THE 1000 BEST SONGS IN THE WORLD EVER.

521-Little Richard-Good Golly, Miss Molly.

1958-Number 8 single.

Best Bit-At 0.17. Little Richard first heard the phrase ‘Good Golly, Miss Molly’ when it was used as a catchphrase by the American Disc Jockey Jimmy Pennick.

Little Richard was born Richard Wayne Penniman on December 5th, 1932, in Macon, Georgia, United States, he died on May 9th, 2020, from a cause related to bone cancer, at the age of 87. Little Richard who was the third of 12 children, was initially supposed to have been called ‘Ricardo,’ but an error switched it to ‘Richard.’ As a child he was nicknamed ‘Lil’ Richard’ by his family, because of his small and skinny frame, this was possibly as a result of complications at birth, he had a slight deformity that left one of his legs shorter than the other, which produced an unusual gait, and he was mocked for his effeminate appearance. Little Richard was born into a deeply religious family, and throughout the whole of his life he attempted to reconcile his wild lifestyle with the teachings of his religion. To complicate things even further Little Richard was also bi-sexual, and he struggled with the Bible’s teachings, and his own sexuality. In 1970 he was ordained a minister, preaching about the Bible’s black characters, and trying to unite the races through God’s love.

Little Richard is considered to be one of the most influential figures in popular music, and not just in the development of ‘Rock ‘N Roll,’ but also in the genres of ‘Soul,’ Funk,’ and ‘Rock’ music. He is cited as one of the first black artists to reach audiences of all races, at a time when black and white segregation was still the normal thing, his music and stage presence helped greatly to break down the barriers. When he was inducted into the ‘Rock and Roll Hall of Fame’ in 1986, as a member of the initial class of inductees chosen for that honour, they said about him, ‘He claims to be ‘the architect of rock and roll.’ and history would seem to bear out Little Richard’s boast. More than any other performer—save, perhaps, Elvis Presley, Little Richard blew the lid off the Fifties, laying the foundation for rock and roll with his explosive music and charismatic persona. On record, he made spine-tingling rock and roll. His frantically charged piano playing and raspy, shouted vocals on such classics as ‘Tutti Frutti,’ ‘Long Tall Sally,’ and ‘Good Golly, Miss Molly,’ defined the dynamic sound of rock and roll.’

The discography of Little Richard includes 19 studio Albums released between 1957-2005, and 77 singles released between 1951-1988, there are also 36 official compilations, and three live Albums available. In America on the Billboard Hot 100, nine of his singles have reached the top 40, with ‘Long Tall Sally,’ peaking the highest at Number 6 in 1956, while ‘Good Golly, Miss Molly’ reached Number 10. In the UK, Little Richard has had 16 top 40 hits, with ‘Baby Face’ from 1958, charting the highest at Number 2. His final top 40 hit in the UK, was a live recording of ‘Good Golly, Miss Molly,’ which made Number 37 in 1977.

‘Good Golly, Miss Molly’ was the fifth of eight singles released from Little Richard’s second Album, from July 1958, called ‘Little Richard’ in America, but called ‘Volume 2’ in the UK. ‘Good Golly, Miss Molly’ was co-written by John Marascalco (1931-2020) and Robert ‘Bumps’ Blackwell, (1918-1985) with the production being by Blackwell. John S. Marascalco was born on March 27, 1931, in Grenada, Mississippi, and died on July 5th, 2020, at the age of 89. Together with Robert Blackwell he also wrote other hits for Little Richard, including ‘Ready Teddy,’ (1956) and ‘Rip It Up’ (1956.) Away from Blackwell he co-wrote ‘Be My Guest,’ (1959) made famous by Fats Domino, and ‘Goodnight My Love,’ (1956) a hit firstly for Jesse Belvin. Robert Alexander Blackwell was born on May 23rd, 1918, in Seattle, Washington, United States, he died in 1985, of pneumonia, at the age of 66. Blackwell led a Jazz group in the late 1940’s that included Ray Charles, (1930-2004) and Quincy Jones. In the mid 1950’s he began working at ‘Specialty Records,’ as an arranger and producer, where he worked with artists including Sam Cooke, Larry Williams, and Lloyd Price. In the mid 1960’s Blackwell took over as Little Richard’s manager, and continued to work with him into the 1970’s.

‘Good Golly, Miss Molly’ contains lots of sexual innuendo, for example ‘sure like to ball,’ was a euphemism for oral sex, and ‘rockin and rollin,” also refers to a sexual act. Little Richard has said that the songs intro is more or less a direct lift from the 1951 song ‘Rocket 88,’ by Ike Turner, (1931-2007) and Jackie Brenston, (1928 or 1930-1979) saying, I always liked that record, and I used the riff in my act, so when we were looking for a lead-in to ‘Good Golly Miss Molly,’ I did that and it fit.’

‘I am going to the corner, gonna buy a diamond ring. When she hugs me and kiss me make me ting-a-ling-a-ling. Good golly, Miss Molly, sure like to ball, when you’re rockin’ and a rollin’ can’t hear your momma call.’

THE 1000 BEST SONGS IN THE WORLD EVER.

522-Brenda Lee-Sweet Nuthin’s.

1960-Number 4 single.

Best Bit-At 1.40. ‘And the radio played that forgotten song, Brenda Lee’s ‘Comin’ On Strong’ (see also best songs 937.)

Brenda Lee was born Brenda Mae Tarpley on December 11th, 1944, in Atlanta, Georgia, United States, at her birth she weighed just 4lb and 11 ounces, and her height as a adult is four feet and nine inches, approximately 145 centimetres. She received her stage name from a local Disc Jockey called Peanuts Fairclough, as he said it would be easier to remember when she was famous. Brenda Lee’s breakthrough came in February 1955 at the age of 10, when she appeared on the same bill as the American ‘Country Music’ singer Red Foley, (1910-1968) who after hearing her sing ‘Jambalaya,’ (see also best songs 555) said, ‘I still get cold chills thinking about the first time I heard that voice. One foot started patting rhythm as though she was stomping out a prairie fire, but not another muscle in that little body even as much as twitched. And when she did that trick of breaking her voice, it jarred me out of my trance enough to realise I’d forgotten to get off the stage. There I stood, after 26 years of supposedly learning how to conduct myself in front of an audience, with my mouth open two miles wide and a glassy stare in my eyes.’ After recording the song ‘Dynamite’ in 1957, and because of her height, she would become affectionately known as ‘Little Miss Dynamite.’ John Lennon was once quoted, saying, ‘She has the greatest Rock N’ Roll voice.’ Between 1960-1962 she accumulated nine consecutive American Billboard top 10 singles, which set a record for a female solo artist, that was not surpassed until 1986 by Madonna. In 2023 Brenda Lee’s festive classic ‘”Rockin’ Around the Christmas Tree,’ finally made it to Number 1 on Billboard, 65 years after it was first issued, making Brenda Lee at 78 the oldest person to have a Billboard Number 1 single. After falling from the top spot, the song went back to Number 1 in January 2024, and with Brenda Lee now aged 79, she broke her own record.

The discography of Brenda Lee who has sold in excess of 100 million records worldwide, includes, 36 studio Albums released between 1959-2007, and 103 singles between 1956-2001, there are also four collaborative singles, and nine foreign language singles available. Brenda Lee has also issued 63 official compilation Albums, two box sets, and two live Albums. She has had 29 American Billboard top 40 hit singles, with three of those tracks reaching Number 1, while ‘Sweet Nothin’s’ peaked at Number 4. In the UK, Brenda Lee has charted within the top 40 on 19 occasions, with ‘Speak to Me Pretty’ peaking the highest at Number 3 in 1962.

‘Sweet Nothin’s’ as it was issued as in America, and as ‘Sweet Nuthin’s’ in the UK, was the second single released from Brenda Lee’s self titled second studio Album, from August 1960, the song was written by Ronnie Self, (1938-1981) and produced by Owen Bradley (1915-1998.) Ronnie Self was born, Ronald Keith Self on July 5th, 1938, in Tin Town, Missouri, United States, he was a heavy user of amphetamines, alcohol, and marijuana, and died on August 28th, 1982, at the age of 43. It is said that if it hadn’t have been for his erratic, and sometimes violent behaviour, he would have probably have had a very successful solo career in the genre of ‘Rockabilly,’ as well as composing many more songs. As well as writing ‘Sweet Nuffin’s,” he also wrote other hits for Brenda Lee, including, ‘I’m Sorry,’ (1960-Billboard Number 1 & UK Number 12) and ‘Everybody Loves Me But You’ (1962-Billboard Number 6.) His ‘Country Gospel’ song ‘Ain’t That Beautiful Singing,’ recorded by the American ‘Southern Gospel’ singer Jake Hess, (1927-2004) was awarded a ‘Grammy Award’ for ‘Best Sacred Performance’ in 1969.

‘Sweet Nuthin’s” saxophone break was played by Boots Randolph, who was born Homer Louis Randolph III, on June 3rd, 1927, in Paducah, Kentucky, United States, he died on July 3rd, 2007, after suffering a brain haemorrhage, at the age of 80. He said that one of his brothers gave him the nickname ‘Boots’ to avoid confusion, since his father and he had the same first name, though the reason for the nickname choice is unknown. Boots Randolph performed the saxophone on countless recordings, including Roy Orbison’s ‘Oh Pretty Woman,’ (see also best songs 657) Elvis Presley’s ‘Return to Sender,’ and Brenda Lee’s ‘Rockin’ Around the Christmas Tree.’ He also composed the ‘Pop’ novelty instrumental ‘Yakety Sax,’ which reached Number 35 on Billboard in 1963, but has become far better known as the closing theme music of ‘The Benny Hill Show.’

In 2013 the ‘Hip-Hop’ artist Kanye West (see also best songs 1049-849-477-and 267) sampled Brenda Lee’s voice from ‘Sweet Nuthin’s” for his song ‘Bound 2,’ on his Album ‘Yeezus,’ which in turn was sample by the British ‘Drum and Bass’ duo ‘Sigma,’ on their 2014 single ‘Nobody to Love,’ Brenda Lee has stated that she was flattered. In 1986, the American music producer David Z adapted Brenda Lee’s vocals from ‘Sweet Nuthin’s” to produce the distinctive backing vocals in ‘Kiss,’ which went on to give Prince his third American Billboard Number 1 single.

‘Uh huh, honey alright. My baby whispers in my ear, mm sweet nothin’s. He knows the things I like to hear, mm sweet nothin’s. Things he wouldn’t tell nobody else, secret baby I keep them to myself. Sweet nothin’s um sweet nothin’s.’

THE 1000 BEST SONGS IN THE WORLD EVER.

523-Grandmaster & Melle Mel-White Lines (Don’t Don’t Do It)

1984-Number 7 single.

Best Bit-At 3.25. A second wonderful ‘Message.’

When ‘White Lines (Don’t Don’t Do It’) was originally released on the ‘Sugar Hill’ record label, it was credited to ‘Grandmaster & Melle Mel,’ this was to mislead the public into thinking that ‘Grandmaster Flash (see also best songs 290 and 87) had participated on the record, as he had done a year earlier on ‘The Message,’ but he hadn’t, as he had recently left ‘Sugar Hill’ records over a dispute about royalties.

Melle Mel was born Melvin Glover on May 15th, 1961, in The Bronx, New York City, United States, it is said that he may have been the first rapper to call himself ‘MC’ (master of ceremonies.) Melle Mel was one of the six founding members of the ‘Hip-Hop’ group ‘Grandmaster Flash and the Furious Five,’ who were formed in The Bronx, New York City, in 1978. Another of the groups members was Keith ‘Cowboy’ Wiggins, (1960-1989) who is credited with coining the term ‘Hip-Hop,’ in 1978, while teasing a friend who had just joined the U. S. Army, by scat singing the made up words ‘hip/hop/hip/hop,’ in a way that mimicked the rhythmic cadence of marching soldiers. The discography of Melle Mel includes his only solo Album ‘Muscles,’ from 2007, and his two Albums as part of ‘Grandmaster Flash and the Furious Five,’ in 1982, and 1988, he was also part of the group ‘Die Hard,’ who released an Album called ‘On Lock,’ in 2001. Melle Mel has released four collaborative Albums with others between 1984-2006, and he appears on 12 compilation Albums issued between 1983-2010. On the singles front, he has appeared on 47 tracks, as either a solo artist, as part of a group, or in collaboration with others between 1979-2016, but of course Melle Mel will always be best remembered for providing the ‘Rap’ on the Chaka Khan 1984, Billboard Number 3 & UK Number 1 single ‘I Feel For You’ (see also best songs 85.)

‘White Lines (Don’t Don’t Do It’) was released as a stand alone single in October 1983, on the ‘Sugar Hill’ record label, and can be filed under ‘Old-school Hip-Hop.’ The track was co-written by Sylvia Robinson, (1935-2011) (see also best songs 597-466-290 and 17) and Melle Mel, with the production credited to them both, as well as Joey Robinson Jr. (1962-2015.) Like it’s predecessor ‘The Message,’ the song is considered as an inspiration for future socially conscious, and politically orientated ‘Rap’ groups such as ‘Public Enemy, (see also best songs 578 and 37) and N.W.A. (see also best songs 564 and 128.) ‘White Lines (Don’t Don’t Do It’) is a song about Cocaine, and urges listeners not to take it. The song also makes the case that the drug laws in the United States are racist and unjust, with poor black kids getting much harsher penalties for drug offences than white businessmen. Some of the lyrics refer to the American car manufacturer John DeLorean, (1925-2005) who in 1982 became involved in a scheme to save his company from bankruptcy using drug money. He was arrested by the ‘FBI’ for trying to buy 24 kilos of Cocaine, but successfully defended himself against the charges, as he proved his alleged involvement was because of entrapment by federal agents.

‘White Lines (Don’t Don’t Do It’) heavily samples the song ‘Cavern,’ by the American group ‘Liquid Liquid,’ from 1983, interloping the bass line from that track, as well as that songs vocal melody, with ‘What side,’ becoming ‘White lines.’ ‘Liquid Liquid’s’ record label ’99 Records’ successfully sued ‘Sugar Hill’ records for $660,000, but ‘Sugar Hill’ who were struggling financially at that time didn’t pay, instead declaring themselves bankrupt.

In 1995 Melle Mel joined forces with the British group Duran Duran to record a new version of ‘White Lines (Don’t Don’t Do It’) for their covers Album called ‘Thank You,’ the song was a hit in the UK reaching Number 17, although the single and it’s parent Album were critically panned, with the British magazine ‘Q’ voting ‘Thank You’ the ‘Worst Album Ever Made in 2006.’

‘Ticket to ride, white line highway, tell all your friends, that they can go my way. Pay your toll, sell your soul, pound for pound costs more than gold. The longer you stay, the more you pay, my white line go a long way, either up your nose or through your vein, with nothin’ to gain except killin’ your brain. Freeze, rock, freeze, rock.’

THE 1000 BEST SONGS IN THE WORLD EVER.

524-Stealers Wheel-Stuck in the Middle with You.

1973-Number 8 single.

Best Bit-At 1.02. It’s the Reservoir, Dogs bollo#ks.

Stealers Wheel were a ‘Folk/Rock’ group who were formed in Paisley, Scotland, in 1972, by the schoolboy friends Joe Egan, and Gerry Rafferty. (1947-2011) (see also best songs 61) The first line up included three others who left before performing on the groups self titled debut studio Album, and were replaced by Paul Pilnick, (1941-2021) Tony Williams, and Rod Coombes, who all played on this track, and it’s parent Album. Shortly before the release of that debut Album, Gerry Rafferty quit the group, but after the success of ‘Stuck in the Middle with You’ he was persuaded to return. By the time of their second Album release ‘Ferguslie Park,’ in 1973, Stealers Wheel had become a duo of Joe Egan, and Gerry Rafferty, with various backing musicians on guitar, bass, and drums, brought in for recording purposes. The second Album proved to be no where as commercially successful as their debut Album, and with increasing tensions between Egan and Rafferty, they went on a year and a half hiatus. By the time their third and final album ‘Right or Wrong’ was released in 1975, they had completely disbanded. In 2008 previous members of Stealers Wheel not including Egan or Rafferty briefly got together at the request of ‘iTunes,’ and ‘K-tel’ in California, to promote their back catalogue, they also began writing new songs, but this venture was short lived. In total there have been 11 official members of Stealers Wheel at varying points.

The discography of Stealers Wheel includes three studio Albums released between 1972-1975, and five singles released between 1973-1975, there are also three official compilation Albums available. In the UK, three of their singles have reached the top 40, with ‘Stuck in the Middle with You’ peaking the highest at Number 8, while in America on the Billboard Hot 100, they have charted within the top 40 twice, with ‘Stuck in the Middle with You’ peaking at Number 6, and ‘Star’ making Number 29, both in 1973.

‘Stuck in the Middle with You’ was the third and final single released from Stealers Wheel’s self titled debut studio Album from November 1972. The song was co-written by Joe Egan, and Gerry Rafferty, with the production being by the legendary songwriting, and production duo of Jerry Leiber, (1933-2011) and Mike Stoller, (see also best songs 954-804-124 and 86) Leiber and Stoller would go on to produce all three studio Albums for Stealers Wheel. Joe Egan was born on October 18th, 1946, in Paisley, Renfrewshire, Scotland. He had known Gerry Rafferty since their school days, and prior to forming Stealers Wheel, the pair had previously played together in various other groups including ‘The Sensors,’ and ‘The Maverix.’ After the split of Stealers Wheel, Joe Egan released two solo Albums in 1979, and 1991, and then left the music business in the 1990’s.

‘Stuck in the Middle with You’ was written by Joe Egan and Gerry Rafferty, as a parody of Bob Dylan’s (see also best songs 792-621-358-103-36 and 7) paranoia, and it was sung in a style by Rafferty in order to imitate Dylan, which did indeed fool many in to thinking it was a Bob Dylan song. The lyrics refer to people in the music industry, the management and executives of record labels, who are the clowns and the jokers. The band had to reluctantly do a promotion in a fancy London restaurant, and the lyrics tell the tale of them trying to get out of the entire thing, which they detested. Throughout his whole career Gerry Rafferty hated that he had to act like a ‘Rock Star,’ when what he really wanted to do was just play his music, and than fade away in to the background, but he knew in order for his music to be heard, he had to play by the celebrity lifestyle rules. Gerry Rafferty had enjoyed alcohol from a young age, and in later years probably used it as a crutch to help him try to shun the fame and celebrity that accompanied his musical achievements. In 2010 he was admitted to hospital where he was put on a life-support machine and treated for multiple organ failure. After being taken off life support, he rallied for a short time, and doctors thought that he might recover. Gerry Rafferty died of liver failure on the 4th January, 2011, at the age of 63.

In 1992 ‘Stuck in the Middle with You’ was brought to the attention of a whole new generation when the film producer Quentin Tarantino chose to use the song for scene where the character of Mr Blonde taunts and tortures a policeman in the film ‘Reservoir Dogs. Tarantino has said, ‘That was one of those things where I thought the song would work really well, and during auditions, I told the actors that I wanted them to do the torture scene, and I’m gonna use ‘Stuck in the Middle With You,’ but they could pick anything they wanted, they didn’t have to use that song. And a couple people picked another one, but almost everyone came in with ‘Stuck in the Middle With You,’ and they were saying that they tried to come up with something else, but that’s the one. The first time somebody actually did the torture scene to that song, the guy didn’t even have a great audition, but it was like watching the movie. I was thinking, ‘Oh my God, this is gonna be awesome!” In 2001 the English singer ‘Louise’ released a cover version of ‘Stuck in the Middle With You,’ which reached Number 4 on the UK top 40.

‘Well, I don’t know why I came here tonight, I got the feeling that something ain’t right. I’m so scared in case I fall off my chair, and I’m wondering how I’ll get down the stairs. Clowns to the left of me, Jokers to the right, here I am stuck in the middle with you.’

THE 1000 BEST SONGS IN THE WORLD EVER.

525-Ramsey Lewis-Wade in the Water.

1966-On it’s initial release it did not chart in the UK. Due to it’s popularity with the ‘Northern Soul’ scene, it entered the UK chart in 1972, reaching Number 31.

Best Bit-At 0.12. ‘Slave to the Rhythm.’

‘Wade in the Water’ in it’s original form is a ‘Spiritual’ song that dates back to the early 19th Century, whose lyrics were meant to convey, encourage, and remind escaping slaves in a coded message, of the dangers they were in, for example, if the would be fugitive took to the water as a means of trying to escape, it would throw pursuing bloodhounds off the scent. In it’s original form the songs verses compare the plight of the African/American slave with that of the Israelite’s escape out of Egypt.

The lyrics to ‘Wade in the Water’ whose original writer is unknown, were first published in 1901, by the collector, arranger, harmoniser, and composer of songs, the American born Frederick Jerome Work, (1879-1942) and his brother, John Wesley Work Jr. (1871-1925) who was a musicologist, and the first African-American collector of Folk songs and Spirituals, he was also a choral director, educationalist singer and songwriter. ‘Wade in the Water’ and other traditional songs were published by the brothers as ‘New Jubilee Songs,’ and first performed by the ‘Fisk Jubilee Singers.’ The first commercial recording of ‘Wade in the Water’ was made in 1925 by ‘The Sunset Four Jubilee Singers,’ and released by ‘Paramount Records.’ Other famous recordings of the song are by Bob Dylan, the Staple Singers, Marlena Shaw, (1939-2024) Eva Cassidy, (1963-1996) and of course this one by Ramsey Lewis.

‘Wade in the Water’ was also the title of Ramsey Lewis’ 24th Album release, from July 1966, the Ramsey Lewis recording is an instrumental, and was produced by Esmond Edwards (1927-2007.) Playing on the track were Ramsey Lewis, (1935-2022) (keyboards) John Avant, (1927-1988) (trombone) Cleveland Eton, (1939-2020) (see also best songs 980) (bass) and Maurice White, (1941-23016) (see also best songs 916 and 462) (drums) who went on to form Earth Wind & Fire in 1969.

Ramsey Emmanuel Lewis Jr. was born on May 27th, 1935, in Chicago, Illinois, United States, he passed away in his sleep on September 12th, 2022, at the age of 87. His initial work was in the genre of ‘Jazz,’ but after finding commercial success with this song and others, a lot of his music became more ‘Pop’ orientated. In 1955, after playing with a number of local groups, Ramsey Lewis formed the ‘Ramsey Lewis Trio,’ with the drummer Isaac ‘Redd’ Holt,’ (1932-2023) and the bass player Eldee Young, (1936-2007) as a trio they signed with ‘Chess Records,’ and released their debut album, ‘Ramsey Lewis and his Gentle-men of Swing,’ in 1956. It was following their breakthrough hit ‘The ‘In’ Crowd’ (see also best songs 243) in 1965, that they decided to concentrate more on ‘Pop’ material. In 1966 Young and Holt left the trio to form ‘Young-Holt Unlimited,’ and were replaced by Cleveland Eaton, and Maurice White. In addition to recording, Ramsey Lewis also was a broadcaster, and hosted the weekly syndicated radio program ‘Legends of Jazz,’ which was created in 1990, and syndicated by ‘United Stations Radio Networks.’ He also hosted the ‘Ramsey Lewis Morning Show,’ on Chicago ‘smooth jazz’ radio station, ‘WNUA.’ Ramsey Lewis was also active in musical education in Chicago, where he founded the ‘Ramsey Lewis Foundation,’ established the ‘Ravinia’s Jazz Mentor Program,’ and served on the board of trustees for the ‘Merit School of Music,’ and ‘The Chicago High School for the Arts.’ In 2005 he founded the ‘Ramsey Lewis Foundation,’ which promoted musical instrument education to children.’ The discography of Ramsey Lewis includes over 80 Albums issued between 1956-2022, and 27 singles released between 1964-1987, of which six of those singles reached the American Billboard Hot 100, with ‘The ‘In’ Crowd,’ from 1965, peaking the highest at Number 5, while ‘Wade in the Water’ reached Number 19. In the UK, ‘Wade in the Water’ is his only chart entry.

‘Wade in the Water’ is an African American jubilee song, and can be filed under the musical genre of ‘Spiritual,’ which is in reference to a genre of music created and first sung by African/Americans in slavery. ‘Spirituals’ which are also known as ‘Negro spirituals,’ ‘African American spirituals,’ ‘Black spirituals,’ or ‘spiritual music,’ is a genre of Christian music that is associated with African Americans, which merged varied African cultural influences with the experiences of being held in bondage in slavery, at first during the transatlantic slave trade, and for centuries afterwards, through the domestic slave trade. ‘Spirituals’ encompass the ‘sing songs,’ ‘work songs,’ and ‘plantation songs,’ with many new derivative music genres such as the ‘Blues’ emerging from the ‘Spirituals’ song-craft down the centuries.

THE 1000 BEST SONGS IN THE WORLD EVER.

526-Nas-One Mic.

2002-It has never charted in the UK.

Best Bit-At 1.18. Too often all ‘Rap’ is tarred with the same brush. There are those who brag about the six figure sums they have just been paid, the amount of bitc#es they have taken to bed, and the size of their genitalia, and then there are the ‘keeping it real’ Rappers, with a real message.

Nas was born Nasir bin Olu Dara Jones, on September 14th, 1973, in Brooklyn, New York City, United States, to date he has sold in excess of 25 million records worldwide, and in many compiled lists of the best Rappers, and lyricists, he continuously appears in the all time top 10. Nas whose father is the Jazz musician Olu Dara, began his music career in 1989 as ‘Nasty Nas,’ and was first heard on record when guesting on the 1991 track ‘Live at the Barbecue,’ by the ‘East coast Hip-Hop’ group ‘Main Source.’ Nas then went on to record his debut Album ‘Illmatic’ in 1994, which is considered by many music critics to be one of the greatest ‘Hip-Hop’ Albums of all time. The American music journalist Peter Shapiro has written about Nas, saying that he creates a ‘Devastating match between lyrics and production.’ There have also been comparisons made between Nas and ‘Rakim’ (see also best songs 856.)

The discography of Nas includes 17 studio Albums released between 1994-2023, and 79 singles released between 1992-2024, there is also one collaborative Album, one group Album, four mixtapes, and five official compilation Albums available. In America on the Billboard Hot 100, as the lead artist, he has had three top 40 entries, with ‘I Can’ from 2003, peaking the highest at Number 12, while ‘One Mic’ reached Number 43. On Billboard as a featured artist Nas has had seven top 40 hits, with ‘Hot Boyz,’ by Missy Elliott, featuring Lil’ Mo, Nas, Eve, and Q-Tip, making Number 5 in 1999. In the UK, Nas has charted within the top 40 as the lead artist on nine occasions, with both ‘If I Ruled the World (Imagine That’) featuring Lauryn Hill, (1996) and ‘Street Dreams’ (1996) both peaking the highest at Number 12. As the featured artist in the UK, Nas has had eight top 40 chart entries, with I’m Gonna Be Alright,” the Track Masters Remix,’ by Jennifer Lopez, featuring Nas, charting the highest at Number 3 in 2002.

‘One Mic’ was the last of four singles released from ‘Stillmatic,’ which is the fifth studio Album released by Nas, from December 2001. ‘One Mic’ was co-written, and co-produced by Nas, and Chucky Thompson, and contains samples from the songs ‘In the Air Tonight,’ by Phil Collins, and ‘I’m Gonna Love You Just a Little More Baby,’ by Barry White, although neither of those artists receive songwriting credits. Chucky Thompson was born Carl Edward Thompson Jr. on July 12th, 1968, in Washington D. C. United States, he died of complications of COVID-19, on August 9th, 2021, at the age of 53. Chucky Thompson worked as a music producer for ‘Bad Boy Entertainment’ ‘Hitmen,’ where he produced tracks for their rosta of artists, including The Notorious B.I.G.’s, Big Poppa, (see also best songs 307) from his ‘Ready To Die’ Album, (1994) and the Faith Evans tracks, ‘You Used to Love Me,’ and ‘Soon As I Get Home,’ from her Album ‘Faith’ (1995.)

‘One Mic’ is a ‘Hip-Hop’ track, that can also be filed under the musical sub-genre of ‘Conscious Hip-Hop.’ ‘Conscious Hip-Hop’ is a sub-genre of ‘Hip Hop’ that challenges the dominant cultural, social, political, philosophical, and economic consensus, and/or comments on, or focuses on, social issues and conflicts. Some themes of ‘Conscious Hip-Hop’ include’ social conscience, Afro-centricity, religion, culture, the economy, depictions of the struggles of ordinary people, and aversion to, or commentary on, crime and violence. ‘Conscious Hip-Hop’ often seeks to raise awareness of social issues, sometimes leaving the listeners to form their own opinions rather than advocating for certain ideas and demanding actions like another sub-genre of ‘Hip-Hop,’ called ‘Political Hip-Hop.’ ‘Conscious Hip-Hop’ artists often use their music to express their views on a wide range of topics, including politics, race, poverty, and the environment. Other examples of ‘Conscious Hip-Hop’ in this ‘1000 Best Songs’ list include, ‘The Message’ by Grandmaster Flash and the Furious Five, (see also best songs 290) and ‘Fight the Power,’ by Public Enemy, (see also best songs 578) these songs could also be filed under ‘Political Hip-Hop.’

In ‘One Mic,’ Nas tells us of his experiences growing up in the ghetto. He tells us of his desire to lead a simple and positive life, with the guidance of God. Nas has said, ‘I’m a huge fan of Phil Collins, and I just wanted to take the vibe from In the Air Tonight. One Mic is just about the power. It’s almost like ‘Hip Hop is Dead’ (2006-Nas Album) in its infant stages, saying how much this is a blessing to be out here, speaking about what’s happening in my neighbourhood, having the whole world understand and relate. One Mic just gives me the ability, no matter how much ignorant people are mad that I’m exposing or talking about our country, no matter what the language is, I’m talking in a language that the people can hear, I’m not sugar-coating it. So if it scares people and people feel guilty, people feel like they’ve got to make up excuses to why the world’s this way, no matter what they say, like they’ve got their mic, I’ve got mine, and that’s what that song’s about.’

All I need is one mic, that’s all I need, that’s all I need. There’s nuttin’ else in the world, that’s all a nig#a need to do his thing.’

THE 1000 BEST SONGS IN THE WORLD EVER.

527-Barry McGuire-Eve of Destruction.

1965-Number 3 single.

Best Bit-At 0.34. Unfortunately the songs lyrics will probably ring as true tomorrow, as they do today, and did yesterday.

‘Eve of Destruction’ was written in 1965 by the then 19 year old singer/songwriter P. F. Sloan, (1945-2015) who also co-produced the song along with Lou Adler, and Steve Barri. The song became one of the biggest protest songs of the 1960’s, referencing many of the social problems of that period, including the Vietnam War, the threat of Nuclear war, the Civil Rights Movement, and the American Space Programme. Due to the songs ‘controversial’ lyrics, many American radio stations refused to play the song, claiming it was ‘An aid to the enemy in Vietnam,’ which of course only helped to bring the song even more to the attention of the general public, and helping it to reach Number 1 on Billboard.

‘Eve of Destruction’ was first offered to the American ‘Folk/Rock’ group the ‘Byrds,’ (see also best songs 621) but they rejected it. The song was then first recorded by another Los Angeles group ‘The Turtles,’ whose version was issued as a track on their October 1965 debut Album ‘It Ain’t Me Babe.’ The Turtles recording was finally issued in 1970 as a single, and reached Number 100 on the Billboard Hot 100. But of course the most famous recording of ‘Eve of Destruction’ is this one by Barry McGuire, who released the track as the only single taken from his 1965 debut studio Album also called ‘Eve of Destruction.’

Barry McGuire was born on October 15th, 1935, in Oklahoma City, Oklahoma, United States. He started his musical career as a ‘Folk/Rock’ singer, before turning to ‘Christian Music,’ when becoming a born again Christian in 1971. Prior to pursuing a solo career in 1965, Barry McGuire had been a member of the American ‘Folk’ group ‘The New Christy Minstrels,’ since 1962, and had co-written their 1963 Billboard Hot 100 Number 14 hit ‘Green Green.’ With ‘The New Christy Minstrels,’ Barry McGiure appeared on their first nine Album released between 1962-1965, and as a solo artist he has released at least 25 Albums between 1963-2000, and has had one Billboard top 40 hit single. Barry McGuire recorded ‘Eve of Destruction’ in one take late at night, his voice was raspy, and he was tired, and the take was only meant as a guide, but on hearing it the producer Jay Lasker (1924-1989) liked it so much, he took the ‘demo’ to the Los Angeles radio station ‘KFWB’ the very next morning, where it was played for the first time. McGuire has stated that he sang the lyrics while reading them off a crumpled up piece of paper, and at one point in the song you can hear him go ‘ahhh,’ when he couldn’t read the words properly. The accompanying musicians on the track were P. F. Sloan on guitar and the ‘Wrecking Crew’ (see also best songs 978-846-811-744-672-660-486-262-202-197-192-180-127 and 81) session musicians, Hal Blaine (1929-2019) on drums, and Larry Knechtel (1940-2009) on bass guitar.

‘Eve of Destruction’ was written by P. F. Sloan, who was born Philip Gary Schlein, on September 18th, 1945, in New York City, United States, he died on November 15th, 2015, from pancreatic cancer, at the age of 70. The ‘F’ in his stage name stands for ‘Flip,’ which was his nickname. In 1957 his family moved to West Hollywood, California, where his father, a pharmacist, changed the family name from ‘Schlein’ to ‘Sloan’ after repeatedly being denied a liquor license for his store. At the age of 16 Sloan landed a job on the songwriting staff at the music publisher ‘Screen Gems,’ which was then the largest publisher on the West Coast. There, he formed a partnership with Steve Barri, three years his senior, and the duo made several attempts at recording a hit single under a variety of different names. In 1963 the pair came to the attention of ‘Screen Gems’ executive Lou Adler, who decided to use them as backing singers and musicians, most notably on the records of ‘Jan and Dean’ (see also best songs 811.) P. F. Sloan combined his songwriting with session work, often working as part of the ‘Wrecking Crew.’ P. F. Sloan wrote the intro, and also played the guitar on the intro of the ‘Mamas & the Papas’ 1965 Billboard Number 4 and UK Number 23 hit ‘California Dreamin” (see also best songs 660.) As a songwriter P. F. Sloan would often team up with Steve Barri, with their most successful songs being ‘A Must to Avoid,’ recorded by Herman’s Hermits, (1966-UK-Number 6) and ‘Secret Agent Man,’ recorded by Johnny Rivers (1966-Billboard-Number 3.) P. F. Sloan also released 12 solo Albums between 1965-2014, and 11 singles between 1959-1972, there are also five Albums recorded with Steve Barri between 1964-1967, and 13 singles within the same time period that the duo issued under 10 different names including ‘Themes Inc,’ Phillip and Stephan, and ‘The Grass Roots.’

‘The Eastern world, it is explodin,’ violence flarin,’ bullets loadin.’ You’re old enough to kill, but not for votin.’ You don’t believe in war, but what’s that gun you’re totin.”

THE 1000 BEST SONGS IN THE WORLD EVER.

528-Real Thing-You to Me Are Everything.

1976-Number 1 single.

Best Bit-At 0.57. Everybody knows about ‘Mersey Beat,’ but here’s some classic ‘Mersey Disco/Soul.’

The Real Thing were formed in Liverpool, England, in 1970, by Chris Amoo, Dave Smith, Kenny Davis, and Ray Lake, (1946-2020) and at the time of writing they remain active as a duo of Chris Amoo, and Dave Smith. The Real Thing started out performing ‘Soul’ influenced covers of American hits, which led to them being signed by ‘EMI’ records, for whom they released seven of their own compositions, which all failed to chart between 1970-1975. During that period they appeared on the British television talent show ‘Opportunity Knocks,’ (see also best songs 692) and were invited to tour Europe with David Essex (see also best songs 611.) After parting ways with ‘EMI,’ the Real Thing signed a new record deal with ‘Pye’ records, after which Eddie Amoo, (1944-2018) the brother of Chris, joined the group. They finally achieved commercial success in 1976, when teaming up with Ken Gold, and Michael Denne, who took over the songwriting duties for the group.

The discography of the Real Thing, whose name was chosen by their manager at that time Tony Hall, (1928-2019) after he saw a Coca-Cola advert on a large billboard in Piccadilly Circus, London, includes, five studio Albums released between 1976-2022, and 37 singles released between 1972-2005, there are also four official compilation Albums, and two live Albums available. In the UK, they have charted within the top 40 on 12 occasions, with ‘You to Me Are Everything,’ getting to Number 1 in 1976, While in America on the Billboard Hot 100, that song remains their only chart entry, reaching Number 64.

After the success of ‘You to Me Are Everything,’ and it’s follow up ‘Can’t Get By Without You,’ (1976-UK-Number 2) which was also written by Ken Gold, and Michael Denne, the Real Thing then took to writing their own material, notably ‘Can You Feel the Force?’ (1979-UK-Number 5.) In 1986, after being away from the charts for seven years, three of the Real Thing’s songs were remixed, and all entered the UK top 40, ‘You to Me Are Everything (The Decade Remix 76–86’) was the brainchild of the English music producers DJ Froggy, (1950-2008) Simon Harris, and KC. This time the song reached Number 5 in the UK, spending 13 weeks in the top 40, which was two weeks longer than the original version in 1976. The other two songs which were remixed and made the chart were ‘Can’t Get By Without You’ (The Decade Remix II) which made Number 6 in 1986, and ‘Can You Feel the Force? (86 Remix) which reached Number 24, also in 1986. In 2005 the Real Thing were back in the UK top 40 again, when being credited as the featured artists on the ‘Freeloaders’ version of ‘So Much Love to Give,’ (UK-Number 9) the Real Thing’s 1977 track ‘Love’s Such a Wonderful Thing,’ (UK-Number 33) was used as a sample for that song. Incidentally the ‘Freeloaders’ were the English ‘House Music’ duo of Kevin O’Toole and Dale Longworth, the founder members of N-Trance (see also best songs 278.)

‘You to Me Are Everything’ was the first of four singles released from the Real Thing’s debut studio Album ‘Real Thing,’ from 1976, the song was co-written by Ken Gold, and Michael Denne, with the production being by Gold. Michael Denne had come up with the songs chorus, and it is said that Ken Gold wrote the melody and the lyrics in under an hour. Ken Gold has said, ‘Chris (Amoo) wanted to take the melody in his own direction. He said he was trying to put some soul into it. But sitting up there in the control room, it just wasn’t working for me and I remember getting very nervous because he was starting to get a little combative. I said: ‘Honestly, Chris, I’d just like to hear you sing the melody exactly as it was written.’ And that’s what we did. If you can write a melody that gets into someone’s head after just one play, then you have something people can sing.’

Ken Gold has attributed the song’s longevity to its simple sentiment of a girl who means everything to a guy, but she doesn’t feel the same way. Gold has said, ‘We were trying to grab a good lyric that made sense and rhymed.’ Possibly why the song failed to make a greater impact in America is because two other competing versions were released at the same time, by the American groups ‘Broadway,’ and ‘Revelation,’ who both just sneaked in the lower reaches of the ‘Billboard Hot 100.’ ‘You to Me Are Everything’ has also been a UK hit on two further occasions. In 1991 the singer Sonia, who is also from Liverpool, took her recording to Number 13, and in 1995 the English singer and actor Sean Maguire reached Number 16 with his version. The song has also been covered by the legendary Franki Valli, (see also best songs 739-284-and 83) and can be found on the ‘B’ side of his 1978 single ‘We’re All Alone’ (Billboard Number 78.)

‘You give me just a taste of love to build my hopes upon. You know you’ve got the power girl to keep me holding on. Oh, now you’ve got the best of me, come on and take the rest of me, oh baby, yeah, oh.’

THE 1000 BEST SONGS IN THE WORLD EVER.

529-Simon & Garfunkel-Homeward Bound.

1966-Number 9 single.

Best Bit-At 1.40. It’s Widnes railway stations claim to fame.

Widnes railway station, which is located in Farnworth, Halton, England, is one of three railway stations where Paul Simon reputedly composed ‘Homeward Bound,’ the others being ‘Ditton,’ and ‘Warrington Bank Quay.’ The probability is that Paul Simon composed the song in all three. Widnes railway station has a plaque commemorating the event, which is actually the third plaque, as the first two were both pinched by memorabilia collectors.

‘Homewood Bound’ was written by Paul Simon while he was on tour in England in the spring of 1964. He had just recorded his first Album ‘Wednesday Morning 3 AM,’ with Art Garfunkel, and he felt that it would be a commercial failure. While on tour he met the 16 year old Kathy Chitty who was working at the ‘Raiway Hotel,’ in Essex, where Simon was performing nightly. Simon became infatuated with her, but she wasn’t willing to travel with him to London and other city’s, resulting in an emotional farewell. Following a performance in Liverpool, Paul Simon was waiting for the morning train, and he began to write ‘Homeward Bound’ on a scrap of paper. Kathy Chitty never wanted to be part of the ‘Pop Star’ lifestyle, and married and settled down quietly in Wales, away from any limelight. ‘Homeward Bound’ was not the only song that Paul Simon wrote about Kathy Chitty, as ‘Kathy’s Song,’ and ‘America,’ are also about time spent with her. When ‘The Sound of Silence’ became a surprise hit in the States, reaching Number 1 a year after it’s initial release , Paul Simon left England, and flew back to America to renew his partnership with Art Garfunkel.

‘Homeward Bound’ was the second single release by the duo of Paul Simon and Art Garfunkel as ‘Simon & Garfunkel,’ (see also best songs 200-96 and 71) as their previous three singles which had been released between 1957-1958, were issued under the name ‘Tom & Jerry.’ All those three earlier singles had failed to chart, but ‘The Sound of Silence’ went to Number 1 on Billboard. ‘Homeward Bound’ was released as the second of three singles taken from ‘Simon & Garfunkel’s, second studio Album ‘Sounds of Silence,’ from January 1966, the song was written by Paul Simon, with the production being by Bob Johnston (1932-2015) (see also best songs 428 and 96) In America ‘Homeward Bound’ first appeared on their third studio Album ‘Parsley, Sage, Rosemary and Thyme,’ from October 1966.

Art Garfunkel was born Arthur Ira Garfunkel, on November 5th, 1941, in Forest Hills, Queens, New York City, United States, he is a singer, actor, and poet. Art Garfunkel first Paul Simon at school when they were both cast in the elementary school graduation play, ‘Alice in Wonderland.’ Garfunkel has said that Simon first became interested in singing after hearing him sing a rendition of Nat King Cole’s ‘Too Young’ in a school talent show. Between 1956-1962 the pair performed together as ‘Tom & Jerry,’ Their idols were The Everly Brothers, (see also best songs 799) whom they imitated in their use of close two-part vocal harmony. As ‘Tom & Jerry’ they released three singes, with their debut ‘Hey Schoolgirl’ reaching Number 49 on Billboard in 1957. After the demise of ‘Tom & Jerry, Art Gafunkel released two non charting solo singles in 1959, and 1961. In 1963 the duo reformed under the name ‘Simon and Garfunkel,’ and released their debut studio Album ‘Wednesday Morning, 3 A.M’ on ‘Columbia Records’ in October 1964. The Album was neither a critical or commercial success, and disheartened by this this they decided to split. The pair got back together again in 1965 after the music producer Tom Wilson (1931-1978) (see also best songs 358-96 and 7) lifted the song ‘The Sound of Silence” from that debut Album, and dubbed an electric backing onto it, and released it as a single that went to Number 1 on the Billboard Hot 100 singles chart. ‘Simon and Garfunkel’ remained together until 1970, but have reformed to tour and perform together on many occasions, with their last performance together to date being in 2010.

The solo discography of Art Garfunkel includes 10 studio Albums released between 1973-2007, and 29 singles released between 1959-2002, there are also eight official compilation Albums, and one live Album available. In America on the Billboard Hot 100, seven of his singles have made the top 40, with both ‘All I Know,’ (1973) and ‘My Little Town,’ with Paul Simon, (1975) peaking the highest at Number 9. In the UK Art Garfunkel has had three top 40 hits, with both ‘I Only Have Eyes for You,’ (1975) and ‘Bright Eyes,’ (1979) making the Number 1 spot.

‘Tonight I’ll sing my songs again, I’ll play the game and pretend, but all my words come back to me in shades of mediocrity. Like emptiness in harmony, I need someone to comfort me. Homeward bound I wish I was.’

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THE 1000 BEST SONGS IN THE WORLD EVER.

530-Sam & Dave-Soul Man.

1967-Number 24 single.

Best Bit-At 0.08. Soul Music is a genre of music that originated in the African/American community throughout the United States in the 1950.s, and 1960’s, but it was this songs title that made ‘Soul’ a household word, and known to a much wider audience.

Sam & Dave were the American singing duo of Sam Moore, and Dave Prater, (1937-1988) Moore is a tenor, and Prater was a baritone, they formed in Miami, Florida, United States, in 1961, and remained active as a duo through until 1981. They were nicknamed ‘Double Dynamite,’ or ‘The Sultans of Sweat,’ due to their all action live performances, and the American Soul revivalist duo ‘The Blues Brothers’ were modelled on them. The discography of Sam & Dave includes five Albums released between 1966-1975, and 10 official compilation Albums released between 1966-1993, they have also released 32 singles between 1962-1977. In America on the Billboard Hot 100, three of their singles have reached the top 40, with ‘Soul Man’ peaking the highest at Number 2 in 1967, they have also had 13 chart entries on the ‘Billboard R&B chart, with ‘Hold On, I’m Comin” (1966) and ‘Soul Man’ (1967) both making Number 1. In the UK Sam & Dave have had four top 40 hits, with ‘Soul Sister Brown Sugar,’ peaking the highest at Number 15 in 1969.

Sam Moore was born Samuel David Moore, on October 12th, 1935, in Miami, Florida, United States. Both he, and David Prater, were both experienced Gospel music singers, having performed individually with groups the ‘Sensational Hummingbirds,’ and the ‘Melionaires.’ They first met in ‘The King of Hearts Club,’ in Miami, in 1961, where they were soon discovered by the regional producer Henry Stone, (1921-2014) who signed them to ‘Roulette Records.’ In 1964 they were signed by Jerry Wexler (1917-2008) (see also best songs 882 and 644) to ‘Atlantic Records, and then were ‘loaned’ out to ‘Stax’ Records to produce, record and release their records. As well as Sam Moore’s recordings as ‘Sam & Dave,’ he has also issued one solo studio Album ‘Overnight Sensational,’ in 2006, and Two Christmas Albums, both of which were released in 1998.

Dave Prater Jr. was born on May 9th, 1937, in Ocilla, Georgia, United States, he died in a single car accident, on April 9th, 1988, at the age of 50. According to the American monthly magazine ‘Rolling Stone,’ ‘Sam & Dave were the most successful and critically acclaimed duo in Soul Music history, and brought the sounds of the black Gospel church to Pop music with their string of call-and-response hit records. In 1992 they were both inducted in to the ‘Rock and Roll Hall of Fame,’ and in 1999 they were inducted in to the ‘Grammy Hall of Fame,’ for their song ‘Soul Man.’

‘Soul Man’ was the only single released from Sam & Dave’s third Album ‘Soul Men,’ from October 1967, the song was co-written and co-produced by Isaac Hayes, (1948-2008) (see also best songs 398 and 1) and David Porter. Isaac Hayes was watching a television news programme in July 1967 about the ‘Civil Rights Movement,’ and the aftermath of the 12th Street riot in Detroit, Michigan. Hayes noted that black residents had marked buildings that had not been destroyed during the riots, mostly African/American owned and operated, with the word ‘Soul.’ Hayes related the scene to the story of Passover in the Bible. Isaac Hayes has said, ‘I got the idea from watching on TV the riots in Detroit. It was said that if you put ‘soul’ on the door of your business establishment, they wouldn’t burn it. Then the word ‘Soul,’ it was a galvanising kind of thing for African Americans, and it had an effect of unity, it was said with a lot of pride. So I thought, ‘Why not write a tune called ‘Soul Man.’ And all you had to do was write about your personal experiences, because all African Americans in this country at the time had similar experiences. But we realised that in addition to being an African American experience, it was a human experience, and therefore it crossed over and became very commercial.’ Hayes has also said, ‘It’s a story about one’s struggle to rise above his present conditions. It’s almost a tune kind of boasting, I’m a Soul man. It’s a pride thing.’

Isaac Hayes may have come up with the songs title, but it was David Porter who wrote the lyrics, describing what he thought a ‘Soul Man’ should be. Porter has said, ‘He didn’t have the fancy big slant, but had the emotional thing happening inside of him that made people really love him. In 1971 Isaac Hayes was commissioned to write the soundtrack to the film ‘Shaft,’ in which Hayes describes the ‘Soul Man’ John Shaft, as a ‘bad mother…..’ As Sam & Dave recorded on the ‘Stax’ record label, the instrumentation was provided by members of ‘Booker T & the M.G.’s, (see also best songs 906) as well as the ‘Mar-Key Horns.’ ‘Soul Man’ has a very famous intro that was written and played by Steve Cropper, (see also best songs 906 and 828) who had been asked by Isaac Hayes to develop something, as he was struggling with the start of the song.

‘Coming to you on a dusty road, good loving, I got a truck load. And when you get it, you got something, don’t worry, ’cause I’m coming. I’m a soul man.’