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AC/DC - Highway to Hell

AC/DC - Highway to Hell Lyrics and Youtube Music Videos

Album: Highway to Hell
Released: 1979

Highway to Hell Lyrics

Living easy, living free
Season ticket on a one-way ride
Asking nothing, leave me be
Taking everything in my stride
Don't need reason, don't need rhyme
Ain't nothing I would rather do
Going down, party time
My friends are gonna be there too

I'm on the Highway to Hell

No stop signs, speed limit
Nobody's gonna slow me down
Like a wheel, gonna spin it
Nobody's gonna mess me round
Hey Satan, paid my dues
Playing in a rocking band
Hey Momma, look at me
I'm on my way to the promised land

I'm on the highway to hell
(Don't stop me)

And I'm going down, all the way down
I'm on the highway to hell

Writer/s: ANGUS MCKINNON YOUNG, RONALD BELFORD SCOTT, MALCOLM MITCHELL YOUNG
Publisher: J. ALBERT & SON(INTERNATIONAL) PTY. LTD.
Lyrics licensed and provided by LyricFind

Highway to Hell Song Chart

The title is often attributed as a phrase AC/DC guitarist Angus Young used to describe touring in America. There is a much more literal explanation, however. "Highway to Hell" was the nickname for the Canning Highway in Australia. It runs from where lead singer Bon Scott lived in Fremantle and ends at a pub/bar called The Raffles, which was a big rock 'n roll drinking hole in the '70s. As Canning Highway gets close to the pub, it dips down into a steep decline: "No stop signs... speed limits... nobody gonna slow me down."

So many people where killed by driving fast over that intersection at the top of the hill on the way for a good night out, that it was called the highway to hell, so when Bon was saying "I'm on the highway to hell" it meant that he was doing the nightly or weekly pilgrimage down Canning Highway to The Raffles bar to rock and drink with his mates: "Ain't nothing I would rather do. Going down, party time, my friends are gonna be there too."

Vocalist Brian Johnson explained to The Metro October 15, 2009: "It was written about being on the bus on the road where it takes forever to get from Melbourne or Sydney to Perth across the Nullarbor Plain. When the Sun's setting in the west and you're driving across it, it is like a fire ball. There is nothing to do, except have a quick one off the wrist or a game of cards, so that's where Bon came up with the lyrics."

This was the first AC/DC song to chart in the US. It helped drive huge sales for the Highway To Hell album, which has sold over seven million copies in America. It was AC/DC's sixth album, and their last with vocalist Bon Scott, who died in 1980 from excessive drinking. Their next album, Back In Black, was dedicated to him. (thanks, Bertrand - Paris, France)

Mutt Lange, who has also worked with The Cars, Bryan Adams, and Def Leppard (and Shania Twain, who he was married to from 1993-2008), produced the album. Lange took over after after failed sessions with Eddie Krammer, who had a solid resumé that included work with Led Zeppelin and Jimi Hendrix, but whose procedural style didn't work for AC/DC.

Lange was able to enhance the band's sound without altering their essence. On this song, he added robust background vocals to the choruses - something AC/DC didn't do on their previous efforts. This and other production refinements helped made the song a hit and expand their audience.

Recorded in London, Highway To Hell was the first AC/DC album recorded outside of Australia. The album cover had Angus Young on the cover wearing his schoolboy uniform and devil horns. Some religious groups found this quite offensive.

Serial killer Richard Ramirez claimed this album compelled him to murder. He believed AC/DC stood for "Anti Christ/Devil's Child."

In the film School of Rock Jack Black teaches the riff to the guitarist in the band. The song was also featured in the Movie Little Nicky, starring Adam Sandler.

The AC/DC Bluegrass tribute band Hayseed Dixie covered this on their 2001 album, A Hillbilly Tribute To AC/DC.

AC/DC performed this at the Rock and Roll Hall of Fame ceremony when they were inducted in 2003. Aerosmith lead singer Steven Tyler inducted them, saying, "There is no greater purveyor of the power chord."

The chorus to the song was used in the 2010 movie Percy Jackson and the Olympians: the Lightning Thief. (thanks, charlie - las vegas, NV)

A campaign to make the this the top song on the UK singles chart for Christmas 2013 resulted in a #4 placing and AC/DC's first top 10 British hit in a 40-year career. The Anglo-Australian hard rockers had previously been the most successful act never to have had a Top 10 hit single in the UK, having achieved a grand total of 30 chart entries, none of which have ever peaked any higher than #12 (that honor went to 1988 hit "Heatseeker").

When this song was released, there really was a "Highway to Hell" in America: Route 666. This section of highway ran through Arizona and Utah; it was later renumbered after various ghost stories emerged about unexplained happenings on the road.

AC/DC, who didn't win their first Grammy Award until 2010 (Best Hard Rock Performance for "War Machine"), played this at the 2015 ceremony. They opened the telecast with "Rock or Bust," then segued into "Highway."

Taylor Swift - Blank Space

Taylor Swift - Blank Space Lyrics and Youtube Music Videos

Album: 1989
Released: 2014

Blank Space Lyrics

Nice to meet you, where you been?
I could show you incredible things
Magic, madness, heaven sin
Saw you there and I thought
Oh my God, look at that face
You look like my next mistake
Love’s a game, want to play?
New money, suit and tie
I can read you like a magazine
Ain't it funny, rumors fly
And I know you heard about me
So hey, let's be friends
I'm dying to see how this one ends
Grab your passport and my hand
I can make the bad guys good for a weekend

So it's gonna be forever
Or it's gonna go down in flames
You can tell me when it's over
If the high was worth the pain
Got a long list of ex-lovers
They'll tell you I'm insane
'Cause you know I love the players
And you love the game

'Cause we're young and we're reckless
We'll take this way too far
It'll leave you breathless
Or with a nasty scar
Got a long list of ex-lovers
They'll tell you I'm insane
But I've got a Blank Space baby
And I'll write your name

Cherry lips, crystal skies
I could show you incredible things
Stolen kisses, pretty lies
You're the king baby I'm your Queen
Find out what you want
Be that girl for a month
Wait the worst is yet to come, oh no
Screaming, crying, perfect storm
I can make all the tables turn
Rose gardens filled with thorns
Keep you second guessing like
"Oh my God, who is she?"
I get drunk on jealousy
But you'll come back each time you leave
'Cause darling I'm a nightmare dressed like a daydream

So it's gonna be forever
Or it's gonna go down in flames
You can tell me when it's over
If the high was worth the pain
Got a long list of ex-lovers
They'll tell you I'm insane
'Cause you know I love the players
And you love the game

'Cause we're young and we're reckless
We'll take this way too far
It'll leave you breathless
Or with a nasty scar
Got a long list of ex-lovers
They'll tell you I'm insane (Insane)
But I've got a blank space baby
And I'll write your name

Boys only want love if it's torture
Don't say I didn't say I didn't warn ya
Boys only want love if it's torture
Don't say I didn't say I didn't warn ya

So it's gonna be forever
Or it's gonna go down in flames
You can tell me when it's over
If the high was worth the pain
Got a long list of ex-lovers
They'll tell you I'm insane
'Cause you know I love the players
And you love the game

'Cause we're young and we're reckless
We'll take this way too far
It'll leave you breathless
Or with a nasty scar
Got a long list of ex-lovers
They'll tell you I'm insane
But I've got a blank space baby
And I'll write your name

Writer/s: SHELLBACK, JOHAN / SWIFT, TAYLOR / MARTIN, MAX
Publisher: Sony/ATV Music Publishing LLC, Kobalt Music Publishing Ltd.
Lyrics licensed and provided by LyricFind

Blank Space Song Chart

This song finds Swift, who penned the track with producers Max Martin and Shellback, sending up her image as a heartbreaker who writes all of her songs about former boyfriends. She warns us that she's "got a long list of ex-lovers, they'll tell you I'm insane" plus she has, "a blank space baby, and I'll write your name."

At the Secret Sessions listening parties that Swift held to preview 1989, she said her intention with this track was to run wild with the way the media portrays how she conducts her romantic life.

Swift explained the "boys only want love if it's torture" lyric to UK newspaper The Sun: "I was thinking about this," she said. "Boys only want love if it's torture and a constant chase. Men want love if it's real, right, healthy and consistent."

If you're one of the many who thought Swift was singing "the lonely Starbucks lovers" (or, more sensically, "star-crossed lovers") in the song's chorus, you're not alone. The real line, however, is, "Got a long list of ex-lovers."

Swift found this amusing. She called it, "A delightful misunderstanding about this song that was written about misunderstandings."

The song's music video was directed by Joseph Kahn (Eminem's "Without Me," Katy Perry's "Waking Up In Vegas") and filmed in September 2014 in Oheka Castle in Huntington, New York. The clip depicts Swift as an unhinged lovelorn woman who lives alone in a giant mansion with her cat, Olivia Benson. It co-stars male model Sean O'Pry as the singer's generically good-looking love interest. The male model also appeared in Madonna's steamy visual for "Girl Gone Wild."

With the title cleverly wrapped up in the song's punchline, "but I’ve got a blank space baby… and I'll write your name," you're not likely to forget the song's name, even though it only shows up three times.

Taylor explained the background to the cut in a chat with NME. "Every few years the media finds something they unanimously agree is annoying about me," she said. "2012-2013 they thought I was dating too much, because I dated two people in a year and a half: 'Oh, a serial dater. She only writes songs to get emotional revenge on guys. She's a man-hater, don't let her near your boyfriend.' It was kind of excessive and at first it was hurtful, but then I found a little bit of comedy in it.

This character is so interesting though. If you read these gossip sites, they describe how I am so opposite my actual life: I'm clingy and I'm awful and I throw fits and there's drama. An emotionally fragile, unpredictable mess. I painted a whole picture of this character: she lives in a mansion with marble floors, she wears Dolce & Gabbana around the house, and she wears animal print unironically. So I created this whole character and I had fun doing it.

Half the people got the joke, half the people thought I was really owning the fact that I'm a psychopath. Either one's fine. It was #1 for eight or nine weeks, so I have no complaints."

Taylor teamed up with American Express to create an interactive app to go along with the video. "We created this 360 degree experience for fans... You essentially get to play around this storyland and explore the mansion [in the video]," she revealed on Good Morning America. "There are all of these hidden little clues. If you click on doorways you go into the next room. If you go to a clock, you can unlock little messages and clues. You can see us acting out these scenes depending on what room you're in or what part of the song."

"It's really fun to actually have fans that care about videos, story lines and lyrics," she added. "And the fact that they're so engaged makes me want to create cool little things for them like this."

The chorus makes up just over half of the entire song, and Swift makes sure you're paying attention. By dropping out most of the backing music at the end of each verse, the chorus is intensified.

Swift performed this song to open the 2014 American Music Awards. In the very elaborate production, Swift wore an evening gown and a headset microphone as she made her way thought a variety of sets populated by a bevy of dancers portraying the men she was dismissing. At one point, she even handles a flaming rose in a bit of symbolism.

Swift was honored with the Dick Clark Award For Excellence at the ceremony.

One of the most memorable sounds in the song does not come from a musical instrument, but from a pen. Right before Swift sings "I'll write your name" at the end of the chorus, a single pen click promises she's ready to make good on the threat.

In October, 2014, Swift filed to trademark the first two lines of this song, "Nice to meet you. Where you been?" and "Could show you incredible things." This was done in response to a company that applied to trademark lines from her song "Shake It Off." These trademarks give the owners the rights to use the phrases on merchandise, stationary, and various other items.

This song was made up of lines Swift collected over the years; says she put it together "like a crossword puzzle," placing the lines where they fit. With lots of lyrical ideas to choose from, she picked the best of the bunch, like "darling I'm a nightmare dressed like a daydream."

Some of the video's interior scenes were shot at Winfield Mansion, which was built in 1916 at Glen Cove on New York's Long Island by the family who started the global chain of Woolworth's retail stores. The property was wrecked by a mysterious fire in early February 2015, an event spookily foreshadowed by Swift singing on this song about love going down in flames.

The song dethroned Swift's previous single, "Shake It Off," from the top of the Hot 100. This meant the songstress became the first ever female in the chart's history to succeed herself at #1.

The video's director Joseph Kahn told Mashable.com that Swift specifically asked for co-star Sean O'Pry by name. "She had a vision," he explained. "She's highly aware of one particular thing that's happening right now - the idea that if you date her and you break up with her, she's going to write a song about you. She's aware of this. She's not an idiot."

"Taylor wanted to make a video addressing this concept of, if she has so many boys breaking up with her maybe the problem isn't the boy, maybe the problem is her," he continued. "Taylor wanted to make a video addressing this concept of, if she has so many boys breaking up with her maybe the problem isn't the boy, maybe the problem is her."

Swift didn't completely yank out her country roots with this blend of pop, electropop and hip-hop. Longtime listeners will note she added her faithful acoustic guitar to the mix.

Michigan post-hardcore band I Prevail charted in the Hot 100 with a punk version of the song. Their interpretation utilizes two vocalists and explosive guitars. Vocalist Brian Burkheiser also tweaked the lyrics including changing Swift's turning "bad guys good for a weekend" to making "good girls bad for a weekend."

This won for Best Female Video at the 2015 MTV Video Music Awards, defeating Beyoncé's "7/11." The last time Swift defeated Bey at the VMAs, Kanye West objected, rushing the stage to explain that the "Single Ladies (Put a Ring on It)" clip deserved the award over Swift's "You Belong With Me." This time, Kanye (accompanied by his wife, Kim Kardashian), stayed put - MTV cameras made sure to capture his reaction. Later in the show, Swift presented West with the Video Vanguard Award, poking fun at their initial encounter.

Swift had the video's director Joseph Kahn speak in accepting the award; Kahn explained that directors typically didn't get to give acceptance speeches because they would spend all their time thanking crew members, which he then proceeded to do.

Taylor Swift took home the Best Lyrics honors at the 2015 iHeartRadio Music Awards for this song. "This is amazing because writing lyrics is my favorite part of my job, and with this song in particular, seeing how people have captioned their Instagram picture with, 'Darling I'm a nightmare dressed like a day dream' was fantastic," Swift said, as she accepted the trophy.

The Animals - It's My Life

The Animals - It's My Life Lyrics and Youtube Music Videos

Album: The Best Of The Animals
Released: 1965

It's My Life Lyrics

It's a hard world to get a break in
All the good things have been taken
But girl there are ways to make certain things pay
Though I'm dressed in these rags, I'll wear sable some day

Hear what I say
I'm gonna ride the serpent
No more time spent sweatin' rent
Hear my command
I'm breakin' loose, it ain't no use
Holdin' me down, stick around

But baby (baby)
Remember (remember)
It's My Life and I'll do what I want
It's my mind and I'll think what I want
Show me I'm wrong, hurt me sometime
But some day I'll treat you real fine

There'll be women and their fortunes
Who just want to mother orphans
Are you gonna cry, when I'm squeezin' the rye
Takin' all I can get, no regrets
When I, openly lie
And leave only money
Believe me honey, that money
Can you believe, I ain't no saint
No complaints
So girl go out
Hand it out

And baby (baby)
Remember (remember)
It's my life and I'll do what I want
It's my mind and I'll think what I want
Show me I'm wrong, hurt me sometime
But some day I'll treat you real fine

(It's my life and I'll do what I want) Don't push me
(It's my mind and I'll think what I want) It's my life
(It's my life and I'll do what I want) And I can do what I want
(It's my mind and I'll think what I want) You can't tell me
(It's my life and I'll do what I want)
Writer/s: D'ERRICO, CARL / ATKINS, ROGER
Publisher: Sony/ATV Music Publishing LLC
Lyrics licensed and provided by LyricFind

It's My Life Song Chart

You'll want your daughter to stay away from the guy in this song. He's a big talker, explaining how he's down on his luck, but about to go from "Rags to Sable," meaning he'll do what it takes to make it. He's looking for some sugar mamas to take care of him so he can "live on their money," and he's proudly pigheaded: "It's my life and I'll do what I want."

Despite all this, he expects the girl he's after to believe him when he says, some day I'll treat you real fine. Let's hope she doesn't fall for it.

This was written by Carl D'Errico (music), and Roger Atkins (lyrics) specifically for The Animals. The duo were at the time working for Screen Gems Music, part of the the New York City music scene that included the Brill Building. "We've Gotta Get Out of This Place" (Barry Mann and Cynthia Weil) and "Don't Bring Me Down" (Gerry Goffin and Carole King) were also hits for the Animals, which originated from the Brill Building songwriting scene.

Animals lead singer Eric Burdon said he "detested" this song and didn't want to sing it (producer Mickie Most pushed it through). Perhaps in protest, Burdon changed some of the lyrics. He sang:

Sure, I'll do wrong
Hurt you sometime
But someday I'll treat you so fine

But the lyrics was written as:

Show me I'm wrong
Hurt me sometime
But some day I'll treat you real fine

The song's co-writer Carl D'Errico said: "'It's My Life" came about when Mickie Most, the producer of The Animals, said he was looking for songs for the group. The writers got busy writing and then handed in their acetates and there was a tall stack of them waiting for Mickie when he came in from London. Three of the songs in that stack were 'We Gotta Get Out of This Place,' 'Don't Bring Me Down' and 'It's My Life.' Actually, the melody for 'It's My Life' was the second one that I wrote for it. When I played the first one for Emil, he said that it didn't have enough punch and it was the wrong groove, so I rewrote it. After the rewrite everyone knew it was a hit. Some of the writers would play their songs for one another to get feedback - we used these small rooms with pianos in them, so people would hop around and check out what was happening next door." (Courtesy: Spectropop.)

The Animals recorded this when they were touring America in 1965.

Eric Burdon recorded a new version of the song as a solo artist in 1974.

Taylor Swift - Clean

Taylor Swift - Clean Lyrics and Youtube Music Videos

Album: 1989
Released: 2014

Clean Lyrics

The drought was the very worst, ah ah
When the flowers that we'd grown together died of thirst
It was months, and months of back and forth, ah ah
You're still all over me like a wine-stained dress I can't wear anymore
Hung my head, as I lost the war, and the sky turned black like a perfect storm

Rain came pouring down when I was drowning
That's when I could finally breathe
And by morning, gone was any trace of you, I think I am finally Clean

There was nothing left to do, ah ah
When the butterflies turned to dust, they covered my whole room
So I punched a hole in the roof, ah ah
Let the flood carry away all my pictures of you
The water filled my lungs, I screamed so loud but no one heard a thing

Rain came pouring down when I was drowning
That's when I could finally breathe
And by morning, gone was any trace of you, I think I am finally clean
I think I am finally clean, ah
Said, I think I am finally clean, ah

Ten months sober, I must admit
Just because you're clean don't mean you don't miss it
Ten months older I won't give in
Now that I'm clean I'm never gonna risk it

The drought was the very worst, ah ah
When the flowers that we'd grown together died of thirst

Rain came pouring down when I was drowning
That's when I could finally breathe
And by morning, gone was any trace of you, I think I am finally clean
Rain came pouring down when I was drowning
That's when I could finally breathe
And by morning, gone was any trace of you, I think I am finally clean
Finally clean, think I'm finally clean, ah ah
Think I'm finally clean

Writer/s: SWIFT, TAYLOR / HEAP, IMOGEN
Publisher: Sony/ATV Music Publishing LLC
Lyrics licensed and provided by LyricFind

Clean Song Chart

This chilling electronic tune finds Swift collaborating with one of her heroes, the British folktronica singer-songwriter Imogen Heap. She told The Sun: "We did a one take vocal and it was just so inspiring to see a woman do all the technical things in the studio that you usually see men do."

Imogen Heap is probably best known for her 2005 song "Hide And Seek," which was later sampled in Jason Derülo's #1 hit "Whatcha Say." Her 2009 album, Ellipse, earned Heap two Grammy nominations, winning Best Engineered Album, Non-Classical, in recognition of her own technical work on the record.

The lyrics are heavy on metaphors of drowning and addiction until Swift finds she is "finally clean" and ready to move on. She told The Sun: "It's about comparing getting over a relationship to sobriety; it has a lot of different references between addiction and moving on from a relationship."

Taylor expanded on the song's meaning to Pop Crush : "The song 'Clean' is one that I wrote about sort of coming out of a relationship, or trying to move on from some struggle that you had in your life, and feeling kind of tarnished by it," she said. "And it kind of talks about how if you really allow yourself to feel pain, I think maybe it's easier to get past it. For most people that I've known who've fought through struggle, a lot them who have really just faced the pain head on have come out OK a lot faster than the ones who just pretended to be in denial of it."

The song is so kind of haunting because [of] Imogen's background on the song," Taylor added, "she's singing on it. So, it's so exciting [for me]."

Speaking with Elle magazine, Swift said the song is specifically about the moment she realized she was totally over a break-up. "'Clean' I wrote as I was walking out of Liberty in London. Someone I used to date - it hit me that I'd been in the same city as him for two weeks and I hadn't thought about it. When it did hit me, it was like, Oh, I hope he's doing well. And nothing else, "she said. "And you know how it is when you're going through heartbreak. A heartbroken person is unlike any other person. Their time moves at a completely different pace than ours. It's this mental, physical, emotional ache and feeling so conflicted. Nothing distracts you from it."

"Then time passes, and the more you live your life and create new habits, you get used to not having a text message every morning saying, 'Hello, beautiful. Good morning,' Swift continued. "You get used to not calling someone at night to tell them how your day was. You replace these old habits with new habits, like texting your friends in a group chat all day and planning fun dinner parties and going out on adventures with your girlfriends, and then all of a sudden one day you're in London and you realize you've been in the same place as your ex for two weeks and you're fine. And you hope he's fine. The first thought that came to my mind was, I'm finally clean."

According to Swift, the music incorporates a couple of unusual instruments played by Imogen Heap: a mbira, which is a thumb piano and "these things called boomwhackers, which are for the percussion."

Wilbert Harrison - Kansas City

Wilbert Harrison - Kansas City Lyrics and Youtube Music Videos

Album: Kansas City: The Best of Wilbert Harrison
Released: 1959

Kansas City Lyrics

I'm going to Kansas City, Kansas City here I come
I'm going to Kansas City, Kansas City here I come
They got some crazy lil' women there
And I'm gonna get me one.

I'm gonna be standing on the corner
Of Twelfth Street and Vine
I'm gonna be standing on the corner
Of Twelfth Street and Vine
With my Kansas City baby
And a bottle of Kansas City wine.

Well I might take a train
I might take a plane, but if I have to walk
I'm going just the same
I'm going to Kansas City, Kansas City here I come
They got some crazy lil' women there
And I'm gonna get me one.

Oh but you know yeah

Now if I stay with that woman, I know I'm gonna die
Gotta find a brand new baby
That's the reason why
I'm going to Kansas City, Kansas City here I come

They got some crazy lil' women there and I'm gonna get me one
They got some crazy lil' women there and I'm gonna get me one
They got some crazy lil' women there and I'm gonna get me one

Writer/s: LEIBER, JERRY / STOLLER, MIKE
Publisher: Sony/ATV Music Publishing LLC
Lyrics licensed and provided by LyricFind

Kansas City Song Chart

This was written in 1952 by the team of Jerry Leiber and Mike Stoller, who went on to write hits for Elvis, Ben E. King, and many others. While this is certainly one of the first songs penned by Leiber and Stoller to become widely recorded, it was not their first ever written song, nor even their first published song. The book Hound Dog: The Leiber & Stoller Autobiography names "Nosey Joe," "Hard Times," "Real Ugly Woman," "Ten Days in Jail," and "That's What the Good Book Says" as previously written and released songs.

The original title was "K.C. Lovin'." The song was first recorded in 1952 by the R&B singer Little Willie Littlefield. It wasn't until 7 years later that Harrison turned the song into a hit, becoming by far his most famous track.

In the UK, this was a #26 hit for Little Richard also in 1959. He would play it in a medley with his song "Hey, Hey, Hey."

The Beatles recorded a version of this song with Little Richard's "Hey, Hey, Hey" in 1964. In 1993, a recording of The Beatles playing "Kansas City" and "Some Other Guy" at the Cavern Club in 1962 was auctioned for about $32,000 at Christie's auction house in London.

One notable Beatles performance of the song came on September 17, 1964, when Charles O. Finley, the owner of the Kansas City Athletics baseball team, paid them $150,000 to perform at their stadium. Only 20,000 people came to the show in a stadium that could seat 35,000, as many fans stayed away in protest of Finley, who was taking some heat over his management of the losing franchise. The Beatles played 12 songs that night, and included a special rendition of "Kansas City" in their set. It was the only time The Beatles played the song in the United States - they performed it on the US TV show Shindig, but it was part of a taped segment recorded in London. (thanks, Bertrand - Paris, France)

In an interview with Leiber and Stoller in Mojo magazine April 2009, Leiber explained how the pair settle arguments over what sounds best. He said: "Each of us would give in to the other who really had jurisdiction over the choice. If it was words, most of the time it was in my pocket to make the music." Stoller added that if it was music most of the time it was his decision. Leiber then illustrated his point by giving the writing of this song as an example: "I had a beef with the song, Mike was playing a tune (Leiber sings a different tune to the one we know), and I said, 'That's really corny, it sounds like Benny Goodman or something, let's do something that's really original.' And he said, 'Like what?' (Leiber sings a bluesy version). He said, 'I don't like that, that's like a hundred other blues.' He said, 'Who writes the music?' I said, 'you do'. And he wrote it the way he wanted and I came into it and we had a smash."

Mike Stoller claims it wasn't until 1986 that the songwriters went to Kansas City for the first time. He explained in an appearance on the UK show Songbook: "I wanted to make it have a melody that sounded like it could have come out of a little band in Kansas City, and so that if it was played as an instrumental, you'd still know what it was instead of just kind of 12-bar blues. And Jerry felt, as I recall, that that wasn't authentic enough."
Leiber replied: "Mike could go to a piano and noodle around and come up with a progression and a tune that was original. I couldn't do that. I wasn't a musician. I didn't play and I couldn't write. But I was singing my kind of a tune, and Mike heard it and didn't particularly like it. It wasn't a repeat blues, per se. It didn't have an original song, notes to it. And he insisted on writing it his way."

Here's a fun fact for you chart geeks: This debuted on the US chart at #100. Six weeks later it had climbed to #1, the first ever song to rise from the Hot 100's bottom position to its summit.

T.I. - Light 'Em Up (RIP Doe B)

T.I. - Light 'Em Up (RIP Doe B) Lyrics and Youtube Music Videos

Album: Paperwork
Released: 2014

Light 'Em Up (RIP Doe B) Lyrics

You was supposed to make it
You was supposed to make it
You was supposed to make it

Tell me why it is now that we live only for the moment
Erybody going deeper to the dark
Point of no return, following the evil, running from the Lord
Hatred in the heart
Poison ? a nigga use to play and trade toys with a nigga
Now you gotta go to war with a nigga
Just because you got more than a nigga
Motherfucker Kamikaze you, they rather die then see you live fly
Crabs in a barrel, in ghetto America
Man, we just lucky that we make it out
See so much potential, lost some reputation, you would think eventually we will get it
They say you got it, they don't even want it
It just hurt so much for them to see you with it
What I know 'bout Satan, he patiently wait
To rob and steal and kill off greatness in the making
What we put together never let ‘em take it
Goddamn shawty you were 'pose to make it

You was supposed to make it
You was supposed to make it
You was supposed to make it
You was supposed to make it
Lighters up, lighters up
Lighters up, lighters up
Lighters up, lighters up
Lighters up, lighters up
You was supposed to make it
You was supposed to make it
Lighters up, lighters up
Get your lighters up, lighters up

You know when I met you, sitting in the car
Buck head in the mall, you was something special
He was just a young nigga,
Still he never got excited,
It was hard to overwhelm a fat nigga with a eye patch, swingin' hard
Reppin' role tide Alabama
You can tell he was kickin' too much flavour on a country nigga made 'em wanna kill him
Still to see him smiling shawty, he be chillin'
Nigga wish him dead, he ain't even feel it
At your video, I could feel the ?
We was at the club, nigga couldn't get it in, they was stuck outside
Start to look at you, and as you should you looked like "fuck I 'posed to do?"
Asked you 'bout it then, said "ay brah you cool?"
You said "I ain't worry 'bout the lil dude"
Get they feelings hurt, got a attitude,
They'll come around in a year or two
Made you Hustle Gang, let you in the family
Said "I get you rich" you said "you want a Grammy"
Showed you how to mix the Actavis
Candy, doin' 160 with me, he ain't panic
Called me yesterday, I say "lil bro what's happening?
Working with Pharell, chillin' in Miami"
All you said was "run it, book the flight I'm coming
'Fore I leave though, I gotta handle something"
I just said "ok" I hung up the phone
Couple hours later, damn my nigga gone

You was suppose to make it
You was suppose to make it
You was suppose to make it
You was suppose to make it

Devil's business, my brother gone
Supposed to be a living legend
Hating nigga sent you home
But when we see that guy, we gon' treat him like the sky
On the 4th of July
And light him up

Lighters up, lighters up
Lighters up, lighters up
Lighters up, lighters up
Lighters up, lighters up
You was supposed to make it
You was supposed to make it
Lighters up, lighters up
Get your lighters up, lighters up

Writer/s: WILLIAMS, PHARRELL / HARRIS, CLIFFORD / SMITH III, EDDIE / RANKINS, JESSE JAMAAL / WELLS, JONATHAN DENNARD
Publisher: Sony/ATV Music Publishing LLC
Lyrics licensed and provided by LyricFind

Light 'Em Up (RIP Doe B) Song Chart

T.I. penned this song after the untimely passing of his rising protégé Doe B., who was murdered in his hometown Montgomery, Alabama in December 2013. The young rapper was actually on his way to record with T.I. and Pharrell the day he was shot. "The night we made 'Paperwork,' I was telling Pharrell about Doe and he immediately said, 'Get him down here, let's work.'"

So, T.I. called Doe B two days after Christmas. "I told him Pharrell wanted to work with him and he immediately said he was on the way," he recalled. "He just had a stop to make at a club that some DJs were doing a party at and they was looking forward to him showing up. He felt obligated, he had to go do that."

"Before that morning came, he died," T.I. added. "Pharrell was expecting him. [I had to tell him], "Man lil' bruh died last night."

Pharrell insisted that the Atlanta rapper document his feelings immediately, while the pain was fresh. "That record was recorded the day he died, so the feeling was very surreal and it was extremely heavy on my heart," T.I. said.

George Harrison - My Sweet Lord

George Harrison - My Sweet Lord Lyrics and Youtube Music Videos

Album: All Things Must Pass
Released: 1970

My Sweet Lord Lyrics

My Sweet Lord
Hm, my Lord
Hm, my Lord

I really want to see you
Really want to be with you
Really want to see you Lord
But it takes so long, my Lord

My sweet Lord
Hm, my Lord
Hm, my Lord

I really want to know you
Really want to go with you
Really want to show you Lord
That it won't take long, my Lord (hallelujah)

My sweet Lord (hallelujah)
Hm, my Lord (hallelujah)
My sweet Lord (hallelujah)

I really want to see you
Really want to see you
Really want to see you, Lord
Really want to see you, Lord
But it takes so long, my Lord (hallelujah)

My sweet Lord (hallelujah)
Hm, my Lord (hallelujah)
My, my, my Lord (hallelujah)

I really want to know you (hallelujah)
Really want to go with you (hallelujah)
Really want to show you Lord (aaah)
That it won't take long, my Lord (hallelujah)

Hmm (hallelujah)
My sweet Lord (hallelujah)
My, my, Lord (hallelujah)

Hm, my Lord (hare krishna)
My, my, my Lord (hare krishna)
Oh hm, my sweet Lord (krishna, krishna)
Oh-uuh-uh (hare hare)

Now, I really want to see you (hare rama)
Really want to be with you (hare rama)
Really want to see you Lord (aaah)
But it takes so long, my Lord (hallelujah)

Hm, my Lord (hallelujah)
My, my, my Lord (hare krishna)
My sweet Lord (hare krishna)
My sweet Lord (krishna krishna)
My Lord (hare hare)
Hm, hm (Gurur Brahma)
Hm, hm (Gurur Vishnu)
Hm, hm (Gurur Devo)
Hm, hm (Maheshwara)
My sweet Lord (Gurur Sakshaat)
My sweet Lord (Parabrahma)
My, my, my Lord (Tasmayi Shree)
My, my, my, my Lord (Guruve Namah)
My sweet Lord (Hare Rama)

(hare krishna)
My sweet Lord (hare krishna)
My sweet Lord (krishna krishna)
My Lord (hare hare)

Writer/s: HARRISON, GEORGE / CHOWTA, SANDEEP
Publisher: Sony/ATV Music Publishing LLC
Lyrics licensed and provided by LyricFind

My Sweet Lord Song Chart

This was Harrison's first single as a solo artist, and it was his biggest hit. The song is about the Eastern religions he was studying.

Highly unusual for a hit song, Harrison repeats part of a Hindu mantra in the lyric when he sings, "Hare Krishna... Krishna, Krishna." When set to music, this mantra is typically part of a chant, that acts as a call to the Lord. Harrison interposes it with a Christian call to faith: "Hallelujah" - he was pointing out that "Hallelujah and Hare Krishna are quite the same thing."

In the documentary The Material World, Harrison explains: "First, it's simple. The thing about a mantra, you see... mantras are, well, they call it a mystical sound vibration encased in a syllable. It has this power within it. It's just hypnotic."

In 1976, Bright Tunes Music sued Harrison because this sounded too much like the 1963 Chiffons hit "He's So Fine." Bright Tunes was controlled by The Tokens, who set it up when they formed the production company that recorded "He's So Fine" - they owned the publishing rights to the song.

During the convoluted court case, Harrison explained how he composed the song: He said that in December 1969, he was playing a show in Copenhagen, Denmark, with the group Delaney and Bonnie, whose piano player was Billy Preston (who contributed to some Beatles recordings). Harrison said that he started writing the song after a press conference when he slipped away and started playing some guitar chords around the words "Hallelujah" and "Hare Krishna." He then brought the song to the band, who helped him work it out as he came up with lyrics. When he returned to London, Harrison worked on Billy Preston's album Encouraging Words. They recorded the song for the album, which was released on Apple Records later in 1970, and Harrison filed a copyright application for the melody, words and harmony of the song. Preston's version remained an album cut, and it was Harrison's single that was the huge hit and provoked the lawsuit, which was filed on February 10, 1971, while the song was still on the chart.

In further testimony, Harrison claimed he got the idea for "My Sweet Lord" from The Edwin Hawkins Singers' "Oh Happy Day," not "He's So Fine."

When the case was filed, Harrison's manager was Allen Klein, who negotiated with Bright Tunes on his behalf. The case was delayed when Bright Tunes went into receivership, and was not heard until 1976. In the meantime, Harrison and Klein parted ways in bitter fashion, and Klein began consulting Bright Tunes. Harrison offered to settle the case for $148,000 in January 1976, but the offer was rejected and the case brought to court.

The trial took place February 23-25, with various expert witnesses testifying. The key to the case was the musical pattern of the two songs, which were both based on two musical motifs: "G-E-D" and "G-A-C-A-C." "He's So Fine" repeated both motifs four times, "My Sweet Lord" repeated the first motif four times and the second motif three times. Harrison couldn't identify any other songs that used this exact pattern, and the court ruled that "the two songs are virtually identical." And while the judge felt that Harrison did not intentionally copy "My Sweet Lord," that was not a defense - thus Harrison was on the hook writing a similar song without knowing it.

Assessing damages in the case, the judge determined that "My Sweet Lord" represented 70% of the airplay of the All Things Must Pass album, and came up with a total award of about $1.6 million. However, in 1978 Allen Klein's company ABKCO purchased Bright Tunes for $587,000, which prompted Harrison to sue. In 1981, a judge decided that Klein should not profit from the judgment, and was entitled to only the $587,000 he paid for the company - all further proceeds from the case had to be remitted back to Harrison. The case dragged on until at least 1993, when various administrative matters were finally settled.

The case was a burden for Harrison, who says he tried to settle but kept getting dragged back to court by Bright Tunes. After losing the lawsuit, he became more disenfranchised with the music industry, and took some time off from recording - after his 1976 album Thirty Three & 1/3, he didn't release another until his self-titled album in 1979. He told Rolling Stone, "It's difficult to just start writing again after you've been through that. Even now when I put the radio on, every tune I hear sounds like something else."

This was recorded at Abbey Road studios using the same equipment The Beatles used. There were some familiar faces at the sessions who had contributed to Beatles albums, including John Lennon, Yoko Ono, Billy Preston and Eric Clapton. Bobby Whitlock was friends with Harrison and Clapton, and played keyboards on the album. When we spoke with Whitlock, he shared his thoughts:

"That whole session was great. George Harrison, what a wonderful man. All the time that I ever knew him, which was from 1969 to his passing, he was a wonderful man. He included everyone on everything he did because there was enough for all."

Whitlock adds, "All during the sessions, the door would pop open and in would spring three or four or five Hare Krishnas in their white robes and shaved heads with a pony tail coming out the top. They were all painted up, throwing rose petals and distributing peanut butter cookies." (For more on these sessions, check out our full Bobby Whitlock interview)

This was the first #1 hit for any Beatle after the band broke up. Harrison was the first Beatle to release a solo album. He came out with Wonderwall Music, a soundtrack to the movie Wonderwall, in 1968.

When this song was released, the phrase "Hare Krishna" was associated with a religious group called the International Society for Krishna Consciousness, whose members would often approach passengers in airports, seeking donations and trying to solicit members. Individuals in this group became popularly known as "Hare Krishnas," with a generally negative connotation.

Artists who record chant music often face a negative reaction from listeners who don't understand the mantras. When we spoke with Krishna Das , the leading American chant musician, he explained: "'My Sweet Lord' is very clear and very beautiful, but the problem is that English has been appropriated by Western religion and it's very hard to talk about spiritual things in a song that doesn't get too 'organized religion-y,' you know? And then you get a lot of people who have a negative reaction to that as well. You can get a lot of negativity from the organized religion people. Like, 'This isn't our Jesus. This isn't the way it is.'"

Phil Spector produced this and sang backup. With the blessing of Harrison and John Lennon (and over the objections of Paul McCartney), Spector produced the last Beatles album, Let It Be.

Harrison released a new version, "My Sweet Lord 2000," when he reissued All Things Must Pass.

Producer Phil Spector thought "My Sweet Lord" was the commercial hit of the album, and everyone else resisted him on that. According to Phil, George and others worried about how the public might react to the religious overtones and the Hare Krishna influence.

After Harrison died, this was re-released in the UK, where it once again went to #1. Proceeds from the single went to the Material World Charitable Foundation, which Harrison started in 1973 to support charities that work with children and the poor.

George Harrison parodied "My Sweet Lord" during Eric Idle's Rutland Weekend Television Christmas special on December 26, 1975. He turned it into The Pirate Song. (thanks, Ethan - Franklin, TN)

Artists to cover this song include Aretha Franklin, Johnny Mathis, Richie Havens, Nina Simone, Peggy Lee and Julio Iglesias. The Chiffons also covered the song in 1975 amidst the plagiarism lawsuit over their song "He's So Fine."

U2 performed this as a tribute at their show in Atlanta on November 30, 2001, the night after Harrison died.

Bob Dylan - Just Like Tom Thumb's Blues

Bob Dylan - Just Like Tom Thumb's Blues Lyrics and Youtube Music Videos

Album: Highway 61 Revisited
Released: 1965

Just Like Tom Thumb's Blues Lyrics

When you're lost in the rain in Juarez when it's Easter time, too
And your gravity fails and negativity don't pull you through
Don't put on any airs when you're down on Rue Morgue Avenue
They got some hungry women there and they really make a mess outta you

Now, if you see Saint Annie, please tell her thanks a lot
I cannot move, my fingers are all in a knot
I don't have the strength to get up and take another shot
And my best friend, my doctor, won't even say what it is I've got

Sweet Melinda, the peasants call her the goddess of gloom
She speaks good English and she invites you up into her room
And you're so kind and careful not to go to her too soon
And she takes your voice and leaves you howling at the moon

Up on Housing Project Hill, it's either fortune or fame
You must pick one or the other, though neither of them are to be what they claim
If you're lookin' to get silly, you better go back to from where you came
Because the cops don't need you, and man, they expect the same

Now, all the authorities, they just stand around and boast
How they blackmailed the sergeant-at-arms into leaving his post
And picking up Angel, who just arrived here from the coast
Who looked so fine at first but left looking just like a ghost

I started out on burgundy but soon hit the harder stuff
Everybody said they'd stand behind me when the game got rough
But the joke was on me, there was nobody even there to bluff
I'm going back to New York City, I do believe I've had enough

Writer/s: BOB DYLAN
Publisher: BOB DYLAN MUSIC CO
Lyrics licensed and provided by LyricFind

Just Like Tom Thumb's Blues Song Chart

The song contains multiple literary references. Here are a few:

Rue Morgue Avenue hearkens to Edgar Allen Poe.

Tom Thumb was a character from English folklore who would, in 1621, star in the first fairy tale ever published in English.

Housing Project Hill comes from the Jack Kerouac novel Desolation Angels. Dylan would later say that he came to find the lifestyle espoused in Kerouac's books to be pointless, but his first impression was very different. "I read On the Road in maybe 1959," Dylan has stated. "It changed my life like it changed everyone else's."

The Yardbirds - For Your Love

The Yardbirds - For Your Love Lyrics and Youtube Music Videos

Album: For Your Love
Released: 1965

For Your Love Lyrics

For Your Love
For your love
I'd give you everything and more and that's for sure
(For your love)
I'd bring you diamond rings and things right to your door
(For your love)
To thrill you with delight,
I'd give you diamonds bright
Double takes I will excite,
Make you dream of me at night
For your love
For your love
For your love
For your love,
For your love
I would give the stars above
For your love,
For your love
I would give you all I could
(For your love)
(For your love)
I'd give the moon if it were mine to give
(For your love)
I'd give the stars and the sun for I live
(For your love)

Writer/s: GOULDMAN, GRAHAM
Publisher: Sony/ATV Music Publishing LLC, Universal Music Publishing Group
Lyrics licensed and provided by LyricFind

For Your Love Song Chart

This was written by Graham Gouldman, who was the bass player for the group 10cc. He also wrote "Heart Full Of Soul" for the Yardbirds. Gouldman was inspired by the Animals "The House Of The Rising Sun." Bassist Paul Samwell-Smith made wholesale changes to Gouldman's original demo, including the use of a harpsichord. Gouldman observed to Uncut magazine August 2009: "The harpsichord was an absolute stroke of genius. The record just had a weird, mysterious atmosphere about it."

The Yardbirds wrote many of their own songs as a group, but had some of their biggest hits with the ones Gouldman wrote. What did they think of Gouldman's songs? Yardbirds drummer Jim McCarty told us: "Well, they were always very original. Very interesting songs, very moody, because they were usually in a minor key, the ones we did, anyway. 'For Your Love' was an interesting song, it had an interesting chord sequence, very moody, very powerful. And the fact that it stopped in the middle and went into a different time signature, we liked that, that was interesting. Quite different, really, from all the bluesy stuff that we'd been playing up till then. But somehow we liked it. It was original and different."

The Yardbirds didn't have a lot of hits, but were one of the most influential and original bands of the '60, and an easy pick for the Rock and Roll Hall of Fame, which they entered in 1992. Having a hit song was important to them, however, and this song provided that. McCarty explains: "To try and get a hit song in those days was quite a difficult thing to do for us. We could come up with ideas, but our first hit song was very important for us. And with 'For Your Love' we heard it and had the demo of it and it sounded like a hit song to all of us. Yeah, there wasn't a problem doing that. It was the sort of thing that you relied on to get into that other echelon, to have a hit song. All our contemporaries were having hit songs: The Beatles and the Stones and the Moody Blues and Animals, they were all having Number 1 hits and we were really trying to keep up."

This almost didn't get recorded by The Yardbirds. Gouldman wrote it for his own group at the time, the Mockingbirds, but their demo was turned down by Columbia. Also it is believed that producer Mickie Most turned it down on behalf of Herman's Hermits and that the Animals also turned it down.

The song found its way to The Yardbirds after their manager ran into the fledgling songwriter Gouldman when they were opening for The Beatles at a 1964 Christmas show. Gouldman loved how The Yardbirds would change tempo in the middle of a song, which is how he wrote "For Your Love."

This song prompted Eric Clapton to leave The Yardbirds, since he felt their music was becoming too commercial. He was replaced by Jeff Beck, who was later replaced by Jimmy Page. Clapton joined John Mayall's Bluesbreakers and would later be a member of Cream and Derek and the Dominos. One of the contributing factors to Eric Clapton's departure was, while performing the song live, his having to recreate the song's harpsichord on a 12-string guitar. (thanks, James - Tracy, CA)

The harpsichord on this song was played by session musician Brian Auger, who later became a solo artist of note. His biggest hit was the Bob Dylan song "This Wheel's On Fire," which was credited to Julie Driscoll With Brian Auger And The Trinity. It later became the theme tune for the BBC comedy show Absolutely Fabulous.

The Yardbirds were known as a great live band, but the recording technology of 1965 limited their commercial potential, as the songs they wrote themselves didn't play well in a studio setting. McCarty told us how this song gave them a breakthrough: "All the stuff that we played live and we recorded in the studio, it just sounded really tame. The studios weren't so good then, they weren't really geared for playing rock and roll or blues music. And all the ideas that we'd had up to 'For Your Love' just sounded awful. And so 'For Your Love' was the song that would sound good anyway, because it was a much more commercial song."

On The Yardbirds official site, bass player Chris Dreja says of this: "We owe a lot to that song because it sort of pulled us out from national to international and set the template for us - that time change in the middle, the weirdness of it." (thanks, Bertrand - Paris, France)

This song appeared in the movies Fear And Loathing In Las Vegas (1998), Harimu Ogen (1985) and Deadly Advice (1994).

Fleetwood Mac recorded this for their 1973 album Mystery to Me and released it as a single.

The musical breakdown on this track is as follows:
Keith Relf - lead vocal
Eric Clapton - guitar
Chris Dreja - guitar
Paul Samwell-Smith - bass
Jim McCarty - drums

Non-Yardbirds brought in to play were:
Ron Prentiss - acoustic bass
Brian Auger - harpsichord
Denny Piercey - bongos

This song was covered by Greg Kihn in 1994. It was also used in the movies Fear and Loathing in Las Vegas (1998) and Pirate Radio (2009). (thanks, Charlie - Las Vegas, NV)

This was used in commercials for Zales jewelry. (thanks, Bertrand - Paris, France)

Black Veil Brides - Faithless

Black Veil Brides - Faithless Lyrics and Youtube Music Videos

Album: Black Veil Brides
Released: 2014

Faithless Lyrics

Behold the new hate with all the same lost values
Forsake what lives deeper
In death we're all believers

Raise up your sirens
Break through the silence
We are united in the search for something more

Cross your heart
Open your mind
Hide your face in their disguise

Even when I fall down to my knees
I never say a prayer I don't believe
And I don't wanna look up to the Son
But I will never be the Faithless one

No, I will never be the faithless one

Refuse to destroy the altars we are serving
The truth in living is that our souls are searching

Live with defiance
It's time to fight
Don't ever let them keep your words from being heard

Cross your heart
Open your mind
Hide your face in their disguise

Even when I fall down to my knees
I never say a prayer I don't believe
And I don't wanna look up to the Son
But I will never be the faithless one

No, I will never be the faithless one

Even when I fall down to my knees
I never say a prayer I don't believe
And I don't wanna look up to the Son
But I will never be the faithless one

Even when I fall down to my knees
I never say a prayer I don't believe
And I will never look up to the Son
But I don't wanna be the faithless one

No, I will never be the faithless one
But I will never be the faithless one

Writer/s: BIERSACK, ANDREW / PITTS, JACOB / LONG, NICK / ENGLISH, TOMMY / COMA, CHRISTIAN
Publisher: Warner/Chappell Music, Inc., MEMORY LANE MUSIC GROUP, CYPMP
Lyrics licensed and provided by LyricFind

Faithless Song Chart

Andy Biersack wrote this song with religion on his mind. He told Kerrang!: "I like to use religious images in mind, writing, I don't do it to try and beat controversal, but it serves my lyrical style well. As someone who grew up in a small town in the US, Christianity and, in my specific case, Catholicism, is so ubiquitous. It's a good cover-all for everything I've experienced."

"I guess I would consider myself an atheist – I struggle with the idea of titles, but don't think I'm agnostic, because that's a bit of a copout. I don't believe in a traditional God," Biersack continued. "That said, I have a strong defence of religion where I feel I'm playing for their team, I just don't wear the same jersey. I have a deep love for the positives of religion can build; the feelings of hope and faith that many religions offer. I greatly dislike the 'atheist religion' for that reason; those people disregarded intelligence level of anyone who is a 'believer' – I don't agree with that."

The song finds Biersack singing:

Behold the new hate, with all the same lost values.

He explained to Kerrang!: "This was written when I saw a sign for an atheist's coalition. What do these guys do, get together to talk about how they don't believe in something? 'Faithless' is about not wanting to pray to God. But I refuse to be someone who has no hope, and makes fun of those whose beliefs are different to mine."

Little Eva - The Loco-Motion

Little Eva - The Loco-Motion Lyrics and Youtube Music Videos

Album: LLLLLoco-Motion
Released: 1962

The Loco-Motion Lyrics

Everybody's doing a brand-new dance, now
(Come on baby, do The Loco-Motion)
I know you'll get to like it if you give it a chance now
(Come on baby, do the Loco-motion)
My little baby sister can do it with me
It's easier than learning your A-B-C's
So come on, come on, do the Loco-motion with me
You gotta swing your hips, now

Come on, baby
Jump up
Jump back
Well, now, I think you've got the knack
Wow, wow

Now that you can do it, let's make a chain, now
(Come on baby, do the Loco-motion)
A chug-a chug-a motion like a railroad train, now
(Come on baby, do the Loco-motion)
Do it nice and easy, now, don't lose control
A little bit of rhythm and a lot of soul

Come on, come on
Do the Loco-motion with me

Ye-ye-ye-yeah
Move around the floor in a Loco-motion
(Come on baby, do the Loco-motion)
Do it holding hands if you get the notion
(Come on baby, do the Loco-motion)

There's never been a dance that's so easy to do
It even makes you happy when you're feeling blue
So come on, come on, do the Loco-motion with me

(Come on)
You gotta swing your hips, now
(Come on)
That's right (do the Loco-motion)
You're doing fine!
(Come on, do the Loco-motion)
Come on, babe
(Come on, do the Loco-motion)
Hm-hm-hm, jump up
(Come one)
Jump back (do the Loco-motion)
You're looking good
(Come on, do the Loco-motion)
Hm-hm-hm, jump up
(Come on)
Jump back (do the Loco-motion), yeah yeah yeah

Writer/s: GOFFIN, GERRY / KING, CAROLE
Publisher: Sony/ATV Music Publishing LLC
Lyrics licensed and provided by LyricFind

The Loco-Motion Song Chart

The husband-and-wife songwriting team of Carole King and Gerry Goffin wrote this song. Little Eva was Eva Boyd, the babysitter - actually more of a nanny - being paid $35/week to watch their daughter Louise and clean the house. They were all young: Eva was 17, King 19 and Goffin 22. One day King came up with a melody that Goffin thought sounded like a locomotive, and when he saw Eva dancing with their daughter to the tune, he got the idea to make the song about a brand new dance - The Loco-Motion. He wrote the lyrics and they brought Eva to the studio and had her record the song as a demo - they were hoping Dee Dee Sharp would sing it. Their producer Don Kirshner thought Eva's vocal was just fine, so they named her Little Eva and had her record the song. The only downside for King and Goffin was losing their nanny: when the song became a million-seller, Eva was able to buy a place of her own.

Gerry Goffin had actually had this song idea in the back of his mind for a couple of years, but had never found the right moment to bring it out. When he sat down to write it at last, he defended it to Carole: "This is going to sound stupid, but what the hell." Don't all the biggest fads start out that way?

That saxophone solo was performed by Artie Kaplan, who was also the contractor for the recording session. Kaplan was a song plugger in Aldon Music's publishing department and also Aldon's Music Contractor. Among many other things, he was the one who discovered Tony Orlando while eating lunch at the diner across the street from the Brill Building. As songwriter Barry Mann's roommate, he was there to see the beginning of Mann's relationship to songwriter Cynthia Weil.

Describing the sessions for this song, Kaplan told us:
I contracted the "Loco-Motion" recording session and cast the two other musicians who I thought would be right for the date, namely Buddy Saltzman on drums and Charlie Macey on guitar and bass. I played five saxophone overdubs on baritone sax and tenor sax plus the solo part on the session to fill out the feel of a larger orchestra. Carole King played piano on the date and also wrote the arrangement, while she and The Cookies (a female R&B group that recorded for Aldon) added their brilliant vocal backgrounds. And of course there was the wonderful vocal by Eva Boyd, all under the direction of Gerry Goffin and a most able sound engineer Ron Johnson at Dick Charles Recording studios in New York City.

In those days demos were recorded in mono. Meaning that every time the musicians played a different orchestral part or the singers sang an added harmony, the engineer had to bounce the original track to a second machine while balancing the preceding part along with it. This process, known as overdubbing, was quite common in the early days among songwriters seeking inexpensive studios in which to record their songs to audition for music producers and music publishers.

I only mention this bit of history because I hesitate to think of how this recording would have survived, but for the excellent work of the sound engineer Ron Johnson and the masterful job he did mixing a "smash hit" record, overdub by overdub, and he never received a thank you for his effort.

So, I'll do it now, for everyone who simply forgot.

Thank you Ron Johnson for mixing "The Loco-Motion" a piece of musical history. For without you, we would all be nothing.

Much love to you, wherever you are,
Artie Kaplan

When the demo of this song was completed, Artie Kaplan took it to Cameo-Parkway, but Cameo producer Bernie Lowe listened to the opening for all of sixty seconds before squeaking the needle off the record and saying "I didn't hear the hook," turning it down cold. Kaplan just shrugged and took it back to Aldon. Lowe's exact facial expression, upon hearing this song come out of the radio later as a #1 hit by July of '62, is forever lost to history but we're pretty sure it must have been memorable. And that's how this song became the first single put out by the newly-formed Dimension Records, spawned from Aldon Music.

"Loco" means "crazy" in Spanish, implying that the dance was a crazy motion.

In 1974, this became an unlikely #1 US hit for Grand Funk, who did a rock version of the song. It was just the second time a song hit #1 for two different artists - the first was "Go Away Little Girl" by Steve Lawrence in 1962 and Donny Osmond in 1971. That song was also written by King and Goffin.

A cover of this song was the first hit for Australian singer Kylie Minogue. Released in 1987, it was the biggest-selling single of the '80s in Australia, and her only hit (#3) in the US until 2002, when she struck with "Can't Get You Out Of My Head."

The genesis of this song might have been "Uptown" and "Spanish Harlem," two songs produced by Brill building alumnus Phil Spector. According to Rich Podolsky's book Don Kirshner: The Man with the Golden Ear , when these hits charted, Al Kirshner of Aldon Music didn't get what the popularity was with them, but told his songwriting staff, "Write some more of those songs that I don't understand." The other impetus was of course "Mashed Potato Time," by Dee Dee Sharp, part of the "mashed potato" song fad at the time as referenced in the entry for "Mashed Potatoes." Kirshner called his top writers into the office and announced that there was nobody hotter than Dee Dee Sharp in 1962, and that producer Cameo-Parkway was looking for a follow-up hit. So he charged his staff: "Let's give them a song they can't turn down."

The promotional photo for this single features five of the people involved posing around an actual locomotive train engine: Producers Don Kirshner and Al Nevins on the left, founders of Aldon Music, songwriters Gerry Goffin and Carole King on the right, the writers, and lead singer Little Eva, in the front with one foot up on the train like she's keeping it parked so it doesn't roll away. The photo graced the cover of Cashbox magazine.

The song was covered by Canadian Ska-Punk band, The Johnstones, with the title of "Locomotion" for their 2012 album SUCK. Their guitarist Jarek Hardy told us they decided to record their own version, as, "it's just a fun song." He added: " We always thought it would be funny to do a song that has a dance. We tried it on one of our previous albums. We made up a dance. But we've really thought it would be funny to bring back an older song. We were just di--ing around in the studio. It was more of just us in the studio screwing around and just being like, hey, what sounds awesome? And we kind of threw it on there last minute."

Dillon Francis - Set Me Free

Dillon Francis - Set Me Free Lyrics and Youtube Music Videos

Album: Money Sucks, Friends Rule
Released: 2014

Set Me Free Lyrics

Set Me Free, set me free, set me free, set me free
Set me free, set me free, set me free, set me free
Set me free, set me free, set me free, set me free
Set me free, set me free

Set me free

Set me free

Set me free, set me free, set me free, set me free
Set me free, set me free, set me free, set me free
Set me free, set me free (set me free)
Set me free, set me free

Set me free

Set me free

Set me free

Set me free

Set me free

Writer/s: GARRITSEN, MARTIJN / FRANCIS, DILLON HART
Publisher: Universal Music Publishing Group
Lyrics licensed and provided by LyricFind

Set Me Free Song Chart

This song found Francis collaborating with Martin Garrix before the teenage Dutch DJ was well known. Francis told Billboard magazine that he found instant creative chemistry with Garrix during the two studio sessions that produced this song. "I went to Martin's house before he put out 'Animals,'" the American electronic producer said. "He still had only like 10,000 Twitter followers, and we were just hanging out with his parents. It was awesome because he seemed just like me and he's an amazing producer."