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The Supremes - Where Did Our Love Go

The Supremes - Where Did Our Love Go Lyrics and Youtube Music Videos

Album: Where Did Our Love Go
Released: 1964

Where Did Our Love Go Lyrics

Baby, baby, baby don't leave me
Ooh, please don't leave me all by myself
I've got this burning, burning, yearning feelin' inside me
Ooh, deep inside me and it hurts so bad

You came into my heart (baby, baby) so tenderly
With a burning love (baby, baby)
That stings like a bee (baby, baby)
Now that I surrender (baby, baby) so helplessly
You now want to leave (baby, baby)
Ooh, you wanna leave me (baby, baby)
Ooh (baby, baby)

Baby, baby, Where Did Our Love Go?
Ooh, don't you want me?
Don't you want me no more (baby, baby)?
Ooh, baby

Baby, baby, where did our love go?
And all your promises of a love forevermore!
I've got this burning, burning, yearning feelin' inside me
Ooh, deep inside me, and it hurts so bad

Before you won my heart (baby, baby)
You were a perfect guy
But now that you got me
You wanna leave me behind (baby, baby)
Ooh, baby

Baby, baby, baby don't leave me
Ooh, please don't leave me all by myself (baby, baby)
Ooh baby, baby, baby

Writer/s: HOLLAND, EDWARD JR. / DOZIER, LAMONT / HOLLAND, BRIAN
Publisher: Sony/ATV Music Publishing LLC
Lyrics licensed and provided by LyricFind

Where Did Our Love Go Song Chart

The Motown songwriting team of Holland-Dozier-Holland wrote this. It was offered to another Motown group, The Marvelettes, who turned it down. Holland-Dozier-Holland had Marvelettes lead singer Gladys Horton in mind, but she sang in a lower key than The Supremes lead singer, Diana Ross. This forced Ross to sing in a lower, breathier style than she was used to.

Lamont Dozier explained in the book Chicken Soup For the Soul: The Story Behind The Song: "I originally cut this track with the Marvelettes in mind. In fact, I cut it in Gladys Horton's key, the lead singer, which was much lower than Diana Ross'. At that time, at Motown, the policy was that the songwriters had to pay for the tracks we cut if it didn't get recorded by one of their artists. It never entered my mind that the Marvelettes wouldn't like the song. I had the chorus and went to the office to talk with Gladys and played it for her. She said, 'Oh, honey, we don't do stuff like that. And it's the worst thing I ever heard.' She was adamant about it. I was shocked.

I knew I was in deep trouble if I didn't hurry and get someone to do the song because I wasn't about to pay for the track. I went through the Motown artist roster and went all the way to the bottom of the list and there were the Supremes, better known in those days as the 'no hit Supremes.' I told them it was tailor made for them, knowing that they had nothing going on at the time and needed a song. Much to my surprise, they said no. Gladys (Horton of the Marvelettes) told them I was looking for someone to record it. I wasn't giving up. Brian (Holland), Eddie (Holland) and I finally persuaded them to do it, convincing them that it was their saving grace and they couldn't refuse it. We had already had Top 40 hits with Martha & the Vandellas but they hadn't had recordings of any significance yet.

They were so annoyed that they agreed to do it that, in the studio, they had a really bad attitude. Diana (Ross) said it was in the wrong key, that it was too low. (Of course it was - I wrote it in Gladys' key.) Since the track was already cut, she had to sing it in that key and she'd never sung that low before. It turned out that her bad attitude and the low key were exactly what the song needed! I'd worked out intricate background vocals but the girls refused to learn them. Finally I said, 'Just sing 'Baby, baby, baby'.' It worked to their advantage and worked perfectly.

They didn't necessarily agree. Diana and I were throwing obscenities back and forth and she went running to Berry (Gordy, Jr.) and told him I said something off color about him. He came down to the studio to see what was wrong and while he was there, he asked to hear the song. He thought it was really good, but said that he didn't know if it was a hit, but that he thought it would be Top 10.

The song was released and flew up the charts to #1. From then on, one hit followed another. It was the first of 13 consecutive #1s we did on the Supremes. The next time the Hollands and I saw the girls was at the airport. They were getting off a plane with their Yorkshire terriers, in mink stoles. We started laughing. It was so funny to see them turn into stars overnight."

This was the first #1 hit for The Supremes and their first song to chart in the UK. The Supremes had more US #1 hits in the '60s than any other artist, but they weren't instant hitmakers. After 8 singles which hadn't achieved much, The Supremes earned the nickname "No-Hit Supremes." They were not impressed when they were offered a song to record which The Marvelettes, the top girl group at Motown at that point, had already rejected. They thought it was childish and after recording it they didn't like the way it turned out, little knowing it was going to be their first big hit. Motown boss Berry Gordy insisted they record the song.

Hitsville USA's floors are mahogany wood floors which enhance echo's, footstomps and fingersnaps, with a high ceiling helping. All footstomps, including those heard on this song, at Hitsville were genuine and most of the time were done with plywood sheets laying over the floor and picked up with two to three mics, including mics sitting in the rear of the echo chamber. (thanks, Colby - Arthur, IL)

The word "baby" is repeated over 70 times in this song.

This was recorded on three tracks: one for rhythm, another for horns, and a third for vocals.

At the invitation of Berry Gordy, Adam Ant performed this in 1983 on the Motown 25th Anniversary TV special - the same show where Michael Jackson did his most famous Moonwalk. Ant was a huge star in England, but little known in the US, especially among the Motown crowd. Midway through the performance, Diana Ross appeared on stage, giving her approval to the British Punk rocker who was perplexing the audience. According to Ant, Michael Jackson called him after the show, asking where he got his costumes.

The Supremes hated the song but were in no position at that time to turn it down, so they had to record it. Mary Wilson recalled to Billboard magazine in a 2014 interview: "We were a little pissed. It wasn't like a Martha & the Vandellas song. We told Holland-Dozier-Holland to bring on the hits. If we didn't get a hit, our parents were going to make us go to college."

"I went to Eddie and I cried," she continued. "I told him, 'You don't understand, we've got to get a hit record right now.' He said, 'Don't worry, trust us, this is going to be a smash.'"

"One of the things we didn't like about it was that Flo and I just had to sing, 'Baby, baby.' We were used to doing intricate harmonic patterns but on this song we didn't do anything."

Margaret Whiting - My Own True Love

Margaret Whiting - My Own True Love Lyrics and Youtube Music Videos

Album: Gone With The Wind
Released: 1948

My Own True Love Lyrics

My Own True Love
My own true love
At last I've found you
My own true love

No lips but yours
No arms but yours
Will ever lead me
Through Heaven's door

I roamed the Earth
In search of this
I knew I'd know you
Know you by your kiss

And by your kiss
You've shown true love
I'm yours forever
My own true love

My own true love

Writer/s: EVANS/LIVINGSTON
Publisher: Sony/ATV Music Publishing LLC
Lyrics licensed and provided by LyricFind

My Own True Love Song Chart

This was originally an instrumental known as "Tara's Theme" and will be recognized by film buffs as the opening music of the epic film Gone With The Wind. The words were added by lyricist Mack David, and it was released in October 1948 by Margaret Whiting backed by Frank De Vol and his Orchestra. It has been widely recorded since. (thanks, Alexander Baron - London, England)

Buffalo Springfield - Broken Arrow

Buffalo Springfield - Broken Arrow Lyrics and Youtube Music Videos

Album: Buffalo Springfield Again
Released: 1967

Broken Arrow Lyrics

The lights turned on and the curtain fell down
And when it was over it felt like a dream
They stood at the stage door and begged for a scream
The agents had paid for the black limousine
That waited outside in the rain
Did you see them, did you see them?
Did you see them in the river?
They were there to wave to you
Could you tell that the empty quivered
Brown skinned Indian on the banks
That were crowded and narrow
Held a Broken Arrow?

Eighteen years of American dream,
He saw that his brother had sworn on the wall
He hung up his eyelids and ran down the hall
His mother had told him a trip was a fall
And don't mention babies at all
Did you see him, did you see him?
Did you see him in the river?
He was there to wave to you
Could you tell that the empty quivered
Brown skinned Indian on the banks
That were crowded and narrow
Held a broken arrow?

The streets were lined for the wedding parade
The Queen wore the white gloves, the county of song
The black covered caisson her horses had drawn
Protected her king from the sun rays of dawn
They married for peace and were gone
Did you see them, did you see them?
Did you see them in the river?
They were there to wave to you
Could you tell that the empty quivered
Brown skinned Indian on the banks
That were crowded and narrow
Held a broken arrow?

Writer/s: YOUNG, NEIL
Publisher: Warner/Chappell Music, Inc.
Lyrics licensed and provided by LyricFind

Broken Arrow Song Chart

Neil Young wrote this after breaking up with the group because of what he called "An identity crisis." He quickly returned to the band and recorded this song. In a Rolling Stone interview about what broke up Buffalo Springfield; Young said, "I was going crazy, you know, joining and quitting and joining again. I began to feel like I didn't have to answer or obey anyone. I needed more space." Meanwhile, his Buffalo Springfield bandmate Stephen Stills concurs, saying in part: "We were of the age where you can very easily get the diva syndrome before you've sold any records or anything and all that stuff, and there was a little of that. And it was so laden with talent, this bunch, that we just hit the track going too fast that we went into the wall with no skid marks. It was just... we spun out. But we spun out because we didn't realize how hot the car was."

This track took over 100 hours to record, which was an eternity by 1967 standards. "Broken Arrow" sometimes draws raised eyebrows for being so oddly arranged - rather like the Beatles' psychedelic period such as "Revolution 9." Perhaps it is this song which longtime Young collaborator David Briggs had in mind when he said, "When you make rock and roll, the more you think, the more you stink."

Dewey Martin, who was Buffalo Springfield's drummer, sang the first verse of Mr. Soul in this tune. The track was produced by Jack Nitzsche, and the jazzy piano solo at the end is by Don Randi. (thanks, Steve - Los Angeles, CA)

Of "Broken Arrow," Peter Frampton had this to say: "Ever since the Buffalo Springfield, 'Broken Arrow' - I think that's the one that did it for me, that just put him at the top of my list as one of my favorites. And to have him and Stephen Stills in the same band, 'cause I love both of them, was incredible. But Neil is just an amazing performer as well as, obviously, the amazing songs he's written. I'm a big fan."

Learn more about Buffalo Springfield in Song Images .

Max Steiner - Tara's Theme

Max Steiner - Tara's Theme Lyrics and Youtube Music Videos

Album: Gone With The Wind
Released: 1939

Tara's Theme Lyrics

Tara's Theme Song Chart

"Tara's Theme" is the opening music from and the main theme of the epic film Gone With The Wind. Composed by Max Steiner, it would later have lyrics added by Mack David to become "My Own True Love." (thanks, Alexander Baron - London, England)

Crosby, Stills, Nash & Young - Ohio

Crosby, Stills, Nash & Young - Ohio Lyrics and Youtube Music Videos

Album: Four Way Street
Released: 1970

Ohio Lyrics

Ohio Song Chart

This song is about the events of May 4, 1970, when the US National Guard shot four unarmed students at Kent State University in Ohio. Neil Young wrote it shortly after seeing a news report on the tragedy. It was released 10 days after the shootings.

The Kent State shootings had a profound effect on some of the students who later became prominent musicians. Chrissie Hynde was a student at the time, and eventually formed The Pretenders. Mark Mothersbaugh and Jerry Casale were also on campus, and after the shootings, they developed the band Devo based on the concept of "De-Evolution," meaning the human race was regressing. Said Casale, "It refocused me entirely. I don't think I would have done Devo without it. It was the deciding factor that made me live and breathe this idea and make it happen. In Chrissie Hynde's case, I'm sure it was a very powerful single event that was traumatic enough to form her sensibility and account for a lot of her anger." Mothersbaugh added, "It was the first time I'd heard a song about something I'd been a participant in. It effected us. It was part of our life." (thanks to Jerry and Mark for their help with this)

Jerry Casale gave us this account of the shootings:
"I was a student, I was a member of SDS - an antiwar group called Students for a Democratic Society, trying to restore Democracy at a time when LBJ and Nixon were running roughshod over it. There were several antiwar groups. That protest that day where everybody got shot was a protest against the expansion of the Vietnam War into Cambodia. It was a secret expansion, Nixon had done it the night before and we found out about it the next day - the whole nation did. They did it without an act of congress, without passing any new law or having any meetings. It was completely unconstitutional, so we're out there at noon, about 3,500 students at Kent State were out there. The governor, who certainly was a pro-war kind of guy, Governor Rhodes, he had placed the National Guard inside the heating plant of the school the night before anticipating what would happen when the students found out about Cambodia. Not only did he do that, but he waited until about 9 am on May 4th to declare Martial Law, which suspends all first amendment rights of The Constitution, meaning that any assembly is automatically illegal, you're automatically committing a crime. These National Guardsmen poured out of the heating plant, surrounded the protesters, and with a bullhorn announced that Martial Law had been declared and that we were all going to jail. Everybody starts chanting and screaming and they start shooting tear gas and some of the more ballsy protesters, while they're coughing and choking and puking are trying to throw it back, but most of the kids were anywhere from 50 to 100 yards away from these lines of National Guardsmen with guns. Nobody believed that the guns were actually loaded with live ammo. They just suddenly formed a row. The first one knelt and the second one stood, and they just shot right into the crowd, shot at all of us, down the hill at all of us. The worst thing about it is that 2 of the 4 students killed weren't part of the demonstration, weren't part of an antiwar group. They'd just come out of class from the journalism building at that time and come out on their way to their next class and were looking at the protest, just seeing what the hell's going on, and they got killed. The bullets just went everywhere, it was like a scatter-gun approach, like shooting geese. A lot of the bullets went over the heads of the protesters and kept going straight down the hill. One of the kids that's paralyzed for life was getting into his car to leave campus after his class, and they shot him in the back. He was at least 200 yards away and wanted nothing to do with what was going on. It was shocking. It pretty much knocked any hippie that I had left in me right out of me that day.
I had been a member of the honors college and the only way I went to school was with a scholarship. My family was poor and I got a scholarship to go to school. What I had to do every year to earn my scholarship was work 3 months in the summer for the university admitting new students to the honors college, the incoming freshman, and helping them arrange their curriculum, taking them through the registration process. The summer before May 4th, I had befriended Jeffery Miller and Allison Krause, 2 honor students, and they turn out to be 2 of the 4 killed on May 4th. So I'd known both of them 9 months before this happened, and so when I realized that this girl on her stomach with a huge exit wound in her back with blood running down the sidewalk was Allison, I nearly passed out. I sat down on the grass and kind of swooned around and lied down. I was in shock, I couldn't move.
The government and the press tried to lie about what happened as well as they could. The fact that anybody knows what happened is amazing because they did such a good job of muddying it up and lying, it was amazing. The final chapter there was that the parents of the students who were shot and killed banded together and went on a class action suit against Governor Rhodes and the state of Ohio and the National Guard, and summarily lost across the board. These kids that were shot were 18 and 19 years old. 2 of them were 18 and 2 of them were 19. They lost because by law, no one was allowed to be having a protest once Martial Law was declared, and they threw it out of the court system. I don't think anyone wants to know the truth. It ruins the myth of freedom in America to find out how easily it can be gone." (check out our Devo interview)

Young considers this the best song he wrote with CSN&Y. He included this on his 1977 Greatest Hits album Decade.

This became a protest anthem as Americans became fed up with the war in Vietnam. Providing a firsthand account of the shootings and the effect of this song, Alan Canfora told us: "On May 4, 1970, I was waving a black protest flag as a symbol of my anger and despair 10 days after I attended the funeral of my 19 year old friend killed in Vietnam. I was about 250 feet away from the kneeling, aiming guardsmen from Troop G - the death squad - minutes before they marched away up a hillside. They fired 67 shots from the hilltop during 13 seconds of deadly gunfire, mostly from powerful M1 rifles. I was shot through my right wrist. I survived because I jumped behind the only tree in the direct line of gunfire. About a week later, I was riding in the Ohio countryside with other Kent State massacre survivors when WMMS radio played the song 'Ohio' for the first time. We were deeply moved and inspired by that great anti-war anthem."

This was released as a single, but the song did not appear on an album until Crosby, Stills, Nash and Young included it on their live album Four Way Street a year later.

Young is Canadian. He was a vocal critic of American foreign policy throughout the Vietnam War and became a voice of dissent during the George W. Bush administration, when songs like "Let's Impeach The President" spoke out against the president and his war in Iraq.

Devo recorded this for the 2002 album When Pigs Fly, Songs You Never Thought You'd Hear. The album was a collection of unlikely covers by various artists. Cevin Soling, who put the album together, met Mark Mothersbaugh's girlfriend at a film festival, who told Mark about the project and got Devo involved. Says Soling:
"I knew about the history, I was nervous about them thinking I was being exploitative of their tie to the tragedy. So I really tried to do that gingerly. That took a little while to get off the ground. They did "Itsy Bitsy Teeny Weeny Yellow Polka Dot Bikini," which I guess they had started working on at one point. And I guess it was just sort of difficult getting everyone together and recording. But then they called me back and they said they listened to it and they didn't think it was good. So at some point in time, they finally all got motivated and got together. I guess Mark was very nervous about putting out something that might not up to Devo quality, and I think he's finally let the seer of his legacy kind of loom over doing new stuff." (Check out our interview with Cevin Soling.)

Blackmore's Night - Gone With The Wind

Blackmore's Night - Gone With The Wind Lyrics and Youtube Music Videos

Album: Under a Violet Moon
Released: 1999

Gone With The Wind Lyrics

Twisting turning
The winds are burning
Leaving me without a name
How will we ever find our way

Snow was falling
I could hear the frightened calling
Fear taking over every man
Life meaning nothing more than sand

Wind will sweep away
The traces I was here
A story in a teardrop
That's all I have to give

Rage inferno swallowing the life that I know
Strength is the only way to fight
You must look up to see the light

Gone With The Wind

Take all I know
Turn it into darkened shadows
They'll disappear in the sun
When a new story has begun

She survived the nightmare
Began a whole new life here
But I can see behind those eyes
She still sees those fires in the night

Twisting and turning
Oh, the winds are burning
Leaving me without a name
How will we ever find our way

Writer/s: BLACKMORE, RITCHIE/NIGHT, CANDICE
Publisher: EMI Music Publishing, BMG RIGHTS MANAGEMENT US, LLC
Lyrics licensed and provided by LyricFind

Gone With The Wind Song Chart

Unlike the Margaret Martin composition of the same name, this Blackmore's Night track is another fine example of olde worlde meets contemporary rock. It begins with the sound of a galloping horse and "intense kettledrums."

The "Gone With The Wind" of Mr. and Mrs. Blackmore (Candice Night and Ritchie Blackmore married in 2008) is actually based on a Russian piece called "Polyushko Polye." (thanks, Alexander Baron - London, England)

Neil Young - Hey Hey, My My (Into The Black)

Neil Young - Hey Hey, My My (Into The Black) Lyrics and Youtube Music Videos

Album: Rust Never Sleeps
Released: 1978

Hey Hey, My My (Into The Black) Lyrics

Hey Hey, My My (Into The Black) Song Chart

This is an alternate version of Young's song "My My, Hey Hey (Out Of The Blue)." The lyrics are slightly different, and this is electric, while "My My, Hey Hey," is acoustic.

Young recorded this with the band Crazy Horse. It was the first time Young recorded with them since Zuma in 1975.

In the biography of Neil Young, Shakey by Jimmy McDonough, Neil points out that this song came about when he was jamming with the band Devo. The line "Rust never sleeps" was uttered by Mark Mothersbaugh, and Neil, loving the impromptu line, acquired it and would play the song live with Crazy Horse. (thanks, Chris - Philadelphia, PA)

The lyrics refer to "The King" and Johnny Rotten as rockers whose legacies live on. The king is Elvis Presley and Johnny Rotten was the lead singer of The Sex Pistols.

This is the last song on the electric side of Rust Never Sleeps. The first side (first 5 songs on the CD) are acoustic.

This was included on Live Rust, a concert album and video featuring Young playing against a backdrop of comically enormous amps and microphones.

The song has become a standby of Young's live performances, being played at nearly every live show throughout his career, often as a closing song.

John Lennon expressed his disagreement with the "burn out or fade away" sentiment in a 1980 interview with Playboy: "I hate it. It's better to fade away like an old soldier than to burn out. If he was talking about burning out like Sid Vicious, forget it. I don't appreciate the worship of dead Sid Vicious or of dead James Dean or dead John Wayne. It's the same thing. Making Sid Vicious a hero, Jim Morrison - it's garbage to me. I worship the people who survive." Young responded to the quote, saying that he was describing the paradoxical nature of the rock-and-roll lifestyle, not advocating it.

Logic - Under Pressure

Logic - Under Pressure Lyrics and Youtube Music Videos

Album: Under Pressure
Released: 2014

Under Pressure Lyrics

Work so fucking much, my greatest fear is Imma die alone
Every diamond in my chain, yeah, that's a milestone
People calling me, asking me for money, man
The only thing Imma give you motherfuckers is the dial tone

Flashbacks of a youngin' sipping that purple Kool Aid
Skipping school with my homies and chiefing reefer for two days
Running from the law, living how I'm living, fuck 'em all
Bumping Triple Six
Hennessy in my cup, driving through the sticks
Who the bitch, riding with me?
Man, the devil tryna get me
Motivated, undereducated, and hated
But finally getting cake like a happy belated
Bitch I made it, we on
Buy it, break it, roll it, light it, smoke it, inhale it, write it, record it, mix it, master it, press it up, unveil it
Feel like I've been waiting forever, forever to inherit
This is war, I declare it
Time is money, I can't spare it
Futuristic, so simplistic
Please decipher my linguistics
Slow it down, Robitussin
I'm the king, ain't no discussion
And now we blowing up like spontaneous human combustion
My consumption is the illest
Section eight, I know you feel this
On the come up, where they run up on you for nothing at all
Brighter than eleven suns, this the first, where my funds?
EBT, that's the card
I thank God, I thank God, but it's hard, but it's hard

Work so fucking much, my greatest fear is Imma die alone
Every diamond in my chain, yeah, that's a milestone
People calling me, asking me for money, man
The only thing Imma give you motherfuckers is the dial tone

God damn, god damn, we at it again
Me and my homies that know me blowing up like the Taliban
Yeah, my stress up, but I'm blessed up
Fuck around and get messed up
When I murder the rhyme, I'm living divine
You know that I'm one of a kind
Lemme get it right now, ho
Draped up and I'm dripped out
Right now, ho
Caked up 'til I cash out
And I got em all wondering how, so
On the down low, haters drown slow
On the down low, haters drown slow
Oh God, my God, we got it all right
Oh God, my God, we gotta get it right
These fuckers facades, they just a mirage, right?
I said these fuckers facades, they just a mirage, right?
Tell me that they love me, know damn well that they don't give a fuck
I be on that finger flipping killing shit up in the cut, that's what's up
All these bitches out here tryna gas it up
This is everything I ever wanted, I can't pass it up
Life changed in a year, couldn't happen fast enough
"Can I do it like you do it?" That's what they be asking us
White benz, black card, bitch better get your plastic up
Man, this shit is hella hard, but we never acting up
Live it up, hold on to your dream, don't ever give it up
Finally had my share of success, and shit, I can't get enough
Now they know my name through the nation
'Cause my single like that good shit, man, always in rotation
Now they know Logic for Logic, not through my affiliations
Stacking profit on profit, from this music I'm making
Even Jesus had haters, so when you feeling forsaken
Tell 'em jealous Judas is who this is, and man, that'll break 'em
And Bitch I'm still the same
Dash of auto tune so y'all can feel the pain
Broke as fuck, back in that basement, not a dollar to my name
Chasing fame, chasing glory, 'til the day we make a story
Positive that life ain't mine, bitch you can take that shit to Maury

Work so fucking much, my greatest fear is Imma die alone
Every diamond in my chain, yeah, that's a milestone
People calling me, asking me for money, man
The only thing Imma give you motherfuckers is the dial tone

(Hello, no one is available to take your call)

I been working hard, I been searching for God
I been working hard, I been searching for God
Please leave a message after the tone
Little brother, this is your sister, you're busy, I getcha
But I insist you call me back cause I miss you
I wish you well
Well, I wish you would call
'Cause lately you feel like I'm just not your sister at all, all

Writer/s: HALL, ROBERT / WYREMAN, STEVE / KINELSKI, ROB / UNKNOWN COMPOSER, AUTHOR
Publisher: Warner/Chappell Music, Inc., Kobalt Music Publishing Ltd., Universal Music Publishing Group, A SIDE MUSIC LLC
Lyrics licensed and provided by LyricFind

Under Pressure Song Chart

Raised in a broken home in Gaithersburg, Maryland, Logic lived with an abusive mother and drug-dealing siblings. His drug-addicted father was not a major part of his childhood, but they are in contact with each other now. This track finds him examining his relationships with his troubled family, and how they impacted his budding rap career.

The song is the title track of Logic's debut long player. Speaking with Revolt TV, the rapper explained it "encompasses the entire album, it embodies what everything leads up to, it's the final shootout in the movie before you roll the credits."

Logic first met Lenny outside of one of the rapper's first performances in Maryland. They became friends and the Gaithersburg MC ended up crashing on the couch in the basement of Lenny's family home as he struggled to pursue his music career. "There was a point where I didn't have a place to stay, so Lenny let me live with him because I didn't have anywhere else to go," Logic explained to MTV News.

This was where Logic got the inspiration for his Under Pressure album cover. The rapper reached out to New York-based illustrator Sam Spratt to capture the scene. "I gave him different pictures of what it looked like… and then from there he pretty much outlined everything," he said. "I think I knew after I created 'Under Pressure,' the song, that gave me the idea for the album cover. Because the entire album is about the come-up and [much] of it does take place in the basement as well, and that time."

The Jackson 5 - I Want You Back

The Jackson 5 - I Want You Back Lyrics and Youtube Music Videos

Album: Diana Ross Presents The Jackson 5
Released: 1969

I Want You Back Lyrics

When I had you to myself, I didn't want you around
Those pretty faces always make you stand out in a crowd
But someone picked you from the bunch, one glance is all it took
Now it's much too late for me to take a second look

Oh baby, give me one more chance
(To show you that I love you)
Won't you please let me back in your heart
Oh darlin', I was blind to let you go
(Let you go, baby)
But now since I've seen you it is on
(I Want You Back)
Oh I do now
(I want you back)
Ooh ooh baby
(I want you back)
Yeah yeah yeah yeah
(I want you back)
Na na na na

Trying to live without your love is one long sleepless night
Let me show you, girl, that I know wrong from right
Every street you walk on, I leave tear stains on the ground
Following the girl I didn't even want around

Let me tell ya now
Oh baby, all I need is one more chance
(To show you that I love you)
Won't you please let me back in your heart
Oh darlin', I was blind to let you go
(Let you go, baby)
But now since I've seen you it is on

All I want
All I need
All I want!
All I need!

Oh, just one more chance
To show you that I love you
Baby baby baby baby baby baby!
(I want you back)
Forget what happened then
(I want you back)
And let me live again!

Oh baby, I was blind to let you go
But now since I've seen you it is on
(I want you back)
Spare me of this cost
(I want you back)
Give me back what I lost!

Oh baby, I need one more chance, hah
I'd show you that I love you
Baby, oh! Baby, oh! Baby, oh!
I want you back!
I want you back!

Writer/s: PERREN, FREDDIE / MIZELL, ALPHONSO / RICHARDS, DEKE / GORDY JR, BERRY
Publisher: Sony/ATV Music Publishing LLC
Lyrics licensed and provided by LyricFind

I Want You Back Song Chart

This was the first Jackson 5 single released by Motown Records. It launched their career and went to #1 in the US, as did their next three releases: "ABC," "The Love You Save" and "I'll Be There."

Michael Jackson sang lead. He was 11 years old and the youngest of the group. There was one younger Jackson brother named Randy, who replaced Jermaine in the group in 1977.

This was written by a team of Motown writers called The Corporation. The head of the label, Berry Gordy, was one of the writers. They were based in California, unlike most Motown writers who were in the Detroit offices.

Michael Jackson reminded Berry Gordy of Frankie Lymon, another teenage star. Gordy helped write this as if he was writing for Lymon.

The original title was "I Want To Be Free." It was Gordy's idea to change it to "I Want You Back" and make it more of a love song.

This was intended for Gladys Knight & The Pips, and at one point Diana Ross was going to record it, but Berry Gordy decided to change the title and some of the lyrics and use it for his newly-signed group of boys, the Jackson 5.

Gordy went out of his way to make this a hit. He was very high on The Jackson 5, and felt they were the perfect group to prove that Motown could continue it's success through the '70s. At the time, this was the most expensive Motown single ever recorded.

When this topped the Hot 100, the 11-year-old Michael Jackson became the youngest person to feature in an American #1.

Two popular songs sampled this in 2001: Jay Z used it on "Izzo (H.O.V.A.)" and it was also used on Lil' Romeo's "My Baby." It was also sampled on the Kris Kross hit "Jump."

The sci-fi Soul singer-songwriter Janelle Monáe covered this as a bonus track on the deluxe edition of her The Electric Lady album. She explained to A.V.Club that she chose this particular tune as it resonated with her. "There are so many amazing Michael Jackson songs from different stages of his career," she said, "and that happened to be one of my favorite stages. It makes people happy, and I love the tone, and musically, it has a lot of places to go for our orchestra. It has a lot of odd instrumentation."

"The version I did does not sound like the Jackson 5 original recording," Monáe continued. "I wanted to interpret it my way and record it differently, while continuing to pay homage to him, but I saw it in a different light. I'm really excited to let you guys hear it because you'll get a chance to hear that song from my perspective. I had a dream about it and how I wanted it to be recorded."

Meghan Trainor - Lips Are Movin

Meghan Trainor - Lips Are Movin Lyrics and Youtube Music Videos

Album: Title
Released: 2014

Lips Are Movin Lyrics

If your Lips Are Moving, if your lips are moving
If your lips are moving, then you're lyin', lyin', lyin', baby
If your lips are moving, if your lips are moving
If your lips are moving, then you're lyin', lyin', lyin', baby

Boy, look at me in my face
Tell me that you're not just about this bass
You really think I could be replaced
Nah, I come from outer space
And I'm a classy girl, I'mma hold it up
You're full of something but it ain't love
And what we got, straight overdue
Go find somebody new

You can buy me diamond earrings and deny-ny-ny, ny-ny-ny, deny-ny
But I smell her on your collar so goodbye-bye-bye, bye-bye-bye

I know you lie
'Cause your lips are moving
Tell me do you think I'm dumb?
I might be young, but I ain't stupid
Talking around in circles with your tongue
I gave you bass, you gave me sweet talk
Saying how I'm your number one
But I know you lie
'Cause your lips are moving
Baby don't you know I'm done

If your lips are moving, if your lips are moving
If your lips are moving, then you're lyin', lyin', lyin', baby
If your lips are moving, if your lips are moving
If your lips are moving, then you're lyin', lyin', lyin', baby

Hey baby don't you bring them tears
'Cause it's too late, too late baby
You only love me when you're here
You're so two-faced, two-faced babe

You can buy me diamond earrings and deny-ny-ny, ny-ny-ny, deny-ny
But I smell her on your collar so goodbye-bye-bye, bye-bye-bye

I know you lie
'Cause your lips are moving
Tell me do you think I'm dumb?
I might be young, but I ain't stupid
Talking around in circles with your tongue
I gave you bass, you gave me sweet talk
Saying how I'm your number one
But I know you lie
'Cause your lips are moving
Baby don't you know I'm done

Come on, say!

If your lips are moving, if your lips are moving
If your lips are moving, then you're lyin', lyin', lyin',
If your lips are moving, if your lips are moving
If your lips are moving, then you're lyin', lyin', lyin',

I know you lie
'Cause your lips are moving
Tell me do you think I'm dumb?
I might be young, but I ain't stupid
Talking around in circles with your tongue
I gave you bass, you gave me sweet talk
Saying how I'm your number one
But I know you lie
'Cause your lips are moving
Baby don't you know I'm done

Writer/s: TRAINOR, MEGHAN / KADISH, KEVIN
Publisher: Sony/ATV Music Publishing LLC
Lyrics licensed and provided by LyricFind

Lips Are Movin Song Chart

Meghan Trainor's second single is a sassy tune that finds the singer breaking up with her cheating boyfriend.

I know you lie because your lips are movin
Tell me do you think I'm dumb?
I might be young, but I ain't stupid
Talking circles with your tongue

Though the song is not all about her bass, it is another doo-wop throwback in a similar vein to Meghan's breakthrough single.

The song's music video finds Meghan belting out the soulful tune, flanked at times by backing dancers in front of several colorful backgrounds. "It's not just a story or a theme of 'here's a boy and here's me and me yelling at him,'" she explained to MTV News. "It's like, 'Here's me being sassy and other people dancing with me and having just a good time and trying to get through this feeling of, Ugh he's cheating on me again.' Like, 'I know you're lying, but that's OK because I'm gonna find the next guy. I'm good.'"

The clip features props being lifted on and off screen by various workers. Did you recognize any of them? Several Vine, Instagram and YouTube stars have cameos in the video, including Marcus Johns, Chachi, Les Twins, Robby Ayala and Cody Johns. In addition the chorography, set design, hair and makeup, styling and behind-the-scenes photography was all done by the social influencers.

Meghan is a personal fan of many of her co-stars. "Les Twins are incredible, I watch their videos all the time," she told Billboard magazine. "I have been following Marcus and Cody Johns since their first Vine, and Mei -- who did my nails for the video -- is so incredibly talented."

"I'm excited we were the first to make a music video this way, by tying in all the innovators and influencers," Meghan added. "But it still feels very 'Meghan Trainor,' which is amazing!"

Meghan Trainor wrote this in just eight minutes with her writing partner Kevin Kadish. She recalled to Q magazine: "That was scary. I remember looking at the clock and thinking, 'Hang on, we just started it at this minute, now we're done, so how is it this minute?' We just freaked out."

Like "All About That Bass," this song also has a retro sound and uses the same basic structure, starting with the chorus and then going verse/chorus/verse/chorus (B-A-B-A-B).

Aretha Franklin - Respect

Aretha Franklin - Respect Lyrics and Youtube Music Videos

Album: I Never Loved A Man The Way I Loved You
Released: 1967

Respect Lyrics

(Ooh) What you want
(Ooh) Baby, I got
(Ooh) What you need
(Ooh) Do you know I've got it
(Ooh) All I'm askin'
(Ooh) Is for a little Respect when you come home (just a little bit)
Hey baby (just a little bit) when you get home
(Just a little bit) mister (just a little bit)

I ain't gonna do you wrong, while you're gone
Ain't gonna do you wrong (ooh) 'cause I don't want to (ooh)
All I'm askin' (ooh)
Is for a little respect when you come home (just a little bit)
Baby (just a little bit), when you get home (just a little bit)
Yeah (just a little bit)

I'm about to give you all of my money
And all I'm askin' in return, honey
Is to give me my profits
When you get home (just a, just a, just a, just a)
Yeah baby (just a, just a, just a, just a)
When you get home (just a little bit)
Yeah (just a little bit)

Ooh, your kisses (ooh)
Sweeter than honey (ooh)
And guess what (ooh)
So is my money (ooh)
All I want you to do (ooh) for me
Is give it to me when you get home (re, re, re ,re)
Yeah baby (re, re, re ,re)
Whip it to me (respect, just a little bit)
When you get home, now (just a little bit)

R-E-S-P-E-C-T
Find out what it means to me
R-E-S-P-E-C-T
Take care, TCB

Oh (sock it to me, sock it to me, sock it to me, sock it to me)
A little respect (sock it to me, sock it to me, sock it to me, sock it to me)
Whoa, babe (just a little bit)
A little respect (just a little bit)
I get tired (just a little bit)
Keep on tryin' (just a little bit)
You're runnin' out of fools (just a little bit)
And I ain't lyin' (just a little bit)
(Re, re, re, re) 'spect
When you come home (re, re, re ,re)
Or you might walk in (respect, just a little bit)
And find out I'm gone (just a little bit)
I got to have (just a little bit)
A little respect (just a little bit)

Writer/s: REDDING, OTIS / ALLEN, ANQUETTE
Publisher: Warner/Chappell Music, Inc., Universal Music Publishing Group
Lyrics licensed and provided by LyricFind

Respect Song Chart

Otis Redding wrote this and originally recorded it in 1965, with his version hitting #35 in the US. Redding said of the song shortly before his death in 1967: "That's one of my favorite songs because it has a better groove than any of my records. It says something, too: 'What you want, baby, you got it; what you need, baby, you got it; all I'm asking for is a little respect when I come home.' The song lines are great. The band track is beautiful. It took me a whole day to write it and about twenty minutes to arrange it. We cut it once and that was it. Everybody wants respect, you know."

Redding's version consisted of only verses - no chorus or bridge. Aretha appropriated King Curtis' sax solo from Sam & Dave's "When Something Is Wrong With My Baby," which he recorded the previous night for Stax Records, and used that for the bridge.

Franklin's cover is by far the best-known version, but this was an important song for Otis Redding. It was just his second Top 40 hit, following "I've Been Loving You Too Long (To Stop Now)," and it helped establish Redding on mainstream radio. Otis also performed the song at the Monterey Pop Festival in 1967; this was a defining performance for the singer, who died in a plane crash six months later.

It was Aretha's idea to cover this song. She came up with the arrangement, added the "Sock it to me" lines, and played piano on the track. Her sister Carolyn, who sang backup on the album, also helped with the song.

Aretha recorded this in New York City with the Muscle Shoals Rhythm Section, a group of four studio musicians who also played sessions in Nashville and Muscle Shoals, Alabama before starting their own Muscle Shoals Sound Studios. This was one of their first, and most famous recordings. They went on to work with Wilson Pickett, Paul Simon, Bob Seger and The Staple Singers.

Jerry Wexler produced this. He played a big role in unleashing Aretha's talent. Wexler said in his autobiography, Rhythm and the Blues: A Life in American Music: "The fervor in Aretha's voice demanded that respect; and more respect also involved sexual attention of the highest order. What else would 'sock it to me' mean?"

Tom Dowd was the engineer for this session. He worked for Atlantic Records, who had an arrangement with Stax, which is where Otis Redding recorded. Dowd worked with Redding, which led to Aretha's cover. In the documentary Tom Dowd And The Language Of Music, Dowd talked about working with Franklin on this song: "I walked out into the studio and said, 'What's the next song?' Aretha starts singing it to me, I said, 'I know that song, I made it with Otis Redding like three years ago.' The first time I recorded 'Respect,' was on the Otis Blue album, and she picked up on it. She and Carolyn were the ones who conceived of it coming from the woman's point of view instead of the man's point of view, and when it came to the middle, Carolyn said, 'Take care, TCB.' Aretha jumped on it and that was how we did 'Respect.'"

The lyric "Take care, TCB" is often misheard. "TCB" means "Taking Care of Business."

Aretha's line, "Sock it to me," became a catch phrase on the TV show Laugh In in the '70s. The line was also used in the song "Come On Sock It To Me" by the soul singer Syl Johnson, also in 1967.

This line is often heard as a sexual reference, but Aretha denies this. "There was nothing sexual about that," she told Rolling Stone in 2014.

Franklin had just signed with Atlantic Records, and when her single "I Never Loved A Man (The Way I Love You)" became a hit, and Atlantic quickly arranged the sessions that produced "Respect" so she could put out an album to accompany the single. Aretha went on to release her biggest hits with Atlantic and became known as the "Queen Of Soul."

Before Aretha broke through and became the Queen of Soul, Etta James was the more popular singer. After this was released, James tried to resurrect her career by releasing her own cover of an Otis Redding song: She did a version of Redding's "Security," but it barely got noticed.

This has been used in many movies, including Platoon, Forrest Gump, Mystic Pizza, and Back To School. Maureen McGovern, who hit #1 with "The Morning After," played the part of a nun who sang this in the movie Airplane!.

This was Aretha's first song to chart in the UK, where it made #10.

Many believe that Aretha was drawing on her own tumultuous marriage at the time for inspiration. Jerry Wexler commented: "If she didn't live it, she couldn't give it... But, Aretha would never play the part of the scorned woman.... Her middle name was Respect." (Quotes from Rolling Stone magazine's Top 500 Songs)

When asked why the song is so successful, Aretha explained, "Everyone wants to be respected."

In the second verse, Franklin proclaims to her man that she is about to give him all her money, and that all she's asking is for him to give her "her propers," when he gets home. This term would evolve into "props," commonly used in Hip-Hop in the context of proper respect.

In 1989 the American R&B vocalist Adeva had a #17 hit in the UK with her house version of this song. It was her debut hit and coincidentally her next 2 releases also peaked at #17. She never achieved a higher chart placing.

A Long Island group called The Vagrants released their version of this song shortly before Franklin's came out. The Vagrants recording tanked, and the group soon called it quits, but their bass player Felix Pappalardi and guitarist Leslie West went on to form Mountain, who played at Woodstock and had an enduring hit with "Mississippi Queen."

Aretha Franklin sings this song in the movie Blues Brothers 2000. She also appeared in the original Blues Brothers movie, performing "Think."

Neil Young - Who's Gonna Stand Up

Neil Young - Who's Gonna Stand Up Lyrics and Youtube Music Videos

Album: Storytone
Released: 2014

Who's Gonna Stand Up Lyrics

Who's Gonna Stand Up Song Chart

This six-minute environmental call-to-arms finds Young crying foul of corporate greed and pleading to end the world's dependence of fossil fuels. It was spurred by several viewings of the documentary Under The Influence, which is about corporations' influence on government.

The song was originally performed at Crazy Horse's UK shows during the summer of 2014 and as part of Young's solo acoustic set at Farm Aid in Raleigh, North Carolina on September 13th.

Young laid down four separate versions of the song. The first one released was a fierce live rendition with Crazy Horse recorded in July 2014 during a show in Liverpool, England.

The video features a version recorded by Young with a 92-piece orchestra. Disturbing images of pollution are shown on the screens above the classical musicians.