THE 1000 BEST SONGS IN THE WORLD EVER.

939-Easybeats-Friday on My Mind.

1966-Number 6 single.

Best Bit-At 0.33. The ‘Aussie’ ‘Sultans of Swing.’

All five original founding members of the ‘Easybeats’ were from families that had migrated to Australia from Europe, and first met at the ‘Villawood Migrant Hostel,’ in Sydney, New South Wales, Australia, in 1964.The families of the band members spent their first years in Australia housed at the ‘Villawood Migrant Hostel,’ in the early and mid 1960’s. Lead singer Stevie Wright, (1947-2015) was born in Leeds, West Yorkshire, England, and is probably the most successful musician to have been born in that city. Harry Vanda, (guitar) was born in the Netherlands, George Young, (1946-2017) (guitar) was from Glasgow, Scotland, Dick Diamonde, (bass) was from the Netherlands, and Gordon ‘Snowy’ Fleet, (drums) was born in Liverpool, England. Fleet left the Easybeats in 1967, and was replaced by Tony Cahill, (1941-2014) (drums) who had been born in Melbourne, Australia. The Easybeats remained active until 1969, but there was a reunion tour of Australia in 1986, undertaken by all five original members.

The Easybeats who were heavily influenced by the Beatles, achieved a similar level of popularity in Australia between 1964-1966. They then relocated to London in 1966 in an attempt to further their international career. With the success of ‘Friday on My Mind,’ the Easybeats became the first Australian ‘Rock’ act to score an international hit. The Easybeats discography includes six studio Albums released between 1965-1970, and 24 singles that were issued between 1965-1980. In Australia 15 of those singles made the top 40 chart, with two of those songs, ‘Sorry,’ (1966) and ‘Friday on My Mind,’ (1966) both reaching Number 1. In the UK the Easybeats have charted twice, with their other hit being ‘Hello, How Are You,’ making Number 20 in 1968, while in America on Billboard ‘Friday on My Mind,’ was their only top 40 entry, when reaching Number 6 in 1966.

After the split of the Easybeats in 1969, Harry Vanda, who was born Johannes Hendrikus Jacob van den Berg, on March 22nd, 1946, teamed up with his fellow band mate George Young, who was born George Redburn Young, on November 6th, 1946, to continue their songwriting and production work, which had began towards the second half of their time with the Easybeats. Young, whose cause of death was not reported, died on October 22nd, 2017, at the age of 70. George Young was the older brother of Malcolm Young, (1953-2017) and Angus Young, of the Australian Rock band ‘AC/DC,’ (see also best songs 797-245 and 170) and together with Harry Vanda he produced six of that bands studio Albums. Other high profile work includes ‘Love Is in the Air’ (UK Number 5 & US Number 7 in 1978) for John Paul Young (no relation) (see also best songs 447.) The duo also wrote and produced ‘Evie,’ for ex band mate Stevie Wright, which topped the Australian singles chart in 1974. They also worked together as the studio group ‘Flash and the Pan,’ releasing six Albums between 1978-1992, and 24 singles between 1976-1996. In the UK ‘Flash and the Pan’ are best remembered for the 1982 Number 7 hit ‘Waiting for a Train,’ which had vocals provided by Stevie Wright. Mark Knopfler (see also best songs 829 and 298) paid tribute to the duo on his 1978 song ‘Sultans of Swing,’ with the lines,’You check out guitar George,’ and ‘And Harry doesn’t mind if he doesn’t make the scene.’

‘Friday on My Mind’ was written and produced by Harry Vanda, and George Young, with the production being by Shel Talmy, (see also best songs 1014-926-770 and 592) and is track 6 on side 1 of the Easybeats fourth studio Album ‘Good Friday’ from May 1967. In 2001 to celebrate the 75th anniversary of the ‘ Australasian Performing Right Association’ (APRA) a panel of 100 music industry personalities chose the ‘Best Australian Songs,’ of all time, and ‘Friday on My Mind’ came out as the Number 1. ‘Friday on My Mind’ tells the tale of someone who is stuck in a boring job from Monday to Friday, but come the weekend he is free to enjoy himself. In 1973 David Bowie covered the song for his Album ‘Pin-Ups,’ and in 1987 the song became a hit again in the UK, when Gary Moore took his version to Number 26.

‘Monday mornin’ feels so bad, ev’rybody seems to nag me. Comin’ Tuesday I feel better, even my old man looks good. Wed’sday just don’t go, Thursday goes too slow, I’ve got Friday on my mind.’

THE 1000 BEST SONGS IN THE WORLD EVER.

940-Morrissey-Suedehead.

1988-Number 6 single.

Best Bit-At 2.32. ‘Oh it was a good lay, good lay, it was a good lay, good lay.’ The words of the worlds most famous celibate (apart from the Pope of course.)

‘Suedehead’ was the first solo single released by Morrissey (see also best songs 673-222-167-72 and 42) after the split of ‘The Smiths,’ it was issued in February 1988, and later appeared on his debut solo studio Album ‘Viva Hate,’ which was released approximately one month later. ‘Suedehead’ was co-written by Morrissey, (lyrics) and Stephen Street, (music) who was also the producer of the single, and it’s parent Album. The song gave Morrissey the confidence to realise that he could be successful away from The Smiths, in fact when it made Number 6 on the UK top 40, it out performed any of The Smiths singles, as ‘Heaven Knows I’m Miserable Now,’ and ‘Sheila Take a Bow,’ had both only peaked at Number 10.

Stephen Street (see also best songs 595-256 and 21) was born Stephen Brian Street on March 29, 1960, in Hackney, London, England. Street first met Morrissey in 1984, when working as an in-house engineer for a session for The Smiths ‘Heaven Knows I’m Miserable Now,’ he later said,’I’d seen them just shortly beforehand on ‘Top of the Pops’ doing ‘This Charming Man,’ and like most other people around that time who were into music I was really excited by them.’ Street would go on to work as an engineer on The Smiths third studio Album ‘The Queen Is Dead’ in 1986, and then with Morrissey, and Johnny Marr, he co-produced The Smiths fourth and final studio Album ‘Strangeways, Here We Come,’ in 1987. Street would become one of main influences on the ‘Britpop’ boom of the mid 1990’s, producing Albums for the likes of ‘Blur,’ ‘Catatonia,’ and ‘Sleeper,’ and his success didn’t slow down in the 21st Century, as his Album production skills were still highly in demand, for artists including Pete Doherty, and the Kaiser Chiefs.

For Morrissey’s debut Album ‘Viva Hate,’ Stephen Street played the bass guitar. Morrissey also hired Viny Reilly, who played guitar, and keyboards, and Andrew Paresi, who played the drums, and percussion. The song lyrics to ‘Suedehead’ are open to interpretation, but in all probability the narrator has had a fling with someone, he doesn’t want to continue the relationship, but the other party becomes obsessive, by going behind the narrator’s back, and sneaking a look in his diary, which the narrator finds over obtrusive and sickening. In the end, all the narrator can think is, that all the relationship was, ‘was a good lay,’ and he wishes that the other person would also leave it like that.

‘Suedehead’ is also the title of a 1971 novel by the author Richard Allen, (1922-1993) on which Morrissey has commented,’I did happen to read the book when it came out, and I was quite interested in the whole Richard Allen cult, But really I just like the word ‘Suedehead’.’ Morrissey has also confirmed that ‘Suedehead’ is about a figure he knew from his teenage years, though he refused to specify the individual, he has said,’I’d rather not give any addresses and phone numbers at this stage. The song took its title from the Suedehead subculture.’ Shortly after the release of ‘Suedehead’ in June 1988 in an interview with the American music magazine ‘Spin,’ Morrissey explained that,’A Suedehead was an outgrown skinhead, but outgrown only in the hair sense. An outgrown skinhead who was slightly softer, not a football hooligan. Back in ’71, when youth cults were on the rampage in Manchester, there was a tremendous air of intensity and potential unpleasantness. Something interesting grabbed me about the whole thing. I don’t think there were any good guys, everybody had several chips on several shoulders. There was a great velocity of hate. Everybody got their head kicked in. It’s made me what I am today.’

‘You had to sneak into my room, just to read my diary. It was just to see, just to see, all the things you knew I’d written about you, oh, so many illustrations. Oh, but I’m so very sickened, oh, I am so sickened now.’

THE 1000 BEST SONGS IN THE WORLD EVER.

941-Lock ‘n’ Load-Blow Ya Mind. (Club Caviar Remix.)

2000-Number 6 single.

Best Bit-At 3.15. ‘Oh is this the way they say the future’s meant to feel? Or just 20,000 people standing in a field, and I don’t quite understand just what the feeling is, but that’s okay, cos we’er all sorted for ‘E’s and ‘Wizz.’

‘Lock ‘n’ Load’ was the stage name of the Dutch ‘Electronic Dance Music’ duo Frank van Rooijen, and Niels Pijpers, who charted twice in the UK, first with ‘Blow Ya Mind,’ which was released in 1999, but didn’t reach the top 40 until 2000, when it peaked at Number 6, and then later on in 2000, the very similar sounding ‘House Some More,’ stalled at Number 45. Both Rooijen, and Pijpers have worked together as ‘Lock ‘n’ Load,’ jointly providing remixes for artists as diverse as Freddie Mercury, to the ‘Vendaboys.’ They have also done remixes separately, with both artists working under several different pseudonyms, Rooijen has also worked as ‘DJ Francis,’ and ‘Stylizztix.’ as well as other names, while Pijpers as worked as ‘Nilz,’ and also in groups with other artists, including the collectives ‘DC Chant,’ and ‘United DJ’s Of Utrecht.’ In 2011 Rooijen, and Pijpers were joined by the South African music producer Andre Frauenstein, who together produced new remixes of ‘Blow Ya Mind,’ Frauenstein became an official member of the group, but at the time of writing ‘Lock ‘n’ Load’ are no longer active.

‘Blow Ya Mind’ can be filed under the ‘Dance Music’ banner, in particular in the genre of ‘Hardcore.’ ‘Hardcore Techno,’ or ‘Hardcore House’ as it is also known, is a genre of ‘Electronic Dance Music’ that originated in the United Kingdom, the Netherlands, Belgium and Germany in the early 1990’s, it is distinguished by faster tempos, generally 160 to 200 BPM, or more, and often with shouted vocals. The term ‘Hardcore’ is not new in the world of ‘Pop Music.’ It was first used in the mid 1970’s within the ‘Punk Rock’ movement to describe American Punk bands like ‘Black Flag,’ and ‘Minor Threat,’ and then again in the 1980’s, it was used to describe the ‘harder side’ of ‘Hip-Hop,’ and ‘Rappers,’ such as ‘KRS-One,’ and ‘Public Enemy’ (see also best songs 578 and 35.) Early examples of ‘Hardcore’ dance tracks, include the German producer Marc Trauner, who is also known as ‘Mescalinum United,’ he claimed in 1990 to have released the first ‘Hardcore Techno’ track, with “We Have Arrived.’ Also in 1990 the London, England, based ‘Electronic/Rave’ group ‘Together,’ released the track ‘Hardcore Uproar,’ which reached Number 12 in the UK top 40, in August of that year.

‘Blow Ya Mind’ heavily samples the vocals from the 1991 Electronic/Hip-Hop song ‘Take Me Up,’ by ‘Sound Source featuring M Rock & Zemya,’ with lines including ‘Blow Ya Mind with the rocking crowd, now I’m keeping on with my word and soul,’ being constantly repeated throughout the track. ‘M Rock’ whose vocals were sampled for ‘Blow Ya Mind,’ is a Swedish artist who was born Emrik Larsson, he was a member of the Swedish ‘Funk/Hip-Hop’ group ‘The Stonefunkers’ between 1987-2001, and again since their reformation in 2009.

‘Blow Ya Mind with the rocking crowd, now I’m keeping on with my word and soul. So I’m pure perfection from the beginning to the end, I’m here once again.’

THE 1000 BEST SONGS IN THE WORLD EVER.

942-Bobby Goldsboro-Summer (The First Time.)

1973-Number 9 single.

Best Bit-At 3.23. Mission accomplished. Although I do wonder if the gender roles had been reversed, would the public have accepted the situation so easily.

Bobby Goldsboro was born Robert Charles Goldsboro on January 18th, 1941, in Marianna, Florida, United States. His music career began in high school when he joined ‘Spider and The Webs,’ who performed semi-professionally as a quintet. In 1961 ‘The Webs’ manager ‘Buddy Blue,’ (1941-2015) arranged for the band to play for Roy Orbison (1936-1988) (see also best songs 657) who was without a backing band, in a show that he had organised. The arrangement worked out well, with ‘The Webs’ becoming Orbison’s full time backing band until 1964, where they toured America, and Europe. Whilst still a member of ‘The Webs,’ Goldsboro launched his solo career, and struck gold with his fifth single release ‘See the Funny Little Clown,’ which reached Number 9 on Billboard in America in 1963, selling in excess of 1 million copies.

The discography of Bobby Goldsboro includes 26 studio Albums released between 1964-2015, and 61 singles issued between 1962-1982. In America, 11 of those singles have reached the Billboard Hot 100 top 40, with ‘Honey,’ which was also the best selling song of 1968 worldwide, giving him his only chart topper. In the UK, he has charted within the top 40 on four occasions, with ‘Honey’ reaching Number 2 in 1968, and then on it’s re-release in 1975, it once again made Number 2. Although Bobby Goldsboro is considered a Country/Pop artist, two of his songs from the mid 1960’s, ‘It’s Too Late, and ‘Too Many People,’ are both cult ‘Northern Soul’ classics.

The success of ‘Honey’ led to many television appearances, where he soon became a regular, and co-host on ‘The Mike Douglas Show.’ Following that Goldsboro went on to host his own syndicated television series ‘The Bobby Goldsboro Show,’ between 1973-1976. In 1995, he created the children’s television series ‘The Swamp Critters of Lost Lagoon.’ Goldsboro voiced all the characters, wrote all the scripts, and played all the musical instruments in the show, which was aimed at the 2-8 years age group, and ran for 52 episodes, between 1996-2001.

‘Summer (The First Time’) which was also the title of Bobby Goldsboro’s 19th studio Album from 1973, was co-written by Goldsboro, Ashley Abram, and Timmy Tappan, (1946-2013) with the production being by Bob Montgomery, and Bobby Goldsboro. Bob Montgomery was born on May 12th, 1937, in Lampasas, Texas, United States, he died of Parkinson’s disease in 2014, at the age of 77. Montgomery was a songwriting partner, and best friend of the legendary Buddy Holly, (1936-1959) (see also best songs 898 and 264) and together they performed together as teenagers in high school as ‘Buddy and Bob.’ When Holly was lured away to start a solo career in 1955, Montgomery didn’t lose touch, and co-wrote with Holly the hits ‘Heartbeat,’ (1958) and ‘Love’s Made a Fool of You,’ (1958) amongst others. Montgomery also wrote the Country Music standard ‘Misty Blue’ in 1966, and produced ‘Honey’ for Bobby Goldsboro in 1968.

‘Summer (The First Time’) is about someone reminiscing about being a 17 year old boy, having his first romantic experience with a 31-year-old woman during the summertime. Bobby Goldsboro has said that the song was loosely based on something that happened to him with someone older, but not as romantic as that depicted in this song. It is also believed that Goldsboro took inspiration for the song from the 1971 film ‘Summer of 42.’ The Canadian singer Bryan Adams has stated that he was inspired by that film to write ‘Summer of 69’ (see also best songs 1003.) ‘Summer (The First Time’) has a memorable piano riff throughout the song, which was written by Timmy Tappan, for which he received writing credits. The song opens with the sounds of ocean waves and seagulls, which were taken from a sound effect library. The label (United Artists) had wanted to remove these sounds to shorten the song, but Goldsboro insisted that they be kept in.

Earlier on I asked whether the song would have worked as well had it been gender reversed, well in 1974 the American R&B singer Millie Jackson recorded the song for her fourth studio Album ‘Caught Up,’ and her ‘Soulful’ rendition, using very nearly the same lyrics, certainly didn’t seem out of place to me.

‘And then she smiled, then we talked for a while, then we walked for a mile to the sea. We sat on the sand, and a boy took her hand, but I saw the sun rise as a man.’

THE 1000 BEST SONGS IN THE WORLD EVER.

943-DJ Snake and Lil Jon-Turn Down for What.

2014-Number 23 single.

Best Bit-At 2.15. The songs title is urban slang. To ‘Turn Up’ is to do something that you want to do, for example have a drink at a party. So to ‘Turn Down’ is to do the opposite, to not want to do something.

DJ Snake is the stage name of William Sami Etienne Grigahcine, who was born on June 13th, 1986, in Paris, France, in his youth he produced graffiti art, which earned him the name ‘snake’ as he consistently managed to evade the attentions of the police. DJ Snake has said,’When I started DJ-ing, everyone called me ‘Snake’ in my city first, I was like ‘DJ Snake, OK let’s go for it.’ The name sucks, but it’s too late now.” DJ Snake first came to international attention in 2011 when he was credited as one of the four producers of ‘Government Hooker,’ which is track 3 on ‘Born This Way,’ the second studio Album by Lady Gaga ( see also best songs 363.) The discography of DJ Snake includes two studio Albums released in 2016, and 2019, and 31 singles that have been issued between 2013-2022. In France eight of those singles have reached that top 40 with ‘Let Me Love You’ featuring Justin Bieber, making Number 1 in 2016. In the UK, he has charted on five occasions, with ‘Lean On Me’ with Major Lazer featuring MO, (2015) and ‘Let Me Love You,’ both reaching Number 2. While in America on Billboard, six of those singles have made the top 40, with the two aforementioned tracks, and ‘Turn Down for What,’ all peaking at Number 4.

Lil Jon was born Jonathan Howard Smith on January 17th, 1971, in Atlanta, Georgia, United States, he was instrumental in the emergence of the ‘Hip-Hop’ sub-genre ‘Crunk,’ and is credited with bringing the genre into mainstream success (see also best songs 982.) To date Lil Jon has released seven studio Albums between 1997-2010, and 15 singles as lead artist between 1997-2019. In America on Billboard, five of those singles have reached the top 40, with ‘Get Low’ charting the highest at Number 2 in 2003. Lil Jon has also charted on Billboard as the featured artist on 10 occasions, with ‘Yeah!’ by Usher, which also features Ludacris, topping that chart in 2003.

‘Turn Down for What’ was co-written by DJ Snake, Lil Jon, Martin Bresso, and Steve Guess, who are both long term collaborators with DJ Snake, the song was produced by DJ Snake, Lil Jon, and Martin Bresso, under his working name of ‘Tchami.’ On the evolution of the song Lil Jon has said,’When DJ Snake sent me the track with a sample of ‘Redman’ saying ‘Bang the underground,’ he wanted me to redo it with my voice. When I heard the song I was like this beat is too crazy for that sample. I wanted to make it hip and current, and the first thing that came to mind was the phrase ‘Turn Down For What!’ Lil Jon has also gone on to say.’The genre of the song is dance, but it’s really a Hip-Hop beat.” ‘It captures a moment with people, they listen to the song, and no matter what they’re doing, it pushes them to do something. If you’re in the gym and it comes on, it’s like, why are you going to stop? Work out harder! If you’re out partying and the song comes on, it’s like, let’s have another shot!”

‘Turn Down for What’ is filed under the ‘EDM Trap’ music genre.’Trap’ is a sub-genre of ‘Hip-Hop’ music that originated in the Southern United States during the late 1980’s.The genre gets its name from the Atlanta slang word ‘Trap,’ meaning a house that is used exclusively to sell drugs. Trap music uses synthesised drums and is characterised by complex ‘hi-hat’ patterns, and tuned kick drums, which were originally provided from the ‘Roland TR-808 drum machine.’ The lyrical content of ‘Trap’ music often focuses on drug use, and urban violence.

‘Turn Down for What’ ended the year as the seventh best selling song in America in 2014, with sales just falling short of 3.5 million copies sold. The songs memorable video has been equally successful, surpassing one billion views in November 2020. The song has very few lyrics, and apart from Lil Jon speaking ‘Turn down for what, the only other words he utters are ‘Fire up that loud, another round of shots,’ which according to the urban slang dictionary means, keep the music blaring, keep drinking, keep the party going.’

‘Fire up that loud, another round of shots. Turn down for what?’

THE 1000 BEST SONGS IN THE WORLD EVER.

944-Ella Fitzgerald-Anything Goes.

1956-It has never been released as a single in the UK.

Best Bit-At 0.47. Perhaps if Cole Porter had lived long enough to see ‘Punk Rock,’ and ‘Gangsta Rap’ he may have been more tolerant of his own era.

‘Anything Goes’ was written by Cole Porter for the 1934 musical ‘Anything Goes,’ it was based on an original script collaborated on by the Anglo/American playwright Guy Bolton, (1884-1979) and the English writer P.G. Wodehouse, (1881-1975) but shortly before it went in to production it was heavily revised by the team of the American playwrights Howard Lindsay, (1889-1968) and Russel Crouse (1893-1966.)

Cole Albert Porter (see also best songs 655-295 and 73) was born on June 9th, 1891, in Peru, Indiana, United States, he died of kidney failure on October 15th, 1964, at the age pf 73. Porter is one of the most celebrated composers of the 20th Century, with many of the songs that he wrote for stage musicals, later being used when those shows were made in to films. Dozens of his compositions have been covered by generations of artists, with several of those songs being acknowledged as part of the ‘Great American Songbook.’ There are 31 songs from the ‘Great American Songbook’ on this ‘1000 Best Songs’ list (see best songs 281 for the listing.) Most music critics agree that Cole Porters ‘golden era’ was during the 1920’s, and 1930’s,as in 1937 Porter suffered a serious horseback riding accident that left him disabled and in constant pain, which affected his future work, although in 1948 he made a triumphant comeback with his most successful musical, ‘Kiss Me, Kate,’ which won the first ‘Tony Award’ for ‘Best Musical’ in 1949. ‘Anything Goes’ may appear to some as prudish, but Cole Porter was far from that. Porter was a homosexual in an era where it was frowned upon, but it is said that in private he used his wealth to extravagantly live life to the full.

‘Anything Goes’ has been recorded on hundreds of occasions down the decades, including by many of the world’s most renowned artists. The version I have chosen was the first of two significant recordings by Ella Fitzgerald (1917-1966) (see also best songs 702-286-231 and 100.) This 1956 recording was released on the ‘Verve’ record label, and was track 2 of 32 Cole Porter written songs on the double Album ‘Ella Fitzgerald Sings the Cole Porter Song Book,’ with the production being by Norman Granz (1918-2001) (see also best songs 286 and 100) In 1972 Ella Fitzgerald recorded a second Album of Cole Porter songs called ‘Ella Loves Cole,’ which this time was issued on one disc, that was released on the ‘Atlantic’ records label, and included 12 tracks. This time her version of ‘Anything Goes’ which was produced by Nelson Riddle, (1921-1985) (see also best songs 877-286 and 73) was a far more uptempo re-make.

‘Anything Goes’ has a fascinating lyric, warning that the people of today (1934) are becoming morally out of control, and they should look for guidance from their predecessors. Cole Porter probably meant by that the ‘Edwardian’ era (1901-1910) when ‘Showing a glimpse of stocking was something shocking. Porter was also not afraid to state his thoughts about well known people, and celebrities of the day, in the songs lyrics, but you will have to seek out some of the other versions by various artists in order to hear the verses in full, as Ella Fitzgerald edits out the most controversial bits in her recordings.

One of the earliest, and most popular versions that include all of the lyrics is the 1934 recording by ‘Paul Whiteman (1890-1967) and his Orchestra,’ with vocals by Ramona Davis (1909-1972.) ‘Anything Goes’ opening verse mentions ‘Plymouth Rock,’ in Massachusetts, United States, many believe that the lyrics influenced a 1964 speech by the ‘Civil Rights Movement’ minister ‘Malcolm X,’ (1925-1965) who said,’Our forefathers were not the Pilgrims, we didn’t land on Plymouth Rock, the rock was landed on us.’ ‘Anything Goes’ also mentions the Hollywood sex symbol ‘Mae West,’ (1893-1980) the industrialist John D. Rockefeller, (1839-1937) the film producer Max Gordon, (1892-1978) and the wealthy American Vanderbilt family.

‘The world has gone mad today and good’s bad today, and black’s white today, and day’s night today, and that gent today, you gave a cent today, once had several chateaux.’

THE 1000 BEST SONGS IN THE WORLD EVER.

945-Billy Idol-White Wedding.

1982-It didn’t chart when first issued, and then again it failed to chart when re-issued in 1983. The song finally became a hit when it was again re-released in 1985, and reached Number 6.

Best Bit-At 2.24. ‘Love is the Drug.’

Billy Idol was born William Michael Albert Broad on November 30th, 1955, in Stanmore, London, England, his stage name derives from his school geography teacher who wrote on his report that ‘Billy was Idle.’ Billy Idol has said that he chose ‘Idol’ instead of ‘Idle’ as he felt it was too similar to ‘Eric Idle’ of ‘Monty Python’ fame.

Billy Idol began his music career as a guitarist with the English Punk Rock group ‘Chelsea’ in 1976, it was that bands frontman ‘Gene October’ who advised Idol to change his short sighted eye-glasses for contact lenses, and dye his hair blonde with a crew cut, for a retro 1950’s ‘Rocker’ look. Later on in 1976, Idol, along with fellow ‘Chelsea’ band mate Tony James, (see also best songs 163) left that group to form the ‘Punk Rock’ inspired ‘Generation X.’ Billy Idol would release three studio Albums with Generation X, between 1978-1981, and nine singles between 1977-1981, with ‘King Rocker’ from 1979 charting the highest in the UK at Number 11.

After Generation X disbanded in 1981, Billy Idol moved to New York City, United States, in order to pursue a solo career, where he teamed up with the American guitarist Steve Stevens. Together Idol and Stevens have worked together on seven Billy Idol Album projects between 1982-2022. Stevens who was born Steven Bruce Schneider on May 5th, 1959, in New York City, has worked with many other artists as well, including Michael Jackson, (‘Dirty Diana’-1987) and also on the soundtrack of the movie ‘Top Gun’ in 1986.

The solo discography of Billy Idol includes seven studio Albums that have been released between 1982-2014, and 37 singles that have been issued between 1981-2022. In the UK, 10 of those singles have made the top 40, with ‘White Wedding,’ (1985) and ‘Rebel Yell,’ (1985) both charting the highest at Number 6. In America on the Billboard Hot 100 singles chart, Billy Idol has charted within the top 40 on nine occasions, with his live cover version of ‘Mony Mony’ making Number 1 in 1987. In America ‘White Wedding’ reached a peak of Number 36 on it’s first release, in 1982.

‘White Wedding’ was the second of two singles released from Billy Idol’s self titled debut studio Album from July 1982, all of the Albums 10 tracks were either written or co-written by Idol, with the production by Keith Forsey, who also played the drums on ‘White Wedding.’ Forsey who was born on January 2nd, 1948, in London, England, was involved heavily in the ‘Disco’ boom of the mid to late 1970’s, and can be heard playing the drums on the 1979 Donna Summer Album ‘Bad Girls,’ and the 1979 Album ‘No. 1 in Heaven,’ which was the eighth studio Album from ‘Sparks.’ Both of those Albums were produced by Giorgio Moroder, (see also best songs 78 and 11) who was a big influence on Forsey’s future work as a music producer. Other career highlights for Forsey include co-writing ‘Flashdance…What a Feeling,’ a 1983 Billboard Number 1 single for Irene Cara, (1959-2022) and co-writing and producing ‘Don’t You (Forget About Me’) a 1985 Billboard Number 1 single for Simple Minds (see also best songs 897.)

Billy Idol has explained what ‘White Wedding’ is about,’My sister was pregnant. She was getting married and there was no argument or anything, but I thought about all the different people and all the times past when that was such a taboo thing. I thought about that, the taboo nature and the convention, and the wedding being such a celebration, but then it turns into something like a shotgun wedding. Then it went on from there.Then I thought about this incestuous kind of sick brother who’s gallivanting across the globe on some wild… who knows what he’s looking for, leading a completely unconventional life, leaving behind all your friends and just going and going, and all those things started to play into the song.’

Billy Idol has struggled with alcoholism, and and drug addition, with his drug history including heroin and cocaine. My own personal opinion of what ‘White Wedding’ really means is completely different to what Billy Idol has stated. My interpretation is that the song is about ‘crack cocaine,’ as the clues are are far too many to be coincidental. ‘Crack’ is often referred to as ‘cocaine’s ‘Little Sister,’ since it is cheaper to buy. The ‘White Wedding’ is when a cocaine, or crack addict quits, only to ‘Start Again.’ The ‘Shotgun’ is referring to the practise where smoked drugs are exhaled by one user, in to the mouth of another user.

‘Hey little sister, who is it you’re with? Hey little sister, what’s your vice and wish? Hey little sister, shotgun, oh yeah, hey little sister, who’s your Superman? Hey little sister, shotgun. It’s a nice day to start again, it’s a nice day for a white wedding.’

THE 1000 BEST SONGS IN THE WORLD EVER.

946-Elton John-Crocodile Rock.

1972-Number 5 single.

Best Bit-At 1.58. Elton name checks the Bill Haley song ‘Rock Around the Clock,’ (see also best songs 628) surely ‘See You Later Alligator’ is more appropriate.

‘Crocodile Rock’ was, as with the majority of their songs, co-written by Elton John, (music) and Bernie Taupin (lyrics) (see also best songs 481-237 and 62.) The song was the first of two singles released from Elton John’s sixth studio Album ‘Don’t Shoot Me I’m Only the Piano Player,’ from January 1973, with production by Gus Dudgeon (1942-2002.) The Albums title came from Elton’s friend, the actor/comedian Groucho Marx (1890-1977.) Elton was playing the piano at a party at Groucho’s home, Groucho, who referred to him as ‘John Elton’, held out his middle and index finger in the style of a pistol. Elton then raised his hands and said ‘Don’t shoot me, I’m only the piano player’ at Marx’s gun imitation.

‘Crocodile Rock’ and it’s parent Album were produced by Gus Dudgeon, who was born Angus Boyd Dudgeon, on September 30th, 1942, in Woking, Surrey, England, in total Dudgeon worked on nine studio Albums with Elton John, seven of which reached Number 1 on Billboard in America. Dudgeon also worked with several other high profile artists during the course of his career including Joan Armatrading, Elkie Brookes, and Chris Rea. Dudgeon was also the producer of David Bowie’s 1969 single ‘Space Oddity.’ Tony Visconti (see also best songs 386-302-209 and 118) who had produced the songs parent Album ‘David Bowie (Space Oddity,’) didn’t want to produce ‘Space Oddity’ as he saw it as only a ‘novelty’ song. On July 21st, 2002, Gus Dudgeon and his wife Sheila died when their vehicle veered off the motorway between Reading and Maidenhead, in England. The inquest recorded a verdict of accidental death, noting that he was intoxicated and had possibly fallen asleep at the wheel while driving well in excess of the speed limit. He and his wife both suffered severe head injuries, and were trapped in the car which landed in a storm drain, and may they have drowned.

‘Crocodile Rock’ gave Elton John the first of his nine American Billboard Number 1 singles in 1972, enabling him to go on and become the best selling singles artist worldwide in the 1970’s decade. Both Elton John, and Bernie Taupin do not shy away from the fact that ‘Crocodile Rock’ borrows heavily from the music of the late 1950’s and early 1960’s, in fact it was recorded that way on purpose. For example if you listen to the Del Shannon 1962 song ‘Cry Myself To Sleep,’ or The Diamonds 1957 hit ‘Little Darlin,” you will hear where the inspiration for the ‘La, La, La,’ refrain comes from. In 1974 Buddy Kaye, the composer of the 1961 song ‘Speedy Gonzales,’ filed a lawsuit against John and Taupin, a settlement was agreed out of court. It is also worth taking a listen to the intro of the 1962 song ‘Let’s Dance’ by Chris Montez, to hear where further inspiration was taken. Another song that had inspired Elton John was ‘Eagle Rock,’ by the Australian band ‘Daddy Cool.’ Elton John heard the song and the group on his 1972 Australian tour, and was greatly impressed by it. A photo included in the ‘Don’t Shoot Me I’m Only the Piano Player’ Album packaging features Bernie Taupin, wearing a ‘Daddy Who?’ promotional badge. Incidentally ‘Eagle Rock’ would go on to become the best selling single of the 1970’s in Australia, with sales in excess of 1 million copies, and spending 10 weeks at Number 1 on the ‘Aria’ chart.

Neither Elton John or Bernie Taupin see ‘Crocodile Rock’ as amongst their best works, with Elton having described the song as ‘Disposable Pop.’ Bernie Taupin has said,’I don’t want people to remember me for ‘Crocodile Rock.’ I’d much rather they remember me for songs like ‘Candle In The Wind’ and ‘Empty Garden,’ songs that convey a message. Well, they don’t really need to convey a message, as long as they can convey a feeling. But there are things like ‘Crocodile Rock,’ which was fun at the time, but it was Pop fluff. It was like, ‘Okay, that was fun for now, throw it away, and here’s the next one. So there’s a certain element of our music that is disposable, but I think you’ll find that in anybody’s catalogue.’

‘Crocodile Rock’ sees the narrator longing to return to the days of his youth, when he would dance with his girlfriend Suzie to a dance routine that they called the ‘Crocodile Rock.’ As time passed by Suzie left him for someone else, and music tastes changed. He now reminisces of those wonderful days.

‘Well Crocodile Rocking is something shocking when your feet just can’t keep still, I never knew me a better time and I guess I never will. Oh Lawdy mama those Friday nights when Suzie wore her dresses tight, and the Crocodile Rocking was out of sight.’

THE 1000 BEST SONGS IN THE WORLD EVER.

947-Ocean Colour Scene-Hundred Mile High City.

1997-Number 4 single.

Best Bit-At 3.25. If electric guitars could report physical abuse, then this lot would be in big trouble with the guitar police.

Ocean Colour Scene were formed in 1989, in Solihull, England, by the coming together of two local bands who had recently split. Simon Fowler, (vocals and guitar) Oscar Harrison, (drums) and Damon Minchella, (bass) had all previously been members of the Birmingham based band ‘The Fanatics,’ while the fourth member Stephen Cradock, (vocals, and guitar) had been a member of the Solihull based band ‘The Boys. After the disappointing sales of Ocean Colour Scene’s self titled debut Album in 1992, things finally began to take a turn for the better when Paul Weller (see also best songs 670-94 and 59) invited the band to support him on some tour dates. Ocean Colour Scene which is often abbreviated to ‘OCS’ then came to the attention of Noel Gallagher, (see also best songs 1006-758 and 15) which in turn led to ‘OCS’ supporting Oasis on their 1995 tour, and a contract being signed with ‘MCA Records.’

Ocean Colour Scene who biggest commercial success came at the height of ‘Britop’ in the mid 1990’s, play a mixture of ‘Blues Rock,’ and ‘Alternative Rock,’ and to date have released 10 studio Albums between 1992-2013, and 34 singles between 1990-2013, they have also issued seven live Albums, and four compilations. In the UK where they have achieved their greatest success, 17 of their singles have reached that charts top 40, with ‘Hundred Mile High City,’ and ‘The Day We Caught the Train,’ (1996) both charting the highest, when peaking at Number 4. In total there have been seven different members of Ocean Colour Scene come and go, and at the time of writing they remain active, with all current and previous members, having had pursued other musical projects over the years.

‘Hundred Mile High City’ was the first of four singles released from Ocean Colour Scene’s third studio Album ‘Marchin’ Already,’ from September 1997. All the members of ‘OCS’ at that time received the songwriting credits, with the production being by Brendan Lynch, and Martin ‘Max’ Heyes. Brendan Lynch is a London based music producer, who through the course of his career has also produced for the likes of Paul Weller, and Primal Scream. In 1996 Lynch became the first person ever to officially remix an Oasis song, when he reworked ‘Champagne Supanova’ (see also best songs 758.) ‘Marchin’ Already’ would prove to be the groups biggest success, giving them their only UK Number 1 Album to date. The Album knocked Oasis’ ‘Be Here Now’ off the top spot, which led to Noel Gallagher sending ‘OCS’ his congratulations through a plaque on which he had inscribed, ‘To The Second Best Band In Britain.’ Steve Cradock famously replied, ‘It’s an honour to be described as Britain’s second best band, ahead of Oasis, but behind the Beatles.’ In 1998 ‘Hundred Mile High City’ was one of the songs chosen for the British/American black comedy crime film ‘Lock, Stock and Two Smoking Barrels,’ which led to the song becoming a staple of ‘Alternative Rock Music’ radio stations in America, and giving them exposure in the States.

In an interview in 2002 Steve Cradock explained what ‘Hundred Mile High City’s’ real meaning is, saying it was written about a friend of his who was in a deep depression over a failed love affair. Cradock went on to say that his friend was mortified because he had been oblivious to his own behaviour, which had led to an emotional breakdown. Cradock has said that the song is about the desperation of a love lost, and the need to escape the pain, (possibly through suicide) as he realises that he was the architect of his own downfall.

‘I get a need and I’m wanting to please it. I gotta face and I’m wanting to feel it. The more I feel is the more that I need it, the more I need is the less I believe it.’

THE 1000 BEST SONGS IN THE WORLD EVER.

948-Martha Reeves & The Vandellas-Dancing in the Street.

1964-Number 28 single. When it was re-issued in 1969 it peaked at Number 4.

Best Bit-At 1.35. Ever tried doing a mobile disco outdoors in England. If it doesn’t rain, then it’s probably two windy, or both. If it’s not two cold, then ever so occasionally it could be far two hot. And as for the neighbours telling you to turn it down, best not go there.

Martha and the Vandellas were formed in Detroit, Michigan, in 1957, by Annette Beard, Rosalind Ashford, and Gloria Williams, (1942-2000) they were joined by Martha Reeves, who was a friend of Williams in 1960, originally calling themselves ‘The Del-Phis.’ After the failure of their first two singles, Martha Reeves left the group to pursue a solo career, where she was spotted singing in a Detroit club by ‘Motown Records’ songwriter and producer William ‘Mickey’ Stevenson, who offered her an audition. Initially Reeves was hired to provide background vocals, which led to her getting back in touch with ‘The Del-Phis’ who had now become ‘The Vels,’ with some changes in members, and as a quartet they impressed Motown supremo Berry Gordy, who offered the quartet a contract, and changed their name to ‘The Vandellas.’ It was in 1967 that the group officially became ‘Martha Reeves & The Vandellas, and they remained active until 1972, in total there have been nine different members come and go, and since the turn of the Century there are two different groups of former members touring, and using the names ‘Martha Reeves & The Vandellas,’ and ‘The Original Vandellas.’

The discography of ‘Martha Reeves & The Vandellas’ includes eight studio Albums released between 1963-1972, and 29 singles that were issued between 1961-1973. In America on the Billboard Hot 100 singles chart, 12 of those singles have reached the top 40, with ‘Dancing in the Street,’ charting the highest at Number 2 in 1964, while in the UK, they have charted on seven occasions, with the 1969 re-issue of ‘Dancing in the Street’ being their most successful, when reaching Number 4.

‘Dancing in the Street’ is one of Tamla Motown’s best known and most successful songs. It was co-written by Marvin Gaye, (1939-1984) (see also best songs 723-183 and 114) who also played drums on the track, William ‘Mickey’ Stevenson, and Ivy Jo Hunter (1940-2022.) The song later appeared on the debut studio Album ‘Dance Party’ by ‘Martha & The Vandellas’ in April 1965. Stevenson who was born in Detroit joined Tamla/Motown in 1959 the year it was founded, and was head of the A&R department during ‘the glory years.’ Other Motown classics he co-wrote include ‘Needle in a Haystack, a hit for ‘The Velvelettes,’ (see also best songs 346.) and ‘It Takes Two,’ for Marvin Gaye and Kim Weston. Ivy Jo Hunter was also born in Detroit, Michigan, and began working for Motown after being introduced to Stevenson in the early 1960’s by Hank Cosby (1928-2002) who was also a songwriter and producer at the label. Hunter wrote songs for many of Motown’s top acts including The Isley Brothers, ‘Behind a Painted Smile,’ (UK Number 5 in 1967) and for the Four Tops ‘Ask the Lonely’ (Billboard Number 24 in 1965.)

The idea for ‘Dancing in the Street’ came about while William ‘Mickey’ Stevenson, and Marvin Gaye were driving through Detroit. During the summer the city would open up fire hydrants and let water out in to the streets so people could cool off, what Stevenson saw appeared to him to be people dancing in the water in the street. The song became surrounded in controversy, with the height of it’s success concurring with riots in inner-city America, with many young black demonstrators citing the song as a ‘Civil Rights Anthem’ for social change. Martha Reeves strongly refutes any connection between the song and the ‘Civil Rights Movement,’ and it is also well known that Berry Gordy was extremely wary about affiliating his business with any organisation that might negatively influence his company’s commercial success.

‘Dancing in the Street’ has many cover versions, with the most memorable being the 1985 collaboration between David Bowie, (1947-2016) and Mick Jagger, in order to raise money for the ‘Live Aid’ famine relief cause. The iconic music video was shown twice during the ‘Live Aid’ event, helping to significantly boost charitable donations. In the UK the song sold in excess of 660,000 copies, and spent four weeks at Number 1, while in America the song peaked at Number 7 on Billboard.

‘It’s an invitation across the nation a chance for folks to meet. There’ll be laughing, singing, and music swinging, dancing in the street. Philadelphia, P.A. Baltimore and DC now, can’t forget the Motor City.’