THE 1000 BEST SONGS IN THE WORLD EVER.

241-Humanoid-Stakker Humanoid.

1988-Number 17 single. It was remixed in 1992, and reached Number 40.

Best Bit-At 1.15. Back in 1988 radio disc jockeys were still allowed to choose some of the music for their radio shows. It was BBC Radio 1 DJ Bruno Brookes who by making this song his record of the week, introduced ‘Acid House’ music to the UK top 40 singles chart.

‘Acid House’ music is a sub-genre of ‘House Music’ which was developed around the mid 1980’s by DJ’s from Chicago. The sounds are primarily produced on the ‘Roland TB-303’ electronic bass synthesizer-sequencer, an innovation attributed to the Chicago music producers ‘DJ Pierre,’ (Nathaniel Pierre Jones) and ‘Sleezy D,’ (Derrick Harris) who died in 2019. Acid House music became popular in the UK in 1988, but because of it being associated with the drug ‘Ecstasy’ many of the radio stations refused to play the songs associated with the genre.

‘Stakker Humanoid’ was the first of four singles released from ‘Global,’ which was the debut studio Album from Humanoid, from 1989, the song was written by Brian Dougans, with the production being by Dougans and John Laker, who also helped arrange and engineer the track. As ‘Humanoid,’ Dougans released a further five singles all in 1989, which all failed to chart. A compilation Album called ‘Global’ was released in 1989, and a further three compilations, and remix Albums of his work from around that time were made available in the noughties.

Brian Dougans was born Brian Robert Dougans in 1965, in Glasgow, Scotland, United Kingdom, he is a musician, composer, and music producer. Dougans is best known as being one half of the British Electronic Music duo ‘The Future Sound of London,’ along with Garry Cobain, who was born Garry John Cobain on May 16th, 1967, in Bedford, London, England, they first met in 1985 while studying electronics at university in Manchester, England. The duo formed ‘The Future Sound of London’ (often abbreviated FSOL) in 1988, they have been described as a ‘boundary-pushing’ electronic act, covering ‘Techno,’ ‘Ambient,’ ‘House Music,’ ‘Trip Hop,’ ‘Psychedelia,’ and ‘Dub.’ Brian Douglas and Garry Cobain were the first artists to have their music downloaded from the internet, on June 22nd, 1994, an achievement acknowledged by the ‘Guinness World Records.’ As ‘The Future Sound of London,’ the duo have released 42 Albums between 1992-2023, and 19 singles between 1991-2024, with seven of those singles reaching the UK top 40, with ‘We Have Explosive,’ peaking the highest at Number 12 in 1997. Dougans and Cobain have also released music using other names, including ‘Metal Cube,’ and ‘Amorphous Androgynous,’ and they have also done remixes for other artists, the results of which in some instances, the original track is barely recognisable.

Brian Dougans has said that ‘Stakker Humanoid’ was created as the result of a collaboration with video artists ‘Stakker Communications.’ Next came a deal with ‘Westside Records,’ who paid Dougans £75 for an edited version of the track to appear on a compilation designed to cash in on the fledgling ‘Acid House’ craze. A promotional tape sent to DJ’s in September 1988 described it as ‘Just one of the tracks from the shoomest Acid Album ever produced … it’s twisted!’ Sure enough, when Shoom DJ Colin Faver (1951-2015) played the promo for the first time at the legendary London Acid House club, ‘The place just exploded,’ Dougans recalled. Bruno Brookes who introduced ‘Humanoid’ on ‘Top of the Pops’ in December 1988 has said, ‘I still love it.’ According to Brookes, he was given a white label of the record and immediately fell under its spell. ‘It just got to me. I remember listening to it and thinking it was one step ahead of everything ‘Techno’ that was coming out. It wasn’t copying anything else, it was just fabulous.’

‘Humanoid’ is considered to be a ground breaking song. As well as receiving promotion from BBC Radio 1, the song was also a favourite of the music producer Pete Waterman, (see also best songs 627) who promoted the track on his new television dance music programme ‘The Hitman and Her.’ Surprisingly since ‘Acid House’ music was under a ban from many media outlets, Brian Dougans was invited to perform the song on the BBC ‘Top of the Pops’ music programme. Dougans has said, ’It was a bit of a crazy day out, the producers insisted that if there were any vocals on a track, somebody had to sing them. I was like, ‘It’s a fuc#ing computer, man,’ (referring to Humanoid’s spoken refrain, which was sampled from the arcade game Berzerk) but somebody had to be singing the words, hence why I had a little microphone. If you actually look closely, you see me mouthing the words. They made me do it. The basta#ds!’ Bruno Brookes and Pete Waterman were not the only famous names who were fans of ‘Stakker Humanoid,’ as in 2011 Noel Gallagher (see also best songs 1006-758 and 15) revealed ‘What a fuc#ing tune ‘Stakker Humanoid’ is! I didn’t realise it was them (Future Sound of London) until we were about halfway through recording. Someone mentioned that track halfway through recording (his collaborative album with Amorphous Androgynous) and I was like, ‘You’re fuc#ing joking … shut up … get the fu#k out of here!’ I had to stop and give them a hug. I used to love that tune!’

THE 1000 BEST SONGS IN THE WORLD EVER.

242-Shel Silverstein-25 Minutes to Go.

1962-It has never been released as a single in the UK.

Best Bit-At 0.20. If your looking for a happy ending I’m afraid you’ve come to the wrong song.

Shel Silverstein was born Sheldon Allan Silverstein on September 25th, 1930, in Chicago, Illinois, United States, he died on May 10th, 1999, of a heart attack at the age of 68. Shel Silverstein had many strings to his bow, including being a celebrated songwriter, author, cartoonist, poet, and playwright. Possibly because of his success in other fields, his songwriting talent may have gone under the radar to a point. Shel Silverstein was a prolific writer for theatre, film. and television. In January 1959, ‘Look, Charlie: A Short History of the Pratfall,’ was a off-Broadway comedy staged by Silverstein and others, he would go on to write more than 100 one-act plays. As a children’s author, some of his most acclaimed works include ‘The Giving Tree,’ (1964) ‘Where the Sidewalk Ends,’ (1974) and ‘A Light in the Attic’ (1981.) His works have been translated into more than 47 languages and have sold more than 20 million copies. In 1949 Silverstein was drafted into the United States Army, where he served in Japan and Korea until 1955. In 1957, he became one of the leading cartoonists in the American men’s entertainment magazine ‘Playboy,’ which sent him around the world to create an illustrated travel journal with reports from many different locations, through until the mid 1970’s. Shel Silverstein never married, and according to the 2007 biography ‘A Boy Named Shel,’ he had sex with ‘hundreds, perhaps thousands of women.’ He was also a frequent presence at Hugh Hefner’s ‘Playboy Mansion’ and ‘Playboy Clubs.’ He did have a daughter named Shoshanna, who died of a cerebral aneurysm on April 24th, 1982, at the age of 11. Shel Silverstein was posthumously inducted into the ‘Nashville Songwriters Hall of Fame’ in 2002, and was inducted into the ‘Chicago Literary Hall of Fame’ in 2014. He has had 18 official Albums released between 1959-2010, and many of his songs have appeared in films and television programmes. He also wrote all of the songs for the first two studio Albums recorded by Dr. Hook & the Medicine Show in 1971 and 1972, which include the major hits ‘Sylvia’s Mother’ (UK Number 2) and ‘The Cover of the Rolling Stone,’ (Billboard Number 6) he also wrote many more songs for that band through the course of their career. Shel Silverstein though will always (musically) be best remembered for writing ‘A Boy Named Sue,’ which would become a major hit for Johnny Cash (see also best songs 857-428 and 199) when reaching Number 4 in the UK, and Number 2 on the Billboard Hot 100 in America in 1969.

’25 Minutes to Go’ should be filed under the genre of ‘Country Music,’ it was written by Shel Silverstein for his second studio Album ‘Inside Folk Songs’ released in 1962. The song is about a prisoner awaiting execution by hanging. Each verse consists of two lines of which the first is humorous or poignant, and the second line is a minute by minute countdown to his death, you could say it is (literally) ‘Gallows Humour’ in it’s purest form. ’25 Minutes to Go’ was notably covered by Johnny Cash (1932-2003) on his 1965 Album ‘Sings the Ballads of the True West,’ and also on his 1968 live Album, ‘At Folsom Prison,’ which I would imagine sent a shiver up and down the spine of one or two of the inmates. Other notable artists to record the song include a 2011 live version by Lou Reed (1942-2013) (see also best songs 401-165-131 and 58) with the Canadian singer Emily Haines, for a concert to celebrate the life and music of Shel Silverstein called ‘Shelebration!’ The American Grunge/Rock band Pearl Jam (see also best songs 458) also recorded a live version in 2004, which appears on their Album ‘Live at Benaroya Hall.’

’25 Minutes to Go’ is considered to be a ‘Country Music’ song, but I would personally file it in the ‘Novelty Song,’ or even ‘Comedy Song’ genre. In this ‘1000 Best Songs’ list I also consider ‘Tenacious D,’ ‘Tribute,’ (see also best songs 500) and ‘Guy Marks,’ ‘Loving You Has Made Me Bananas’ (see also best songs 908) as ‘Novelty’ or ‘Comedy’ songs. A ‘Novelty’ song is a type of song built upon some form of novel concept, such as a gimmick, a piece of humour, or a sample of popular culture. ‘Novelty’ songs partially overlap with ‘Comedy’ songs, which are more explicitly based on humour. Novelty songs first achieved great popularity in ‘Pop Music’ during the 1920’s and 1930’s, although they were a major staple of ‘Tin Pan Alley,’ (see also best songs 669-535-443 and 412) from its start in the late 19th Century. Dozens of ‘Novelty’ songs have reached the American Billboard Hot 100 singles chart, and the UK singles chart over the decades, with several reaching Number 1, including, Kay Kyser, ‘Three Little Fishes,’ (Billboard-1939) The Coasters, ‘Yakerty Yak,’ (Billboard-1958) and Bobby ‘Boris’ Pickett & the Crypt-Kickers, ‘Monster Mash’ (Billboard-1962.) In the UK, there are many memorable standouts, including, Chuck Berry, ‘My Ding-a-Ling,’ (1972) Hale & Pace, ‘The Stonk,’ (1991) and the five consecutive UK Christmas Number 1’s by LadBaby between 2018-2022.

‘With my feet on the trap, and my head on the noose, 5 more minutes to go. Won’t somebody come and cut me loose, 4 more minutes to go. I can see the mountains, I can see the skies, with 3 more minutes to go, and it’s too dern pretty for a man that don’t want to die, with 2 more minutes to go. I can see the buzzards, I can hear the crows, 1 more minute to go, and now I’m swinging, and here I go-o-o-o-o-o-o-o-o-o!’

THE 1000 BEST SONGS IN THE WORLD EVER.

243-Dobie Gray-The ‘In’ Crowd.

1965-Number 25 single.

Best Bit-At 0.57. I normally find that those who do the most bragging tend to have the least to brag about, but with two songs in this ‘1000 Best Songs’ list, Dobie Gray does have a lot to shout about.

Dobie Gray (see also best songs 845) was born Lawence Darrow Brown on July 26th, 1940, in Simonton, Texas, United States, he died of complications from cancer surgery on December 6th, 2011, at the age of 71. During his 55 years as a performer Gray worked under different stage names, including Larry Brown, and Leonard Ainsworth, but it was when signing with ‘Stripe Records’ in 1963 that they suggested that he should record as Dobie Gray, an allusion to the then popular American sitcom ‘The Many Loves of Dobie Gillis.’ Dobie Gray has said that he knew from the age of seven that he would be an entertainer, after his grandfather told him he had a good singing voice, after hearing him perform in church. In the early 1960’s Gray moved to Los Angeles, intending to pursue an acting career while also singing to make money, it was the American singer Sonny Bono (1935-1998) (see also best songs 672) who directed him toward the small independent ‘Stripe Records.’ As well as being a recording artist Dobie Gray spent two and a half years in the late 1960’s, and early 1970’s as an actor in the Los Angeles production of ‘Hair’ (see also best songs 202.)

The discography of Dobie Gray who recorded in differing genres, including Soul, R&B, Pop, and Country Music, includes 24 Albums released between 1963-2005, and an unspecified number of singles, of which 20 have charted in various territories. In America on the Billboard Hot 100, four of his singles have reached the top 40, with his cover version of the Country Music song ‘Drift Away,’ from 1973, charting the highest at Number 5. In 2003 he re-recorded ‘Drift Away’ with the American ‘Country Rock’ singer Unkle Kracker, and this time the song reached Number 9. On the Billboard Hot 100 ‘The ‘In’ Crowd’ made Number 13. In the UK, Dobie Gray’s only top 40 hit single is ‘The ‘In’ Crowd,’ which reached Number 25, but he is also responsible for the ‘Northern Soul’ favourite ‘Out on the Floor, (Number 42 in 1975) (see also best songs 845.)

‘The ‘In’ Crowd’ was written by Billy Page, and arranged by his brother Gene Page, with the production being by Fred Darian. The song was the first of two charting singles taken from Dobie Gray’s second studio Album ‘Dobie Gray Sings for “In” Crowders That Go “Go-Go,’ from 1965, the other charting track was ‘See You at the Go-Go,’ which peaked at Number 69 on the Billboard Hot 100 also in 1965. Billy Page was born William E. Page II on September 24th, 1942, in Los Angeles, California, United States, (I cannot find the date, or cause of his death) he was the younger brother of Gene Page. Other songs written by Billy Page include ‘A House Built on Sand,’ for Leslie Uggams, (1968) ‘Sugar Lump,’ for Leon Haywood, (1974) (Number 35-Billboard Hot R&B) and ‘Midnight and You,’ which was co-written with his brother Gene Page, for Solomon Burke in 1974 (Number 14-Billboard Hot R&B.) Billy Page also produced his brother Gene’s musical score for the 1972 American blaxploitation horror film ‘Blacula.’ Gene Page was born Eugene Edgar Page Jr. on September 13th, 1939, in Los Angeles, California, United States, he died on August 24th, 1998, after a long-term illness of severe alcoholism, at the age of 58. Gene Page was a conductor, composer, arranger and record producer, mainly active from the mid-1960’s through to the mid-1980’s. In addition to arranging for many of the worlds top artists, including Barbra Streisand, Barry White, (1944-2003) and Elton John, (‘Philadelphia Freedom’-1975) he also released four solo studio Albums between 1974-1980, and arranged and conducted the orchestra on Big Joe Turner’s (1911-1985) 1969 Album ‘The Real Boss of the Blues.’ Gene Page scored various motion picture soundtracks that include the 1970 American comedy ‘Brewster McCloud,’ and the 1977 American comedy film ‘Fun with Dick and Jane.’ ‘The ‘In’ Crowd’ was produced by Fred Darian who was born on June 16th, 1927, in Detroit Michigan, United States, he is an actor, composer, and singer, who released several singles in the 1950.s, and 1960’s.

Gene Page arranged ‘The In’ Crowd’ to sound very much like a ‘Motown’ song. Dobie Gray was the first to record the track, taking it to Number 13 on Billboard in February 1965, this was followed within a few months by a live recording from the Ramsey Lewis Trio, (see also best songs 525) which did even better on that chart by reaching Number 5. In the UK in 1974 Bryan Ferry (see also best songs 721-316 and 57) recorded the song for his second solo Album ‘Another Time, Another Place,’ and when it was released as a single it made Number 13. The other notable version of ‘The In’ Crowd’ is by the Mamas & the Papas on their 1966 debut studio Album ‘ If You Can Believe Your Eyes and Ears,’ with ‘Mama’ Cass Elliot on the lead vocal.

In ‘The ‘In’ Crowd’ Dobie Gray sings about the advantages of being a member of a popular clique in the ‘Swinging Sixties.’ He boasts that he knows all of the latest dances, and the best places to hang out. He speaks a cool language that only the elite will understand, and he gets respect wherever he goes. He is also using his status to try to attract girls to go out with him.

‘At a spot where the beats really hot, oh, if it’s square. we ain’t there. We make every minute count, our share is always the biggest amount. Other guys imitate us, but the original’s still the greatest.’

THE 1000 BEST SONGS IN THE WORLD EVER.

244-Suede-Trash.

1996-Number 3 single.

Best Bit-At 0.47. Trash talking, from a class act.

‘Trash’ was probably the make or break song for Suede, (see also best songs 695) or as they are known in America, ‘The London Suede,’ so as to not get them confused with another artist using the same name. Bernard Butler the bands guitarist, and co-songwriter with Brett Anderson of Suede’s first two critically acclaimed Albums had left the group in 1994, and ‘Trash’ was the first new music written without him. Anderson now had a new songwriting partner, the 17 year old Richard Oakes, who had applied to be Butler’s replacement through the bands official fan club. The response on hearing ‘Trash’ and it’s parent Album ‘Coming Up’ was received positively by music critics, with some even saying it was their best work to date. Oakes and Anderson would continue as the bands main songwriting team for all of their next six studio Albums.

The discography of Suede includes nine studio Albums released between 1993-2022, and 35 singles released 1992-2022, there are also five box sets, six official compilation Albums, and five live Albums available. In the UK, all of their studio Albums have reached the top 40, with three of them making the Number 1 position, while 19 of their singles have reached the UK top 40, with ‘Stay Together,’ (1994) and ‘Trash,’ (1996) both peaking the highest at Number 3, although ‘Trash’ is their best selling single. Perhaps Suede are a little too ‘English’ for the American market, as they still await their first hit on the Billboard 200 Album chart, or the Billboard Hot 100 singles chart.

Suede were initially active between 1989-2003, they then reformed in 2010, and at the time of writing they remain active, in total there have been nine different band members come and go, with Brett Anderson, and Mat Osman being the only two constants. Mat Osman was born Mathew David Osman on October 9th, 1967, in Welwyn Garden City, Hertfordshire, England, and is the bass guitar player with Suede. Matt Osman first met Brett Anderson in Haywards Heath, West Sussex, where they played together in early ‘Garage Rock’ bands. Osman is also a writer, and his work has been published in British magazines and newspapers. He has also published two novels, ‘The Ruins,’ in 2020, and ‘The Ghost Theatre,’ in 2023.

‘Trash’ was the first of five singles released from Suede’s third studio Album ‘Coming Up,’ from September 1996, the song was co-written by Brett Anderson and Richard Oakes, with the production being by Ed Buller (see also best songs 695 and 605.) Brett Anderson wanted ‘Coming Up’ to be an easier listen than the two previous Suede Albums, he was looking for a more commercial sound, with straightforward choruses. He has said that prior to writing the Album he was listening to the two Marc Bolan (1947-1977) (see also best songs 790-386 and 67) Albums, ‘The Slider’ (1972) and it’s follow up ‘Tanx’ (1973.) Ed Buller has explained how the recording process worked, ‘Basically, what we did, is that every track started with acoustic guitar, bongos, tambourine and Brett, so it all started life pretty much the same way that Marc Bolan recorded all of his stuff originally.’

Richard Oakes was born Richard John Oakes on October 1st, 1976, in Perivale, West London, England, he is a songwriter, and is the guitarist with Suede, he also plays piano, and provides backing vocals. His early influences included the Clash, (see also best songs 867 and 294) and prior to joining Suede in 1994 he cut his teeth playing in a band called ‘TED,’ with his friends. Oakes was a fan of Suede, and upon hearing that guitarist Bernard Butler had left the band, and that the band were auditioning for a replacement, he recorded versions of Suede songs and some of his own material on a 4 track recorder, which he sent to the band’s fan club along with a note that read ‘Take me or leave me.’ When Suede’s drummer Simon Gilbert heard Brett Anderson playing back the tape whilst going through audition tapes, he mistakenly believed it to be an early Suede demo. After the second audition Oakes was invited to join the band. At the age of 17, and after beating approximately 500 candidates, Richard Oakes officially joined Suede on September 17th, 1994, which was 2 weeks before his 18th birthday. Away from Suede, Richard Oakes has performed and recorded with the English music producer and singer Sean McGhee as the duo ‘Artmagic,’ releasing two studio Albums in 2012, and 2018.

‘Trash’ is a celebration about being different, knowing you don’t conform, and being proud of that. Brett Anderson has said, ‘It’s a song that’s kind of about being in the band and, by extension, it’s a song about the fans, and the whole kind of ethos of being a Suede… person. I actually wrote it about the band Suede. It’s a celebration of the band, but by extension, it’s a celebration of the fans as well, and it was a kind of a song written about us, as a gang, it was written about the values we stood for. And even though it sounds like a love song, it was actually about the idea of the identity of the band, and what they stood for.’

‘Oh maybe, maybe it’s the clothes we wear, the tasteless bracelets and the dye in our hair, maybe it’s our kookiness. Or maybe, maybe it’s our nowhere towns, our nothing places and our cellophane sounds, maybe it’s our looseness.’

THE 1000 BEST SONGS IN THE WORLD EVER.

245-AC/DC-Rock ‘n’ Roll Damnation.

1978-Number 24 single.

Best Bit-At 0.15. Malcolm Young (1953-2017) and Angus Young developed the idea for the band’s name after their sister Margaret Young, (1935-2019) saw the initials ‘AC/DC’ on a sewing machine. ‘AC/DC’ is an abbreviation meaning ‘alternating current/direct current’ electricity. The brothers felt that this name symbolised the band’s raw energy, power-driven performances of their music. ‘AC/DC’ (see also best songs 797 and 170) is pronounced one letter at a time, though the band are colloquially known as ‘Acca Dacca’ in Australia.

‘Rock ‘n’ Roll Damnation’ was the only single released from ‘Powerage,’ which was the fifth studio Album released by AC/DC, from May 1978, the Album version of the song which is 32 seconds longer than the 7 inch single release was co-written by Malcolm, and Angus Young, along with the bands lead singer Bon Scott, (1946-1980) with the production being by Harry Vanda, along with Malcolm and Angus’ older brother George Young (1946-2017) (see also best songs 939 and 447.) This would be the last AC/DC Album produced by Vanda and Young, who had also been responsible for the bands first four studio Albums. AC/DC’s record label had released the Album, but then realised that if they were to break into the lucrative American market they would need a commercially sounding track that the radio would play. ‘Rock ‘n’ Roll Damnation’ features hand claps and maracas, and unusually for an AC/DC song does not have a guitar solo. Once the track had been recorded it was added to future pressings of ‘Powerage’ appearing as the opening song, replacing ‘Gimme a Bullet.’ Some Albums replaced the track ‘Cold Hearted Man’ with ‘Rock ‘n’ Roll Damnation,’ but there are also pressings which include both tracks.

Malcolm Young was born Malcolm Mitchell Young on January 6th, 1953, in Glasgow, Scotland, In 2010 he was diagnosed with lung cancer, which was treated at an early stage, and the surgery was successful, and the cancer was removed. He also had an unspecified heart problem and had a pacemaker. In September 2014 it was reported that he had been diagnosed with dementia, and had been admitted to a nursing home, where he could receive full time care. Malcolm Young died from the disease on November 18th, 2017, at the age of 64. Young was a founding member of AC/DC, and was one of the groups songwriters, and the rhythm guitarist, he also provided backing vocals. As a member of AC/DC, he was inducted into the ‘Rock and Roll Hall of Fame’ in 2003. Young’s father William (1911-1985) uprooted his family from Glasgow in June 1965, after seeing a television advertisement offering assisted travel for families to start a different life in Australia. 15 members of the Young family left Scotland, including Malcolm, Angus, and George, along with the eldest brother Stephen, (1933–1989), his only sister Margaret, (1935–2019) and brother William Jr. Malcolm Young was influenced by 1950’s ‘Rock and Roll’ and ‘Blues’ based ‘Rock’ guitarists of the 1960’s and 1970’s. The American music magazine ‘Rolling Stone’ has named Young as the 38th best guitarist of all time.

‘Rock ‘n’ Roll Damnation’ is a ‘Hard Rock’ song. ‘Hard Rock’ or ‘Heavy Rock’ is a heavier sub-genre of ‘Rock’ music typified by aggressive vocals, and distorted electric guitars. Hard Rock began in the mid-1960’s with the ‘Garage,’ (see also best songs 155) ‘Psychedelic’ (see also best songs 992) and ‘Blues Rock’ (see also best songs 851) movements. Some of the earliest Hard Rock music was produced by artists including the Kinks, (see also best songs 1014 and 770) Cream, (see also best songs 726) and the Jimi Hendrix Experience (see also best songs 983 and 492.) By the 1970’s ‘Heavy Rock’ had developed into a major form of popular music, but it began losing some of it’s popularity by the 1990’s, with the commercial success of other competing genres including R&B, (see also best songs 359) Hip-Hop, (see also best songs 17) Urban Pop, (see also best songs 785) Grunge (see also best songs 9) and Britpop (see also best songs 256.) The roots of Hard Rock can be traced back to the mid-to-late 1950’s, particularly ‘Electric Blues,’ which laid the foundations for key elements such as a expressive vocal style, heavy guitar riffs, string-bending Blues-scale guitar solos, strong beat, and thick riff-laden texture.

‘Rock ‘n’ Roll Damnation’ was a breakthrough hit for AC/DC in Europe. Up until this song they had achieved six top 40 hits in Australia, but they only had a cult following elsewhere. This song would chart in the UK at Number 24, and also in The Netherlands, where it peaked at Number 18, it would be another year until they would break into the American Billboard singles chart with ‘Highway to Hell’ (see also best songs 170.) ‘Rock ‘n’ Roll Damnation’ could be considered to be loosely based on AC/DC themselves, as the lyrics tell us that it is a tough road to the top if you want to be a ‘Rock ‘N’ Roll’ star. During the course of AC/DC’s lifespan, since their formation in 1973, in Sydney, New South Wales, Australia, there have been 16 different band members come and go. The line up who played on this song, and it’s parent Album ‘Powerage’ were, Bon Scott, (vocals) Angus Young, (lead guitar) Malcolm Young, (rhythm guitar) Cliff Williams, (bass) and Phil Rudd (drums.)

‘They say that you play too loud, well baby that’s tough. They say that you got too much, can’t get enough. They tell you that you look a fool, and baby I’m a fool for you.’

THE 1000 BEST SONGS IN THE WORLD EVER.

246-De La Soul-Say No Go.

1989-Number 18 single.

Best Bit-At 0.06. How do you explain De La Soul to someone who doesn’t know of them?

De La Soul (see also best songs 444) have been described as the ‘Hip-Hop Beatles,’ and also as the ‘Hip-Hop Hippies.’ Their debut Album ‘3 Feet High and Rising’ from 1989 was released at around the same time as when ‘Gangsta Rap’ was booming, performed by acts such as Public Enemy (see also best songs 578 and 37) and N.W.A. (see also best songs 664 and 128.) The respected American writer Robert Christgau in his revue of the ‘3 Feet High and Rising’ Album in the ‘Village Voice’ in 1989 wrote, ‘An inevitable development in the class history of Rap, De La Soul is new wave, to Public Enemy’s Punk’.

De La Soul can be filed under the musical genres of ‘Alternative Hip-Hop,’ ‘Progressive Rap,’ ‘Jazz Rap,’ and ‘Golden Age Hip-Hop,’ which refers to ‘Hip-Hop’ music created from the mid or mid-late 1980’s to the early or early-mid 1990’s, There were various types of subject matter, while the music was experimental and the sampling from old records was eclectic. The American music journalist Sway Calloway has said, ‘What made the era they inaugurated worthy of the term golden was the sheer number of stylistic innovations that came into existence… in these golden years, a critical mass of mic prodigies were literally creating themselves, and their art form at the same time.’ During the ‘Golden Age of Hip-Hop,’ samples were heavily used. The ability to sample different beats, riffs and patterns from a wide variety of sources gave birth to a new breed of producers and DJ’s who did not necessarily need formal musical training or instruments, just a good ear for what samples worked well together. During this ‘Golden’ period artists and record labels were not yet aware of the permanence of Hip-Hop culture in the mainstream media, and did not yet accept it as a legitimate institution. They believe the ruling made in ‘Grand Upright Music, Ltd. v. Warner Bros. Records Inc.’ (see also best songs 111) on December 17th, 1991, marked the end of the ‘Golden Age of Hip Hop’s’ sampling practices.

The discography of De La Soul, who have sold in excess of five million Albums in America, includes eight studio Albums released between 1989-2016, and 26 singles released between 1988-2020, there are also three extended plays, (EP’s) three mixtapes, four official compilation Albums, and one live Album available. In America on the Billboard Hot 100, they have charted on just two occasions within the top 40, with ‘Me Myself I,’ (1989) making Number 34, and ‘Feel Good Inc,’ by the Gorillaz, featuring De La Soul, (2005) reaching Number 14. In the UK, De La Soul have achieved 11 top 40 hit singles, with ‘Feel Good Inc,’ by the Gorillaz, featuring De La Soul, peaking the highest at Number 2.

‘Say No Go’ was the fifth of eight singles released from De La Soul’s debut studio Album ‘3 Feet High and Rising’ from February 1989, the Album’s title comes from the 1959 song ‘Five Feet High and Rising’ from Johnny Cash (1932-2003.) The Album has been critically acclaimed as not only one of the greatest Rap Albums, but is recognised as one of the most important Albums of all time, appearing in many ‘best of’ lists. The Album is acclaimed for it’s lyrical content, and clever use of it’s numerous samples, it is also credited with introducing the ‘Hip-Hop skit,’ a style of comedic sketch used both to introduce Rap albums, and as interludes between songs. ‘Say No Go’ has song writing credits given to all three band members, Kelvin ‘Posdnuos’ Mercer, David ‘Trugoy the Dove’ Jolicoeur, (1968-2023) and Vincent ‘Maseo’ Mason, along with the songs producer Paul Huston, who is better known by his working name Prince Paul. Although the track contains at least five prominent samples, only they are credited as writers. The songs samples include ‘I Can’t Go for That (No Can Do’) from Daryl Hall & John Oates, ‘That’s The Joint’ from Funky 4+ 1,’ ‘Baby Let Me Take You (In My Arms’) by The Detroit Emeralds, ‘Crossword Puzzle’ by Sly Stone, ‘Best of My Love’ by the Emotions, ‘Dragnet (Theme Music’) by Walter Schumann, and ‘I’m Chief Kamanawanalea (We’re the Royal Macadamia Nuts’) by The Turtles. The songs message is about the evils of drugs, in particular ‘Base,’ which is Crack Cocaine, the songs title is a reference to Nancy Reagan’s (1921-2016) 1980’s anti-drug campaign ‘Just Say No.’

During the 1980’s and 1990’s, the United States faced a severe crack cocaine epidemic. This crisis particularly impacted Black urban communities, leading to increased rates of addiction, violence, and incarceration. In this context, ‘Say No Go’ is a cautionary tale about the use of drugs, David Jolicoeur, (1968-2023) of De La Soul, who went by the stage name ‘Trugoy the Dove’ has said, ‘Crack. We grew up around neighbourhoods where there was an epidemic. We knew drug dealers and some of us actually stood on the corner ourselves. We didn’t know about songs where people were boasting about being drug dealers at that time, so for us, speaking about social issues and things that were going on in our neighbourhood worked. Those three words, ‘say no go,’ kinda caught our ear, and we thought we could make that about not doing drugs.’

‘Now let’s get right on down to the skit, a baby is brought into a world of pits, and if it could’ve talked that soon in the delivery room, it would’ve asked the nurse for a hit.’

THE 1000 BEST SONGS IN THE WORLD EVER.

247-Cass Elliot-Make Your Own Kind of Music.

1969-It has never charted in the UK.

Best Bit-At 0.28. In 2005 the American science fiction adventure drama television series ‘Lost’ used this song for the opening scene of series 2, episode 1, called ‘Man of Science, Man of Faith,’ which is considered by ‘Spin Magazine’ to be one of the ‘Best Musical Moments From TV’s Latest Golden Age.’ As the man said, ‘I’ll see you in another life brother.’

‘Cass Elliot (see also best songs 660) was born Ellen Naomi Cohen on September 19th, 1941, in Baltimore, Maryland, United States, she died in her sleep due to heart failure on July 29th, 1974, at the age of 32. There are two stories as to how Ellen chose the name ‘Cass,’ one is probably due to her admiration for the American actress ‘Peggy Cass,’ (1924-1999) as Ellen was interested herself in becoming an actress, and the other is that her father called his spirited daughter ‘the mad Cassandra,’ after the Greek mythological Trojan priestess. It was quite a while after that, that she took the name ‘Elliot,’ in memory of a friend who had died.

After leaving high school to pursue an entertainment career in New York, Elliot toured in the musical ‘The Music Man’ in 1962, under the name Cass Elliot, but it was as a singer rather than an actress that she would eventually succeed. Cass Elliot started out as part of the American Folk music trio the ‘Big 3,’ with whom she recorded two Albums with, in 1963, and 1964. After the demise of the ‘Big 3’ which splintered into the Folk/Rock band the ‘Mugwumps’ she recorded one studio Album in 1965 called ‘The Mugwumps,’ as part of that quartet. That group stayed together for eight months, with Elliot then having a brief spell as a solo act, before being asked to join the ‘Mamas & the Papas’ with whom she recorded six Albums between 1966-1971. The discography of Cass Elliot as a solo artist includes eight solo Albums released between 1968-1973, with five of them being issued while she was still a member of the Mamas & the Papas, she also released 16 singles within the same time period, and there are also three official compilation Albums available. In America on the Billboard Hot 100, three of her solo singles have reached the top 40, with ‘Dream a Little Dream of Me’ peaking the highest at Number 12 in 1968, while ‘Make Your Own Kind of Music’ stalled at Number 36. In the UK, Cass Elliot has had two solo top 40 hit singles, with ‘It’s Getting Better’ peaking the highest at Number 7 in 1969.

Cass Elliot’s weight fluctuated, and she weighed over 300lb at times. She became a drug user, and had admitted to having a shot of heroin before going on stage, she also used cocaine, the embarrassment of this led to Elliot plunging into a deep depression. It was while staying in an apartment in Mayfair, London, owned by the singer Harry Nilsson (1941-1994) (see also best songs 388 and 39) on July 29th, 1974, that she died in her sleep from heart failure, the forensic pathologist who conducted the autopsy found there to be no drugs in her system. Elliot died in Flat 12, 9 Curzon Place, where four years later on September 7th, 1978, ‘The Who’s’ drummer Keith Moon (1946-1978) (see also best songs 926-306 and 265) also died in the same room, also aged 32. In 1998, Cass Elliot was posthumously inducted into the ‘Rock and Roll Hall of Fame’ for her work with the Mamas & the Papas, and on October 3rd, 2022, she received the 2,735th star on the ‘Hollywood Walk of Fame.’

‘Make Your Own Kind of Music’ was added to Cass Elliot’s second solo studio Album ‘Bubblegum, Lemonade, and…Something for Mama’ from June 1969, it was after the moderate success of the single (Billboard Number 36) that the Album was re-packaged, and re-named ‘Make Your Own Kind of Music/It’s Getting Better,’ in November 1969, increasing the track listing from 11 to 12 tracks. ‘Make Your Own Kind of Music’ was co-written by the husband and wife songwriting team of Barry Mann and Cynthia Weil (1940-2023) (see also best songs 782 and 568) and produced by Steve Barri. Mann and Weil who had also been responsible for Cass Elliot’s previous hit ‘It’s Getting Better,’ first had the song recorded by the American Folk/Rock group the ‘Will-O-Bees’ in 1968, who would record a lot of their material. The song finally became a hit in the UK in 2018 when the English singer Paloma Faith released a very similar sounding version to that of Cass Elliot for a television commercial promoting ‘Skoda Cars, Faith’s version peaked at Number 28 in the UK.

‘Make Your Own Kind of Music’ was produced by Steve Barri (see also best songs 527) who was born Steven Barry Lipkin on February 23rd, 1942, in New York, New York, United States, he is a singer, songwriter, and music producer. As a producer his biggest commercial successes include ‘Eve of Destruction,’ for Barry McGuire, (1965-Billboard Number 1 & UK Number 3) ‘Dizzy’ for Tommy Roe, (1969-Billboard Number 1 & UK Number 1) and ‘Undercover Angel’ for Alan O’Day (1977-Billboard Number 1 &UK Number 43.) Steve Barri had started out as a staff writer for ‘Dunhill Records,’ and stayed on in the 1970’s as head of Artists & Repertoire (A&R) after the label was acquired by ‘ABC Records.’ In 1975 he departed to become A&R chief at ‘Warner Bros. Records,’ before moving to ‘Motown Records’ as vice-president of A&R, in 1982, until departing in 1986.

‘Nobody can tell ya there’s only one song worth singing. They may try and sell ya,’ ’cause it hangs them up to see someone like you.’

THE 1000 BEST SONGS IN THE WORLD EVER.

248-Manic Street Preachers-Motorcycle Emptiness.

1992-Number 17 single.

Best Bit-At 5.20. It might not be totally true, but lead singer James Dean Bradfield relates that while out busking one day in Cardiff he got into an altercation with someone (sometimes said to be a homeless man) who asked him, ‘What are you, boyo, some kind of manic street preacher.’

The Manic Street Preachers, (see also best songs 901) also now often called ‘The Manics’ were formed in 1986 at Oakdale Comprehensive School, Blackwood, South Wales, where all the band members attended. The first line up consisted of James Dean Bradfield, (lead vocals, and guitar) his cousin Sean Moore, (drums) Nicky Wire, (bass and piano) and Miles ‘Flicker’ Woodward, (bass) Woodward left in 1988 claiming he was unhappy that the band were moving away from their ‘Punk’ roots. Woodward was replaced by Richey Edwards (1967-1995, declared dead in 2008) (guitar) in 1989 after the release of the bands first single ‘Suicide Alley.’ The Manic Street Preachers sound has altered over the years, from ‘Glam Metal,’ and ‘Punk Rock, to ‘Alternative Rock,’ from around the release of their fourth studio Album ‘Everything Must Go’ in 1996, and the disappearance of Richey Edwards in February 1995.

The discography of The Manic Street Preachers who have sold in excess of 10 million Albums worldwide, includes 15 studio Albums released between 1992-2025, and 57 singles released between 1988-2025, there are also six extended plays, (EP’s) and three official compilation Albums available. In the UK, all of their studio Albums have reached the top 40, with two of them ‘This Is My Truth Tell Me Yours,’ (1998) and ‘The Ultra Vivid Lament,’ (2021) making the Number 1 position, while 33 of their singles have reached the UK top 40, with ‘If You Tolerate This Your Children Will Be Next,’ (1998) and ‘The Masses Against the Classes,’ (2000) both making the Number 1 position. The Manic Street Preachers have no charting songs on the various American Billboard charts.

‘Motorcycle Emptiness’ was the fifth of six singles released from The Manic Street Preachers debut studio Album ‘Generation Terrorists,’ from February 1992. The lyrics were written by Richey Edwards and Nicky Wire, with the music by James Dean Bradfield and Sean Moore, with the production being by Steve Brown (1956-2021) (see also best songs 991-854 and 821.) The track has been interpreted by the band as an attack on the hollowness of the consumer lifestyle offered by capitalism, describing how society expects young people to conform. The lyrics were inspired by the American author S.E. Hinton’s 1975 novel ‘Rumble Fish,’ which is about biker gang culture. The song was derived from two previous Manic Street Preachers tracks, ‘Go, Buzz Baby, Go,’ which shares the same chord structure, and the phrase ‘motorcycle emptiness,’ and also ‘Behave Yourself Baby,’ that has the lines ‘All we want from you is the skin you live within,’ similar to ‘All we want from you are the kicks you’ve given us’ in this song. Some of the other lyrics are taken from the poem ‘Neon Loneliness,’ by the Welsh poet Patrick Jones, who is the brother of Nicky Wire.

Nicky Wire has spoken about his pride in the song, ‘It’s probably the four of us at our peaks, four people coming together to create that landscape of existential despair, because the production is almost cosmetic, it’s actually pretty timeless, it doesn’t sound like the 90’s. There’s just something about it, for such a complicated lyric, wherever you go, people sing along, that’s a pretty amazing trick.’

Richey Edwards was born Richard James Edwards on December 22nd, 1967, in Blackwood, Caerphilly, Wales, Great Britain, he was the lyricist and rhythm guitarist of the Alternative Rock band the Manic Street Preachers. Richey Edwards disappeared on February 1st, 1995. On November 24th, 2008, he was legally declared dead ‘on or since’ February 1st, 1995. Edwards was initially a driver and roadie for the Manic Street Preachers, before officially becoming a full time member in 1989. He suffered from severe depression, and spoke freely about it in interviews. He self-harmed, mainly through stubbing cigarettes on his arms and cutting himself, he said, ‘When I cut myself I feel so much better. All the little things that might have been annoying me suddenly seem so trivial because I’m concentrating on the pain. I’m not a person who can scream and shout so this is my only outlet. It’s all done very logically.’ On May 15th, 1991, after a performance at the ‘Norwich Arts Centre,’ the ‘NME’ journalist Steve Lamacq questioned how serious Edwards was about his art, Edwards responded by carving the words ‘4 Real’ into his forearm with a razor blade, the injury required 18 stitches. Richey Edwards also suffered from insomnia, and used alcohol to help himself sleep at night. On February 17th, 1995, his car was reported abandoned at the Severn View service station, Due to the service station’s proximity to the Severn Bridge that spans the River Severn between South Gloucestershire in England and Monmouthshire in South East Wales which is a known suicide site, it was widely believed that Edwards had jumped from the bridge. Richey Edwards had referred to suicide in 1994, saying, ‘In terms of the ‘S’ word, that does not enter my mind. And it never has done, in terms of an attempt. Because I am stronger than that. I might be a weak person, but I can take pain.’

‘Culture sucks down words, itemise loathing and feed yourself smiles. Organise your safe tribal war, hurt, maim, kill and enslave the ghetto. Each day living out a lie, Life sold cheaply forever, ever, ever.’

THE 1000 BEST SONGS IN THE WORLD EVER.

249-The Jacksons-Blame It on the Boogie.

1978-Number 8 single.

Best Bit-At 2.42. This is confusing, because Mick Jackson wrote the song, and Michael Jackson sang it. It was a complete coincidence….so don’t blame it on, anything.

By 1976 The Jackson 5’s (see also best songs 137) record sales were in decline, and they were also in a legal battle with Motown supremo Berry Gordy over royalty payments. This led to the brothers mutually agreeing with Gordy that they should leave Motown, with the exception of Jermaine Jackson (see also best songs 570) who was married to Gordy’s daughter, and he therefore stayed with the label to pursue a solo career. The remaining four brothers Jackie, Tito, (1953-2024) Marlon, and Michael, (1958-2009) (see also best songs 812-511 and 191) were joined by their youngest brother Randy, and signed a new contract with ‘Epic Records’ in 1976. Due to Motown owning the brand ‘The Jackson 5,’ the brothers changed their name to ‘The Jacksons,’ and recorded six studio Albums between 1976-1989. They also issued 17 singles within the same time period, of which seven made the top 40 in America on the Billboard Hot 100 chart, with ‘State of Shock’ charting the highest at Number 3 in 1984. While in the UK, 11 of their singles have made the top 40, with ‘Show You the Way to Go’ reaching Number 1 in 1977. For the discography of ‘The Jackson 5’ see best songs 137. The Jacksons officially split in 1989, but re-grouped to tour in 2001, with Jemaine joining them, and although they have released no new music, they have played together again since 2012, and at the time of writing they remain active as a duo of Jackie, and Marlon Jackson.

Randy Jackson was born Steven Randall Jackson on October 29th, 1961, in Gary, Indiana, United States, he is the youngest Jackson brother, and the second youngest Jackson sibling before his sister Janet (see also best songs 679.) As he was only three years old when the ‘Jackson 5’ were first formed in 1965, he was not originally a member of that group. It wasn’t until The Jackson 5 left Motown and signed with ‘Epic records in 1976, that Randy became an official member replacing his brother Jermaine. After The Jacksons split in 1989 Randy Jackson released one studio Album called ‘Randy & the Gypsys’ later that year, he has also issued one solo single called ‘How Can I Be Sure, in 1978.

‘Blame It on the Boogie’ was written by a different ‘Jackson’ called Michael George Jackson, who was born in Germany, on November 2nd, 1947, but was raised in England. He and his brother, and others played in a band that went by the name of ‘Mick Jackson,’ ‘Blame It on the Boogie’ was written in collaboration by Mick, and his brother Dave, and Elmar Krohn, with the intention of hopefully getting it recorded by an artist of the stature of Stevie Wonder (see also best songs 920-843-834-682-570-503-366-205-152 and 65.) The song was circulated, and first off the mark was the American Bobby Colomby, a music producer who brought the song to the attention of The Jacksons. ‘Blame It on the Boogie’ was issued as the first of three singles released from ‘Destiny’ which was the 13th overall studio Album by The Jackson brothers, from November 1978, the brothers are credited as the songs producers.

In the UK, both The Jacksons version, and the original recording by Mick Jackson were both released within a few days of each other in September 1978. The UK music press had a field day declaring it ‘A Battle of the Boogie.’ Mick Jackson got to do ‘Top of the Pops’ first, with The Jacksons appearing the next week. Radio 1 championed The Jacksons version, while ‘Capitol’ radio played the Mick Jackson recording, and even the music press chose sides with ‘Melody Maker’ on side of The Jacksons, and the ‘NME’ siding with Mick Jackson. In the end The Jacksons version peaked at Number 8, and Mick Jackson made Number 15, but of course the real winner was Mick Jackson, as he received the songs royalties as the writer. Mick Jackson himself in 2003 said of the Jacksons’ version of ‘Blame It on the Boogie, (‘the original) version had 100% of our heart and soul in it but the Jacksons’ version had the magic extra 2% that made it incredible.’ In 2010 the filmmaker Patrick Nation made a Channel 4 documentary about Mick Jackson and the story of the song, entitled ‘The Other Michael Jackson: Battle of the Boogie.’ The documentary was co-written and presented by Mick’s son Sam Peter Jackson and led to Mick Jackson’s 1978 Album ‘Weekend’ which features the original version of ‘Blame It on the Boogie’ being re-released for the first time in 30 years.

The discography of Mick Jackson includes three studio Albums released between 1979-1982, and seven singles released between 1978-1988, he was saved from being known as a ‘one hit wonder’ in the UK when this songs follow up, ‘Weekend’ reached Number 38 also in 1978, a cover version of ‘Weekend’ by the American southern rock band ‘Wet Willie’ reached Number 29 on the Billboard Hot 100 in America in 1979. In America on the Billboard Hot 100 Mick Jackson’s version of ‘Blame It on the Boogie’ stalled at Number 61, while The Jacksons recording did slightly better making Number 54. ‘Blame It on the Boogie’ has also charted twice since in the UK. In 1989 the Stock, Aitken and Waterman (see also best songs 627) produced version of the song by the English Boy Band ‘Big Fun’ reached Number 4, and in 1998 the Dance Music act ‘Clock’ took their version to Number 16.

‘That nasty boogie bugs me, but somehow it has drugged me, spellbound rhythm gets me on my feet. I’ve changed my life completely, I’ve seen the lightning leave me, my baby just can’t take her eyes off me.’

THE 1000 BEST SONGS IN THE WORLD EVER.

250-Frankie Lymon & the Teenagers-Why Do Fools Fall in Love.

1956-Number 1 single.

Best Bit-At 0.14. The founder of Motown records Berry Gordy based much of the sound of this band on the development of Michael Jackson, and The Jackson 5, as well as many of his other Motown acts.

The group who would become Frankie Lyman & the Teenagers were formed in 1954 in Harlem, New York City, New York, United States. In total there were 24 members come and go, with the groups one constant being Herman Santiago, the group was officially retired in 2020. Frankie Lymon was born Franklin Joseph Lymon on September 30th, 1942, in New York City, United States, he died of a Heroin overdose on February 27th, 1968, at the age of 25, having been an addict since the age of 15. At the age of 13 he became the youngest person at that time to achieve a UK Number 1 single with this song, he was surpassed in 1972 by Little Jimmy Omond singing ‘Long Haired Lover from Liverpool,’ at the age of nine years and eight months, a record that still stands.

Frankie Lymon first became associated with the Puerto Rican singer Herman Santiago when they were both 12 years old in 1954, when Lymon saw Santiago singing with a ‘Doo-Wop’ group in a local talent show. Lymon and Santiago, along with Jimmy Merchant, Sherman Garnes, (1940-1977) and Joe Negroni (1940-1978) soon teamed up to become the ‘Teenagers,’ an integrated group, which included three African-American members, and two Puerto Rican members. In mid 1957 Lymon left the ‘Teenagers’ to pursue a solo career, but both his career and that of the Teenagers fell into decline. Frankie Lymon is yet another tragic story of a child star not being able to handle the pressure. It is said that he was introduced to heroin at the age of 15 by a woman twice his age, this led to his lifelong addiction. In 1966, Lymon was arrested on a heroin charge and was drafted into the United States Army in lieu of a jail sentence, he was in the army for two years where he remained clean. In 1968 Lymon was dishonourably discharged from the Army for repeatedly going AWOL to secure gigs at small clubs. He was soon signed to the ‘Big Apple’ record label, where he thought his career was finally back on track, and to celebrate he took heroin. According to his death certificate the overdose was a result from ‘acute intravenous narcotism.’ In 1998 Lymon’s life was dramatised in the film ‘Why Do Fools Fall in Love.’ In 1993, Frankie Lymon and the Teenagers were inducted into the ‘Rock and Roll Hall of Fame,’ and into the ‘Vocal Group Hall of Fame’ in 2000. Frankie Lymon & the Teenagers have the distinction of being called ‘Rock Music’s’ first successful all-teen aged act.

The discography of Frankie Lymon & the Teenagers includes one studio Album released in 1956, and 10 singles released between 1956-1957, there is also one official compilation Album, released in 1986. In America on the Billboard Hot 100, three of their singles have reached the top 40, with ‘Why Do Fools Fall in Love’ peaking the highest at Number 6, while in the UK, four of their singles have reached the top 40, with ‘Why Do Fools Fall in Love’ peaking the highest at Number 1. The solo discography of Frankie Lymon includes four Albums released between 1956-1994, and 16 singles released between 1957-1969, of which the most successful was his cover version of ‘Little Bitty Pretty One’ in 1960, which reached Number 18 on the Billboard R&B chart.

‘Why Do Fools Fall in Love’ was the first of five singles released from ‘The Teenagers Featuring Frankie Lymon,’ which was the only studio Album issued by Frankie Lymon & the Teenagers, from December 1956, the song was co-written by Frankie Lymon, Herman Santiago, and Jimmy Merchant, with the production being by George Goldner (1918-1970.) The songs royalties have been the cause of constant dispute. When the song was first issued in 1956 on the ‘Gee’ record label, the labels owner George Goldner (1918-1970) added his own name to the credits, with later releases attributed to just Goldner and Lymon, leaving off Santiago and Merchant. When Goldner sold his record label to Morris Levy, (1927-1990) Levy replaced his name on the songs writing credits, removing that of Goldner. After a lengthy court battle in 1992, Santiago and Merchant were awarded the songs writing credits, but in 1996 the ruling was overturned by the Court of Appeals under the stature of limitations and authorship, because Santiago and Merchant did not bring the case to court soon enough, with the songs rights being given back to Lymon and Levy. Morris Levy had strong connections with the Mafia, he was played by Paul Mazursky (1930-2014) in the 1998 film ‘Why Do Fools Fall in Love,’ and he was an inspiration for the HBO television series ‘The Sopranos’ (1999–2007) character Hesh Rabkin, who made a fortune defrauding mostly R&B performers, underpaying royalties, pressing unauthorised records, and who owned lavish New Jersey horse racing stables. Levy was also portrayed by David Gianopoulos in the 1999 television film ‘Mr. Rock ‘n’ Roll: The Alan Freed Story.’

In 1981 Diana Ross (see also best songs 1001-900-519-411-365-212-183-148 and 23) recorded ‘Why Do Fools Fall in Love’ for her first single for ‘RCA’ after leaving ‘Motown,’ taking the song to Number 4 in the UK & Number 7 on the Billboard Hot 100 in America, and earning in excess of one million in royalties worldwide. This led to legal cases being brought to court by the family of the late Frankie Lymon. Lymon had been married three times during his short life, although two of those marriages were legally dubious. Eventually Lymon’s third wife, and probably the only legal one, Emira Eagle Lymon Bryant (1939-2019) was awarded Lymon’s estate, which is depicted in the 1998 film ‘Why Do Fools Fall in Love,’ where Bryant is played by the actress Lela Rochon.

Oh wah, oh wah, oh wah, oh wah, oh wah, oh wah, why do fools fall in love? Why do birds sing so gay? And lovers await the break of day, why do they fall in love?