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.’

THE 1000 BEST SONGS IN THE WORLD EVER.

580-Happy Mondays-Step On.

1990-Number 5 single.

Best Bit-At 0.01. Don’t panic, this is not fruit abuse. The term ‘Twistin’ my melon man,’ actually means being confused by something to the point that it’s really annoying.

The Happy Mondays were formed in Salford, England, United Kingdom, in 1980, by Shaun Ryder, (vocals) his brother Paul Ryder, (1964-2022) (bass) Gary Whelan, (drums) Paul Davis, (keyboards) and Mark Day, (guitar) they were soon joined by Mark ‘Bez’ Berry, (dancer and percussionist.) In 1990 they were joined by Rowetta, (vocals) in 2004, by Kav Sandhu, (guitar and keyboards) and in 2006 by Dan Broard, (keyboards.) It was Paul Ryder who named the group, as after the day their unemployment benefit cheques arrived, as Paul put it, ‘It was the day for getting off your face.’ The Happy Mondays remained active between 1980-1993, but have since reformed on a further three occasions. They played an important role in the development of the Manchester music scene, which became known as ‘Madchester,’ by incorporating ‘Rock’ music, with ‘Psychedelica,’ ‘Funk,’ and ‘House Music,’ helping to pave the way to ‘Dance Music.’ The Happy Mondays were also an influence on other groups, including The Stone Roses, (see also best songs 979 and 253) and Oasis (see also best songs 1006-758 and 15.) In 1990 Paul McCartney told the British music magazine ‘New Musical Express,’ ‘I saw the Happy Mondays on TV, and they reminded me of the Beatles in their Strawberry Fields phase.’

The discography of the Happy Mondays includes five studio Albums released between 1987-2007, and 20 singles released between 1986-2015, there are also four extended plays, six official compilation Albums, and two live Albums available. In the UK, six of their singles have reached the top 40, with both ‘Step On,’ (1990) and ‘Kinky Afro,’ (1990) both peaking the highest at Number 5. The Happy Mondays failed to breakthrough commercially in America, with only ‘Step On’ making the Billboard Hot 100, when reaching Number 57, although ‘Kinky Afro’ made Number 1 on the ‘Billboard Alternative Airplay’ chart, and ‘Stinkin’ Thinkin” (1992) reached Number 1 on the ‘Billboard Dance Club’ chart.

‘Step On’ was the first of four singles released from the Happy Mondays third studio Album ‘Pills ‘n’ Thrills and Bellyaches,’ from November 1990, the song was co-written by John Kongos, and Christos Demetriou, with the production being by Paul Oakenfold, and Steve Osborne, who also produced the Album. ‘Step On’ is a cover version of the 1971 UK Number 4 hit single ‘He’s Gonna Step on You Again,’ by John Kongos, the Happy Mondays incorporate a short sample of three guitar notes from the original, as well as the groups lead singer Shawn Ryder ad-libbing phrases such as ‘You’re twistin’ my melon man,’ and ‘Call the cops.’ The former was a catchphrase of a ‘Haçienda’ nightclub patron, while the latter was taken from a line of dialogue in ‘Man on the Edge,’ a documentary about the actor Steve McQueen.

John Theodore Kongos was born on August 6th, 1945, in Johannesburg, South Africa. After having had success in South Africa in the early 1960’s with his band ‘Johnny and the G-Men,’ as well as also having had success as a solo artist, he left to pursue a musical career in the UK in 1966. His first UK based group was ‘Floribunda Rose,’ which were formed in April 1967, and comprised of five members, including this songs co-writer Chris Demetriou, who had been born in Cyprus. After 18 months of gigging in Britain and Europe, Kongos released his first solo Album, ‘Confusions About a Goldfish,’ in 1969, on the ‘Dawn’ record label. In 1971, and now signed to ‘Fly Records,’ he achieved two hit singles in the UK, with ‘He’s Gonna Step on You Again,’ reaching Number 4, and ‘Tokoloshe Man,’ also making Number 4. ‘He’s Gonna Step on You Again’ is cited in the ‘Guinness Book of Records’ as being the first song to ever use a sample. However, according to the sleeve note of the CD reissue of the ‘Kongos’ Album, it is actually a tape loop of African drumming.

Prior to the Happy Mondays covering ‘He’s Gonna Step on You Again,’ the song had been a hit twice for two Australian bands. The Australian ‘supergroup’ ‘The Party Boys’ took their version to Number 1 in Australia in 1987 for two weeks, and the Australian Pop group the ‘Chantoozies,’ took their recording to Number 36, also in 1987. The original version by John Kongos was written as a protest song against the white man’s appropriation of native territory in Africa.

‘Gonna stamp out your fire, he can change your desire, don’t you know he can make you forget you’re a man. Gonna stamp out your fire, he can change your desire, don’t you know he can make you forget you’re the man, you’re a man. You’re twistin’ my melon man, you speak so hip.’

THE 1000 BEST SONGS IN THE WORLD EVER.

581-Shalamar-Take That to the Bank.

1978-Number 20 single.

Best Bit-At 3.06. For a brief period in the early 1980’s, ‘SOLAR’ records were being talked up as being the new ‘Tamla Motown,’ and Shalamar were the labels biggest band.

Shalamar who were fomed in Los Angeles, California, United States, in 1977, were the brainchild of Don Cornelius, (1936-2012) and Dick Griffey, (1938-2010.) Don Cornelius was the creator, and presenter of the American nationally syndicated music television show ‘Soul Train,’ and Dick Griffey was a music producer, concert promoter, and booking agent for the ‘Soul Train’ show.

The first song credited to Shalamar, whose name had been chosen by Griffey, was the 1977 track ‘Uptown Festival,’ (UK Number 30) which had been recorded by studio session musicians. Due to it’s popularity and success, Cornelius and Griffey decided to put together a group to perform as ‘Shalamar.’ They chose the ‘Soul Train’ dancers Jody Watley, and Jeffrey Daniel, as well as the singer Gary Mumford, who had performed the studio session on ‘Uptown Festival.’ Mumford soon quit the band, and was replaced by Gerald Brown, who sang lead vocals on this song and it’s parent Album. Brown left the band shortly before the songs official release, and was replaced by Howard Hewett, who lip synced Brown’s vocals for the songs promotion. Jody Watley, Jeffrey Daniel, and Howard Hewett are recognised as the groups classic line up. Watley and Daniel both left in 1983 to pursue solo careers, leaving Hewett to continue with new members. In total there has been nine official different group members come and go, and at the time of writing they remain active.

The discography of Shalamar includes 10 studio Albums released between 1977-1990, and 35 singles released between 1977-2017, there are also six official compilation Albums available. In America on the Billboard Hot 100, four of their singles have reached the top 40, with ‘The Second Time Around,’ peaking the highest at Number 8 in 1979, with ‘Take That to the Bank’ only making Number 79. They have had far more success on the Billboard ‘R&B’ and ‘Dance’ charts, where 18 of their tracks have made the top 40, on either, or both charts, including ‘The Second Time Around,’ which reached Number 1 on both. In the UK, Shalamar have achieved 11 top 40 hit singles, with both ‘A Night to Remember,’ (1982) and ‘There It Is,’ (1982) both peaking at Number 5.

‘Take That to the Bank’ was co-written by Kevin Spencer, and Leon Sylvers III, with the production being by Leon Sylvers III, and Dick Griffey, the song was the only single released from ‘Disco Gardens,’ which was the second studio Album from Shalamar, from August 1978. Leon Frank Sylvers III was born on March 7th, 1953, in South Bend, Indiana, United States, he became one of the most successful producers in black music in the late 1970’s to the mid-1980’s, with Dick Griffey saying, ‘Aside from Quincy Jones, I think Leon is the hottest producer around. He’s grown with SOLAR, and has been exposed to other creative forces in putting together different kinds of songs and sounds. He’s gotten a different kind of polish and sophistication.’ Prior to becoming the in house producer at ‘SOLAR’ records, Leon Sylvers III had been a member of the ‘R&B’ group ‘The Sylvers,’ which was made up of him, and nine of his other siblings, who performed in the group at different times between 1958-1985. The Sylvers are best remembered for their 1976 Billboard Hot 100 Number 1 single ‘Boogie Fever,’ and ‘Hot Line,’ which reached Number 5, also in 1976. Leon Sylvers III wrote and produced for the other big acts on ‘SOLAR’ records, including ‘The Whispers,’ ‘Dynasty,’ and ‘Lakeside.’

From the classic line up of Shalamar, Jody Watley went on to have a very successful solo career, releasing nine studio Albums between 1987-2006, and 24 singles between 1984-2013, with ‘Looking for a New Love,’ reaching Number 2 on Billboard, and Number 13 in the UK in 1987. Jeffrey Daniel went on to choreograph the music video’s for ‘Bad,’ and ‘Smooth Criminal,’ with Michael Jackson, (1958-2009) it was Daniel who first performed ‘The Backslide,’ which would later become known as the ‘Moonwalk,’ a full year before Michael Jackson first performed it. Howard Hewett left Shalamar in 1985 to pursue a solo career, releasing seven solo studio Albums between 1986-2007, and releasing 24 singles between 1985-2017, including the track ‘This Is for the Lover in You,’ with Babyface, LL Cool J, Jody Watley, and Jeffrey Daniel, in 1996, which reached Number 6 on the Billboard Hot 100. Howard Hewett, and Jeffrey Daniel rejoined Shalamar in 1999, and are still members at the time of writing, along with Dick Griffey’s daughter Carolyn Griffey, who has been a member since 2001. Incidentally ‘SOLAR’ stands for ‘Sound of Los Angeles Records.’

”Cause we build a strong love affair on investments of equal share. Two hearts that beat as one, just look what love has done. Dime in the socket, just like money in my pocket, baby love. Take that to the bank.’

THE 1000 BEST SONGS IN THE WORLD EVER.

582-Kenny Rogers and The First Edition-Ruby, Don’t Take Your Love to Town.

1969-Number 2 single.

Best Bit-At 1.57. When playing the song live, the group would often perform it in a jovial manner, and the audience would clap and sing along, which was seen by some as disrespectful to war veterans.

The First Edition were formed in 1967, in California, United States, by Kenny Rogers, (1938-2020) (lead vocals, and bass guitar) Mike Settle, (guitar and vocals) and Thelma Camacho, (vocals) who had all been members of the American ‘Folk’ group ‘The New Christy Minstrels,’ they had left that group in order to broaden their musical horizons. They were soon joined by Mickey Jones in 1967, (1941-2018) (drums) Mary Arnold, (vocals) joined in 1968, and Kim Vassy, (1943-1994) (vocals) joined in 1969. In 1970, shortly before the release of this song, the group changed their name to ‘Kenny Rogers and the First Edition,’ and remained active until 1976, with some members, and others, who joined later, reforming in 2010, and then again between 2014-2015. As ‘The First Edition’ they began recording and experimenting with ‘Rock,’ ‘Folk,’ and ‘Psychedelic Pop,’ before taking the ‘Country Rock’ route.

The discography of Kenny Rogers and The First Edition includes 15 Albums issued between 1967-2015, and 22 singles released between 1967-1974. In America on the Billboard Hot 100, seven of their singles have reached the top 40, with ‘Just Dropped In (To See What Condition My Condition Was In’) peaking the highest at Number 5 in 1967, while ‘Ruby, Don’t Take Your Love to Town,’ reached Number 6. In the UK, two of their singles have made the top 40, with ‘Something’s Burning,’ which made Number 8 in 1970, providing them with their other hit.

‘Ruby, Don’t Take Your Love to Town’ was written by Mel Tillis, (1932-2017) and first recorded by the American Country singer Wayne Jennings (1937-2002) in 1966. The first hit version of the song was by the American Country Music artist Johnny Darrell, (1940-1997) whose recording reached Number 9 on the American Billboard Country Music chart. The song has been covered on many occasions over the years, including an answer song entitled ‘Billy, I’ve Got to Go to Town,’ in 1969, by the American singer Geraldine Stevens, (who had previously recorded as Dodie Stevens) using the same melody, with an arrangement quite similar to The First Edition version, which reached Number 117 on Billboard, and Number 57 on the Country chart in America.

‘Ruby, Don’t Take Your Love to Town’ was the second of three singles released from the fourth studio Album of the same name, by Kenny Rogers and The First Edition in 1969. The song was written by Mel Tillis, with the production being by Jimmy Bowen, whose greatest commercial success as a producer is the 1966 American, and UK Number 1 single ‘Strangers in the Night,’ for Frank Sinatra (1915-1998.) Jimmy Bowen who was born James Albert Bowen, on November 30th, 1937, in Santa Rita, New Mexico, United States, was also responsible for bringing Nancy Sinatra and Lee Hazlewood (1929-2007) together, (see also best songs 1010-367 and 124) and introducing Nancy Sinatra to Mel Tillis, for their 1981 Album ‘Mel and Nancy.’ Jimmy Bowen was also the co-writer of ‘Party Doll,’ (1957-Billboard Number 2 & UK Number 29) with the American singer Buddy Knox, (1933-1999) as well as co-writing with Knox, ‘I’m Stickin’ with You,’ (1957-Billboard Number 14) which Bowen performed himself, giving him his only hit single as a recording artist.

Mel Tillis was born Lonnie Melvin Tillis, on August 8th, 1932, in Tampa, Florida, United States, he died of respiratory failure on November 19th, 2017, at the age of 85. Mel Tillis was a Country Music singer and songwriter, who in 2012 won the ‘Country Music Association Awards’ most coveted award, ‘Entertainer of the Year.’ Tillis was a member of the ‘Grand Ole Opry,’ ‘Nashville Songwriters Hall of Fame,’ and the ‘Country Music Hall of Fame.’ His discography includes 38 studio Albums released between 1966-2010, and 98 singles released between 1957-1999.

‘Ruby, Don’t Take Your Love to Town’ tells the story of a paralysed war veteran, who fears that his woman is cheating on him. He begs her to stay at home with him, but his pleas fall on deaf ears. Mel Tillis was inspired to write ‘Ruby, Don’t Take Your Love to Town’ after having lived near a couple in Florida. In real life the man he wrote about had been wounded in World War II. and his wife was seeing another man. The man murdered his wife, and then committed suicide. Tillis changed the setting to the ‘Korean War,’ and made no mention of murder, but does say that the man would kill her if he could move and get his gun.

‘You’ve painted up your lips and rolled and curled your tinted hair, Ruby, are you contemplating going out somewhere? The shadow on the wall tell me the sun is going down, oh, Ruby, don’t take your love to town.’