Selections From Rolling Stone Magazinex27s 500 Greatest Songs of All Time Guitar Classics Volume 2easy Guitar Tabpdf 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 Hetfield, ?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 finest
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
managing editor:Pbee=ZgZexecutive editor: Jason Fine
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creative director:Ch]bI^\dfZgdeputy managing editor: John Dioso
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deputy art director:FZ\E^pblsenior photo editor: Sacha Lecca
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production manager: Eleni Tzinakos
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{Introduction}
by Jay-Z
A great song doesn’t attempt

to be anything – it just is.
When you hear a great song, you can think of where you were when
you first 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 – differ-
ent melodies, opera, R&B, rock – and it explored all of those differ-
ent genres in an authentic way, where it felt natural.
When I’m writing a song that I know is going to work, it’s a feel-
ing of euphoria. It’s how a basketball player must feel when he starts
hitting every shot, when you’re in that zone. As soon as you start, you
get that magic feeling, an extra feeling. Songs like that come out in
five minutes; if I work on them more than, say, 20 minutes, they’re
probably not going to work.
When I was starting out, I was just trying to tell stories. I wasn’t
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; Rakim’s technique and syn-
copation; Dre’s whole package on the Chronic albums; Quincy Jones,
the greatest producer of all time; Rick Rubin, who’s 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 aren’t in the same
room. Imagine if Michael Jackson and Quincy Jones hadn’t been in
the same room! Those records would have been totally different. I’ve
had times when I changed one word because of something that some-
body said in the studio, and it changed the whole song. It’s 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 fighting myself to stay out of the way of a
great song. It’s 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 isn’t right. When you can hear
what a writer is trying to do, it’s like watching a dancer and seeing
him counting his steps. Music is emotional – if you’re singing that
you’re in love with somebody but it doesn’t really feel like you are,
people can tell.
Some of my best songs aren’t 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 Jackson’s Off 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, that’s when it can become some-
thing great. When your music signifies a time in the culture or contin-
ues on in everyday life, like “Say It Loud – I’m Black and I’m Proud”
or “A Change Is Gonna Come.” Or when something like “Bling Bling”
even makes it into the dictionary. Then you know you’ve 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 Can’t 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} What’s 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
“What’s 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
Atlantic’s 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 Raji’s
in Hollywood,
in 1990
CHARLES PETERSON/RETNA
10} What’d 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 song’s 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 Spector’s to sing on it) for weeks, but that
Wall of Sound, Springsteen in- didn’t stop him from doing 42
cluded strings, glocken- takes before he was sat-
spiel, multiple key- isfied. 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 I’d ever heard.” pioneers such as the Beatles and
Springsteen’s 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 don’t know how was doing were crazy and ex-
important the settings are,” hausting,” said Larry Levine,
Springsteen said. “It’s the idea Spector’s engineer. “But that’s not
behind the settings. It could be the sign of a nut. That’s 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
first 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 reflects the se- battle.” Mayfield 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 journalist’s chal- of mind,” just before Martin Lu-
lenge: Why don’t 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, field’s version of the song ended
changing the song into a gor- with “You don’t 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
song’s 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
“It’s very emotional, always a bit

of a choker with me,” said Paul
McCartney of this Pet Sounds
ballad. The night McCartney
and John Lennon first heard Pet
Sounds, at a London party, they
wrote “Here, There and Every-
where,” which is influenced by
“God Only Knows.” Carl Wilson’s
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 off
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
first 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 Redding’s 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
Redding’s body still strapped
into the co-pilot’s 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 it’s 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 Jerry’s 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 Who’s your favorite lyricist?
about spending cash, and we Leiber: Irving Berlin. I’d scan
knew we had a song. his lyrics, and, try as I may,
I could never find 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
“You’re a Dirty
Mutha Fur-
rier, Don’t
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 – they’re
“It was the heaviest thing going freaking out,” McCartney said.
on at the time,” Clapton told The final piano chord concluded
Rolling Stone in 1974. “That’s Sgt. Pepper and made rock’s pos
what I wanted to write about sibilities seem infinite.
most of all.” appears on: Sgt. Pepper’s 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 it’s 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 didn’t 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 find 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 different than anything else
“I don’t 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 (Varèse 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 Plant’s fanciful
lyrics, which were partly inspired
by Lewis Spence’s historical
tome Magic Arts in Celtic Brit-
ain. Over eight minutes, the song
morphs into a furious Page solo
that storms heaven’s 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 Bulgakov’s novel The
Master and Margarita, which
depicts Satan having his way in
1930s Moscow. Richards strug-
gled to find the right backing for
Jagger’s 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
Dijon’s congas and Bill Wyman’s
Bo Diddley-ish maracas. “Before,
when we were just innocent kids
out for a good time [the media
said], ‘They’re evil, they’re evil,’ ”
Richards said. “So that makes
you start thinking about evil. . . .
Everybody’s Lucifer.”
Appears on: Beggar’s Banquet (ABKCO)
{ 33 } { 34 }
LISTEN LISTEN
4 WEEKS 16 WEEKS
NO. 88 NO. 1
River Deep – You’ve 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 Medley’s 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 Hatfield was puz-
Tina later said. “I was drenched zled by his partner’s opening solo:
with sweat. I had to take my “What do I do while he’s singing
shirt off and stand there in my the entire first 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 first 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
“It’s like I’d saved up all [these their most moving single ever.
ideas] in my mind and got them “One” was spun off 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 Morrison’s 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 Krieger’s and ‘Hav
‘Have you listened to
anza-
keyboardist Manza- the ly
lyrics? It’s not that
ised,
rek’s 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 1975’s 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 1975’s Live! remains one of tic guitar modeled on a Chuck
the reggae legend’s 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, it’s just a shot
ve
Fifties. He gave aw
away.” The song surfaced
a songwriting g days after Meredith Hunt-
d-
credit to child- er’s murder at Altamont.
ho o d f r ie ndd “T
“That’s a kind of end-of-
Vincent “Tata” a” th
the-world song, really,”
Ford to help p Ja
Jagger said in 1995. “It’s
keep Ford’s 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
That’ll 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 ‘That’ll 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 Holly’s gui- backbeat that cracks like a gun-
tar-picking on “That’ll 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. “She’s 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. Paul’s voice is
absolutely perfect.
2. “You’ve Lost That Lovin’
Feelin’ ” The Righteous 7. “California Girls”
Brothers The Beach Boys
It’s one of the few records I What stands out are Mike
know of with two bridges. Love’s 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”
Ronnie’s voice in the first 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” It’s 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 Danko’s 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 chiefly known as

Bob Dylan’s 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 Buñuel’s films about “the
impossibility of sainthood,” but
characters such as Crazy Chester
(who tries to pawn his dog off 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 “I’d been singing ‘Tutti-Frutti’
band’s fifth album, Something for years,” said Richard, “but it
Else by the Kinks, when Ray never struck me as a song you’d
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 off by the sea . . . per- don’t fit, don’t force it/
fectly smooth.” But he initial- You can grease it, make it
ly held off sharing the lyrics – easy”). “Fifteen minutes before
about a loner who “don’t 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 Bostrie’s 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 Presley’s first Num-
introduced his version to Amer- ber One hit and million-selling
ica on Hugh Hefner’s Playboy single, thanks to Scotty Moore’s
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 flute. 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 Eno’s hum-
ming synths, Robert Fripp’s 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 finding 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
Dylan’s 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 Dylan’s
concise foreboding into an elec-
tric hurricane. Dylan acknowl-
edged Hendrix’s 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 Hendrix’s 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 I’m sorry I didn’t.” “ ‘Hotel California’ was our in-
The “Sail on, silver girl” verse terpretation of the high life in
was Garfunkel’s idea; Simon has Los Angeles.” (That doesn’t 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 Felder’s 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/She’s 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 riff and grim lyrics about
he came to write the Who’s 1966 urban decay, became an instant
hit “Substitute.” When Robinson sensation on New York’s 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
couldn’t 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
it’s eccentric; after single-hand- both his construction job and
edly recording the stark, broken- his girl, who’d taken off for L.A.
hearted song in the studio, he de- to pursue a modeling career. “I
cided to erase the bass track from didn’t have any money to go after
the final 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 – they’ll be freak- ics rewritten, and Sledge quit
ing.” He was right. Prince made the Esquires to cut his first solo
it the soundtrack’s first single – side, the immortal “When a Man
and 1984’s most avant-garde pop Loves a Woman.” When Atlan-
record became his first Amer- tic’s Jerry Wexler heard the song,
ican Number One hit, keeping he told partner Ahmet Ertegun,
Bruce Springsteen’s “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 flip
for $52, the Kingsmen’s cover of was “Slippin’ and Slidin’ [Pee-
Richard Berry’s 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- wouldn’t play Rich-
tention of the FBI. ard’s version of ‘Tut-
The Portland, Ore- ti-Frutti’ and made
gon, group acciden- Boone’s 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 wouldn’t
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 Richard’s 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 Rotten’s 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 don’t understand it,” Rotten
said in 1977. “All we’re trying to
do is destroy everything.”
Appears on: Never Mind the Bollocks, Here’s
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?
It’s nothing that can be I’m 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 isn’t even aiming
influenced 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 what’s 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 skiffle, 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.
It’s easier to make demos
sound like finished, 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
final 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
Harum’s “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
“You’ve 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 didn’t
rock boomlet that gave the world notice the car was on fire.
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 Let’s 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 five
way,” said Dylan. “This is minutes. Still, Green didn’t want
definitely 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 finished 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 “Let’s 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: Let’s 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
filled it with frantic piano and
filthy 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
Clement’s 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 fly,” he said. After

Lewis played a fiery version of
“Shakin’ ” on Steve Allen’s 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 It’s 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
Diddley’s first 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 Young’s
beat that would power every- guitar tolled like a funeral bell;
thing from Buddy Holly’s “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
can’t 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: “It’s getting near
monies, but they took his sug- dawn/When lights close their
gestion to kick off the song tired eyes.” The killer riff was
with the jubilant chorus. When inspired by Jimi Hendrix and
McCartney’s 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
Couldn’t you sing, ‘Yes, yes, yes,’ Baker laid down a mammoth,
just for once?” McCartney said, tom-tom-heav y beat. Bruce
“You don’t understand, Dad. It knew “Sunshine” would do well,
wouldn’t work.” but Atlantic Records nearly re-
appears on: The Beatles 1 (Capitol/Apple) jected it until some of the label’s
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, Marley’s lyrics
offer 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
final track on his final 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.” It’s still one of
ton – but the theme song for his most frequently per-
Presley’s third movie was the formed live staples. It
duo’s first 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 first 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, “You’re the cutest ties. Dylan kept revising the song
jailbird I ever did see”) and in- heavily through the years; on his
troducing Scotty Moore’s 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 }
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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 flame: “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 single’s 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 cliff. He sang like a didn’t 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 }
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13 WEEKS
NO. 8
Papa’s 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 he’d recorded
a few months earlier, yelling, “This
is a hit!” as the tape rolled. Argu-
ably the first funk record, it’s driv-
en by the empty space between
beats as much as by Brown’s bel-
low and guitarist Jimmy Nolen’s
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 off 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. Ain’t 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 first 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 Wilson’s asser- had initially intend-
tion that “everybody ed for Jeff Beck to re-
loves girls.” And despite cord the song, but Berry ry
the teen-fantasy theme, the sing- Gordy wouldn’t let him give it
ing is tougher than earlier Beach away. It became the firstrst
st sin-
Boys hits, with tightly wound gle from Talking Book k–
harmonies and an aggressive and Wonder’s first fir
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 }
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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
Cochran’s label tried molding The members of Led Zeppelin

him into a crooning teen idol, but first 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 weren’t 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.” “Page’s
riff was Page’s riff,” Plant said.
Ain’t 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 riffs 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-
ley’s 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 first with the groove from
track recorded for the flip side of the
Sgt. Pepper’s 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 effect made guitarist Scot-
nostalgic look at Lennon’s Liv- ty Moore’s every note sound dou-
erpool childhood and an expres- bled. Presley added a final 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 “Papa’s band’s first 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 rock’s defining 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 Spector’s Wrecking
early protégées, 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 Ciro’s, a Los Angeles
few months before the single was club. Reportedly, he didn’t rec-
released, Brown performed the ognize some of his own songs in
song in the Frankie Avalon teen their electrified versions.
flick 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 band’s previ-

ous two singles had flopped 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 riff. “The song
came out of a working-class envi-
ronment,” Dave recalled. “People
fighting 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 first 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 label’s 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 Gaye’s the argument. Good
1968 version of “Grape- thing, too. It ended up
vine,” which had been a hit the being Domino’s biggest hit and
year before for Gladys Knight. broadened his audience once and
Whitfield 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)

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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 first of the Bea- elaborate synth part that dis-
tles’ revolutionary studio experi- tracted from the song’s 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 it’s – were pulled from the rock &
electric with sexual possibility, roll cliché 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, you’re
Lennon said that the lyrics dis- not original.” Following Sting’s
guised an actual affair: “I was unoriginal-and-proud mani-
very careful and paranoid be- festo, Puff Daddy would sam-
cause I didn’t 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 “I’ll Be
Appears on: Rubber Soul (Capitol) Missing You.”
Appears on: Synchronicity (Interscope)
ADRIAN BOOT/URBAN IMAGE

LISTEN
Sting called
“Every Breath
You Take” a
cliché: “It’s an
archetypal song.”
Police lineup: Andy

Summers, Stewart
Copeland and Sting
(from left) in 1983
{ 85 } { 86 }
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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 wasn’t 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 song’s 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 can’t
aires. Cline’s vocals, cut in one be beat (though the Boss had
take, infused Nelson’s 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 wouldn’t be around later, Springsteen would mar-
to shape it: She died in a plane vel that he wrote the line “You’re
crash less than two years later. scared, and you’re thinking
Appears on: Patsy Cline’s Greatest Hits (MCA) that maybe we ain’t 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 Cash’s wild- ing a bill with Robinson and
man ways – and aware that she his group the Miracles at Har-
couldn’t resist him. “There is no lem’s 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 June’s sis- the song rather than
ter Anita’s 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. Cash’s version became tenor David Ruffin to sing lead,
one of his biggest hits (inspiring the first 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 }
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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 finish 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 off-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 – can’t 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, definitive piece
Ears (MCA) of doo-wop.
Appears on: The Five Satins: Their Greatest
Hits (Collectables)

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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. It’s 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 flopped 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 York’s Radio
sion that helped return the King City Music Hall, of all places,
to his throne, “Suspicious Minds” “Blitzkrieg Bop” never made the
– the final Number One single charts; instead, it almost single-
of his lifetime – is Presley’s 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! Let’s 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 Haven’t the Joshua Tree
tour, in the
Found What I’m 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. U2’s 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 Bono’s ear. He said,
‘That’s it! Don’t sing any more!’ –
and went off and wrote the mel-
ody as we know it.”
Appears on: The Joshua Tree (Island)

COLLEXXX-LEX VAN ROSSEN/REDFERNS/GETTY IMAGES

{ 94 }
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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 Turner’s piano
intro to Jackie Brenston’s “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 riff in my act, so when
we were looking for a lead-in to
‘Good Golly, Miss Molly,’ I did
that and it fit.” Richard had re-
nounced rock & roll the previous
year, but Specialty couldn’t leave
this classic in the vaults.
Appears on: The Georgia Peach (Specialty)

{ 95 }
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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
scuffing up his new kicks, Perkins
was inspired to write the song
that would be his Sun debut. It
was the first 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 couldn’t 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 wasn’t blue enough. We always
fire 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 affectionate
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 couldn’t
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
flowing, 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 fire, 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 fight 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 Nixon’s 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 riff 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: I’m 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” didn’t
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 Can’t 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 final mix,
providing “You Can’t Always Get
What You Want” with its sig-
nature intro. The song’s 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 difficulty 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 finale 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 Vincent’s echo-soaked
After a night of partying in New voice, Cliff Gallup’s high-reverb
York on May 2nd, 1968, Hendrix, guitar and 15-year-old drum-
Experience drummer Mitch mer Dickie Harrell’s wildcat
Mitchell, Traffic’s Stevie Win- screams, “Be-Bop-A-
wood and Jefferson Airplane’s 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 filmed by a TV crew. Hen- cent joined the Navy while
drix improvised the staggering still underage and nearly had his
wah-wah guitar riff that kicks leg amputated after a motorcy-
off 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 we’re recording,’ ” Hendrix naval hospital.
said. “We weren’t 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 Stewart’s “Da Ya Think minute narrative about the bro-
I’m 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 Jackson’s 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
mer’s 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 can’t find 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 song’s hero to bona fide star. “[Bruce]
genesis. “That’s where ‘work- was one of those characters. . . .
man’s 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 first 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)
they’d heard, the Byrds record-
ed their own electrified 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 didn’t scrimp
was originally the B side to Hol- on literary possibilities in com-
ly’s hit “Oh, Boy!” The Crickets ing up with what would be his
were no strangers to the first 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, Holly’s 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-
first 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 York’s 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’ ”
Guthrie’s angry response to Bob Dylan
Irving Berlin’s “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 Marley’s 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 Osbourne’s hellfire
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 I’ve 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
didn’t much like the record and Redding’s hotel room in Buffalo,
recently said he doesn’t even con- New York, after a gig when But-
sider it one of his best 300 songs. ler sang a half-finished song he
“The record came out different,” had been working on. “Hey, man,
Morrison said. “This fellow, Bert, that’s 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 I’ll come up with some-
was producing it, so I just let him thing.” Sure enough, “I’ve Been
do it.” After its smash success, Loving You Too Long” became
Morrison turned his back on Redding’s first 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 can’t 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
I’m So Lonesome That’s 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 first
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” Crudup’s
the songs he wrote. But he wor- 1946 blues obscurity “That’s 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 &
Bucket’s Got a Hole in It.” roll. Presley would cover
“Lonesome” didn’t 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- You’re 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, I’d 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 Blackwell’s use of white fe-
band-and-wife team of male backing vocalists
Goffin and King, ris- for a session – Rupe
ing stars on New thought that Cooke
York’s 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 five 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 first 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 Tonk’s” strip-club audience.
bump and grind. Appears on: Al Green Explores Your Mind
Appears on: Let It Bleed (ABKCO) (The Right Stuff)

Power couple: Beyoncé 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
BEYONCÉ FEAT. JAY-Z
Writers: Rich Harrison, Beyoncé, Jay-Z

Producers: Harrison, Beyoncé
Those horns weren’t a hook;

they were a herald: Pop’s new
queen had arrived. Beyoncé’s
debut solo smash, powered by
a brass blast sampled from the
Chi-Lites’ “Are You My Woman
(Tell Me So),” announced her
liberation from Destiny’s Child
and firmly established her MO:
She’d 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

O’Kelly 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 it’s shacking up’ with different 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-off.
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 O’Kelly 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 discothèques for years,”
he told Rolling Stone in 1975,
NEAL PRESTON/CORBIS
“ ’cause it’s 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 didn’t 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 don’t
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 “I’ll 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-hop’s 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
Z’s “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 It’s a Man’s Man’s

the Rising Sun Man’s 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 people’s 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 Brown’s recording
girl trapped in a of “Man’s World” –
New Orleans whore- a play on the 1963
house. The Animals, cross-country chase
from the English coal comedy It’s 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, Brown’s ab-
arrangement (and grabbed a ject singing makes the biblically
composer’s credit). Price also chauvinistic lyrics (“Man made
added an organ solo inspired by the boat for the water, like Noah
Jimmy Smith’s 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 first time and coming up with ence Greenberg asked King and
some of his most dynamic riffs. Goffin to write the group a song.
He overheard an organ lick that On the piano in Greenberg’s 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 Dixon’s production
coming to the end of an all-night changed her mind. King’s devo-
session. “Who’s 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
first performed it at their final the first girl-group record to go
show with Brian Jones. Number One.
Appears on: Forty Licks (Virgin) Appears on: Girl Group Greats (Rhino)
{ 127 } { 128 }
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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 ie’s 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,
label’s early stars. and it didn’t really
“Ever ybody wa s take off until after
singing slow blues t he c om merc ia l
when I was young, success of 1972’s
and I thought I’d 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 who’d already given
chy lyrics (“I’m 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)

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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 first two singles from Step-
heavy into rock & roll and had penwolf’s 1968 debut stiffed; 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 define 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 Berry’s 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
ry’s original made the Billboard Be Wild” stayed. “Every gener-
Top 10, and the Beatles and the ation thinks they’re 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 I’m 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-
That’s not really up to me. ers write really economically.
Half of what happens in a It’s actually easier to write with
song happens in the listening. a lot of words, because you
I don’t 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
they’re listening to my songs.
process all its own?
When you’re 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 it’s 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 That’s what keeps you listen-
a long time to finish, but I ing again and again.
HENRY DILTZ/CORBIS
could say the same thing

about a song like “Some- Jackson Browne is the author
body’s Baby.” It was hard to of “Running on Empty,” “Doc-
write a second verse for that; tor My Eyes,” “Somebody’s
the song was so simple that Baby” and many other hits.
{ 131 } { 132 }
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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 U2’s 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 first 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 hadn’t flipped ethereal guitar hum
the single over, he’d have framing Bono’s yearning
gone back to his old job: dig- vocals – was one of U2’s most
ging graves. But the song’s rustic universal songs to date, a med-
mandolin and acoustic guitars itation on the painful ambiva-
– and Mickey Waller’s relentless lence of a love affair. Bono insist-
drum-bashing – were undeni- ed it was “about how I feel in U2
able. The song became Stewart’s at times: exposed.” It would turn
first U.S. Top 40 hit – and first out to be U2’s first 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 }
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DID NOT 13 WEEKS
CHART NO. 15
Who Do You Love? Won’t 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
Diddley’s 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 film
covered board: These experi- called Lifehouse. But many of
ments with rhythmic possibilities that project’s songs were resur-
kept him from lugging rected for Who’s Next,
a drum set around which started off with
town. “I’m a lover a week of demo ses-
of basic bottom,” sions at Mick Jag-
he once said. “If ger’s country house,
the bottom is right, Stargroves. The syn-
crazy.” And there’s thesizer on “Won’t
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 it’s 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.” “It’s interesting
hide that reach back into voodoo it’s 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 it’s such a
Appears on: His Best: The Chess 50th cautionary piece.”
Anniversary Collection (Chess) Appears on: Who’s Next (MCA)
{ 135 }
LISTEN
12 WEEKS
NO. 21
In the Midnight Hour

WILSON PICKETT
Writers: Pickett, Steve Cropper

Producers: Jerry Wexler, Jim Stewart
Released: July ’65, Atlantic
Pickett’s first two singles for At-

lantic were recorded in New York,
and they flopped. “I told Jerry
Wexler I didn’t want to be record-
ed this way anymore,” Pickett
said. “I said I heard a song by Otis
Redding out of Memphis, and
that’s 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

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

Released: Nov. ’68, Apple
One of Harrison’s 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. Dissatisfied 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 }
LISTEN
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
first classic took all of 10 minutes.
In 1969, Taupin and John were
sharing a bunk bed at Elton’s
mom’s 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 Taupin’s, 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 who’d
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 There’s 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. “I’ve
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 fleshed 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 don’t feel it. Song’s not
product of an eight-man string about that. Song’s about a family
section, working from a George affair, whether it’s a result of ge-
Martin score. netic processes or a situation in
appears on: Revolver (Capitol) the environment.”
appears on: There’s 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 band’s American break- ics for Led Zeppelin’s most ambi-
through single, “I Want to Hold tious experiment, the centerpiece
Your Hand,” this song had of 1975’s 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 band’s 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 Plant’s 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 petrified. 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 song’s 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 first didn’t stop him from doing 42
three big singles were takes before he was sat-
all written by the isfied. 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 Spector’s engineer. “But that’s not
just the pop chart but the R&B the sign of a nut. That’s genius.”
chart as well. Appears on: The Best of the Ronettes
Appears on: All-Time Original Hits (Rhino) (ABKCO)

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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 suffering 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, benefiting the Minneso- sive disorder and various other
ta Dance Theater. But the seeds ailments, Joey always had a
came from Prince’s 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. Johnny’s 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-artifice 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-52’S
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 Stone’s fourth tle dance band,” the B-52’s 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 Farfisa organ, Yoko
Francisco who also produced the Ono-ish vocals and Schneider’s
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-
one’s records,” he said of his ed like a good title for a song.”
radio days. “I’d play Dylan, Hen- Appears on: The B-52’s (Warner Bros.)
drix, James Brown back to back,

so I didn’t 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 first.
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
Pop’s sneering, free-associative
Joplin’s 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-off to drugged-out
sional crush Kris Kristoffer- hedonism, half a French kiss
son, who was inspired to write to it. The opening riff was sup-
it after seeing Federico Felli- posedly taken from some Morse
ni’s 1954 film 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
plin’s 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 fin- And the line “Of course I’ve had
gertips,” recalled pianist Rich- it in the ear before”? “That’s 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
Cathy’s 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 first artists signed three Byrds, it was supposed-
to a new record label: War- ly about an airplane flight. Mc-
ner Bros. The fledgling compa- Guinn’s 12-string solo was in-
ny wooed the Kentuckians with spired by John Coltrane’s sax
a 10-year, $1 million contract. playing and Rod Argent’s piano
They cut eight songs as potential on the Zombies’ “She’s Not
debut singles and rejected all of There.” “Of course it was a drug
them before settling on “Cathy’s 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 }
LISTEN LISTEN
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 Who’s 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., defined 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. “I’m 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 don’t 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 that’s long time.
true, that happens to every-
body. When you hear a great What’s the difference between
song, you think it’s 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. We’ve
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- couldn’t 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 O’Jays’ “Love Train,” the Jack-
had the whole thing written out sons’ “Enjoy Yourself” and Billy
before we called the artist in to Paul’s “Me and Mrs. Jones.”
{ 154 } { 155 }
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13 wEEkS 10 wEEkS
No. 1 No. 37
A Hard Day’s 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. I’ve got to have
cause I couldn’t reach the notes.” this song.”
appears on: A Hard Day’s Night (Capitol) appears on: Buddy Holly: Greatest Hits (MCA)

{ 156 } { 157 }
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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 first 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 funkel’s first single version died.
run of five consecutive Top Three While Simon was in England,
singles for CCR. He wrote the Wilson, who was producing Bob
song, later unforgettably covered Dylan’s “Like a Rolling Stone,”
by Ike and Tina Turner, after asked members of Dylan’s 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 Artie’s balcony,
September 1966
{ 158 } { 159 }
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13 WEEKS 24 WEEKS
NO. 11 NO. 1
I Only Have (We’re 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 }
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NON- NON-
SINGLE SINGLE
Moment of I’m 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: It’s 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

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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 first rap group to

really tempo it up,” Chuck D said.
Over the Bomb Squad’s souped-
up horn riffs from Marva Whit-
ney’s “It’s 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-
fined 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 }
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18 WEEKS
NO. 1
I Can’t 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 hadn’t 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/SOTHEBY’S/SIPA PRESS
{ 165 }
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21 WEEKS
NO. 1
Nothing
Compares 2 U
SINEAD O’CONNOR
Writer: Prince
Producers: O’Connor, Nellee Hooper
Released: March ’90, Ensign
Originally recorded by one of

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

{ 166 }
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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, “That’s where the operatic
bits come in!” Recording tech-
nology was so taxed by the song’s
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 }
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21 WEEKS 14 WEEKS
NO. 6 NO. 1
Fast Car Let’s 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 1971’s “What’s 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 “Let’s Get It On”
this haunting rumination on es- didn’t “advocate promiscuity”
cape. “Fast Car” won a Grammy, but also said he had a hunch the
setting Chapman’s career in mo- song might have “some aphrodi-
tion. siac power.”
Appears on: Tracy Chapman (Elektra) Appears on: Let’s Get It On (Motown)
Chapman once
got a demo-tape
rejection letter
suggesting she
tune her guitar.

{ 169 } { 170 }
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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 first 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, it’s 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 }
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DID NOT
CHART
Both Sides Now

JONI MITCHELL
Writer: Mitchell
Producer: Mitchell
Released: May ’69, Reprise
As her first 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 latter’s 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 I’d just scratched the
surface of it.”
Appears on: Clouds (Warner Bros.)
No problem: Jay-Z
at Madison Square
Garden in 2004

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

Producer: Rubin
Released: Nov. ’03, Roc-a-Fella
Jigga’s 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 Squier’s
“The Big Beat” and Mountain’s
“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 }
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9 WEEKS 22 WEEKS
NO. 59 NO. 1
Dream On Dancing Queen

AEROSMITH ABBA
Writer: Steven Tyler Writers: Benny Andersson,

Producer: Arian Barber Björn 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 Aerosmith’s early tioned the song for his fiancee
days, pounding a piano in the and band member Anni-Frid
basement of the group’s liv- Lyngstad, she was moved to tears.
ing quarters. “Dream On” was Sweden’s 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-flavored dessert of sublime
sion finally reached the Top 10 melody and pop-operatic har-
in 1976, giving the band its monies, became the group’s only
breakthrough hit. U.S. Number One.
Appears on: Aerosmith (Columbia) Appears on: Arrival (Polydor)
“As far as I’m concerned, t

being,” sneered singer Rotten
they drag aroun

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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 II’s silver jubilee and came flavored 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 I’m concerned, she given up on the guitar by then,”
ain’t no human being,” sneered said Richards. “If there was [an-
singer Rotten. “She’s 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, Here’s lot of different textures.”
the Sex Pistols (Warner Bros.) Appears on: Aftermath (ABKCO)
the Queen ain’t no human

n. “She’s a piece of cardboard
nd on a trolley.”
{ 177 } { 178 }
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11 WEEKS 10 WEEKS
NO. 9 NO. 24
I Fought the Law Don’t 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 “Don’t Worr y Baby”
the Law” was a bracing hybrid for Ronnie Bennett. From
of outlaw romanticism, garage the opening drum riff, “Don’t
rock, surf music, Wall of Sound Worry Baby” is sheer homage
and British Invasion energy. but also vintage Beach Boys,
Keane created the track’s rich re- with one of Wilson’s finest 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)

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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 Petty’s solo LP Full Moon by Sixties British Invasion pop.
Fever. The label initially reject- A nonhit from the band’s 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 Star’s now-
adored catalog. “Maybe that’s
what’s made them enduring.”
Appears on: Radio City (Stax)
A nonhit from
the band’s second
album, “Gurls”
is now revered
as a power-pop
classic.
{ 181 } { 182 }
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DID NOT 32 WEEKS
CHART NO. 1
Love Will Hey Ya!

Tear Us Apart OUTKAST
JOY DIVISION
Writer: André 3000
Writers: Ian Curtis, Peter Hook, Producer: André 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, André 3000 played almost all the
band’s 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 first he ever learned,
uled American tour. “Ian’s influ- 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)
André 3000
played
almost all the
instruments
on this irresistible
party jam.
{ 183 } { 184 }
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16 WEEKS 18 WEEKS
NO. 3 NO. 1
Green Onions Save the Last

BOOKER T. AND THE MG’S 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 I’ve the essence of true romance.
heard since I don’t 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 It’s simple and beautiful, and
underwater. The production of course it’s in my top 10.
is epic and ethereal.
7. “I Can’t 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
it’s surrounded by such an so overwhelming it becomes
awesome level of production a necessity, not a choice.
you feel like you’re flying.
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 that’s what this song does
to me. Best U2 song, by far. 10. “Top Of The World”
Patty Griffin
5. “The Greatest Man I Never Captures the human spirit’s
Knew” Reba McEntire desires, regrets, pains, and
It’s 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. It’s
become a part of your life. that addictive.
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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 different 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 King’s inally penned a yearning bal-
career reached its zenith with lad while listening to Orbison in
an inspired performance dur- a bedroom at his aunt’s 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 couldn’t get it
recorded fast enough.”
appears on: Please Please Me (Capitol)
Said Lennon, “By t

came around, we were s
we couldn’t get it rec

{ 187 } { 188 }
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NON- DID NOT
SINGLE CHART
Desolation Row Who’ll 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, that’s one ences in songs. They think a song
long cab ride. Dylan scrapped an will save the world. It’s 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-
final version was spliced togeth- sists he wanted to be symbolic,
er from two consecutive takes not specific 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: Cosmo’s Factory (Fantasy)
the time the session

so happy with the result,
corded fast enough.”
John Fogerty at
London’s 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
non’s you done-me-wrong lament didn’t retreat – they brought in a
with the Muscle Shoals Rhythm new singer, Brian Johnson. “Mal-
Section – “Alabama white boys colm asked me if this riff he had
who took a left turn at the blues,” was too funky,” said Angus. “And
as Wexler described them. I said, ‘Well, if you’re 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 Heaven’s 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 film based on the Brook- co for Sam Peckinpah’s 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 sheriff,
that served as the setting for sev- who wants only to lay his “guns
eral porn flicks. 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 Winehouse’s 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-
finitive, 14-minute live version don diva a worldwide star. The
on One More From the Road. huge, Motown-inspired beat fea-
But audiences initially didn’t 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. “She’s 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 }
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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. King’s 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 Tchaikovsky’s
changed a guitar part and kept “1812 Overture.” “It sounded like
the keyboard from Webb’s demo; a radio caught between two sta-
the chiming sound at the fade, tions,” wrote Atlantic’s Jerry
evoking telephone signals, was Wexler. But King’s 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. King’s
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 first played a

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

{ 198 }
LISTEN
24 WEEKS
NO. 1
Sweet Child O’Mine

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 didn’t
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 Don’t 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. “Don’t
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 first 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

Experience’s first single, recorded Nation’s groove manifesto. “We’re
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

Rose’s 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 producer’s
kitchen. It became the center-
piece of an album (1994’s 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 Division’s

Ian Curtis, his band became New
Order. “There’s life, and there’s
death,” drummer Morris said in
1983. “We were still alive, so we
thought we’d 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 – that’s 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 you’re not!
it – the first line said, “It’s
close to midnight, and some- 7. “Single Ladies (Put a Ring
thing evil’s lurking in the on It)” Beyoncé
dark.” Whoaa! It’s 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 hadn’t been done
do, and that’s 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. I’m 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 don’t even healing” – hey, don’t 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, ‘Let’s 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 flowed 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 didn’t 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 he’d 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

I’ll 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 offered it to the Everlys for their
breakneck pace. “They were over first single. Phil and Don took
so fast I can’t remember them it happily, if for no other reason
at all,” said Dozier. Phil Spector than the $64 they would each
called “Reach Out, I’ll 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 first “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 Wilson’s idea. The
“I was just being me, a street three-part harmony on the first
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 manager’s living “Be My Baby” drummer Hal
room, and ? promoted the single Blaine on what was initially re-
throughout the state, all with- leased as Brian’s first 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 figure put about a girl he’d liked in high
the Farfisa 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 off 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 “Don’t 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
single’s first release didn’t make East: “It’s 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,” cliché,” Young said. “I knew I had
and it was finally 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 fixed a contact mike to his auto-
polishing it with Rose, Williams harp, and in combination with
recorded “Your Cheatin’ Heart” Zal Yanovsky’s 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, “It’s 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 chiefly known er, “Even Muddy Waters was
as Porter Wagoner’s TV partner, sophisticated next to him.” That
although she had written the hit was a compliment. With his gruff
“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
buffing an old-time-y groove and Animals, who covered this song
belting a tale of romantic rivalry. to great effect. “Boom-boom,” by
It became a Number One coun- the way, came from an affection-
try single and has been covered ate greeting offered 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 }
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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 doesn’t take a large old keyboard prodig y with
quantity of anything to be good,” a crush on a bandmate’s 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. What’s 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: There’s Gonna Be a Storm
Appears on: Anniversary Collection (Chess) (Mercury)

{ 223 } { 224 }
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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 fizzled, 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 don’t 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]; Mary’s voice was softer.
But I was double-teamed by my brother and
Lamont.
Were any of your songs a surprise hit?

We weren’t 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 finish
one lyric. After I was done, I didn’t want to hear
about it.
As part of Holland-Dozier-Holland, Eddie
Holland wrote many of Motown’s 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” fit Stone’s vision for again, y’know.” 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 influences,” Mick Jones
ing the breakup of his band the said, “are Mott the Hoople, the
Flying Machine. The first came Kinks and the Stones” – which
in a London flat while he was explains this choppy riff. 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 band’s end: At
setts psychiatric facility. “It’s 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 “Rapper’s Delight.”
Appears on: Risqué (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 “I’m 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 Morrison’s first

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 don’t 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
writer’s block. “I suggested that Everly Brothers, who had cut the
Marvin needed sexual healing,” Orbison song “Claudette.” But
Ritz, his biographer, later wrote. Orbison’s 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: Gaye’s 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 Clash’s
ed for the Righteous Brothers, “Straight to Hell.” The unlikely
it got a harsh white-blues treat- hit took off 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 it’s cool because there’s hope:
and, a generation later, coalition ‘Thank God the future’s 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
I’ll 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 flip 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 Ciro’s. “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 first
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 Ciro’s.

{ 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 stuff 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 fin- but Robie said, “I’ll 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 Springfield 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 first 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 fire 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 DiMucci’s trademark hit – The title song from Stone’s 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 flipping the record over – pressing got a muted reaction
was a swaggering shuffle 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 Stone’s
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-52’S
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-52’s 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 flopped. 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 I’d for- and Dixie New Wave glitter all
gotten it.” Taupin was accused of over this bouncing beauty.
ripping off Bowie’s “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 Bowie’s
“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 first, 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 Muff. “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 Band’s 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 Robertson’s
lyrics for “The
Night They Drove
Old Dixie Down”

{ 250}
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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 first 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
Rapper’s Delight Chain of Fools

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

M. Wright, G. O’Brien 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 1968’s 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 field hands
MCs recruited by Sugar Hill’s in the South. Covay reworked
Sylvia Robinson to make rap’s the lyrics for Franklin; producer
first radio hit. Based on a sam- Wexler cooked up the propulsive
ple of Chic’s “Good Times,” the stomp. When songwriter Ellie
track – with raps about bad food Greenwich heard the track in
instead of boasting – kept going Wexler’s office, 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 final master.
Sugarhill Gang (Rhino) Appears on: Lady Soul (Rhino)
“Chain of Fools”
was originally
written about
field 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 Sabbath’s first 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 fiddling about on the enjoyed pop success with a totally
guitar and came up with this different 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
he’s 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 first
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.
I’m 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 first 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 first hit in 1958 with the already passed up “Suffragette
rock & roll bathtub classic “Splish City,” so they didn’t say no when
Splash.” But he changed his Bowie offered to let them record
image with this hepcat version of “Dudes,” the ultimate glam-rock
a morbid tale from Weill’s Three- hymn. “I’m thinking, ‘He wants
penny Opera, which dates back to to give us that?’ ” said drum-
1928. Darin came on as a finger- mer Dale Griffin. “ ‘He must be
snapping sophisticate at home crazy!’ ” Ian Hunter made it an-
in the cocktail lounge, scatting themic, contrary to the writer’s
over a jazzy groove; it was easy apocalyptic intent. “[It’s] about
to forget he was singing about a the news,” Bowie told RS. “It’s no
bloodthirsty Berlin gangster. hymn to the youth.”
Appears on: That’s All (Atlantic) Appears on: All the Young Dudes (Columbia)
It was easy to
forget Darin was
singing about a
bloodthirsty
Berlin gangster.

{ 257 } {258}
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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,” “I’ve 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, “Don’t stop me,” right be-
Jane Seymour’s 15th-century fore Angus Young’s guitar solo,
mansion, a house that Yorke was it’s 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:

Radiohead’s Colin
Greenwood, Ed
O’Brien, 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 first recorded “Mississippi”

tarist Stein, her boyfriend, for 1997’s 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 doesn’t 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 demo’d this three- “I sat down and made it good
chord monster in 1965, he didn’t from the beginning,” Townshend
take it too seriously: “I was on said of the Who’s most volcanic
the floor laughing when I was studio single in his first 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 off from touring in the
“It’s 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 }
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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 wasn’t
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 }
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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-é, 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
doesn’t hear it.” On his posthu-
mous live album Mystery White
Boy, Buckley turns “Hallelujah”
into a medley with the Smiths’ “I
Know It’s Over.”
Appears on: Grace (Columbia)
State of Grace:
Jeff Buckley in 1995
{ 265 } { 266 }
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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, it’s the one song
volved in a near-fatal car acci- that everybody asks for.” “Baby”
dent in August ’73 – no, he wasn’t has what may be his most deli-
driving – that left him in a coma. cate and wounded vocal. When
Early in Wonder’s recovery, his Robinson sighs the line “I’m cry-
road manager tried to revive ing,” it’s a reminder that no mat-
him by singing the melody of ter how many vocalists keep
“Ground” into the singer’s ear; covering his songs, nobody sings
Wonder responded by moving Smokey like Smokey.
his fingers 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 }
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18 WEEKS DID NOT
NO. 1 CHART
He’s 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 “He’s 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 can’t 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 first 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 first take – unheard
of in Spector’s 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 off to Vietnam. the opening track on the group’s
He pulled out “Tighten Up,” one debut. Produced by Todd Rund-
of the group’s 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
won’t 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
song’s opening line from “Don’t that he needs Jesus “like Kathie
talk to me about the rights of the Lee needs Regis,” blew up on the
IRA” to “I can’t 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
wasn’t 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
Strange’s 12-string-guitar part. Beach Boys fitted the song with
He also changed “This is the new words and called it “Surf-
worst trip since I’ve been born” to in’ U.S.A.”; Berry threatened to
“. . . I’ve 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 }
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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 cauliflower”). 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 scene’s first hits. The Airplane
the next year with a string sec- made buttons that read jeffer-
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) doesn’t 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. I’ll 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 day’s work at Stax
Before it became the centerpiece in 1971 when the Staples cut both
of Springsteen’s biggest album, “Respect Yourself” and “I’ll 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 riff, 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}
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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 O’Donnell, Lol Tolhurst
Producers: Smith, David M. Allen
“I wasn’t 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 – they’re not any-
the story of his most famous alter thing to do with love as I under-
ego over Mick Ronson’s flash 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,
ie’s over-the-top manager, Tony Kiss Me, he wanted to write the
Defries, demanded that all his Cure’s 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 Ain’t 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
flat. 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 effects pedal

to make his guitar sound like
a bass for this howling anthem
about rage and paranoia. The re-
sult was the greatest riff 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, “That’s 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
finishing 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 offices, where
she was a secretary. The cut was
Talking Book’s second Number
One hit, following “Superstition.”
Appears on: Talking Book (Tamla)
COLLEXXX - LEX VAN ROSSEN/REDFERNS/GETTY IMAGES
{ 288 } { 289 }
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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. “They’d corded “Call Me” for the Rich-
laugh, ‘Aww, isn’t that cute? She’s ard Gere flick American Gigo-
trying to tell us how to play.’ ” It lo was to work with their hero,
took a jazz group – Tom Scott’s 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, roder’s first choice for a vocal-
Prince, loved the song so much ist was Stevie Nicks, but Harry’s
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 }
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NON- DID NOT
SINGLE CHART
(What’s 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 Wolf’s “Cry-
“What’s So Funny” was written by ing at Daybreak,” recorded years
Lowe, Costello’s pal and produc- earlier and itself modeled on
er. The original, by Lowe’s coun- Charley Patton’s “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.
It’s 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 }
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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 didn’t 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 stuff.” 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 }
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17 wEEkS 10 wEEkS
No. 23 No. 1
Money Can’t Buy Me Love

(That’s What I Want) The BeaTles
BarreTT sTrong
Paul McCartney
writers: Berry Gordy, Janie Bradford
Producer: Gordy
Released: March ’64, Capitol
Released: Jan. ’60, Anna
The sessions lasted more than 40 “ ‘Can’t Buy Me Love’ is my at-

takes and several days, but Gordy tempt to write [in] a bluesy
didn’t care: It was the first song mode,” McCartney said. He wrote
cut in his Hitsville USA studio, it while the band was doing con-
and there were no bills to pay. certs in Paris for 18 days straight,
With a howling vocal over a live two or three shows a day. The
band, this was gutbucket R&B, single was released a few months
far more raw than the Motown later, at the height of Beatlema-
hits that followed. But when it be- nia. When it hit Number One,
came Gordy’s first hit, it provided the band occupied all five top po-
the money to pay for them. sitions on the American charts.
appears on: Motown: The Classic Years appears on: A Hard Day’s Night (Capitol)
(Polygram)
“I gave 100
copies of Amy
Winehouse’s
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. “Don’t 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 finest middle
bling, insecure, isolated, bashful finger 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 first verse. There will always be a special
place in my heart for the Police’s
3. “Cold Sweat” James Brown raggarockgumbocombo.
Soul music slowed down. New
word invented: funk. And the 9. “Rehab” Amy Winehouse
drummer gets some first. ’Bout I gave 100 copies of the LP away
damn time. to my pals, just knowing this
was gonna be the ?uesto inside
4. “Rapper’s 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 don’t 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 }
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15 WEEKS 15 WEEKS
NO. 51 NO. 2
Stan She’s 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 Blunstone’s gauzy
“Stan” was Eminem’s scariest vocals and Argent’s scampering
song, because for once the hor- piano, “She’s Not There” was one
ror seemed real. Anchored by a of the British Invasion’s jazziest
sample from Dido’s “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 Em’s fantasies. “He’s crazy scious influence. “When I wrote
for real, and he thinks I’m crazy, and played ‘She’s 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 filtered through.”
Appears on: The Marshall Mathers LP Appears on: British Invasion: 1963-1967
(Aftermath/Interscope) (Hip-O)
“Stan’s crazy for real, a

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

{298} { 299}
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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 Clash’s woke up before dawn the next
London Calling, unlisted on the day at a motel in rural Michi-
sleeve or on the label. It didn’t 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 wasn’t much interested
rus. But it became a surprise hit in Green’s 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,
grandmother’s flat. I said, ‘Well, I still got a song.’ ”
Appears on: London Calling (Epic) Appears on: Greatest Hits (Capitol)
and he thinks I’m crazy,

in the end,” said Eminem.
he real side of me.”
{ 300} { 301 }
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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 Zeppelin’s studio in rural to a March 1968 anti-war rally
England inspired the title, but at London’s 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 let’s-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}
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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 song’s chorus (“Stand up for 1971, Young suffered a slipped
your right . . ./Don’t give up the disc and spent two years in and
fight”) sounds like a political an- out of hospitals: “I couldn’t 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 pacified by prom- pear on Johnny Cash’s 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 Young’s only Number
the fire-breathing final verse. One hit.
Appears on: Legend (Island) Appears on: Harvest (Warner Bros.)
A dog meandering
the grounds
outside Zeppelin’s
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}
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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 didn’t blow
up here until their hit-packed
third disc. “One Way” was Har-
ry’s 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/I’ll see who’s
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 first marriage. “I didn’t 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 confidence 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 Punk’s 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}
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21 WEEKS 18 WEEKS
NO. 1 NO. 21
Da Ya Think Blue Eyes Crying

I’m 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,” Stewart’s entry was a tale of Cline, but his own breakthrough
lust at first sight with an irresist- was a cover of an old country
ible hook. But that hook actual- standard written by Rose in 1945
ly wasn’t by Stewart and Appice. and originally recorded by Roy
It came from “Taj Mahal,” by the Acuff. Delivered with Nelson’s
Brazilian songwriter Jorge Ben. jazz-singer phrasing, it’s 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 }
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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 fictional crooner Billy Shears,
Keith, his first serious girlfriend, Ringo Starr delivers his most
and turned it into an uncharac- charming vocals on this tune.
teristically wistful ballad. Brian “Ringo’s got a great sentimen-
Jones played the recorder on the tal thing,” McCartney said. “I
track, giving the song a madri- suppose that’s why we write
gal feel. The countermelody was these sorts of songs for him.”
played by Bill Wyman, who fin- appears on: Sgt. Pepper’s 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}
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11 WEEKS NON-SINGLE
NO. 10 IN THE U.S.
Say It Loud – I’m That’s

Black and I’m 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 flash –
them. The real stars are Clyde but they were too defiantly 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, “I’m black and I’m 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 ‘That’s
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 first hits written by
Frankie Lymon was one of rock Motown founder Gordy, “Lonely
& roll’s first teen prodigies – Teardrops” set Wilson’s 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 &
roll’s first teen
prodigies – and
one of its earliest
tragedies.
{ 316 } { 317 }
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28 WEEKS 10 WEEKS
NO. 1 NO. 52
What’s 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 first, Turner thought “Love” of two fingers, 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 Tina’s first 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 define
defi metal forever.
Paranoid (Warner Bros.)
Appears on: Pa
Ozzy
Osbourne
{ 318 } { 319 }
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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’ first 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. Roy’s reaction: “I’ve
asked by Oprah Winfrey what his never heard of them.” Next, he’d
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

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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 suffering 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
fin. The prop was Alan Freed’s 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 rison’s 1990 version from The
the coffin,’ ” 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}
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10 WEEKS
NO. 15
Don’t 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 Simone’s 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 O’REGAN/CORBIS

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

murder ballad. “It isn’t,” Costello
told Rolling Stone in 2002.
“It’s about disappointing some-
body. It’s a thin line between love
and hate, as the Persuaders sang.”
Costello’s backup band was Huey
Lewis’ outfit Clover; Lewis him-
self didn’t play on the album, pre-
sumably because Costello didn’t
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 Cliff
riously appeared in the studio in wrote in 1969, he offered Cliff
such bad shape that, at first, no- the lead in his film 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 didn’t have a his songs and acting in the film,
guitar with him. And we said, Cliff became one of reggae’s first
‘Sorry, Syd, the guitar’s 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 }
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13 WEEKS 19 WEEKS
NO. 7 NO. 66
School’s 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 final 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
it’s almost orgasmic,” said Coo- rock and electronic music,” sing-
per. Inspired by a Forties Dead er Kapranos said. “It makes you
End Kids film series, the tune think that there’s no difference.”
will live for as long as kids really, Appears on: Franz Ferdinand (Domino)
really hate school.

Appears on: School’s Out (Warner Bros.)
JOHN ROGERS/GETTY IMAGES
Franz
Ferdinand
{ 328 }
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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 Zep’s 1969
American tour. The awesome
swagger captures the debauched
mood of the band’s wild early
days in L.A. “Nineteen years old
and never been kissed,” Plant re-
called in 1975. “I remember it
well. It’s been a long time. Now-
adays we’re 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
“It’s weird,” Young mused to
Rolling Stone in 1975. “I’ve The opening credits of Spike
got all these songs about Peru, Lee’s 1989 Do the Right Thing
the Aztecs and the Incas. Time- feature a masterpiece from the
travel stuff.” 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 }
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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 wasn’t the strongest
finding 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 five lower register, her voice worked
highest sensations one can expe- its sultry magic. When this
rience,” she said in 1978. “A very song was finished, Berry Gordy
high orgasm is a way of com- thought it wasn’t 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}
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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 Lenhoff got co-writing
Olympics’ “Good Lovin’ ” in the credit mostly because he got out
studio. “We weren’t too pleased of bed and drove five 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 }
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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 Mayfield 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-
single’s 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
What’s 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, you’re
morrow. But a great song changes automatically a producer if you
somebody’s 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 that’s what Once the writing is done, the
every great record does. producing starts. I’m 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 didn’t
Originality in sound, a great reach this audience.
story line – and it’s got to be
meaningful, every word has to Which writers inspired you?
say something. You don’t throw Michael, Lionel Richie, Diane
a word in there just to buy time. Warren, R. Kelly. Definitely Sam
I’m known for being repetitive, Cooke, Otis Redding, Smokey
but that’s to drive a point home. – my mother played those rec-
ords, so they’re special to me,
Can you tell when something they’re a way to remember her
you’re writing is turning into since she’s 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 I’m going to say, the story from inside their soul
at that moment I know I’m going to a stranger’s ear. And if a
to change someone’s 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 Beyoncé’s
Urban culture changed what “Single Ladies (Put a Ring on It)”
producing means. I’ve been in a and Rihanna’s “Umbrella.”

COURTESY OF DEF JAM
The-Dream
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16 WEEKS 14 WEEKS
NO. 12 NO. 52
That’s 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 flopped 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: That’s 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}
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20 WEEKS 8 WEEKS
NO. 18 NO. 39
I Can’t 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- “It’s from Chuck Berry, a bit of
igy who didn’t break through ‘Too Much Monkey Business’ and
until 1989’s 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 off 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 Can’t Make You Love Me’

gift,” Raitt said.
{ 341 } { 342 }
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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
“I’m 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
baum’s 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)

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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 fingers-flying
required, so Memphis musical guitar solo provided by Eddie Van
maverick Jim Dickinson filled in Halen. “I’m 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. Jagger’s ex-wife Jerry Hall son you’re 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}
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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 world’s biggest band almost gag from Young Frankenstein.
never saw the light of day: U2 felt When they saw the film 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
no’s 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 band’s Eighties work. “If well of the studio. Perry fash-
we’re just chucking it out because ioned the funky riff in the style of
it reminds us of U2, that’s not the New Orleans band the Meters
very good,” said the Edge. so that, as he said, “we don’t have
Appears on: All That You Can’t 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}
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13 WEEKS 12 WEEKS
NO. 10 NO. 1
Maybe I’m 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 I’m 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 I’m amazed Vanilla Fudge scored with a Top
at what’s going on, maybe I’m 10 cover.
not.” The song’s 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}
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NON-SINGLE DID NOT
IN U.S. CHART
Baba O’Riley 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 O’Riley” (a.k.a. “Teen-
age Wasteland”) takes its name Before this song, Cliff had al-
both from Townshend’s 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 track’s repeti- written.” But Cliff 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 Moon’s idea. written for the movie of the same
Appears on: Who’s 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 O’Riley” takes

Townshend’s spiritual g
minimalist comp

{ 351 } { 352 }
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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 first 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 Dion’s only Number nals, she was so infuriated she
One. For 47 years, he’s been mar- wrote her congressman and even
ried to his high school girl, Susan, filed 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}
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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, Aretha’s sister. “Er- inally the B side to his first hit,
ma’s ‘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 }
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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
John’s 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 finally reached the U.S.
Roger Troutman. “I don’t 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? It’s like one of your kids – you
With the best ones, like “Bobby might have been responsible
McGee,” it’s 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 Joplin’s 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
he’s one of my heroes. Then
Roger Miller. Then Janis took it
somewhere totally different –
but by that time, I didn’t 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 didn’t 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 you’re writ- of us better. I feel blessed that
ing something that it’s going to I chose to do it when I did, and
be great? not 40 years earlier.
HENRY DILTZ/CORBIS
When it’s good, you’re more

or less riding on the current of Kris Kristofferson wrote Janis
the inspiration. I don’t golf, but Joplin’s “Me and Bobby McGee”
I imagine it’s like a good golf and Sammi Smith’s “Help Me
swing. And when it’s 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 Bruce’s 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 Goffin’s new- Ink Spots and the Mills Broth-
born during recording sessions. ers, the Platters became the first
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 first time he en” and “The Circus Left Town”
heard it and gave it the same free- for his son. “They’re sweet lit-
wheeling charm he had brought tle songs, almost like folk songs,
to Blackwell’s “Don’t Be Cruel,” and I feel the need to have peo-
even reprising the guitar-back- ple hear them,” he told Rolling
slapping trick he’d 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 definitely not about

was still an aspiring songwriter astrology,” Fogerty once joked.
when he took the Clash’s debut “[It’s] scary, spooky stuff.” With
back to his London flat 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 effortless-
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 couldn’t of CCR’s catchiest swamp-rock
afford to go to nightclubs at riffs, an homage to Elvis Pres-
night. I had a wife and kid, and I ley’s 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 couldn’t 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 couldn’t 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 Lieberman’s
into a speedy howl about voodoo recording on an in-flight 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 wasn’t dub at all – it
was the Clash’s 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 band’s 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. It’s Dylan at his wildest,
on singing anything we ever did,” both musically and lyrically,
Chilton said. “In a lot of cases, topping the band’s 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 first hit the charts in Released: Sept. ’77, RSO
1955, when three different ver-
sions of it landed in the Top 10. The first single from Saturday
The Righteous Brothers picked Night Fever wasn’t 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 Sinatra’s “Ebb Tide” also with “If I Can’t Have You.”
hit big. Appears on: Saturday Night Fever (Polygram)
Appears on: Anthology 1962-1974 (Rhino)
his wildest, both musically

nd’s 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 Clapton’s wah- Depeche Mode’s breakthrough

wah work, the song’s unnerving single was based on a surprising
psychedelic imagery came from source: Priscilla Presley’s book
Brown, emerging from a peri- Elvis and Me. “It’s 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 everybody’s 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
I’m 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 Diddley’s first 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.
Diddley’s 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 he’ll tell you what the drums gentle riff inspired by soul man
are saying.” Curtis Mayfield – 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 Can’t 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 Television’s

recorded Townshend’s 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 song’s 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

It’s got that screaming British
hard-rock sound.
4. “Can’t You Hear Me

Knocking” The Rolling Stones
This defines 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. “Won’t 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 he’d moved to RCA – then
sold a million. Before it came out,
Cooke liked to sing it for women
he met, telling them he’d 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 didn’t 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 filled in its
to offer 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 find your head singing some
words to it.”
Appears on: The Bends (Capitol)
The YYY’s 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 Mayfield, 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 O’s lovesick wail. The had any songs for Charles to re-
YYY’s 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’ affair 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 first 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 Chicago’s 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 riff on U.S. cultural
was married to Jim Kerr of Sim- imperialism – because he hadn’t
ple Minds at the time), the result finished writing them when it
was the band’s first 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 John’s sixth when he cut this sublime bal-
album. “The studio was sur- lad. He originally felt something
rounded by barbed wire,” said so sweet wouldn’t 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 doesn’t have tally hit a play button in my mind
to be good, a song could also and this song came on. I’m not
make me feel sad, as long as it pulling it out of a fucking hard
makes me feel, and I want to drive – I’m either a hit or a miss,
hear it over and over. When I you get a song or you don’t. If I
put a great song g on, I know were to bbreak down how the
I’m 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 Aguilera’s]
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. It’s ties, and it became all
reat song
honest, and a great abou the producer.
about
is really honest. We’r finding people on
We’re
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
they’re
ppens.
song, it just happens. of records and have a
hn
I don’t think John pe
perfume out. I think
Lennon sat down wn Christina w
we’re 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 don’t need people like
guitar. We’re starting to raise the me. So it’s kind of an awkward
bar, but the bar is so low, an ant position, but I’m 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 don’t think so. And I’m one of Courtney Love. She founded
the problems! I do find 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 Allman’s 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}
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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 first 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 fiery 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” off
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 }
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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 fiend Lyricist Taupin wrote this 1971
who was dripping steam. Eric song about his first wife, Max-
B. was the DJ with the James ine Feibelman, who really was a
Brown samples. They were New seamstress for John’s band and
York legends before ever releas- obviously did marry a music
ing a song (“Eric B. was driv- man. John’s skyrocketing melody
ing a Rolls-Royce before he ever got a little help from Paul Buck-
put out a record,” Chris Rock master’s 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 film 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

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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, who’d sung
land told Rol l i ng St on e. lead on the Temptations’ first 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,
band’s hotel lobby in Paris. working out his part.
Appears on: Outlandos d’Amour (Interscope) Appears on: Anthology (Motown)
he idea for “Roxanne”

nd the red-light district
canceled show.
{400} { 401 }
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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 different 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 first 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 }
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16 WEEKS 14 WEEKS
NO. 8 NO. 1
O-o-h Child Can’t 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 Martini’s 18th-century song
other sibling gang, the Jackson 5. “Plaisir d’Amour” 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 Mayfield 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: Didn’t 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 }
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11 WEEKS 14 WEEKS
NO. 5 NO. 12
Remember (Don’t Fear)

(Walkin’ in the Sand) the Reaper
THE SHANGRI-LAS BLUE ÖYSTER 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 band’s 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 flicks
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 }
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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 Young’s “South-
less couplet “Won’t you tell your ern Man,” and even Young loved
dad, ‘Get off my back’/Tell him it. “I’d rather play ‘Sweet Home
what we said about ‘Paint It Alabama’ than ‘Southern Man’
Black.’ ” It’s simple musically; as anytime,” Young said. The ad-
Chilton said, “I was still learn- miration was mutual; Van Zant
ing to play and stuff.” It never wore a Young T-shirt on the cover
came out as a single or got any of Skynyrd’s final album, Street
radio play, but “Thirteen” is one Survivors, and according to leg-
of rock’s 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 O’BRIEN/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 Tonight’s 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
– it’s the same riff.” yearning.
Appears on: Metallica (Elektra) Appears on: 25 All-Time Greatest Hits
(Varèse Fontana)

{ 410 } { 411 }
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13 WEEKS 12 WEEKS
NO. 1 NO. 35
Thank You C’mon 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-
Sly’s sole new release in 1970. time Blues,” “C’mon” is a good-na-
“Thank You” rode on the finger- 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 influence in England.
Appears on: Anthology (Epic) Appears on: Something’ Else (Razor and Tie)
“C’mon” is
a good-natured
bad-boy tune
powered by heavy
strumming on his
Martin guitar.
{ 412 } { 413 }
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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
“It’s easier to be disconnected
The songwriters initially of- than connected,” Dylan con-
fered the track to Britney Spears, fessed in late 1965. “I’ve got a
whose career was spiraling out of huge hallelujah for all the people
control. “We thought, ‘Let’s save who’re connected, that’s great,
our friend,’ ” the-Dream says. But but I can’t do that.” He never
Spears’ management brushed sounded lonelier than in this
them off. “I’m 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 Valentine’s 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 }
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17 WEEKS NON-
NO. 2 SINGLE
We’ve 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 don’t like rednecks, I don’t 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 Carpenter’s ear. to shoot his gun” would become
He called Williams to see if there one of Nirvana’s biggest live
was an actual song attached to anthems. It started out as more
the short bit he’d 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 don’t like
rednecks, I don’t
like macho men,”
Cobain once said.
{ 416 } { 417 }
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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, Aerosmith’s third studio Numerology, sludge in the ocean,
album, reached the 11th hour at a hole in the sky – what’s 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 riff that had been ger- sounds neat.” Norton cleaned
minating for several years, and it up the band’s sound, adding
was outfitted with bass marimba the eerie strings, but the Pixies
and Joe Perry’s voice-box rec- didn’t bother to try for pop ap-
itation of the song title. A few peal. Said Francis, “It wasn’t like
months later, Aerosmith had we thought we’d get played on
their first 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 off 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 first country blues. “The real mes-
listened to this, he told David sage,” she said, “revolves around
Bowie, “I’ve heard the sound of the way the nonchalant family
the future.” Thanks to Moroder’s talks about the suicide.”
throbbing Moog synthesizers and Appears on: Greatest Hits (Curb)
Summer’s epic-orgasm vocals, “I

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

avid Bowie, “I’ve heard
f the future.”
{ 420} { 421 }
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8 WEEKS 11 WEEKS
NO. 49 NO. 1
The Girl Young Blood

Can’t 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 first 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
didn’t wear a brassiere. They “Turtle Dovin’.” But after almost
didn’t hang down.” a year away from the studio, the
Appears on: The Georgia Peach (Specialty) group relocated to New York and
cut its first blockbuster.
Appears on: The Very Best of the Coasters
(Rhino)

{422} {423}
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14 WEEKS 22 WEEKS
NO. 1 NO. 5
I Can’t 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 don’t consider eration, featuring the famous
myself as being a heck of a singer, line “Out on the road today/I
man. I’m 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 workingman’s The Beach Boys
ballad. “Free Bird” fit my life for I got on a Beach Boys kick again
the first 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 first got a guitar, I fig-
ured out the first couple of 8. “Black Sabbath”
fingerings 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. It’s beyond heavy.
“Where’s 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 Metallica’s
5. “Candle in the Wind” guitar harmonies.
Elton John
“Saturday Night’s Alright for
Fighting” was more my style, but
few songs can top this melody. RS interviewed Hetfield 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
Biggie’s debut single chronicled

the rapper’s 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 mother’s
home in Brooklyn,
January 1995

{ 425 }
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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 group’s
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-hop’s bad boys.
Appears on: Straight Outta Compton
CLARENCE DAVIS/“NEW YORK DAILY NEWS”/GETTY IMAGES
(Priority)
{ 426} { 427 }
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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 Dre’s debut solo single sampled

Judy Collins, this epic harmony the bass line from Leon Hay-
showcase kicked off CSN’s debut wood’s ’75 hit “I Want’a 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}
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14 WEEKS 14 WEEKS
NO. 2 NO. 25
It’s Your Thing Piano Man

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

O’Kelly 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 “It’s 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 I’d
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 I’d 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 Dorsey’s Stage Show, he person to see him naked, Mor-
went into a studio in New York, rissey replied, “Almost certain-
kicking off 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 hadn’t 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 OutKast’s André 3000, a huge
Presley’s 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)
OutKast’s André
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 USA’s “redneck agen- issue), “Tumbling Dice” had nu-
da.” The starting point for Green merous faster incarnations be-
Day’s punk opera, later a Broad- fore it was recorded at Richards’
way musical, “Idiot” signaled the villa, Nellcôte. “I remember writ-
band’s evolution into righteous- ing the riff 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 off,” said Billie Joe Arm- the same evening, and we cut it.”
strong, who often performed the Since Bill Wyman wasn’t 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 Year’s 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 Year’s 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 riff 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 first 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 flare gun dur- Lech Walesa being interned.
ing a 1971 Frank Zappa show at Then, when we’d 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 Year’s Day. Incredible.”
Appears on: War (Island)
“I was trying to talk abou

weren’t 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 can’t 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 fire- 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 weren’t 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 it’s 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 don’t misuse
or abuse women. You give them
3. “Proud Mary” love.
Creedence Clearwater Revival
When I first heard it, I didn’t un- 8. “(I Can’t Get No) Satisfaction”
derstand why it wasn’t playing The Rolling Stones
on the black radio stations. It’s Hey, everybody wants some
timeless – I think John Fogerty’s satisfaction, but not everybody
great-grandfather wrote it, and gets as much as Mick Jagger.
he doesn’t 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
We’re living in the years of spin, do a split, then spin back
prophecies – we’re 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
Ain’t 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, “Ain’t Released: Sept. ’73, Buddah
It a Shame” became Domino’s
first pop smash, after a string Originally titled “Midnight Plane
of R&B hits. Pat Boone’s white- to Houston,” the ode to long-
bread cover (retitled “Ain’t That distance romance from Mis-
a Shame” – though Boone alleg- sissippi songwriter Weatherly
edly wanted it to be “Isn’t That a (who also wrote Knight’s “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 what’s his name with an R&B hit with it first, 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 floor – literal-
corded in New York on Led Zep- ly. After Pickett finished his final
pelin’s first U.S. tour. Over Page’s take at Fame Studios in Muscle
acoustic guitars, Plant wails, “In Shoals, Alabama, the tape flew
the darkest depths of Mordor/I off the reel and broke into pieces.
met a girl so fair.” Middle Earth But engineer Tom Dowd calmly
influenced 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 band’s 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 mother’s flamenco danc- Appears on: Some Girls (Virgin)
ing. The final 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 first 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 first 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. That’s 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 wasn’t 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 Cent’s 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 pop’s
just made some shit we wanted first 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 group’s 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 wasn’t
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 I’m 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. I’m a Dictaphone
there sounded like that at the kind of guy. But I don’t 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 – it’s 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 don’t 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 didn’t mean it was Pink’s “So What” and
going to work. I don’t ever Kelly Clarkson’s “Since
know if it’s 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- er’s house, Bono woke up Cher
tiest falsetto harmonies for one and asked her to listen to “I Got
of the group’s 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 song’s 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.
sheriff. 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
“It’s just about people and what Toots and the Maytals were
they’re expected to act like,” Co- already reggae stars – they
bain said. “The lines in the song coined the word on 1968’s “Do
are really contradictory. They’re 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 Blackwell’s choice over
ple riff that Vig goosed with a Bob Marley and the Wailers
flanged, subaquatic guitar effect. 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 song’s 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 wasn’t
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. I’m still not sure what was
cle sounds. such a big deal. So there’s 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 Clark’s 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
Cooke’s 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 Cooke’s 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 fired “straight to my lov- bers tossing in lines. In a typical-
er’s heart.” ly tasteful G n’ R move, the video
Appears on: Greatest Hits (RCA) has footage of the band’s 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 Harrison’s teardrop This was cut twice: first as a sin-
slide licks and a melody virtual- gle that was rushed to radio and
ly identical to the Chiffons’ “He’s 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 band’s
his former manager Allen Klein, album Rocket to Russia. “I com-
who then owned the rights to bined Sheena, Queen of the Jun-
“He’s 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 don’t even funny, because all the girls in
want to touch the guitar, in case New York seemed to change their
I’m touching somebody’s 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 I’m 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
Cobain’s shredded vocals main- Horns, and – voilà! – 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 off a bluesy acoustic demo bluesman Rober t Petway’s
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 wouldn’t 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 riff 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 Lennon’s 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 I’ve 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 Nielsen’s 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 first
guitar for $5. His truck-driver Slash’s Seventies-metal crunch
dad wasn’t too happy about it. and Axl’s hell-bound shriek
“ ‘You get that goddamn gui- brought brutal realism to the
tar outta here’ – that’s the exact L.A. glam-metal scene. “They’re
words my father used,” Shannon real-life stories, these fuckin’
recalled. “However, my ma said, songs,” bassist Duff McKagan
‘It’s 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 Rose’s inspira-
the solo on an early electronic tion came from getting lost dur-
keyboard called the Musitron. ing his first 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
rison’s warmest ballads, an
Otis Redding-style reverie with After eight flop 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?’ ” Motown’s top girl group at that
said Morrison. “A lot of times I point – passed on this song, and
have no idea what I mean. That’s the Supremes didn’t 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 can’t ing beat is actually two boards
take him apart; that’s 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. That’s
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 unfinished. 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 define early-
2000s rock. The Strokes suppos-
edly nicked the opening riff from
Tom Petty’s “American Girl.”
“I saw an interview with them
where they admitted it,” Petty
told Rolling Stone. “I was
like, ‘OK, good for you.’ It doesn’t
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 riff at
day, one of the Thompson Twins Manhattan’s Tin Pan Alley stu-
and, most notably, the New Jer- dio, but it wasn’t until a year later
sey Mass Choir. Said Jones, “I’ll that the song was finished 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 Lord’s Prayer.” ed, Adam “Ad-Rock” Horovitz
That probably didn’t happen for got all hot and bothered about
“Hot Blooded” – but this soaring paparazzi on the mike and came
ballad became Foreigner’s big- out of the song’s 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 wasn’t 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 Clarkson’s A&R rep
money!” He got it with the self- snatched it up for the first-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 off in Texas,” Clarkson said,
second life when MC Hammer “and the first thing Dave Grohl
jacked it for the 1990 megasmash said to me was, ‘I love that song!’ ”
“U Can’t 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 fly or see ex Britney Spears – made clear
an Emerald City or experience the inspiration for “River.” “It’s a
extraordinary animals and peo- good-ass video,” Timberlake told
ple. . . . And our parents are sud- Rolling Stone. “I didn’t want
denly saying, ‘Why are you tak- anyone to come off 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. “It’s about a
every disco fan now knows at newlywed couple who don’t 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
you’re writing is turning into Stephen Foster wrote these
something great? songs. I didn’t know that he
When you’re writing one of those was America’s first professional
songs, your mind tunes into songwriter – and also, the first
some ethereal radio station and guy to have that taken away
allows you to hear what’s 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 that’s 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 you’re 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. I’d taken an If you’re 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. I’d to do something as great. It’s like
start at 11 at night and work until the opposite of sibling rivalry –
four o’clock, getting those ideas you don’t 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 influences? 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
I’m 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 “I’m Eighteen,” Cooper

was just another hairy rock odd- “I’ve never been a big fan of irony,”
ball. But this proto-punk smash Smith said, which might be why
defined the age when, in Coop- this reverie of love, cut at a vine-
er’s words, you’re “old enough to yard in the South of France, is his
be drafted but not old enough favorite Cure song. The band’s
to vote.” A few years later, John- girlfriends influenced 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 riff 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, ‘You’re going on [in the lyr-
was drafted to sing lead because ics] about urgency, and you’re
the track’s 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 doesn’t 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 finally 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}
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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, Gaynor’s career was fall-

ing apart. Donna Summer had
replaced her as the leading disco
diva, and the 32-year-old Gaynor
had recently suffered 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. Kelly’s 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- might’ve 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 (“I’ll move to Paris, late Factory, the original version
shoot some heroin”), though it’s of the song segued immediately
unclear how facetious the words into the hit remix.
are. “Some think we’re druggies,” Appears on: Chocolate Factory (Jive)
he said. “Others see the tongue-

in-cheek element. That’s 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 Browne’s 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 riff. 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 fill 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 O’Brien 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 firefighter entering one of the at the El Mocambo Club, when
Twin Towers (“Can’t 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 band’s first Number One hit in
is, ‘Man, you got me through’ – five years. “It’s 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’ first 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 efforts should record “Shop Around,”
to stick up for her inspired Wee- but Gordy persuaded Smokey
zer’s 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 you’re 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 Robinson’s 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 five 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 MG’s 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 Frehsée 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 Gov’t 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-52’s
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-52’s 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 Touré 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 Don’t Worry Baby 178
The Animals God Only Knows 25
Don’t 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 Day’s Night 154 Stayin’ Alive 191
All You Need Is Love 370 Archie Bell and the Drells
Can’t 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 Beyoncé featuring Jay-Z
(This Bird Has Flown) 83 Crazy in Love 118
Penny Lane 456 The B-52’s
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 Öyster Cult Buffalo Springfield
(Don’t Fear) the Reaper 405 For What It’s Worth 63
Booker T. and the MG’s 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 I’ll 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
It’s a Man’s Man’s Carpenters
Man’s World 124 We’ve Only Just Begun 414
Papa’s Got a Brand Johnny Cash
New Bag 71 Folsom Prison Blues 163
Please, Please, Please 143 I Walk the Line 30
Say It Loud – I’m Black Ring of Fire 87
and I’m 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 Can’t Stop Loving You 164 The Coasters
I Got a Woman 239 Young Blood 421
What’d I Say 10 Eddie Cochran
Cheap Trick C’mon 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 I’m Eighteen 487
Complete Control 371 School’s 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 (What’s 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
Who’ll Stop the Rain 188 Bo Diddley
Crosby, Stills and Nash Bo Diddley 62
Suite: Judy Blue Eyes 426 I’m a Man 378
Crosby, Stills, Nash and Young Who Do You Love? 133
Ohio 395 Dion
The Crystals Runaround Sue 351
He’s 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 Ain’t 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 Heaven’s All I Have to Do Is Dream 142
Door 192 Bye Bye Love 210
Like a Rolling Stone 1 Cathy’s 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
That’s 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 Can’t Help Myself 422 Crazy 100
Reach Out, I’ll 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 Let’s 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
Let’s Get It On 168 (We’re Gonna) Rock
Sexual Healing 233 Around the Clock 159
What’s 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 That’s 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
That’ll 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
It’s 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 Can’t 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 I’m 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
Sinéad O’Connor 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 Can’t Help Falling in
Earth Angel 152 Love 403
Carl Perkins Don’t 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
That’s All Right 113 Otis Redding
Prince I’ve 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 You’ve 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 Can’t 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 Can’t 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 Tonight’s the Night 409
Tumbling Dice 433 Will You Love
Wild Horses 343 Me Tomorrow 126
You Can’t 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 I’m 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 (That’s What I
William, It Was Really Want) 294
Nothing 431 Sugarhill Gang
Sonny and Cher Rapper’s 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
I’ll 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 I’m 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
What’s 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 Haven’t Found What Weezer
I’m Looking For 93 Buddy Holly 499
Moment of Surrender 160 Kanye West
New Year’s 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 O’Riley 349
With or Without You 132 I Can See for Miles 262

I Can’t Explain 380 Rockin’ in the Free World 216

My Generation 11 The Young Rascals
Won’t Get Fooled Again 134 Good Lovin’ 333
Hank Williams The Zombies
I’m So Lonesome She’s 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
Ain’t 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”/

“Don’t 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

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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 doesn’t attempt

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(I Can’t 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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1969. “Let It Be”

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

Appears on: Rubber Soul (Capitol) (Rhino)

Writers: Brian Wilson, Tony Asher

“It’s 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 (Varèse Sarabande)

appears on: Help! (Capitol)

editor:GZmaZg;kZ\d^mmart director: Joe Hutchinson