers: Leonard and Phil Chess
Released: Nov. 57, Sun Released: May 56, Chess
With Lewis pounding the piano I wanted to play the blues, Chuck
and leering, Great Balls of Fire Berry told Rolling Stone. But
was full of Southern Baptist hell- I wasnt blue enough. We always
re turned into a near-blasphe- had food on the table. Berry
mous ode to pure lust. Lewis, originally wrote this guitar an-
a Bible-college dropout them as an aectionate
and cousin to Jimmy dig at his sister Lucy,
Swaggart, refused who spent so much
to sing it at first time playing clas-
and got into a theo- sical music on the
logical argument family piano that
with Phillips that young Chuck couldnt
concluded with Lewis get a turn. But Roll
asking, How can the Over Beethoven became
devil save souls? But as the ses- the ultimate rock & roll call to
sion wore on and the liquor kept arms, declaring a new era: Roll
owing, Lewis mood changed over, Beethoven/And tell Tchai-
considerably on bootleg tapes kovsky the news. Berry an-
he can be heard saying, I would nounced this changing of the mu-
like to eat a little pussy if I had sical guard with a blazing guitar
some. Goodness gracious, great riff and pounding piano from
balls of re, indeed. sidekick Johnnie Johnson.
Appears on: Original Sun Greatest Hits (Rhino) Appears on: The Anthology (Chess)

{ 98 } { 99 }
LISTEN LISTEN
12 WEEKS 14 WEEKS
NO. 3 NO. 14
Love and Happiness Fortunate Son

AL GREEN CREEDENCE
CLEARWATER REVIVAL
Writers: Green,
Mabon Teenie Hodges Writer: John Fogerty
Producer: Willie Mitchell Producer: Fogerty
Released: June 72, Hi Released: Oct. 69, Fantasy
Sixty percent of my audience are Fortunate Son is a blast at rich

women, Green once said. And a folks who plan wars and then
woman is more sensitive than a draft poor people to ght them.
man, especially in the area of love Fogerty wrote it out of disgust at
and happiness. Hodges wrote the fancy wedding plans of Rich-
the urgent, romantic Love and ard Nixons daughter. You just
Happiness one morning in be- had the feeling that none of these
tween having sex with his girl- people were going to be too in-
friend and watching wrestling on volved with the war, he said.
TV. Green recently claimed that Appears on: Willy and the Poor Boys
Hodges sang him the opening (Fantasy)
guitar ri on a road trip and they

drove 160 miles back to Mem-
phis to record it that night. He
has described the song as like a
slow fever, building on the beat,
pushing up the temperature with
each breath of the staccato horns
and pushing through delirium as
we came up on the fade.
Appears on: Im Still in Love With You
(Capitol)
{100}
LISTEN
24 WEEKS
NO. 2 Like clockwork:
Danger Mouse
Crazy (left) and Cee-Lo
GNARLS BARKLEY of Gnarls Barkley,
in 2006
Writers: Brian Burton, Thomas
Calloway, Gianfranco Reverberi,
Gian Piero Reverberi
Producer: Danger Mouse
Released: May 06, Downtown
Crazy was a rarity in the 2000s:

a universal pop smash that was
played on virtually every radio
format it went Top 10 on both
the pop and the modern-rock
charts and was covered by sing-
ers from Nelly Furtado to Billy
Idol. The lyrics, which celebrate
risk-taking, came out of a con-
versation Cee-Lo and Danger
Mouse had in the studio: The
pair decided that their genre-
smashing collaborations were in-
deed crazy. With a haunting
melody inspired by spaghetti
Western soundtrack- composer
Ennio Morricone, Crazy didnt
feel like a hit. It seemed too out
there for urban radio and too
urban for rock radio, Danger
Mouse told Rolling Stone.
Appears on: St. Elsewhere (Downtown)

{ 101 }
LISTEN
8 WEEKS
NO. 42
You Cant Always

Get What You Want
THE ROLLING STONES

Released: July 69, London
After a November 1968 record-

ing session, Al Kooper asked
Jagger if he could take a stab
at a horn chart for a new song.
Kooper got his wish, but only his
French horn made the nal mix,
providing You Cant Always Get
What You Want with its sig-
nature intro. The songs piano
groove was based on an Etta
James record, and producer
Miller Mr. Jimmy in the Jag-
ger lyric subbed for Charlie
Watts when the Stones drum-
mer had diculty mastering the
MATTHEW DONALDSON/ATLANTIC RECORDS
tricky groove. Phil Spector ac-

complice Jack Nitzsche provid-
ed the crowning touch in March
1969, orchestrating the London
Bach Choir into a towering back-
ing chorus. A grandiose nale for
a landmark album.
Appears on: Let It Bleed (ABKCO)
{ 102 } { 103 }
LISTEN LISTEN
NON- 20 WEEKS
SINGLE NO. 7
Voodoo Child Be-Bop-A-Lula

(Slight Return) GENE VINCENT AND
THE JIMI HENDRIX HIS BLUE CAPS
EXPERIENCE
Writers: Vincent, Bill Davis
Writer: Jimi Hendrix Producer: Ken Nelson
Producer: Chas Chandler Released: May 56, Capitol
Released: Oct. 68, Reprise
With Vincents echo-soaked
After a night of partying in New voice, Cli Gallups high-reverb
York on May 2nd, 1968, Hendrix, guitar and 15-year-old drum-
Experience drummer Mitch mer Dickie Harrells wildcat
Mitchell, Traffics Stevie Win- screams, Be-Bop-A-
wood and Jefferson Airplanes Lula went to Num-
Jack Casady returned to Electric ber Seven in 1956.
Ladyland studio and cut Voo- Vincent signed to
doo Chile, a 15-minute take on Capitol, which had
Muddy Waters Rolling Stone. been hunting for its
Later that day, Hendrix, Mitchell own Elvis-type sing-
and bassist Noel Redding were er. A restless sort, Vin-
being lmed by a TV crew. Hen- cent joined the Navy while
drix improvised the staggering still underage and nearly had his
wah-wah guitar ri that kicks leg amputated after a motorcy-
o the apocalyptic blues Voo- cle crackup. He reportedly wrote
doo Child (Slight Return) on the Be-Bop-A-Lula with a fellow
spot. It was like, OK, boys, look patient while recuperating at a
like were recording, Hendrix naval hospital.
said. We werent thinking about Appears on: The Screaming End: The Best of
what we were playing. Gene Vincent and His Blue Caps
Appears on: Electric Ladyland (MCA) (Razor and Tie)

{ 104 } { 105 }
LISTEN LISTEN
21 WEEKS 17 WEEKS
NO. 1 NO. 8
Hot Stuff Living for the City

DONNA SUMMER STEVIE WONDER
Writers: Pete Bellotte, Harold Writer: Wonder

Faltermeyer, Keith Forsey Producer: Wonder
Producer: Giorgio Moroder, Bellotte Released: August 73, Tamla
Released: April 79, Casablanca
Wonder went epic with Liv-
The Rolling Stones Miss You ing for the City, a bleak seven-
and Rod Stewarts Da Ya Think minute narrative about the bro-
Im Sexy approached disco from ken dreams of black America
the world of rock. Now Sum- that was so powerful, Richard
mer and producer Moro- Pryor later recorded the lyrics
der wanted to return delivered as a church sermon.
the favor. Setting Wonder sings about a boy grow-
a thumping kicking up in the mythical town of
drum pulse against Hard Times, Mississippi, sur-
a raunchy g u i- rounded by poverty and racism.
tar solo from Doo- When he takes the bus to New
bie Brother (and disco York in search of a better life, he
hater) Jeff Skunk Bax- gets set up for a drug bust and
ter, they paved the way for such goes to jail. Wonder filled the
hybrids as Michael Jacksons song with cinematic dialogue,
Beat It. The Queen of Disco even recruiting one of the jan-
snarled with an assertiveness itors at the recording studio to
rarely heard on her earlier Eu- play the white prison guard who
ro-disco hits. The 12-inch mem- mutters, Get into that cell, nig-
orably segues directly into Sum- ger. Public Enemy sampled the
mers follow-up, Bad Girls. line years later on It Takes a Na-
Appears on: Bad Girls (Mercury/Chronicles) tion of Millions to Hold Us Back.
Appears on: Innervisions (Motown)
{ 106 } { 107 }
LISTEN LISTEN
10 WEEKS NON-
NO. 7 SINGLE
The Boxer Mr. Tambourine Man

SIMON AND GARFUNKEL BOB DYLAN
Writer: Paul Simon Writer: Dylan

Producers: Roy Halee, Simon, Producer: Tom Wilson
Art Garfunkel Released: March 65, Columbia
Released: April 69, Columbia
Inspired by Bruce Langhorne
The Boxer is about a New York a session guitarist who played
kid who cant nd love, a job or a on several Dylan records Mr.
home just those whores on Sev- Tambourine Man is the tune
enth Avenue. I was reading the that elevated Dylan from folk
Bible, Simon said of the songs hero to bona de star. [Bruce]
genesis. Thats where work- was one of those characters. . . .
mans wages came from. He He had this gigantic tambou-
sang the song as a tribute to New rine as big as a wagon wheel,
York on the rst Saturday Night Dylan said. The vision of him
Live after 9/11. playing just stuck in my mind.
Appears on: Bridge Over Troubled Water Written partly during a drug-
(Columbia) fueled cross-country trek in 1964,
the song was recorded on Janu-
ary 15th, 1965; five days later,
based on a demo (which Dylan
cut with Ramblin Jack Elliott)
theyd heard, the Byrds record-
ed their own electried version.
Wow, man, said Dylan, you
can even dance to that!
Appears on: Bringing it All Back Home
(Columbia)

{ 108 } { 109 }
LISTEN LISTEN
20 WEEKS 22 WEEKS
NO. 10 NO. 6
Not Fade Away Little Red Corvette

BUDDY HOLLY AND PRINCE
THE CRICKETS
Writer: Prince
Writers: Holly, Norman Petty Producer: Prince
Producer: Petty Released: March 83, Warner
Released: Oct. 57, Brunswick
A horse-racing metaphor, a car
Recorded in Clovis, New Mexi- metaphor and, probably, a clitoris
co, in May 1957, Not Fade Away metaphor: Prince didnt scrimp
was originally the B side to Hol- on literary possibilities in com-
lys hit Oh, Boy! The Crickets ing up with what would be his
were no strangers to the rst Top 10 hit. In 1982,
Bo Diddley beat they Prince had a 24-track
had already cov- studio installed in
ered Bo Diddley his basement; by
but with Not Fade 6 p.m. the day after
Away they made it was set up, he had
the rhy thm their recorded Little Red
own, thanks to drum- Corvette. The song is
mer Jerry Allison, who an almost perfect erot-
pounded out the beat on a card- ic fusion of rock and funk that
board box. Allison, Hollys best builds slowly until exploding into
friend, also claims to have writ- a guitar solo. Fittingly, Prince
ten most of the lyrics, though wrote the lyrics in the back seat
his name never appeared in the of a car, but not a red Corvette: It
songwriting credits. In 1964, the was a bright-pink Ford Edsel be-
song became the Rolling Stones longing to Revolution keyboard-
rst release in the U.S. ist Lisa Coleman.
Appears on: Greatest Hits (MCA) Appears on: 1999 (Warner Bros.)
Welcome to the
machine: Tom Morello
at New Yorks Madison
Square Garden, 2009.

{ MY TOP 10 }
Tom Morello
1. Biko Peter Gabriel 6. London Calling
A song about the slain South The Clash
African activist Stephen Joe Strummer sings this
Biko. The lyrics really per- apocalyptic anthem as if
sonalized revolution for me. the walls are coming down
around him.
2. This Land Is Your Land
Woody Guthrie 7. Blind Willie McTell
Guthries angry response to Bob Dylan
Irving Berlins God Bless Plumbs the darkest depths
America. After the revolu- of the American spirit. A
tion, this song will be played keen observance and a
at every baseball game. haunting lyric.
3. Redemption Song
8. Sympathy for the Devil
Bob Marley and the Wailers
The Rolling Stones
It really distills the struggle
A brilliant, eerie snapshot
for a better life that ran
of the Sixties.
though all of Marleys music.
4. Imagine John Lennon 9. The Ghost of Tom Joad

Basically a call for a com- Bruce Springsteen
plete overturning of society, The acoustic version feels
couched in a gorgeous mel- like a lament; the electric
ody. version feels like storming
the barricades.
5. Fight the Power
Public Enemy 10. War Pigs
KEVIN MAZUR/WIREIMAGE
They had the audacity to Black Sabbath

say, Elvis was a hero to The greatest heavy-metal
most/But he never meant song of all time. Ozzy
shit to me. I had the same Osbournes hellre
thoughts, but I never dared condemnation of those
say them. who make war.
{ 110 } { 111 }
LISTEN LISTEN
16 WEEKS 11 WEEKS
NO. 10 NO. 21
Brown Eyed Girl Ive Been Loving

VAN MORRISON You Too Long
Writer: Morrison (to Stop Now)
Producer: Bert Berns OTIS REDDING
Released: June 67, Bang
Writers: Jerry Butler, Redding
Producers: Jim Stewart,
The cheery sha-la-la chorus Steve Cropper
of Brown Eyed Girl, original- Released: April 65, Volt
ly titled Brown Skinned Girl,
brought Morrison to the top of Redding and soul balladeer Ice-
the pop charts, even though he man Butler were hanging out in
didnt much like the record and Reddings hotel room in Bualo,
recently said he doesnt even con- New York, after a gig when But-
sider it one of his best 300 songs. ler sang a half-nished song he
The record came out dierent, had been working on. Hey, man,
Morrison said. This fellow, Bert, thats a smash, Redding said.
he made it the way he wanted it, Let me go mess around with it.
and I accepted the fact that he Maybe Ill come up with some-
was producing it, so I just let him thing. Sure enough, Ive Been
do it. After its smash success, Loving You Too Long became
Morrison turned his back on Reddings rst Top 40 single, in
mainstream pop. It just put me June 1965. And when Redding
in some awkward positions, he performed a scorching drawn-out
said. Like lip-syncing on a tele- version at the Monterey Pop Fes-
vision show. I cant lip-sync. His tival in 1967 in front of the au-
next album, the masterful Astral dience he called the love crowd
Weeks, was a personal acoustic the single made the transition
song cycle that sold practically from hit to legend.
nothing. Appears on: Otis Blue: Otis Redding Sings
Appears on: Blowin Your Mind (Sony) Soul (Atco)

{ 112 } { 113 }
LISTEN LISTEN
DID NOT DID NOT
CHART CHART
Im So Lonesome Thats All Right

I Could Cry ELVIS PRESLEY
HANK WILLIAMS
Writer: Arthur Crudup
Writer: Williams Producer: Sam Phillips
Producer: Fred Rose Released: Aug. 54, Sun
Released: Nov. 49, Sterling
Presley was halfway into his rst
This track a vision of lonesome recording session, with Sun Rec-
Americana over a steady beat ords Sam Phillips, when Pres-
was Williams favorite out of all ley pulled out Big Boy Crudups
the songs he wrote. But he wor- 1946 blues obscurity Thats All
ried that the lyrics about Right, and the world
weeping robins and changed. Recorded
falling stars were too in a shockingly fast,
artsy for his rural lusty new style, the
audience, which single was the place
might explain why where race and hill-
the track was buried billy music collid-
on the B side of My ed and became rock &
Buckets Got a Hole in It. roll. Presley would cover
Lonesome didnt catch much at- two more Crudup tunes in 1956:
tention, but after Williams death My Baby Left Me and So Glad
it came to symbolize his whis- Youre Mine. Presley would re-
key-soaked life, and artists such member, I said if I ever got to
as Willie Nelson resurrected it, the place where I could feel all
setting the mood for much of the old Arthur felt, Id be a music
country music that followed. man like nobody ever saw.
Appears on: The Ultimate Collection Appears on: Sunrise (RCA)
(Universal)
{ 114 } { 115 }
LISTEN LISTEN
20 WEEKS 26 WEEKS
NO. 5 NO. 1
Up on the Roof You Send Me

THE DRIFTERS SAM COOKE
Writers: Gerry Goffin, Carole King Writer: Cooke

Producers: Jerry Leiber, Mike Stoller Producer: Richard Bumps Blackwell
Released: Nov. 62, Atlantic Released: Oct. 57, Keen
Up on the Roof a breezy sum- The plan was to remake gos-

mertime song for city dwellers pel star Cooke as a secular sing-
whose only getaways were the tar er. But Specialty Records owner
beaches at the top of their build- Art Rupe objected so strong-
ings was written by the hus- ly to Blackwells use of white fe-
band-and-wife team of male backing vocalists
Gon and King, ris- for a session Rupe
ing stars on New thought that Cooke
Yorks Tin Pan Alley was watering his
scene who had bro- sound down too
ken through with much that he re-
the Shirelles Will leased Cooke from
You Love Me Tomor- his contract. Major-
row and had already label scouts were confused
written one Drifters hit (Some by the record, too, thinking it was
Kind of Wonderful). It was sung too soft for R&B but too gritty for
by Rudy Lewis, the third in the the pop charts. Then Blackwell
Drifters cavalcade of great lead took the tapes to Keen Records
voices; in 1970, King reclaimed Bob Keane, who had signed
the song as a recording artist with Ritchie Valens and who smelled
a wistful, downtempo version. another winner. I said, Screw
Appears on: The Very Best of the Drifters the black market, Keane said.
(Rhino) This is a pop record, daddy-o!
Appears on: Greatest Hits (RCA)

{ 116 } { 117 }
LISTEN LISTEN
15 WEEKS NON-
NO. 1 SINGLE
Honky Tonk Women Take Me to the River

THE ROLLING STONES AL GREEN
Writers: Mick Jagger, Keith Richards Writers: Green, Mabon Hodges

Producer: Jimmy Miller Producer: Willie Mitchell
Released: July 69, London Released: Nov. 74, Hi
Mick Jagger and Keith Rich- Al Green and Hi Records house

ards came up with Honky guitarist Mabon Teenie Hodg-
Tonk Women on a South es wrote Take Me to the River
A mer ican vacation, using not by a river but by a lake: They
their girlfriends at the time, holed up in a rented house at
Marianne Faithfull and Lake Hamilton in Hot
Anita Pallenberg, as Springs, Arkansas,
sounding boards. for three days in
Returning to the 1973 to come up
recording studio with new materi-
in May 1969 with al. I was trying to
pure-rock lyrics such get more stability in
as I met a gin-soaked my life, said Green,
barroom queen in Mem- who has famously strug-
phis, the Rolling Stones record- gled at balancing his gospel and
ed the song in ve hours. Honky sexy, earthier sides. I wrote,
Tonk Women marked the debut Take me to the river/Wash
of guitarist Mick Taylor, who me down/Cleanse my soul.
overdubbed in his part; produc- When it became the rst Top 40
er Jimmy Miller added some hit for Talking Heads in late
crucial cowbell, which pounded 1978, River gained a whole new
home Honky Tonks strip-club audience.
bump and grind. Appears on: Al Green Explores Your Mind
Appears on: Let It Bleed (ABKCO) (The Right Stuff)

Power couple: Beyonc with
her then-collaborator,
now-husband, Jay-Z, at the
MTV Video Music Awards in
August 2003

{ 118 }
LISTEN
27 WEEKS
NO. 1
Crazy in Love
BEYONC FEAT. JAY-Z
Writers: Rich Harrison, Beyonc, Jay-Z

Producers: Harrison, Beyonc
Those horns werent a hook;

they were a herald: Pops new
queen had arrived. Beyoncs
debut solo smash, powered by
a brass blast sampled from the
Chi-Lites Are You My Woman
(Tell Me So), announced her
liberation from Destinys Child
and rmly established her MO:
Shed best the competition by
doing everything sassier, bigger,
crazier. Her future husband,
Jay-Z, stepped up, too it took
him just 10 minutes to create
(he writes nothing down) and
record his typically braggado-
cious cameo.
Appears on: Dangerously in Love (Columbia)
WIN MCNAMEE/REUTERS/CORBIS
{ 119 } { 120 }
LISTEN LISTEN
11 WEEKS 15 WEEKS
NO. 47 NO. 10
Shout (Parts 1 and 2) Go Your Own Way

THE ISLEY BROTHERS FLEETWOOD MAC
Writers: Rudolph Isley, Ronald Isley, Writer: Lindsey Buckingham

OKelly Isley Producers: Fleetwood Mac, Richard
Producers: Hugo Peretti, Luigi Dashut, Ken Caillat
Creatore Released: Jan. 77, Warner Bros.
Quintessential Fleetwood Mac:

The five-minute-long workout I very much resented him tell-
Shout was a modest hit upon its ing the world that packing up,
original release in 1959, but its shacking up with dierent men
perhaps better remembered for was all I wanted to do, said Ste-
its appearance in the 1978 movie vie Nicks of this Buckingham
Animal House, where the fic- kiss-o.
tional Otis Day and the Knights Appears on: Rumours (Warner Bros.)
(with a young Robert Cray on

bass) played an almost note-for-
note copy of the Isley Brothers
original. As OKelly Isley, who
helped found the group in the
mid-Fifties, noted, the world was
just coming around to the Isley
Brothers original sound. People
have been playin our music in
bars and discothques for years,
he told Rolling Stone in 1975,
NEAL PRESTON/CORBIS
cause its danceable, man.

Appears on: The Isley Brothers Story, Vol. 1:
Stevie
Rockin Soul (Rhino)
Nicks in
1977

{ 121 } { 122 }
LISTEN LISTEN
19 WEEKS 14 WEEKS
NO. 1 NO. 4
I Want You Back Stand By Me

THE JACKSON 5 BEN E. KING
Writers: Freddie Perren, Fonce Mizell, Writers: King, Elmo Glick, Jerry Leiber,
Deke Richards, Berry Gordy Jr. Mike Stoller
Producers: Perren, Mizell, Richards, Producers: Leiber, Stoller
Gordy Released: April 61, Atco
Released: Nov. 69, Motown
Ben E. King wrote Stand By Me

I Want You Back was the song when he was still the lead singer
that introduced Motown to the of the Drifters but the group
futuristic funk beat of Sly Stone didnt want it. As King recalled,
and James Brown. It also the Drifters manager
introduced the world told him, Not a bad
to an 11-year-old In- song, but we dont
diana kid named need it. But after
Michael Jackson. King went solo, he
The five dancing revived Stand By
Jackson brothers Me at the end of a
became stars over- session with Leiber.
night; ABC, The Love I showed him the song,
You Save and Ill Be There fol- King said. Did it on piano a lit-
lowed in rapid succession on the tle bit, he called the musicians
charts, but none matched the back into the studio, and we went
boyish fervor of Back. It re- ahead and recorded it. Stand
mains one of hip-hops favor- By Me has been a pop-soul stan-
ite beats, sampled everywhere dard ever since, covered by every-
from Kris Kross Jump to Jay- one from John Lennon to Green
Zs Izzo (H.O.V.A.). Day.
Appears on: The Ultimate Collection Appears on: The Very Best of Ben E. King
(Motown) (Rhino)
{ 123 } { 124 }
LISTEN LISTEN
11 WEEKS 9 WEEKS
NO. 1 NO. 8
The House of Its a Mans Mans

the Rising Sun Mans World
THE ANIMALS JAMES BROWN
Writer: Alan Price Writers: Brown, Betty Jean Newsome

Producer: Mickie Most Producer: Brown
Released: July 64, MGM Released: April 66, King
We were looking for a song that James Brown had been tinker-
would grab peoples attention, ing with the building blocks to
said Animals singer Eric Burdon. this song for years his sing-
They found it with the old U.S. er Tammy Montgomery (who
folk ballad The House would become Tammi
of the Rising Sun. Terrell) had recorded
In 1962, Bob Dylan the sound-alike I
had sung this grim Cried in 1963. But
tale of a Southern Browns recording
girl trapped in a of Mans World
New Orleans whore- a play on the 1963
house. The Animals, cross-country chase
from the English coal comedy Its a Mad, Mad,
town of Newcastle, changed the Mad, Mad World was a stun-
gender in the lyrics, and key- ningly dramatic record. Amid
boardist Price created the new swooping strings, Browns ab-
arrangement (and grabbed a ject singing makes the biblically
composers credit). Price also chauvinistic lyrics (Man made
added an organ solo inspired by the boat for the water, like Noah
Jimmy Smiths hit Walk on the made the ark) sound genuinely
Wild Side. humane.
Appears on: The Best of the Animals Appears on: 50th Anniversary Collection
(ABKCO) (UTV/Polydor)

{ 125 } { 126 }
LISTEN LISTEN
12 WEEKS 19 WEEKS
NO. 3 NO. 1
Jumpin Jack Flash Will You Love

THE ROLLING STONES Me Tomorrow
THE SHIRELLES
Producer: Jimmy Miller Writers: Gerry Goffin, Carole King
Released: May 68, London Producer: Luther Dixon
Released: Nov. 60, Scepter
Keith Richards was on a his-
toric run in 1968, exploring the After a few minor Shirelles hits,
open-D blues-guitar tuning for Scepter Records founder Flor-
the rst time and coming up with ence Greenberg asked King and
some of his most dynamic ris. Gon to write the group a song.
He overheard an organ lick that On the piano in Greenbergs of-
bassist Bill Wyman was fooling fice, King finished a song the
around with in a London studio team had been working on. I re-
and turned it into the unstoppa- member giving her baby a bot-
ble, churning pulse of Jumpin tle while Carole was writing the
Jack Flash. The lyric was in- song, Greenberg said. Lead sing-
spired by Richards gardener, er Shirley Owens initially found
Jack Dyer, who slogged past as Tomorrow too countryish for
the guitarist and Jagger were the group, but Dixons production
coming to the end of an all-night changed her mind. Kings devo-
session. Whos that? Jagger tion to the song was so strong she
asked. Jumpin Jack, Richards replaced a subpar percussionist
answered. The song evolved into and played kettledrum herself.
supernatural Delta blues by way With its forthright depiction of
of Swinging London. The Stones a sexual relationship, it became
rst performed it at their nal the rst girl-group record to go
show with Brian Jones. Number One.
Appears on: Forty Licks (Virgin) Appears on: Girl Group Greats (Rhino)
{ 127 } { 128 }
LISTEN LISTEN
PREDATES 11 WEEKS
CHART NO. 41
Shake, Rattle & Roll Changes

BIG JOE TURNER DAVID BOWIE
Writer: Charles Calhoun Writer: Bowie

Producers: Ahmet Ertegun, Producer: Ken Scott
Jerry Wexler Released: Dec. 71, RCA
Released: April 54, Atlantic
The keynote from David Bow-
Atlantic Records contribution ies 1971 album Hunky Dory,
to the birth of rock & roll (Wex- Changes challenged rock au-
ler and Ertegun even sang back- diences to turn and face the
up), Shake, Rattle & Roll was strange. But the song original-
written specifically for ly stalled on the charts
big-voiced blues sing- in both Britain and
er Turner, one of the the United States,
labels early stars. and it didnt really
Ever ybody wa s take o until after
singing slow blues t he c om merc ia l
when I was young, success of 1972s
and I thought Id put Ziggy Stardust. Even-
a beat to it and sing it up- tually, Bowie fans ad-
tempo, Turner said. This track, opted it as the theme song for
with its big bounce and raun- the man whod already given
chy lyrics (Im like a one-eyed them Hippie Bowie, Mod Bowie
cat peepin in a seafood store), and Bluesy Bowie. As it turned
topped the R&B charts; typical out, he had barely begun to
of the times, a sanitized cover by show the world his wardrobe of
Bill Haley and the Comets got disguises. The poignant sax solo
white America bopping. at the end is played by Bowie
Appears on: The Very Best of Big Joe Turner himself.
(Rhino) Appears on: Hunky Dory (Virgin)

{ 129 } { 130 }
LISTEN LISTEN
19 WEEKS 13 WEEKS
NO. 8 NO. 2
Rock & Roll Music Born to Be Wild

CHUCK BERRY STEPPENWOLF
Writer: Berry Writer: Mars Bonfire

Producers: Phil and Leonard Chess Producer: Gabriel Mekler
Released: Sept. 57, Chess Released: Jan. 68, Dunhill
This was a manifesto. I was The rst two singles from Step-
heavy into rock & roll and had penwolfs 1968 debut stied; the
to create something that hit the third was Born to Be Wild. It
spot without question, Chuck hit Number Two on the Billboard
Berry wrote in his autobiogra- charts in the summer of 68, a
phy. I wanted the lyr- year before Dennis Hop-
ics to dene every as- per used it in a rough
pect of its being. Set cut of the movie
to a jolting rumba Easy Rider, where
rhythm, Rock & it was originally
Roll Music fea- just a place hold-
tures Berrys genre- er actor-producer
defining guitar licks Peter Fonda had asked
and bass work from the Crosby, Stills and Nash to
legendary Willie Dixon. Ber- do the soundtrack. But Born to
rys original made the Billboard Be Wild stayed. Every gener-
Top 10, and the Beatles and the ation thinks theyre born to be
Beach Boys cut popular versions wild, said frontman John Kay,
as well. For years it was this sim- and they can identify with that
ple: If you played rock & roll, you song as their anthem. The line
knew this song. Heavy-metal thunder would
Appears on: Johnny B. Goode: His Complete help give a new genre its name.
50s Chess Recordings (Chess/Hip-O Select) Appears on: Steppenwolf (MCA)
Running
wild:
Jackson
Browne in
July 1974

Jackson Browne
What makes a song great? it was hard to know what
A great song speaks to you to add to it. So maybe the
immediately, but over a answer is no, because Im just
period of years continues trying to get each one right.
to speak to you. Usually it
involves accessing some The Pretender has so
many words, I can believe it
deeper mystery or issue that
took a while to write.
remains unresolved.
I wish it could be measured by
Which of your own songs how many words there are, but
do you think achieved that? most of my favorite songwrit-
Thats not really up to me. ers write really economically.
Half of what happens in a Its actually easier to write with
song happens in the listening. a lot of words, because you
I dont really have any special have a long time to gather the
information about what hap- information together.
pens to other people when
So each song really has a
theyre listening to my songs.
process all its own?
When youre writing some- The great thing is, music
thing like Running on itself can give you the feel-
Empty or The Pretender, ing that something is being
can you tell its something summed up. Music gives a
special? sense of when something is
I think I do have a sense that coming to a conclusion, but
a song has opened up and the questions that the song
become about something poses remain unanswered.
bigger. Those songs took Thats what keeps you listen-
a long time to nish, but I ing again and again.
HENRY DILTZ/CORBIS
could say the same thing

about a song like Some- Jackson Browne is the author
bodys Baby. It was hard to of Running on Empty, Doc-
write a second verse for that; tor My Eyes, Somebodys
the song was so simple that Baby and many other hits.
{ 131 } { 132 }
LISTEN LISTEN
17 WEEKS 18 WEEKS
NO. 1 NO. 1
Maggie May With or Without You

ROD STEWART U2
Writers: Stewart, Martin Quittenton Writers: Bono, the Edge, Adam

Producer: Stewart Clayton, Larry Mullen Jr.
Released: June 71, Mercury Producers: Brian Eno, Daniel Lanois
Released: March 87, Island
Stewart plays a schoolboy in love
with an older temptress in Mag- The Joshua Tree was U2s ode
gie May he claimed it was to America: Its songs were in-
more or less a true story about spired by folk, gospel and roots
the rst woman I had sex with. music, and its lyrics, as the Edge
The song, a last-min- noted, were sparked by
ute addition to Every civil rights heroes and
Picture Tells a Story, the new journalism
was initially the of the 1960s. Yet
B side of Reason With or Without
to Believe. Stew- You with its sim-
art has joked that ple bass groove and
if a DJ hadnt ipped ethereal guitar hum
the single over, hed have framing Bonos yearning
gone back to his old job: dig- vocals was one of U2s most
ging graves. But the songs rustic universal songs to date, a med-
mandolin and acoustic guitars itation on the painful ambiva-
and Mickey Wallers relentless lence of a love aair. Bono insist-
drum-bashing were undeni- ed it was about how I feel in U2
able. The song became Stewarts at times: exposed. It would turn
rst U.S. Top 40 hit and rst out to be U2s rst Number One
Number One. hit in the U.S.
Appears on: Every Picture Tells a Story Appears on: The Joshua Tree (Island)
(Mercury/Universal)

{ 133 } { 134 }
LISTEN LISTEN
DID NOT 13 WEEKS
CHART NO. 15
Who Do You Love? Wont Get

BO DIDDLEY Fooled Again
THE WHO
Writer: Ellas McDaniel
Producers: Phil and Leonard Chess Writer: Pete Townshend
Released: March 57, Checker Producers: Glyn Johns, the Who
Released: July 71, Decca
Diddleys first band performed
with a washtub-bass player and Townshend wrote this for an
a guy who danced on a sand- aborted concept album and lm
covered board: These experi- called Lifehouse. But many of
ments with rhythmic possibilities that projects songs were resur-
kept him from lugging rected for Whos Next,
a drum set around which started o with
town. Im a lover a week of demo ses-
of basic bottom, sions at Mick Jag-
he once said. If gers country house,
the bottom is right, Stargroves. The syn-
crazy. And theres thesizer on Wont
plenty of bottom here Get Fooled Again is
not much more, actual- from those demos. Pete
ly. Just Diddley playing his gui- came up with sounds, synthesiz-
tar like its a drum, goosed by er basics, for tracks which were
maracas and lyrics about chim- just unbelievable, said producer
neys made from human skulls Johns. Nobody had done it be-
and houses built from rattlesnake fore in that way. Its interesting
hide that reach back into voodoo its been taken up in an anthe-
mythology (the title is a pun on mic sense, Townshend said of
hoodoo, a bad-luck charm). the song, when in fact its such a
Appears on: His Best: The Chess 50th cautionary piece.
Anniversary Collection (Chess) Appears on: Whos Next (MCA)
{ 135 }
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12 WEEKS
NO. 21
In the Midnight Hour

WILSON PICKETT
Writers: Pickett, Steve Cropper

Producers: Jerry Wexler, Jim Stewart
Released: July 65, Atlantic
Picketts rst two singles for At-

lantic were recorded in New York,
and they flopped. I told Jerry
Wexler I didnt want to be record-
ed this way anymore, Pickett
said. I said I heard a song by Otis
Redding out of Memphis, and
thats the direction I wanted to
take. Pickett soon headed south.
He and Cropper wrote In the
Midnight Hour in the Lorraine
Hotel, (where Martin Luther
King, Jr. would later be assassi-
nated), and while they were cut-
ting the song, an idea shot Wex-
ler out of his seat. I was shaking
my booty to a groove made popu-
lar by the Larks The Jerk, a mid-
Sixties hit, wrote Wexler. The
idea was to push the second beat
while holding back the fourth.
And a soul classic was born.
Appears on: The Very Best of Wilson Pickett
(Rhino)

Wicked: Wilson Pickett

onstage circa 1965

{ 136 }
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NoN-
SINgLE
While My Guitar
Gently Weeps
The BeaTles
Writer: George Harrison

Released: Nov. 68, Apple
One of Harrisons greatest songs

was conceived during a visit to
his parents home. Having stud-
ied the Chinese fortune-telling
book the I Ching, Harrison de-
cided he should surrender to
chance. I picked up a book at
random, opened it, saw gently
weeps, then laid the book down
again and started the song, he
said. Dissatised with the Bea-
tles recording of the song, he in-
vited Eric Clapton to play the
guitar solo. It was good because
JACk RobiNsoN/HultoN ARCHive/Getty iMAGes
that then made everyone act bet-

ter, Harrison recalled. Paul got
on the piano and played a nice
intro, and they all took it more
seriously. Although Martin was
the credited producer, the ses- My gift is my
sion tape box read Produced by song: elton
John in
the Beatles. November 1970.
appears on: The Beatles (Capitol)

{ 137 }
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14 WEEKS
NO. 8
Your Song
ELTON JOHN
Writers: Bernie Taupin, John

Producer: Gus Dudgeon
Released: Nov. 70, Uni
Taupin has often claimed that

a song should never take more
than a half-hour to write. His
rst classic took all of 10 minutes.
In 1969, Taupin and John were
sharing a bunk bed at Eltons
moms house when Taupin wrote
the words to Your Song one
morning at the breakfast table.
The soaring piano ballad would
become the breakthrough single
that introduced John to Ameri-
ca. Although John insisted that
the song was inspired by an old
girlfriend of Taupins, the lyricist
maintains that it was aimed at no
one in particular. The early ones
were not drawn from experience
but imagination, Taupin said.
Your Song could only have been
written by a 17-year-old whod
never been laid in his life.
Appears on: Greatest Hits (Island)
{ 138 } { 139 }
LISTEN LISTEN
8 wEEkS 14 wEEkS
No. 11 No. 1
Eleanor Rigby Family Affair

the beatleS Sly and the Family Stone
writers: John Lennon, writer: Sly Stone

Paul McCartney Producer: Stone
Producer: George Martin Released: Oct. 71, Epic
When Theres a Riot Goin On
When McCartney first played came out in 1971, a Rolling
the song for neighbor Donovan, Stone reporter mentioned the
the words were Ola Na Tungee/ rumor that Stone had played all
Blowing his mind in the dark/ the instruments himself, and
With a pipe full of clay. McCart- he asked Sly just how
ney fumbled around with the lyr- much he played. Ive
ics until he landed on the line forgotten, man,
Picks up the rice in a church Stone said. What-
where a wedding has been. It ever was left. The
was only then that he realized he leadoff single, the
was writing about the loneliness aquatic funk num-
of old age. Father McKenzie ber Family Affair,
was originally Father McCart- was widely considered to
ney; Ringo chipped in the line be about his relationships with
darning his socks in the night. his band, family and the Black
The character sketch was eshed Panthers. Well, Stone said,
out by the Beatles vocals, but they may be trying to tear me
the backing music was the sole apart; I dont feel it. Songs not
product of an eight-man string about that. Songs about a family
section, working from a George aair, whether its a result of ge-
Martin score. netic processes or a situation in
appears on: Revolver (Capitol) the environment.
appears on: Theres a Riot Goin on (Sony)

{ 140 } { 141 }
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11 WEEkS NoN-
No. 14 SINgLE
I Saw Her Kashmir

Standing There Led ZeppeLin
The BeATLes
Writers: John Bonham,
Jimmy Page, Robert Plant
Writers: John Lennon,
Paul McCartney Producer: Page
Producer: George Martin Released: March 75, Swan Song
Released: Jan. 64, Capitol
While vacationing in southern
One, two three, fah! The B side Morocco, Plant conjured the lyr-
to the bands American break- ics for Led Zeppelins most ambi-
through single, I Want to Hold tious experiment, the centerpiece
Your Hand, this song had of 1975s Physical Graffiti. As
been written by Mc- he traveled the desert in north-
Cartney two years west Africa, Plant envisioned
earlier. After pen- himself driving straight through
ning the first line to Kashmir, on the India-Chi-
She was just 17 na border. Meanwhile, back in
McCartney want- the bands studio in rural Eng-
ed to avoid complet- land, Page and Bonham began
ing the rhyme with beau- riffing on an Arabic-sounding
ty queen. He and Lennon had set of chords that would per-
started to realize that we had to fectly match Plants desert vi-
stop at these bad lines or we were sion. The song was bigger than
only going to write bad songs, me, said Plant. I was petried. I
he said. So we went through the was virtually in tears. John Paul
alphabet: between, clean, lean, Jones string arrangement pro-
mean. With you know what I vided the crowning touch, ratch-
mean, he was on his way. eting up the songs grandeur to
Appears on: Please Please Me (Capitol) stadium-rock proportion.
Appears on: Physical graffiti (Atlantic)
{ 142 } { 143 }
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11 WEEKS 2 WEEKS
NO. 21 NO. 95
All I Have to Please, Please, Please

Do Is Dream JAMES BROWN AND HIS
THE EVERLY BROTHERS FAMOUS FLAMES
Writers: Boudleaux and Felice Bryant Writers: Brown, Johnny Terry

Producer: Archie Bleyer Producer: Ralph Bass
Released: May 58, Cadence Released: Feb. 56, Federal
Although Don Everly had a con- Spector rehearsed this song with
tract to work as a songwriter Ronnie Bennett (the only Ronette
before he and his brother Phil to sing on it) for weeks, but that
began their hitmaking, their rst didnt stop him from doing 42
three big singles were takes before he was sat-
all written by the ised. Aided by a full
husband-and-wife orchestra (as well as
songwriting team a young Cher, who
of Boudleaux and sang backup vo-
Felice Bryant. I cals), Spector creat-
would go to them for ed a lush, echo-lad-
lovelorn advice when en sound that was the
I was young, and divorce Rosetta stone for studio
advice when I was older, Phil pioneers such as the Beatles and
said. All I Have to Do Is Dream, Brian Wilson, who calls this his
with Chet Atkins innovative favorite song. The things Phil
tremolo chording backing the was doing were crazy and ex-
brothers high-lonesome harmo- hausting, said Larry Levine,
nies, went to Number One on not Spectors engineer. But thats not
just the pop chart but the R&B the sign of a nut. Thats genius.
chart as well. Appears on: The Best of the Ronettes
Appears on: All-Time Original Hits (Rhino) (ABKCO)

{ 144 } { 145 }
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16 WEEKS DID NOT
NO. 2 CHART
Purple Rain I Wanna Be Sedated

PRINCE AND THE THE RAMONES
REVOLUTION
Writers: Ramones
Writer: Prince Producer: Tommy Erdelyi, Ed Stasium
Producer: Prince Released: Oct. 78, Sire
Released: June 84, Warner Bros.
The greatest God-does-the-
Bobby Z of the Revolution re- road-ever-suck song, I Wanna
called the first time he heard Be Sedated was written by Joey
Prince play Purple Rain: It was Ramone, who at the time was
almost country. It was almost suering from severe teakettle
rock. It was almost gospel. The burns and was upset about hav-
basic tracks were recorded live ing to fly to London for a gig.
at a 1983 club date in Minne- Plagued by obsessive-compul-
apolis, beneting the Minneso- sive disorder and various other
ta Dance Theater. But the seeds ailments, Joey always had a
came from Princes 1999 rough time touring. Put me in
tour; Bob Seger was a wheelchair/And get me to
touring at the same the show/Hurry, hurry, hurry/
time, and Prince de- Before I go loco! he
cided to try writing rants. Johnnys guitar
a song in the same solo the same note, 65
anthemic vein. times in a row is the
Appears on: Purple Rain ultimate expression of
(Warner Bros.) his anti-artice philoso-
phy; the bubblegum-pop
GOVERT DE ROOS/RETNA
key change that follows

it, though, is pure Joey.
Prince on the
Appears on: Road to Ruin (Rhino)
Purple Rain tour,
November 1984
{ 146 } { 147 }
LISTEN LISTEN
19 WEEKS 8 WEEKS
NO. 1 NO. 56
Everyday People Rock Lobster

SLY AND THE FAMILY STONE THE B-52S
Writer: Sly Stone Writers: Fred Schneider, Ricky Wilson

Producer: Stone Producer: Chris Blackwell
Released: Nov. 68, Epic Released: July 79, Warner Bros.
Everyday People appeared on A self-described quirky lit-

Sly and the Family Stones fourth tle dance band, the B-52s in-
LP, Stand!, which explored ev- vented New Wave weirdness
erything from hot funk to cool with this slice of bouffant pop
pop. Stone, a former DJ in San topped with Farsa organ, Yoko
Francisco who also produced the Ono-ish vocals and Schneiders
hits Laugh, Laugh and Just a creepy speak-singing about a bi-
Little for the white pop group zarro seaside scene. I was at a
the Beau Brummels, seemed disco that had pictures of lob-
blind to the lines between mu- sters and children playing ball,
sical genres. I was into every- he said. Rock Lobster sound-
ones records, he said of his ed like a good title for a song.
radio days. Id play Dylan, Hen- Appears on: The B-52s (Warner Bros.)
drix, James Brown back to back,

so I didnt get stuck in any one
groove. As the song was going to
Number One, Sly canceled three
months of bookings, including
a slot on The Ed Sullivan Show,
when trumpeter Cynthia Robin-
son needed emergency gallblad-
der surgery. Hits were nice, but
family came rst.
Appears on: Stand! (Sony)

{ 148 } { 149 }
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15 WEEKS DID NOT
NO. 1 CHART
Me and Bobby Lust for Life

McGee IGGY POP
JANIS JOPLIN
Writers: David Bowie, Pop
Writers: Kris Kristofferson, Producer: Bowie
Fred Foster Released: Sept. 77, RCA
Producer: Paul Rothchild
Released: Jan. 71, Columbia With its enormous kaboom and
Pops sneering, free-associative
Joplins only Number One hit lyrics (the line about hypnotiz-
was a posthumous one, and a ing chickens is a reference to
country, not a blues, song. Me William S. Burroughs The Tick-
and Bobby McGee came from et That Exploded), Lust for Life
her drinking buddy and occa- is half a kiss-o to drugged-out
sional crush Kris Kristoffer- hedonism, half a French kiss
son, who was inspired to write to it. The opening ri was sup-
it after seeing Federico Felli- posedly taken from some Morse
nis 1954 lm La Strada, Italian code Bowie heard on the Armed
for the road. (It had already Forces Network. Nineteen years
been recorded by King of the after the song first appeared,
Road singer Roger Miller.) Jo- it was used in the 1996 movie
plins version was just the tip of Trainspotting, paving the way for
the iceberg, showing a whole un- cleaned-up versions to be used in
tapped source of Texas, country TV ads for cars and cruise lines.
and blues that she had at her n- And the line Of course Ive had
gertips, recalled pianist Rich- it in the ear before? Thats a
ard Bell. It was a standout from common expression in the Mid-
Pearl, her last solo album, re- west, Pop said. To give it to him
leased less than a year after she right in the ear means to fuck
died of a heroin overdose. somebody over.
Appears on: Pearl (Sony/Legacy) Appears on: Lust for Life (Virgin)
Lusty: Iggy Pop in
Philadelphia, March
1977, on the tour
supporting The Idiot,
his first album with
David Bowie

SCOTT WEINER/RETNA
{ 150 } { 151 }
LISTEN LISTEN
17 WEEKS 9 WEEKS
NO. 1 NO. 14
Cathys Clown Eight Miles High

T HE EVERLY BROTHERS THE BYRDS
Writers: Phil and Don Everly Writers: Gene Clark, Roger McGuinn,
Producer: Wesley Rose David Crosby
Released: April 60, Warner Bros. Producer: Allen Stanton
Released: April 66, Columbia
After seven Top 10 hits for
Cadence Records, the Everlys A rare collaboration between
became the rst artists signed three Byrds, it was supposed-
to a new record label: War- ly about an airplane ight. Mc-
ner Bros. The edgling compa- Guinns 12-string solo was in-
ny wooed the Kentuckians with spired by John Coltranes sax
a 10-year, $1 million contract. playing and Rod Argents piano
They cut eight songs as potential on the Zombies Shes Not
debut singles and rejected all of There. Of course it was a drug
them before settling on Cathys song, Crosby said. We were
Clown. The duo continued scor- stoned when we wrote it. But it
ing hits until they enlisted in the was also about the [plane] trip
Marines in 1962. to London.
Appears on: All-Time Original Hits (Rhino) Appears on: Fifth Dimension (Legacy)
Of course, Eight Miles

We were stoned w
But it was also about th

{ 152 } { 153 }
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15 WEEKS 4 WEEKS
NO. 8 NO. 67
Earth Angel Foxey Lady

THE PENGUINS THE JIMI HENDRIX EXPERIENCE
Writers: Jesse Belvin, Curtis Williams Writer: Hendrix

Producer: Dootsie Williams Producer: Chas Chandler
Released: Dec. 54, Dootone Released: Aug. 65, Reprise
Crudely recorded in a garage and Heather Taylor, the future wife of

released on a small label, Earth the Whos Roger Daltrey, was said
Angel turned out to be a pivot- to have inspired this lip-smack-
al record in the early develop- ing ode as Hendrix was gather-
ment of rock & roll. The artless, ing songs in London for his 1967
unaffected vocals of the Pen- debut LP, Are You Experienced?
guins, four black high school- Hendrix scrapes his pick down
ers from L.A., dened the street- a guitar string, literally making
corner elegance of doo-wop. The it tremble with anticipation, be-
Penguins version also outsold fore exploding into an indelibly
a sanitized, big-label cover by dirty rift. Im comin to getcha,
schmaltzy white group the Crew- he promises and he did.
Cuts. Appears on: Are You Experienced? (MCA)
Appears on: Earth Angel (Ace)
High was a drug song.

when we wrote it.
e plane trip to London.
Gamble & Huff

What distinguishes a great Leon Huff: People dont remem-
song from a good song? ber a good story. But a great
Kenny Gamble: A great song story, they remember that for a
talks about something thats long time.
true, that happens to every-
body. When you hear a great Whats the difference between
song, you think its about you. a great beat and a great song?

The sound of Philly:

Leon Huff (left) and
Kenny Gamble
rehearse or record. Today they

make up a beat and take that
to the studio and write a song
around it.
KG: Each generation has its own

music, own way of interpreting
their circumstances. And under
all of these rappers doing their
poetry, they put all of these
great songs underneath. Weve
had so many samples Kanye
West, Jay-Z, Snoop Dogg, any-
body you can think of. These
rappers are the most researched
group of people ever in the
music business, like great new
scientists with a lot to contribute.
Which songwriters inspired

you?
KG: A beat or a groove is sec- LH: I played on a couple of
ondary to a melody and lyrics Leiber and Stoller sessions. The
that touch your soul. When we way they worked as a team just
wrote songs, we said, This can blew me away.
be recorded uptempo, as a bal-
lad, as a merengue in any KG: Motown was the blueprint
fashion. for us. When we heard Smokey
and Holland-Dozier-Holland, we
GEMS/REDFERNS/GETTY IMAGES
What do you think about song- couldnt wait to hear another

writing as it relates to hip-hop? song from them.
LH: When we were writing,
we sat down, me at the piano Kenny Gamble and Leon Huff
and him freestyling lyrics, and wrote and produced hits like the
thought about the story. We OJays Love Train, the Jack-
had the whole thing written out sons Enjoy Yourself and Billy
before we called the artist in to Pauls Me and Mrs. Jones.
{ 154 } { 155 }
LISTEN LISTEN
13 wEEkS 10 wEEkS
No. 1 No. 37
A Hard Days Night Rave On

t He Beatles Buddy Holly and tHe
CriCkets
Paul McCartney writers: Sonny West, Bill Tilghman,
Producer: George Martin Norman Petty
Released: July 64, Capitol Producer: Petty
Released: April 58, Coral
The title comes from a Ringo
Starr malapropism, the product West recorded his own version
of a marathon recording session. of Rave On at the New Mexi-
Lennon was fond of these Rin- co studio where Holly laid down
goisms and wrote the song over- most of his hits. Petty wanted to
night. Said Lennon, The only give it to another band, but Holly
reason [Paul] sang on it was be- said, No way. Ive got to have
cause I couldnt reach the notes. this song.
appears on: A Hard Days Night (Capitol) appears on: Buddy Holly: Greatest Hits (MCA)

{ 156 } { 157 }
LISTEN LISTEN
14 WEEKS 14 WEEKS
NO. 2 NO. 1
Proud Mary The Sounds

CREEDENCE CLEARWATER of Silence
REVIVAL SIMON AND GARFUNKEL
Writer: John Fogerty Writer: Paul Simon

Producer: Fogerty Producer: Tom Wilson
Released: Jan. 69, Fantasy Released: Nov. 65, Columbia
It was, like, the rst really good Simon wrote this as an acous-
song I ever wrote, Fogerty said tic ballad, but Simon and Gar-
of Proud Mary, which began a funkels rst single version died.
run of ve consecutive Top Three While Simon was in England,
singles for CCR. He wrote the Wilson, who was producing Bob
song, later unforgettably covered Dylans Like a Rolling Stone,
by Ike and Tina Turner, after asked members of Dylans stu-
his Army discharge: I was fool- dio band to add electric guitar
ing with the chord changes and and drums. Columbia released
started singing about the river. I the amplified Silence, which
realized, Well, maybe if I make became a hit before Simon and
it about the boat. Garfunkel had even heard it.
Appears on: Bayou Country (Fantasy) Appears on: Sounds of Silence (Columbia)
DOUGLAS R. GILBERT/REDFERNS/GETTY IMAGES
Simon and Garfunkel

on Arties balcony,
September 1966
{ 158 } { 159 }
LISTEN LISTEN
13 WEEKS 24 WEEKS
NO. 11 NO. 1
I Only Have (Were Gonna) Rock

Eyes for You Around the Clock
THE FLAMINGOS BILL HALEY AND HIS COMETS
Writer: Harry Warren Writers: Jimmy DeKnight,

Producer: George Goldner Max Freedman
Released: April 59, End Producer: Milt Gabler
Released: May 54, Decca
Dubbed The Sultans of Smooth,
this Chicago quintet honed their Haley began his career as a coun-
harmonies singing in a black try yodeler before converting to
Jewish temple choir and scored rock & roll. Clock was a mod-
its best-known song with I Only est hit until it played during the
Have Eyes for You, originally opening credits of The Black-
a hit for crooner Ben Selvin in board Jungle and shot to Num-
1934. The Flamingos take the ber One.
song all the way to Venus with el- Appears on: The Best of Bill Haley and His
egant vocalizations and the oth- Comets (MCA)
erworldly doo-bop-sh-bop.
Appears on: The Best of the Flamingos (Rhino)

{ 160 } { 161 }
LISTEN LISTEN
NON- NON-
SINGLE SINGLE
Moment of Im Waiting
Surrender for the Man
U2 THE VELVET UNDERGROUND
Writers: Bono, the Edge, Adam Writer: Lou Reed

Clayton, Larry Mullen Jr. Producers: Andy Warhol, Tom Wilson
Producers: Brian Eno, Daniel Lanois Released: March 67, Verve
Released: March 09, Interscope
Originally a rootsy Dylan hom-
The most devastating U2 bal- mage, the song evolved into a
lad since One sets lush, gospel- proto-punk classic steeped in
tinged music much of it impro- New York grit. The Velvets mixed
vised live in the studio against R&B rhythm-guitar workout,
dark subject matter: Its about a blues-piano stomp and dreamy
junkie riding the subway. art drone, as Reed deadpans a
Appears on: No Line on the Horizon (Interscope) story about scoring $26 worth
of heroin in Harlem. Everything
about that song holds true, said
Reed, except the price.
Appears on: The Velvet Underground and Nico
(Polygram)
Waiting evolved
into a proto-punk
classic steeped in
New York grit.
PHOTOFEST

{ 162 }
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DID NOT
CHART
Bring the Noise

PUBLIC ENEMY
Writers: Carlton Ridenhour, Eric Sadler,

Hank Shocklee
Producers: Rick Rubin, Carl Ryder
Released: April 88, Def Jam
We were the rst rap group to

really tempo it up, Chuck D said.
Over the Bomb Squads souped-
up horn ris from Marva Whit-
neys Its My Thing, PE showed
how far-reaching its sound and
political ambitions were, name-
checking everyone from Yoko
Ono and Anthrax (who later re-
made the song with Chuck D) to
Louis Farrakhan.
Appears on: It Takes a Nation of Millions to Hold
Us Back (Def Jam)
Public Enemy in
1988. Chuck D,
Terminator X
and Flavor Flav
(from left)
{ 163 }
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18 WEEKS
NO. 32
Folsom Prison Blues

JOHNNY CASH
Writer: Cash
Producer: Sam Phillips
Released: Jan. 56, Sun
Cash first recorded Folsom

Prison Blues, one of his earli-
est songs, for Sun in 1956. But it
was the thrilling, electric 68 ver-
sion, live at the prison, that de-
ned his outlaw persona. Cash
said he wrote the line I shot a
man in Reno/Just to watch him
die, while trying to think of the
worst reason . . . for killing anoth-
er person. He added, It did come
to mind quite easily, though.
Appears on: The Essential Johnny Cash
(Columbia)

{ 164 }
LISTEN
18 WEEKS
NO. 1
I Cant Stop
Loving You
RAY CHARLES
Writer: Don Gibson

Producer: Sid Feller
Released: May 62, ABC-Paramount
When Charles put out Modern

Sounds in Country and West-
ern Music, DJs picked up on this
remake of the Kitty Wells hit,
which hadnt been released as a
single. After Charles heard that
white vocalist Tab Hunter had
cut his own rendition of the song,
ABC rushed out a 45-friendly
two-and-a-half-minute version.
Appears on: Modern Sounds in Country
and Western Music (Rhino)

GARY FABIANO/SOTHEBYS/SIPA PRESS
{ 165 }
LISTEN
21 WEEKS
NO. 1
Nothing
Compares 2 U
SINEAD OCONNOR
Writer: Prince
Producers: OConnor, Nellee Hooper
Released: March 90, Ensign
Originally recorded by one of

Princes flop side projects, the
Family, the tune became the
Number One song of 1990 in
OConnors rendition. The video
focused on her face for four min-
utes until she shed a lone tear.
I didnt intend for that moment
to happen, OConnor said, but
when it did, I thought, I should
let this happen.
Appears on: I Do Not Want What I Havent Got
(Capitol)
IAN DICKSON/REDFERNS/GETTY IMAGES

{ 166 }
LISTEN
24 WEEKS
NO. 9
Bohemian Rhapsody
Q UEEN
Writer: Freddie Mercury

Producer: Roy Thomas Baker
Released: Nov. 75, Elektra
According to Queen guitarist

Brian May, everyone in the band
was bewildered when Mercury
brought them a draft of this four-
part suite even before he told
them, Thats where the operatic
bits come in! Recording tech-
nology was so taxed by the songs
multitracked scaramouches and
fandangos that some tapes be-
came virtually transparent from
so many overdubs.
Appears on: A Night at the Opera
(Hollywood)
Mercury and
May of Queen
onstage in 1975
{ 167 } { 168 }
LISTEN LISTEN
21 WEEKS 14 WEEKS
NO. 6 NO. 1
Fast Car Lets Get It On

TRACY CHAPMAN MARVIN GAYE
Writer: Chapman Writers: Gaye, Ed Townsend

Producer: David Kershenbaum Producers: Gaye, Townsend
Released: April 88, Elektra Released: June 73, Tamla
Tracy Chapman was a hardened After 1971s Whats Going On,

veteran of Boston coffeehouse Gaye radically changed course
gigs (she once got a demo-tape with this ode to sexual bliss.
rejection letter suggesting she With the help of producer and
tune her guitar) when a class- songwriter Townsend, Gaye cre-
mate at Tufts University told ated a masterpiece of erotic per-
his music-publisher dad to suasion that topped the pop
check her out. Soon after, she and R&B charts. Gaye said later
made her 1988 debut, featuring that he hoped Lets Get It On
this haunting rumination on es- didnt advocate promiscuity
cape. Fast Car won a Grammy, but also said he had a hunch the
setting Chapmans career in mo- song might have some aphrodi-
tion. siac power.
Appears on: Tracy Chapman (Elektra) Appears on: Lets Get It On (Motown)
Chapman once
got a demo-tape
rejection letter
suggesting she
tune her guitar.

{ 169 } { 170 }
LISTEN LISTEN
16 WEEKS 21 WEEKS
NO. 1 NO. 4
Papa Was a Losing My Religion

Rollin Stone R.E.M.
THE TEMPTATIONS
Writers: Berry, Buck, Mills, Stipe
Writers: Norman Whitfield, Producers: Scott Lift, R.E.M.
Barrett Strong Released: March 91, Warner Bros.
Producer: Whitfield
Released: Oct. 72, Gordy Losing My Religion is built
around acoustic guitar and
At rst the Temptations hated mandolin, not exactly a famil-
this song, especially Dennis Ed- iar sound on pop radio in the
wards: His father had died on early Nineties singer Michael
September 3rd, just like the papa Stipe called it a freak hit. As for
in the song. Then Papa topped the subject matter, its not reli-
the charts, and it kind of grew gion: I wanted to write a clas-
on us, said Temptation Otis Wil- sic obsession song, he said. So
liams. I did.
Appears on: Anthology (Motown) Appears on: Out of Time (Warner Bros.)
{ 171 }
LISTEN
DID NOT
CHART
Both Sides Now

JONI MITCHELL
Writer: Mitchell
Producer: Mitchell
Released: May 69, Reprise
As her rst marriage fell apart

in the late Sixties, Mitchell saw
her career bloom with hit cov-
ers of her work by singers such
as Tom Rush and Judy Collins,
including the latters Top 10 ver-
sion of Both Sides Now. Mitch-
ell sang it herself on the 1969
LP Clouds, describing the song
as a meditation on reality and
fantasy. . . . The idea was so big it
seemed like Id just scratched the
surface of it.
Appears on: Clouds (Warner Bros.)
No problem: Jay-Z
at Madison Square
Garden in 2004

{ 172 }
LISTEN
12 WEEKS
NO. 30
99 Problems
JAY-Z
Writers: Jay-Z, Rick Rubin

Producer: Rubin
Released: Nov. 03, Roc-a-Fella
Jiggas decade-long run reached

its crescendo with this Black
Album smash. Mixing an old
Ice-T hook with an intense,
clanging groove including sam-
ples spliced in from Billy Squiers
The Big Beat and Mountains
Long Red it was the funkiest
thing Rubin had touched since
Licensed to Ill. Def Jam label
head Lyor Cohen had suggested
the collaboration. I knew I was
gonna get fresh shit, he said.
Appears on: The Black Album (Roc-a-Fella)
JOHNNY NUNEZ/WIREIMAGE
{ 173 } { 174 }
LISTEN LISTEN
9 WEEKS 22 WEEKS
NO. 59 NO. 1
Dream On Dancing Queen

AEROSMITH ABBA
Writer: Steven Tyler Writers: Benny Andersson,

Producer: Arian Barber Bjrn Ulvaeus, Stig Anderson
Released: June 73, Columbia Producers: Andersson, Ulvaeus
Tyler began writing this power
ballad in his late teens. He was When Benny Andersson audi-
still at it in Aerosmiths early tioned the song for his ancee
days, pounding a piano in the and band member Anni-Frid
basement of the groups liv- Lyngstad, she was moved to tears.
ing quarters. Dream On was Swedens biggest musical export
a huge regional hit in Boston debuted Queen in 1976 at a
when it was first released in ball for King Carl Gustaf on the
1973 but never made the na- eve of his wedding. The song, a
tional Top 40. An edited ver- disco-avored dessert of sublime
sion nally reached the Top 10 melody and pop-operatic har-
in 1976, giving the band its monies, became the groups only
breakthrough hit. U.S. Number One.
Appears on: Aerosmith (Columbia) Appears on: Arrival (Polydor)
As far as Im concerned, t
being, sneered singer Rotten
they drag aroun

{ 175 } { 176 }
LISTEN LISTEN
DID NOT 11 WEEKS
CHART NO. 1
God Save the Queen Paint It, Black

THE SEX PISTOLS THE ROLLING STONES
Writers: Johnny Rotten, Steve Jones, Writers: Mick Jagger, Keith Richards
Glen Matlock, Paul Cook Producer: Andrew Loog Oldham
Producer: Chris Thomas Released: May 66, London
Released: May 77, Warner Bros.
Brian Jones plucked the haunt-
Banned by the BBC for gross ing sitar melody at the 1966
bad taste, this blast of nihilism L.A. session for this classic.
savaged the pomp of Queen Eliz- Bill Wyman added klezmer-
abeth IIs silver jubilee and came avored organ; studio legend Jack
in a sleeve showing Her Majes- Nitzsche played the gypsy-style
ty with a safety pin through her piano. Brian had pretty much
lip. As far as Im concerned, she given up on the guitar by then,
aint no human being, sneered said Richards. If there was [an-
singer Rotten. Shes a piece of other] instrument around, he had
cardboard they drag around on to be able to get something out of
a trolley. it. It gave the Stones on record a
Appears on: Never Mind the Bollocks, Heres lot of dierent textures.
the Sex Pistols (Warner Bros.) Appears on: Aftermath (ABKCO)
the Queen aint no human

n. Shes a piece of cardboard
nd on a trolley.
{ 177 } { 178 }
LISTEN LISTEN
11 WEEKS 10 WEEKS
NO. 9 NO. 24
I Fought the Law Dont Worry Baby

T HE BOBBY FULLER FOUR THE BEACH BOYS
Writers: Sonny Curtis, Fuller Writers: Brian Wilson, Roger Christian

Producer: Bob Keane Producer: Wilson
Released: Feb. 66, Mustang Released: May 64, Capitol
Singing in his Texas drawl, Full- Wilson, who listened to the

er seemed to channel his idol, Ronettes Be My Baby so
Buddy Holly, on this tune penned much he wore out the grooves,
by the Crickets Curtis. I Fought wrote Dont Worr y Baby
the Law was a bracing hybrid for Ronnie Bennett. From
of outlaw romanticism, garage the opening drum riff, Dont
rock, surf music, Wall of Sound Worry Baby is sheer homage
and British Invasion energy. but also vintage Beach Boys,
Keane created the tracks rich re- with one of Wilsons nest fal-
verb by using the vault of a bank setto-laden vocals.
next door to the L.A. studio as an Appears on: Sounds of Summer (Capitol)
echo chamber.
Appears on: I Fought the Law: The Best of the
Bobby Fuller Four (Rhino)

{ 179 } { 180 }
LISTEN LISTEN
21 WEEKS DID NOT
NO. 7 CHART
Free Fallin September Gurls

TOM PETTY BIG STAR
Writers: Petty, Jeff Lynne Writer: Alex Chilton

Producer: Lynne Producers: Big Star
Released: June 89, MCA Released: May 74, Ardent
Petty and Lynne wrote and re- Big Star were totally unfashion-
corded Free Fallin in just two able in their day early-Seven-
days, the first song completed ties Memphis rockers inspired
for Pettys solo LP Full Moon by Sixties British Invasion pop.
Fever. The label initially reject- A nonhit from the bands sec-
ed the album because of a lack of ond LP, Radio City, Septem-
hits. So I waited six months and ber Gurls is now revered as a
brought the same record back, power-pop classic. They were
Petty said. And they loved it. fairly dark records wrapped in
Appears on: Full Moon Fever (MCA) a pop package, drummer Jody
Stephens said of Big Stars now-
adored catalog. Maybe thats
whats made them enduring.
Appears on: Radio City (Stax)
A nonhit from
the bands second
album, Gurls
is now revered
as a power-pop
classic.
{ 181 } { 182 }
LISTEN LISTEN
DID NOT 32 WEEKS
CHART NO. 1
Love Will Hey Ya!

Tear Us Apart OUTKAST
JOY DIVISION
Writer: Andr 3000
Writers: Ian Curtis, Peter Hook, Producer: Andr 3000
Stephen Morris, Bernard Sumner Released: Sept. 03, LaFace
Producers: Martin Hannett
Released: April 80, Enigma Not a likely recipe for a hit: a rock
song with a bizarre 11/4 time sig-
Singer Ian Curtis did not live to nature by half of a hip-hop duo.
see this Manchester, England, Andr 3000 played almost all the
bands best single become a hit. instruments on this irresistible
He committed suicide in May party jam he said that its guitar
1980, two days before a sched- chords, the rst he ever learned,
uled American tour. Ians inu- were inspired by the Ramones,
ence seemed to be madness and the Buzzcocks, the Smiths. Fun
insanity, said guitarist Bernard fact: The ladies who cheer half-
Sumner. After Curtis death, Joy way in are one lone woman, engi-
Division carried on under the neer Rabeka Tuinei.
name New Order. Appears on: Speakerboxxx/The Love Below
Appears on: Substance 1977-1980 (Qwest) (LaFace/Arista)
Andr 3000
played
almost all the
instruments
on this irresistible
party jam.
{ 183 } { 184 }
LISTEN LISTEN
16 WEEKS 18 WEEKS
NO. 3 NO. 1
Green Onions Save the Last

BOOKER T. AND THE MGS Dance for Me
THE DRIFTERS
Writers: Booker T. Jones, Steve
Cropper, Lewis Steinberg, Al Jackson
Writers: Doc Pomus, Mort Shuman
Producer: Jim Stewart
Producers: Jerry Leiber, Mike Stoller
Released: Oct. 62, Stax
Released: Sept. 60, Atlantic
The Stax house band had never As Billy Joel said, before the
considered making its own hits Drifters, the last dance was the
until it cooked up this simmer- one nobody stuck around for. But
ing jam in a half-hour before a this elegant R&B ballad made
jingle session. I said, Shit, this is the end of the party sound like
the best damn instrumental Ive the essence of true romance.
heard since I dont know when, Lead vocalist Ben E. King later
guitarist Cropper recalled. As for sang Stand by Me.
the onions, he explained that we Appears on: The Drifters Golden Hits (Atlantic)
were trying to think of something

that was as funky as possible.
Appears on: Green Onions (Atlantic)
Kelly Clarkson
MIKE RUIZ

{ MY TOP 10 }
Kelly Clarkson
1. Purple Rain Prince 6. Imagine John Lennon
It sounds like the guitars are Its simple and beautiful, and
underwater. The production of course its in my top 10.
is epic and ethereal.
7. I Cant Make You
2. That I Would Be Good Love Me Bonnie Raitt
Alanis Morissette Raitt is such a great, soulful
One of her best lyrically, and storyteller. Any singer could
the production is very organic. probably sing this song, but
few can translate it like her.
3. Use Somebody
Kings of Leon 8. Make You Feel My Love
Caleb Followill represents Bob Dylan
these incredible lyrics at Dylan captured the nature of
such an emotional peak, and how love is all-consuming and
its surrounded by such an so overwhelming it becomes
awesome level of production a necessity, not a choice.
you feel like youre ying.
9. Your Cheatin Heart
4. Sunday Bloody Hank Williams
Sunday U2 This song is so sad and yet so
Songs are meant to lift spirits, sarcastic, which makes it stand
confess pain and make you apart from other songs that
feel like you can do anything, deal with painful relationships.
and thats what this song does
to me. Best U2 song, by far. 10. Top Of The World
Patty Grifn
5. The Greatest Man I Never Captures the human spirits
Knew Reba McEntire desires, regrets, pains, and
Its the best feeling when you how destructive our own
stumble across a song you feel fears can be. Anyone who
was written for you. Reba has hears this once will have to
a knack for picking songs that listen to it over and over. Its
become a part of your life. that addictive.
{ 185 } { 186 }
LISTEN LISTEN
14 wEEkS 13 wEEkS
No. 15 No. 3
The Thrill Is Gone Please Please Me

B.B. King The BeaTles
writers: Roy Hawkins, Rick Darnell writers: John Lennon,

Producer: Bill Szymczyk Paul McCartney
Released: Dec. 69, BluesWay Producer: George Martin
Released: Feb. 64, Vee-Jay
It was a dierent kind of blues
ballad, and I carried it around It was my attempt at writing a
in my head for years, King Roy Orbison song, Lennon said
said of the song, which dated of Please Please Me. He orig-
to 1951. The 44-year-old Kings inally penned a yearning bal-
career reached its zenith with lad while listening to Orbison in
an inspired performance dur- a bedroom at his aunts house,
ing a 1969 session in which, as but Martin suggested it would
King put it, all the ideas came sound better sped up. Said Len-
together. non, By the time the session
appears on: Greatest Hits (MCA) came around, we were so happy
with the result, we couldnt get it
recorded fast enough.
appears on: Please Please Me (Capitol)
Said Lennon, By t
came around, we were s
we couldnt get it rec

{ 187 } { 188 }
LISTEN LISTEN
NON- DID NOT
SINGLE CHART
Desolation Row Wholl Stop the Rain

BOB DY LAN CREEDENCE
CLEARWATER REVIVAL
Writer: Dylan
Producer: Bob Johnston Writer: John Fogerty
Released: Aug. 65, Columbia Producer: Fogerty
Released: Jan. 70, Fantasy
In 1969, Dylan told Rolling
Stone that he wrote this song in Fogerty told Rolling Stone
the back of a New York cab. Since in 1970, [Listeners] put too
it has 659 words and clocks in at much weight on political refer-
more than 11 minutes, thats one ences in songs. They think a song
long cab ride. Dylan scrapped an will save the world. Its absurd.
electric, full-band version of the Veiled allusions to FDR and Sta-
song at the last minute, and rere- lin in Rain suggest that politics
corded it on acoustic guitar. The was on his mind, but Fogerty in-
nal version was spliced togeth- sists he wanted to be symbolic,
er from two consecutive takes not specic to Vietnam, Wood-
during the last sessions for High- stock or 1969. As a result, he
way 61. said, the song is timeless.
Appears on: Highway 61 Revisited (Columbia) Appears on: Cosmos Factory (Fantasy)
the time the session

so happy with the result,
corded fast enough.
John Fogerty at
Londons Royal
Albert Hall, 1970

CHRIS WALTER/PHOTOFEATURES
{ 189 } { 190 }
LISTEN
11 WEEKS 15 WEEKS
NO. 9 NO. 37
I Never Loved a Man Back in Black

(the Way I Love You) AC/DC
ARETHA FRANKLIN
Writers: Angus Young, Malcolm Young,
Brian Johnson
Writer: Ronny Shannon
Producer: Mutt Lange
Producer: Jerry Wexler
Franklin went to Fame Studios to When frontman Bon Scott drank

cut her soul-stirring take on Shan- himself to death in 1980, AC/DC
nons you done-me-wrong lament didnt retreat they brought in a
with the Muscle Shoals Rhythm new singer, Brian Johnson. Mal-
Section Alabama white boys colm asked me if this ri he had
who took a left turn at the blues, was too funky, said Angus. And
as Wexler described them. I said, Well, if youre gonna dis-
Appears on: I Never Loved a Man (the Way I Love card it, give it to me!
You) (Rhino) Appears on: Back in Black (Sony)

{ 191 } { 192 }
LISTEN LISTEN
27 WEEKS 16 WEEKS
NO. 1 NO. 12
Stayin Alive Knockin on

BEE GEES Heavens Door
BOB DYLAN
Writers: Robin Gibb, Barry Gibb,
Maurice Gibb
Writer: Dylan
Producers: Barry Gibb, Robin Gibb,
Producer: Gordon Carroll
Maurice Gibb, Karl Richardson,
Albhy Galuten Released: July 73, Columbia
Released: Nov. 77, RSO

Three years had passed since
This disco classic was writ- his last studio album, and Dylan
ten when Robert Stigwood ap- seemed at a loss. So he accept-
proached the Bee Gees for music ed an invitation to go to Mexi-
for a lm based on the Brook- co for Sam Peckinpahs Pat Gar-
lyn club scene. He needed a rett and Billy the Kid, for which
groove for an eight-minute John he shot a bit part (in the role of
Travolta dance sequence. The Alias) and did the soundtrack.
Gibbs wrote the song on the For a death scene, Dylan deliv-
staircase of a French chateau ered this tale of a dying sheri,
that served as the setting for sev- who wants only to lay his guns
eral porn icks. in the ground.
Appears on: Saturday Night Fever (Polydor) Appears on: The Essential Bob Dylan (Sony)
The movie needed

a groove for
an eight-minute
John Travolta
dance sequence.
{ 193 } { 194 }
LISTEN LISTEN
12 WEEKS 20 WEEKS
NO. 19 NO. 9
Free Bird Rehab

LYNYRD SKYNYRD AMY WINEHOUSE
Writers: Allen Collins, Writer: Winehouse

Ronnie Van Zant Producer: Mark Ronson
Producer: Al Kooper Released: March 07, Universal Republic
Released: Sept. 73, MCA
Drawing on Winehouses real-
What song is it you want to life struggles, this cheeky, soni-
hear? asks Van Zant on the de- cally perfect salvo made the Lon-
nitive, 14-minute live version don diva a worldwide star. The
on One More From the Road. huge, Motown-inspired beat fea-
But audiences initially didnt tured Brooklyn throwback R&B
want to hear Free Bird ded- band the Dap-Kings. One of the
icated to Duane Allman until best recordings ever, said Roots
Collins added an uptempo sec- drummer Ahmir ?uestlove
tion to the end of the ballad and Thompson. Shes coming from
the overlapping guitars started Fifties and Sixties doo-wop, and
to boogie. they nailed that sound exactly.
Appears on: One More From the Road (MCA) Appears on: Back to Black (Universal Republic)
ROSS KIRTON/EYEVINE/ZUMA PRESS
Throwback in black:
Amy Winehouse
in 2006

{ 195 } { 196 }
LISTEN
15 WEEKS 19 WEEKS
NO. 3 NO. 2
Wichita Lineman There Goes My Baby

GLEN CAMPBELL THE DRIFTERS
Writer: Jimmy Webb Writers: Benjamin Nelson, Lover

Producer: Al De Lory Patterson, George Treadwell
Released: Nov. 68, Capitol Producers: Jerry Leiber, Mike Stoller
Released: May 59, Atlantic
Inspired by the isolation of a tele-
phone-pole worker he saw on the Leiber and Stoller wanted a strik-
Kansas-Oklahoma border, Webb ing sound to match new vocalist
wrote this in 1968 for Campbell, Ben E. Kings majestic voice. The
who had asked if Webb could odd arrangement featured out-
come up with another By the of-tune timpani and strings that
Time I Get to Phoenix. Campbell seemed to quote Tchaikovskys
changed a guitar part and kept 1812 Overture. It sounded like
the keyboard from Webbs demo; a radio caught between two sta-
the chiming sound at the fade, tions, wrote Atlantics Jerry
evoking telephone signals, was Wexler. But Kings croon soared
done on a massive church organ. above it all.
Appears on: Wichita Lineman (Capitol) Appears on: The Very Best of the Drifters
(Rhino)
Leiber and Stoller

wanted a striking
sound to match
new vocalist
Ben E. Kings
majestic voice.
{ 197 }
LISTEN
22 WEEKS
NO. 3
Peggy Sue
BUDDY HOLLY
Writers: Jerry Allison, Holly,

Norman Petty
Producer: Petty
Released: Sept. 57, Coral
When the Crickets rst played a

new song called Cindy Lou,
Allisons snare drum was so
loud that Petty told him to play
in the studios reception area.
To placate his exiled drummer,
Holly changed the title to Peg-
gy Sue, after Allisons girlfriend.
Appears on: Greatest Hits (MCA)
GENE AMBO/RETNA

{ 198 }
LISTEN
24 WEEKS
NO. 1
Sweet Child OMine

GUNS N ROSES
Writers: Guns n Roses

Producer: Mike Clink
Released: Aug. 87, Geffen
Axl Rose wrote this love letter to

his girlfriend, Erin Everly (daugh-
ter of Don). Slash said he was just
fucking around with the intro
riff, making a joke; he didnt
think much of it, but Rose knew
better. Rose and Erin were later
married for all of one month.
Appears on: Appetite for Destruction (Geffen)
Sweet child:
Axl Rose in Chicago,
November 1987
{ 199 } { 200}
LISTEN LISTEN
18 WEEKS 27 WEEKS
NO. 15 NO. 1
Maybe Dont Be Cruel

T HE CHANTELS ELVIS PRESLEY
Writer: Arlene Smith Writers: Otis Blackwell, Presley

Producer: Richard Barrett Producer: Steve Sholes
Released: Dec. 57, End Released: July 56, RCA
At 16, Smith wrote and sang Slapping the back of his gui-
lead on this towering doo-wop tar for extra percussion, Presley
song, a template for a generation invented a new style for him-
of girl groups. The Chantels sec- self with his take on this song
ond single, Maybe, was record- by blues singer Blackwell. Dont
ed at a church in midtown Man- Be Cruel, backed with Hound
hattan in October 1957, when Dog, was a double-sided smash
the girls were all still in high on the pop, R&B and country
school at St. Anthony of Padua charts. Its 11-week domination
in the Bronx. The single was rst of the Number One spot was the
credited to label owner George longest in history until End of
Goldner, but now the world the Road, by Boyz II Men, broke
knows better. that record in 1992.
Appears on: The Best of the Chantels (Rhino) Appears on: Elvis: 30 #1 Hits (RCA)
Hendrix was so shy

manager Chandler even h
the Breakaway

{ 201 } { 202 }
LISTEN LISTEN
DID NOT 16 WEEKS
CHART NO. 1
Hey Joe Flash Light

THE JIMI HENDRIX PARLIAMENT
EXPERIENCE
Writers: George Clinton, Bernie
Writer: William Roberts Worrell, Bootsy Collins
Producer: Chas Chandler Producer: Clinton
Released: Dec. 66, Reprise Released: Dec. 77, Casablanca
This murder ballad was the Flash Light is the P-Funk

Experiences rst single, recorded Nations groove manifesto. Were
two weeks after their live debut. going to get the message out, Clin-
Hendrix was so shy about his ton declared in 1978. We want
voice that manager Chandler to put the show on Broadway
even hired a female vocal group, tell the story straightforward
the Breakaways, for backup. The so people understand that funk
song had already been recorded mean funk.
by the Byrds, Love, the Standells Appears on: Funkentelechy vs. the Placebo
and many other bands, but Hen- Syndrome (Mercury)
drix learned it from folkie Tim

Roses version.
Appears on: Are You Experienced? (MCA)
about his voice that

hired a female vocal group,
ys, for backup.
{203}
LISTEN
24 WEEKS
NO. 10
Loser
BECK
Writer: Beck Hansen

Producer: Karl Stephenson
Released: 1993, Bong Load
In 1992, 22-year-old Beck Han-

sen was scraping by as a video-
store clerk while performing
bizarro folk songs at L.A.
coffeehouses. After friends
offered to record some songs,
Beck cut Loser in his producers
kitchen. It became the center-
piece of an album (1994s Mellow
Gold) that cost $200 to make.
Appears on: Mellow Gold (Geffen)
AMY LEHMAN/RETNA

{ 204}
LISTEN
2 WEEKS
NO. 98
Bizarre
Love Triangle
NEW ORDER
Writers: Bernard Albrecht, Gillian

Gilbert, Peter Hook, Stephen Morris
Producers: New Order
Released: Oct. 86, Qwest
After the death of Joy Divisions

Ian Curtis, his band became New
Order. Theres life, and theres
death, drummer Morris said in
1983. We were still alive, so we
thought wed carry on doing it.
New Order wrote their synth-
pop hits in a Manchester rehears-
al room next to a cemetery. Said
Morris, Fate writes the lyrics,
and we do the rest.
Appears on: Substance (Qwest)
Beck
{ MY TOP 10 }
Missy Elliott
1. Thriller Michael Jackson 6. Like a Virgin Madonna
Michael made this scary-ass Think about it thats deep if
song and still made it hot a guy can make you feel like a
in the clubs. Just think about virgin. Especially if youre not!
it the rst line said, Its
close to midnight, and some- 7. Single Ladies (Put a Ring
thing evils lurking in the on It) Beyonc
dark. Whoaa! Its always clever to dedicate
a song to the ladies and make
2. Purple Rain Prince them feel uplifted. When the
The guitar in that song was so claps come on, you immediately
sexy! For the hip-hop world, he throw ya hands up!
was the closest thing to a rock
& roll superstar. 8. Push It Salt N Pepa
Anybody that loves to dance
would put this in their Top 10.
3. Nasty Girl Vanity 6
Finally, some females came out
One of the riskiest songs back
representing male-dominated
then. She sang about things
rap music and sounded just as
women wanted to say but
good.
feared saying.
9. Get Ur Freak On Missy Elliott
4. Control Janet Jackson Ahead of its time. It had a touch
She talked about having control of universal music over a hip-hop
over what you say and what you beat, which hadnt been done
do, and thats what everyone before. Grandmamas were
wants to have. jamming to it!
5. Greatest Love of All 10. Sexual Healing Marvin Gaye

Whitney Houston Simply sexy. Im sweating talking
Whitney made us believe in about it! When he says When
ourselves as people and follow I get that feeling, I want sexual
our dreams. People dont even healing hey, dont we all feel
sing words like that anymore. like that?

DENISE TRUSCELLO/WIREIMAGE
Missy Elliott
{ 205 } { 206 }
LISTEN LISTEN
16 wEEkS 9 wEEkS
No. 1 No. 7
Come Together Positively 4th Street

ThE BEaTlEs BoB Dylan
writers: John Lennon, writer: Dylan

Paul McCartney Producer: Bob Johnston
Producer: George Martin Released: Sept. 65, Columbia
Released: Sept. 69, Apple
In whose direction did Dylan
Timothy Leary was running for aim this? Most likely, 4th
governor of California and asked Street, the follow-up to Like a
Lennon to write a campaign song Rolling Stone, is about the peo-
for him. The tune was not polit- ple he met in Greenwich Vil-
ically useful, so Lennon brought lage (when he lived on West
it to the Abbey Road sessions. I 4th) and on fraternity row at
said, Lets slow it down with a the University of Minnesota
swampy bass-and-drums vibe, (on 4th Street in Minneapolis).
said McCartney. I came up with appears on: The Essential Bob Dylan (Sony)
a bass line, and it all owed from

there. It was the last song all
four Beatles cut together.
appears on: abbey Road (Apple)

{ 207 } { 208 }
LISTEN LISTEN
10 WEEKS 19 WEEKS
NO. 25 NO. 1
Try a Little Lean on Me

Tenderness BILL WITHERS
OTIS REDDING
Writer: Curtis Mayfield
Writers: Jimmy Campbell, Reginald Producer: Johnny Pate
Connelly, Harry Woods Released: Jan. 65, ABC-Paramount
Producers: Steve Cropper, Jim Stewart
Released: Dec. 66, Stax Growing up as one of six kids
in the coal-mining town of Slab
On his own, drummer Al Jack- Fork, West Virginia, Withers
son Jr. switched to double-time learned a lot about helping fam-
on the second verse, for the high- ily and neighbors when they
energy climax. We didnt know needed you. After a dislocating
he was gonna do that, said bass- move to L.A., the bonds he built
ist Duck Dunn. It was amazing. with co-workers manufacturing
Appears on: Very Best of Otis Redding airplane toilets reminded him of
(Rhino) the tightknit community hed left
back home, providing the inspi-
ration for the plain-spoken Lean
on Me, his biggest hit.
Appears on: Lean on Me (Sony)
{ 209} { 210 }
LISTEN LISTEN
15 WEEKS 27 WEEKS
NO. 13 NO. 2
Reach Out, Bye Bye Love

Ill Be There THE EVERLY BROTHERS
THE FOUR TOPS
Writers: Boudleaux and Felice Bryant
Writers: Eddie Holland, Lamont Dozier, Producer: Archie Bleyer
Brian Holland Released: May 57, Cadence
Producers: Holland, Dozier, Holland
Released: Aug. 66, Motown Bye Bye Love had been turned
down by 30 artists before Bleyer
HDH pumped out Tops hits at a oered it to the Everlys for their
breakneck pace. They were over rst single. Phil and Don took
so fast I cant remember them it happily, if for no other reason
at all, said Dozier. Phil Spector than the $64 they would each
called Reach Out, Ill Be There, earn for making it. The guitar
their second Number One, black intro was borrowed from a song
Dylan. Don had written called Give Me
Appears on: The Ultimate Collection a Future.
(Motown) Appears on: All-Time Original Hits (Rhino)

{ 211 } { 212 }
LISTEN LISTEN
1 WEEKS 11 WEEKS
NO. 95 NO. 23
Gloria In My Room
THEM THE BEACH BOYS
Writer: Van Morrison Writers: Brian Wilson, Gary Usher

Producer: Tommy Scott Producer: Wilson
Released: March 65, Parrot Released: Sept. 63, Capitol
When Morrison wrote his rst Brian was always saying that
hit, Gloria, he was just anoth- his room was his whole world,
er hungry young rocker, with said Usher, who wrote the lyr-
the Belfast garage band Them. ics based on Wilsons idea. The
I was just being me, a street three-part harmony on the rst
cat from Belfast, Morrison said. verse that Wilson sang with his
Probably like thousands of kids brothers Carl and Dennis re-
from Belfast who were in bands. called the vocal bits that Brian
A Chicago group called Shadows taught them when they shared a
of Knight hit with a more cau- childhood bedroom. As the Bea-
tious version in 1966; Morrison tles had done with some hits, the
later complained that Gloria Boys cut a version in German.
was capitalized on a lot. Appears on: Surfer Girl/Shut Down,
Appears on: The Story of Them (Polydor) Volume 2 (Capitol)

{ 213 } { 214 }
LISTEN LISTEN
15 WEEKS 7 WEEKS
NO. 1 NO. 32
96 Tears Caroline, No
? AND THE MYSTERIANS THE BEACH BOYS
Writer: Rudy Martinez Writers: Brian Wilson, Tony Asher

Producer: Martinez Producer: Wilson
Released: Sept. 66, Pa-Go-Go Released: March 66, Capitol
The band, all Mexican-Americans Wilson ditched the other Beach

living in Michigan, cut 96 Boys and used studio pros like
Tears in their managers living Be My Baby drummer Hal
room, and ? promoted the single Blaine on what was initially re-
throughout the state, all with- leased as Brians rst solo single.
out ever revealing his real name It was largely the result of a mis-
(Rudy Martinez) or removing his heard lyric. Wilson told Asher
sunglasses. That organ gure put about a girl hed liked in high
the Farsa company on the map school named Carol, and Asher
(? later claimed they had used a responded with Oh, Carol, I
Vox). The original has never been know. But Wilson heard it as
released on CD; all the CD ver- Caroline, no and dashed o the
sions are rerecordings. rest of the song while stoned.
Appears on: More Action (Cavestomp) Appears on: Pet Sounds (Capitol)
When Prince recorded 19

and all night without rest a
eating would m

{ 215 } { 216 }
LISTEN LISTEN
27 WEEKS NON-
NO. 12 SINGLE
1999 Rockin in
PRINCE the Free World
N EIL YOUNG
Writer: Prince
Producer: Prince Writer: Young
Released: Oct. 82, Warner Bros. Producer: Niko Bolas, Young
Released: Oct. 89, Reprise
When Prince recorded 1999, he
would go all day and all night Dont feel like Satan/But I am
without rest and turn down food to them, Young spat in this rau-
since he felt eating would make cously ambivalent song about
him sleepy. The opening verse the pride and guilt of being an
was originally recorded in three- American. It was inspired by a
part harmony; Prince split up the remark from a member of Crazy
vocals, and the harmony parts Horse, who said gigs were safer
became a new, odd melody. The in Europe than in the Middle
singles rst release didnt make East: Its better to keep rockin
the Top 40, but Prince put it out in the free world. It was such a
again after Little Red Corvette, clich, Young said. I knew I had
and it was nally a hit. to use it.
Appears on: 1999 (Warner Bros.) Appears on: Freedom (Reprise)
999, he would go all day

and turn down food he felt
make him sleepy.
{ 217 } { 218 }
LISTEN LISTEN
PREDATES 13 WEEKS
CHART NO. 9
Your Cheatin Heart Do You Believe

HANK WILLIAMS in Magic
THE LOVIN SPOONFUL
Writers: Williams, Fred Rose
Producer: Rose Writer: John Sebastian
Released: Jan. 53, MGM Producer: Erik Jacobsen
Released: July 65, Kama Sutra
Legend has it that this song came
to Williams when he was think- The first single by the Lovin
ing about his first wife while Spoonful went Top 10 and, in a
driving around with his second; sense, never went away. While re-
she wrote down the lyrics for hearsing the song, Sebastian af-
him in the passenger seat. After xed a contact mike to his auto-
polishing it with Rose, Williams harp, and in combination with
recorded Your Cheatin Heart Zal Yanovskys electric guitar,
during the last sessions he ever they hit on a unique sound. Se-
did, on September 23rd, 1952. bastian said Magic was rooted
He told a friend, Its the best in the chord progressions com-
heart song I ever wrote. ing out of Motown at the time.
Appears on: The Ultimate Collection Appears on: Do You Believe in Magic (Buddha)
(Mercury Nashville)
Cheatin
Man:
Hank
Williams

{ 219 } { 220}
LISTEN LISTEN
8 WEEKS 10 WEEKS
NO. 60 NO. 60
Jolene Boom Boom

DOLLY PARTON JOHN LEE HOOKER
Writer: Parton Writer: Hooker

Producer: Bob Ferguson Producer: Calvin Carter
Released: Jan. 74, RCA Released: Feb. 62, Vee-Jay
When Parton recorded Jolene Keith Richards said of Hook-

in 1974, she was chiey known er, Even Muddy Waters was
as Porter Wagoners TV partner, sophisticated next to him. That
although she had written the hit was a compliment. With his gru
Coat of Many Colors. Jolene voice, the Hook put boogie to the
showed how she could put her blues, inspiring a generation of
stamp on traditional country, British blues acts, including the
bung an old-time-y groove and Animals, who covered this song
belting a tale of romantic rivalry. to great eect. Boom-boom, by
It became a Number One coun- the way, came from an aection-
try single and has been covered ate greeting oered to Hooker by
with extra menace by the White a female bartender in Detroit.
Stripes. Appears on: Jolene (Buddha/BMG) Appears on: The Very Best of John Lee Hooker
(Rhino)
{ 221 } { 222 }
LISTEN LISTEN
DID NOT 13 WEEKS
CHART NO. 5
Spoonful Walk Away Renee

HOWLIN WOLF THE LEFT BANKE
Writer: Willie Dixon Writers: Michael Brown, Bob Calilli,

Producers: Leonard and Phil Chess Tony Sansone
Released: June 60, Chess Producer: Harry Lookofsky
Released: Sept. 66, Smash
Chess do-it-all Dixon wrote
Spoonful for Howlin Wolf in In 1965, Brown was a 16-year-
1960. It doesnt take a large old keyboard prodig y with
quantity of anything to be good, a crush on a bandmates girl-
explained Dixon. The Wolf, how- friend bassist Tom Finn had
ever, did not cheat on the heavy introduced Renee Fladen to the
manners when he devoured the group. Brown wrote three songs
song in the studio with his mad- about her, including Walk Away
animal growl. Whats more, he Renee. He quit the Left Banke
often performed the song later before they finished recording
covered by Cream waving a Renee but returned after the
large cooking spoon in front of song became a hit a year later.
his genitalia. Appears on: Theres Gonna Be a Storm
Appears on: Anniversary Collection (Chess) (Mercury)

{ 223 } { 224 }
LISTEN LISTEN
14 WEEKS 15 WEEKS
NO. 16 NO. 1
Walk on Pretty Woman

the Wild Side ROY ORBISON
LOU REED
Writers: Orbison, Billy Dees
Writer: Reed Producer: Wesley Rose
Producers: David Bowie, Mick Ronson, Released: Aug. 64, Monument
Reed
Released: Dec. 72, RCA Orbison told Dees to get started
writing by playing anything that
Reed was asked to write songs comes to mind. . . . My wife came
for a musical based on the novel in and wanted to go to town to get
A Walk on the Wild Side. The something. Orbison asked if she
show zzled, but Reed kept the needed money. Dees then cracked,
title. I thought it would be fun to Pretty woman never needs any
introduce people you see at parties money. The rest was easy.
but dont dare approach, he said. Appears on: For the Lonely: 18 Greatest Hits
Appears on: Transformer (RCA) (Rhino)

Lamont Dozier,
Eddie Holland, Brian
Holland (from left)
FROM LEFT: MICHAEL OCHS ARCHIVES/GETTY IMAGES; GILLES PETARD/REDFERNS/GETTY IMAGES

Eddie Holland
How much arguing went on in your
writing room at Motown?
I wanted the Supremes to do Where Did Our
Love Go, with Mary [Wilson] singing lead,
instead of Diana [Ross]; Marys voice was softer.
But I was double-teamed by my brother and
Lamont.
Were any of your songs a surprise hit?

We werent knocked out about Baby I Need
Your Loving. It sat around for six months before
we gave it to the Four Tops.
Do you listen to your songs?

Never. Sometimes it took me two weeks to nish
one lyric. After I was done, I didnt want to hear
about it.
As part of Holland-Dozier-Holland, Eddie
Holland wrote many of Motowns biggest hits.
The Supremes
{ 225 } { 226 }
LISTEN LISTEN
15 WEEKS DID NOT
NO. 8 CHART
Dance to the Music Hoochie Coochie Man

SLY AND THE FAMILY STONE MUDDY WATERS
Writer: Sylvester Stewart (Sly Stone) Writer: Willie Dixon

Producer: Stone Producers: Leonard and Phil Chess,
Released: Jan. 68, Epic Dixon
Released: Jan. 54, Chess
Saxman Jerry Martini claims
Stone did this song just to sat- Waters tested this out at the Chi-
isfy CBS executives desire for a cago blues club Zanzibar. Dixon
hit. He hated it, Martini said. gave him some advice: Well,
It was so unhip to us. The beats just get a little rhythm pattern,
were glorified Motown beats. he said. Do the same thing over
But Dance t Stones vision for again, yknow. Waters cut it a
the band: I wanted everyone to couple of weeks later, with Dixon
get a chance to sweat. on bass.
Appears on: Dance to the Music (Sony) Appears on: The Anthology (Chess/MCA)

{ 227 } { 228}
LISTEN LISTEN
16 WEEKS 13 WEEKS
NO. 3 NO. 45
Fire and Rain Should I Stay

JAMES TAYLOR or Should I Go
THE CLASH
Writer: Taylor
Producer: Peter Asher Writers: The Clash
Released: Feb. 70, Warner Bros. Producer: Glyn Johns
Released: May 82, Epic
Taylor wrote the three verses of
this song in three phases follow- My main inuences, Mick Jones
ing the breakup of his band the said, are Mott the Hoople, the
Flying Machine. The rst came Kinks and the Stones which
in a London flat while he was explains this choppy ri. Jones
signed to the Apple label, the sec- yells Split! because Joe Strum-
ond in a New York hospital as mer snuck up behind him while
he kicked heroin and the third he was recording his vocals. The
during a stay in a Massachu- chorus hints at the bands end: At
setts psychiatric facility. Its like the time, none of us were really
three samplings of what I went talking to each other, said Paul
through, he said. Simonon. The original four were
Appears on: Sweet Baby James (Warner Bros.) soon no more.
Appears on: Combat Rock (Sony)
Taylor wrote the

three verses of
Rain in three
phases following
the breakup of his
band the Flying
Machine.
{ 229 }
LISTEN
19 WEEKS
NO. 1
Good Times
CHIC
Writers: Nile Rodgers, Bernard

Edwards
Producers: Rodgers, Edwards
Released: June 79, Atlantic
The tone was half-ironic when

Chic released Good Times, a
hedonistic roller-disco tune, dur-
ing the Seventies recession. The
other half was pure joy, and Ed-
wards bass line bouncing on
one note, then climbing proved
too snappy for just one song.
Queen borrowed it for Another
One Bites the Dust; in the South
Bronx, the Sugarhill Gang put it
under Rappers Delight.
Appears on: Risqu (Atlantic)
Nile Rodgers
(left) and Bernard
Edwards of Chic
at the Palladium
in New York, 1979

{ 230 }
LISTEN
DID NOT
CHART
Mannish Boy
MUDDY WATERS
Writers: McKinley Morganfield, Mel

London, Ellas McDaniel
Producers: Leonard and Phil Chess,
Willie Dixon
Released: May 55, Chess
After Waters heard Bo Diddley

audition Im a Man for Chess,
he replied with Mannish Boy.
(Diddley got a credit as McDan-
iel, his real name.) Both songs
were issued in 1955 and shot into
the R&B Top 10. When I heard
him, I realized the connection
between all the music I heard,
Keith Richards said of Waters.
He was like the code book.
Appears on: The Anthology (MCA/Chess)
WARING ABBOTT/GETTY IMAGES
{ 231 }
LISTEN
4 WEEKS
NO. 92
Moondance
VAN MORRISON
Writer: Morrison
Producer: Morrison
Released: Feb. 70, Warner Bros.
The title song of Morrisons rst

self-produced album started
as a saxophone solo, he said.
I used to play this sax number
over and over, anytime I picked
up my horn. He played the sax
solo on this recording, which
combined the bucolic charm of
his life in Woodstock, New York
(the cover of October skies),
with his love of the sophisticat-
ed jazz and R&B of Mose Allison
and Ray Charles.
Appears on: Moondance (Warner Bros.)
Into the mystic:

Van Morrison in 1972

{ 232 }
LISTEN
6 WEEKS
NO. 33
Just Like a Woman

BOB DYLAN
Writer: Dylan
Producer: Bob Johnston
Dylan wrote this on Thanksgiv-

ing Day 1965 three days after
marrying Sara Lowndes while
on tour in Kansas City. His non-
stop creative rush was taking a
big toll. I dont consider myself
outside of anything, he said at
the time. I just consider myself
not around. He turned his tor-
ment into this song, allegedly in-
spired by his recently ended af-
fair with doomed Andy Warhol
starlet Edie Sedgwick.
Appears on: Blonde on Blonde (Columbia)
MICHAEL PUTLAND/RETNA
{ 233 } { 234 }
LISTEN LISTEN
21 WEEKS 21 WEEKS
NO. 3 NO. 2
Sexual Healing Only the Lonely

MARVIN GAYE ROY ORBISON
Writers: Gaye, Odell Brown, Writers: Joe Melson, Orbison

David Ritz Producer: Fred Foster
Producer: Gaye Released: May 60, Monument
Released: Oct. 82, Columbia
Orbison intended to offer this
In April 1982 Gaye was living in song to either Elvis Presley (also
exile in Brussels and suffering a Sun Records alumnus) or the
writers block. I suggested that Everly Brothers, who had cut the
Marvin needed sexual healing, Orbison song Claudette. But
Ritz, his biographer, later wrote. Orbisons falsetto made the lone-
Gaye put the idea to a reggae- liness real. For a baritone to sing
style beat by sideman Brown. The as high as I do, he said, is ridic-
result: Gayes last Top Five hit. ulous.
Appears on: Midnight Love (Columbia) Appears on: For the Lonely: 18 Greatest Hits
(Rhino)

{ 235 } { 236 }
LISTEN LISTEN
11 WEEKS 21 WEEKS
NO. 13 NO. 4
We Gotta Get Paper Planes

Out of This Place M.I.A.
THE ANIMALS
Writers: M.I.A., Diplo
Writers: Barry Mann, Cynthia Weil Producers: Diplo, Switch
Producer: Mickie Most Released: August 07, Interscope
Released: Aug. 65, MGM
Maya Arulpragasam cheerfully
Born in the Brill Building song threatens to steal your money,
factory and originally intend- over a sample of the Clashs
ed for the Righteous Brothers, Straight to Hell. The unlikely
it got a harsh white-blues treat- hit took o thanks to its inclu-
ment from the Animals. As sing- sion in the Pineapple Express
er Eric Burdon put it, Whatever trailer. The other songs on the
suited our attitude, we just bent chart were Katy Perry and the
to our own shape. Its desperate Jonas Brothers, says M.I.A.
intensity made the song a huge Then you saw Paper Planes and
hit with U.S. soldiers in Vietnam its cool because theres hope:
and, a generation later, coalition Thank God the futures here.
forces in Iraq. Appears on: Kala (Interscope)
Appears on: Retrospective (ABKCO)

SCOTT LEGATO/RETNA
Like a
hurricane:
M.I.A. in New
Orleans,
October 2007
{ 237 } { 238 }
LISTEN LISTEN
DID NOT DID NOT
CHART CHART
Ill Feel a Whole Everyday

Lot Better BUDDY HOLLY AND
THE BYRDS THE CRICKETS
Writer: Gene Clark Writers: Charles Hardin,

Norman Petty
Producer: Terry Melcher
Producer: Petty
Released: June 65, Columbia
Released: Sept. 57, Coral
The Byrds championed the
songs of Bob Dylan, who in turn The ip side to Peggy Sue, Ev-
praised the exotic balladry of eryday features the celesta, a
Byrd Gene Clark. I remember keyboard with a glockenspiel-
him saying, Gene is really inter- like tone that Petty kept in his
esting to me, said bassist Chris New Mexico studio. The per-
Hillman. Clark wrote this about cussion is drummer Jerry Alli-
a girlfriend from their days at the son keeping time by slapping his
L.A. club Ciros. She was a funny knees. For legal reasons, Holly
COURTESY OF THE ROCK AND ROLL HALL OF FAME AND CONCORD RECORDS
girl, and she started bothering changed his songwriting credit

me, he said. I wrote the whole to Charles Hardin, his real rst
song within a few minutes. and middle names.
Appears on: Mr. Tambourine Man (Columbia) Appears on: Best of Buddy Holly (Universal)
Clark wrote Feel

about a girlfriend
from their days at
the L.A. club Ciros.

{ 239} {240}
LISTEN LISTEN
PREDATES 11 WEEKS
CHART NO. 48
I Got a Woman Planet Rock

RAY CHARLES AFRIKA BAMBAATAA AND
THE SOUL SONIC FORCE
Writers: Charles, Renald Richard
Producer: Jerry Wexler Writers: Bambaataa, John Robie,
Released: Nov. 54, ABC-Parliament the Soul Sonic Force
Producers: Bambaataa, Arthur Baker
Charles was riding through In- Released: July 82, Tommy Boy
diana one night in 1954 with his
musical director Richard when Can you play stu like Kraft-
they began singing along to a gos- werk? asked Bam, who played
pel tune on the radio. Ray sang their records at DJ gigs. Baker
something like, I got a woman, worried about stealing the melo-
said Richard. I answered, Yeah, dy from Trans-Europe Express,
she lives across town. He n- but Robie said, Ill tear that
ished the song the next day, and shit up.
Charles cut it at an Atlanta radio Appears on: Looking for the Perfect Beat 1980-
station a session now recog- 1985 (Tommy Boy)
nized as the birth of soul.

Appears on: Atlantic Singles (Rhino)
I got a blazer:
Ray Charles
stage wear from
the mid-1950s.
{241} { 242}
LISTEN LISTEN
20 WEEKS 12 WEEKS
NO. 12 NO. 10
I Fall to Pieces Son of a

PATSY CLINE Preacher Man
DUSTY SPRINGFIELD
Writer: Hank Cochran
Producer: Owen Bradley Writers: John Hurley, Ronnie Wilkins
Released: Jan. 61, Decca Producer: Jerry Wexler
Cline was reluctant to record
this ballad, which had been Springeld was white and Eng-
turned down by Brenda Lee, lish but sang as if born with black
until Bradley coaxed her into it. American soul. In 1968, newly
Seven months pregnant when signed to Atlantic and under
she cut it, Cline belted the ending the tutelage of its star produc-
the rst time through, but the er Wexler, she went to the mecca
magic happened when she of Dixie R&B to record the gos-
dropped to her lower register on pel-tinged Dusty in Memphis.
her second try. She ended up doing her vocals
Appears on: 12 Greatest Hits (MCA) in New York, but no matter: Her
deep, heated voice captured the
carnal re of the South.
Appears on: Dusty in Memphis (Rhino)
EVENING STANDARD/GETTY IMAGES
Springfield
in 1969

{ 243} {244}
LISTEN LISTEN
18 WEEKS 8 WEEKS
NO. 2 NO. 22
The Wanderer Stand!

DION SLY AND THE FAMILY STONE
Writer: Ernie Maresca Writer: Sly Stone

Producer: Gene Schwartz Producer: Stone
Released: Dec. 61, Laurie Released: April 69, Epic
Dion DiMuccis trademark hit The title song from Stones clas-
originally the B side to a single sic black-rock LP became a civil
called The Majestic, until DJs rights anthem. But when a test
began ipping the record over pressing got a muted reaction
was a swaggering shue about on San Francisco radio, Stone
a real-life hard-ass who wore added the funky coda, played
tattoos of his girlfriends names by what his A&R man Stephen
on his arms. You say to a chick, Paley called old-men horn play-
Stay away from that guy, Dion ers, since the Family was un-
said in 1976, when The Wander- available. He wrote out parts for
er was a Top 20 hit again in the the horn players and even passed
U.K. And she would say, What out W-4 forms, said Paley. He
guy? Chicks loved a rebel. was that together.
Appears on: Runaround Sue (Capitol) Appears on: Stand! (Sony)
The title song

from Stones
classic black-rock
LP became a civil
rights anthem.
{ 245 } { 246 }
LISTEN LISTEN
15 WEEKS 27 WEEKS
NO. 6 NO. 3
Rocket Man Love Shack

E LTON JOHN THE B-52S
Writers: John, Bernie Taupin Writers: Kate Pierson, Fred Schneider,

Producer: Gus Dudgeon Keith Strickland, Cindy Wilson
Released: May 72, Uni Producers: Don Was, Nile Rodgers
Released: June 89, Reprise
A perfect song for the age of
moonwalks, this star trek was The B-52s had few reasons to
the elegiac tale of an astronaut party in 1989: Guitarist Ricky
lost in space, light-years from Wilson had died; their previ-
home. Taupin wrote it on the way ous album had opped. But with
to visiting his own family. I got production by dance-rock mas-
inside, he said, and had to rush ter Don Was, they slapped smiles
to write it all down before Id for- and Dixie New Wave glitter all
gotten it. Taupin was accused of over this bouncing beauty.
ripping o Bowies Space Oddi- Appears on: Cosmic Thing (Reprise)
ty, but he was actually thinking

of Rocket Man, by acid-folkies
Pearls Before Swine.
Appears on: Honky Chateau (Island)
Bernie Taupin
was accused
of ripping
off Bowies
Space Oddity.

{ 247 } { 248 }
LISTEN LISTEN
13 WEEKS 12 WEEKS
NO. 7 NO. 6
Gimme Some Lovin (Your Love Keeps

THE SPENCER DAVIS GROUP Lifting Me) Higher
Writers: Davis, Steve Winwood, and Higher
Muff Winwood JACKIE WILSON
Writers: Gary Jackson, Raynard Miner,
Released: Dec. 66, United Artists
Carl Smith
Producer: Carl Davis
Teenage singer Steve Winwood Released: Aug. 67, Brunswick
provided the impossibly raw vo-
cals. Steve had been singing, At rst, he sang it like a ballad.
Gimme some lovin, just yelling But Wilson hit the right gallop
anything, said bassist-broth- after producer Davis told him to
er Mu. It took about an hour jump and go along with the per-
to write, then down the pub for cussion. Motown bassist James
lunch. Jamerson played down below,
Appears on: Gimme Some Lovin (Sundazed) along with several other moon-
lighting members of the Funk
Brothers band.
Appears on: The Very Best of Jackie Wilson
(Rhino)
{ 249 }
LISTEN
NON-
SINGLE
The Night
They Drove Old
Dixie Down
THE BAND
Writer: Robbie Robertson

Producers: John Simon, the Band
Released: Sept. 69, Capitol
Robertson, a Canadian, vividly

depicted the Civil War-era South
COLLECTION OF ROBBIE ROBERTSON/COURTESY OF ROCK AND ROLL HALL OF FAME/DESIGN PHOTOGRAPHY, INC.
in this moving dirge. I remem-

ber taking him to the library so
he could research the history and
geography, said Levon Helm,
the Bands only American, whose
gritty vocal evoked the interior
struggle of someone trying to
make sense of a lost cause like,
in 1969, the war in Vietnam.
Appears on: The Band (Capitol)
Robbie Robertsons
lyrics for The
Night They Drove
Old Dixie Down

{ 250}
LISTEN
16 WEEKS
NO. 2
Hot Fun in the

Summertime
SLY AND THE FAMILY STONE
Writer: Sly Stone

Producer: Stone
Released: Aug. 69, Epic
Summer was already under

way when Stone handed in this
heavenly soul ballad to Epic,
which was wary of releasing a
summer song in August but it
was a smash anyway. The single
came out just before the Family
Stone performed at Woodstock
they were the rst band to sign up
for the historic festival. Michael
Jackson later bought the rights
to the song.
Appears on: Greatest Hits (Epic)
{ 251 } { 252 }
LISTEN LISTEN
12 WEEKS 12 WEEKS
NO. 36 NO. 2
Rappers Delight Chain of Fools

SUGARHILL GANG ARETHA FRANKLIN
Writers: S. Robinson, H. Jackson, Writer: Don Covay

M. Wright, G. OBrien Producer: Jerry Wexler
Producer: Sylvia Robinson Released: Nov. 67, Atlantic
Released: Oct. 79, Sugar Hill
The second of four hits from
Master Gee, Wonder Mike and 1968s Lady Soul, this kiss-
Big Bank Hank were a pure stu- off was written by Covay as a
dio creation, a trio of unknown straight blues about eld hands
MCs recruited by Sugar Hills in the South. Covay reworked
Sylvia Robinson to make raps the lyrics for Franklin; producer
rst radio hit. Based on a sam- Wexler cooked up the propulsive
ple of Chics Good Times, the stomp. When songwriter Ellie
track with raps about bad food Greenwich heard the track in
instead of boasting kept going Wexlers oce, she suggested an
hip-hop, hippity-to-the-hop for extra vocal-harmony part, which
15 minutes. Wexler got her to sing on the
Appears on: Rappers Delight: The Best of nal master.
Sugarhill Gang (Rhino) Appears on: Lady Soul (Rhino)
Chain of Fools
was originally
written about
eld hands
in the South.
{ 253 } {254}
LISTEN
8 WEEKS PREDATES
NO. 61 CHART
Paranoid Money Honey

BLACK SABBATH THE DRIFTERS
Writers: Geezer Butler, Tony Iommi, Writer: Jesse Stone

Ozzy Osbourne, William Ward Producers: Ahmet Ertegun,
Producer: Rodger Bain Jerry Wexler
Released: Nov. 70, Warner Bros. Released: Sept. 53, Atlantic
After Sabbaths rst U.S. tour, The Drifters were a tough R&B
Iommi was at Regent Studios group led by the great soul singer
in London trying to write one Clyde McPhatter. After McPhatter
more song for their next album. got drafted in 1954, the Drifters
I started ddling about on the enjoyed pop success with a totally
guitar and came up with this dierent lineup. Sadly, McPhatter
riff, he said. When the oth- drank himself to death in 1972,
ers came back [from lunch], before reaching 40.
we recorded it on the spot. Appears on: Greatest Hits (Curb)
Appears on: Paranoid (Castle)

FROM LEFT: KEVIN MAZUR/WIREIMAGE; LFI
Ozzy Osbourne in 2009

{ MY TOP 10 }
Ozzy Osbourne
1. A Day in the Life 8. Ashes to Ashes
The Beatles David Bowie
It takes me back to a magical Bowie has always been an
time in my life. amazing visual artist, but
hes always backed it up
2. Imagine John Lennon with great songs.
This song will never get old
for me. 9. Dazed and Confused
Led Zeppelin
3. Live and Let Die My world stood still the rst
Paul McCartney and Wings time I heard this.
A fucking great song. I love it!
10. Goodbye Yellow
4. Money Pink Floyd Brick Road Elton John
Reminds me of my LSD days. Great melody. Great lyrics.
Im just glad I survived. Great song. I love Elton John!
5. Mississippi Queen
Mountain
This one brings back memo-mo-
our
ries of my very rst U.S. tour
with Black Sabbath.
6. Hey Jude
The Beatles
Hands-down one of
the greatest songs ever
written.
7. Yesterday
The Beatles
I would have loved to havee
r-
heard the working-title ver-
sion, Scrambled Eggs. Pink
Floyd
{ 255 } { 256 }
LISTEN LISTEN
26 WEEKS 11 WEEKS
NO. 1 NO. 37
Mack the Knife All the Young Dudes

BOBBY DARIN MOTT THE HOOPLE
Writers: Marc Blitzstein, Bertolt Brecht, Writer: David Bowie

Kurt Weill Producer: Bowie
Producer: Ahmet Ertegun Released: July 72, Columbia
Released: March 59, Atco
U.K. hard-rock band Hoople had
Darin rst hit in 1958 with the already passed up Suragette
rock & roll bathtub classic Splish City, so they didnt say no when
Splash. But he changed his Bowie oered to let them record
image with this hepcat version of Dudes, the ultimate glam-rock
a morbid tale from Weills Three- hymn. Im thinking, He wants
penny Opera, which dates back to to give us that? said drum-
1928. Darin came on as a nger- mer Dale Grin. He must be
snapping sophisticate at home crazy! Ian Hunter made it an-
in the cocktail lounge, scatting themic, contrary to the writers
over a jazzy groove; it was easy apocalyptic intent. [Its] about
to forget he was singing about a the news, Bowie told RS. Its no
bloodthirsty Berlin gangster. hymn to the youth.
Appears on: Thats All (Atlantic) Appears on: All the Young Dudes (Columbia)
It was easy to
forget Darin was
singing about a
bloodthirsty
Berlin gangster.

{ 257 } {258}
LISTEN
DID NOT 10 WEEKS
CHART NO. 47
Paranoid Android Highway to Hell

RADIOHEAD AC/DC
Writer: Thom Yorke Writers: Angus Young, Malcolm Young,

Producers: Nigel Godrich, Radiohead Bon Scott
Released: May 97, Capitol Producer: Robert John Lange
Released: Aug. 79, Atlantic
Paranoid Android is about the
dullest fucking people on Earth, Ive been on the road for 13
said singer Yorke, referring to lyr- years, AC/DC singer Scott said
ics such as Squealing Gucci little in 1978. Planes, hotels, group-
piggy, about a creepy coked-out ies, booze . . . they all scrape
woman he once spied at an L.A. something from you. Pumped
bar. The sound was just as un- up by producer Mutt Lange,
nerving: a shape-shifting three- Highway is the last will and
part prog-rock suite. Spooky testament of Scott: When he
fact: It was recorded in actress yells, Dont stop me, right be-
Jane Seymours 15th-century fore Angus Youngs guitar solo,
mansion, a house that Yorke was its clear that no one could he
convinced was haunted. drank himself to death in 1980.
Appears on: OK Computer (Capitol) Appears on: Highway to Hell (Atlantic)
STEVE DOUBLE/RETNA UK/LANDOV
Paranoia strikes deep:

Radioheads Colin
Greenwood, Ed
OBrien, Thom Yorke,
Phil Selway and
Jonny Greenwood
(from left) in 1997.
{ 259 } { 260 }
LISTEN LISTEN
21 WEEKS NON-
NO. 1 SINGLE
Heart of Glass Mississippi

BLONDIE BOB DYLAN
Writers: Deborah Harry, Chris Stein Writer: Dylan

Producer: Mike Chapman Producer: Jack Frost
Released: Sept. 78, Chrysalis Released: Sept. 01, Columbia
Blondie singer Harry and gui- Dylan rst recorded Mississippi

tarist Stein, her boyfriend, for 1997s Time Out of Mind, but
wrote the song as Once I Had he hated producer Daniel Lanois
a Love in their dingy New York busy arrangement. This version,
apartment; keyboardist Jimmy produced pseudonymously by
Destri provided the synthesizer Dylan, has a sturdy, straight-
hook. The result brought punk forward groove. Polyrhythm
and disco together on the dance doesnt work for knifelike lyrics
floor. Chris always wanted to about majesty and heroism, he
do disco, Destri said. Not all of said.
their rock fans agreed. We used Appears on: Love and Theft (Columbia)
to do Heart of Glass to upset

people, he added.
Appears on: Parallel Lines (Capitol)
Heart of Glass
brought punk and
disco together on
the dance floor.

{ 261 } { 262 }
LISTEN LISTEN
11 WEEKS 11 WEEKS
NO. 1 NO. 9
Wild Thing I Can See for Miles

THE TROGGS THE WHO
Writer: Chip Taylor Writer: Pete Townshend

Producer: Larry Page Producer: Kit Lambert
Released: June 66, Atco/Fontana Released: Oct. 67, Decca
When Taylor demod this three- I sat down and made it good
chord monster in 1965, he didnt from the beginning, Townshend
take it too seriously: I was on said of the Whos most volcanic
the oor laughing when I was studio single in his rst Rolling
through. But after a new U.K. Stone interview. Written in
band called the Troggs got hold 1966, Miles was painstaking-
of it, Wild Thing became a ly built in London and L.A. on
bar-band standard. Said Taylor, rare days o from touring in the
Its still inspired, even in its own summer of 67, with Townshend
dumbness. piling on multiple guitars to
Appears on: Greatest Hits (Prime Cuts) replicate his onstage amp howl.
That fury powered the song into
the U.S. Top 10.
Appears on: The Who Sell Out (MCA)
{ 263 }
LISTEN
11 WEEKS
NO. 10
Oh, What a Night

THE DELLS
Writers: Marvin Junior, John Funches

Producer: Bobby Miller
Released: Aug. 69, Cadet
Pioneering Chicago R&B quin-

tet the Dells scored a regional hit
with this song in 1956. But bass
vocalist Chuck Barksdale wasnt
on the record, so 13 years later, he
persuaded the group to remake
Night and included his own
opening monologue, along with a
more sumptuous groove, an eerie
guitar stab and heart-stopping
strings. I think a little ego got in-
volved there, he said.
Appears on: Ultimate Collection (Hip-O)
CORBIS

{ 264 }
LISTEN
NON-
SINGLE
Hallelujah
JEFF BUCKLEY
Writer: Leonard Cohen

Producer: Andy Wallace
Released: Aug. 94, Columbia
During his famed early gigs at

the New York club Sin-, Buckley
used to break hearts with his
version of this Cohen prayer.
Buckley called it a homage to
the hallelujah of the orgasm and
had misgivings about his sensu-
ous rendition: I hope Leonard
doesnt hear it. On his posthu-
mous live album Mystery White
Boy, Buckley turns Hallelujah
into a medley with the Smiths I
Know Its Over.
Appears on: Grace (Columbia)
State of Grace:
Jeff Buckley in 1995
{ 265 } { 266 }
LISTEN LISTEN
14 WEEKS 11 WEEKS
NO. 4 NO. 16
Higher Ground Ooo Baby Baby

STEVIE WONDER SMOKEY ROBINSON
AND THE MIRACLES
Writer: Wonder
Producer: Wonder Writers: Robinson, Warren Moore
Released: Aug. 73, Tamla Producer: Robinson
Released: March 65, Tamla
Wonder wrote, produced and
played every instrument on Robinson called this ballad
Higher Ground, which was re- his national anthem, noting,
corded just before he was in- Wherever we go, its the one song
volved in a near-fatal car acci- that everybody asks for. Baby
dent in August 73 no, he wasnt has what may be his most deli-
driving that left him in a coma. cate and wounded vocal. When
Early in Wonders recovery, his Robinson sighs the line Im cry-
road manager tried to revive ing, its a reminder that no mat-
him by singing the melody of ter how many vocalists keep
Ground into the singers ear; covering his songs, nobody sings
Wonder responded by moving Smokey like Smokey.
his ngers with the music. Appears on: Ooo Baby Baby: The Anthology
Appears on: Innervisions (Motown) (Motown)
Wonder wrote,
produced and
played every
instrument on
Higher Ground.

{ 267 } { 268 }
LISTEN LISTEN
18 WEEKS DID NOT
NO. 1 CHART
Hes a Rebel Sail Away

THE CRYSTALS RANDY NEWMAN
Writer: Gene Pitney Writer: Newman

Producer: Phil Spector Producer: Lenny Waronker
Released: Aug. 62, Philles Released: June 72, Reprise
The Crystals were from Brook- Singers from Ray Charles to Etta
lyn, but Spector was in Los An- James covered this portrait of
geles to record Hes a Rebel. So America from the perspective of
he recorded this celebration of a slave trader. As usual for New-
teenage bad boys with Darlene man, it combines lush melody
Love and the Blossoms under with painful satire. One thing
the Crystals name. A sobering with my music, he said, you
footnote: Spector was just 21 cant sit and eat potato chips, and
years old. have it on in the background at a
Appears on: Best of the Crystals (ABKCO) party.
Appears on: Sail Away (Rhino)
RAY AVERY/REDFERNS/GETTY IMAGES

{ 269 } 11 wEEkS
No. 23
Walking in the Rain

The RoneTTes
writers: Barry Mann, Cynthia Weil,

Phil Spector
Producer: Spector
Released: Oct. 64, Philles
Just as the rst wave of British

Invasion bands threatened to
overtake Spector at the top of
the pop charts, the producer
responded with Walking in the
Rain. The dreamy ballad fea-
tures Veronica Ronnie Ben-
nett singing lead. She nailed the
vocal on the rst take unheard
of in Spectors world. Bennett
and Spector were married two
years later.
Appears on: The Best of the Ronettes
(ABKCO)
Spector with the

Ronettes at
L.A.s Gold Star
Studios, 1963
{ 270 } { 271 }
LISTEN LISTEN
15 WEEKS DID NOT
NO. 1 CHART
Tighten Up Personality Crisis

ARCHIE BELL NEW YORK DOLLS
AND THE DRELLS
Writers: David Johansen,
Writers: Bell, Billy Butler Johnny Thunders
Producer: Skipper Lee Frazier Producer: Todd Rundgren
Released: March 68, Atlantic Released: Aug. 73, Mercury
After Bell got his draft notice No song better captured the
in May 67, he wanted to record New York Dolls glammed-out
with his group, the Drells, before R&B than Personality Crisis,
he got shipped o to Vietnam. the opening track on the groups
He pulled out Tighten Up, one debut. Produced by Todd Rund-
of the groups old demos. Bell gren during an eight-day ses-
got shot in the leg in Vietnam; sion, Crisis was the trashy
the record went to Number One sound of a meltdown (Frustra-
while he was in a military hospi- tion and heartache is what you
tal, trying to convince people the got); soon after, the Dolls fell
song on the radio was his. victim to one themselves and
Appears on: Tightening It Up: The Best dissolved amid a haze of drugs.
of Archie Bell and the Drells (Rhino) Appears on: New York Dolls (Mercury)
Bell got shot in the

leg in Vietnam;
Tighten Up went
to Number One
while he was in a
military hospital.
{ 272 } { 273 }
LISTEN LISTEN
DID NOT 25 WEEKS
CHART NO. 11
Sunday Jesus Walks

Bloody Sunday KANYE WEST
U2
Writers: Kanye West, Rhymefest
Writers: Bono, the Edge, Producer: West
Adam Clayton, Larry Mullen Jr. Released: Feb. 04, Roc-a-Fella
Producer: Steve Lillywhite
Released: March 83, Island If I talk about God, my record
wont get played, West rapped on
This rallying cry set to a military Jesus Walks, a gospel testimo-
beat was inspired by two Sun- nial that samples the ARC Choir,
day massacres in the ongoing a Harlem group composed of re-
civil war between Irish Catho- covering drug addicts. Kanye
lics and Protestants in Northern was wrong: The song, in which
Ireland. The band changed the the colossally cocky West admits
songs opening line from Dont that he needs Jesus like Kathie
talk to me about the rights of the Lee needs Regis, blew up on the
IRA to I cant believe the news charts, making it the rare pop hit
today out of fear that its plea for to name-check the Messiah.
peace would be misconstrued. Appears on: The College Dropout
Appears on: War (Island) (Roc-a-Fella)

BANDPHOTO/UPPA/ZUMA
College boy:
Kanye West
in London,
May 2004
{ 274 } { 275 }
LISTEN LISTEN
DID NOT DID NOT
CHART CHART
Roadrunner He Stopped Loving

THE MODERN LOVERS Her Today
GEORGE JONES
Writer: Jonathan Richman
Producer: John Cale Writers: Bobby Braddock,
Released: Oct. 76, Beserkley Curly Putnam
Producer: Billy Sherrill
Boston native Richman was ob- Released: March 80, Epic
sessed with the Velvet Under-
ground; when he started his Dogged by alcohol problems,
own band, he rewrote the Vel- debt and a messy divorce, for-
vets Sister Ray into an ecstat- mer country star Jones was
ic two-chord tribute to cruis- set for a comeback after he left
ing down the highway with the rehab in 1980. So he record-
radio on. This 1972 recording ed one of his great heartbreak
(featuring future members of ballads, a tune about a man
Talking Heads and the Cars) whose devotion ends with his
wasnt released for more than death. Jones nuanced perfor-
three years whereupon Eng- mance was a hit on the country
lish punks fell in love with it. charts and won him a Grammy.
Appears on: The Modern Lovers (Rhino) Appears on: I Am What I Am
(Epic/Legacy)

{ 276 } { 277 }
LISTEN LISTEN
11 WEEKS 16 WEEKS
NO. 3 NO. 2
Sloop John B Sweet Little Sixteen

THE BEACH BOYS CHUCK BERRY
Writer: Traditional, Brian Wilson Writer: Berry

Producer: Wilson Producers: Leonard and Phil Chess
Released: March 66, Capitol Released: Jan. 58, Chess
Wilson got turned onto the Ba- Sixteen celebrated kids, Amer-
hamian folk song The Wreck ica, and the power of rock & roll
of the John B. by Al Jardine. an ode to an underage rock fan
For the Boys version, Wilson in high-heeled shoes that includ-
added elaborate vocals and Billy ed a roll call of U.S. cities. The
Stranges 12-string-guitar part. Beach Boys tted the song with
He also changed This is the new words and called it Surf-
worst trip since Ive been born to in U.S.A.; Berry threatened to
. . . Ive ever been on a wink to sue and won a writing credit.
acid culture. Appears on: The Anthology (Chess)
Appears on: Pet Sounds (Capitol)

{ 278 } { 279 }
LISTEN LISTEN
16 wEEkS 15 wEEkS
No. 3 No. 5
Something Somebody to Love

the beAtles Jefferson AirplAne
writer: George Harrison writer: Darby Slick

Producer: George Martin Producer: Rick Jarrard
Released: Oct. 69, Apple Released: Feb. 67, RCA
Harrison wrote Something Somebody was about doubt

near the end of the White Album and disillusionment, according
sessions (one placeholder lyric: to Darby Slick, who wrote it in
Something in the way she moves/ the Great Society. His sister-in-
Attracts me like a cauliower). law Grace brought the song to
It was too late to squeeze it onto the Airplane, whose hard-edged
the disc, so he gave it to Joe Cock- rendition became one of the S.F.
er. The Beatles cut a new version scenes first hits. The Airplane
the next year with a string sec- made buttons that read jeer-
tion, which would become a stan- son airplane loves you; Great
dard recorded by everyone from Society countered with ones that
Frank Sinatra to Ray Charles. said the great society really
Appears on: Abbey Road (Apple) doesnt like you much at all.
Appears on: Surrealistic Pillow (RCA)
Springsteen on
the Born in the
U.S.A. tour, 1984

{ 280 } { 281 }
LISTEN LISTEN
17 WEEKS 15 WEEKS
NO. 9 NO. 1
Born in the U.S.A. Ill Take You There

BRUCE SPRINGSTEEN THE STAPLE SINGERS
Writer: Springsteen Writer: Alvertis Isbell (Al Bell)

Producers: Springsteen, Jon Landau, Producer: Bell
Chuck Plotkin, Steve Van Zandt Released: June 72, Stax
Released: June 84, Columbia
It was a good days work at Stax
Before it became the centerpiece in 1971 when the Staples cut both
of Springsteens biggest album, Respect Yourself and Ill Take
U.S.A. was an acoustic protest You There. The latter a funk
song meant for Nebraska. But vamp promising heavenly or sex-
when Springsteen revived it with ual devotion, depending on your
the E Street Band, Roy Bittan perspective was written on the
came up with a huge synth ri, spot, said bassist David Hood.
and Max Weinberg hammered We always tried to do materi-
out a beat like he was using M-80s al that was inspirational, said
for drumsticks. We played it Roebuck Pop Staples, in ad-
two times, and our second take dition to whatever else it was.
is the record, Springsteen said. Appears on: Bealtitude: Respect Yourself (Stax)
Appears on: Born in the U.S.A. (Columbia)

LYNN GOLDSMITH/CORBIS
{ 282} { 283}
LISTEN LISTEN
NON- 8 WEEKS
SINGLE NO. 71
Ziggy Stardust Pictures of You

DAVID BOWIE THE CURE
Writer: Bowie Writers: Robert Smith, Simon Gallup,

Producers: Ken Scott, Bowie Boris Williams, Porl Thompson, Roger
Released: June 72, RCA ODonnell, Lol Tolhurst
Producers: Smith, David M. Allen
I wasnt at all surprised Ziggy Released: May 89, Elektra
Stardust made my career, Bowie

told Rolling Stone. I pack- Most love songs are just calcu-
aged a totally credible plastic rock lated attempts at commercial
star. This glam power ballad told exploitation theyre not any-
the story of his most famous alter thing to do with love as I under-
ego over Mick Ronsons ash gui- stand it, said Cure leader Smith.
tars. Bowie and Ziggy became After the relatively cheerful
so inextricably linked that Bow- pop songs of Kiss Me, Kiss Me,
ies over-the-top manager, Tony Kiss Me, he wanted to write the
Defries, demanded that all his Cures heaviest songs yet. With
employees get Ziggy haircuts. this epic of cascading synths and
Appears on: The Rise and Fall of Ziggy Stardust broken dreams, he succeeded.
and the Spiders From Mars (Virgin) Appears on: Disintegration (Elektra)
Ziggy Stardust
made my career,
Bowie told RS.

{ 284 } { 285}
LISTEN LISTEN
13 WEEKS 16 WEEKS
NO. 1 NO. 3
Chapel of Love Aint No Sunshine

THE DIXIE CUPS BILL WITHERS
Writers: Jeff Barry, Ellie Greenwich, Writer: Withers

Phil Spector Producer: Booker T. Jones
Producers: Jerry Leiber, Mike Stoller, Released: July 71, Sussex
Barry, Greenwich
Released: June 64, Red Bird When the 31-year-old Withers
recorded Sunshine, he was still
Spector took two cracks at reworking at a factory making toi-
cording Chapel, but the let seats for 747s. He intended
Ronettes and Crystals left him to write more lyrics for the part
at. Leiber and Stoller took it to where he repeats the phrase I
the novice Dixie Cups; the hope- know 26 times, but the other
ful harmonies were just what the musicians told him to leave it.
nuptial ditty called for. Appears on: Lean on Me: The Best of Bill
Appears on: The Best of the Girl Groups, Vol. 1 Withers (Columbia/Legacy)
(Rhino)
{286}
LISTEN
20 WEEKS
NO. 76
Seven Nation Army

THE WHITE STRIPES
Writer: Jack White

Producer: White
Released: April 03, V2/Third Man
Jack White used an eects pedal

to make his guitar sound like
a bass for this howling anthem
about rage and paranoia. The re-
sult was the greatest ri of the
2000s and a massive, career-
changing hit that has been cov-
ered by everyone from Metallica
to the University of South Ala-
bama marching band. As for the
title, Thats what I called the Sal-
vation Army when I was a kid,
White told Rolling Stone.
Appears on: Elephant (V2/Third Man)
Jack and Meg

White in the
Netherlands,
January 2001

{ 287 }
LISTEN
17 WEEKS
NO. 1
You Are the

Sunshine of My Life
STEVIE WONDER
Writer: Wonder
Producer: Wonder
Released: Nov. 72, Tamla
Wonder originally wrote and re-

corded Sunshine while he was
nishing his 1972 LP Music of
My Mind, but he decided to hang
on to it until his next album,
Talking Book. He had written
the song for future wife Syree-
ta Wright, who had met Won-
der at the Motown oces, where
she was a secretary. The cut was
Talking Books second Number
One hit, following Superstition.
Appears on: Talking Book (Tamla)
COLLEXXX - LEX VAN ROSSEN/REDFERNS/GETTY IMAGES
{ 288 } { 289 }
LISTEN LISTEN
19 WEEKS 25 WEEKS
NO. 7 NO. 1
Help Me Call Me
JONI MITCHELL BLONDIE
Writer: Mitchell Writers: Giorgio Moroder,

Producer: Mitchell Deborah Harry
Released: Feb. 74, Asylum Producer: Moroder
Released: Feb. 80, Chrysalis
I had attempted to play my
music with rock & roll players, The main reason Blondie re-
Mitchell said in 1979. Theyd corded Call Me for the Rich-
laugh, Aww, isnt that cute? Shes ard Gere ick American Gigo-
trying to tell us how to play. It lo was to work with their hero,
took a jazz group Tom Scotts Euro-disco producer Moroder.
L.A. Express to realize her big- He was the king of disco, Harry
gest hit, a swooning confession said. And we were still the an-
of love trouble complete with ti-establishment invaders. Mo-
swirling sax break. One rocker, roders rst choice for a vocal-
Prince, loved the song so much ist was Stevie Nicks, but Harrys
he quoted it on The Ballad of New Wave edge helped make the
Dorothy Parker. song the biggest seller of 1980.
Appears on: Court and Spark (Elektra) Appears on: Best of Blondie (Chrysalis)
We used to sit out in the coun

said Howlin Wolf. That w

{ 290 } { 291 }
LISTEN LISTEN
NON- DID NOT
SINGLE CHART
(Whats So Funny Smokestack

Bout) Peace, Love Lightning
and Understanding HOWLIN WOLF
Writer: Chester Burnett

ELVIS COSTELLO AND Producers: Leonard and Phil Chess,
THE ATTRACTIONS Willie Dixon
Writer: Nick Lowe
Released: March 56, Chess
Producer: Lowe
Released: Jan. 79, Columbia
This was based on Wolfs Cry-
Whats So Funny was written by ing at Daybreak, recorded years
Lowe, Costellos pal and produc- earlier and itself modeled on
er. The original, by Lowes coun- Charley Pattons Moon Going
try-rock band Brinsley Schwartz, Down. The inspiration, said
was mellow and cute, but Costel- Wolf, was watching trains cut
lo snarls the song intensely through the night: We used to
enough to make the title ques- sit out in the country and see the
tion seem brand-new, with thun- trains go by, watch the sparks
dering drums and droning piano. come out of the smokestack.
Its like Abba playing punk rock. That was smokestack lightning.
Appears on: Armed Forces (Rhino) Appears on: His Best (Chess)
ntry and see the trains go by,

was smokestack lightning.
{ 292 } { 293 }
LISTEN LISTEN
DID NOT 16 WEEKS
CHART NO. 4
Summer Babe Walk This Way

(Winter Version) RUN-DMC
PAVEMENT
Writers: Steven Tyler, Joe Perry
Writer: Stephen Malkmus Producers: Rick Rubin,
Russell Simmons
Producers: Malkmus, Scott Kannberg
Released: May 86, Profile
Released: April 92, Drag City
Malkmus and Kannberg cut this Run-DMC pioneered the use of

tender pop tune about a sum- rock guitar in hip-hop with the
mer crush in the garage studio tracks Rock Box and King of
of their hippie drummer, Gary Rock. But this Aerosmith cover
Young. We didnt know how to with help from Tyler and Perry
record, Malkmus confessed. was a crossover smash, estab-
We used reverb on the drums lishing a blueprint for scores of
the cheapest, worst reverb ever. metal-rap mash-ups. For Run,
Malkmus said he was trying to though, it was just another day
sound like Lou Reed, singing rhyming. I made that record be-
about sad boy stu. cause I used to rap over it when I
Appears on: Slanted and Enchanted (Matador) was 12, he told Rolling Stone.
Appears on: Raising Hell (Arista)
EBET ROBERTS/REDFERNS/GETTY IMAGES
Kings of rock: Jam

Master Jay, Run and
DMC (from left)
on their home turf,
Hollis, Queens, 1986

{ 294 } { 295 }
LISTEN LISTEN
17 wEEkS 10 wEEkS
No. 23 No. 1
Money Cant Buy Me Love

(Thats What I Want) The BeaTles
BarreTT sTrong
Paul McCartney
writers: Berry Gordy, Janie Bradford
Producer: Gordy
Released: March 64, Capitol
Released: Jan. 60, Anna

Thesessionslastedmorethan40 Cant Buy Me Love is my at-
takesandseveraldays,butGordy tempt to write [in] a bluesy
didntcare:Itwastherstsong mode,McCartneysaid.Hewrote
cut in his Hitsville USA studio, itwhilethebandwasdoingcon-
and there were no bills to pay. certsinParisfor18daysstraight,
Withahowlingvocaloveralive two or three shows a day. The
band, this was gutbucket R&B, singlewasreleasedafewmonths
far more raw than the Motown later,attheheightofBeatlema-
hitsthatfollowed.Butwhenitbe- nia. When it hit Number One,
cameGordysrsthit,itprovided thebandoccupiedallvetoppo-
themoneytopayforthem. sitionsontheAmericancharts.
appears on: Motown: The Classic Years appears on: A Hard Days Night (Capitol)
(Polygram)
I gave 100
copies of Amy
Winehouses
first album to
my friends.
SACHA LECCA

You watch and wish that you

{ MY TOP 10 } could have the same effect.
?uestlove 5. When Doves Cry Prince

A stark-naked track from an oft-
stark-naked (semi, at least) artist
made me see the future paved
in purple.
1. Dont Stop Til You Get
Enough Michael Jackson 6. Rebel Without a Pause
That symbolic ooh!! was the Public Enemy
line that separated the mum- Quite possibly the nest middle
bling, insecure, isolated, bashful nger modern music has given
teen from the 20-year-old man the establishment.
on a mission.
7. Living for the City
2. The Message Grandmaster Stevie Wonder
Flash and the Furious Five In eight minutes, Stevie accom-
My sister and I looked at each plishes something which would
other, with the chill of awaiting take the average person an
punishment from Mom and Dad. album to achieve.
Dirty streets, junkies, paranoia,
murder, guns and this was just 8. Roxanne The Police
the rst verse. There will always be a special
place in my heart for the Polices
3. Cold Sweat James Brown raggarockgumbocombo.
Soul music slowed down. New
word invented: funk. And the 9. Rehab Amy Winehouse
drummer gets some rst. Bout I gave 100 copies of the LP away
damn time. to my pals, just knowing this
was gonna be the ?uesto inside
4. Rappers Delight secret of the year.
The Sugarhill Gang
The blueprint: 1) Svengali puts 10. Fuck Tha Police
band together; 2) makes song N.W.A
based on the most popular song Deadpan oomph, with just a
of that moment; 3) tells tall tales tad of over-the-top antics to
of possessions you dont have in strike a nerve with the govern-
real life; 4) extends it for as long ment, awaken the streets and
as she can (15 minutes?!?!) so as become the last group your
to not stop the party a-rockin; suburban, red-state parents
5) record revolutionizes music. warned you about.
{ 296 } { 297 }
LISTEN LISTEN
15 WEEKS 15 WEEKS
NO. 51 NO. 2
Stan Shes Not There

EMINEM FEAT. DIDO THE ZOMBIES
Writers: Marshall Mathers, Writer: Rod Argent

D. Armstrong, P. Herman Producer: Ken Jones
Producers: Eminem, the 45 King Released: Oct. 64, Parrot
Released: March 00, Aftermath
With Colin Blunstones gauzy
Stan was Eminems scariest vocals and Argents scampering
song, because for once the hor- piano, Shes Not There was one
ror seemed real. Anchored by a of the British Invasions jazziest
sample from Didos Thank You singles. Argent was a fan of Elvis
(which became a hit itself), it fol- and the Beatles, but also Miles
lowed an obsessed fan who acts Davis, who became a subcon-
out Ems fantasies. Hes crazy scious inuence. When I wrote
for real, and he thinks Im crazy, and played Shes Not There, the
but I try to help him at the end of last thing on my mind was jazz
the song, said Eminem. It kinda or Miles, says Argent, but those
shows the real side of me. things ltered through.
Appears on: The Marshall Mathers LP Appears on: British Invasion: 1963-1967
(Aftermath/Interscope) (Hip-O)
Stans crazy for real, a

but I try to help him out i
It kinda shows th

{298} { 299}
LISTEN LISTEN
14 WEEKS 19 WEEKS
NO. 23 NO. 11
Train in Vain Tired of Being Alone

THE CLASH A L GREEN
Writers: Mick Jones, Joe Strummer Writer: Green

Producer: Guy Stevens Producers: Willie Mitchell, Green
Released: Dec. 79, Epic Released: July 71, Hi
Train In Vain was the hidden After a show in Detroit, Green

track at the end of the Clashs woke up before dawn the next
London Calling, unlisted on the day at a motel in rural Michi-
sleeve or on the label. It didnt gan with a song forming in his
even have a proper title; fans mind. Half an hour later, he
initially assumed it was called had Tired of Being Alone. But
Stand By Me, after the cho- Mitchell wasnt much interested
rus. But it became a surprise hit in Greens own material. I was
in America, thanks to its hard- toting my song around in my
charging drums and weary vo- pocket for days on end, saying,
cals from guitarist Jones, who Hey, I got a song, Green said.
wrote the bitter love song in his Finally, at the end of the session,
grandmothers at. I said, Well, I still got a song.
Appears on: London Calling (Epic) Appears on: Greatest Hits (Capitol)
and he thinks Im crazy,

in the end, said Eminem.
he real side of me.
{ 300} { 301 }
LISTEN LISTEN
12 WEEKS 6 WEEKS
NO. 15 NO. 48
Black Dog Street Fighting Man

LED ZEPPELIN THE ROLLING STONES
Writers: Jimmy Page, Robert Plant, Writers: Mick Jagger, Keith Richards
John Paul Jones Producer: Jimmy Miller
Producer: Page Released: Aug. 68, London
The Stones most political song
A dog meandering the grounds came about after Jagger went
outside Zeppelins studio in rural to a March 1968 anti-war rally
England inspired the title, but at Londons U.S. embassy, with
the subject was honey-dripping mounted police wading into a
sex. Things like Black Dog are crowd of 25,000. The distorted
blatant lets-do-it-in-the-bath- drone was built on acoustic gui-
type things, Plant said, but they tars pumped through a mono
make their point. cassette recorder.
Appears on: Led Zeppelin IV (Atlantic) Appears on: Beggars Banquet (ABKCO)

{ 302} { 303}
LISTEN LISTEN
DID NOT 14 WEEKS
CHART NO. 1
Get Up, Stand Up Heart of Gold

BOB MARLEY AND NEIL YOUNG
THE WAILERS
Writer: Young
Writers: Bob Marley, Peter Tosh Producers: Elliot Mazer, Young
Producer: Chris Blackwell Released: Feb 72, Reprise
Released: Nov. 75, Island
Before he started Harvest, in
The songs chorus (Stand up for 1971, Young suered a slipped
your right . . ./Dont give up the disc and spent two years in and
ght) sounds like a political an- out of hospitals: I couldnt phys-
them, which is how Amnesty In- ically play an electric guitar, he
ternational still employs it at ral- told Rolling Stone. So he
lies. But the lyrics are actually cut a collection of mellow tracks
rooted in Rastafarian theology, while he was in Nashville to ap-
about not being pacied by prom- pear on Johnny Cashs variety
ises of the afterlife. The Wailers, show, with a crew of local session
of course, were far from placat- players. The yearning Heart of
ed, especially Tosh, who sings Gold is Youngs only Number
the fire-breathing final verse. One hit.
Appears on: Legend (Island) Appears on: Harvest (Warner Bros.)
A dog meandering
the grounds
outside Zeppelins
studio in rural
England inspired
Black Dog.
{304 }
LISTEN
14 WEEKS
NO. 3
Sign O the Times

PRINCE
Writer: Prince
Producer: Prince
Released: March 87, Paisley Park
When Prince broke with his

longtime group the Revolu-
tion, he aborted an ambitious,
18-song project called Dream
Factory. One of the songs from
those sessions served as the title
track for Sign O the Times. A
stark socio-political talking-
blues written by Prince using the
pre-programmed sounds on his
synth, it brought Sly Stone-like
realism to Eighties pop radio.
Appears on: Sign O the Times
(Warner Bros.)

{305}
LISTEN
14 WEEKS
NO. 24
One Way or Another

BLONDIE
Writers: Deborah Harry, Nigel Harrison

Producer: Mike Chapman
Released: Sept. 78, Chrysalis
Blondie were already stars in

Europe, but they didnt blow
up here until their hit-packed
third disc. One Way was Har-
rys ode to obsessive lust, mix-
ing the girl-group sound with
the attack of the Ramones.
Appears on: Parallel Lines (Capitol)
Harry in 1980: And

if the lights are all
down/Ill see whos
around.
{306} {307 }
LISTEN LISTEN
16 WEEKS 16 WEEKS
NO. 1 NO. 61
Like a Prayer One More Time

MADONNA DAFT PUNK
Writers: Madonna, Patrick Leonard Writers: Thomas Bangalter,

Producers: Madonna, Leonard Guy-Manuel de Homem-Christo,
Released: March 89, Sire Anthony Moore
Producer: Daft Punk
In a voice full of Catholic angst Released: Nov. 00, Virgin
and disco thunder, Madonna

turned 30 and closed the book Some critics panned the use of
on her rst marriage. I didnt a vocoder on this dance-f loor
have the censors on me in terms epiphany, a tribute to 70s disco.
of emotions or music, Madonna But One More Time kicked
said. I did take a lot more chanc- off the Auto-Tune revolution
es with this one, but obviously that would dominate pop in the
success gives you the condence 2000s. The healthy thing is that
to do those things. The obliga- people either loved it or hated it,
tory controversial video featured said Daft Punks Bangalter. The
burning crosses, black lingerie worst thing is when you make art
and masturbation in church. and people are not moved.
Appears on: Like a Prayer (Warner Bros.) Appears on: Discovery (Virgin)
The controversial Like a Pra

crosses, black lingerie and

{ 308} { 309}
LISTEN LISTEN
21 WEEKS 18 WEEKS
NO. 1 NO. 21
Da Ya Think Blue Eyes Crying

Im Sexy? in the Rain
ROD STEWART WILLIE NELSON
Writers: Stewart, Carmine Appice Writer: Fred Rose

Producer: Tom Dowd Producer: Nelson
Released: Dec. 78, Warner Bros. Released: July 75, Columbia
In that rock-disco moment that Nelson had gotten his start writ-
also yielded the Stones Miss ing hits like Crazy for Patsy
You, Stewarts entry was a tale of Cline, but his own breakthrough
lust at rst sight with an irresist- was a cover of an old country
ible hook. But that hook actual- standard written by Rose in 1945
ly wasnt by Stewart and Appice. and originally recorded by Roy
It came from Taj Mahal, by the Acuff. Delivered with Nelsons
Brazilian songwriter Jorge Ben. jazz-singer phrasing, its the beat-
After Ben won a plagiarism law- ing heart of Red Headed Strang-
suit, royalties for the song went er, his 1975 concept album about
to UNICEF. love and death in the Old West.
Appears on: Blondes Have More Fun Appears on: Red Headed Stranger (Sony)
(Warner Bros.)
ayer video featured burning

d masturbation in church.
{ 310} { 311 }
LISTEN LISTEN
12 WEEkS NoN-
No. 1 SINgLE
Ruby Tuesday With a Little Help

T he Rolling sTones From My Friends
The BeaTles
Producer: Andrew Loog Oldham Writers: John Lennon,
Released: Jan. 67, London Paul McCartney
At a session for Between the But- Released: June 67, Capitol
tons in November 1966, Richards
drew this lyrical sketch of Linda As ctional crooner Billy Shears,
Keith, his rst serious girlfriend, Ringo Starr delivers his most
and turned it into an uncharac- charming vocals on this tune.
teristically wistful ballad. Brian Ringos got a great sentimen-
Jones played the recorder on the tal thing, McCartney said. I
track, giving the song a madri- suppose thats why we write
gal feel. The countermelody was these sorts of songs for him.
played by Bill Wyman, who n- appears on: Sgt. Peppers Lonely Hearts Club
gered the strings on a cello while Band (Apple/Capitol)
Richards bowed them.

appears on: Between the Buttons (ABKCO)
Ruby Tuesday
was a sketch of
Keith Richards
first serious
girlfriend.

{ 312 } { 313}
LISTEN LISTEN
11 WEEKS NON-SINGLE
NO. 10 IN THE U.S.
Say It Loud Im Thats

Black and Im Proud Entertainment
JAMES BROWN THE JAM
Writers: Brown, Pee Wee Ellis Writer: Paul Weller

Producer: Brown Producers: Vic Coppersmith-Heaven,
Released: Sept. 68, King the Jam
Released: Nov. 80, Polydor
In 1968, Brown traded his pro-
cessed do for an Afro and start- The Jam had a long run of U.K.
ed writing songs like this an- hits with their mod guitar ash
them. The real stars are Clyde but they were too deantly Brit-
Stubblef ield on drums and ish for U.S. success. The lads hit
the L.A. kids mostly white hardest with this acoustic la-
and Asian-American yell- ment, with Weller brooding over
ing, Im black and Im proud. the heartaches of everyday work-
Appears on: 50th Anniversary Collection ing-class life. His songwriting
(UTV/Polydor) technique? Coming home pissed
from the pub and writing Thats
Entertainment in 10 minutes.
Appears on: Sound Affects (Polygram)
{ 314 } { 315 }
LISTEN LISTEN
21 WEEKS 21 WEEKS
NO. 6 NO. 7
Why Do Fools Lonely Teardrops

Fall in Love JACKIE WILSON
FRANKIE LYMON AND
Writers: Berry Gordy, Gwen Gordy,
THE TEENAGERS Tyran Carlo
Producer: Dick Jacobs
Writers: Lymon, Morris Levy
Released: Nov. 58, Brunswick
Producer: George Goldner
Released: Jan. 56, Gee
One of the rst hits written by
Frankie Lymon was one of rock Motown founder Gordy, Lonely
& rolls first teen prodigies Teardrops set Wilsons plead-
and one of its earliest tragedies. ing vocals over Latin rhythms.
Lymon wrote and sang this hit At a New Jersey casino in Sep-
as a 13-year-old Harlem kid. But tember 1975, Wilson collapsed
the writing credit and money from a heart attack onstage in
went to his label boss, Levy, an the middle of singing Lonely
associate of the Genovese family. Teardrops right at the line
Lymon died a penniless heroin My heart is crying. He sank
addict in 1968 at the age of 25. into a coma and died in 1984.
Appears on: The Best of Frankie Lymon and Appears on: The Greatest Hits of Jackie Wilson
the Teenagers (Rhino) (Brunswick)
Frankie Lymon
was one of rock &
rolls first teen
prodigies and
one of its earliest
tragedies.
{ 316 } { 317 }
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28 WEEKS 10 WEEKS
NO. 1 NO. 52
Whats Love Got Iron Man

to Do With It BLACK SABBATH
TINA TURNER
Writers: Black Sabbath
Writers: Terry Britten, Producer: Roger Bain
Graham Lyle Released: Feb. 71, Warner
Producer: Britten
Released: June 84, Capitol When an accident left guitar-
ist Tony Iommi without the tips
At rst, Turner thought Love of two ngers, it seemed like the
was wimpy. So Britten plugged end of the road for Black Sab-
in his guitar and roughed up the bath. But, inspired by the great,
tune. It was Tinas rst Number handicapped guitarist Djan-
One. go Reinhardt, Iommi fashioned
Appears on: Private Dancer (Capitol) thimbles out of plastic, and de-
veloped a h
heavy playing style that
would dene
de metal forever.
Paranoid (Warner Bros.)
Appears on: Pa
Ozzy
Osbourne
{ 318 } { 319 }
LISTEN LISTEN
26 WEEKS 13 WEEKS
NO. 1 NO. 7
Wake Up Little Susie In Dreams

T HE EVERLY BROTHERS ROY ORBISON
Writers: Felice Bryant, Writers: Joe Melson, Orbison

Boudleaux Bryant Producer: Fred Foster
Producer: Archie Bleyer Released: Feb. 63, Monument
Released: Sept. 57, Cadence
Orbison claimed the lyrics came
Though it sounds quaint today, to him in a dream; he wrote the
Wake Up Little Susie, the tale music once he woke up. It was a
of a teen couple who fall asleep at Top 10 hit in the U.S. but even
a drive-in, stirred up controver- bigger in England. The track
sy in 1957: It was banned in Bos- made him so popular that Orbi-
ton but became the Everlys rst son toured the U.K. with an up-
Number One. In 2000, when and-coming opening act called
candidate George W. Bush was the Beatles. Roys reaction: Ive
asked by Oprah Winfrey what his never heard of them. Next, hed
favorite song was, he said, Wake tour Australia with the Rolling
Up Little Susie, by Buddy Holly. Stones.
Appears on: The Best of the Everly Brothers Appears on: For the Lonely: 18 Greatest Hits
(Rhino) (Rhino)
Orbison claimed the lyrics t

in a dream; he wrote the

{ 320 } { 321 }
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DID NOT DID NOT
CHART CHART
I Put a Spell on You Comfortably Numb

SCREAMIN JAY HAWKINS PINK FLOYD
Writers: Screamin Jay Hawkins, Writers: David Gilmour, Roger Waters

Herb Slotkin Producer: Bob Ezrin
Producer: Arnold Maxin Released: Dec. 79, Columbia
Released: Sept. 56, OKeh
Roger Waters based one of the
Former boxer Jalacy J. Hawkins saddest drug songs ever written
got loaded on muscatel before on a sleazy Philadelphia doctor
shrieking out the hoodoo of Spell who injected him with tranquil-
on You, and it took a healthy izers before a gig when he was
swig of J&B for him to re-create suering from hepatitis. That
his studio performance onstage, was the longest two hours of my
where he climbed out of a cof- life, Waters said. Trying to do
n. The prop was Alan Freeds a show when you can hardly lift
brainstorm; when Hawkins re- your arm. Arguably the great-
sisted, Freed peeled off three est cover of Numb: Van Mor-
$100 bills. I said, Show me risons 1990 version from The
the con, the singer quipped. Wall: Live in Berlin concert.
Appears on: Voodoo Jive (Rhino) Appears on: The Wall (Capitol)
to In Dreams came to him

e music once he woke up.
{ 322}
LISTEN
10 WEEKS
NO. 15
Dont Let Me Be
Misunderstood
THE ANIMALS
Writers: Bennie Benjamin, Sol Marcus,

Gloria Caldwell
Producer: Mickie Most
Released: Jan. 65, MGM
The Animals reworking of this

song radically departed from
Nina Simones orchestrated
down-tempo original version,
recorded the year before. It was
never considered pop materi-
al, but it somehow got passed
on to us and we fell in love with
it, recalled Eric Burdon. Bur-
don would sometimes perform a
slow, Simone-like rendition live.
Appears on: Retrospective (ABKCO)
DENIS OREGAN/CORBIS

{323}
LISTEN
DID NOT
CHART
Alison
ELVIS COSTELLO
Writer: Costello
Producer: Nick Lowe
Released: Nov. 77, Columbia
Some people think Alison is a

murder ballad. It isnt, Costello
told Rolling Stone in 2002.
Its about disappointing some-
body. Its a thin line between love
and hate, as the Persuaders sang.
Costellos backup band was Huey
Lewis outt Clover; Lewis him-
self didnt play on the album, pre-
sumably because Costello didnt
need any harmonica players.
Appears on: My Aim Is True (Rhino)
His aim is true:

Costello in 1977.
{ 324 } { 325 }
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NON- DID NOT
SINGLE CHART
Wish You Were Here Many Rivers to Cross

PINK FLOYD JIMMY CLIFF
Writers: David Gilmour, Roger Waters Writer: Cliff

Producers: Pink Floyd Producer: Cliff
Released: Sept. 75, Columbia Released: Dec. 69, A&M
While Pink Floyd were record- When Jamaican f ilmmaker

ing this elegy for burned-out ex- Percy Henzell heard Many Riv-
frontman Syd Barrett, he myste- ers to Cross, a ballad Jimmy Cli
riously appeared in the studio in wrote in 1969, he oered Cli
such bad shape that, at rst, no- the lead in his lm The Harder
body in the band recognized him. They Come. The song, a hymn
He stood up and said, Right, about struggle and perseverance,
when do I put my guitar on? summed up the outlaw mood of
keyboardist Rick Wright recalled. early reggae. On the strength of
And of course, he didnt have a his songs and acting in the lm,
guitar with him. And we said, Cli became one of reggaes rst
Sorry, Syd, the guitars all done. international stars.
Appears on: Wish You Were Here (Capitol) Appears on: Wonderful World, Beautiful
People (A&M)
Barrett
mysteriously
appeared in the
studio in such bad
shape that, at first,
nobody in the band
recognized him.

{326 } {327 }
LISTEN LISTEN
13 WEEKS 19 WEEKS
NO. 7 NO. 66
Schools Out Take Me Out

ALICE COOPER FRANZ FERDINAND
Writers: Michael Bruce, Glen Buxton, Writers: Alex Kapranos,

Cooper, Dennis Dunway, Neal Smith Nick McCarthy
Producer: Bob Ezrin Producer: Tore Johansson
Released: May 72, Warner Bros. Released: Feb. 04, Domino
The few minutes waiting for Take Me Out put Franz Ferdi-
that nal school bell to ring are nand at the head of a danceable-
so intense that when it happens, rock wave. Clubs [play] a mix of
its almost orgasmic, said Coo- rock and electronic music, sing-
per. Inspired by a Forties Dead er Kapranos said. It makes you
End Kids lm series, the tune think that theres no dierence.
will live for as long as kids really, Appears on: Franz Ferdinand (Domino)
really hate school.

Appears on: Schools Out (Warner Bros.)
JOHN ROGERS/GETTY IMAGES
Franz
Ferdinand
{ 328 }
LISTEN
NON-
SINGLE
Heartbreaker
LED ZEPPELIN
Writers: Jimmy Page, Robert Plant,

John Bonham, John Paul Jones
Producer: Page
Released: Oct. 69, Atlantic
Heartbreaker, like much of

Led Zeppelin II, was recorded
hit-and-run style on Zeps 1969
American tour. The awesome
swagger captures the debauched
mood of the bands wild early
days in L.A. Nineteen years old
and never been kissed, Plant re-
called in 1975. I remember it
well. Its been a long time. Now-
adays were more into staying in
our room and reading Nietzsche.
Appears on: Led Zeppelin II (Atlantic)
Heartbreakers: Jones,
Page, Plant and Bonham
(from left) in 1968

DICK BARNATT/REDFERNS/GETTY IMAGES

{ 329 } { 330}
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NON- DID NOT
SINGLE CHART
Cortez the Killer Fight the Power

NEIL YOUNG PUBLIC ENEMY
Writer: Young Writers: Chuck D, Eric Sadler, Hank

Producers: Young, David Briggs Shocklee, Keith Shocklee
Released: Nov. 75, Reprise Producers: Sadler, Hank Shocklee
Released: June 89, Def Jam
Its weird, Young mused to
Rolling Stone in 1975. Ive The opening credits of Spike
got all these songs about Peru, Lees 1989 Do the Right Thing
the Aztecs and the Incas. Time- feature a masterpiece from the
travel stu. Over a slow, ram- Bomb Squad production team: a
bling Crazy Horse guitar jam, he dissonant call to revolution, with
mourns the Aztec civilization de- a title borrowed from an Isley
stroyed by the Spanish conquis- Brothers funk hit and a groove
tadors. The song ends after seven lifted from the 1972 B side Hot
and a half minutes, only because Pants Road by the J.B.s. Pub-
a circuit blew on the recording lic Enemy direct their rage at
console. The band went on for Elvis Presley, John Wayne and,
another verse. er, Bobby McFerrin.
Appears on: Zuma (Reprise) Appears on: Fear of a Black Planet (Def Jam)
Patti Smith: I think sex

sensations one c

{ 331 } { 332 }
LISTEN LISTEN
DID NOT 13 WEEKS
CHART NO. 1
Dancing Barefoot Baby Love

PATTI SMITH GROUP THE SUPREMES
Writers: Smith, Ivan Kral Writers: Brian Holland,

Producer: Todd Rundgren Lamont Dozier, Eddie Holland
Released: May 79, Arista Producers: Brian Holland, Dozier
Released: Sept. 64, Motown
Smith started as a poet and
Rolling Stone writer before Diana Ross wasnt the strongest
nding fame as a New York punk vocalist in the Supremes, but as
priestess. Dancing Barefoot is the Motown production team
her mystical ode to sexual rap- discovered, when she sang in a
ture. I think sex is one of the ve lower register, her voice worked
highest sensations one can expe- its sultry magic. When this
rience, she said in 1978. A very song was nished, Berry Gordy
high orgasm is a way of com- thought it wasnt catchy enough
munion with our creator. She and sent the group back into the
added that she masturbated to studio. The result: the smoky
her own album-cover photo, as Oooooh right at the start.
well as to the Bible. Appears on: The Ultimate Collection
Appears on: Wave (Arista) (Motown)
x is one of the five highest

can experience.
{ 333} { 334}
LISTEN LISTEN
14 WEEKS 9 WEEKS
NO. 1 NO. 15
Good Lovin Get Up (I Feel Like

T HE YOUNG RASCALS Being a) Sex Machine
Writers: Rudy Clark, Arthur Resnick JAMES BROWN
Producers: Tom Dowd, Arif Mardin
Writers: Brown, Bobby Byrd,
Released: March 66, Atlantic Ron Lenhoff
Producer: Brown
A soulful New York bar band, the Released: July 70, King
Rascals tried to replicate their
jacked-up live rendition of the Engineer Lenho got co-writing
Olympics Good Lovin in the credit mostly because he got out
studio. We werent too pleased of bed and drove ve hours to
with our performance, singer Nashville to record this duet
Felix Cavaliere admitted. It was with former Famous Flame Byrd,
a shock to us when it went to the which Brown wanted cut pronto.
top of the charts. Appears on: 50th Anniversary Collection
Appears on: The Very Best of the (UTV/Polydor)
Rascals (Rhino)

{ 335 } { 336 }
LISTEN
12 WEEKS NON-
NO. 11 SINGLE
For Your The End

Precious Love THE DOORS
JERRY BUTLER AND Writers: John Densmore, Robbie
THE IMPRESSIONS Krieger, Ray Manzarek, Jim Morrison
Producer: Paul Rothchild
Writers: Arthur Brooks, Butler Released: March 67, Elektra
Producer: Calvin Carter
Released: June 58, Falcon
Morrison had worked on a stu-
The spiritual tenor of the vocals dent production of Oedipus Rex
came from the Impressions at Florida State. But his explora-
church roots; Butler and Cur- tion of its sexual taboos took on
tis Mayeld had sung together bold new life in the 11 minutes of
in the Northern Jubilee Gospel The End, which evolved dur-
Singers. The lyrics were drawn ing the Doors live shows at L.A.s
verbatim from a poem Butler Whisky-A-Go-Go. Every time I
had written in high school. The hear that song, it means some-
singles credit Jerry Butler thing else to me, Morrison said
and the Impressions caused in 1969. It could be goodbye to
friction in the group, which But- a kind of childhood.
ler soon left. Appears on: The Doors (Elektra)
Appears on: Greatest Hits (Curb)
Every time I
hear The End, it
means something
else to me,
Morrison said.
The-Dream
Whats the difference between band since I was in third grade,
a good song and a great song? so to me, songwriting means the
Just being good lasts for a mo- same thing it does to a Nashville
ment for a night, maybe into to- writer. But in this genre, youre
morrow. But a great song changes automatically a producer if you
somebodys life. Single Ladies do the music. To do the music
changed the culture, made for and the track is to be the writer.
a conversation, and thats what Once the writing is done, the
every great record does. producing starts. Im lucky to
know the difference and to be
Does that come from the able to do both jobs. That edu-
sound, the story, both? cation about the music didnt
Originality in sound, a great reach this audience.
story line and its got to be
meaningful, every word has to Which writers inspired you?
say something. You dont throw Michael, Lionel Richie, Diane
a word in there just to buy time. Warren, R. Kelly. Denitely Sam
Im known for being repetitive, Cooke, Otis Redding, Smokey
but thats to drive a point home. my mother played those rec-
ords, so theyre special to me,
Can you tell when something theyre a way to remember her
youre writing is turning into since shes not here anymore.
something great? There was such consistency
I can feel it. Before my mouth in the connection between
even utters the words, when I them and the song telling
realize what it is Im going to say, the story from inside their soul
at that moment I know Im going to a strangers ear. And if a
to change someones life with song is innately great, you look
that song. past the singer and ask, Who
How has the relationship wrote that?
changed between producers
and songwriters? The-Dream co-wrote Beyoncs
Urban culture changed what Single Ladies (Put a Ring on It)
producing means. Ive been in a and Rihannas Umbrella.

COURTESY OF DEF JAM
The-Dream
{ 337 } {338}
LISTEN LISTEN
16 WEEKS 14 WEEKS
NO. 12 NO. 52
Thats the Way We Will Rock You

of the World QUEEN
E ARTH, WIND AND FIRE
Writers: Brian May, Mike Stone
Writers: Maurice White, Producers: Queen
Verdine White, Charles Stepney Released: Oct. 77, Elektra
Producer: Maurice White
Released: March 75, Columbia In 1977, Sid Vicious wandered
into the wrong recording stu-
Way of the World was the title dio and ran into Freddie Mer-
song of a little-seen movie star- cury sitting at his piano. Still
ring Harvey Keitel as an ideal- bringing ballet to the masses, are
istic label exec and EWF as the you? snarked Sid. Oh, yes, Mr.
band he wants to produce, rather Ferocious, dear, Freddie replied.
than white-bread pop acts. The We are doing our best. Queen
movie was rereleased as Shin- soon one-upped the punks with
ing Star in 1977, and it opped this foot-stomping, conquering-
again. The song, however, was a army smash, the B side of We
Top Five R&B hit in 1975. Are the Champions.
Appears on: Thats the Way of the World Appears on: News of the World (Hollywood)
(Columbia)
Of all the songs in my career

is the greatest g

{ 339} { 340}
LISTEN LISTEN
20 WEEKS 8 WEEKS
NO. 18 NO. 39
I Cant Make Subterranean

You Love Me Homesick Blues
BONNIE RAITT BOB DYLAN
Writers: Mike Reid, Allen Shamblin Writer: Dylan

Producers: Don Was, Raitt Producer: Tom Wilson
Released: Nov. 91, Capitol Released: March 65, Columbia
Raitt was a Seventies blues prod- Its from Chuck Berry, a bit of
igy who didnt break through Too Much Monkey Business and
until 1989s Nick of Time. Two some of the scat songs of the For-
years later came this cleareyed ties, Dylan said. John Lennon
song about love gone cold. Co- once said of the track that it was
author Reid was a defensive tack- so captivating it made him won-
le for the Cincinnati Bengals be- der how he could ever compete.
fore heading o to Nashville. Of Appears on: Bringing It All Back Home (Sony)
all the songs in my career, that

one is the greatest gift, Raitt
said. I think it stands among the
best songs ever written.
Appears on: Luck of the Draw (Capitol)
r, I Cant Make You Love Me

gift, Raitt said.
{ 341 } { 342 }
LISTEN LISTEN
15 WEEKS NON-
NO. 3 SINGLE
Spirit in the Sky Sweet Jane

NORMAN GREENBAUM THE VELVET UNDERGROUND
Writer: Greenbaum Writer: Lou Reed

Producer: Erik Jacobsen Producers: The Velvet Underground,
Released: Feb. 70, Reprise Shel Kagan, Geoffrey Haslam
Released: Aug. 70, Cotillion
Im just some Jewish musician
who really dug gospel music, After Reed quit the band, a wist-
Greenbaum said. I decided there ful coda was chopped out of this
was a larger Jesus gospel market song. How could anyone be that
out there than a Jehovah one. stupid? Reed asked RS in 1987.
The crunchy guitar sound came If I could have stood it, I would
when a friend built a small fuzz- have stayed with them and
box right into the body of Green- showed them what to do. For
baums Fender Telecaster. years, the only available version
Appears on: Spirit in the Sky (Varese) of the coda was on the 1969 live
LP, but the full Jane appears on
recent reissues.
Appears on: Loaded (Fully Loaded
Edition) (Rhino)

{ 343} { 344}
LISTEN LISTEN
8 WEEKS 25 WEEKS
NO. 28 NO. 1
Wild Horses Beat It

THE ROLLING STONES MICHAEL JACKSON
Writers: Mick Jagger, Keith Richards Writer: Jackson

Producer: Jimmy Miller Producer: Quincy Jones
Released: April 71, Rolling Stones Released: Dec. 82, Epic
Richards wrote this acoustic bal- I wanted to write the type of rock
lad about leaving his wife, Anita, song that I would go out and buy,
and young son Marlon as the said Jackson, but also something
Stones prepared for their first totally different from the rock
American tour in three years. music I was hearing on Top 40
Stones sidekick Ian Stewart re- radio. The result was a throbbing
fused to play the minor chords dance single with a ngers-ying
required, so Memphis musical guitar solo provided by Eddie Van
maverick Jim Dickinson lled in Halen. Im not gonna sit here
on upright piano at the Muscle and tell you what to play, Jones
Shoals, Alabama, recording ses- instructed Van Halen. The rea-
sion. Jaggers ex-wife Jerry Hall son youre here is because of what
calls it her favorite Stones song. you do play.
Appears on: Sticky Fingers (Virgin) Appears on: Thriller (Epic)
Funky and strong:

Jackson filming the
Beat It video, 1983
The Velvet Underground
in a rare chipper moment:
Sterling Morrison, Reed,
Maureen Tucker and Doug
Yule (from left)

{345} { 346}
LISTEN
25 WEEKS 17 WEEKS
NO. 21 NO. 10
Beautiful Day Walk This Way

U2 AEROSMITH
Writers: U2 Writers: Steven Tyler, Joe Perry

Producers: Daniel Lanois, Brian Eno Producer: Jack Douglas
Released: Oct. 00, Island Released: Dec. 76, Columbia
The song that re-established U2 The inspiration? A Mel Brooks

as the worlds biggest band almost gag from Young Frankenstein.
never saw the light of day: U2 felt When they saw the lm on a late-
the tune a prayer for transcen- night break from recording, they
dence with lyrics inspired by Bo- laughed so hard that Tyler wrote
nos work with Jubilee 2000, a the lyrics the next day then left
group advocating debt relief for them in the back seat of a cab and
poor nations sounded too much had to rewrite them in the stair-
like the bands Eighties work. If well of the studio. Perry fash-
were just chucking it out because ioned the funky ri in the style of
it reminds us of U2, thats not the New Orleans band the Meters
very good, said the Edge. so that, as he said, we dont have
Appears on: All That You Cant Leave Behind to cover James Brown.
(Island) Appears on: Toys in the Attic (Sony)
Perry fashioned
the guitar riff in
the style of the
New Orleans
band the Meters.

{ 347 } { 348}
LISTEN LISTEN
13 WEEKS 12 WEEKS
NO. 10 NO. 1
Maybe Im Amazed You Keep Me

PAUL M C CARTNEY Hangin On
THE SUPREMES
Writer: McCartney
Producer: McCartney Writers: Brian Holland,
Released: April 70, Apple Lamont Dozier, Eddie Holland
Producer: Brian Holland, Dozier
Maybe Im Amazed first ap- Released: Oct. 66, Motown
peared on McCartney, which
Paul made single-handedly The stuttering guitar sounds like
(Linda helped with the harmo- an SOS, and the distress call only
nies) as the Beatles were dissolv- gets louder in Diana Ross vocals.
ing. McCartney dedicated it to HDH had wanted to write a rock
me and Linda with the Beatles song for the Supremes; in 1968,
breaking up. Maybe Im amazed Vanilla Fudge scored with a Top
at whats going on, maybe Im 10 cover.
not. The songs biggest success Appears on: The Ultimate Collection
came in 1977, when a live version (Motown)
from Wings Over America went

to the Top 10.
Appears on: McCartney (Capitol)
{349} { 350}
LISTEN LISTEN
NON-SINGLE DID NOT
IN U.S. CHART
Baba ORiley The Harder

THE WHO They Come
JIMMY CLIFF
Writer: Pete Townshend
Producers: Glyn Johns, the Who Writer: Cliff
Released: Aug. 71, MCA Producer: Cliff
Released: March 75, Mango
Baba ORiley (a.k.a. Teen-
age Wasteland) takes its name Before this song, Cliff had al-
both from Townshends spiritual ready won acclaim: Bob Dylan
guru, Meher Baba, and minimal- lauded his 1969 single Vietnam
ist composer Terry Riley, whose as the best protest song ever
work inspired the tracks repeti- written. But Cli became an in-
tive electronic textures. The Irish ternational star with this gospel
fiddle solo at the end, though, tale of eternal rebellion, expressly
was all Keith Moons idea. written for the movie of the same
Appears on: Whos Next (MCA) name, in which he played Ivan
Martin, a young man who comes
to Kingston, Jamaica, to make
his way as a musician.
Appears on: The Harder They Come (Island)
Baba ORiley takes

Townshends spiritual g
minimalist comp

{ 351 } { 352 }
LISTEN LISTEN
14 WEEKS 19 WEEKS
NO. 1 NO. 17
Runaround Sue Jim Dandy

DION LAVERN BAKER
Writers: Dion DiMucci, Ernie Maresca Writer: Lincoln Chase

Producer: Gene Schwartz Producers: Ahmet Ertegun,
Released: Sept. 61, Laurie Jerry Wexler
Released: Dec. 56, Atlantic
Dion was a country-music fan
and member of a gang called the Baker was a Chicago singer with
Fordham Baldies when a fami- a pedigree her aunt was blues
ly friend got him his rst record singer Memphis Minnie. Her big
deal. Runaround Sue was cre- voice helped usher in the rock era
ated at a neighborhood party, on songs like Soul on Fire. When
said Dion. This bluesy doo-wop white covers outsold her origi-
single was Dions only Number nals, she was so infuriated she
One. For 47 years, hes been mar- wrote her congressman and even
ried to his high school girl, Susan, led a lawsuit (neither worked).
but he claims the runaround girl The swinging Jim Dandy
was really named Roberta. was one of her sweetest hits.
Appears on: Runaround Sue (Capitol) Appears on: Soul on Fire: The Best of LaVern
Baker (Atlantic)
s its name both from

guru, Meher Baba, and
poser Terry Riley.
{ 353} { 354}
LISTEN LISTEN
12 WEEKS 15 WEEKS
NO. 12 NO. 22
Piece of My Heart La Bamba

BIG BROTHER AND RITCHIE VALENS
THE HOLDING COMPANY
Writer: William Clauson
Writers: Bert Berns, Jerry Ragovoy Producer: Bob Keane
Producer: John Simon Released: Oct. 58, Del-Fi
Released: Aug. 68, CBS
Valens version of this traditional
The original was sung by Erma Mexican wedding song was orig-
Franklin, Arethas sister. Er- inally the B side to his rst hit,
mas Piece of Heart had a deli- Donna. La Bamba entered
cacy and a sense of mystery that the Top 40 two weeks before
was just beyond us, said guitar- the 17-year-old died in the same
ist Sam Andrew. But what Big plane crash that killed Buddy
Brother did have was a raw, fear- Holly and the Big Bopper.
less singer named Janis Joplin. Appears on: The Ritchie Valens Story (Rhino)
Appears on: Cheap Thrills (Columbia)

{ 355} { 356 }
LISTEN LISTEN
24 WEEKS NON-
NO. 6 SINGLE
California Love Candle in the Wind

DR. DRE AND 2PAC ELTON JOHN
Writers: Dr. Dre, Chris Stainton, Roger Writers: John, Bernie Taupin
Troutman, Larry Troutman, 2Pac Producer: Gus Dudgeon
Producer: Dr. Dre Released: Oct. 73, MCA
Released: Feb. 96, Death Row
Johns Marilyn Monroe tribute
When 2Pac left jail in October was a U.K. hit in 1973, but in the
1995, after serving eight months U.S. the single release was can-
for a sexual-assault conviction, celed when DJs began playing
Dre had a hit ready for him: a Bennie and the Jets instead. A
slice of West Coast funk, built live version with the Melbourne
around a Joe Cocker sample and Symphony Orchestra recorded
a vocal from Zapp frontman in 1986 nally reached the U.S.
Roger Troutman. I dont want charts, and a 1997 rerelease with
it to be about violence, 2Pac new lyrics in honor of Princess
said seven months before he was Diana became the biggest-selling
shot dead. I want it to be about single of the 20th century.
money. Appears on: Goodbye Yellow Brick Road
Appears on: Greatest Hits (Death Row) (Island)
La Bamba
entered the Top 40
two weeks before
the 17-year-old
Valens died.
Kris Kristofferson
Which of your own songs are something separate from you.
you proudest of? Its like one of your kids you
With the best ones, like Bobby might have been responsible
McGee, its kinda magical. They for starting it, but then you look
just come alive and become and see it is its own creation.

The silver-tongued devil:

Kris Kristofferson
you lose yourself in it. When I

wrote Bobby McGee, I was 50
miles away from anything, on an
oil rig, and it just took me away
from all of that.
Did Janis Joplins version of the

song surprise you at all?
I had already heard it done by a
lot of great artists, and they all
surprised me. Gordon Lightfoot
did it before anybody else, and
hes one of my heroes. Then
Roger Miller. Then Janis took it
somewhere totally different
but by that time, I didnt have
anything to do with that song
anymore.
Which writers inspired you?

Hank Williams. I love the heart
and soul of his music. Mickey
Newbury. Bob Dylan, of course
he showed the possibilities,
Something like Help Me Make that you could actually put po-
It Through the Night, I had no etry out there, you didnt have
idea it would move so many to write like all the Hit Parade
people. tunes. He made the Beatles dif-
ferent, and better. He made all
Can you tell when youre writ- of us better. I feel blessed that
ing something that its going to I chose to do it when I did, and
be great? not 40 years earlier.
HENRY DILTZ/CORBIS
When its good, youre more

or less riding on the current of Kris Kristofferson wrote Janis
the inspiration. I dont golf, but Joplins Me and Bobby McGee
I imagine its like a good golf and Sammi Smiths Help Me
swing. And when its happening, Make It Through the Night.
{ 357 } { 358}
LISTEN LISTEN
20 WEEKS 16 WEEKS
NO. 6 NO. 10
That Lady Spanish Harlem

(Part 1 and 2) BEN E. KING
THE ISLEY BROTHERS
Writers: Phil Spector, Jerry Leiber
Writers: The Isley Brothers Producers: Mike Stoller, Leiber
Producers: The Isley Brothers Released: Dec. 60, Atco
Released: July 73, T-Neck
Just split from the Drifters, King
In 1969, the Isleys added young- was eager to make an auspicious
er brothers Ernie and Marvin, solo debut and insisted on cut-
who had been put through music ting this rare collaboration be-
school by their older brothers. tween Spector and Leiber. (King
Ernie repaid the debt on That grew up mere blocks from Span-
Lady with a guitar solo recall- ish Harlem.) Spector said this
ing onetime Isleys sideman Jimi was Lenny Bruces favorite song.
Hendrix. Appears on: The Very Best of Ben E. King
Appears on: The Essential Isley Brothers (Rhino)
(Legacy)

{ 359} { 360}
LISTEN LISTEN
16 WEEKS 24 WEEKS
NO. 1 NO. 1
The Loco-Motion The Great Pretender

LITTLE EVA THE PLATTERS
Writers: Gerry Goffin, Carole King Writer: Buck Ram

Producer: Goffin Producer: Ram
Released: June 62, Dimension Released: Dec. 55, Mercury
At 17, Eva Boyd was hired to Heirs to the crooning style of the
baby-sit King and Gons new- Ink Spots and the Mills Broth-
born during recording sessions. ers, the Platters became the rst
One day they asked her to cut a R&B vocal group to top the pop
demo for this song. There never charts, heralding the arrival of
was a dance called the loco-mo- doo-wop. Ram, who also co-
tion until it was a hit, King said. wrote Only You and Twilight
So Little Eva had to make up a Time, was pushing 50 when
dance. Pretender hit.
Appears on: The Loco-Motion (Rhino) Appears on: The Magic Touch: An Anthology
(Mercury)
There never was

a dance called the
loco-motion until
it was a hit.
{ 361 } { 362}
LISTEN LISTEN
30 WEEKS 26 WEEKS
NO. 1 NO. 2
All Shook Up Tears in Heaven

E LVIS PRESLEY ERIC CLAPTON
Writers: Otis Blackwell, Presley Writers: Clapton, Will Jennings

Producers: Steve Sholes Producer: Russ Titelman
Released: March 57, RCA Released: Jan. 92, Duck/Reprise
Songwriter Al Stanton walked On March 20th, 1991, four-year-

up to Blackwell one day shaking old Conor Clapton died in a fall
a bottle of Pepsi and challenged from an apartment window in
him to write a song called All New York. His father wrote the
Shook Up. Presley fell in love heartrending Tears in Heav-
with the tune the rst time he en and The Circus Left Town
heard it and gave it the same free- for his son. Theyre sweet lit-
wheeling charm he had brought tle songs, almost like folk songs,
to Blackwells Dont Be Cruel, and I feel the need to have peo-
even reprising the guitar-back- ple hear them, he told Rolling
slapping trick hed used on that Ston e. Tears anchored his
track. It worked: The song went 1992 MTV Unplugged set.
on to sell 2 million copies. Appears on: Rush Soundtrack
Appears on: Elvis 30 #1 Hits (RCA) (Warner Bros.)

Shakin all
over: Elvis
Presley
circa 1957

{ 363 } { 364 }
LISTEN LISTEN
DID NOT 14 WEEKS
CHART NO. 2
Watching the Bad Moon Rising

Detectives CREEDENCE CLEARWATER
ELVIS COSTELLO REVIVAL
Writer: Costello Writer: John Fogerty

Producer: Nick Lowe Producer: Fogerty
Released: Nov. 77, Columbia Released: April 69, Fantasy
In the summer of 1977, Costello This song is denitely not about

was still an aspiring songwriter astrology, Fogerty once joked.
when he took the Clashs debut [Its] scary, spooky stu. With
back to his London at and lis- violence at home and a war
tened to it for 36 hours straight, abroad, there was a bad moon
he recalled. And I wrote Watch- on the rise, and CCR eortless-
ing the Detectives. Still, he ly tapped into the darkening na-
maintained, I was never part of tional mood. The song had one
any punk-rock thing. I couldnt of CCRs catchiest swamp-rock
afford to go to nightclubs at ris, an homage to Elvis Pres-
night. I had a wife and kid, and I leys guitarist Scotty Moore that
had to go to work. Fogerty wrote in high school.
Appears on: My Aim Is True (Rhino) Appears on: Green River (Fantasy)
I was never
part of any
punk-rock thing.
I couldnt afford
to go to nightclubs
at night.
GAB ARCHIVE/REDFERNS/GETTY IMAGES

{ 365 }
LISTEN
26 WEEKS
NO. 1
Sweet Dreams
(Are Made of This)
EURYTHMICS
Writers: Annie Lennox, Dave Stewart

Producer: Stewart
Released: April 83, RCA
Sweet Dreams was a decep-

tively catchy single from two
former lovers. The day Dave
and I ended our romance, Eu-
rythmics began, Annie Len-
nox told Rolling Stone. But
the tense sessions for Sweet
Dreams nearly ended their mu-
sical partnership. I was curled
up in the fetal position, Len-
nox said. He programmed this
rhythm. It sounded so good.
In the end I couldnt resist it.
Appears on: Sweet Dreams (RCA)
Sweet emotions:
Stewart and
Lennox were a
couple before
they formed
Eurythmics.
{ 366} { 367 }
LISTEN LISTEN
NON- 11 WEEKS
SINGLE NO. 8
Little Wing Nowhere to Run

THE JIMI HENDRIX MARTHA AND
EXPERIENCE THE VANDELLAS
Writer: Hendrix Writers: Brian Holland, Lamont Dozier,

Producer: Chas Chandler Eddie Holland
Released: Feb. 68, Reprise Producers: Brian Holland, Dozier
Released: Feb. 65, Gordy
Blissed out from his appear-
ance at Monterey Pop, Hendrix Martha Reeves was working as
brought a delicate touch to this a secretary for A&R man Mick-
ballad at a 1967 London session. ey Stevenson at Motown when
In a mere 145 seconds, he con- Mary Wells missed a session
jured a gossamer reverie. Hen- date; Reeves stepped in for her
drix played one of his most lyri- and eventually became a star.
cal solos through a Leslie speaker Her wail makes Nowhere to
cabinet (creating an oscillating Run a scary tale of obsessive
sound) and later added glocken- love; the heavy percussion was
spiel to complete the mood. enhanced with snow chains.
Appears on: Axis: Bold as Love Appears on: The Ultimate Collection
(Experience Hendrix/MCA) (Motown)
Reeves wail
makes Nowhere
to Run a scary
tale of obsessive
love.
{ 368} { 369}
LISTEN LISTEN
DID NOT 16 WEEKS
CHART NO. 1
Got My Mojo Working Killing Me Softly

MUDDY WATERS With His Song
ROBERTA FLACK
Writer: Preston Foster
Producers: Phil Chess, Leonard Chess, Writers: Norman Gimbel, Charles Fox
Willie Dixon
Producer: Joel Dorn
Released: 1957, Chess
Released: Jan 73, Atlantic
Waters made his version of Mojo Inspired by a Don McLean gig

after hearing R&B singer Ann at L.A.s Troubadour, folk singer
Cole perform it while they toured Lori Lieberman took her idea
together in 1956. He retooled for the song to Gimbel and Fox.
the rhythm and lyrics, turning it Flack later heard Liebermans
into a speedy howl about voodoo recording on an in-ight radio
and sexual power. station and absolutely freaked,
Appears on: The Anthology (Chess/MCA) she said.
Appears on: Killing Me Softly (Atlantic)
{ 370 }
LISTEN
11 wEEkS
No. 1
All You Need Is Love

The BeaTles

Paul McCartney
Released: July 67, Capitol
Twenty-four days after the re-

lease of Sgt. Pepper, the Beatles
represented England on the six-
hour TV show Our World, a sat-
ellite broadcast seen by 400 mil-
lion. All You Need Is Love was
the simple message they wanted
to send to the world. It was for
love and bloody peace, Ringo
Starr said. The backing choir on
the single included Mick Jagger,
Keith Moon and Donovan.
appears on: Magical Mystery Tour (Capitol)

{ 371 }
LISTEN
NON-
SINGLE
Complete Control
THE CLASH
Writers: Mick Jones, Joe Strummer

Producer: Lee Scratch Perry
Released: July 79 on Epic
The Clash were hardcore reggae

fans, so it was natural they would
want to work with legendary dub
producer Perry. But the result-
ing single wasnt dub at all it
was the Clashs toughest, noisiest
punk anthem, with Mick Jones
cranking the guitar to ear-bleed-
ing levels. Complete Control, a
U.K. hit in the fall of 1977, was
appended to the American ver-
sion of the bands debut album.
Appears on: The Clash (Epic)
VIRGINIA TURBETT/REDFERNS/GETTY IMAGES
Clash city rockers: Joe

Strummer, Mick Jones,
Paul Simonon and Topper
Headon (from left) in
London, July 1979
{ 372 } { 373 }
LISTEN LISTEN
16 WEEKS DID NOT
NO. 1 CHART
The Letter Highway 61 Revisited

THE BOX TOPS BOB DYLAN
Writer: Wayne Carson Thompson Writer: Dylan

Producer: Dan Penn Producer: Bob Johnston
Released: July 67, Mala Released: Aug. 65, Columbia
On The Letter, Alex Chilton Highway 61 begins about where

moans like a gruff soul man, I came from, Dylan writes in
though he was just 16. He cred- Chronicles. Duluth, to be exact.
ited the performance to his pro- The road runs through the heart
ducer, Memphis legend Penn. of America and so does the
[He] coached me pretty heavily song. Its Dylan at his wildest,
on singing anything we ever did, both musically and lyrically,
Chilton said. In a lot of cases, topping the bands roadhouse
it sounds more like him sing- stomp with his surreal cosmic
ing than it sounds like me. Chil- jokes. The police-siren whis-
ton went on to front Big Star but tle was courtesy of session man
participated in Box Tops reunion Al Kooper.
tours until his death in 2010. Appears on: Highway 61 Revisited (Columbia)
Appears on: The Letter (Sundazed)
Highway 61 is Dylan at h
and lyrically, topping the ban
surreal cos

{ 374 } { 375 }
LISTEN LISTEN
13 WEEKS 33 WEEKS
NO. 4 NO. 1
Unchained Melody How Deep

THE RIGHTEOUS BROTHERS Is Your Love
BEE GEES
Writers: Alex North, Hy Zaret
Producer: Phil Spector Writers: Bee Gees
Released: July 65, Philles Producers: Bee Gees, Karl Richardson,
Albhy Galuten
This song rst hit the charts in Released: Sept. 77, RSO
1955, when three dierent ver-
sions of it landed in the Top 10. The rst single from Saturday
The Righteous Brothers picked Night Fever wasnt a disco track
up the torch in 1965, making it but this slow jam. It went to
the B side to their single Hung Number One in December 1977,
on You. When DJs began play- and the Bee Gees then controlled
ing Unchained Melody instead, the top spot for 15 of the next 20
Spector decided the duo should weeks. The song was original-
put out only covers of pre-rock ly intended for Yvonne Elliman,
pop songs as its singles; their ver- who had her own Number One
sion of Sinatras Ebb Tide also with If I Cant Have You.
hit big. Appears on: Saturday Night Fever (Polygram)
Appears on: Anthology 1962-1974 (Rhino)
his wildest, both musically

nds roadhouse stomp with his
smic jokes.
{ 376 } { 377 }
LISTEN LISTEN
11 WEEKS 20 WEEKS
NO. 6 NO. 28
White Room Personal Jesus

CREAM DEPECHE MODE
Writers: Pete Brown, Jack Bruce Writer: Martin Gore

Producer: Felix Pappalardi Producers: Depeche Mode, Flood
Released: Aug. 68, Atco Released: Nov. 89, Sire
Powered by Eric Claptons wah- Depeche Modes breakthrough

wah work, the songs unnerving single was based on a surprising
psychedelic imagery came from source: Priscilla Presleys book
Brown, emerging from a peri- Elvis and Me. Its about how
od of drug and alcohol excess. It Elvis was her man and her men-
was in my white-painted room tor and how often that happens
that I had the horrible drug ex- in love relationships, Gore said.
perience that made me want to How everybodys heart is like a
stop everything, he said. god in some way.
Appears on: Wheels of Fire (Polygram) Appears on: Violator (Sire)

{ 378} { 379}
LISTEN LISTEN
DID NOT 8 WEEKS
CHART NO. 65
Im a Man The Wind

BO DIDDLEY Cries Mary
THE JIMI HENDRIX
Writer: Diddley
Producer: Leonard Chess EXPERIENCE
Released: June 55, Checker
Writer: Hendrix
Producer: Chas Chandler
The B side of Diddleys rst single Released: May 67, Reprise
was built around a four-note gui-
tar stomp that was a trademark of A dish-smashing argument with
mid-Fifties Chicago blues. Song- his girlfriend left Hendrix alone
writer Willie Dixon, who super- to scrawl the words to The Wind
vised the 1955 session, said it was Cries Mary in January 1967.
Diddleys sense of rhythm that set A few days later, the guitarist
him apart from everyone else at taught the uncharacteristical-
Chess: The drums are speaking, ly tender ballad built around a
and hell tell you what the drums gentle ri inspired by soul man
are saying. Curtis Mayeld to the Expe-
Appears on: His Best: The Chess 50th rience. The trio knocked out the
Anniversary Collection (Chess) track in 20 minutes.
Appears on: Are You Experienced? (MCA)
Hendrix wrote
The Wind Cries
Mary after a
dish-smashing
argument with
his girlfriend.
{ 380} { 381 }
LISTEN LISTEN
2 WEEKS DID NOT
NO. 93 CHART
I Cant Explain Marquee Moon

THE WHO TELEVISION
Writer: Pete Townshend Writer: Tom Verlaine

Producer: Shel Talmy Producer: Andy Johns
Released: March 65, Decca Released: Feb. 77, Elektra
For their debut single, the Who Marquee Moon is Televisions

recorded Townshends alleged guitar epic; Verlaine and Rich-
answer to the Kinks blazing ard Lloyd stretch out for 10 min-
You Really Got Me. The Who utes of urban paranoia. I would
even hired that songs producer, play until something happened,
Talmy, who recruited additional Verlaine said. That comes from
players for the recording, among jazz, or even the Doors, or the
them Jimmy Page, who contrib- Five Live Yardbirds album that
uted rhythm guitar. kinda rave-up dynamics.
Appears on: The Ultimate Collection (MCA) Appears on: Marquee Moon (Elektra)

{ MY TOP 10 }
Slash
1. Back in the Saddle
Aerosmith
I heard this in junior high at
the house of this girl I was try-
ing to date. She put it on and I
completely forgot about her.
2. The Ocean Led Zeppelin
PAUL HEBERT/ICON SMI/RETNA

A great Zeppelin riff.
3. Helter Skelter The Beatles

Its got that screaming British
hard-rock sound.
4. Cant You Hear Me

Knocking The Rolling Stones
This denes the Stones for me.
Paradise city: Slash
5. Down Payment Blues performing in Los Angeles,
AC/DC April 2010
The chord progression on this
is just great. 8. Sabbath Bloody
Sabbath Black Sabbath
6. Wont Get Fooled Again One of the heaviest riffs ever
The Who recorded.
Arena rock at its best. The Who
were so before their time. 9. Magic Carpet Ride
Steppenwolf
7. Tie Your Mother Down This is an awesome song, even
Queen if nobody understands it.
I used to play this with one of
those ridiculous old-school Pana- 10. I Wanna Be Your Dog
sonic tape recorders pressed to The Stooges
my ear. Pure raunch.
{ 382 }
LISTEN
15 WEEKS
NO. 12
King of New York:
Sam Cooke, the
Wonderful World toast of the town,
SAM COOKE in Times Square,
August 1964
Writers: Cooke, Herb Alpert,
Lou Adler
Producers: Cooke, Adler
Released: May 60, RCA
Cooke was rooming with Adler,

who had already finished this
song when Cooke came up with
the academic conceit that made
it work. Cut while Cooke was
still signed to Keen, it sat around
until hed moved to RCA then
sold a million. Before it came out,
Cooke liked to sing it for women
he met, telling them hed made it
up on the spot just for them.
Appears on: Portrait of a Legend 1951-1964
(ABKCO)
COURTESY OF ABKCO MUSIC & RECORDS

{ 383 }
LISTEN LISTEN
DID NOT
CHART
Brown Eyed
Handsome Man
CHUCK BERRY
Writer: Berry
Producer: Leonard Chess, Phil Chess
Released: Sept. 56, Chess
Berry was inspired to write

this song while he was touring
through heavily black and Lati-
no areas of California. As Berry
put it, I didnt see too many blue
eyes. He did see a good-look-
ing Chicano nabbed for loiter-
ing until some woman came up
shouting for the policeman to
let him go. Over a manic guitar
lick, the song spins a riotous tale
about a dark-eyed loverman.
Appears on: The Anthology (Chess)
{ 384 } { 385}
LISTEN LISTEN
25 WEEKS 4 WEEKS
NO. 1 NO. 65
Another Brick in Fake Plastic Trees

the Wall Part 2 RADIOHEAD
PINK FLOYD Writers: Radiohead
Writer: Roger Waters Producer: John Leckie

Producers: Bob Ezrin, Waters, Released: March 95, Capitol
David Gilmour
Released: Nov. 79, Columbia Radiohead frontman Thom
Waters attack on teachers who Yorke would describe Fake Plas-
practice dark sarcasm in the tic Trees as the song on which
classroom was inspired by his he found his lyrical voice. He cut
own schoolmasters. The school the vocal, accompanying him-
I was at they were really like self on acoustic guitar, in one
that, Waters said. [All] they had take, then the band lled in its
to oer was their own bitterness parts around him. Yorke said the
and cynicism. There are three song began as a very nice mel-
versions of Another Brick on ody which I had no idea what
The Wall, but Part 2 was the hit. to do with, then you wake up
Appears on: The Wall (Capitol) and nd your head singing some
words to it.
Appears on: The Bends (Capitol)
The YYYs breakthrough h

by a case of real-life r

{ 386} { 387 }
LISTEN LISTEN
13 WEEKS 11 WEEKS
NO. 87 NO. 1
Maps Hit the Road Jack

YEAH YEAH YEAHS RAY CHARLES
Writers: Yeah Yeah Yeahs Writer: Percy Mayfield

Producer: David Andrew Sitek Producer: Sid Feller
Released: Feb. 04, Interscope Released: Sept. 61, ABC-Paramount
Maps is both a soul ballad and Charles asked Mayeld, a one-

an art-punk classic, with tor- time R&B hitmaker whose per-
rents of jagged guitar noise and forming career was curtailed
thundering drums backing up by a car accident in 1952, if he
Karen Os lovesick wail. The had any songs for Charles to re-
YYYs breakthrough hit was in- cord. Mayfield offered up Hit
spired by a case of real-life rock the Road Jack. The snarling fe-
& roll romance: The Divine Miss male vocal was provided by Mar-
O (real name Karen Orzolek) gie Hendricks of the Raelettes.
wrote the song about being on Hendricks aair with Charles
tour and missing her boyfriend, produced a son in 1959; Charles
Angus Andrew, singer for fellow fired her from the Raelettes
New York band Liars. in 1964.
Appears on: Fever to Tell (Interscope) Appears on: Ultimate Hits Collection (Rhino)
hit, Maps, was inspired

rock & roll romance.
Pink Floyd (Richard Wright,
Roger Waters, David Gilmour
and Nick Mason, from left) in
Los Angeles, 1980
NEAL PRESTON/CORBIS

{ 388} { 389}
LISTEN LISTEN
15 WEEKS 5 WEEKS
NO. 33 NO. 78
Pride (In the Radio Free Europe

Name of Love) R.E.M.
U2
Writers: R.E.M.
Writers: Bono, the Edge, Adam Producers: Mitch Easter, Don Dixon
Clayton, Larry Mullen Jr. Released: July 83, I.R.S.
Producers: Brian Eno, Daniel Lanois
Released: Oct. 84, Island We hated it, said Peter Buck
of the sound on the rst version
The chords came from a 1983 of Europe, on indie label Hib-
soundcheck in Hawaii; the lyr- Tone. It was mastered by a deaf
ics about Martin Luther King man, apparently. R.E.M. re-
Jr. were inspired by an exhib- recorded it for Murmur, with a
it at Chicagos Peace Museum. richer melody and tighter rhythm
With backing vocals by Pretend- like Motown, Buck recalled.
ers singer Chrissie Hynde (cred- Michael Stipe mumbled his lyr-
ited as Mrs. Christine Kerr; she ics a vague ri on U.S. cultural
was married to Jim Kerr of Sim- imperialism because he hadnt
ple Minds at the time), the result finished writing them when it
was the bands rst Top 40 hit. was time to record.
Appears on: The Unforgettable Fire (Island) Appears on: Murmur (A&M)
A lot of people come up to m

got me and my wife togethe

{ 390} { 391}
LISTEN LISTEN
17 WEEKS 14 WEEKS
NO. 2 NO. 2
Goodbye Yellow Tell It Like It Is

Brick Road AARON NEVILLE
ELTON JOHN
Writers: George Davis, Lee Diamond
Writers: John, Bernie Taupin Producer: Davis
Producer: Gus Dudgeon Released: Nov. 66, Par Lo
Released: Sept. 73, MCA
I heard Tell It Like It Is and I
Inspired by the Rolling Stones said, Bro, this is the shit right
Goats Head Soup, John and lyr- here, said Art Neville. Aaron
icist Taupin went to Kingston, was working as a longshoreman
Jamaica, to record Johns sixth when he cut this sublime bal-
album. The studio was sur- lad. He originally felt something
rounded by barbed wire, said so sweet wouldnt catch on in an
Taupin, and there were guys era of gritty R&B. A lot of peo-
with machine guns. Too scared ple come up to me and say, That
to leave their hotel, the duo wrote song got me and my wife togeth-
21 songs in three days, including er, he recalled. And others say,
Goodbye Yellow Brick Road. It broke me and my wife up.
Appears on: Goodbye Yellow Brick Road Appears on: Tell It Like It Is: Golden Classics
(Island) (Collectables)
me and say, Tell It Like It Is

er, recalled Aaron Neville.
Linda Perry
What makes a song great? ine he just wrote it. I go to
The Beach Boys God Only the piano or the guitar, and I sit
Knows is a great song to me, down and play. And then some-
because it makes me feel re- thing happens like I acciden-
ally good and it doesnt have tally hit a play button in my mind
to be good, a song could also and this song came on. Im not
make me feel sad, as long as it pulling it out of a fucking hard
makes me feel, and I want to drive Im either a hit or a miss,
hear it over and over. When I you get a song or you dont. If I
put a great song g on, I know were to bbreak down how the
Im always going g to have a process happens, I would
otal stranger
reaction. This total just be lying and try-
shows up in yourur life with i
ing to make myself
this song, and you have s
sound smarter.
ttachment.
an emotional attachment. How has the relation-
Which of your own songs ship between
do you think doesoes that? son
songwriter and pro-
a Aguileras]
I think [Christina duc changed?
ducer
Beautiful does.s. When that In th
the Nineties, we
song was written,en, I got a sunk back into the Fif-
special feeling about it. Its ties, and it became all
reat song
honest, and a great abou the producer.
about
is really honest. Wer nding people on
Were
MyS
MySpace or whatever,
So you can tell when throw
throwing them into the
something specialcial is stud giving them a
studio,
MARK J. TERRILL/AP IMAGES
happening? look and suddenly

look,
rite a
I never try to write they selling millions
theyre
ppens.
song, it just happens. of records and have a
hn
I dont think John pe
perfume out. I think
Lennon sat down wn Christina w
were coming out of
bout
and thought about Aguilera in t
that and going into
writing Imag- 2003 the Sixties fuck

JONATHAN ALCORN/WIREIMAGE
Linda Perry in her
San Fernando
Valley studio,
August 2005
that bullshit, people want to But I also started a label for art-
hear the cracks, the out-of-tune ists who dont need people like
guitar. Were starting to raise the me. So its kind of an awkward
bar, but the bar is so low, an ant position, but Im trying to do my
could piss on it. best and respect the process.
The difference is that there
were really great songs written Formerly the lead singer of
in the Fifties. Are people really 4 Non Blondes, Linda Perry has
going to listen to Britney Spears written and produced songs
or NSync 20 years from now? for Pink, Gwen Stefani and
I dont think so. And Im one of Courtney Love. She founded
the problems! I do nd people Custard Records, where she
and write and produce for them. signed James Blunt.
{ 392 } { 393 }
LISTEN LISTEN
20 WEEKS NON-
NO. 12 SINGLE
Bitter Sweet Whipping Post

Symphony THE ALLMAN
THE VERVE BROTHERS BAND
Writers: Mick Jagger, Keith Richards, Writer: Gregg Allman

Richard Ashcroft Producer: Tom Dowd
Producers: The Verve, Christopher Released: Nov. 69, Capricorn
Marc Potter, Youth
Released: Sept. 97, Virgin This anthem was written on an
ironing board in a darkened Flor-
Since it used a sample from an ida bedroom by Allman. Punctu-
orchestral version of the Roll- ated by Duane Allmans knifelike
ing Stones The Last Time, this guitar incisions, the song is best
song was credited to Jagger- appreciated in the 23-minute
Richards. But Allen Klein, who incarnation on At Fillmore East.
owned the Last Time rights, Appears on: At Fillmore East (Mercury)
broke an agreement and de-

manded 100 percent of the roy-
alties. Ashcroft called it the best
song the Stones had written in
20 years.
Appears on: Urban Hymns (Virgin)

{ 394 } { 395}
LISTEN LISTEN
11 wEEkS 9 wEEkS
No. 1 No. 14
Ticket to Ride Ohio

the beatles Crosby, stills,
N ash aNd youNg
Paul McCartney writer: Neil Young
Producer: George Martin Producers: Crosby, Stills, Nash, Young
Released: April 65, Capitol Released: June 70, Atlantic
Lennon claimed that this compo- On May 4th, 1970, the National
sition of his was the rst heavy- Guard killed four protesters at
metal song. For his part, Mc- Kent State University in Ohio.
Cartney played lead guitar. We Young wrote a ery indictment
almost invented the idea of a new of the shootings, and CSNY cut
bit of a song on the fade-out, he their version of the song just
said of Ticket. It was quite rad- 11 days after the tragedy, then
ical at the time. rush-released it, knocking their
appears on: Help! (Capitol/Apple) own Teach Your Children o
the charts. David Crosby cried
when we finished this take,
said Young.
appears on: Decade (Reprise)
David Crosby
cried when we
finished one take,
said Young.
{ 396 } { 397 }
LISTEN LISTEN
DID NOT 7 WEEKS
CHART NO. 41
I Know You Got Soul Tiny Dancer

E RIC B. AND RAKIM ELTON JOHN
Writers: Eric B. and Rakim Writers: John, Bernie Taupin

Producers: Eric B. and Rakim Producer: Gus Dudgeon
Released: July 87, 4th and Broadway Released: Nov. 71, Uni
Rakim was the microphone end Lyricist Taupin wrote this 1971
who was dripping steam. Eric song about his rst wife, Max-
B. was the DJ with the James ine Feibelman, who really was a
Brown samples. They were New seamstress for Johns band and
York legends before ever releas- obviously did marry a music
ing a song (Eric B. was driv- man. Johns skyrocketing melody
ing a Rolls-Royce before he ever got a little help from Paul Buck-
put out a record, Chris Rock masters strings and from Rick
once told Rolling Stone. My Wakeman, soon to join prog-
man was gangsta), but this cut, rockers Yes, who played organ.
named for a 1971 song by Brown Tiny Dancer was revived in the
sideman Bobby Byrd, made the 2000 lm Almost Famous.
whole world take notice. Appears on: Madman Across the Water
Appears on: Paid in Full (Island) (Island)
Sting came up with th

while wandering aroun
of Paris after a

{ 398} { 399}
LISTEN LISTEN
13 WEEKS 15 WEEKS
NO. 32 NO. 1
Roxanne Just My Imagination

THE POLICE THE TEMPTATIONS
Writer: Sting Writers: Norman Whitfield,

Producers: The Police Barrett Strong
Released: Jan 79, A&M Producer: Whitfield
Released: Jan. 71, Gordy
That song has been the turn-
around for us, Stewart Cope- Eddie Kendricks, whod sung
land told Rol l i ng St on e. lead on the Temptations rst hit,
Sting came up with the idea The Way You Do the Things You
for the song while wandering Do in 1964, took his last lead as
around the red-light district of a Tempt. By the time the song hit
Paris after a canceled show, won- Number One, Kendricks had left
dering what it would be like to be the group for a solo career. But he
in love with a prostitute. The title gave this one his all: Tempt Otis
came from a poster for the play Williams said he left the stu-
Cyrano de Bergerac featuring a dio at 6 a.m. the night they cut
heroine named Roxanne in the it, and Kendricks was still there,
bands hotel lobby in Paris. working out his part.
Appears on: Outlandos dAmour (Interscope) Appears on: Anthology (Motown)
he idea for Roxanne

nd the red-light district
canceled show.
{400} { 401 }
LISTEN LISTEN
12 WEEKS 11 WEEKS
NO. 11 NO. 1
Baby I Need Summer in the City

Your Loving THE LOVIN SPOONFUL
THE FOUR TOPS
Writers: John Sebastian,
Steve Boone, Mark Sebastian
Writers: Brian Holland, Lamont Dozier,
Eddie Holland Producer: Erik Jacobsen
Producers: Holland, Dozier, Holland Released: June 66, Kama Sutra
Released: July 64, Motown
Summer in the City was a sty-
The Four Tops were playing a listic turn for the Lovin Spoon-
Detroit nightclub when they got ful tougher and less daydreamy.
a call from Brian Holland say- We felt the only way we could
ing he had a song ready for them. stick out would be to sound com-
After their show ended, they ar- pletely dierent from one single
rived at Hitsville at 2 a.m. to re- to another, said John Sebastian.
cord Baby I Need Your Loving, With a barrage of car horns on
which would become their rst the bridge, the record evoked
single for Motown. its subject with urban grit and
Appears on: The Ultimate Collection Gershwin-esque grandeur.
(Motown) Appears on: The Lovin Spoonful Greatest Hits
(Buddha)

{ 402 } { 403 }
LISTEN LISTEN
16 WEEKS 14 WEEKS
NO. 8 NO. 1
O-o-h Child Cant Help

THE FIVE STAIRSTEPS Falling in Love
ELVIS PRESLEY
Writer: Stan Vincent
Producer: Vincent Writers: George Weiss, Hugo Peretti,
Released: April 70, Buddha Luigi Creatore
Producer: Joseph Lilley
O-o-h Child gave the Five Released: Oct. 61, RCA
Stairsteps four brothers and a
sister from Chicago a pop-soul This adaptation of Giovan-
classic that rivaled the hits of anni Martinis 18th-century song
other sibling gang, the Jackson 5. Plaisir dAmour was given to
The children of police detective Elvis for his movie Blue Hawaii
Clarence Burke, the Five Stairst- hence the Hawaiian steel guitar.
eps, who played their own instru- But this was no vacation for Pre-
ments as well as sang, ranged sley: It took him 29 takes to nail
in age from 13 to 17 when Cur- his exquisitely gentle vocals. The
tis Mayeld signed them to his song became the closing number
Windy C label. for most of his Seventies concerts.
Appears on: Soul Hits of the 70s: Didnt It Appears on: Elvis 30 #1 Hits (RCA)
Blow Your Mind! Vol. 2 (Rhino)
It took Elvis 29
takes to nail his
exquisitely gentle
vocals.
{ 404 } { 405 }
LISTEN LISTEN
11 WEEKS 14 WEEKS
NO. 5 NO. 12
Remember (Dont Fear)

(Walkin in the Sand) the Reaper
THE SHANGRI-LAS BLUE YSTER CULT
Writer: George Shadow Morton Writer: Donald Roeser

Producer: Morton Producers: Murray Krugman, Sandy
Released: Aug. 64, Red Bird Pearlman, David Lucas
Released: July 76, Columbia
The Shangri-Las, two sets of sis-
ters from Queens, were in high This Long Island bands death
school when producer Morton trip was picked by Rolli ng
hired them to record Remem- Stone critics as the best rock
ber a tune he claimed to have single of 1976. With its ghostly
written in 20 minutes on the guitars and cowbell, Reaper
way to the studio. One story has has added chills to horror icks
it that a 15-year-old Billy Joel from Halloween to The Stand.
played piano on the session. Mor- Bonus points for the crackpot
ton went on to produce the New theology about how 40,000
York Dolls. men and women every day join
Appears on: The Best of the Shangri-Las Romeo and Juliet in eternity.
(Mercury) Appears on: Agents of Fortune (Columbia)
With its ghostly gu

Reaper has added chi
Halloween to

{ 406 } {407 }
LISTEN LISTEN
NON- 17 WEEKS
SINGLE NO. 8
Thirteen Sweet Home Alabama

BIG STAR LYNYRD SKYNYRD
Writers: Alex Chilton, Chris Bell Writers: Ed King, Gary Rossington,

Producer: John Fry Ronnie Van Zant
Released: April 72, Ardent Producer: Al Kooper
Released: April 74, MCA
Chilton wrote this acoustic bal-
lad about two kids in love with Van Zant sang this pissed-off
rock & roll, featuring the death- answer to Neil Youngs South-
less couplet Wont you tell your ern Man, and even Young loved
dad, Get o my back/Tell him it. Id rather play Sweet Home
what we said about Paint It Alabama than Southern Man
Black. Its simple musically; as anytime, Young said. The ad-
Chilton said, I was still learn- miration was mutual; Van Zant
ing to play and stu. It never wore a Young T-shirt on the cover
came out as a single or got any of Skynyrds nal album, Street
radio play, but Thirteen is one Survivors, and according to leg-
of rocks most beautiful celebra- end, he is buried in the shirt.
tions of adolescence. Appears on: Second Helping (MCA)
Appears on: #1 Record/Radio City (Fantasy)
uitars and cowbell,

lls to horror flicks from
o The Stand.
MICHAEL OBRIEN/COURTESY OF RYKODISC

Andy Hummel, Jody

Stephens and Alex
Chilton (from left)
of Big Star, in 1971
{408} {409}
LISTEN LISTEN
20 WEEKS 12 WEEKS
NO. 16 NO. 39
Enter Sandman Tonights the Night

METALLICA THE SHIRELLES
Writers: James Hetfield, Lars Ulrich, Writers: Luther Dixon, Shirley Owens
Kirk Hammett Producer: Dixon
Producers: Bob Rock, Hetfield, Ulrich Released: Sept. 60, Scepter
Released: July 91, Elektra
The Shirelles, who originally
Thanks to producer Rock, the called themselves the Pequellos,
coiled, brooding Enter Sand- formed while at their Passaic,
man was the first Metallica New Jersey, high school. Lead
tune that sounded perfect for the singer Owens was only 19 when
radio. As drummer Ulrich point- she co-wrote this hit about ro-
ed out in 1991, The whole intro, mantic surrender, full of Lat-
the verse, the bridge, the chorus in-style syncopation and soulful
its the same ri. yearning.
Appears on: Metallica (Elektra) Appears on: 25 All-Time Greatest Hits
(Varse Fontana)

{ 410 } { 411 }
LISTEN LISTEN
13 WEEKS 12 WEEKS
NO. 1 NO. 35
Thank You Cmon Everybody

(Falettinme Be EDDIE COCHRAN
Mice Elf Agin) Writers: Cochran, Jerry Capehart

SLY AND THE FAMILY STONE Producer: Capehart
Released: Oct. 58, Liberty
Writer: Sly Stone
Producer: Stone
Cochran was paid $82.50 for the
Released: Jan. 70, Epic
three-hour session that produced
The double-sided smash Thank this classic rockabilly track. The
You/Everybody Is a Star was follow-up to his smash Summer-
Slys sole new release in 1970. time Blues, Cmon is a good-na-
Thank You rode on the nger- tured bad-boy tune powered by
popping bass of Larry Graham, heavy strumming on his Martin
who played like that in a duo guitar. Although he died at age 21,
with his organist mother. I start- in a 1960 car crash that also seri-
ed to thump the strings with my ously injured rockabilly pioneer
thumb, he said, to make up for Gene Vincent, Cochran became a
not having a drummer. huge inuence in England.
Appears on: Anthology (Epic) Appears on: Something Else (Razor and Tie)
Cmon is
a good-natured
bad-boy tune
powered by heavy
strumming on his
Martin guitar.
{ 412 } { 413 }
LISTEN LISTEN
27 WEEKS NON-
NO. 1 SINGLE
Umbrella Visions of Johanna

RIHANNA FEATURING JAY-Z BOB DYLAN
Writers: The-Dream, Kuk Harrell, Jay-Z, Writer: Dylan

Christopher Tricky Stewart Producer: Bob Johnston
Producers: Harrell, Stewart Released: May 66, Columbia
Released: March 07, Def Jam
Its easier to be disconnected
The songwriters initially of- than connected, Dylan con-
fered the track to Britney Spears, fessed in late 1965. Ive got a
whose career was spiraling out of huge hallelujah for all the people
control. We thought, Lets save whore connected, thats great,
our friend, the-Dream says. But but I cant do that. He never
Spears management brushed sounded lonelier than in this
them o. Im so thankful for it, seven-minute ballad, original-
Rihanna said. I prayed for this ly titled Seems Like a Freeze-
song. Out. Dylan cut it in a single take
Appears on: Good Girl Gone Bad (Def Jam) on Valentines Day 1966, with Al
Kooper on Hammond B3 organ.
Appears on: Blonde on Blonde (Columbia)
SCOTT WINTROW/GETTY IMAGES
Good girl:
Rihanna in
New York,
October
2007

{ 414 } { 415 }
LISTEN LISTEN
17 WEEKS NON-
NO. 2 SINGLE
Weve Only In Bloom

Just Begun NIRVANA
CARPENTERS
Writer: Kurt Cobain
Writers: Paul Williams, Roger Nichols Producer: Butch Vig
Producer: Jack Daugherty Released: Sept. 91, DGC
Released: Sept. 70, A&M
I dont like rednecks, I dont like
Begun began life as a TV jin- macho men, Cobain once said.
gle for a California bank that This track about a guy who loves
caught Richard Carpenters ear. to shoot his gun would become
He called Williams to see if there one of Nirvanas biggest live
was an actual song attached to anthems. It started out as more
the short bit hed heard. I as- of a hardcore rant. It sounded
sumed that it would never, ever like a Bad Brains song, said
get cut again, Williams said. He Nirvana bassist Krist Novoselic.
wrote several hits for the Car- Then, One day Kurt called me
penters, but this soft-rock ode and started singing. It was the
remains the watershed. Richard In Bloom of Nevermind, more
later called it our best single. of a pop thing.
Appears on: Singles 1969-1981 (Interscope) Appears on: Nevermind (Geffen)
I dont like
rednecks, I dont
like macho men,
Cobain once said.
{ 416 } { 417 }
LISTEN
8 WEEKS DID NOT
NO. 36 CHART
Sweet Emotion Monkey Gone

AEROSMITH to Heaven
PIXIES
Writers: Steven Tyler, Tom Hamilton
Producer: Jack Douglas Writer: Black Francis
Released: April 75, Columbia Producer: Gil Norton
Released: March 89, Elektra
As the sessions for Toys in the
Attic, Aerosmiths third studio Numerology, sludge in the ocean,
album, reached the 11th hour at a hole in the sky whats it all
the Record Plant in New York, supposed to mean? Said Francis
producer Douglas called out for (a.k.a. Frank Black), The phrase
ideas. Bassist Hamilton resur- monkey gone to heaven just
rected a ri that had been ger- sounds neat. Norton cleaned
minating for several years, and it up the bands sound, adding
was outtted with bass marimba the eerie strings, but the Pixies
and Joe Perrys voice-box rec- didnt bother to try for pop ap-
itation of the song title. A few peal. Said Francis, It wasnt like
months later, Aerosmith had we thought wed get played on
their rst Top 40 single. the radio.
Appears on: Toys in the Attic (Sony) Appears on: Doolittle (4 AD/Elektra)
When Brian Eno first list

I Feel Love, he told Da
the sound of

{ 418 } { 419 }
LISTEN LISTEN
23 WEEKS 14 WEEKS
NO. 6 NO. 1
I Feel Love Ode to Billie Joe

DONNA SUMMER BOBBIE GENTRY
Writers: Summer, Giorgio Moroder, Writer: Gentry

Pete Bellotte Producers: Kelly Gordon, Bobby Paris
Producers: Moroder, Bellotte Released: July 67, Capitol
Released: May 77, Casablanca
Once and for all: Exactly what
Summer would dismiss I Feel did Billie Joe throw o the Tal-
Love as a popcorn track, but lahatchee Bridge? Gentry never
its impact on dance music is in- revealed the secret of this spooky
calculable. When Brian Eno rst country blues. The real mes-
listened to this, he told David sage, she said, revolves around
Bowie, Ive heard the sound of the way the nonchalant family
the future. Thanks to Moroders talks about the suicide.
throbbing Moog synthesizers and Appears on: Greatest Hits (Curb)
Summers epic-orgasm vocals, I

Feel Love claimed tomorrow in
the name of disco.
Appears on: The Donna Summer Anthology
(Casablanca)
tened to Donna Summers

avid Bowie, Ive heard
f the future.
{ 420} { 421 }
LISTEN LISTEN
8 WEEKS 11 WEEKS
NO. 49 NO. 1
The Girl Young Blood

Cant Help It THE COASTERS
LITTLE RICHARD
Writers: Jerry Leiber, Mike Stoller, Doc
Pomus
Writer: Bobby Troup
Producers: Leiber, Stoller
Producer: Robert Bumps Blackwell
Released: May 57, Atco
Released: Jan. 57, Specialty
Richard screamed the theme The Coasters were named after

from one of the rst great rock the West Coast, home turf of the
movies, starring Jayne Man- four singers. After evolving from
sf ield. She was a wonder- the doo-wop group the Robins,
ful person, Richard said. Her the Coasters had a couple of small
breasts were 50 inches, and she R&B hits, Down in Mexico and
didnt wear a brassiere. They Turtle Dovin. But after almost
didnt hang down. a year away from the studio, the
Appears on: The Georgia Peach (Specialty) group relocated to New York and
cut its rst blockbuster.
Appears on: The Very Best of the Coasters
(Rhino)

{422} {423}
LISTEN LISTEN
14 WEEKS 22 WEEKS
NO. 1 NO. 5
I Cant Help Myself The Boys of Summer

THE FOUR TOPS DON HENLEY
Writers: Eddie Holland, Lamont Dozier, Writers: Henley, Mike Campbell

Brian Holland Producers: Henley, Campbell, Danny
Producers: Holland, Dozier, Holland Kortchmar, Greg Ladanyi
Released: June 65, Motown Released: Nov. 84, Geffen
My real style of singing is just Henley gave California rock a

a natural thing, said Four Tops stylish Eighties makeover with
frontman Levi Stubbs. What I this poignant lament for his gen-
mean by that is I dont consider eration, featuring the famous
myself as being a heck of a singer, line Out on the road today/I
man. Im more of a stylist, if you saw a Deadhead sticker on a Ca-
will. His soul stylings sent this dillac. When the Ataris did their
Tops classic to Number One hit punk-rock cover version in
after the four original members 2003, they changed it to a Black
had already been performing Flag sticker but the sentiment
together for 10 years. was the same.
Appears on: The Ultimate Collection Appears on: Building the Perfect Beast
(Motown) (Geffen)
Henley gave
California a
stylish makeover
with Boys of
Summer.
{ MY TOP 10 }
James Hetfield
1. Free Bird Lynyrd Skynyrd 6. God Only Knows
Nothing tops this workingmans The Beach Boys
ballad. Free Bird t my life for I got on a Beach Boys kick again
the rst 20 years on the road about six months ago.
not really getting too attached
to stuff, living life for the mo- 7. Yesterday
ment and moving on. The Beatles
It instantly connected with
2. Stairway to Heaven me. It makes you think, but not
Led Zeppelin too hard.
When I rst got a guitar, I g-
ured out the rst couple of 8. Black Sabbath
ngerings to this, and I ran Black Sabbath
around the house saying, I can This song scared the shit out of
play this! My family was like, me. Its beyond heavy.
Wheres the rest of the song?
9. Smells Like Teen Spirit
3. Jailhouse Rock Elvis Presley Nirvana
I remember seeing that video of When all that Eighties hair metal
him jumping around behind bars was getting overproduced,
with his buddies. It encapsulates Nirvana came along with this
rebellion, which is just misguid- thrashy garage sound and a
ed creativity. huge hook.
4. Behind Blue Eyes The Who 10. The Boys are Back
This song is about asking for in Town Thin Lizzy
help but not really wanting it. Phil Lynott was never afraid to
Reminds me a lot of me. write from the heart. Thin
Lizzy inspired a lot of Metallicas
5. Candle in the Wind guitar harmonies.
Elton John
Saturday Nights Alright for
Fighting was more my style, but
few songs can top this melody. RS interviewed Heteld in 2004.

Mr. Sandman:
Hetfield in
Sacramento,
December
2009
TIM MOSENFELDER/CORBIS
{ 424 }
LISTEN
20 WEEKS
NO. 27
Juicy
THE NOTORIOUS B.I.G.
Writer: The Notorious B.I.G.

Producers: Sean Puffy Combs, Poke
Released: Aug 94, Bad Boy
Biggies debut single chronicled

the rappers rise from a com-
mon thief to up close and person-
al with Robin Leach. He rhymes
about his childhood poverty
growing up in the Clinton Hill
section of Brooklyn (although he
claimed to be from Bed-Stuy)
despite protests from his mom.
I told him, No landlord dissed
us! said Voletta Wallace. He
said, Mom, I was just writing a
rags-to-riches kinda story.
Appears on: Ready to Die (Bad Boy)
Mo money: The
Notorious B.I.G.
outside his mothers
home in Brooklyn,
January 1995

{ 425 }
LISTEN
NON-
SINGLE
Fuck tha Police

N .W.A
Writers: Ice Cube, MC Ren

Producers: Dr. Dre, Yella
Released: Jan. 89, Priority
With one song, N.W.A brought

the battle between rappers and
cops to a new level. On August
1st, 1989, the FBI sent a bulletin
to Priority Records, the groups
label, denouncing this song.
According to the feds, Fuck
tha Police encourages violence
against, and disrespect for, the
law-enforcement officer. The
publicity established N.W.A as
hip-hops bad boys.
Appears on: Straight Outta Compton
CLARENCE DAVIS/NEW YORK DAILY NEWS/GETTY IMAGES
(Priority)
{ 426} { 427 }
LISTEN LISTEN
12 WEEKS 27 WEEKS
NO. 21 NO. 2
Suite: Judy Blue Eyes Nuthin But

CROSBY, STILLS AND NASH a G Thang
DR. DRE
Writer: Stephen Stills
Producers: David Crosby, Stills, Writer: Snoop Dogg
Graham Nash
Producer: Dr. Dre
Released: Jan. 93, Death Row
Written by Stills for ex-girlfriend Dres debut solo single sampled

Judy Collins, this epic harmony the bass line from Leon Hay-
showcase kicked o CSNs debut woods 75 hit I Wanta Do Some-
album. Stills played most of the thing Freaky to You. The master-
instruments, but as Nash told mind on his working methods: I
Rolling Stone, The three-part sit around by myself in the studio
vocal blend was fucking fantas- at home, push buttons and see
tic. what happens.
Appears on: Crosby, Stills and Nash Appears on: The Chronic (Death Row)
(Atlantic)
NEAL PRESTON/CORBIS
G in charge:
Dr. Dre

{ 428} { 429}
LISTEN LISTEN
14 WEEKS 14 WEEKS
NO. 2 NO. 25
Its Your Thing Piano Man

THE ISLEY BROTHERS BILLY JOEL
Writers: Rudolph Isley, Ronald lsley, Writer: Joel

OKelly Isley Producer: Michael Stewart
Producers: R. Isley, R. Isley, O. Isley Released: Nov. 73, Columbia
Released: Feb. 69, T-Neck
Joel grew up playing in rock
In 1969, the Isleys f led Mo- bands, but a California hiatus as
town and revived their own a lounge pianist (under the name
T-Neck Records, where they un- Bill Martin) saw him pecking
leashed the free-will funk of Its out standards for lost souls. It
Your Thing. Their biggest hit, was all right, he said. I got free
it earned a lawsuit from Berry drinks and union scale, which
Gordy, who claimed he owned was the first steady money Id
the song. made in a long time.
Appears on: The Ultimate Isley Brothers Appears on: Piano Man (Columbia)
(Legacy)
I got free drinks

and union scale,
which was the
first steady
money Id made
in a long time.
{430} { 431 }
LISTEN LISTEN
12 WEEKS DID NOT
NO. 20 CHART
Blue Suede Shoes William, It Was

ELVIS PRESLEY Really Nothing
THE SMITHS
Writer: Carl Perkins
Producer: Steve Sholes Writers: Johnny Marr, Morrissey
Released: March 56, RCA Producer: John Porter
Released: Aug. 84, Sire
The day after Presley made his
television debut, on Jimmy and Asked in 1984 who was the last
Tommy Dorseys Stage Show, he person to see him naked, Mor-
went into a studio in New York, rissey replied, Almost certain-
kicking o the session with Blue ly the doctor who brought me
Suede Shoes; Perkins original into this cruel world. But like
was still climbing the charts. De- many of the Smiths early singles,
spite 13 takes, Presley and Sholes William is a tale of traumatic
felt they hadnt matched it. teen sex, in this case a tragic love
Maybe they were right: Perkins triangle in a humdrum town.
single got to Number Two, but OutKasts Andr 3000, a huge
Presleys peaked at Number 20. Smiths fan, once named Wil-
Appears on: 2nd to None (BMG Heritage) liam as his absolute favorite.
Appears on: Louder Than Bombs (Sire)
OutKasts Andr
3000, a huge
Smiths fan, once
named William
as his absolute
favorite.
{ 432} {433 }
LISTEN LISTEN
20 WEEKS 10 WEEKS
NO. 61 NO. 7
American Idiot Tumbling Dice

GREEN DAY ROLLING STONES
Writers: Green Day Writers: Mick Jagger, Keith Richards

Producers: Rob Cavallo, Green Day Producer: Jimmy Miller
Released: Oct. 04, Reprise Released: April 72, Rolling Stones
No song captured the rancid Originally titled Good Time

zeitgeist of the Bush era like Women (an early take is on the
this Clash-style rave-up, which recent Exile on Main Street re-
bashed the USAs redneck agen- issue), Tumbling Dice had nu-
da. The starting point for Green merous faster incarnations be-
Days punk opera, later a Broad- fore it was recorded at Richards
way musical, Idiot signaled the villa, Nellcte. I remember writ-
bands evolution into righteous- ing the ri upstairs in the very
ly angry political rockers. We elegant front room, said Rich-
did everything we could to piss ards, and we took it downstairs
people o, said Billie Joe Arm- the same evening, and we cut it.
strong, who often performed the Since Bill Wyman wasnt around,
song in a George W. Bush mask. Mick Taylor played bass.
Appears on: American Idiot (Reprise) Appears on: Exile on Main Street (Virgin)
{ 434 } { 435}
LISTEN LISTEN
16 WEEKS 12 WEEKS
NO. 4 NO. 53
Smoke on the Water New Years Day

DEEP PURPLE U2
Writers: Ritchie Blackmore, Ian Gillian, Writers: Bono, the Edge, Adam
Roger Glover, Jon Lord, Ian Paice Clayton, Larry Mullen Jr.
Producers: Deep Purple Producer: Steve Lillywhite
Released: May 73, Warner Bros. Released: April 83, Island
Keyboardist Lord claimed that New Years Day lifted U2 out of

the working title for this song the rock underground for good.
was Durh Durh Durh a trans- As he often did, Bono made up
literation of the ri that some be- his lyrics on the spot. We im-
ginner guitarist is probably try- provise, and the things that came
ing out for the rst time right out, I let them come out, he said.
now. The lyrics tell the story of I must have been thinking about
a fan shooting a are gun dur- Lech Walesa being interned.
ing a 1971 Frank Zappa show at Then, when wed recorded the
the Casino in Montreux, Swit- song, they announced that mar-
zerland, setting the venue ablaze. tial law would be lifted in Poland
Appears on: Machine Head (Rhino) on New Years Day. Incredible.
Appears on: War (Island)
I was trying to talk abou

werent ever gonna hav

{ 436 } { 437 }
LISTEN LISTEN
8 WEEKS DID NOT
NO. 58 CHART
Everybody Needs (White Man) In

Somebody to Love Hammersmith Palais
SOLOMON BURKE THE CLASH
Writers: Burke, Bert Berns, Writers: Mick Jones, Joe Strummer

Jerry Wexler Producers: The Clash
Producer: Berns Released: July 79, Epic
We cant play reggae, Strum-
Philadelphia-born Burke start- mer said in 1977. But the Clash
ed preaching at the age of seven invented a skank of their own,
and often recorded his vocals toasting the solidarity they saw
from behind a pulpit. He attacks between punks and Rastas. The
this song in the style of a re- anti-racist fusion of Hammer-
and-brimstone Southern preach- smith Palais also skewered sell-
er, calling out for a witness and outs in both scenes. I was try-
testifying to the power of love. ing to talk about revolution and
In the congregation: the Rolling how we werent ever gonna have
Stones, who covered it in 1965. one, he said.
Appears on: The Very Best of Solomon Burke Appears on: The Clash (Epic)
(Rhino)
ut revolution and how we

ve one, Strummer said.
{ MY TOP 10 }
Solomon Burke
1. Let It Be The Beatles 6. Crying Roy Orbison
The message still stands today. Something every person goes
The Beatles had an inner soul through: that moment of tears,
not even they were aware of. whether its joy, sorrow or love.
2. Blowin in the Wind 7. Try a Little Tenderness

Bob Dylan Otis Redding
Another true message I wish The greatest message in the
they were playing it right now. world for men: You dont misuse
or abuse women. You give them
3. Proud Mary love.
Creedence Clearwater Revival
When I rst heard it, I didnt un- 8. (I Cant Get No) Satisfaction
derstand why it wasnt playing The Rolling Stones
on the black radio stations. Its Hey, everybody wants some
timeless I think John Fogertys satisfaction, but not everybody
great-grandfather wrote it, and gets as much as Mick Jagger.
he doesnt remember it.
9. Bridge Over Troubled
4. Georgia on My Mind Water Simon and Garfunkel
Ray Charles We live over troubled water, and
A real genius, a great musician, we all need a bridge in our life.
a talented writer.
10. Lonely Teardrops
5. A Change Is Gonna Come Jackie Wilson
Sam Cooke Jackie Wilson could take a
Were living in the years of spin, do a split, then spin back
prophecies were watching all between singing lonely
them come to life. Sam Cooke and teardrops. The man
was a young prophet. was a movie.


{438} { 439}
LISTEN LISTEN
13 WEEKS 19 WEEKS
NO. 10 NO. 1
Aint It a Shame Midnight Train

FATS DOMINO to Georgia
GLADYS KNIGHT
Writers: Dave Bartholomew, Domino
Producer: Bartholomew AND THE PIPS
Released: July 55, Imperial
Writer: Jim Weatherly
Producer: Tony Camillo
In the summer of 1955, Aint Released: Sept. 73, Buddah
It a Shame became Dominos
first pop smash, after a string Originally titled Midnight Plane
of R&B hits. Pat Boones white- to Houston, the ode to long-
bread cover (retitled Aint That distance romance from Mis-
a Shame though Boone alleg- sissippi songwriter Weatherly
edly wanted it to be Isnt That a (who also wrote Knights Nei-
Shame) reached Number One, ther One of Us) became the big-
but as Jerry Wexler put it, Fats gest hit ever for Gladys Knight
Domino is still the thing. Who and the Pips. Cissy Houston had
cares about whats his name with an R&B hit with it rst, before
the white buck shoes? Knight rode it to the top of the
Appears on: The Fats Domino Jukebox: pop charts.
20 Greatest Hits (Capitol) Appears on: Essential Collection (Hip-O)
Ramble On was insp

The Lord of

{ 440} { 441 }
LISTEN LISTEN
NON- 9 WEEKS
SINGLE NO. 23
Ramble On Mustang Sally

LED ZEPPELIN WILSON PICKETT
Writers: Jimmy Page, Robert Plant Writer: Sir Mack Rice

Producer: Page Producer: Jerry Wexler
Released: Oct. 69, Atlantic Released: Nov. 66, Atlantic
Groupies and The Lord of the Mustang Sally nearly ended

Rings inspired Ramble On, re- up on the studio oor literal-
corded in New York on Led Zep- ly. After Pickett nished his nal
pelins rst U.S. tour. Over Pages take at Fame Studios in Muscle
acoustic guitars, Plant wails, In Shoals, Alabama, the tape ew
the darkest depths of Mordor/I o the reel and broke into pieces.
met a girl so fair. Middle Earth But engineer Tom Dowd calmly
inuenced more than the music: cleared the room and told every-
After reading Tolkien, Page one to come back in half an hour.
said, I knew I had to move to Dowd pieced the tape back to-
the country. According to leg- gether, saving one of the funkiest
end, John Bonham is banging on soul anthems of the Sixties.
a plastic garbage can. Appears on: The Very Best of Wilson Pickett
Appears on: Led Zeppelin II (Atlantic) (Rhino)
pired by groupies and

f the Rings.
{ 442 } { 443 }
LISTEN LISTEN
3 WEEKS 13 WEEKS
NO. 99 NO. 8
Alone Again Or Beast of Burden

LOVE THE ROLLING STONES
Writer: Bryan MacLean Writers: Mick Jagger, Keith Richards

Producers: Arthur Lee, Bruce Botnick Producers: The Glimmer Twins
Released: Jan. 68, Elektra Released: June 78, Rolling Stones
The psychedelic cowboys of Love By 1978, the Stones were in tur-

became famous for their dark, moil, after trouble with drugs,
poetic L.A. folk rock. But Alone women and the law. On Beast
Again Or, the opening track on of Burden, they faced up to their
the bands masterwork, Forever struggles with world-weary de-
Changes, was written and part- fiance. On other takes, Jagger
ly sung by guitarist MacLean tried the song in falsetto, but his
who later left the band to join a straight-ahead version went to
Christian ministry as a tribute the Top 10.
to his mothers amenco danc- Appears on: Some Girls (Virgin)
ing. The nal take is a decidedly

trippy swirl of strings, horns and
Spanish-style acoustic guitars.
Appears on: Forever Changes (Rhino)

{ 444 } { 445 }
LISTEN LISTEN
23 WEEKS DID NOT
NO. 1 CHART
Love Me Tender I Wanna

ELVIS PRESLEY Be Your Dog
THE STOOGES
Writers: Presley, Vera Watson
Producer: Steve Sholes Writers: Dave Alexander, Ron Asheton,
Released: Oct. 56, RCA Scott Asheton, Iggy Pop
Producer: John Cale
Love Me Tender was the theme Released: August 69, Elektra
song from the rst Elvis movie
and represented a new sound for These groundbreaking Detroit
the King. He sang in his softest punks tapped into the brutal side
voice, accompanied only by his of the blues for this primitive
own acoustic guitar. The melody classic. They also offer a one-
came from the Civil War-era bal- note piano tribute to the Kinks
lad Aura Lee. You Really Got Me. Over the
Appears on: Elvis: 30 #1 Hits (RCA) ultimate bone-crunching three-
chord guitar riff, Iggy Pop
screams about the agony of teen-
age hormones the way only Iggy
Pop can.
Appears on: The Stooges (Elektra)
Beastly: Rolling
Stones Ron Wood,
Keith Richards
and Mick Jagger
harmonizing in 1978

MICHAEL PUTLAND/RETNA
{446 } {447 }
LISTEN LISTEN
25 WEEKS 16 WEEKS
NO. 19 NO. 8
Push It Pink Houses

SALT N PEPA JOHN COUGAR MELLENCAMP
Writer: Hurby Luv Bug Azor Writer: Mellencamp

Producer: Azor Producers: Little Bastard,
Released: Nov. 87, Next Plateau Don Gehman
Released: Oct. 83, Riva
In 1985, Azor recruited fellow
Sears employees Cheryl James Recorded in a farmhouse in
and Sandy Denton for a music- Brownstown, Indiana, Pink
school project. With the addition Houses was inspired by an old
of Dee Dee Spinderella Roper, man sitting on the porch of his
Salt N Pepa became the rst fe- pink shack, Mellencamp told
male MCs to crack the pop Top Rolling Stone. He waved,
20 when this track was remixed and I waved back. Thats how the
by San Francisco DJ Cameron song started.
Paul. Push It was nominated Appears on: Uh-huh (Mercury)
for a Grammy, but Salt N Pepa

boycotted the show when the rap
category wasnt televised.
Appears on: Hot, Cool and Vicious (London)

{448} {449}
LISTEN LISTEN
30 WEEKS 31 WEEKS
NO. 1 NO. 5
In Da Club Come Go With Me

50 CENT THE DELL-VIKINGS
Writers: 50 Cent, Dr. Dre, Mike Elizondo Writer: Clarence E. Quick

Producers: Dr. Dre, Elizondo Producer: Joe Averbach
Released: Dec. 02, Interscope/ Released: Feb. 57, Dot
Aftermath/Shady
Five airmen who came to-
50 Cents rhyme skills caught the gether at the NCO Service
notice of Dr. Dre and Eminem, Club in Pittsburgh, the Dell-
who helped assemble this party Vikings underwent several line-
track. 50 walked into the studio up changes because members
and picked up a pen, Dre said. kept getting sent to Germany.
We were done in an hour. We Eventually they became pops
just made some shit we wanted rst successful multiracial group
to hear. on the strength of Come Go
Appears on: Get Rich or Die Tryin With Me. The song was written
(Interscope/Aftermath/Shady) by the groups bass singer and re-
corded one night in a Pittsburgh
hotel room.
Appears on: Golden Classics (Collectables)
Max Martin
What makes a great song? I Kissed a Girl was another
A great song has that What total surprise. We wrote it with
the fuck? factor when you Katy [Perry], and she wasnt
put it on, you react to it. A even really signed, at a time
great song grabs your atten- when everybody said that you
tion right away. needed a TV platform to
have a hit. Then she became
Which of your songs came an overnight star, all around
closest to that ideal? the world.
Since U Been Gone, for me,
has that. The marriage of that How has technology changed
song and where Kelly [Clark- the relationship between
son] was at the time, with songwriting and producing?
American Idol, really surprised Im an old-school writer. I start
people. That made her real. very simple, usually with the
Also, not a lot of things out melody only. Im a Dictaphone
there sounded like that at the kind of guy. But I dont believe
time. The song came out in a in right or wrong ways to do it.
world that was really rap- I love the way technology has
oriented, a lot of rhythmic stuff, developed into kids making
not a lot of pop sometimes you crazy beats its so cheap to
need a bit of luck to be unusual. get a real studio onto a laptop
and not have to rent a studio
When could you tell that the for two grand a day. So I do
song was special? write to beats, as well. I used
The demo was just me and to be more conservative, but I
[partner] Dr. Luke singing, but dont care anymore. Now I use
when Kelly started to sing, all the tools I can.
she killed it. When we listened
back, she had taken the song Max Martin has co-written
to a totally different world. So such hits as Britney Spears
I knew I really loved it but . . . Baby One More Time,
that still didnt mean it was Pinks So What and
going to work. I dont ever Kelly Clarksons Since
know if its a hit or not. U Been Gone.

The Swedish
thing: Max Martin
KIA NADDERMIER
{ 450} { 451 }
LISTEN LISTEN
DID NOT 14 WEEKS
CHART NO. 1
I Shot the Sheriff I Got You Babe

BOB MARLEY SONNY AND CHER
AND THE WAILERS
Writer: Sonny Bono
Writer: Marley Producer: Bono
Producer: Chris Blackwell Released: July 65, Atco
Released: Oct. 73, Island
Late one night, while Sonny and
Marley, Peter Tosh and Bunny Cher were living in their manag-
Wailer saved some of their pret- ers house, Bono woke up Cher
tiest falsetto harmonies for one and asked her to listen to I Got
of the groups toughest songs. You Babe and to sing the lyrics,
Inspired by the Impressions which he had written on a piece
Keep On Pushin, Marley orig- of shirt cardboard. She thought it
inally had the songs outlaw hero was OK but really wanted a song
say, I shot the police, but imag- that modulated. So he changed
ined the song would be more gov- the key at the bridge and woke
ernment-friendly if he changed it Cher up again hours later to hear
to the revenge killing of a single it; she was delighted.
sheri. Appears on: The Beat Goes On: The Best of
Appears on: Burnin (Island) Sonny and Cher (Atlantic)
Bob Marley originally h

I shot the police, but chang
single s

{ 452 } { 453}
LISTEN LISTEN
18 WEEKS DID NOT
NO. 32 CHART
Come As You Are Pressure Drop

NIRVANA TOOTS AND THE MAYTALS
Writers: Kurt Cobain, Nirvana Writer: Toots Hibbert

Producers: Butch Vig, Nirvana Producer: Leslie Kong
Released: Sept. 91, Geffen Released: Feb. 73, Mango
Its just about people and what Toots and the Maytals were
theyre expected to act like, Co- already reggae stars they
bain said. The lines in the song coined the word on 1968s Do
are really contradictory. Theyre the Reggay before Pressure
kind of a rebuttal to each other. Drop. They were rumored to
The song is driven by a sim- be Chris Blackwells choice over
ple ri that Vig goosed with a Bob Marley and the Wailers
anged, subaquatic guitar eect. when he wanted a group for his
Cobain apparently lifted it from Island label.
a 1985 song by U.K. art-metal Appears on: The Harder They Come (Hip-O)
band Killing Joke, whom Dave

Grohl paid back 12 years later by
drumming on their 2003 album.
Appears on: Nevermind (Geffen)
had his songs hero say,

ged it to a less-inflammatory
sheriff.
{454 } { 455}
LISTEN LISTEN
12 WEEKS NON-
NO. 1 SINGLE
Leader of the Pack Heroin

THE SHANGRI-LAS THE VELVET UNDERGROUND
Writers: George Shadow Morton, Jeff Writer: Lou Reed

Barry, Ellie Greenwich Producers: Andy Warhol, Tom Wilson
Producers: Morton, Barry, Greenwich Released: March 67, Verve
Released: Oct. 64, Red Bird
This seven-minute, two-chord
Morton found the inspiration for track spiked out its territory with
this song at a diner in Hicksville, lyrics about shooting up until
New York. Bikers, hot rodders, you felt like Jesus son. It wasnt
gum-smacking ladies, he said, pro or con, Reed said. It was
not careful at all about their about taking heroin from the
language. He brought a bike point of view of someone tak-
into the studio for the motorcy- ing it. Im still not sure what was
cle sounds. such a big deal. So theres a song
Appears on: Myrmidons of Melodrama: called Heroin. So what? Drum-
Definitive Collection (RPM) mer Moe Tucker disagreed: I
consider it our greatest triumph.
Appears on: The Velvet Underground and
Nico (Polydor)

{ 456} { 457 }
LISTEN LISTEN
10 wEEkS 39 wEEkS
No. 1 No. 1
Penny Lane The Twist

The beATles Chubby CheCker
writers: John Lennon, writer: Hank Ballard

Paul McCartney Producer: Karl Mann
Producer: George Martin Released: Aug. 60, Parkway
Released: Feb. 67, Capitol
The Twist began as a B side for
After Lennon composed Straw- Ballard and the Midnighters in
berry Fields Forever, McCartney 1958. But in 1960, former chick-
wrote his own snappy mem- en plucker Checker covered it at
oir. Penny Lane was a Liver- Dick Clarks suggestion. Going
pool bus stop where Lennon and crazy is what I was looking for
McCartney often met. John where the music is so good you
came over and helped me with lose control, Checker said. The
the third verse, as was often the Twist did that.
case, McCartney said. We were Appears on: Greatest Hits (Prime Cuts)
writing recently faded memories

from eight or 10 years before.
Appears on: Magical Mystery Tour
(Capitol/Apple)
Penny Lane
was a Liverpool
bus stop where
Lennon and
McCartney
often met.
{458} {459}
LISTEN LISTEN
17 WEEKS 17 WEEKS
NO. 12 NO. 5
Cupid Paradise City

SAM COOKE GUNS N ROSES
Writer: Cooke Writers: Guns n Roses

Producers: Cooke, Hugo and Luigi Producer: Mike Clink
Released: July 61, RCA Released: Aug. 87, Geffen
Cookes producers had asked him For nearly seven minutes, Axl
to write a song for a girl they had Rose expounds on the joys of
seen on a Perry Como TV show green grass, pretty girls and toxic
but once they heard her sing, chemicals. The song was written
they kept Cupid for Cooke to in the back of a van as the band
do himself. It was Cookes idea drove home to L.A. after a gig in
to drop in the sound of an arrow San Francisco, with all the mem-
being red straight to my lov- bers tossing in lines. In a typical-
ers heart. ly tasteful G n R move, the video
Appears on: Greatest Hits (RCA) has footage of the bands 1988 gig
at Castle Donington in the U.K.
where two fans were crushed
to death.
Appears on: Appetite for Destruction
(Geffen)

{ 460} { 461 }
LISTEN LISTEN
14 WEEKS 13 WEEKS
NO. 1 NO. 81
My Sweet Lord Sheena Is

GEORGE HARRISON a Punk Rocker
RAMONES
Writer: Harrison
Producers: Harrison, Phil Spector Writers: Ramones
Released: Nov. 70, Apple Producers: Tony Bongiovi, T. Erdelyi
Released: May 77, Sire
The first hit for an ex-Beatle,
it features Harrisons teardrop This was cut twice: rst as a sin-
slide licks and a melody virtual- gle that was rushed to radio and
ly identical to the Chions Hes became one of the Ramones few
So Fine. After a lawsuit, Har- modest hits, then in a slightly
rison had to pay $587,000 to souped-up version for the bands
his former manager Allen Klein, album Rocket to Russia. I com-
who then owned the rights to bined Sheena, Queen of the Jun-
Hes So Fine. It made me so gle, with the primalness of punk
paranoid about writing, Harri- rock, said Joey Ramone. It was
son said. I thought, I dont even funny, because all the girls in
want to touch the guitar, in case New York seemed to change their
Im touching somebodys note. names to Sheena after that.
Appears on: All Things Must Pass (Capitol) Appears on: Rocket to Russia (Rhino)
Harrison said
that the My
Sweet Lord
lawsuit made
me paranoid
to write.
IAN DICKSON/REX USA

All the girls in

New York seemed
to change their
names to Sheena,
said Joey Ramone.
Road to ruin: Johnny,

Tommy, Joey and
Dee Dee Ramone
(from left) in 1977
{462} {463}
LISTEN LISTEN
22 WEEKS 15 WEEKS
NO. 45 NO. 2
All Apologies Soul Man

NIRVANA SAM AND DAVE
Writer: Kurt Cobain Writers: Isaac Hayes, David Porter

Producer: Steve Albini Producers: Hayes, Porter
Released: Sept. 93, Geffen Released: Sept. 67, Stax
Written in the L.A. apartment For the follow-up to Hold On,

Cobain shared with Courtney Im Comin, writer-producers
Love, this haunting meditation Hayes and Porter decided to tin-
on remorse was originally pro- ker with their formula: Porter
duced by punk malcontent Al- asked singer Sam Moore to give
bini, but then R.E.M. producer him the Bobby Bland squall,
Scott Litt was brought in to guitarist Steve Cropper came
smooth it out the original had up with the licks that set up the
a long stream of feedback on it. familiar blast of the Memphis
Cobains shredded vocals main- Horns, and voil! another
tain the punk edge in the hushed soul classic was born. We had no
MTV Unplugged in New York idea how good we were, Hayes
rendition. said of the partnership.
Appears on: In Utero (Geffen) Appears on: Soul Men (Rhino)
Prince originally
wrote Kiss for
the Paisley Park
band Mazarati
then he took it
back.

{464 } {465}
LISTEN LISTEN
18 WEEKS PREDATES
NO. 1 CHART
Kiss Rollin Stone

PRINCE AND THE REVOLUTION MUDDY WATERS
Writers: Prince and the Revolution Writer: McKinley Morganfield

Producers: Prince and the Revolution Producers: Leonard and Phil Chess
Released: Feb. 86, Paisley Park Released: 1948, Chess
The Paisley Park band Mazara- For Chess Records first sin-
ti asked Prince for a song, so he gle, Waters turned Mississippi
dashed o a bluesy acoustic demo bluesman Rober t Petways
for them. Mazarati added a funk Catfish Blues into a spare
groove, and Prince was smart track he named Rollin Stone.
enough to take the song back. We wouldnt do it exactly like
Appears on: Parade (Warner Bros.) those older fellows, Waters
said. We put the beat with it,
put a little drive to it. The Roll-
ing Stones took their name from
it, as did, in part, this magazine.
Appears on: The Anthology: 1947-1972
(Chess/MCA)
DAVE HOGAN/HULTON ARCHIVE/GETTY IMAGES
Kiss alive:
Prince in 1986
{ 466 } {467 }
LISTEN LISTEN
25 WEEKS 20 WEEKS
NO. 7 NO. 18
Get Ur Freak On Big Pimpin

MISSY ELLIOTT JAY-Z FEATURING UGK
Writers: Elliott, Timbaland Writers: Jay-Z, Bun B, Pimp C,

Producer: Timbaland Timbaland, Kyambo Joshua
Released: March 01, Gold Mind/Elektra Producer: Timbaland
Released: Dec. 99, Roc-A-Fella
Elliott was convinced that
Miss E needed one more track. For this thumping ode to con-
So Timbaland cooked up a stut- spicuous consumption, the
tering, tabla-laden beat based king of New York rap hooked
on bhangra, an Indian dance up with Houston rap dons
genre he heard while traveling, UGK over a beat that sounds
and plucked out the signature like it was cut in Cairo. Timba-
six-note ri on a tumbi, a one- land allegedly based the melo-
stringed Punjabi guitar. dy on a 1957 song by Egyptian
Appears on: Miss E . . . So Addictive Abdel Halim Hafez.
(Atlantic/ATG) Appears on: Vol. 3: Life and Times of S. Carter
(Roc-A-Fella)
SCOTT GRIES/IMAGEDIRECT/GETTY IMAGES
Big
Pimpin:
Jay-Z

{468 } {469}
LISTEN LISTEN
14 wEEkS 7 wEEkS
No. 12 No. 23
Respect Yourself Rain

The sTaple singers The BeaTles
writers: Luther Ingram, Mack Rice writers: John Lennon,

Producer: Al Bell Paul McCartney
Released: Oct. 71, Stax Producer: George Martin
Released: June 66, Capitol
Stax singer Ingram, frustrated
with the state of the world, told The B side of Paperback Writer
house songwriter Rice that was Lennons response to people
black folk need to learn to re- moaning about the wet British
spect themselves. Rice liked the weather. It featured one of the
comment so much that he built a earliest uses of backward tape,
funk groove around it, then gave which Lennon said was the re-
the song to the Staples. This is sult of being stoned and spool-
the song Ive been waiting [for], ing up the tape wrong. It also in-
said producer Bell, who laid it cluded virtuoso drumming from
down with the famous Muscle Ringo Starr. I feel as though
Shoals Rhythm Section. that was someone else playing,
appears on: Bealtitude: Respect Yourself Starr said. I was possessed!
(Stax) appears on: Past Masters (Capitol/Apple)
Rain featured
backward tape.
(Lennon said he
was stoned and
spooled it wrong.)
{ 470} { 471}
LISTEN LISTEN
10 WEEKS 8 WEEKS
NO. 6 NO. 62
Standing in the Surrender

Shadows of Love CHEAP TRICK
THE FOUR TOPS
Writer: Rick Nielsen
Writers: Brian Holland, Lamont Dozier, Producer: Tom Werman
Eddie Holland Released: May 78, Epic
Producers: Brian Holland, Dozier
Released: Dec. 66, Motown Cheap Trick provided the ulti-
mate Seventies teen anthem in
Like so many other Motown hits, Surrender, with a verse about
Standing features the popping a kid who catches his parents
bass of James Jamerson. He was making out and gets stoned
such a monster player, his fel- to his Kiss records. Guitarist-
low musicians called him Igor; songwriter Nielsens secret? I
Marvin Gaye called him a genius. [had] to go back and put myself
Appears on: The Ultimate Collection in the head of a 14-year-old.
(Motown) Appears on: Heaven Tonight (Epic)

{ 472 } { 473}
LISTEN LISTEN
17 WEEKS 17 WEEKS
NO. 1 NO. 7
Runaway Welcome to
DEL SHANNON the Jungle
GUNS N ROSES
Writers: Shannon, Max Crook
Producers: Harry Balk, Irving Micahnik Writers: Guns n Roses
Released: March 61, Big Top Producer: Mike Clink
Released: Aug. 87, Geffen
As a kid, Shannon got his rst
guitar for $5. His truck-driver Slashs Seventies-metal crunch
dad wasnt too happy about it. and Axls hell-bound shriek
You get that goddamn gui- brought brutal realism to the
tar outta here thats the exact L.A. glam-metal scene. Theyre
words my father used, Shannon real-life stories, these fuckin
recalled. However, my ma said, songs, bassist Duff McKagan
Its OK, son. You can sing for said. Jungle beckoned listeners
me. He sang this hit with raw into the Gunners sordid Holly-
emotion; co-writer Crook played wood milieu, but Roses inspira-
the solo on an early electronic tion came from getting lost dur-
keyboard called the Musitron. ing his rst trip to New York.
Appears on: Greatest Hits (Rhino) Appears on: Appetite for Destruction
(Geffen)
I had to go
back and put
myself in the head
of a 14-year-old
when I wrote
Surrender.
{ 474 } { 475 }
LISTEN LISTEN
NON- 14 WEEKS
SINGLE NO. 1
Into the Mystic Where Did

VAN MORRISON Our Love Go
THE SUPREMES
Writer: Morrison
Producer: Morrison Writers: Brian Holland, Lamont Dozier,
Released: March 70, Warner Bros. Eddie Holland
Producers: Brian Holland, Dozier
Into the Mystic is one of Mor- Released: June 64, Motown
risons warmest ballads, an
Otis Redding-style reverie with After eight op singles, the trio
acoustic guitar and horns. The were known as the No-Hit
lyrics are truly mysterious: Peo- Supremes. The Marvelettes
ple say, What does this mean? Motowns top girl group at that
said Morrison. A lot of times I point passed on this song, and
have no idea what I mean. Thats the Supremes didnt like their
what I like about rock & roll own recording. Until it hit Num-
the concept. Like Little Richard ber One, that is. That foot-stomp-
what does he mean? You cant ing beat is actually two boards
take him apart; thats rock & roll banged together.
to me. Appears on: The Ultimate Collection
Appears on: Moondance (Warner Bros.) (Motown)
A lot of times I
have no idea what
I mean. Thats
what I like about
rock & roll
the concept.

{ 476 } { 477 }
LISTEN LISTEN
11 WEEKS DID NOT
NO. 9 CHART
Do Right Woman How Soon Is Now?

Do Right Man THE SMITHS
ARETHA FRANKLIN
Writers: Johnny Marr, Morrissey
Writers: Chips Moman, Dan Penn Producer: John Porter
Producer: Jerry Wexler Released: Feb. 85, Sire
Morrissey cribbed lyrics from
Franklin disappeared after a George Eliot, but guitarist Marr
1967 session in Muscle Shoals, cited another reference: Derek
Alabama, leaving this simmering and the Dominos. I wanted an
ballad unnished. A few weeks intro that was almost as potent
later, she resurfaced in New York. as Layla, he said. When [it]
The resulting vocal, said produc- plays in a club or a pub, everyone
er Wexler, was perfection. knows what it is.
Appears on: I Never Loved a Man the Way I Appears on: Meat Is Murder (Warner Bros.)
Love You (Rhino)

{ 478 }
LISTEN
DID NOT
CHART
Last Nite
THE STROKES
Writer: Julian Casablancas

Producer: Gordon Raphael
Released: Aug. 01, RCA
Youthful angst on the Lower

East Side: Lou Reed vocals
and cool confusion, driven by
the surging, garage-band sound
that would go on to dene early-
2000s rock. The Strokes suppos-
edly nicked the opening ri from
Tom Pettys American Girl.
I saw an interview with them
where they admitted it, Petty
told Rolling Stone. I was
like, OK, good for you. It doesnt
bother me.
Appears on: Is This It (RCA)
COURTESY OF SONY

The Strokes: Julian

Casablancas, Nick
Valensi, Fab Moretti,
Albert Hammond Jr. and
Nikolai Fraiture
(from left) in New York
{ 479} { 480}
LISTEN LISTEN
21 WEEKS DID NOT
NO. 1 CHART
I Want to Know Sabotage

What Love Is BEASTIE BOYS
FOREIGNER
Writers: Beastie Boys
Writer: Mick Jones Producers: Beastie Boys,
Mario Caldato Jr.
Producers: Jones, Alex Sadkin
Released: May 94, Grand Royal
This gospel-rock hymn featured Adam MCA Yauch came up

Dreamgirls star Jennifer Holli- with the killer fuzz-bass ri at
day, one of the Thompson Twins Manhattans Tin Pan Alley stu-
and, most notably, the New Jer- dio, but it wasnt until a year later
sey Mass Choir. Said Jones, Ill that the song was nished in L.A.
always remember them getting With two weeks to go before Ill
in a circle before we did it and ev- Communication was complet-
eryone saying the Lords Prayer. ed, Adam Ad-Rock Horovitz
That probably didnt happen for got all hot and bothered about
Hot Blooded but this soaring paparazzi on the mike and came
ballad became Foreigners big- out of the songs breakdown with
gest hit. a scream for the ages.
Appears on: Agent Provocateur (Atlantic) Appears on: Ill Communication (Capitol)
MARTYN GOODACRE/GETTY IMAGES
Saboteurs:
MCA, Mike D
and Ad-Rock
(from left)
in 1994

{481 } {482 }
LISTEN LISTEN
24 WEEKS 46 WEEKS
NO. 16 NO. 2
Super Freak Since U Been Gone

RICK JAMES KELLY CLARKSON
Writers: James, Alonzo Miller Writers: Dr. Luke, Max Martin

Producer: James Producers: Dr. Luke, Martin
Released: Aug. 81, Gordy Released: Nov. 04, RCA
James wasnt exactly modest Pop gurus Max Martin and Lu-
about his ambitions. As he de- kasz Dr. Luke Gottwald wrote
clared in 1981, I wanna make this indignant track with Pink
Paul McCartney white-boy in mind, but Clarksons A&R rep
money! He got it with the self- snatched it up for the rst-ever
described punk funk of Super American Idol. The result was
Freak, from his breakthrough a career-making hit that gave
album, Street Songs. James en- teen pop a feisty new template. I
listed the Temptations for back- went to see Foo Fighters when I
ground vocals. The song got a was o in Texas, Clarkson said,
second life when MC Hammer and the rst thing Dave Grohl
jacked it for the 1990 megasmash said to me was, I love that song!
U Cant Touch This. Appears on: Breakaway (RCA)
Appears on: Street Songs (Motown)
When I went
to see the Foo
Fighters, the first
thing Dave Grohl
said was, I love
that song!
{ 483} { 484 }
LISTEN LISTEN
10 WEEKS 20 WEEKS
NO. 8 NO. 3
White Rabbit Cry Me a River

JEFFERSON AIRPLANE JUSTIN TIMBERLAKE
Writer: Grace Slick Writers: Timbaland, Scott Storch,

Producer: Rick Jarrard Timberlake
Released: Sept. 67, RCA Producer: Timbaland
Released: Nov. 02, Jive
White Rabbit was a trippy rock
& roll bolero written by Airplane This breakup aria marked the
vocalist Slick. Our parents read formation of the Timberlake-
us stories like Peter Pan, Alice Timbaland team, a match made
in Wonderland and The Wiz- in pop heaven. The stunning
ard of Oz, Slick said. They all video in which Justin stalks an
have a place where children get actress dressed to look like his
drugs, and are able to y or see ex Britney Spears made clear
an Emerald City or experience the inspiration for River. Its a
extraordinary animals and peo- good-ass video, Timberlake told
ple. . . . And our parents are sud- Rolling Stone. I didnt want
denly saying, Why are you tak- anyone to come o smelling like
ing drugs? Well, hello! roses.
Appears on: Surrealistic Pillow (RCA) Appears on: Justified (Jive)
Our parents read us sto

Alice in Wonderland, said G
Why are you taking

{ 485} { 486 }
LISTEN LISTEN
18 WEEKS 11 WEEKS
NO. 1 NO. 28
Lady Marmalade Young Americans

LABELLE DAVID BOWIE
Writers: Bob Crewe, Kenny Nolan Writer: Bowie

Producer: Allen Toussaint Producer: Tony Visconti
Released: Jan. 75, Epic Released: March 75, RCA
This hit about a Big Easy street- In 1975, Bowie traded his
walker remains in rotation 35 glammed-out Ziggy Stardust
years after it hit Number One. persona for an exploration of
The group was from Philadel- what he called plastic soul. Yet
phia, but the nasty groove was this R&B homage is one of his
classic New Orleans, with pro- warmest, wildest tales, record-
ducer Toussaint and his house ed in Philadelphia with a then-
band, legendary R&B stalwarts unknown Luther Vandross on
the Meters, funking up the beat. backing vocals and David San-
Thanks to the ladies of LaBelle, born wailing on sax. Its about a
every disco fan now knows at newlywed couple who dont know
least one line of French: Voulez- if they really like each other,
vous coucher avec moi? Bowie said.
Appears on: Nightbirds (Epic) Appears on: Young Americans (Virgin)
ories like Peter Pan and

Grace Slick, and then asked,
g drugs? Well, hello!
PAUL BERGEN/REDFERNS/GETTY IMAGES
Fortunate son:
Fogerty in 2007

John Fogerty
Can you tell when something Races, and she told me that
youre writing is turning into Stephen Foster wrote these
something great? songs. I didnt know that he
When youre writing one of those was Americas rst professional
songs, your mind tunes into songwriter and also, the rst
some ethereal radio station and guy to have that taken away
allows you to hear whats coming from him by a crook.
through. When I was working on I thought Lennon and McCart-
Proud Mary and I hit the chorus ney absorbed all the music that
rollin, rollin I just shook my came before them, and we were
head, and I knew it was an evolu- receiving the entire work of man-
tionary leap for me. kind through these two guys.
Maybe thats a little dramatic,
With Creedence, you wrote an but it is kind of true. Leiber and
astonishing number of hits in a Stoller covered such a broad
very short time. spectrum of writing. Hoagy Car-
Remember that youre only michael wrote some incredible
hearing about one of 10 songs songs. Brian Wilson had a magic
I wrote. The other nine of them touch.
were really awful. Id taken an If youre a songwriter, you
oath to do only the best stuff have endless respect for people
that was possible to drag out who write. When you hear some-
of me. And the harder I pushed thing like When a Man Loves a
myself, the better it would get. I Woman, it prompts you to try
would have ideas all day long. Id to do something as great. Its like
start at 11 at night and work until the opposite of sibling rivalry
four oclock, getting those ideas you dont become jealous, you
down on paper. I was always and become inspired.
only thinking about songwriting.
Which songwriters were your John Fogerty wrote the

greatest inuences? Creedence Clearwater Revival
When I was three, my mother hits Proud Mary and Down
handed me a little record with on the Corner and many other
Oh, Susannah and Camptown classic songs.
{487 } { 488}
LISTEN LISTEN
13 WEEKS 19 WEEKS
NO. 21 NO. 40
Im Eighteen Just Like Heaven

ALICE COOPER THE CURE
Writers: Michael Bruce, Glen Buxton, Writers: Robert Smith, Simon Gallup,
Cooper, Dennis Dunway, Neal Smith Porl Thompson, Lol Tolhurst, Boris
Producers: Bob Erzin, Jack Richardson Williams
Released: Feb. 71, Warner Bros. Producers: David Allen, Smith
Released: May 87, Elektra
Before Im Eighteen, Cooper

was just another hairy rock odd- Ive never been a big fan of irony,
ball. But this proto-punk smash Smith said, which might be why
dened the age when, in Coop- this reverie of love, cut at a vine-
ers words, youre old enough to yard in the South of France, is his
be drafted but not old enough favorite Cure song. The bands
to vote. A few years later, John- girlfriends inuenced the music.
ny Rotten sang this at his audi- The girls would sit on the sofa in
tion for the Sex Pistols; by then, the back of the control room and
Cooper was a guest on The Mup- give the songs marks out of 10,
pet Show. he said. So there was a really big
Appears on: Love It to Death (Warner Bros.) female input.
Appears on: Kiss Me, Kiss Me, Kiss Me (Elektra)
The original singer of Under

died of a heroin overdose th

{ 489} { 490}
LISTEN LISTEN
33 WEEKS 22 WEEKS
NO. 4 NO. 29
Under the Clocks

Boardwalk COLDPLAY
THE DRIFTERS
Writers: Coldplay
Producers: Ken Nelson, Mark Phythian
Writers: Arthur Resnick, Kenny Young
Producer: Bert Berns
Coldplay were scrambling to
A staple of beach-town juke- finish their second album and
boxes every summer since its re- wanted to save Clocks, with a
lease, Under the Boardwalk churning piano ri inspired by
evokes the carefree sounds of the the band Muse, for a later album.
shore. But its recording was no Luckily, a friend intervened. He
day at the beach. Johnny Moore said, Youre going on [in the lyr-
was drafted to sing lead because ics] about urgency, and youre
the tracks original singer, Rudy talking about keeping this song
Lewis, died of a heroin overdose back, said Chris Martin. That
in his hotel room the night before doesnt make sense.
the session. Appears on: A Rush of Blood to the Head
Appears on: The Very Best of the Drifters (Capitol)
(Rhino)
the Boardwalk, Rudy Lewis,

he night before the session.
{ 491}
LISTEN
20 WEEKS
NO. 1
I Love Rock N Roll

JOAN JETT AND THE
BLACKHEARTS
Writers: Jake Hooker, Alan Merrill

Producers: Ritchie Cordell,
Kenny Laguna
Released: Jan. 82, Boardwalk
Attempting to jump-start a solo

career after her stint in the Run-
aways, Jett had her demo tape
to I Love Rock N Roll rejected
by 23 record labels. Tiny Board-
walk Records nally bit, but the
label sold her the radio rights to
the track for $2,500. Today, the
song is worth nearly $20 million.
Appears on: I Love Rock N Roll (Blackheart)

{ 492}
LISTEN
27 WEEKS
NO. 1
Bad reputation:
Joan Jett in the
Blackhearts days I Will Survive
GLORIA GAYNOR
Writers: Dino Fekaris, Freddie Perren

Producers: Fekaris, Perren
Released: Dec. 78, Polydor
In 1979, Gaynors career was fall-

ing apart. Donna Summer had
replaced her as the leading disco
diva, and the 32-year-old Gaynor
had recently suered the death
of her mother and had under-
gone spinal surgery. So when she
belted out I Will Survive, she
brought extra attitude. The track
was originally a B side, but after
enterprising DJs started to play it
at discos, it turned into a smash.
Appears on: I Will Survive: The Anthology
(Polygram)
{ 493} {494 }
LISTEN LISTEN
DID NOT 42 WEEKS
CHART NO. 2
Time to Pretend Ignition (Remix)

MGMT R. KELLY
Writers: Ben Goldwasser, Andrew Writer: Kelly

VanWyngarden Producer: Kelly
Producer: Dave Fridmann Released: Oct. 02, Jive
Released: Jan 08, Columbia
R. Kellys automotive meta-
The rhythm was inspired by the phors for booty-knockin in
wriggling of a praying mantis Ignition are subtler than they
that VanWyngarden and Gold- mightve been; the lyrics were
wasser kept in college. Van- toned down at the request of a
Wyngarden wrote about rock- Chicago radio station. On Choco-
star fantasies (Ill move to Paris, late Factory, the original version
shoot some heroin), though its of the song segued immediately
unclear how facetious the words into the hit remix.
are. Some think were druggies, Appears on: Chocolate Factory (Jive)
he said. Others see the tongue-

in-cheek element. Thats what I
hope for as a lyricist: confusion!
Appears on: Oracular Spectacular (Columbia)

{ 495} { 496 }
LISTEN LISTEN
12 WEEKS 17 WEEKS
NO. 1 NO. 11
Brown Sugar Running on Empty

THE ROLLING STONES JACKSON BROWNE
Writers: Mick Jagger, Keith Richards Writer: Browne

Producer: Jimmy Miller Producer: Browne
Released: April 71, Rolling Stones Released: Jan. 77, Asylum
The Stones take on slavery, sado- The Running on Empty album

masochism, interracial sex was Brownes grand experiment:
and make it catchy as hell. At a set of all-new songs recorded
Muscle Shoals studios, Jagger onstage, in hotel rooms and on
scrawled three verses on a pad, the tour bus. The title track was
and Richards supplied an im- actually written while Browne
possibly raunchy ri. Add some was driving to the studio each
exultant punctuations and you day to make The Pretender. I
have a Stones concert staple. was always driving around with
Appears on: Sticky Fingers (Virgin) no gas in the car, he said. I just
never bothered to ll up the tank
because how far was it any-
way? Just a few blocks.
Appears on: Running on Empty (Elektra)
E Street scene: Nils Lofgren,
Clarence Clemons, Max
Weinberg, Springsteen, Steven
Van Zandt, Patti Scialfa and
Garry Tallent (from left)

HERALD SUN/SIPA PRESS

{497 } {498}
LISTEN LISTEN
11 WEEKS 20 WEEKS
NO. 52 NO. 1
The Rising Miss You

BRUCE SPRINGSTEEN THE ROLLING STONES
Writer: Springsteen Writers: Mick Jagger, Keith Richards

Producer: Brendan OBrien Producers: The Glimmer Twins
Released: July 02, Columbia Released: May 78, Rolling Stones
Springsteen wrote the track The Stones were in Toronto, re-

about 9/11, taking the viewpoint hearsing for their classic gigs
of a reghter entering one of the at the El Mocambo Club, when
Twin Towers (Cant see noth- Jagger, jamming with R&B leg-
in in front of me . . .) before un- end Billy Preston, came up with
leashing the gospel-tinged cho- Miss You. With a disco groove
rus. It was the title track from an and a touch of the blues via a
album intended to help his fans harmonica player they found in
cope with the tragedy. The fun- a Paris subway, it became the
damental thing I hear from fans bands rst Number One hit in
is, Man, you got me through ve years. Its not really about a
whatever it is, he told Rolling girl, Jagger said. The feeling of
Stone in 2002. longing is what the song is.
Appears on: The Rising (Columbia) Appears on: Some Girls (Virgin)
With a disco groove and

harmonica player they found
became the Stones rst Nu

{ 499} {500}
LISTEN LISTEN
21 WEEKS 16 WEEKS
NO. 18 NO. 2
Buddy Holly Shop Around

WEEZER SMOKEY ROBINSON
AND THE MIRACLES
Writer: Rivers Cuomo
Producer: Ric Ocasek Writers: Berry Gordy, Robinson
Released: Aug. 94, DGC Producer: Gordy
Released: Dec. 60, Tamla
In the early 1990s, Cuomo had
an awkward girlfriend who was Robinson thought Barrett Strong
routinely picked on. His eorts should record Shop Around,
to stick up for her inspired Wee- but Gordy persuaded Smokey
zers breakthrough, a track whose that he was the right man for the
bubble-grunge hooks and lines song. After it came out, Gordy
such as I look just like Buddy heard it on the radio and found
Holly/And youre Mary Tyler it way too slow. He woke Robin-
Moore helped the band reach a son at 3 a.m. and called him back
nation of pop-minded suburban to the studio to re-cut it faster
punks. It also earned Weezer au- and with Robinsons vocal more
tographed photos from the real prominent. That one worked.
Mary Tyler Moore. Appears on: The Ultimate Collection
Appears on: Weezer (Geffen) (Motown)
a touch of the blues via a

in a Paris subway, Miss You
mber One hit in ve years.
How We
Made the List
The RS 500 was assembled by the editors of Rolling Stone,
based on the results of two extensive polls. In 2004, Rolling Stone
asked a blue-ribbon panel of 162 artists, producers, industry
executives and journalists to pick the greatest songs of all time.
In 2009, we asked a similar group of 100 experts to pick the best
songs of the 2000s. From those results, Rolling Stone created
this new list of the greatest songs of all time.
{The Voters}
?uestlove The Roots Martin Bandier Les Bider Former
Vince Aletti Writer Chairman and CEO, Warner/
Pelle Almqvist CEO, Sony/ATV Chappell Music
The Hives Music Publishing Mark Binelli
Jeff Ament Pearl Jam Devendra Banhart Contributing editor,
Brett Anderson Kevin Barnes Rolling Stone
The Donnas Of Montreal David Bither
Polly Anthony Rostam Batmanglij Senior VP,
Former president, Vampire Weekend Nonesuch Records
Geffen Records Frank Beard ZZ Top Mary J. Blige
Gary Arnold Senior Steve Berkowitz Kurtis Blow
VP, Entertainment, Former VP of A&R, Brandon Boyd
Best Buy Legacy Recordings Incubus
Nicholaus Arson Guy Berryman Nathan Brackett
The Hives Coldplay Deputy
Marty Balin Jim Bessman Writer managing editor,
Jefferson Airplane Jello Biafra Rolling Stone

Laurent Brancowitz Elvis Costello Rolling Stone

Phoenix Wayne Coyne Missy Elliott
David Browne The Flaming Lips Michael Endelman
Contributing editor, Bill Crandall Senior editor,
Rolling Stone AOL Music Rolling Stone
Jack Bruce Cream Cameron Crowe Melissa Etheridge
Jonny Buckland Writer; director Phil Everly
Coldplay David Dalton Ron Fair Producer;
Solomon Burke Writer A&R executive
T Bone Burnett Dan the Automator Jason Fine Executive
Musician; producer Producer editor, Rolling
Cliff Burnstein Will Dana Managing Stone
Co-owner, Q Prime editor, Rolling Jim Fishel Producer
Jerry Butler Stone Bill Flanagan
David Byrne Britt Daniel Spoon MTV Networks
Jim Capaldi Traffic Anthony DeCurtis Larry Flick
Patrick Carney Contributing editor, Sirius Satellite
The Black Keys Rolling Stone Radio
Rosanne Cash Dion DiMucci Chet Flippo
Will Champion Jon Dolan Writer Editorial director,
Coldplay Donald Duck Dunn Country Music
Brian Chase Booker T. and Television
Yeah Yeah Yeahs the MGs Caleb Followill
Marshall Chess Jancee Dunn Kings of Leon
Songwriter, Writer Jared Followill
producer Jakob Dylan Kings of Leon
Robert Christgau Gavin Edwards Matthew Followill
Journalist Contributing Kings of Leon
George Clinton editor, Rolling Nathan Followill
Jarvis Cocker Stone Kings of Leon
Gail Colson Manager Jenny Eliscu Ben Fong-Torres
J.D. Considine Writer Contributing editor, Writer
{The Voters}
Maya Ford Richard Gottehrer Raoul Hernandez
The Donnas Producer; record Critic, Austin
Nicole Frehse executive Chronicle
Assistant editor, Andy Greene James Hetfield
Rolling Stone Assistant editor, Metallica
David Fricke Rolling Stone Brian Hiatt
Senior writer, Ellie Greenwich Associate editor,
Rolling Stone Songwriter, Rolling Stone
Gil Friesen producer Robert Hilburn
Former president, Meg Griffin Writer
A&M Records Sirius Satellite David Hinckley
Joel Gallen Tenth Radio Critic, New York
Planet Productions Ruben Guevara Daily News
Elysa Gardner Producer; historian Christian Hoard
Critic, USA Today Kirk Hammett Contributing editor,
Art Garfunkel Metallica Rolling Stone
Gregg Geller Nic Harcourt Mark Hoppus
Producer; record DJ, KCRW; Blink-182
executive music supervisor Barney Hoskyns
Gary Gersh Manager Jerry Harrison Writer
Billy Gibbons Talking Heads James Hunter Writer
ZZ Top Warren Haynes Craig Inciardi
Charlie Gillett The Allman Curator, Rock and
Author; radio Brothers Band; Roll Hall of Fame
broadcaster, BBC Govt Mule Lois Reeves Jackson
Mikal Gilmore Jim Henke Chief Martha and the
Contributing editor, curator, Rock and Vandellas
Rolling Stone Roll Hall of Fame Jim James
Gerry Goffin Will Hermes My Morning Jacket
Songwriter Senior critic, Johnnie Johnson
Berry Gordy Rolling Stone Chuck Berry band
Founder, Motown Felix Hernandez Nick Jonas
Records Radio host Jonas Brothers

Jeff Jones Kurt Loder David Mills

Apple Corps MTV News Television producer
Craig Kallman Loretta Lynn Joni Mitchell
Atlantic Records MC Lyte Willie Mitchell
John Kalodner Melissa Maerz Writer Producer
A&R executive Shirley Manson Tom Moon Writer
Tony Kanal No Doubt Garbage Tom Morello
Lenny Kaye Ray Manzarek Fabrizio Moretti
Guitarist; writer The Doors The Strokes
Mark Kemp Writer Greil Marcus Steve Morse
Kid Cudi Contributing editor, Writer
Howie Klein Rolling Stone Mark Mothersbaugh
Former president, Thomas Mars Yoko Ono
Reprise Records Phoenix Ozzy Osbourne
Ezra Koenig Chris Martin Coldplay Prince Paul
Vampire Weekend Mac McCaughan Producer
Al Kooper Merge Records Claudia Perry
Bob Krasnow Judy McGrath Writer
Producer Chairman and CEO, Joe Perry Aerosmith
Lenny Kravitz MTV Networks Kate Pierson
Damian Kulash Roger McGuinn The B-52s
OK Go The Byrds Matt Pinfield
Miranda Lambert Paul McGuinness Radio host
k.d. lang Principle Steve Pond
Adam Levine Management Writer
Maroon 5 Colin Meloy John Popper
Arthur Levy The Decemberists Blues Traveler
Writer; historian Bob Merlis Publicist Lisa Marie Presley
Joe Levy Stephin Merritt Frances Preston
Former editor, The Magnetic Fields President emeritus,
Rolling Stone M.I.A. BMI
Alan Light Writer Milo Miles Parke Puterbaugh
Lil Wayne Writer Writer
{The Voters}
Marky Ramone Richard Rowe Slash
Ramones R2M Music Joe Smith
Antonio LA Reid Rick Rubin Former CEO,
CEO, Island Robert Santelli Capitol-EMI Music
Def Jam Executive director, Seymour Stein
David Renzer Grammy Museum Founder, Sire
Chairman and CEO, Austin Scaggs Records
Universal Music Contributing editor, Terry Stewart CEO,
Publishing Group Rolling Stone Rock and Roll
Jonathan Ringen Boz Scaggs Hall of Fame
Assistant managing Fred Schneider Mike Stoller
editor, Rolling The B-52s Songwriter
Stone Holly Schomann Neil Strauss
David Ritz Writer Sirius Contributing editor,
Ira Robbins Writer Satellite Radio Rolling Stone
Allison Robertson Jordan Schur Keith Strickland
The Donnas Founder, Suretone The B-52s
Robbie Robertson Records Patrick Stump
Chris Robinson Bud Scoppa Writer Fall Out Boy
The Black Crowes John Sebastian John Sykes
Lisa Robinson The Lovin Spoonful Playlist.com
Contributing editor, Matt Serletic Benmont Tench
Vanity Fair Producer Tom Petty and the
Bob Rock Producer Evan Serpick Writer Heartbreakers
John Rockwell Paul Shaffer Tour Contributing
Writer Music director, editor, Rolling
Bill Roedy Late Show With Stone
Chairman and CEO, David Letterman Roy Trakin Writer
MTV Networks Rob Sheffield Maureen Tucker
International Contributing editor, The Velvet
Jody Rosen Rolling Stone Underground
Senior critic, Mike Shinoda Jeff Tweedy Wilco
Rolling Stone Linkin Park Lars Ulrich Metallica

Andrew David Whitehead

VanWyngarden Maine Road
MGMT Management
Steven Van Zandt Joel Whitburn SPECIAL THANKS TO
The E Street Band President, Record Bob Abramson and
Butch Vig Research Michael Sclafani at the
Producer Andy Wickham House of Oldies for
Sune Rose Wagner Songwriter providing us with the
The Raveonettes David Wild original 45s and sleeve
Wale Contributing editor, art. All 45s and sleeve
Barry Walters Rolling Stone art photographed by
Writer Will.i.am Eric White.
Mike Watt Black Eyed Peas
Gerard Way Brian Wilson
My Chemical Mary Wilson CONTRIBUTORS
Romance The Supremes Bill Crandall, Jon Dolan,
Kevin Weatherly Peter Wolf Gavin Edwards, Jenny
Senior VP, Douglas Wolk Eliscu, David Fricke,
CBS Radio Writer Will Hermes, Christian
Harry Weinger Chris Wright Hoard, Rob Kemp,
VP of A&R, UME Chairman, The Greg Kot, Robert
Eric Weisbard Chrysalis Group Levine, Joe Levy, Alan
Writer Adam Yauch Light, Tom Moon, Tom
Jann S. Wenner Beastie Boys Nawrocki, Jon Pareles,
Editor and Charles M. Young Parke Puterbaugh,
publisher, Writer Jody Rosen, Robert
Rolling Stone Warren Zanes Writer; Santelli, Austin Scaggs,
Pete Wentz musician Bud Scoppa, Rob
Fall Out Boy Sheffield, LC Smith,
Craig Werner Barry Walters, Douglas
Writer; professor Wolk Additional
Jerry Wexler research by Andy
Producer Greene
Index
Click on a song number below to go
to the story behind a particular song.
? and the Mysterians LaVern Baker

96 Tears 213 Jim Dandy 352
Abba Afrika Bambaataa
Dancing Queen 174 and the Soul Sonic Force
AC/DC Planet Rock 240
Back in Black 190 The Band
Highway to Hell 258 The Night They Drove
Aerosmith Old Dixie Down 249
Dream On 173 The Weight 41
Sweet Emotion 416 The Beach Boys
Walk This Way 346 California Girls 72
The Allman Brothers Band Caroline, No 214
Whipping Post 393 Dont Worry Baby 178
The Animals God Only Knows 25
Dont Let Me Be Good Vibrations 6
Misunderstood 322 In My Room 212
The House of the Sloop John B 276
Rising Sun 123 Beastie Boys
We Gotta Get Out Sabotage 480
of This Place 235

The Beatles Bee Gees

A Day in the Life 28 How Deep Is Your Love 375
A Hard Days Night 154 Stayin Alive 191
All You Need Is Love 370 Archie Bell and the Drells
Cant Buy Me Love 295 Tighten Up 270
Come Together 205 Chuck Berry
Eleanor Rigby 138 Brown Eyed
Help! 29 Handsome Man 383
Hey Jude 8 Johnny B. Goode 7
In My Life 23 Maybellene 18
I Saw Her Standing There 140 Rock & Roll Music 129
I Want to Hold Your Hand 16 Roll Over Beethoven 97
Let It Be 20 Sweet Little Sixteen 277
Norwegian Wood Beyonc featuring Jay-Z
(This Bird Has Flown) 83 Crazy in Love 118
Penny Lane 456 The B-52s
Please Please Me 186 Love Shack 246
Rain 469 Rock Lobster 147
She Loves You 64 Big Brother and
Something 278 the Holding Company
Strawberry Fields Forever 76 Piece of My Heart 353
Ticket to Ride 394 Big Star
While My Guitar September Gurls 180
Gently Weeps 136 Thirteen 406
With a Little Help Black Sabbath
From My Friends 311 Iron Man 317
Yesterday 13 Paranoid 253
Beck Blondie
Loser 203 Call Me 289
{The Index}
Heart of Glass 259 Jeff Buckley

One Way or Another 305 Hallelujah 264
Blue yster Cult Buffalo Springfield
(Dont Fear) the Reaper 405 For What Its Worth 63
Booker T. and the MGs Solomon Burke
Green Onions 183 Everybody Needs
David Bowie Somebody to Love 436
Changes 128 Jerry Butler
Heroes 46 and the Impressions
Young Americans 486 For Your Precious Love 335
Ziggy Stardust 282 The Byrds
The Box Tops Eight Miles High 151
The Letter 372 Ill Feel a Whole
James Brown Lot Better 237
Get Up (I Feel Like Being a) Mr. Tambourine Man 79
Sex Machine 334 Glen Campbell
I Got You (I Feel Good) 78 Wichita Lineman 195
Its a Mans Mans Carpenters
Mans World 124 Weve Only Just Begun 414
Papas Got a Brand Johnny Cash
New Bag 71 Folsom Prison Blues 163
Please, Please, Please 143 I Walk the Line 30
Say It Loud Im Black Ring of Fire 87
and Im Proud 312 The Chantels
Jackson Browne Maybe 199
Running on Empty 496 Tracy Chapman
Fast Car 167

Ray Charles Patsy Cline

Georgia on My Mind 44 Crazy 85
Hit the Road Jack 387 I Fall to Pieces 241
I Cant Stop Loving You 164 The Coasters
I Got a Woman 239 Young Blood 421
Whatd I Say 10 Eddie Cochran
Cheap Trick Cmon Everybody 411
Surrender 471 Summertime Blues 74
Chubby Checker Coldplay
The Twist 457 Clocks 490
Chic Sam Cooke
Good Times 229 A Change Is Gonna Come 12
Eric Clapton Cupid 458
Tears in Heaven 362 Wonderful World 382
Kelly Clarkson You Send Me 115
Since U Been Gone 482 Alice Cooper
The Clash Im Eighteen 487
Complete Control 371 Schools Out 326
London Calling 15 Elvis Costello
Should I Stay or Should Alison 323
I Go 228 Watching the Detectives 363
Train in Vain 298 (Whats So Funny Bout)
(White Man) In Peace, Love and
Hammersmith Palais 437 Understanding 290
Jimmy Cliff Cream
Many Rivers to Cross 325 Sunshine of Your Love 65
The Harder They Come 350 White Room 376
{The Index}
Creedence Clearwater Revival Depeche Mode

Bad Moon Rising 364 Personal Jesus 377
Fortunate Son 99 Derek and the Dominos
Proud Mary 156 Layla 27
Wholl Stop the Rain 188 Bo Diddley
Crosby, Stills and Nash Bo Diddley 62
Suite: Judy Blue Eyes 426 Im a Man 378
Crosby, Stills, Nash and Young Who Do You Love? 133
Ohio 395 Dion
The Crystals Runaround Sue 351
Hes a Rebel 267 The Wanderer 243
The Cure The Dixie Cups
Just Like Heaven 488 Chapel of Love 284
Pictures of You 283 Fats Domino
Daft Punk Aint It a Shame 438
One More Time 307 Blueberry Hill 82
Bobby Darin The Doors
Mack the Knife 255 Light My Fire 35
Spencer Davis Group The End 336
Gimme Some Lovin 247 Dr. Dre
Deep Purple Nuthin But a G Thang 427
Smoke on the Water 434 Dr. Dre and 2Pac
The Dells California Love 355
Oh, What a Night 263 The Drifters
The Dell-Vikings Money Honey 254
Come Go With Me 449 Save the Last Dance
for Me 184

There Goes My Baby 196 Eminem featuring Dido

Under the Boardwalk 489 Stan 296
Up on the Roof 114 Eric B. and Rakim
Bob Dylan I Know You Got Soul 396
Blowin in the Wind 14 Eurythmics
Desolation Row 187 Sweet Dreams (Are Made
Highway 61 Revisited 373 of This) 365
Just Like a Woman 232 The Everly Brothers
Knockin on Heavens All I Have to Do Is Dream 142
Door 192 Bye Bye Love 210
Like a Rolling Stone 1 Cathys Clown 150
Mississippi 260 Wake Up Little Susie 318
Mr. Tambourine Man 107 50 Cent
Positively 4th Street 206 In Da Club 448
Subterranean Homesick The Five Satins
Blues 340 In the Still of the Night 90
Tangled Up in Blue 68 The Five Stairsteps
The Times They Are O-o-h Child 402
A-Changin 59 Roberta Flack
Visions of Johanna 413 Killing Me Softly
The Eagles With His Song 369
Hotel California 49 The Flamingos
Earth, Wind and Fire I Only Have Eyes for You 158
Thats the Way Fleetwood Mac
of the World 337 Go Your Own Way 120
Missy Elliott
Get Ur Freak On 466
{The Index}
Foreigner Gloria Gaynor

I Want to Know What I Will Survive 492
Love Is 479 Bobbie Gentry
The Four Tops Ode to Billie Joe 419
Baby I Need Your Loving 400 Gnarls Barkley
I Cant Help Myself 422 Crazy 100
Reach Out, Ill Be There 209 Grandmaster Flash and the
Standing in the Shadows Furious Five
of Love 470 The Message 51
Aretha Franklin Al Green
Chain of Fools 252 Lets Stay Together 60
Do Right Woman Do Love and Happiness 98
Right Man 476 Take Me to the River 117
I Never Loved a Man Tired of Being Alone 299
(the Way I Love You) 189 Green Day
Respect 5 American Idiot 432
Franz Ferdinand Norman Greenbaum
Take Me Out 327 Spirit in the Sky 341
The Bobby Fuller Four Guns n Roses
I Fought the Law 177 Paradise City 459
Marvin Gaye Sweet Child O Mine 198
I Heard It Through the Welcome to the Jungle 473
Grapevine 81 Bill Haley and His Comets
Lets Get It On 168 (Were Gonna) Rock
Sexual Healing 233 Around the Clock 159
Whats Going On 4 George Harrison
My Sweet Lord 460

The Jimi Hendrix Experience Shout (Parts 1 and 2) 119

All Along the That Lady (Parts 1 and 2) 357
Watchtower 47 Michael Jackson
Foxey Lady 153 Beat It 344
Hey Joe 201 Billie Jean 58
Little Wing 366 The Jackson 5
Purple Haze 17 I Want You Back 121
The Wind Cries Mary 379 The Jam
Voodoo Child Thats Entertainment 313
(Slight Return) 102 Rick James
Don Henley Super Freak 481
The Boys of Summer 423 Jay-Z
Buddy Holly and the Crickets Big Pimpin 467
Everyday 238 99 Problems 172
Not Fade Away 108 Jefferson Airplane
Peggy Sue 197 Somebody to Love 279
Rave On 155 White Rabbit 483
Thatll Be the Day 39 Joan Jett and the Blackhearts
John Lee Hooker I Love Rock & Roll 491
Boom Boom 220 Billy Joel
Howlin Wolf Piano Man 429
Smokestack Lightning 291 Elton John
Spoonful 221 Candle in the Wind 356
The Impressions Goodbye Yellow Brick
People Get Ready 24 Road 390
The Isley Brothers Rocket Man 245
Its Your Thing 428 Tiny Dancer 397
{The Index}
Your Song 137 Heartbreaker 328

George Jones Kashmir 141
He Stopped Loving Her Ramble On 440
Today 275 Stairway to Heaven 31
Janis Joplin Whole Lotta Love 75
Me and Bobby McGee 148 Jerry Lee Lewis
Joy Division Great Balls of Fire 96
Love Will Tear Us Apart 181 Whole Lotta Shakin
R. Kelly Going On 61
Ignition (Remix) 494 The Left Banke
B.B. King Walk Away Renee 222
The Thrill Is Gone 185 John Lennon
Ben E. King Imagine 3
Spanish Harlem 358 Little Eva
Stand By Me 122 The Loco-Motion 359
The Kingsmen Little Richard
Louie Louie 54 Good Golly, Miss Molly 94
The Kinks Long Tall Sally 55
Waterloo Sunset 42 The Girl Cant Help It 420
You Really Got Me 80 Tutti-Frutti 43
Gladys Knight and the Pips Love
Midnight Train to Georgia 439 Alone Again Or 442
LaBelle The Lovin Spoonful
Lady Marmalade 485 Do You Believe in Magic 218
Led Zeppelin Summer in the City 401
Black Dog 300

Frankie Lymon M.I.A.

and the Teenagers Paper Planes 236
Why Do Fools Fall Joni Mitchell
in Love 314 Both Sides Now 171
Lynyrd Skynyrd Help Me 288
Free Bird 193 The Modern Lovers
Sweet Home Alabama 407 Roadrunner 274
Madonna Van Morrison
Like a Prayer 306 Brown Eyed Girl 110
The Mamas and the Papas Into the Mystic 474
California Dreamin 89 Moondance 231
Bob Marley and the Wailers Mott the Hoople
Get Up, Stand Up 302 All the Young Dudes 256
I Shot the Sheriff 450 Willie Nelson
No Woman, No Cry 37 Blue Eyes Crying
Redemption Song 66 in the Rain 309
Martha and the Vandellas Aaron Neville
Dancing in the Street 40 Tell It Like It Is 391
Nowhere to Run 367 New Order
Paul McCartney Bizarre Love Triangle 204
Maybe Im Amazed 347 New York Dolls
John Cougar Mellencamp Personality Crisis 271
Pink Houses 447 Randy Newman
Metallica Sail Away 268
Enter Sandman 408 Nirvana
MGMT All Apologies 462
Time to Pretend 493 Come As You Are 452
{The Index}
In Bloom 415 Tom Petty

Smells Like Teen Spirit 9 Free Fallin 179
Notorious B.I.G. Wilson Pickett
Juicy 424 In the Midnight Hour 135
N.W.A Mustang Sally 441
Fuck tha Police 425 Pink Floyd
Sinad OConnor Another Brick in the Wall
Nothing Compares 2 U 165 Part 2 384
Roy Orbison Comfortably Numb 321
Crying 69 Wish You Were Here 324
In Dreams 319 The Pixies
Oh, Pretty Woman 224 Monkey Gone to Heaven 417
Only the Lonely 234 The Platters
OutKast The Great Pretender 360
Hey Ya! 182 The Police
Parliament Every Breath You Take 84
Flash Light 202 Roxanne 398
Dolly Parton Iggy Pop
Jolene 219 Lust for Life 149
Pavement Elvis Presley
Summer Babe All Shook Up 361
(Winter Version) 292 Blue Suede Shoes 430
The Penguins Cant Help Falling in
Earth Angel 152 Love 403
Carl Perkins Dont Be Cruel 200
Blue Suede Shoes 95 Heartbreak Hotel 45
Hound Dog 19

Jailhouse Rock 67 Ramones

Love Me Tender 444 Blitzkrieg Bop 92
Mystery Train 77 I Wanna Be Sedated 145
Suspicious Minds 91 Sheena Is a Punk Rocker 461
Thats All Right 113 Otis Redding
Prince Ive Been Loving You
Little Red Corvette 109 Too Long (to Stop Now) 111
1999 215 (Sittin on) The Dock
Sign O the Times 304 of the Bay 26
When Doves Cry 52 Try a Little Tenderness 207
Prince and the Revolution Lou Reed
Kiss 464 Walk on the Wild Side 223
Purple Rain 144 R.E.M.
Procol Harum Losing My Religion 170
A Whiter Shade of Pale 57 Radio Free Europe 389
Public Enemy The Righteous Brothers
Bring the Noise 162 Unchained Melody 374
Fight the Power 330 Youve Lost That Lovin
Queen Feelin 34
Bohemian Rhapsody 166 Rihanna
We Will Rock You 338 Umbrella 412
Radiohead Smokey Robinson
Fake Plastic Trees 385 and the Miracles
Paranoid Android 257 Ooo Baby Baby 266
Bonnie Raitt Shop Around 500
I Cant Make You Love Me 339 The Tracks of My Tears 50
{The Index}
The Rolling Stones Screamin Jay Hawkins

Beast of Burden 443 I Put a Spell on You 320
Brown Sugar 495 The Sex Pistols
Gimme Shelter 38 Anarchy in the U.K. 56
Honky Tonk Women 116 God Save the Queen 175
(I Cant Get No) The Shangri-Las
Satisfaction 2 Leader of the Pack 454
Jumpin Jack Flash 125 Remember (Walkin in the
Miss You 498 Sand) 404
Paint It, Black 176 Del Shannon
Ruby Tuesday 310 Runaway 472
Street Fighting Man 301 The Shirelles
Sympathy for the Devil 32 Tonights the Night 409
Tumbling Dice 433 Will You Love
Wild Horses 343 Me Tomorrow 126
You Cant Always Get Simon and Garfunkel
What You Want 101 Bridge Over Troubled
The Ronettes Water 48
Be My Baby 22 The Boxer 106
Walking in the Rain 269 The Sounds of Silence 157
Run-DMC Percy Sledge
Walk This Way 293 When a Man Loves
Salt N Pepa a Woman 53
Push It 446 Sly and the Family Stone
Sam and Dave Dance to the Music 225
Soul Man 463 Everyday People 146
Family Affair 139

Hot Fun in the Rod Stewart

Summertime 250 Da Ya Think Im Sexy? 308
Stand! 244 Maggie May 131
Thank You (Falettinme The Stooges
Be Mice Elf Agin) 410 I Wanna Be Your Dog 445
Patti Smith Group The Strokes
Dancing Barefoot 331 Last Nite 478
The Smiths Barrett Strong
How Soon Is Now? 477 Money (Thats What I
William, It Was Really Want) 294
Nothing 431 Sugarhill Gang
Sonny and Cher Rappers Delight 251
I Got You Babe 451 Donna Summer
Dusty Springfield Hot Stuff 104
Son of a Preacher Man 242 I Feel Love 418
Bruce Springsteen The Supremes
Born in the U.S.A. 280 Baby Love 332
Born to Run 21 Where Did Our Love Go 475
The Rising 497 You Keep Me Hangin On 348
Thunder Road 86 James Taylor
The Staple Singers Fire and Rain 227
Ill Take You There 281 Television
Respect Yourself 468 Marquee Moon 381
Steppenwolf The Temptations
Born to Be Wild 130 Just My Imagination 399
My Girl 88
Papa Was a Rollin Stone 169
{The Index}
Them Ritchie Valens

Gloria 211 La Bamba 354
Justin Timberlake The Velvet Underground
Cry Me a River 484 Heroin 455
Toots and the Maytals Im Waiting for the Man 161
Pressure Drop 453 Sweet Jane 342
The Troggs The Verve
Wild Thing 261 Bitter Sweet Symphony 392
Big Joe Turner Gene Vincent
Shake, Rattle & Roll 127 and His Blue Caps
Ike and Tina Turner Be-Bop-A-Lula 103
River Deep Mountain Dionne Warwick
High 33 Walk On By 70
Tina Turner Muddy Waters
Whats Love Got to Do Hoochie Coochie Man 226
With It 316 Got My Mojo Working 368
U2 Mannish Boy 230
Beautiful Day 345 Rollin Stone 465
I Still Havent Found What Weezer
Im Looking For 93 Buddy Holly 499
Moment of Surrender 160 Kanye West
New Years Day 435 Jesus Walks 273
One 36 The White Stripes
Pride (In the Name Seven Nation Army 286
of Love) 388 The Who
Sunday Bloody Sunday 272 Baba ORiley 349
With or Without You 132 I Can See for Miles 262

I Cant Explain 380 Rockin in the Free World 216

My Generation 11 The Young Rascals
Wont Get Fooled Again 134 Good Lovin 333
Hank Williams The Zombies
Im So Lonesome Shes Not There 297
I Could Cry 112
Your Cheatin Heart 217
Jackie Wilson
Lonely Teardrops 315
(Your Love Keeps Lifting Me)
Higher and Higher 248
Amy Winehouse
Rehab 194
Bill Withers
Aint No Sunshine 285
Lean on Me 208
Stevie Wonder
Higher Ground 265
Living for the City 105
Superstition 73
You Are the Sunshine
of My Life 287
Yeah Yeah Yeahs
Maps 386
Neil Young
Cortez the Killer 329
Heart of Gold 303
Num
m
The
1965
YEAR WITH MOST SONGS SONGS THAT
APPEAR
TWICE
Blue Suede
Shoes CARL
PERKINS/ELVIS PRESLEY
Mr. Tambourine
Man
BOB DYLAN/THE BYRDS
Walk
This Way
AEROSMITH/RUN-DMC
NUMBER OF ENTRIES PER DECADE

200
175 195
150
125
131
100
75
50
69
55
25 21
0 2 27
1940s 1950s 1960s 1970s 1980s 1990s 2000s

mbers T
W
EEKS AT NUMB
ER
O
MOST
POPULAR
WORDS IN
S
SONG
MO
NE
TITLES
42
Love/Loving
8
Rock/Rockin
Elvis Presley, Hound Dog/

Dont Be Cruel, 11 weeks
8
Babe/Baby
MOST WEEKS IN THE TOP 100

Kelly Clarkson Since U Been Gone 46 weeks
8Sweet
R. Kelly Ignition (Remix) 42 weeks
Chubby Checker The Twist 39 weeks
The Drifters Under the Boardwalk 33 weeks
Bee Gees How Deep Is Your Love 33 weeks
6 Rain
Numbers
The
ARTISTS WITH THE MOST EN

LONGEST
SONG
The Doors
The End
11:42
SHORTEST
SONG
Buddy Holly
Rave On
1:50 { 23 } { 14 } { 13 }
THE THE ROLLING BOB
BEATLES STONES DYLAN
OLDEST
SONG
Muddy
Waters
Rollin MOST PRODUCTION CREDITS
Stone George Martin 23
1948 Leonard and Phil Chess 14
Jerry Wexler 12
Phil Spector 8
NEWEST
SONG Brian Holland and Lamont Dozier 8
U2 Brian Wilson 7
Moment of Chas Chandler 6
Surrender Bob Johnston 6
2009 Daniel Lanois and Brian Eno 6
Sam Phillips 6

NTRIES
{ 11 } {8} {7} {7}

ELVIS U2 THE BEACH JIMI HENDRIX
PRESLEY BOYS
NON-PERFORMERS WITH THE

NUMBER
MOST SONGWRITING CREDITS
OF SONGS
Phil Spector 9 THAT DID
Holland-Dozier-Holland 8 NOT MAKE THE
Jeff Barry, Ellie Greenwich 7 BILLBOARD
45
Jerry Leiber and Mike Stoller 5 TOP 100
Bernie Taupin 5
Gerry Goffin and Carole King 4
Robert Bumps Blackwell 3
Berry Gordy 3
Norman Whitfield 3
FROM LEFT: EVERETT COLLECTION; MICHAEL OCHS ARCHIVES/GETTY IMAGES; AP IMAGES, 2; COLLEXXX-LEX VAN ROSSEN/
REDFERNS/GETTY IMAGES; MICHAEL OCHS ARCHIVES/GETTY IMAGES; CHRIS WALTER/PHOTOFEATURES

Selections From Rolling Stone Magazine's 500 Greatest Songs of All Time Guitar Classics Volume 2 (Easy Guitar TAB) PDF

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Selections From Rolling Stone Magazine's 500 Greatest Songs of All Time Guitar Classics Volume 2 (Easy Guitar TAB) PDF

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True PDF release: storemags & fantamag

storemags & fantamag - magazines for all

What Makes a Great Song

How We Made the List

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Jimi Hendrix spinning

editor:GZmaZg;kZ\d^mmart director: Joe Hutchinson

contributing editors: Alan Light, Tom Nawrocki

A great song doesnt attempt

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(I Cant Get No)

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MICHAEL OCHS ARCHIVES/GETTY IMAGES

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Lennon, Ringo Starr,

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The Who (Entwistle,

K & K ULF KRUGER OHG/REDFERNS/GETTY IMAGES

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APPLE CORPS LTD

The Beatles in 1965. They

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The Clash Jones,

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The Beatles arrive

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Berry in 1955. His

CHARLES TRAINOR/TIME & LIFE PICTURES/GETTY IMAGES

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Born to Run Be My Baby

Writer: Springsteen Writers: Jeff Barry, Ellie Greenwich,

nia, it could be Alaska. (ABKCO)

Appears on: Born to Run (Columbia)

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In My Life People Get Ready

writers: John Lennon, Paul McCartney writer: Curtis Mayfield

In My Life was, I think, my It was warrior music, said civil

Appears on: Rubber Soul (Capitol) (Rhino)

Writers: Brian Wilson, Tony Asher

Its very emotional, always a bit

The only problem: The use of the

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(Sittin on) the

Writers: Redding, Steve Cropper

A few days after his starmaking

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{ WHat Makes a Great sONG }

Leiber and Stoller

Layla A Day in the Life

writers: Eric Clapton, Jim Gordon writers: John Lennon,

Embroiled in a love triangle with A Day in the Life was one of

appears on: Layla and other Assorted Love Band (Capitol)

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Help! I Walk the Line

writers: John Lennon, writer: Cash

commercial. Singles (Varse Sarabande)

appears on: Help! (Capitol)

editor:GZmaZg;kZ\d^mmart director: Joe Hutchinson