THE 1000 BEST SONGS IN THE WORLD EVER.

570-Jermaine Jackson-Let’s Get Serious.

1980-Number 8 single.

Best Bit-At 2.50. When performing the song on various music shows, not only did Jermaine Jackson have to mime his own vocals, he also had to mime the verse sung by Stevie Wonder. I wonder how many people actually realised.

Jermaine La Jaune Jackson was born on December 11th, 1954, in Gary, Indiana, United States, he is the fourth oldest of the 10 Jackson children, his brother Marlon’s twin brother Brandon died shortly after his birth in 1957. Jermaine and his brothers first signed as the ‘Jackson 5’ (see also best songs 249 and 137) with the Gary, Indiana, record label ‘Steeltown Records’ in 1967 where they recorded two singles, before being signed by Berry Gordy of ‘Motown’ records in 1969. The Jackson’s would stay at Motown until 1975, when they left due to financial disputes, although Jemaine refused to join his brothers, staying with Motown to pursue a solo career. His four brothers signed with ‘Epic Records,’ changing their name to the ‘Jacksons,’ (as Berry Gordy owned the name ‘Jackson 5’) with Jermaine being replaced in the group by his brother Randy. The main reason for Jermaine remaining at ‘Motown,’ was probably because at that time he was married to Hazel Gordy, the daughter of Motown supremo Berry Gordy.

The solo discography of Jermaine Jackson includes 14 studio Albums released between 1972-2012, and 32 singles released between 1972-2015, there are also eight official compilation Albums available. In America on the Billboard Hot 100, seven of his singles have reached the top 40, with both ‘Daddy’s Home,’ (1972) and ‘Let’s Get Serious,’ (1980) both peaking the highest at Number 9, while in the UK, he has had three top 40 entries, with ‘Do What You Do,’ (1984) charting the highest at Number 6. Like his brother Michael, (1958-2009) (see also best songs 812-511 and 191) Jermaine had a solo career that ran concurrently with the Jackson 5 while at Motown Records.

After his brothers parted Motown Records, Jermaine struggled to stay successful as a solo artist. Berry Gordy was concerned that his son-in-law’s career was waning, so he approached fellow Motown artist Stevie Wonder, (see also best songs 920-843-834-682-503-366-205-152 and 65) who provided three songs for Jermaine’s sixth studio Album ‘Let’s Get Serious,’ from March 1980. The Album’s title track ‘Let’s Get Serious’ was released as the first of two singles off the Album, the other ‘You’re Supposed to Keep Your Love for Me,’ (1980-Billboard Number 34) was also a Stevie Wonder composition. ‘Let’s Get Serious’ was co-written by Stevie Wonder and Lee Garrett, with the production being by Stevie Wonder, who also sang co-lead vocals, and played piano, synthesizers, celesta, guitar, and drums on the track. The Album ‘Let’s Get Serious’ would go on to be Jermaine Jackson’s most successful of his career, selling in excess of 2 million copies worldwide, with the title track being ranked Number 1 on the ‘Billboard Soul chart’ for 1980, ahead of his brother Michael’s ‘Rock With You,’ which ranked at Number 2.

Lee Garrett who co-wrote ‘Let’s Get Serious’ with Stevie Wonder, was born on June 30th, 1943, in Mississippi, United States, like Stevie Wonder, Lee Garrett is also blind, the pair initially met at the ‘Michigan School for the Blind.’ Lee Garrett worked in radio as a DJ in the 1960’s, and 1970’s, where he was known as ‘The Rocker Mr G,’ while working in Philadelphia and Detroit. He has also had a recording career, releasing an Album in 1976, and issuing several singles since 1964. His biggest success as a solo artist was with his 1976 track ‘You’re My Everything,’ which reached Number 15 in the UK. Lee Garrett co-wrote several songs with Stevie Wonder, including ‘Signed, Sealed, Delivered I’m Yours,’ (1970-Billboard Number 3 & UK Number 15) and ‘It’s a Shame,’ for The Detroit Spinners (1970-Billboard Number 14 & UK Number 20) (see also best songs 834.)

Lee Garrett has spoken about the first time Stevie Wonder introduced the track that would become ‘Let’s Get Serious’ to him. ‘He said, ‘What do you hear?’ I listened and listened, and all of a sudden it hit me, and I started jumping up and down, singing ‘let’s get serious.’ That’s it. He wrote most of the words and stuff. I just kind of did the track and the melody. I felt particularly proud of that, because it was only our two names on it.’

‘In your arms is the place I want to be, with my love in you, and your love inside of me. Longing for each other just ain’t fair, when we’ve got so much love we want to share. Let’s get serious, let’s get serious, let’s get serious and fall in love.’

THE 1000 BEST SONGS IN THE WORLD EVER.

571-Archie Bell & the Drells-Here I Go Again.

1969-It didn’t chart in the UK until 1972, when reaching Number 11.

Best Bit-At 0.06. There have been some unusual names for backing groups over the years. According to my research ‘Drell’ is a fairly uncommon surname, but is in use. In science fiction a ‘Drell’ is a ‘Reptilian Humanoid,’ that evolved on the arid world of ‘Rakhana,’ but the most likely reason this band were called the ‘Drells,’ is because it rhymes with ‘Bell.’

Archie Bell was born on September 1st, 1944, in Henderson, Texas, United States, he is the second oldest of seven brothers, including the ‘NFL’ football player Ricky Bell, (1955-1984) and Jerry Bell, who is a former world karate champion, and a former member of the American ‘R&B’ and ‘Funk’ groups the ‘Dazz Band,’ and ‘New Birth.’ Archie Bell is also related to the music producer and songwriter Thom Bell (1943-2022) (see also best songs 765 and 183.) Archie Bell founded Archie Bell & the Drells in Houston, Texas, United States, in 1966, with his friends James Wise, Willie Parnell and Billy Butler, (1945-2015) and they would remain active through until 1980, in total there were seven different members come and go. Following the split of the group, Archie Bell released a solo Album called ‘I Never Had It So Good,’ in 1981, he then continued to tour on and off as ‘Archie Bell & the Drells’ for many years, with differing touring musicians. In more recent times he has recorded a ‘Blues’ Album, and a ‘Country Music’ Album. On April 16th, 2013, the Mayor of Houston, Annise Parker, honoured Archie Bell, Lucious Larkins, and James Wise, with a proclamation of ,Archie Bell and the Drells Day.’

Archie Bell and the Drells who recorded in the genres of ‘Funk,’ ‘R&B,’ ‘Soul,’ and ‘Southern Soul,’ released their first three studio Albums on the ‘Atlantic Records’ label between 1968-1969, they then moved to ‘Philadelphia International’ records, where their other four studio Albums were issued between 1975-1979, there is also a greatest hits compilation covering the ‘Philadelphia International’ years released in 1990. The singles discography of Archie Bell and the Drells includes 25 singles released between 1968-1981, of which three of those tracks have made the Billboard Hot 100 in America, with their debut single ‘Tighten Up,’ reaching Number 1 in 1968. In America ‘Here I Go Again’ has never charted, while in the UK, they have also had three top 40 hits with ‘Here I Go Again’ peaking the highest at Number 11.

‘Here I Go Again’ was co-written, and co-produced by the legendary songwriting and production duo of Kenny Gamble and Leon Huff, (see also best songs 1001-896-725-648-604-338-322 and 258) with the musicians on the track credited to the ‘Leon Huff and Thom Bell’s Orchestra.’ The track was one of six singles issued from ‘There’s Gonna Be a Showdown,’ the third studio Album from Archie Bell and the Drells, from 1969. On it’s release ‘Here I Go Again’ stalled at Number 112 in America on Billboard, and it also failed to chart in the UK. Due to the popularity of the ‘Northern Soul’ scene (see best songs 969) in the UK, the song gained a cult following, and when it was re-issued in 1971, it became a UK hit, peaking at Number 11.

Kenneth Gamble was born on August 11th, 1943, in Philadelphia, Pennsylvania, United States, together with Leon Huff he has written or produced in excess of 3000 songs. Gamble and Huff were also responsible for founding the ‘Philadelphia International Records’ label in 1971, which would go on to take the mantle of the Number one ‘Soul Music’ record label from ‘Motown’ records in the 1970’s. ‘Philadelphia International Records’ were also a leading light in the development of ‘Disco’ music, with their in house musicians, and orchestra’s laying down the sound that would become the most popular music of the second half of the 1970’s. Together, Kenneth Gamble and Leon Huff have co-written three Billboard Number 1 singles, including ‘TSOP (The Sound of Philadelphia’) for ‘M.F.S.B. featuring the Three Degrees,’ in 1974, which had been written especially as the theme music for the American musical television program ‘Soul Train,’ which specialised in African/American musical performers. Kenny Gamble has also written, or co-written four Billboard top 40 hits without Leon Huff, including the 1973 track ‘Break Up to Make Up,’ with Thom Bell and Linda Creed, (1948-1986) which reached Number 3 on Billboard for The Stylistics.

‘Here I go again, thinking with my heart, here I go again, blinded by the dark. , I should have learned my lesson, you hurt me before, but every time I see ya, I keep running back for more.’

THE 1000 BEST SONGS IN THE WORLD EVER.

572-Marilyn McCoo and Billy Davis Jr.-You Don’t Have to Be a Star (To Be in My Show)

1976-Number 7 single.

Best Bit-At 1.16. In 1978 Janet Jackson performed this song in the final season of the American ‘CBS’ sitcom ‘Good Times,’ she was 11 years old at the time.

Marilyn McCoo and Billy Davis Jr. are husband and wife, having married in 1969. Marilyn McCoo was born on September 30th, 1943, in Jersey City, New Jersey, United States. At the age of 15, she made her television debut on the American ‘CBS’ ‘Art Linkletter’s Talent Show,’ and then began modelling. After graduating from the ‘Susan Miller Dorsey High School,’ in Los Angeles, California, she enrolled in the ‘University of California, Los Angeles,’ where she earned a degree in business administration. In 1962, she entered the ‘Miss Bronze California beauty pageant,’ where she won ‘Miss Grand Talent.’ In the early to mid 1960’s, Marilyn McCoo was a member of the vocal group the ‘Hi-Fi’s,’ who often opened for Ray Charles (1930-2004) (see also best songs 475 and 185.) She first met Billy Davis Jr. in 1966, when he formed the ‘Versatiles,’ who would soon become the ‘5th Dimension’ (see also best songs 202.)

Billy Davis Jr. was born on June 26th, 1938, in St Louis, Missouri, United States, In 1975 he and Marilyn McCoo left the ‘5th Dimension,’ after a very successful nine years, to pursue their music careers as a duo, and signing with ‘ABC Records.’ They would go on to release three studio Albums between 1976-1978, and a fourth one 30 years later in 2008. In America on the Billboard Hot 100, two of their singles have reached the top 40, with ‘You Don’t Have to Be a Star (To Be in My Show’) making the Number 1 spot, while in the UK this song remains their only chart entry to date. In 1977 they became the first African/American married couple to host a network television series, ‘The Marilyn McCoo & Billy Davis Jr. Show,’ on ‘CBS.’ By 1982 they both decided to pursue solo careers, McCoo going in to acting, appearing in three films between 1989-2021, and also hosting the American music television programme ‘Solid Gold.’ She has also continued to record new music, and tour. In 1982 Billy Davis Jr. recorded a Gospel Album called ‘Let Me Have a Dream,’ and in 2020, he and McCoo released a fifth Album together, called ‘Blackbird: Lennon-McCartney Icons,’ their first new Album together in 12 years.

‘You Don’t Have to Be a Star (To Be in My Show) was the second of three singles released from ‘I Hope We Get to Love in Time,’ which was the debut studio Album by Marilyn McCoo and Billy Davis Jr. from 1976. The song was co-written by James Dean, (1943-2006) and John Glover, with the production being by Don Davis (1938-2014.) James Anthony Dean was born on February 7th, 1943, in Detroit, Michigan, United States, he died from cancer of the spine, at the age of 63. James Dean is best remembered for his work at Motown Records in the 1960’s, often in collaboration with William Weatherspoon, (1936-2005) with whom he co-wrote several hits, including Jimmy Ruffin’s ‘What Becomes of the Brokenhearted,’ (1965-Billboard Number 7 & UK Number 8) and ‘I’ve Passed This Way Before,’ (1966-Billboard Number 17 &UK Number 29.) James Dean was the cousin of the legendary Motown songwriters and producers Eddie Holland and Brian Holland.

‘You Don’t Have to Be a Star (To Be in My Show.) was produced by Don Davis, who was born on October 25th, 1938, in Detroit, Michigan, Unites States, he died after a short illness on June 5th, 2014, at the age of 74. After leaving school, Davis formed his own Jazz group, the ‘Don Davis Trio,’ before becoming a session musician in the Detroit area. Although unaccredited, it is very likely that Davis played guitar on ‘Tamla Motown’s’ first ever hit single ‘Money (That’s What I Want’) by Barrett Strong (1941-2023) (1959-Billboard Number 23.) In the early 1960’s Don Davis joined ‘Stax Records’ in Memphis, where he would write and produce for the American Soul singer Johnnie Taylor, including his 1968 Billboard Number 5 hit ‘Who’s Making Love,’ and then later in 1976, when Taylor had moved to ‘CBS,’ records, they joined forces on the Billboard Number 1 single ‘Disco Lady.’

‘Somebody nobody knows, could steal the tune that you want to hear. So stop your running around, ’cause now you’ve found what was cloudy is clear. Oh honey, there’ll be no cheering from the crowd, just two hearts beating out loud. There’ll be no parades, no TV or stage, only me till your dying day.’

THE 1000 BEST SONGS IN THE WORLD EVER.

573-Jackie De Shannon-When You Walk in the Room.

1963-It has never charted in the UK.

Best Bit-At 0.04. One of the best guitar riffs in the world ever. It is said that it hadn’t gone unnoticed by the Beatles.

Jackie De Shannon, was born Sharon Lee Myers, on August 21st, 1941, in Hazel, Kentucky, United States. In 1960 she signed with ‘Liberty Records,’ who thought that the name Sharon Myers would hinder record sales, so she adopted the stage name ‘Jackie Dee Shannon,’ whom she believed had been the name of one of her Irish ancestors. She has said that she chose ‘Jackie,’ as a cross-gender name, since she had a low singing voice, which could be heard as either male or female. When she found that ‘Jackie Dee’ was too similar to Brenda Lee, or even Sandra Dee, she changed it to Jackie Dee Shannon, which people heard as ‘DeShannon,’ and the name stuck. Her first marriage was to the Liberty Records executive Irving V. “Bud” Dain, whom she married in 1966, but the marriage was annulled a year later. Jackie De Shannon has been married to the American singer/songwriter, and film composer Randy Edelman since 1976 (see also best songs 761.)

Jackie De Shannon was one of the first female singer/songwriters of the ‘Rock ‘N Roll’ era, although as a singer all of her first 23 singles failed to reach the American Billboard Hot 100. It was her cover of the Burt Bacharach and Hal David (see also best songs 902-832-815-740-644-376 and 224) composition ‘What the World Needs Now Is Love,’ which finally saw her chart on Billboard, when reaching Number 7 in 1965. Her other major Billboard hit was ‘Put a Little Love in Your Heart,’ which made Number 4 in 1969. That song would later be a hit in 1988, when recorded as a duet by Annie Lennox and Al Green (Billboard Number 9 & UK Number 28.) As a songwriter Jackie De Shannon came to the attention of Eddie Cochran, (1938-1960) and this led to her teaming up with Cochran’s girlfriend Sharon Sheeley, (1940-2002) (see also best songs 422) and together the pair wrote ‘Dum Dum,’ (1961- Billboard Number 4 & UK Number 22) and ‘Heart in Hand,’ (1962-Billboard Number 15) which were both hits for Brenda Lee. They also wrote ‘Breakaway’ for Irma Thomas, which when covered by Tracey Ullman in 1983 reached Number 4 in the UK. But perhaps Jackie De Shannon’s best known, and most successful composition was ‘Bette Davis Eyes,’ a track she co-wrote with Donna Weiss in 1974, and when recorded by Kim Carnes in 1981, it made Number 1 on Billboard, and Number 10 in the UK. The discography of Jackie De Shannon includes 21 Albums released between 1963-2011, and 61 singles released between 1956-1980, there are also appearances on three soundtrack Albums, from the three films she appeared in, between 1964-1979, and 19 official compilation Albums are available. In America on Billboard two of her singles have reached the top 40, with ‘Put a Little Love in Your Heart,’ peaking the highest at Number 4 in 1969, while ‘When You Walk in the Room,’ made Number 99. Jackie De Shannon has never had a hit single in the UK.

‘When You Walk in the Room’ was the first of five singles released from Jackie De Shannon’s second Album ‘Breakin’ It Up on the Beatles Tour!’ from 1964, the song was written by Jackie De Shannon, with the production being by Jackie De Shannon, and Dick Glasser (1933-2000.) Although Jackie De Shannon had opened for the Beatles on their 1964 North American tour, the 12 tracks on the Album are songs recorded for Liberty records between 1962-1964, and have nothing at all to do with the tour. ‘When You Walk in the Room’ was produced by Dick Glasser, who was born Richard Eugene Glasser, on December 8th, 1933, in Canton, Ohio, United States, he died on July 10th, 2000, of lung cancer at the age of 66. During the mid 1970’s Glasser was director of ‘MGM Records’ Country Music division in Nashville, producing C. W. McCall’s (1928-2022) 1975 Billboard Number 1 & UK Number 2 hit ‘Convoy.’

Although ‘When You Walk in the Room’ was never a hit for Jackie De Shannon, the song found success when recorded by others, In 1964, the English ‘Merseybeat’ group ‘The Searchers’ took their version to Number 3 in the UK & Number 35 in America, while the most successful cover in America on Billboard, is the one by the American Country singer Pam Tillis, who reached Number 2 on the Billboard Hot Country Songs chart in 1984.

‘When You Walk in the Room’ is a song about unrequited love, with Jackie De Shannon singing about the ‘glowing sensation’ she gets every time her love interest walks in to the room. Jackie De Shannon has spoken about the songs influence on the Beatles,’We talked about songs. On the plane, The Beatles had one section and the opening acts had the other. George (Harrison) came up and asked me about the little riff on ‘When You Walk In The Room.’ He asked me to play it, and of course I was shaking. You think you hear its influence on ‘Ticket To Ride?’ Well George really did like the riff!’

‘I close my eyes for a second and pretend it’s me you want, meanwhile I try to act so nonchalant. I feel a summer’s night with a magic moon, every time that you walk in the room.’

THE 1000 BEST SONGS IN THE WORLD EVER.

574-Placebo-Nancy Boy.

1997-Number 4 single.

Best Bit-At 1.47. One of the songs co-writers, Brian Molko has called the lyrics ‘Obscene,’ so we had better read on.

Placebo were formed in London, England, in 1994, by Brian Molko, (vocals, and guitar) who was born on December 10th, 1972, in Brussels, Belgium, and Stefan Olsdal, (bass) who was born in Gothenburg, Sweden, on March 31st, 1974. They had both attended the ‘American International School of Luxembourg,’ in Hollerich, Luxembourg City, although they did not interact at the time, as they were part of different social circles. It was quite by chance that years later in 1994, the pair met at the ‘South Kensington Tube Station,’ in London, and realised that musically they had a lot in common. The duo were soon joined by Robert Schultzbourg, (drums) who was an acquaintance of Olsdal, he would remain a group member until 1996, then Steve Hewitt took over the drumming duties until leaving in 2007. The groups final drummer to date is Steve Forrest, who was a member from 2008-2015. Since then Molko and Olsdal have remained active as a duo. When first forming they performed using the name ‘Ashtray Heart,’ but later chose ‘Placebo,’ due to it’s Latin meaning,’I shall please.’

The discography of Placebo, who have recorded in the genres of ‘Alternative Rock,’ ‘Glam Rock,’ and ‘Britpop,’ and have sold in excess of 14 million records worldwide, includes, eight studio Albums that have been released between 1996-2022, and 33 singles that have been released between 1995-2022, there are also six extended plays, (EP’s) nine official compilation Albums, and three live Albums available. In the UK, all of there studio Albums have reached the top 20, with ‘Never Let Me Go,’ (2022) peaking the highest at Number 3. On the UK top 40 singles chart, Placebo have had 15 top 40 hits to date, with ‘Nancy Boy,’ (1997) and ‘Pure Morning,’ (1998) both peaking the highest at Number 4.

‘Nancy Boy’ was the fourth of five singles released from Placebo’s debut studio Album of the same name from June 1996. The song was co-written by Brian Molko, Stefan Olsdal, and Robert Schultzberg, who were the three group members at that time, with the production being by Phil Vinall, who also mixed the track, this was the only song on the Album that Vinall had anything to do with. The single release of ‘Nancy Boy’ is a different version to the original one which appears on the Album, as it is a re-recording. Phil Vinall who was born in London, has worked in the recording studio since 1980, receiving credits as a mixer, engineer, and producer. He has worked with many household names including Mark Knopfler, and Radiohead, and was the co-producer of the 1998 ‘Black Box Recorder’ Album ‘England Made Me,’ (see also best songs 516.)

In English language ‘slang,’ the term ‘Nancy Boy’ refers to a gay, or effeminate man, and undoubtedly is used to cause offence. The lyrics to ‘Nancy Boy’ refer to a man who is very feminine in appearance, putting on makeup, and perfume in his room. Brian Molko who considers himself to be bi-sexual, got the idea for the song after reading a quote by Brett Anderson the lead singer of the British band ‘Suede,’ (see also best songs 695 and 244) who said, ‘I’m a bi-sexual man who’s never had a homosexual experience.’ This angered Molko, who has said, ‘I saw that as a very opportunistic statement, and it led me to want to write something about tourism of the sexual kind, which is where the chorus comes from: ‘It all breaks down at the first rehearsal.’ I had in mind a tourist who gets stuck in, and then realises they’re out of their depth.’ Brian Molko has also gone on to say, ‘I’m questioning people’s reasons for sleeping with someone of the same sex. In the same way that Heroin is very hip today, being bi-sexual seems to be very chic.’ Molko has said about ‘Nancy Boy,’ ‘It’s an exploration into somebody’s misogyny, yet heartfelt. It’s angry, nasty, and completely politically incorrect.’

‘Alcoholic kind of mood, lose my clothes, lose my lube. Cruising for a piece of fun, looking out for number one. Different partner every night, so narcotic outta sight. What a gas, what a beautiful ass.’

THE 1000 BEST SONGS IN THE WORLD EVER.

575-The Move-Blackberry Way.

1969-Number 1 single.

Best Bit-At 0.36. I do realise that some will think it a bit sad, but I have checked my sat-nav, and it appears that there are nine Blackberry Way’s in the UK.

The Move were formed in Birmingham, Warwickshire, England, in 1965, from several locally based Birmingham groups, with the intention being to cherry pick the best available talent around at that time. The original line up comprised of Roy Wood, (see also best songs 821 and 239) (multi-instrumentalist) Bev Bevan, (drums) Carl Wayne, (1943-2004) (vocals) Trevor Burton, (guitar) and Ace Kefford, (bass) Kefford left the group in 1968, Burton left in 1969, and Carl Wayne left in 1970. Rick Price, (1944-2022) (bass) was a member between 1969-1971, and Jeff Lynne, (guitar) (see also best songs 970 and 25) was a member from 1969-1972. The Move officially split up in 1972, with Jeff Lynne, Roy Wood, and Bev Bevan going on to form the ‘Electric Light Orchestra.’ The Move reformed with original, and new members, to tour between 2004-2014, and then again in 2016. There has been a total of 13 official members come and go between 1965-2016, after which the group was finally retired. The reason they called themselves ‘The Move,’ was because all band members had moved from other groups.

The discography of The Move includes four studio Albums released between 1968-1971, and 18 singles issued between 1966-1974, there are also 20 official compilation Albums, one live Album, and one extended play (EP) available. In the UK, 10 of their singles have reached the top 40, with ‘Night of Fear,’ (1966) and ‘Flowers in the Rain,’ (1967) (the first record to be played on BBC Radio 1, on September 30th, 1967) both peaking at Number 2, and ‘Blackberry Way’ giving them their only Number 1 single. In America, unlike many of their contemporaries of that time, they failed to achieve any commercial success, despite touring there.

‘Blackberry Way’ was released as a stand alone single in November 1968, it was written by Roy Wood, with the production being by Jimmy Miller (1942-1994.) Roy Wood sang lead and backing vocals on the track, as well as playing the guitar, and the sitar, while Trevor Burton played bass, and Bev Bevan the drums. Richard Tandy, (1948-2024) who was never an official member of The Move, but performed with them on several occasions, played the harpsichord, while the mellotron performer is uncredited. The groups vocalist Carl Wayne had refused to sing on the track, as he felt that The Move’s management were pushing Roy Wood to the forefront of the band and himself to the background, by encouraging Wood to write The Move’s songs, and allowing The Move to record songs which Wayne did not sing lead on. Wayne was also unhappy with the musical direction he felt that the group were going in.

‘Blackberry Way’ was produced by Jimmy Miller, who was born James Miller, on March 23rd, 1942, in Brooklyn, New York, United States, he died on October 22nd, 1994, from liver failure, at the age of 52. Jimmy Miller first rose to prominence when working with the English singer/songwiter Steve Winwood, and the various groups he played in, including the ‘Spencer Davis Group,’ ‘Traffic,’ and Blind Faith.’ Miller is best remembered for the five Albums he produced for The Rolling Stones, between 1968-1973, starting with ‘Beggars Banquet,’ and finishing with ‘Goats Head Soup.’ In the late 1970’s Miller produced two Albums for the English Rock band ‘Motorhead,’ ‘Overkill,’ (1979) and ‘Bomber,’ (1979) and in 1991 he was a co-producer of ‘Screamadelica,’ the third studio Album, and commercial breakthrough for the Scottish Rock band ‘Primal Scream’ (see also best songs 724.)

‘Blackberry Way’ can be filed under the musical genre of ‘Baroque Pop,’ which is also sometimes called ‘Baroque Rock.’ It is a ‘fusion genre,’ that combines Rock music with particular elements of Classical music. In Baroque Pop recordings, musical instruments including ‘Harpsichords,’ ‘Oboes,’ ‘French Horns,’ and also string quartets figure prominently. In Classical music, the term ‘Baroque’ is used to describe the very best ‘Classical Music’ of Europe, approximately between the years of 1600-1750, with some of its most prominent composers being J. S. Bach (1685-1750) and Antonio Vivaldi (1678-1741.) In ‘Pop Music,’ ‘Baroque Pop’ was at it’s commercial peak between 1968-1973.

On ‘Blackberry Way’ the songs ‘bridge’ is lifted from the intro of the 1968 song ‘Good Old Desk,’ by Harry Nilsson (1941-1994.) ‘Blackberry Way’ is a sad song about a failed love affair. The narrators memories of a failed romance come flooding back as he walks around Blackberry Way. The song has been cited as an answer song to the Beatles ‘Penny Lane.’ Roy Wood has said,’We were all very influenced by what the Beatles were doing, because they were the best songwriters around.’ Roy Wood has also said that ‘Blackberry Way’ is his favourite song of ‘The Move’ of all time, commenting that ‘It could have been performed in any era and still worked.’

Blackberry way, absolutely pouring down with rain, it’s a terrible day. Up with the lark, silly girl I don’t know what to say, she was running away. So now I’m standing on the corner, lost in the things that I said, what am I supposed to do now.’

THE 1000 BEST SONGS IN THE WORLD EVER.

576-Sex Pistols-God Save the Queen.

1977-Number 2 single. In 2002 it was re-issued, and this time it reached Number 15.

Best Bit-At 2.31. When is a Number 1 single not a Number 1 single? ‘God Save the Queen’ peaked at Number 2 on the official UK top 40 singles chart on the week of Queen Elizabeth’s Silver Jubilee, being kept off the top spot by Rod Stewart’s double ‘A’ sided ‘The First Cut is the Deepest,/ ‘I Don’t Want to Talk About It,’ but it is a widely held belief that those in charge rigged the chart that week, in order to not cause further embarrassment to the Silver Jubilee celebrations.

The Sex Pistols (see also best songs 92 and 27) were formed in London, England, in 1975, they were active until 1978, but did reform in 1996, and again in 2002-2003, and finally again in 2007-2008. The discography of the Sex Pistols includes one studio Album ‘Never Mind the Bollocks, Here’s the Sex Pistols,’ (1977) and 13 singles, released between 1976-1984, there are also 15 other official Albums available. In the UK, ‘Never Mind the Bollocks, Here’s the Sex Pistols,’ reached the Number 1 position, while 10 of their singles have reached the top 40, with ‘God Save the Queen,’ peaking the highest at Number 2.

‘God Save the Queen’ was the second of five singles released by the Sex Pistols from their only studio Album ‘Never Mind the Bollocks, Here’s the Sex Pistols,’ from October 1977, the song was co-written by the group members Glen Matlock, John Lydon, (see also best songs 967 and 323) Paul Cook, and Steve Jones, with the songs production being by Chris Thomas, (see also best songs 721-316-285-92 and 27) and Bill Price (1944-2016.) Although the four group members all receive equal billing, the music was mainly written by Glen Matlock, and the lyrics by John Lydon. By the time ‘God Save the Queen’ had been issued as single, Glen Matlock had already left the group, and had been replaced by Sid Vicious (1957-1979.)

It wasn’t just the lyrics to ‘God Save the Queen’ which were deemed disrespectful, and worthy of a radio ban, with the ‘BBC,’ and almost every single independent radio station refusing to play the song. The records sleeve which had been designed by the English visual artist Jamie Reid, (1947-2023) who knew the Sex Pistols manager Malcolm McLaren (1946-2010) (see also best songs 751) from their time at ‘Croyden College of Art,’ depicted the Queen with the words ‘God Save the Queen,’ and ‘Sex Pistols,’ written across her face, in the form of how a ransom note is often written.

Glen Matlock was born on August 27th, 1956, in London, England, he was the bass player in the original line up of the Sex Pistols. Matlock is credited with writing, or co-writing 10 of the 12 tracks on ‘Never Mind the Bollocks, Here’s the Sex Pistols,’ although he had left the band early in the recording process. There are many different stories as to how Matlock and the Sex Pistols parted ways in 1977, with Matlock stating that he was ‘Sick of all the bullsh#t.’ In the 2000 documentary ‘The Filth and the Fury,’ the band members generally agree that there was tension between Matlock and Rotten, which Matlock suggests was further aggravated by Malcolm McLaren in an attempt to generate chaos within the band as a creative mechanism.

As for the true meaning behind ‘God Save the Queen,’ John Lydon (Johnny Rotten) has said that the songs real meaning is not a personal attack on the Queen, but an attack on the treatment of working class people in England in the 1970’s by the UK Government.’I wrote a record. It wasn’t about a specific moment in time or history. I wrote a record about a subject matter that mattered to me, in a personal way, and then all this situation enveloped and unfolded. I never did it as an act of spite against the Jubilee. I don’t think that’s been quite completely understood. God Save the Queen was running around in my mind for months, long before joining the Sex Pistols. The idea of being angry, of the indifference of the Queen to the population and the aloofness and indifference to us as people. I had to work on building sites to get the money to go to college because I wanted to further my education and yet I was taxed to fu#k. Why am I paying for that silly cow who couldn’t give a sh#t about me? Along come the Pistols, and just one morning over baked beans, I wrote it down in one go on Mum and Dad’s kitchen table.’

When the Sex Pistols originally recorded ‘God Save the Queen’ they were signed to ‘A&M’ records. The record label dropped the group just as the song was released, pulling all of the singles. The ones which slipped through have become very valuable collectors items. In 2010 ‘Record Collector’ magazine compiled it’s list, with a valuation of a copy released on ‘A&M’ being worth at least £10,000.

Don’t be told what you want, and don’t be told what you need. There’s no future, no future, no future for you. God save the queen, we mean it man, we love our queen. God saves.’

THE 1000 BEST SONGS IN THE WORLD EVER.

577-Hawkwind-Silver Machine.

1972-Number 3 single. It has been re-issued on a further three occasions, failing to chart in 1976, reaching Number 34 in 1978, and Number 86 in 1983.

Best Bit-At 0-22. The last song Lemmy wrote before being fired from Hawkwind in 1975, was a track called ‘Motorhead,’ and the rest is history.

Hawkwind were formed in Ladbroke Grove, London England, in 1969, and at the time of writing they remain active, with founding member Dave Brock being the groups one constant. In total to date there have been 46 official different members come and go, including some famous and influential names. Ian Kilmister, (Lemmy) (1945-2015) (see also best songs 16) was a group member between 1971-1975, Ginger Baker, (1939-2019) (see also best songs 726) was a member between 1980-1981, and Simon House, (see also best songs 302) was on board between 1973-1978, and then again between 1989-1991. The six group members who performed on this recording of ‘Silver Machine’ were Dave Brock, (guitar, and vocals) Nik Turner, (saxophone, flute, and vocals) Lemmy Kilmister, (1945-2015) (lead vocals) Michael ‘Dik Mik’ Davies, (1943-2017) (synthesizer) Del Dellmar, (synthesizer) and Simon King (drums.)

The discography of ‘Hawkwind,’ who started out life as ‘Group X,’ before becoming ‘Hawkwind Zoo,’ and finally ‘Hawkwind,’ includes 35 studio Albums released between 1970-2024, and 22 singles released between 1970-2023, there are also eight extended plays, 10 official compilation Albums, and 13 live Albums available. In the UK, 13 of their Albums have reached the top 40, with ‘Warrior on the Edge of Time,’ peaking the highest at Number 13 in 1975. They have never charted on Billboard in America, but their second studio Album ‘In Search of Space,’ did reach Number 34 in Australia, in 1971. Hawkwind’s only charting single remains ‘Silver Machine,’ which peaked at Number 3 in the UK in 1972.

‘Silver Machine’ was co-written by Dave Brock, who wrote the music, and Robert Calvert, (1945-1988) who provided the lyrics, the song was produced by Brock using the pseudonym ”Dr Technical,’ he also used the pseudonym ‘Sylvia McManus,’ (who was his wife) for his writing credit. ‘Silver Machine’ was first recorded live at a ‘Greasy Truckers’ benefit gig, at ‘The Roundhouse,’ London on the 13th February 1972. The recording was the taken away for mixing, but it was decided that the lead vocals of Robert Calvert were not up to scratch, and Ian Kilmister, (Lemmy) who was the groups bass player recorded his stronger vocals over the track in the studio. At the time Calvert who suffered from ‘Bi-Polar disorder,’ had been sectioned, so he was unavailable to attempt another version. Doug Smith, who was Hawkwind’s manager at the time has said, ‘Lemmy had a high voice, but it was just very much more powerful, he had a gruffness with it, so we decided to use his vocal.’ It is said that when Calvert was in recovery, and found out that his vocals had been removed, he was not best pleased.

Hawkwind are a ‘Rock’ group, who have recorded in the genres of ‘Progressive Rock,’ ‘Psychedelic Rock,’ ‘Acid Rock,’ ‘Proto-Punk,’ and ‘Space Rock.’ ‘Space Rock’ is a genre of music that is characterised by lengthy song structures, that may feature distorted and reverberation laden guitars, with the lyrical themes often dealing with science fiction. The genre emerged in the late 1960’s, with ‘Psychedelia,’ and ‘Progressive Rock’ groups such as the English Rock band Pink Floyd,’ (see also best songs 992 and 280) and the French formed group ‘Gong,’ exploring different musical sounds. Pink Floyd’s early Albums including ‘The Piper at the Gates of Dawn,’ (1967) and ‘A Saucerful of Secrets,’ (1968) contain pioneering examples of ‘Space Rock,’ on tracks such as ”Lucifer Sam,’ and ‘Let There Be More Light.’

The lyrics for ‘Silver Machine’ were inspired by the French writer Alfred Jarry’s (1873-1907) essay, ‘How To Construct a Time Machine.’ The lyrics are a send up, whereas Jarry wrote about constructing a ‘Cosmic space travel machine,’ Calvert made it about a new silver racing bike. Robert Calvert has said,’I thought it was a great idea for a song. At that time there were a lot of songs about space travel, and it was the time when ‘NASA’ was actually, really doing it. They’d put a man on the moon and were planning to put parking lots and hamburger stalls and everything up there. I thought that it was about time to come up with a song that actually sent this all up, which was ‘Silver Machine.’ ‘Silver Machine’ was just to say, I’ve got a silver bicycle, and nobody got it. I didn’t think they would. I thought that what they would think we were singing about some sort of cosmic space travel machine. I did actually have a silver racing bike when I was a boy. I’ve got one now, in fact.’

I, I just took a ride in a silver machine, and I’m still feeling mean. Do you want to ride, see yourself going by the other side of the sky. I’ve got a silver machine, it flies sideways through time, it’s an electric line to your zodiac sign. I’ve got a silver machine.’

THE 1000 BEST SONGS IN THE WORLD EVER.

578-Public Enemy-Fight the Power.

1989-Number 29 single.

Best Bit-At 0.23. If you’re a Rapper born after the start of the 21st Century, then take a good listen to this, then have a long look at yourself in the mirror. Are you making the most of your right to freedom of speech.

Public Enemy (see also best songs 37) are an American ‘Hip-Hop’ group formed in Long Island, New York, United States, in 1985, and at the time of writing they remain active, with Chuck D, (Carlton Douglas Ridenhour) and Flavor Flav, (William Jonathan Drayton Jr.) being the groups only constant members. Chuck D was born Carlton Douglas Ridenhour, on August 1st, 1960, in Long Island, New York, United States, the group took their name from one of the earliest tracks he wrote called ‘Public Enemy Number One.’ Chuck D is recognised as one of the most influential Rappers of all time, and is a major player in the sub-genre of ‘Hip-Hop’ music called ‘Political Hip-Hop,’ which developed during the 1980’s. Other songs which would come under the ‘Political Hip-Hop’ banner include ‘The Message,’ by Grandmaster Flash and the Furious Five, (see also best songs 290) and ‘F#ck tha Police,’ by N.W.A. (see also best songs 128.) With Public Enemy, Chuck D has released 15 studio Albums, and 41 singles between 1987-2020, he has also released four solo studio Albums, and two compilation Albums between 1996-2018. Chuck D has been a member of two ‘supergroups,’ releasing the Album ‘Objects in the Mirror Are Closer Than They Appear,’ as part of ‘Confrontation Camp,’ in 2001, and ‘Prophets of Rage,’ with Prophets of Rage, in 2017.

‘Fight the Power’ was the first of five singles released from ‘Fear of a Black Planet,’ the third studio Album released by Public Enemy, from April 1990. The song was co-written by Chuck D, Eric Sadler, Hank Boxley, and Keith Boxley, the latter three were part of the production team ‘The Bomb Squad,’ (see also best songs 37) who also produced this track, and it’s parent Album. Prior to appearing on ‘Fear of a Black Planet,’ ‘Fight the Power’ had first been used as part of the soundtrack to the 1989 American comedy drama film ‘Do the Right Thing.’ The films writer, and producer Spike Lee wanted a hard hitting song, Lee has said,’I wanted it to be defiant, I wanted it to be angry, I wanted it to be rhythmic. I thought right away about Public Enemy.’ As with many Public Enemy songs from around that period, numerous samples and loops were used, this was because artists didn’t have to get permission to clear samples, until the landmark case of 1991 (see also best songs 37.)

Chuck D who wrote the lyrics for ‘Fight the Power’ has explained why Bobby McFerrin, John Wayne, (1907-1979) and Elvis Presley, (1935-1977) (see also best songs 954-664-442 and 194) all get name checks in the song. About Bobby McFerrin he has said,’Don’t Worry Be Happy’ (1988-Billboard Number 1 & UK Number 2 single) doesn’t apply to protests. If you’re not worried and you’re happy, you’re like, why protest? Not everybody’s gonna feel like that.’ On John Wayne he has said,’John Wayne is ‘Mr. Kill All the Indians and Everybody Else Who’s Not Full-Blooded American.’ The lyric was assassinating their iconic status so everybody doesn’t feel that way.’ And of Elvis Presley, Chuck D said,’It’s not that Elvis was not a talented dude and incredible in his way, but I didn’t like the way that he was talked about all the time, and the pioneers of Rock and Roll, especially at that time, weren’t talked about at all. When people said ‘Rock and Roll’ or ‘The King,’ it was all ‘Elvis, Elvis, Elvis, one trillion fans can’t be wrong’ type of s#it.’

Of his inspiration for the song, Chuck D added,’I wanted to have sorta like the same theme as the original ‘Fight the Power,’ (1975-Billboard Number 4 single) by The Isley Brothers, (see also best songs 823-508-382 and 176) and fill it with some kind of modernist views of what our surroundings were at that particular time.’ Brian Hardgrove who has played bass for Public Enemy probably sums up the songs meaning the best,’Law enforcement is necessary. As a species we haven’t evolved past needing that. Fight the Power is not about fighting authority, it’s not that at all. It’s about fighting abuse of power.’

‘1989 the number, another summer, sound of the funky drummer. Music hitting your heart, ’cause I know you got soul. Listen if you’re missing y’all, swinging while I’m singing, giving whatcha getting, knowing what I know in. While the Black bands sweatin’, and the rhythm rhyme rollin’.’

THE 1000 BEST SONGS IN THE WORLD EVER.

579-CamelPhat and Elderbrook-Cola.

2017-Number 18 single.

Best Bit-At 3.25. The ‘Cola’ companies must have spent millions on purchasing ‘Pop’ songs to use in their advertisements down the years, but they haven’t used the best one yet.

CamelPhat is the stage name of the British ‘Dance Music’ producers Dave Whelan, and Mike Di Scala, who formed in Liverpool, England, in 2006. Prior to joining Whelan, Mike Di Scala had tasted chart success as a member of the English ‘Electronic’ group ‘Rezonance Q,’ with the UK Number 29 hit single ‘Someday,’ in 2003. He was also a member of the English ‘Electronic Dance Music’ group ‘Ultrabeat,’ who achieved five UK top 40 hits, including the 2003 Number 2 track ‘Pretty Green Eyes.’ Dave Whelan, and Mike Di Scala had released music, and remixed for others using several different names prior to ‘CamelPhat,’ those names included ‘Whelan & Di Scala,’ ‘Wheels & Disco,’ ‘Shake n’ Jack,’ ‘Mancini,’ ‘Pawn Shop,’ ‘Da Mode,’ ‘High Society,’ and the ‘Bassline Hustlers.’ Their dozens of remixes include Café del Mar,’ for Energy 52, (Whelan & Di Scala remix) (2007) (see also best songs 79) ‘Da Funk,’ for Daft Punk, (‘Funk’ by Wheels & Disco remix) (2007) (see also best songs 140) and ‘Ride on Time’ (‘Black Sensation,’ by Whelan & Di Scala) (2009) (see also best songs 501.) Dave Whelan, and Mike Di Scala also have many production and songwriting credits, including the UK 2017 Number 7 hit single ’17,’ for the American artist ‘MK.’

The discography of CamelPhat under all of their different working names, includes two studio Albums released in 2020, and 2023, and 68 singles released between 2006-2023, there are also 19 extended plays available. In the UK, three of their singles have reached the top 40, with ‘Cola,’ with Elderbrook, charting the highest at Number 18. In America on the ‘Billboard Dance/Electronic Songs’ chart, five of their tracks have made the top 40, with ‘Rabbit Hole,’ featuring Jem Cooke, peaking the highest at Number 23 in 2019.

‘Cola’ was the first of seven singles added to ‘Dark Matter,’ the debut studio Album by CamelPhat, from October 2020, the song was co-written by Dave Whelan, and Mike Di Scala, who wrote the music, and Alexander Kotz, who wrote the lyrics, and also provides the vocals. The songs production is credited to CamelPhat. Alexander Kotz, who works under the stage name of ‘Elderbrook,’ was born on December 20th, 1992, in London, England, he is a musician, singer, songwriter, and record producer. The discography of Elderbrook includes two studio Albums released in 2020, and 2023, and 27 singles released between 2015-2023, there are also five extended plays available. In the UK, his only chart entry to date remains ‘Cola,’ while in America on the ‘Billboard Dance Club Songs’ chart, ‘Cola’ went all the way to Number 1. Elderbrook has also done remixes for other artists, most notably providing the official remix for ‘Rockabye,’ by Clean Bandit, featuring Sean Paul, which was the UK Christmas Number 1 single in 2016.

‘Cola’ which can be filed under the musical genre of ‘House Music,’ has always courted controversy surrounding it’s actual meaning, with some interpreting the song as being about a female who has had her drink spiked. Elderbrook has always denied that, saying that it is actually about a girl who has had too many drinks before going out for the night, and then being refused entry into a club. ‘Cola’ was recorded in February 2017, during a three day recording session in London. Elderbrook was one of several vocalists that CamelPhat invited to come into the studio during their sessions. Elderbrook has recalled,’They had a few different instrumentals that I tried out that day, Then they played what everyone now knows as the instrumental to ‘Cola.’ There was a lot of space on the record for vocals. But I wanted to keep it going, keep it pumping, so my vocal delivery is quicker than I would usually have done.’

‘Got ready for the night, and she’s heading for the lights, but she sees the vision going, copping line after line. See how she looks for trouble, see how she dances, and she sips the Coca-Cola, but she can’t tell the difference yet.’